베토벤피아노소나타10번

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작성자신사임당 조회 3회 작성일 2022-01-15 07:56:00 댓글 0

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Beethoven | Piano Sonata No. 10 in G major | Daniel Barenboim

Español: Sonata para Piano nº10 en Sol Mayor, Op. 14 nº2

1st Movement (Allegro)
2nd Movement (Andante)
3rd Movement (Scherzo, Allegro Assai)

Work: Piano Sonata No. 10 in G major, Op. 14, No. 2
Composer: Ludwig van Beethoven
Soloist: Daniel Barenhoim
Sen Der : Barenboim has his tempo variations and small, small imperfections, but it's all worth it, considering how beautiful the music turns out. Unlike others, he makes me fall in love with the sonatas.
Aaron tewelde : What sets classical music apart from the other art forms IMO is that it can make you feel things that you can't put into words
Michel Du Paul : Magnifique interpretation d'une très belle sonate.
Rainer Langlotz : Around the time when he composed this sonata (which is sometimes nicknamed "domestica") B. also wrote a Bagatelle op. 33,6 with the advice "con una certa espressione parlante." Betthoven often translated verbal dialogue into instrumental music. I think it can be a key to the 1. mov. to think of a dialog between wive and Husband. The initial theme represents the wife, which is insistently asking for something the husband isn´t inclined to concede. After being patient for a while the husband gets angry imitating the female theme in the bass, while the right gives chaotic sounding trioles. Yet the conflict isn´t resolved and the husband finally leaves the house for a drink or two. At this point starts the second mov.
Brian Lemaire : I am listening to each Beethoven piano sonata, in order. One each morning. Number 10 here is just wonderful.

백건우 Kunwoo Paik - Beethoven : Piano Sonata No.10, Op.14-2 : I. Allegro

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['백건우' 베토벤 피아노 소나타 전곡 연주@KBS중계석]
# 베토벤 피아노 소나타 10번 G장조 : 1악장
# Beethoven : Piano Sonata No.10 in G Major, Op. 14-2 : I. Allegro

[KBS클래식 더보기]
바로가기 :
https://www.youtube.com/channel/UCyehTGXOlmDGDBOavSD1kWQ/
inock schaffner : 벡건우 선생님, 세계무대에서 전혀 손색이 없는 훌륭한 피아니스트십니다. 음악과 함께 살아온 삶이 온 몸에 배어있네요.
임학규 : 5학년 초등학생 입니다!
백건우 선생님이 제 곡을 쳐주셔 영광입니다!!실수 하나 없는 점 정말 존경하고,저도 선생님처럼 국민분들께 사랑받는 피아니스트가 될 수 있도록 노력하겠습니다!
아이엠 : 백건우 선생님이야말로 한국이 낳은 세계적인 피아니스트 입니다.
은은 : 저 토요일에 선생님 봤어요! 첨에 선생님 아니시고 엄청엄청 닮으신분이신줄알고 인사 안드렸다가 오늘 친구한테 들었는데 백건우 선생님이였다고 하더군요! 진작 알았다면 싸인받을껄... 후회되네요ㅠㅠ
은은 : 2악장은없나요ㅠㅠㅠ

Beethoven: Sonata No.10 in G maj, Op.14 No.2 (Kovacevich, Yokoyama)

B.’s 10th is one of those sonatas whose lyricism and gentle humor belie its exquisite craftsmanship. The first movement, for instance, has several themes that are certainly distinct (the first is rather Bachian, the second is arch-typical Viennese, the third is duet-like), but they’re definitely not contrasting in the classical sense of the word. And there’s a cunning rhythmic trick played right from the opening bar, where the theme actually enters half a beat earlier than you hear it (you’ll definitely hear the first beat on the LH G; try listening to it “correctly” and the whole movement will transform in your head), which sets up a subtle but definite moment of rhythmic disorientation when the high melody enters in m.4. And in a sly acknowledgement of this trick, B. actually corrects this deceptive rhythm in the coda.

