Que maravilla!!! Retomo esta Sonata a mis 78 años. La toqué por vez primera a los 17 con mi maravillosa profesora Gloria de Loizaga que en paz descanse. Brendel lo borda. Silvia Escobar. Madrid
im studying this sonata right now. i finished the first movement. last time i was played mozart sonata no 7 and this one is great than the other mozart... love this
It is not on apple music, as far as I can tell. But then Apple Music search is just bizarre. Nice to hear it again, his touch is very vigorous but brings out the musical wit nicely.
Listen to that first theme in the third mvt and then compare it to Beethoven's theme from his 3rd mvt of his piano concerto in c minor. VERY similar rhythm, phrase structure. there are several other sections in this sonata that Beethoven lifted as well(If you listen to Beethoven's op 79, you will hear a few sections that are similar as well)
@@jakeaboy1232 Beethoven learned a lot from Haydn through studying his music, playing and listening to it, and copying it out (string quartet Opus 20 No 1, parts of Symphony 99 for example). Beethoven did not learn much from the *counterpoint* lessons with Haydn - essentially studying a form of technical musical grammar from the standard manual of the time by Fux*; these lessons took place for about 14 months immediately after his arrival in Vienna in 1792. Beethoven was quite clear about the hundreds of exercises he completed for Haydn- many of which were not corrected: ‘I learned nothing from Haydn’. Really not sure why this teacher pupil relationship thing is mentioned so often on UA-cam as though it has some relevance - it absolutely does not, and certainly when we then start reading about ‘influence’ and ‘inspired by…’ and other such nonsense, it becomes ridiculous. * Fux’s Gradus ad Parnassum was the only counterpoint manual in JS Bach’s library.
Note the pause in MM8---How many times did Beethoven use that in HIs pieces? Beethoven knew this piece well, you can count on it. I hear so much of Haydn in Beethoven, its incredible that more musicologists don't mention his borrowings, not just from haydn, but from Mozart as well.
@@theharry801 It is mentioned a lot, but is in fact a lazy, misleading, and irrelevant piece of clickbait. Beethoven took *counterpoint* lessons from Haydn on-and-off for about 14 months between his arrival in Vienna in November 1792 and Haydn’s departure for his second trip to England in January 1794. Beethoven had to complete hundreds of exercises - a sort of technical musical grammar - from Fux’s Gradus ad Parnassum; the lessons were not a success, Haydn was too busy to correct all but a few of Beethoven’s errors in the exercises, and as Beethoven explicitly said: ‘I learned nothing from Haydn’.* Given this context, I am amazed that this teacher/pupil relationship is constantly repeated all over UA-cam as if it is a piece of valuable insight being shared by commentators wishing to display their erudition. Beethoven *did* learn a huge amount from Haydn - arguably more than from any other single composer - in terms of compositional technique, but not one jot of it came from plodding through Fux with Haydn himself. * Again, this famous comment is ridiculous *except* in its proper context.
@@ralsei217 I mean, it is performaed like an allegro moderato. The correct agogic, rendering the compact tension of the mov., is Jando's. It was not very common to mark presto a first mov., clearly Haydn wanted a speedy pace and if you listen to Jando you understand why.
I’d say he played the first movement at around a slower vivace. I agree that it could’ve indeed been a slightly brisker pace, but the attention to all other details and the clarity of the performance was quite marvelous, at least in my opinion.
@@baluthelol6225 You clearly didn't hear much of his works or didn't even hear any of them so I consider you hear some of his piano trios or string quartets or one of his 104 symphonies before stating such crucial words
@00:00 1 presto
@5:53 2 adagio
@11:00 3 molto vivace
I was on a concert of Seong Jin Cho and this was his extra piece it was so beautiful
Que maravilla!!! Retomo esta Sonata a mis 78 años. La toqué por vez primera a los 17 con mi maravillosa profesora Gloria de Loizaga que en paz descanse. Brendel lo borda. Silvia Escobar. Madrid
Haydn spittin fire as always!!! 🔥🔥🔥
I recommend this track to everyone!!
im studying this sonata right now. i finished the first movement. last time i was played mozart sonata no 7 and this one is great than the other mozart... love this
I love the first moment 😁
1 часть(presto):
0:01 ГП e-moll (тоника)
0:15 СП
0:43 ПП G-dur (параллельный мажор)
2 часть(adagio):
5:53 основная тема G-dur
3 часть(molto vivace):
Рондо - 5ти частная форма(A B A C A)
11:00 Рефрен (A)
11:34 Эпизод 1 (B)
12:19 Рефрен (A)
12:55 Эпизод 2 (C)
13:47 Рефрен (A)
Це чудово! Дякую!
Es preciosa, la estoy estudiando y disfruto mucho de ella
My Favorite pianist - Brendel
Like always, Brendel is the perfect Haydn performer! Thanks for uploading!
