베토벤소나타16번

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작성자천상여자 조회 22회 작성일 2021-12-03 05:34:27 댓글 0

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L. v. Beethoven Piano Sonata No. 16, Op. 31 No. 1 in G Major 베토벤 소나타 16번

Beethoven Sonata No. 16, Op. 31-1 in G Major
베토벤 피아노 소나타 16번

0:00 1st mov.
4:52 2nd mov.
14:27 3rd mov.
별빛 : 소나타 16번 많이 들어봤지만 최고 좋아요! 삶은 달걀(?)같은 완벽한 댕글댕글함과 매끈함 유튜브 알고리즘에게 감사합니다...

Beethoven: Sonata No.16 in G Major, Op.31 No.1 (Kovacevich, Goode)

The first Op.31 sonata is by far and away the funniest of all Beethoven’s 32 sonatas, and it’s kind of hard to explain why it isn’t one of the most famous of them all: all the movements feature attractive melodies, and it brims with good humour from the subtle to the ironically crass. You’ve got the first movement, where the hands can’t play together and the development is built almost entirely around an apparently inconsequential motif, the second, which is a joyfully overlong and increasingly absurd parody of (bad) Italian opera, and the third, full of wily chromatic movement and wry counterpoint.

MVT I, Allegro vivace
EXPOSITION
00:00 – Initial statement of Theme 1, containing two main motifs: a descending scale (Motif A), and a group of 3 syncopated chords (Motif B). At 00:09 mm.1-11 are repeated a tone lower
00:25 – Extension of Motif A, leading into counterstatement of theme at 00:39 which wanders into B min
00:56 – Theme 2, B maj. Syncopated melody introduced
01:02 – Counterstatement of melody in B min, in bass. After 5 bars it starts to modulate using the closing figure of the melody (1:07)
01:14 – The modulating section is treated like a new theme
01:23 – Cadential theme. Tonic-dominant swings alternating between major and minor
DEVELOPMENT
03:12 – Motif B used to transition into C min, then F, then Bb
03:29 – Motif A, initially in Bb, given highly dramatic extended treatment, with cadential trills in RH. C min, D min, then G (dominant at 3:51)
03:58 – Prolongation of the dominant using Motif B, with flattened 9th harmony introduced
RECAPITULATION
04:17 – Theme 1, with repetition of initial bars in F omitted. Modulation into E min
04:38 – Theme 2, in E, modulating rapidly into G and staying there. Note the 2-note transition (Tr) at 5:30 which was also used earlier to move from B min into G
CODA
05:31 – Theme 1, with Motif A extended
05:44 – Mimicking the opening, and using Tr. After a while Tr disappears, and Motif B dominates, alternating between tonic and dominant, before the movement flickers out

MVT II, Adagio grazioso
06:17 – A SECTION, Theme 1. Cantabile \u0026 richly ornamented melody over operatic pizzicato accompaniment, repeated twice. Second time in bass, with absurd if elegant cadenzas in RH
07:26 – A SECTION, Theme 2. Darker, harmonically complex, and not at all parodic
07:56 – Arrival at tonic, followed by a cadenza
08:20 – A SECTION, Theme 1 repeats itself again, with more ornamentation (it becomes clear that this melody is besotted with itself)
08:52 – B SECTION, Theme 1. Eerily beautiful and still, new melody moving from i to VI
09:20 – B SECTION, Theme 2, reaching the dominant via Neapolitan harmony
10:00 – Extended dominant preparation, featuring surprising amounts of chromaticism and dissonance. Self-consciously + self-indulgently overlong
10:52 – A SECTION repeats itself, with yet even lashings of ornamentation. A deliberately clumsy statement of Theme 1 appears at 14:12, with silly emphases on A-flats that come out of nowhere (14:25 and similar)

MVT III, Rondo: allegretto (ABACABA + Sonata form)
15:15 – A: MAIN THEME, containing two main ideas: a symmetrical melody (at 15:15 – Idea 1), and a chromatic descent (15:26 – Idea 2), itself implied in the bass of Idea 1 (at 15:21).
15:38 – Both ideas repeated in inner voices
15:58 – Transition, developing the tail of Idea 2
16:11 – B: EPISODE 1 / QUASI THEME 2. Note triplet octave tremolo, which will recur later.
16:41 – A: MAIN THEME, now with triplet counterpoint in LH
17:02 – C: MIDDLE EPISODE / QUASI DEVELOPMENT. Idea 1 in bass, then developed in 2-part canon (17:07). At 17:22 a new theme enters, and alternates with Idea 1, modulating constantly.
18:01 – Music pauses on the dominant, with a droning tremolo in the LH taken from Episode 1
18:05 – A: MAIN THEME / RECAPITULATION. Idea 1 enters over drone, Idea 2 elaborated in triplets. At 18:36 Idea 2 also gets its own triplet drone.
18:47 – B: RECAPITULATION OF TRANSITION + EPISODE 1. Latter now in G.
CODA
19:31 – The ending section of Episode 1 is extended
19:41 – Cadenza-like development of Idea 1 over dominant pedal. Finally 8 bars of dominant 7th, with the C rising unexpectedly to a C#
20:06 – Idea 1 stated, now more wistfully, and with extravagant pauses. Each phrase alternates between the original tempo and agadio.
20:43 – Cadential trill for 3 bars, over which the opening figure of Idea 1 suddenly enters. A playful dialogue around this tiny figure ensues, after which loud repeated chords enter and slink away with something like insouciance.
Ashish Xiangyi Kumar : Kovacevich:
00:00 – Mvt 1
06:17 – Mvt 2
15:15 – Mvt 3
Goode:
21:11 – Mvt 1
28:13 – Mvt 2
37:55 – Mvt 3

Kovacevich’s playing is wonderful: the contrasts in the first movement are shocking (as you’ll have come to expect by now), the second theme lively and rustic, the flourishes of the second movement played with silkily ironic smoothness, and the third movement is lithe and perky. Goode’s interpretation is as close to perfect as I can imagine: it’s one of those things you can’t listen to without becoming a bit overawed. In the first movement, for instance, it’s not just that the hands can’t play together: the pianist apparently can’t keep track of the basic rhythm as well, for chords keep entering too late. In the third movement Goode also nails the aural overhang at 38:05, the dynamic tiering at 38:27, and the lightness in the RH at 38:50.
JJ Bae : For mobile users:


MVT I, Allegro vivace
EXPOSITION
00:00 – Initial statement of Theme 1, containing two main motifs: a descending scale (Motif A), and a group of 3 syncopated chords (Motif B). At 00:09 mm.1-11 are repeated a tone lower
00:25 – Extension of Motif A, leading into counterstatement of theme at 00:39 which wanders into B min
00:56 – Theme 2, B maj. Syncopated melody introduced
01:02 – Counterstatement of melody in B min, in bass. After 5 bars it starts to modulate using the closing figure of the melody (1:07)
01:14 – The modulating section is treated like a new theme
01:23 – Cadential theme. Tonic-dominant swings alternating between major and minor
DEVELOPMENT
03:12 – Motif B used to transition into C min, then F, then Bb
03:29 – Motif A, initially in Bb, given highly dramatic extended treatment, with cadential trills in RH. C min, D min, then G (dominant at 3:51)
03:58 – Prolongation of the dominant using Motif B, with flattened 9th harmony introduced
RECAPITULATION
04:17 – Theme 1, with repetition of initial bars in F omitted. Modulation into E min
04:38 – Theme 2, in E, modulating rapidly into G and staying there. Note the 2-note transition (Tr) at 5:30 which was also used earlier to move from B min into G
CODA
05:31 – Theme 1, with Motif A extended
05:44 – Mimicking the opening, and using Tr. After a while Tr disappears, and Motif B dominates, alternating between tonic and dominant, before the movement flickers out

