16:42 12 Tone row 16:21 Tone row again 16:21 Dissonances: Very linear writing in the fugue. 16:29 Possible augmentation of scalar portion of subject in the bass 16:37 Inversion of both subject and countersubject.
Yes, it's quite an amazing fugue. The amount of technical and thematic economy is ingenious. In many ways it is like the Hammerklaiver in that almost every motif introduced receives its own thematic and contrapuntal treatment (strettos, inversion etc).
This isn't exactly a "normal" fugue. It's a fugue very similar to the ones in Beethoven's late piano sonatas (*especially* Op. 101) and totally unlike any fugue of, say Bach or Mozart.
@@AlephNeil I've always wondered why people say Mozart and Bach fugues are even remotely similar. Bach fugues are far better in terms of Linear writing than, say, Mozart's C minor fugue (which is most likely on purpose). The only fugue amongst the big three that matches Bach's Linear writing skills is Variation 24 from Beethoven's op 120 imo. Edit: and some Choral fugues from Mozart, although for solo piano, Beethoven is second next to Bach, by a long shot In any sense, when the op said a "normal" fugue he/she was talking about that linear writing which is nessesary given this is a acompanied sonata.
These works by the great master are a must to evolvement of the gigantic structure and ideas that works as the estuary Bridge between earth and its troublesome and suffering to Beethoven's heavens where we discover the calamity between our outer and inner selves . great performance here
Esta música extraordinária traz-me à memória a agonia do meu pai, que acompanhei, e a distância a que então me encontrava de mulher e filha. Era o meu bálsamo diário.
The pianist certainly obeys the dynamics but sometimes he forgets he´s playing with a cellist. I know that both instruments are equally important but I´m less sure he does. It´s an astonishing work and, in the final movement, I was often thinking about the grosse fuge, They inhabit a similar soundworld of white hot intensity.
16:42 12 Tone row
16:21 Tone row again
16:21 Dissonances: Very linear writing in the fugue.
16:29 Possible augmentation of scalar portion of subject in the bass
16:37 Inversion of both subject and countersubject.
In three beats (108 - 110) , interesting observation.
Its rare to hear from Beethoven a "normal" fugue and this finale is one of them.
Yes, it's quite an amazing fugue. The amount of technical and thematic economy is ingenious. In many ways it is like the Hammerklaiver in that almost every motif introduced receives its own thematic and contrapuntal treatment (strettos, inversion etc).
Also 16:30 is a theme from the Hammerklavier and right before that Beethoven plays with the scalar portion of the main theme in augmentation
This isn't exactly a "normal" fugue. It's a fugue very similar to the ones in Beethoven's late piano sonatas (*especially* Op. 101) and totally unlike any fugue of, say Bach or Mozart.
@@AlephNeil I've always wondered why people say Mozart and Bach fugues are even remotely similar. Bach fugues are far better in terms of Linear writing than, say, Mozart's C minor fugue (which is most likely on purpose). The only fugue amongst the big three that matches Bach's Linear writing skills is Variation 24 from Beethoven's op 120 imo.
Edit: and some Choral fugues from Mozart, although for solo piano, Beethoven is second next to Bach, by a long shot
In any sense, when the op said a "normal" fugue he/she was talking about that linear writing which is nessesary given this is a acompanied sonata.
Perfect !! Wonderful Rendering ~
These works by the great master are a must to evolvement of the gigantic structure and ideas that works as the estuary Bridge between earth and its troublesome and suffering to Beethoven's heavens where we discover the calamity between our outer and inner selves . great performance here
00:03 1st Allegro con brio
06:33 2nd Adagio con molto sentimento d’affetto
15:07 3rd Allegro
15:06 amazing…
11:11. Beethoven writes the theme to the movie "Gone with the Wind"
Yes, 2nd movement. lol. I thought I was the only one who heard that! Yes!
Amazing slow movement!
Elegant cello part but often overwhelmed by piano.
素晴らしきフガート！！
Esta música extraordinária traz-me à memória a agonia do meu pai, que acompanhei, e a distância a que então me encontrava de mulher e filha. Era o meu bálsamo diário.
ピアノ泣かせのチェロソナタ
The pianist certainly obeys the dynamics but sometimes he forgets he´s playing with a cellist. I know that both instruments are equally important but I´m less sure he does. It´s an astonishing work and, in the final movement, I was often thinking about the grosse fuge, They inhabit a similar soundworld of white hot intensity.
3:24 no repet
Based
موومان سوم حال و هوای فیوگ سونات هامرکلاویر رو داره..
הנוראות שאבי סבל ומלכותו עם 4 ו5 מתחיל ב3. וסיום ב4 1 וב3 ו1 מסתיים ב3. איטי יותר ורגוע בסוף.
Allegro initial a mettre en relation avec ceux du trio avec piano 5 zt du quatuor 11.
This is so boring...
I find this anything but boring. Don't you like Beethoven in general?
@@FirstGentleman1 Beethoven is a giant of humankind but he is also highly irregular.
@@Rickriquinho look at 12:10
Because you didn’t understand the music haha
@@ezequielcamacho5956 Exactly!