Thursday, January 14th — music clip of the day
January 14, 2021
never enough Ludwig van Beethoven (1770-1827), Piano Sonata No. 31; Sviatoslav Richter (1915-1997, piano), live, Moscow, 1991 ********** lagniappe random sights this morning, Chicago (Columbus Park)
Thursday, January 14th — music clip of the day
Lucas & Arthur Jussen – Mozart: Sonata for Two Pianos in D, KV 448 Live recording – 25 June 2019, Konzerthaus Dortmund Lucas & Arthur Jussen on Spotify https://lnk.to/CompletePlaylistJussen
Follow Lucas & Arthur on Facebook https://www.facebook.com/OfficialJussen on Instagram https://lnk.to/Jussen_Insta on their website http://arthurandlucasjussen.com/en
This video: Audio producer: Everett Porter Video producer: Dick Kuijs Technical supervisor: Robbert-Jan Sebregts Camera operator: Carrien Dijkstra, Martine Rozema
Steve Cohen – Sonata for Horn and Piano
August 24, 2019
Andrew Schartmann
Published on Apr 18, 2013
For more: http://www.youtube.com/playlist?list=…
This video provides a basic formal analysis of the Grave; Allegro di molto e con brio from Beethoven’s Op. 13 (“Pathétique”). Please note that it is part of a larger project to provide formal analyses of all 32 of Beethoven’s piano sonatas, so check back frequently for updates.
, Visit http://www.andrewschartmann.com/beeth… for more detailed comments.
Brilliant Classics
Published on Jun 18, 2019
This album contains a musical portrait of Johannes Brahms in piano works from his early and later years, presented by Piano Classics, a label of Brilliant Classics
Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): https://PianoClassics.lnk.to/PianoSon…
Available for licensing: https://www.brilliantclassicslicensin…
More Information: https://www.piano-classics.com/articl…
Social media: Facebook: https://PianoClassics.lnk.to/Facebook Instagram: https://brilliant-classics.lnk.to/Ins…
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Every bar of the Sonata burns with longing and passion thwarted, even the Andante tellingly prefaced with lines from the Romantic poet Sternau: ‘The twilight falls, the moonlight gleams, two hearts in love unite, embraced in rapture’. Almost four decades later, Brahms signed off as a composer with the more subtle and even playful spirit of a sublimely allusive quartet of opus numbers, the three Intermezzi Op.117, the seven Fantasias Op.116 and the two sets of mixed genre-pieces that make up Opp. 118 and 119.
These demand the most refined command of phrasing and harmony – at points they come closer than any other work of Brahms to casting loose from the anchor of tonality and anticipating the world of Schoenberg, for whom Brahms was an exemplar – and are eminently suited to a pianist such as Kopachevsky who has already proved himself at home in the twilit world of Liszt and Scriabin, in music on the brink of extinction. A richly rewarding release for all lovers of Romantic piano music and another feather in the cap of a superb young pianist.
Philipp Kopachevsky made his Piano Classics debut in 2016 with an ambitious selection of late Scriabin and Liszt, and Bryce Morrison in Gramophone was impressed: ‘haunting in confidentiality… no less powerful in storm and stress… never less than sensitive.’