The second movement is the first theme-and-variation movement B. would put in his sonatas, and is pretty explicitly humorous, though some variations are straightforwardly lyrical (it is also one of those things that reacts well to nearly any interpretive liberty). The final movement, like the first, begins deep in rhythmic ambiguity, although unlike the first movement this ambiguity is not hidden. The ingenuity with which B. uses modulations and plays with rondo form here is pretty wonderful: the coda, for instance, contains the final third episode and return of the theme. Like the second movement, the third movement has a funny ending: it builds up to a big brilliant finish, but instead evaporates with a turn in the bass.

MVT I, Allegro
EXPOSITION
00:00 – Theme 1
00:11 – Transition theme
00:38 – Theme 2
01:10 – Cadence Theme
DEVELOPMENT
03:13 – Theme 1, G min, moving into Bb
03:29 – Theme 2, Bb
03:39 – Theme 1 in Ab in bass, revealed to be Neapolitan of G min. Modulates into Eb, then pauses on dominant
04:07 – Theme 1. Eb, diverted with 3 extra bars to modulate into G min
04:20 – Pedal on dominant established, with dramatic RH figuration (and an inversion of the cadence theme in the LH upper voice). At 4:31 dominant preparation, using Theme 1
RECAPITULATION
04:47 – Theme 1
04:59 – Transition Theme
05:31 – Theme 2
06:02 – Cadence Theme
CODA – 06:23, with Theme 1 set in a new rhythmic angle so you hear it correctly for the first time.

MVT II, Andante
06:48 – Theme. First strain comic (each phrase ending on dominant), second lyrical
07:55 – Var.1
09:00 – Var.2 (listen to Yokoyama on this) at 10:02, a short bridge
10:10 – Var.3 (again, Yokoyama is incredible on this)

MVT III, Scherzo: allegro assai
11:06 – Theme (note its harmonic and rhythmic deceptiveness)
11:24 – Episode 1
11:39 – Theme
12:03 – Episode 2
12:33 – Theme (in wrong key!), moving back into tonic. At 13:19, another modulation, into F maj, before another quick return to G.
13:34 – CODA/Episode 3, in brilliant concertante style, which nonetheless ends with a lightly humorous touch, quoting a motif from the theme deep in the bass. If the new material introduced here is of Episode 3, then the closing refrain can be read as the final return of the theme, with a Lydian flavor.
Ashish Xiangyi Kumar : Kovacevich:
Mvt 1 – 00:00
Mvt 2 – 06:48
Mvt 3 – 11:06

Yokoyama
Mvt 1 – 14:24
*Mvt 2 – 21:51
*Mvt 3 – 26:20

Kovacevich’s performance, as you’ll have come to expect, is full of life and vigour: the contrasts are sharp, the tiniest performance indicates carefully observed, and the final scherzo even has something of a hard edge about it. Yokoyama’s (live) rendition is actually one of the very best Beethoven performances I’ve heard: he brings to this sonata one of those most elusive pianistic qualities – a beautiful touch. The first movement’s lyricism is fully realized, and the final two variations of the second movement are simply gorgeous: the meticulously voiced chords and harmonic haze at 24:09 (where somehow you still hear the notes as quavers), or the silken legato at 25:25. The final movement is more bubbly and carefree than Kovacevich’s (those scales!), and the faster passages have a real feel of liberation.
DeLuca Piano : This channel is one of the most helpful things I've ever seen for understanding the form and different themes in Beethoven's music. Thanks for your dedication and knowledge.
burz21 : love the development of the first movement. such a fun sonata to play.
The Piano Man : Breathtaking!
Level 1-3 : The first movement, if played lively and energetic enough, could actually be danceable lol. I'd love to hear a jazz/boogie pianist interpret it it would make for some fun times!

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#베토벤피아노소나타10번

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