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작성자개고기 조회 7회 작성일 2021-01-20 23:27:51 댓글 0


Beethoven: Sonata No.4 in Eb Major, Op.7 (Korstick, Lewis)

If you had to name 2 sonatas to demonstrate B.’s mastery of the classical large-scale sonata, they would be this one and the Op.22 – both sonatas which are overlooked because, while original, they don’t have the sort of brazen, goggle-inducing originality we have come to associate with B. In fact, there are some ways in which the Op.7 is less tuneful and pianistic than its three brilliant predecessors, or even the Op.22 – but only because the Op.7 demonstrates B. for first time running right up against the limits of the classical sonata and feeling a bit unfulfilled or restless, imagining possibilities beyond what the instrument and form could achieve at the time.

For a start, Mvt 1 isn’t really written for the piano – it has become almost an archetype of orchestral writing for piano, with elements like an repeated Eb in the brass and themes (so, so many of them!) composed mostly of scales and arpeggios rather than melody over accompaniment. Mvt 2, with all its long pregnant pauses and high woodwinds (and an impossible crescendo written over a single held chord), has an orchestral feel but also a rather late-B. solemnity to it, and counts as one of the most moving things B. ever wrote. Mvt 3 is neither a proper scherzo nor minuet (it’s tuneful like the latter, but also playful and abruptly dramatic in the manner of the former), and B. coyly writes only “Allegro” at its beginning and “Minore” at the middle section. Mvt 4 is where the orchestral manner dies away fully, but neither is it a conventional rondo: there is a surprising amount of continuous motivic development and internal logic here, a wonderful “floating” passage at the end where a Bb ascends to a B, signalling a shift from Eb to E(!), and a coda whose feeling of warmth and generousness disguises the fact that it’s a modification of the stormy second episode.

MVT I, Allegro molto e con brio
00:00 – Theme Group 1, Theme 1. The opening figure in the RH (G-Eb) is M1
00:15 – TG1, T2 (imitative scales)
00:22 – Transition, using M1
00:30 – Dominant preparation
00:37 – TG2, T1
00:53 – TG2, T2. The opening legato figure is developed vigorously, eventually broken into descending quavers that lead into a diminished 7th that resolves abruptly into C
01:14 – TG2, T3
01:41 – TG2, T4, over tonic pedal coloured by minor 9th
01:57 – TG2, T5 (cadential theme)
04:12 – M1 on V of (ii)
04:16 – TG1, T2, moving into F min
04:27 – TG2, T5, eventually reduced to just its rhythm
04:42 – M1 in A min, with a new ominous figure following. Moves into D min. M1 then announces the aug 6th chord, which also happens to be the dominant of Eb.
05:02 – TG1. T1 is now diverted into subdominant at 5:16, and a modified version of T2 follows
05:32 – TG2
06:58 – TG1, T1
07:08 – TG2, T2, eventually descending in bass
07:23 – TG2, T5
07:35 – Final cadence, using M1, but now the accent, where it was “wrongly” placed on M1’s first chord, has been shifted to the second.

MVT II, Lento con gran espressione
07:49 – Theme. Note the extensive use of dramatic pauses
10:41 – Middle Episode
13:37 – Theme
16:20 – Coda (with elements of recapitulation), using theme from Middle Episode which diverges quickly into a sequence. At 16:50, tonic-dominant swing, developing dotted figure from 2nd bar of the theme. At 17:20, new cadential theme is introduced, after which bass descends chromatically while the Theme above closes.

MVT III, Allegro
18:10 – Scherzo, which continuously recycles motifs from its first 4 bars’ RH. (See 18:23, the middle strain, 19:29). The return of the first strain moves into B maj, surprising harmonic territory.
20:46 – Trio. At 21:31, codetta, ending with a rare ppp mark
21:41 – Scherzo

MVT IV, Poco allegretto e grazioso
23:00 – Theme, containing M2 at 23:17 (demisemiquaver arpeggio, then Eb-D tail)
23:33 – Transition, using M1. The tail of M2 is developed and isolated, turning eventually into another figure in the bass at 23:48, and dominating the texture that follows.
24:09 – Episode 1
24:35 – Theme
25:03 – Episode 2. The LH accompaniment (which eventually reaches the RH) and the initial RH chordal theme constitute M3 and M4 respectively.
26:41 – Theme
27:14 – Transition into (ii) instead of the earlier (vi)
27:52 – Episode 1
28:16 – Theme
28:44 – Coda. Home dominant raises a semitone (beautifully and misleadingly mimicking the transition into Episode 2 at 24:59) and then the main theme enters in E. The 3rd bar of the theme is repeated, ushering in a remarkable modulation back into Eb. At 29:06 Episode 2 is recalled, with M3 in the LH softened into arpeggios, while M4 in the RH develops into a gorgeous closing melody. The final bars contain an allusion to the tail of M2.

피아노 치는 자세 교정과 안좋은 습관 고치기/베토벤 칠 때 알아 두어야 할 팁(베토벤 소나타 4번 1악장)

#베토벤소나타 #피아노레슨 #자세교정 #습관고치기 #차수진피아노 #피아니스트 #피아노연습방법

안녕하세요! 드디어 유튜브 무료 공개 레슨의 두번째 영상을 가지고 왔습니다.
최수연님이 연주하신 베토벤 소나타 4번 1악장 가지고 이야기 나눠 볼께요:)
베토벤은 항상 어렵지만 그의 언어를 조금씩 이해하다보면 어느새 존경심을 느낄 수 밖에 없죠!
보시면서 잘 적용시켜 보시고 도움이 되었으면 좋겠어요!
항상 응원합니다!

피아니스트 차수진은 예원 학교 졸업 후 서울예고 1학년 재학 중에 어려서부터 동경하던 음악의 도시 비엔나로 유학을 떠난다. 17세의 나이에 현 세계음대랭킹 1위인 비엔나 국립음대에 수석 입학하여 Michael Krist, Stefan Arnold 를 사사 하며 학사, 석사 또한 수석으로 졸업하였다. 이후 유명 피아니스트들을 배출한 하노버 국립 음대에서 Matti Raekalio, Olivier Gardon 의 제자로 최고 연주자 과정을 졸업하였고 현재 세계적인 거장 Pavel Gililov와 함께 잘츠부르크 모차르테움에서 수학 중이다.
유학을 시작할 무렵부터 카라얀 장학재단, 베토벤 협회 재단, 뵈젠도르퍼 재단, 치프라 장학 재단등으로 부터 장학생으로 선발 되어 그 가능성을 인정받았으며
비엔나 국제 콩쿨 1위, 뵈젠도르퍼콩쿨 2위, 그라두스 에드 파나숨 1위 및 오스트리아 클래식상, 델리아 슈타인베르크 국제 콩쿨 2위, 로자리오 마르치아노 국제 콩쿨 1위 및 쇼팽상, 스페인 하엔 국제 콩쿨 2위, 비엔나 피아노 오픈 콩쿨 2위, 로마 국제 콩쿨 2위 등에 입상하여 그 이름을 알렸다.
2018년에는 로버트, 클라라 슈만의 작품을 녹음하여 ’Souvenir de Vienne‘ 라는 테마로 CD를 발매하였고 현재 KNS 메니지먼트의 소속 아티스트로 유럽 무대에서 활발하게 연주 활동을 하고 있다.


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