Composer: Johannes Brahms
Artist: Philipp Kopachevsky (piano)
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Tracklist: Piano Sonata No. 3 in F Minor, Op. 5: 00:00:00 I. Allegro maestoso 00:09:52 II. Andante espressivo 00:20:46 III. Scherzo, allegro energico 00:25:35 IV. Intermezzo, andante molto 00:29:17 V. Finale, allegro moderato ma rubato 3 Intermezzi, Op. 117: 00:36:30 I. Andante moderato in E-Flat Major 00:42:11 II. Andante non troppo in B-Flat Minor 00:47:24 III. Andante con moto in C-Sharp Minor 17 Fantasien, Op. 116: 00:54:07 I. Capriccio in D Minor. Presto energico 00:56:29 II. Intermezzo in A Minor. Andante 01:00:27 III. Capriccio in G Minor. Allegro passionate 01:03:32 IV. Intermezzo in E Major. Adagio 01:08:12 V. Intermezzo in E Minor. Andante con grazia ed intimissimo sentiment 01:10:58 VI. Intermezzo in E Major. Andantino teneramente 01:14:05 VII. Capriccio in D Minor. Allegro agitato 6 Klavierstücke, Op. 118: 01:16:17 I. Intermezzo in A Minor. Allegro non assai 01:18:15 II. Intermezzo in A Major. Andante teneramente 01:24:22 III. Ballade in G Minor. Allegro energico 01:27:54 IV. Intermezzo in F Minor. Allegretto un poco agitato 01:30:29 V. Romanze in F Major. Andante 01:34:41 VI. Intermezzo in E-Flat Minor. Andante, largo e mesto 4 Klavierstücke, Op. 119: 01:40:47 I. Intermezzo in B Minor. Adagio 01:44:33 II. Intermezzo in E Minor. Andantino un poco agitato 01:49:25 III. Intermezzo in C Major. Grazioso e giocoso 01:51:09 IV. Rhapsodie in E-Flat Major. Allegro risoluto
Amadeus Mozart – Piano Sonatas – w scores
November 12, 2018
NAUDOT – Sonata for two flutes – Nicole Esposito, Horacio Parravicin
September 14, 2018
Cesat Franck – Violin Sonata – Anne Sophie Mutter, Orkis
September 5, 2018
DUANE: An emotionally rich performance; great clarity, perfect ensemble unity!
Published on Apr 6, 2017
Franck: Violin Sonata / Mutter Orkis
August 10, 2018
Beethoven – Sonata No.17 in D Minor, “Tempest” – Harmonic Analysis
November 22, 2017
Witold Lutosławski (1913-1994) – Piano Sonata (1934)
August 15, 2017
00:00 – I. Allegro
10:27 – II. Adagio ma non troppo
18:08 – III. Andante – Allegretto
Pf. Gloria Cheng
Lutosławski’s Piano Sonata, the only composition preserved from his early student years, was completed on 29 December 1934. That three-movement work was modelled on the music of Debussy and – to a certain extent – Ravel (especially his Sonatine). The composer himself acknowledged Szymanowski’s influences. The rich palette of sound colours reveals impressionistic origins and, in most of the Sonata (and especially its first movement), the basis of the timbre is the quick succession of broken chords, providing, by means of the pedal, a glimmering background for the subjects and independent motives. The Sonata places certain technical demands on the pianist . In order to perform it correctly, considerable dexterity is required as well as a mastery of passage-work and octave technique, sensitivity to instrumental colouring and skill in bringing polyphony into prominence vividly. In later years Lutosławski’s attitude towards his youthful Sonata was so critical that, though the manuscript survived the turmoil of war, he never decided to publish it. In the 1970s Ryszard Bakst acquired a copy of the music and recorded it for Polish Radio, albeit against the wishes of the composer. Danuta Gwizdalanka, Krzysztof Meyer (excerpt from the book Lutosławski. A Road to Mastery)
Carl Vine – Piano Sonata No. 1 – Uses Cross Rhythms
August 8, 2017
– Composer: Carl Vine, AO (8 October 1954 — present)
– Performer: Michael Kieran Harvey
– Year of recording: 1991
Piano Sonata No. 1, written in 1990.
00:00 – I. [no dynamic tempo marking]
08:23 – II. Leggiero e legato
Australian composer Carl Vine uses a lot of open fourths and fifths in this piano sonata, and chords/arpeggios are often based on stacked fourths or fifths. The sonata is reminiscent in its form of Elliot Carter’s piano sonata, and in its intensity of Samuel Barber’s piano sonata.
Notes by the dedicatee, Michael Harvey:
“Drawing on the lithe beauty and contrapuntal elegance of the earlier Piano Sonata (1946) by Elliot Carter, the [1st] Piano Sonata by Carl Vine is a work characterised by intense rhythmic drive and the building up of layers of resonance. These layers are sometimes delicate and modal, archieving a ‘pointed’ polyphony by the use of complex cross-rhythm, at other times they are granite-like in density, creating waves of sound which propel the music irresistibly towards its climax.
