L. V. Beethoven: Sonata nº 17 «Tempest», Op. 31 nº 2 (1802)
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- Опубліковано 9 лис 2024
- Sonata nº 17 «Tempest», Op. 31 nº 2 (1802) (score), de Ludwig van Beethoven (1770-1827). Claudio Arrau, piano.
I. Largo - Allegro (00:00)
II. Adagio (8:40)
III. Allegretto (19:04)
The Piano Sonata No. 17 in D minor, Op. 31, No. 2, was composed in 1801/02 by Ludwig van Beethoven. It is usually referred to as "The Tempest" (or Der Sturm in his native German), but the sonata was not given this title by Beethoven, or indeed referred to as such during his lifetime. The name comes from a claim by his associate Anton Schindler that the sonata was inspired by the Shakespeare play. However, much of Schindler's information is distrusted by classical music scholars. The British music scholar Donald Francis Tovey says in A Companion to Beethoven's Pianoforte Sonatas:
With all the tragic power of its first movement the D minor Sonata is, like Prospero, almost as far beyond tragedy as it is beyond mere foul weather. It will do you no harm to think of Miranda at bars 31-38 of the slow movement... but people who want to identify Ariel and Caliban and the castaways, good and villainous, may as well confine their attention to the exploits of Scarlet Pimpernel when the Eroica or the C minor Symphony is being played (pg. 121).
The first movement alternates brief moments of seeming peacefulness with extensive passages of turmoil, after some time expanding into a haunting "storm" in which the peacefulness is lost. This musical form is unusual among Beethoven sonatas to that date. Concerning the time period and style, it was thought of as an odd thing to write; a pianist's skills were demonstrated in many ways, and showing changes in tone, technique and speed efficiently many times in one movement was one of them. The development begins with rolled, long chords, quickly ending to the tremolo theme of the exposition. There is a long recitative section at the beginning of this movement's recapitulation, again ending with fast and suspenseful passages.
The second movement in B-flat major is slower and more dignified. The rising melodic ideas in the opening six measures are reminiscent of the first movement's recitative. Other ideas in this movement mirror the first, for instance, a figure in the eighth measure and parallel passages of the second movement are similar to a figure in the sixth measure of the first.
The third movement is a sonata-rondo hybrid in the key of D minor. It is at first flowing with emotion and then reaching a climax, before moving into an extended development section which mainly focuses on the opening figure of the movement, reaching a climax at measures 169-173. The recapitulation, which is preceded by an extensive cadenza-like passage of sixteenth notes for the right hand, is followed by another transition and then another statement of the primary theme. The refrain undergoes phrase expansion to build tension for the climax of the movement at measure 381, a fortissimo falling chromatic scale.
I don't own the audio nor the scores shown in the video.
-audio: Claudio Arrau www.youtube.co.... / www.youtube.co.... / www.youtube.co....
-score: ISMLP
The 0.1 second he takes before hitting that D at 0:52 is just so perfect. It sounds like a real thunder, like a giant rock crashing into the sea.
I love Arrau's 3rd movement. For me this is the right tempo - after all it's marked allegretto, but some pianists seem to interpret it as allegro.
This is my first time hearing such a tempo... it is so much better than the "hurried" interpretations that I have heard.
My favorite 3rd movement....................Allegretto..............................Love it !!!
Beethoven is the coolest uncle ever.
I don't know about that. Beethoven's nephew tried to kill himself because of him.
Way to ruin the mood dude
@@calebhu6383 too many movies
@@calebhu6383 ......
@@SilviaVillarespe actually, beethoven's nephew (Karl) tried to suicide because of him. I don't know if you know but, when beethoven's brother (and Karl's father) died, Beethoven made him write a testament saying that beethoven would be Karl's father when he passed away.
Beethoven then, saying that Karl's mother was immoral and a bad mother, opened a lawsuit trying to take custody of Karl. And Beethoven took him away from his mother for MANY years.
Beethoven said that his mother was "poisonous" and "immoral" for Karl, his nephew. And he forced the boy to learn piano and music, even though Karl didn't even have the talent for it.
Several times Karl tried to flee, but ended up returning by force from the authorities.
After suffering so much about it, Karl bought two guns. One he tried to shoot, but he didn't have success, and the second gun almost killed him, but he was found by a carter, and he said that wanted to see your mother.
Beethoven was not the best father, he tried to be. But, infact, due to his turbulent childhood with his own father (alcoholic and abusive), he also got mental problems. :(
0:01
8:40
19:03
You know that timestamps exist , right ?
Beethoven was deaf. But his mind housed all the sounds of this earth. His hands was magic and his music the most beautiful, furious, sad, amazing, and lovely that i can heard.
He was deaf at the end of his life not when he wrote this
This is good. