A different side of Beethoven, with such a wonderful Italian sound. The influence of his Mandolin teacher, Antonio Salieri, really shows through here. This piece would fit right in with a warm night in Venice. Bella, bella, young ladies. Thank you.
I like that this is significantly faster than a lot of other performances of the piece. It's marked (indeed, called) "Adagio ma non troppo", but it's notated in 6/8, and if you think of the dotted quarter as the beat (despite the nearly constant eighth-note pulsation), then it's reasonable I would say to play it at something like dotted-quarter = 63. I also like the lovely woody tone of this mandolin (and its lovely woody look), and I appreciate the restrained use of tremolo embellishment. I think there's one fatal problem here, though: It's a mistake to assume that just because Beethoven wrote "cembalo" he meant harpsichord (which was already obsolete at the time these pieces were written). It just so happens that Beethoven often used the term ("cembalo", that is) equivocally. The informed scholarly opinion is that Beethoven really intended this piece (and the other four in the set) for mandolin and hammerklavier, that is, fortepiano. There can be little question, in any case, that it SOUNDS much better on some kind (any kind, really) of PIANO.
It was composed in 1796, harpsichord was still very used. The Beethoven sonata No14 (moonlight) published in 1802 is still "per il clavicembalo o piano-forte", wich means: "for harpsichord or piano" (here, clearly, "clavicembalo" is unequivocal and means "harpsichord"). So, yes, in 1796, harpsichord was decreasing as piano was increasing, but harpsichord was not totally obsolete, and was still played .
Really nice performance. Having gone to the effort of using a harpsichord it would have been nice to hear a period mandolin rather than this modern flat backed bluegrass mandolin. I believe Beethoven's own mandolin was the Milanese type, but would have been bowl backed whether that or Neapolitan which has a different sound. Still a nice sound though and very well playec
@@Discrimination_is_not_a_right no, but composers write for the instruments around at the time. Mozart didn't specify natural trumpets for example, as that is what they were like then, later kinds didn't exist. Beethoven was writing for a mandolin around at the time, which sounds different to the type used here which is anachronistic to the 19th century. My point was having gone to the trouble of using a harpsichord rather than piano to follow the instrument Beethoven intended, it would have been nice to hear a mandolin of the same period as well
A rather jerking performance, played a bit to fast. The chords, played on the cembalo, dominate the melody and the staccato is exaggerated. Other than that...
Beautiful. These two plucked instruments compliment each other so well, as do the musicians. Brava!
Two of my favorite instruments. The mandolin is so refreshing!
A different side of Beethoven, with such a wonderful Italian sound. The influence of his Mandolin teacher, Antonio Salieri, really shows through here. This piece would fit right in with a warm night in Venice. Bella, bella, young ladies. Thank you.
Beautiful.
amazing performance ;)
So beautiful ❤️ loved it ❤️
Esta pieza fascina por su simpleza y preciosidad
No idea what you said but we probably agree.
¡Gracias! Es una composición muy buena de hecho.
Suena exelente. 🎹🎶🎶🎶🎶🎶🇮🇷❤️
Der 25-Jährige hatte in Prag ein Auge auf eine 18-jährige Mandolistin (Josephine von Clary) geworfen. (Quelle: Cayers, Beethoven, S. 170)
I like that this is significantly faster than a lot of other performances of the piece. It's marked (indeed, called) "Adagio ma non troppo", but it's notated in 6/8, and if you think of the dotted quarter as the beat (despite the nearly constant eighth-note pulsation), then it's reasonable I would say to play it at something like dotted-quarter = 63. I also like the lovely woody tone of this mandolin (and its lovely woody look), and I appreciate the restrained use of tremolo embellishment. I think there's one fatal problem here, though: It's a mistake to assume that just because Beethoven wrote "cembalo" he meant harpsichord (which was already obsolete at the time these pieces were written). It just so happens that Beethoven often used the term ("cembalo", that is) equivocally. The informed scholarly opinion is that Beethoven really intended this piece (and the other four in the set) for mandolin and hammerklavier, that is, fortepiano. There can be little question, in any case, that it SOUNDS much better on some kind (any kind, really) of PIANO.
It was composed in 1796, harpsichord was still very used. The Beethoven sonata No14 (moonlight) published in 1802 is still "per il clavicembalo o piano-forte", wich means: "for harpsichord or piano" (here, clearly, "clavicembalo" is unequivocal and means "harpsichord"). So, yes, in 1796, harpsichord was decreasing as piano was increasing, but harpsichord was not totally obsolete, and was still played .
Really nice performance. Having gone to the effort of using a harpsichord it would have been nice to hear a period mandolin rather than this modern flat backed bluegrass mandolin. I believe Beethoven's own mandolin was the Milanese type, but would have been bowl backed whether that or Neapolitan which has a different sound. Still a nice sound though and very well playec
I don't think Beethoven specified which type of mandolin to use.
@@Discrimination_is_not_a_right no, but composers write for the instruments around at the time. Mozart didn't specify natural trumpets for example, as that is what they were like then, later kinds didn't exist. Beethoven was writing for a mandolin around at the time, which sounds different to the type used here which is anachronistic to the 19th century. My point was having gone to the trouble of using a harpsichord rather than piano to follow the instrument Beethoven intended, it would have been nice to hear a mandolin of the same period as well
@@Quatrapuntal And it still sounds plucky.
Maybe she had only on instrument ; it's the kind of affordable insrument you can get.
2 hOt beauties: Über COOL !! And sharp dressed !! WOW !!
❤️❤️❤️🇮🇷👋👋👋👋👋👋🌹
A rather jerking performance, played a bit to fast. The chords, played on the cembalo, dominate the melody and the staccato is exaggerated. Other than that...