The scheme is similar to the Carter Sonata – Two movements, with the slow section built into and defining the faster portions of the first movement. The second movement is based on a ‘moto perpetuo’ which soon gives way to a chorale section, based on parallel fifths.
In discussing the work, Vine is reticent about offering explanations for the compositional processes involved, feeling that these are self-evident, and indeed the work is definitely aurally ‘accessible’ on first hearing. However one of the main concerns in this sonata is the inter-relationship between disparate tempi, which is the undercurrent of the work and its principle binding element.
The work is dedicated to me and was commissioned by the Sydney Dance Company to be choreographed by Graeme Murphy. The first concert performance of this work was on 23 June 1991 in Melbourne. The first dance performance of Piano Sonata was in the Drama Theatre of the Sydney Opera House in May, 1992.”
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Piano Sonata No.23 in Fm, Op.57 (‘Appassionata’)
1.Allegro assai @0:00
2.Andante con moto (attaca) @9:06
3.Allegro ma non troppo @15:33
Piano: Annie Fischer
(Version with Alfred Brendel: http://www.youtube.com/watch?v=89hcfg…)
Note: at this time the annotations will not appear on mobile devices, so if possible please watch from a computer.
For more videos of this type see:
Color-Coded Analysis of Beethoven’s Music (INDEX):
http://lvbandmore.blogspot.com/p/colo…
Introduction to Sonata Form:
http://lvbandmore.blogspot.com/p/abou…
This analysis was assisted in large part by Donald Tovey’s “Companion to Beethoven’s Pianoforte Sonatas”.
My Analysis Cheat Sheet:
-SONATA FORM: Most common form, almost always in the 1st movement and often last movement of a work. The basic sequence is Intro, Exposition, Development, Recapitulation and Coda.
-EXPOSITION: Main theme(s) are presented, usually in the home key and then a modulated key
-THEME / THEME GROUP: musical “paragraph”. These can be broken down into 1 or more “tunes”. These are grouped according to key and end on cadences. The 1st Theme Group is in the home key. The 2nd Theme Group is in the dominant or other key.
-CLOSING/CADENCE SECTION: a theme group which closes the Expo or Recap (it follows the 2nd theme) and revives Theme 1 to provide closure.
-MODULATING BRIDGE/TRANSITION: material to get from 1 key/theme group to another, often w sequencing.
-DEVELOPMENT: free-form “working out”/”fantasia” section where earlier themes are subjected to variations and atomizations. Possibly a new theme is introduced (“Eroica”).
-RECAPITULATION: Repeat of the Expo, except that this section remains in the same key throughout and there can be theme variations from the initial Expo versions of themes.
-CODA: Follows the Recap, kind of a second development designed to finish off the work.
-SEQUENCING: repeating a phrase on different starting notes (keys)
-TERNARY FORM: 3-part form in A-B-A, usually a Scherzo or Minuet
-SCHERZO/MINUET: 1st pt. of a 3-pt. Scherzo form, usually AA.BA’.BA’ in 3/4 time. Lively.
-TRIO: Middle section of a Scherzo movement, slower, broader than the Scherzo section
-RONDO: Similar to Sonata form except that the Development is replaced by a new section and there is less transition material. A principal theme (A) alternates with contrasting themes (BCD…). (Ex.ABACABA.)
-FUGUE: form in which a subject(s) undergoes canonical permutations
-VARIATION: repeat of a theme with variation
-CADENZA: unaccompanied instrumental solo
-BINARY FORM: Structure in AB. 2-Part Song form.
(Disclaimer: I do not have a music degree, all of the above is purely from memory and observation)
Chopin – Yo-Yo Ma Performs Sonata for Cello & Piano in G minor, Op. 65 Complete with Sheet Music
August 30, 2016
