Professor: Gulsin Onay. She then goes from the peaceful Andante con Moto of the 2nd movement to the Allegro of the 3rd movement, with its 'Perpetuum mobile', which she very precisely examines. One of the most sensibility demanding fragments of this sonata, going from Pianissimo to Forte. Here's how to build the phrasing and the intensity. The Sonata in F minor was published as op.
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These pieces, while congenial in mood, are intimate, almost confidential in tone. Then the repeat of this gesture a semitone higher introduces the idea of Neapolitan harmony on the flattened second degree of the scale. Petersburg, founded by Balakirev. Among the interpretive challenges the work presents is the choice of tempo.
Bach composed suites for keyboard, for various solo chamber instruments, and for full orchestra, each comprising a varied and aesthetically balanced collection of dance movements written in the fashionable style of his day. The harmonic task given to each two-section dance is a simple one: to move, in the first part, from the home key to the key of the dominant, five notes up, and then in the second part, to return back to the home key, with each section played twice.
The moderately paced Allemande that opens this suite exudes an air of quiet assurance and harmonious calm. Beginning unusually low, the first half moves towards the middle register, while the second half begins correspondingly high and descends to the mid- zone of the keyboard.
In the Courante we move to triple metre, and a livelier pace. The single upper line moves in a continuous stream of running triplets while its jogging partner in the bass skips in time to it below. The stately Sarabande that follows restores a mood of ceremonial propriety as the hands take turns echoing the opening motive, with its characteristic emphasis on the second beat of the bar. The galanteries, or optional dances that precede the finale, are usually performed in the following order. First is the Gavotte, which in contrast with the smooth running figures of the preceding dance, moves by a succession of little leaps, imitated between the hands.
A much longer second Gavotte follows, with an unusually wide variety in phrase lengths, for a dance movement. The Air features a continuous texture of running notes, with a lively imitative dialogue between the voices in the second half. The Minuet moves in bite-sized two-note groups echoed between the hands, which gives it a sense of courtly daintiness not shared by its rougher country cousin, the Gavotte. The real toe-tapper comes at the end of the suite in the Gigue, the most emphatic and rousing of all the dance movements.
Extreme as well is the economy of musical material used. As he was to do in the great C minor Symphony to follow, Beethoven constructs the entire compositional edifice of his first movement out of a small number of primal musical materials, all presented on the first page. The sonata opens in a conspiratorial whisper, the furtive dotted rhythm of a rising F minor arpeggio finishing in a trill in the upper register, more eerie than decorative. The entire phrase is then repeated a semitone higher, in G-flat, introducing the Neapolitan harmony on the flattened 2nd degree of the scale that will haunt the entire movement.
There are no formal repeats in this sonata-form drama: the emotional intensity is kept at fever pitch throughout the exploratory modulations of the development and the triumphant recapitulation in the major mode. But this is not the end. As in the C minor Symphony, this first movement is massively end-weighted in an extended coda that reaches its emotional climax in a virtuoso cadenza spluttering with rage and apocalyptic fury.
Its pianississimo ending, fluttering with menace into the distance, merely recedes from, rather than resolves, the musical torment burning at its core. No greater contrast could be imagined than that presented by the second movement, an emotionally stable, harmonically rock-solid set of variations, each with its own repeat.
Far from ranging over the full expanse of the keyboard, its solemn melody spans barely a handful of notes in the mid- range. Melodic interest is thus concentrated in the bass line, but as the variations progress, it gradually filters upward into increasingly elaborate patterns of decorative detail in the upper register. Then just as the movement reaches its cadential close, a harmonically destabilizing diminished 7th chord mysteriously steps in to replace the final tonic harmony.
Strident repetitions of this chord in a higher register trumpet the breaking news that the last movement is at the gates, set to begin — without a pause.
As in the first movement, frequent flecks of Neapolitan harmony add a dark glint to the harmonic mix in both key areas. Where new motives and punchy countermelodies do emerge is in the development section, which is perhaps why it, along with the recapitulation, is given a repeat. These brief pieces, most of which are waltzes, manage to fit a maximum of drama within their diminutive formal frames. Eyebrow-raising is the occasional use of the minor mode in this collection of generally festive dances, as well as the frequent presence of two wildly contrasting moods within the same piece — features which hint at the testosterone- soaked rivalry between the two brothers.
Against the backdrop of this tune, Schumann recalls the opening waltz as the clock tolls repeatedly to signal the end of the ball. The final cadence features a dominant 7th chord that is peeled up from the bottom to leave only its top note sounding, before the final chord brings a quiet close to this kaleidoscopic evening of musical nostalgia. The nocturne, popularized in the early 19th century by the Irish pianist John Field, became in the hands of Chopin one of the most characteristic genres of the Romantic era.
Typically featuring an Italianate cantabile melody over an arpeggiated accompaniment of widely spaced chords in the left hand, it sought to evoke a dreamy nighttime mood through its slow harmonic rhythm and the atmospheric use of pedaling effects over recurring drone tones.
This nocturne, one of the last published by Chopin during his lifetime, seeks the same goal, but by different means. Its middle section grandly widens the range between melody and bass while venturing further afield in its modulations before returning to the opening material, thrillingly ornamented with chains of trills and melodic filigree. A longish coda features orientally-tinged scalar elaborations ranging widely over the keyboard which lend end-weighting to the work as a whole.
The two sets of twelve piano studies which Chopin published as his Op. Beneath a steady pulse of melody notes, many of them repeated on the same pitch, strums a swirling, rippling accompaniment that challenges the pianist to split his hands conceptually in two between a melody or bass-note finger the pinkie and the fingers playing the accompaniment all the rest.
Particularly perilous are the exhilarating leaps — in opposite directions! To each attack in the right hand is. Its contrasting middle section in the major mode — as poised and elegant as the opening section is grotesquely limping and ungainly — is richly carpeted with a harmonically full, rolling texture that allows the left hand to sing out a simple but engaging baritone melody of small range and modest harmonic goals.
Bristling with chromatic inflections and peppered with sforzando accents, it makes the arrival of a stable key centre a major event on the last page of the score.
The scherzi of Chopin have little of the tripping, skipping, good-humoured jesting of the genre created by Beethoven, and only the last of them, the Scherzo in E major, Op. Rather, these are big-boned works, projecting pianistic power and lyrical intensity with a directness and confidence very much at odds with the popular image of Chopin as the delicate performer of perfumed salon pieces.
What links them, perhaps, to their forebears is not only a broadly conceived ternary A-B-A form, but also a certain mercurial volatility of mood and a desire to entertain wildly contrasting emotions not just between sections, but within them.
The Scherzo in B flat minor, composed in , is a perfect example. It opens with a dramatic exchange between a whimpering triplet figure and an explosive salvo of raw piano resonance, only to be followed by an ecstatic exclamation arriving from the extreme ends of the keyboard, which then in turn morphs into a yearning, long-lined lyrical melody singing out over a sonorously rippling accompaniment in the left hand.
The middle section begins in a mood of quiet elegy, but gradually is persuaded to emerge from its introspection into a lilting three-step waltz, accompanied at every turn by an attentive little duplet-triplet figure in the alto.
It is this coy little waltz tune that will build up in urgency and sonority sufficient to motivate the return of the dramatic musical gestures that opened the work. A coda pulls and tears at this material to lead it to a triumphant conclusion in D flat major, the key to which it had always been drawn throughout its course.
Skip Content? Stay Tuned! Sign up to get free in-depth coverage on up and coming artist and more! Franz Schubert Moments Musicaux Nos. Ludwig van Beethoven Sonata in F minor Op. Sergei Prokofiev Sonata No. Mily Balakirev Islamey Op. Donald G. Ludwig van Beethoven: Sonata in F minor, Op.
Robert Schumann: Papillons, Op. To each attack in the right hand is attached, like a barnacle, a chromatic inflection a semitone away that makes it walk like it has a stone in its shoe. Notes by Donald G.
Piano Sonata No. 23 (Beethoven)
Our relationship to Beethoven is a deep and paradoxical one. For many musicians, he represents a kind of holy grail: His music has an intensity, rigor, and profundity which keep us in its thrall, and it is perhaps unequalled in the interpretive, technical, and even spiritual challenges it poses to performers. Two hundred years after his death, he is everywhere in the culture, yet still represents its summit. This course takes an inside-out look at the 32 piano sonatas from the point of view of a performer. These might include: the relationship between Beethoven the pianist and Beethoven the composer; the critical role improvisation plays in his highly structured music; his mixing of extremely refined music with rougher elements; and the often surprising ways in which the events of his life influenced his compositional process and the character of the music he was writing. The course will feature some analysis and historical background, but its perspective is that of a player, not a musicologist.
Ludwig van Beethoven 's Piano Sonata No. The first edition was published in February in Vienna. Unlike the early Sonata No. One of his greatest and most technically challenging piano sonatas , the Appassionata was considered by Beethoven to be his most tempestuous piano sonata until the twenty-ninth piano sonata known as the Hammerklavier [ citation needed ].