MVT II, Adagio grazioso
06:17 – A SECTION, Theme 1. Cantabile & richly ornamented melody over operatic pizzicato accompaniment, repeated twice. Second time in bass, with absurd if elegant cadenzas in RH
07:26 – A SECTION, Theme 2. Darker, harmonically complex, and not at all parodic
07:56 – Arrival at tonic, followed by a cadenza
08:20 – A SECTION, Theme 1 repeats itself again, with more ornamentation (it becomes clear that this melody is besotted with itself)
08:52 – B SECTION, Theme 1. Eerily beautiful and still, new melody moving from i to VI
09:20 – B SECTION, Theme 2, reaching the dominant via Neapolitan harmony
10:00 – Extended dominant preparation, featuring surprising amounts of chromaticism and dissonance. Self-consciously + self-indulgently overlong
10:52 – A SECTION repeats itself, with yet even lashings of ornamentation. A deliberately clumsy statement of Theme 1 appears at 14:12, with silly emphases on A-flats that come out of nowhere (14:25 and similar)

MVT III, Rondo: allegretto (ABACABA + Sonata form)
15:15 – A: MAIN THEME, containing two main ideas: a symmetrical melody (at 15:15 – Idea 1), and a chromatic descent (15:26 – Idea 2), itself implied in the bass of Idea 1 (at 15:21).
15:38 – Both ideas repeated in inner voices
15:58 – Transition, developing the tail of Idea 2
16:11 – B: EPISODE 1 / QUASI THEME 2. Note triplet octave tremolo, which will recur later.
16:41 – A: MAIN THEME, now with triplet counterpoint in LH
17:02 – C: MIDDLE EPISODE / QUASI DEVELOPMENT. Idea 1 in bass, then developed in 2-part canon (17:07). At 17:22 a new theme enters, and alternates with Idea 1, modulating constantly.
18:01 – Music pauses on the dominant, with a droning tremolo in the LH taken from Episode 1
18:05 – A: MAIN THEME / RECAPITULATION. Idea 1 enters over drone, Idea 2 elaborated in triplets. At 18:36 Idea 2 also gets its own triplet drone.
18:47 – B: RECAPITULATION OF TRANSITION + EPISODE 1. Latter now in G.
CODA
19:31 – The ending section of Episode 1 is extended
19:41 – Cadenza-like development of Idea 1 over dominant pedal. Finally 8 bars of dominant 7th, with the C rising unexpectedly to a C#
20:06 – Idea 1 stated, now more wistfully, and with extravagant pauses. Each phrase alternates between the original tempo and agadio.
20:43 – Cadential trill for 3 bars, over which the opening figure of Idea 1 suddenly enters. A playful dialogue around this tiny figure ensues, after which loud repeated chords enter and slink away with something like insouciance.
Fred Smith : I think this is the only Beethoven sonata of the 32 I had not heard before - exactly half way through the series. It's quite remarkable how varied each one is - and this (for me) latest and last is as brilliant and weird as any of the 31 others. Shakespearean fecundity.
Volen : One of my favorite sonatas it’s criminally underrated
Jason Kim : I do adore this sonata, perhaps the most whimsical of his sonatas, somewhat similar in character to Op. 31-3. It is terribly under-appreciated for the reasons I don't know. It is definitely one of the most technically difficult sonatas, too "pianistic", shall we say, for amateurs to learn, and maybe it isn't serious (in character) enough for the professionals to present more often. It is definitely a great piece to judge a pianist's basic techniques and musicianships by.

Beethoven Sonata N° 16 Daniel Barenboim


Mike R. : 17:20 and on until the end of the movement, so good! That has his 8th sonata 2nd movement all over it! You can tell Beethoven’s 8th Sonatas 2nd movement left an impression! So good!
concins97 : love this one, it's amazing
Samuel Music : I dare say Beethoven is the greatest composer ever.
Trevor du Buisson : Masterful playing. The second movement of this sonata is really a hidden gem amongst the 32 sonatas. It deserves to be better known; alongside the Pathetique, Moonlight, Waldstein etc. One of the jewels in the crown IMO. The whole of Opus 31 is Beethoven demonstrating to the world (Europe at the time) his epic and most glittering brilliance.
John Gibson : The crazy stomping syncopation and turn-on-a-dime dynamic contrasts of the first movement followed by the sublime, gentle loveliness of the second. OMG, Beethoven, you slay me.

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