It is not on apple music, as far as I can tell. But then Apple Music search is just bizarre. Nice to hear it again, his touch is very vigorous but brings out the musical wit nicely.
Gorgeous!
Listen to that first theme in the third mvt and then compare it to Beethoven's theme from his 3rd mvt of his piano concerto in c minor. VERY similar rhythm, phrase structure. there are several other sections in this sonata that Beethoven lifted as well(If you listen to Beethoven's op 79, you will hear a few sections that are similar as well)
So can we say Haydn provided a big inspiration to Beethoven?
@@mesut7386 Oh yeah, huge.
@@mesut7386 I mean he literally was his student for awhile so I’d assume so
@@jakeaboy1232
Beethoven learned a lot from Haydn through studying his music, playing and listening to it, and copying it out (string quartet Opus 20 No 1, parts of Symphony 99 for example).
Beethoven did not learn much from the *counterpoint* lessons with Haydn - essentially studying a form of technical musical grammar from the standard manual of the time by Fux*; these lessons took place for about 14 months immediately after his arrival in Vienna in 1792.
Beethoven was quite clear about the hundreds of exercises he completed for Haydn- many of which were not corrected:
‘I learned nothing from Haydn’.
Really not sure why this teacher pupil relationship thing is mentioned so often on UA-cam as though it has some relevance - it absolutely does not, and certainly when we then start reading about ‘influence’ and ‘inspired by…’ and other such nonsense, it becomes ridiculous.
* Fux’s Gradus ad Parnassum was the only counterpoint manual in JS Bach’s library.
Note the pause in MM8---How many times did Beethoven use that in HIs pieces? Beethoven knew this piece well, you can count on it. I hear so much of Haydn in Beethoven, its incredible that more musicologists don't mention his borrowings, not just from haydn, but from Mozart as well.
its mentioned a lot, beethoven was taught by haydn
@@theharry801
It is mentioned a lot, but is in fact a lazy, misleading, and irrelevant piece of clickbait.
Beethoven took *counterpoint* lessons from Haydn on-and-off for about 14 months between his arrival in Vienna in November 1792 and Haydn’s departure for his second trip to England in January 1794.
Beethoven had to complete hundreds of exercises - a sort of technical musical grammar - from Fux’s Gradus ad Parnassum; the lessons were not a success, Haydn was too busy to correct all but a few of Beethoven’s errors in the exercises, and as Beethoven explicitly said:
‘I learned nothing from Haydn’.*
Given this context, I am amazed that this teacher/pupil relationship is constantly repeated all over UA-cam as if it is a piece of valuable insight being shared by commentators wishing to display their erudition.
Beethoven *did* learn a huge amount from Haydn - arguably more than from any other single composer - in terms of compositional technique, but not one jot of it came from plodding through Fux with Haydn himself.
* Again, this famous comment is ridiculous *except* in its proper context.
Браво
Haydn is Fabulous!!! Fantastic!!! Brendel is a BadAss!!! YES!!! ❤😮😂🎉
Super!
❤
Estupenda. Sobresaliente
0:22
Я сам пианист играю ее и она мне нравится и да я играл на концерте месте с симфоническим оркестром и у нас получилось и мне севолишь 14 лет
Жаль, писать грамотно не научился… а так молодец, коль не шутишь
шо, с симфоническим оркестром? сонату???
Ok. The guy can play Haydn. First ok thing I hear from this guy.
7:25
It’s the sonata Hob. XVI:34; there is absolutely no point in using alternative numberings which simply pointlessly confuse matters.
53. was the number of Haydn himself, the Hob came later
@@grumensch995
No it wasn’t.
Yes it did.
9:49
11:00
5:51
Was it Rumpelstiltskin who was spinning gold from straw?
In your opinion, does Brendel play a presto in the 1st mov.? A completely wrong agogic. Listen to Jando.
remember its a classical presto
I am Italian and didn’t know that 250 years ago presto meant slow. If so, what did allegro mean, funeral march?
@@fabiograssi670 how is it slow
@@ralsei217 I mean, it is performaed like an allegro moderato. The correct agogic, rendering the compact tension of the mov., is Jando's. It was not very common to mark presto a first mov., clearly Haydn wanted a speedy pace and if you listen to Jando you understand why.
I’d say he played the first movement at around a slower vivace. I agree that it could’ve indeed been a slightly brisker pace, but the attention to all other details and the clarity of the performance was quite marvelous, at least in my opinion.
Honestly better than Mozart.
Completely agree
I think Haydn was the worst of the three... Beethoven wins, no questions, but Haydn is very shit...
@@baluthelol6225 You clearly didn't hear much of his works or didn't even hear any of them so I consider you hear some of his piano trios or string quartets or one of his 104 symphonies before stating such crucial words
@@majdabdulaziz714 Or even his Creation.
@@baluthelol6225agreed