베토벤피아노소나타9번

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작성자쟈니유 조회 23회 작성일 2023-03-21 21:04:45 댓글 0

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Beethoven | Piano Sonata No. 9 in E major | Daniel Barenboim

Español: Sonata para Piano nº9 en Mi mayor Op. 14, nº1

1st Movement (Allegro)
2nd Movement (Allegretto)
3rd Movement (Rondo)

Work: Piano Sonata No. 9 in E major, Op. 14, No. 1
Composer: Ludwig van Beethoven
Soloist: Daniel Barenhoim
@patuchitogomez6790 : Me encanta el segundo movimiento de esta sonata. Me encanta la seriedad, el dramatismo y la angustia que expresa la parte A de este movimiento y que contrasta con la parte B mas tranquila y también me gusta su compás ternario que hace que tenga un caracter bailable de un vals.
@conraddean6510 : Such a definitive performance. Never heard this played so clearly until now
@robinlaub9043 : I absolutely love the second movement of this sonata. Gives me chills. It almost feels like this opus was composed with Bach behind the veil
@zhongchuxiong : 0:00 1st movement
7:05 2nd movement
11:40 3rd movement
@DirkdeHorde : Daniel Barenboim is my favourite Beethoven interpreter. He is just something else!

Beethoven Sonata No.9 in E Major, Op,14 No.1

Allegro
Allegretto
Rondo–Allegro comodo

Minsoo Sohn
May 2019
Music4life : Creating a world of beauty and endless sonorities!! Thank you!!!!!!
B. Gilles : 0:00 Allegro
6:42 Allegretto
10:51 Rondo-Allegro comodo
rocco cicoria : Perfect interpretation! Wonderful!
Kytusdei Bezt : Just jaw-dropping.. IN LOVE!!!!!
Kaylie Yi : there’s really a lot of dynamics in 3:43. good job!

Beethoven: Sonata No.9 in E major, Op.14 No.1 (Korstick, Yokoyama, Jumppanen)

The 9th Sonata isn’t well known, probably due to a combination of its relatively diminutive proportions and slight air of oddness, but it definitely deserves much more attention than it gets. The striking first movement is an excellent example of how a good development section (see also the 6th sonata, and to a lesser extent the 5th and 7th) does not really need to develop material to be effective – here, the relevant sense of tension is generated by the inclusion of a completely new theme in the development, the first truly lyrical moment in the sonata (and B., in the manuscript, actually writes, “without developing the theme”). The movement is also a classic example of B.’s motivic style: the first theme group consists of rising 4ths (over an E pedal), scales, and then arpeggios, while the second theme group begins with a naked descending and rising (chromatic) scale. It’s pretty extraordinary how much drama B. wrings from such humble material, often with the aid of some very beautiful quartet-like counterpoint. The second movement is notable for some of the rather late-Renaissance-ish harmonies B. uses, and the last movement is pretty funny: the main theme involves the rising RH getting hopelessly jammed on an A, while the LH continues making its way down the keyboard, happily ignoring whatever dissonance it generates against the note above. It’s also a nice example of B.’s skill at continuously developing a rondo’s theme with each recurrence, and the middle episode has a particularly pleasing concerto-like moment.

MVT I, Allegro
EXPOSITION
00:00 – Theme 1
00:19 – Transition, using Theme 1 with chromatically rising inner part. At 0:24 a new transition theme is introduced
00:34 – Theme Group 2, Theme 1. A single vocal line, descending diatonically and rising chromatically. Repeated with imitation.
00:58 – Theme Group 2, Theme 2.
01:10 – Theme Group 2, Theme 3.
01:27 – Cadential Theme, using Theme 1 under an inverted pedal
DEVELOPMENT
03:06 – Theme 1, moving into A min
03:13 – New Episodic Theme, which occurs no-where else in the piece. In the manuscript B. actually explicitly writes at this point, “without developing the theme” (meaning the sonata’s main themes). The texture here is eerily Schubertian – probably the first time something like this was written for piano.
03:37 – Theme 1, developed over 10 bars of dwelling on the dominant
RECAPITULATION
03:52 – Theme 1, now with forte scales in LH. At 4:10, a magical movement in to C maj, implied to be the Neapolitan of B min
04:17 – Transition
04:28 – Theme Group 2
05:21 – Cadential Theme
05:32 – CODA

MVT II, Allegretto
05:51 – A Section/minuet. The middle strain at 6:04 has a rather Renaissance feel. At 6:33 a codetta, using figuration from m.4 and with closing with an implied (and impossible) portamento at 6:42
06:43 – B Section/trio.
07:24 – A Section
08:16 – Coda, which deceptively begins like the trio

MVT III, Rondo: Allegro comodo
08:31 – Theme, modulating into B
08:58 – Episode 1
09:11 – Theme, modulating into G
09:31 – Episode 2, with a mini-cadenza at 9:44
10:15 – Theme, modulating into A
10:34 – Episode 1, modulating into F, before using a tritone switch to move into the home dominant
10:48 – Theme, with syncopation
Ashish Xiangyi Kumar : Korstick:
Mvt 1 – 00:00
Mvt 2 – 05:51
Mvt 3 – 08:31

Yokoyama:
Mvt 1 – 11:22
Mvt 2 – 17:58
Mvt 3 – 20:58

Jumppanen:
Mvt 1 – 24:01
Mvt 2 – 30:24
Mvt 3 – 34:04

Korstick’s rendition of this sonata is pretty fun: this is a relatively sedate sonata, but he treats it like the appassionata, with a relatively brisk tempo, lots of dramatic sweep, and really biting contrasts (listen to 0:24 and 1:10, for instance). It’s always nice to hear a sonata that’s often overlooked played with this kind of intensity. Yokoyama’s at the other end of the spectrum: in his hands this sonata is all cantabile sweetness, with the melodic lines having a kind of crystalline purity that’s quite rare to hear pianists achieve. Jumppanen is somewhere between these two poles: his interpretation is light on the use of pedal, with a focus on clarity and a particularly slow second movement; he’s more dramatic than Yokoyama and more relaxed than Korstick. The result is a rather festive, kind of earthy interpretation.
Praweethida Dolorfino : just watched Netflix “The perfect date” and the old lady said “when you’re meant to be with someone you just start talking and a Beethoven sonata will begin to play”
Moon Shine : Such an underrated sonata! It’s so bright, fun and beautiful. It deserves more recognition!
Mad Classix : I find those bass octaves and RH arpeggios starting at Episode 2 of MVT III (thanks Ashish) so incredibly powerful and majestic 35:10
Jasper Simon : Thank you for taking the time to post such beautiful pieces of music and write such eloquent descriptions about them. You inspire me to continue pursuing my own writing on music. :)

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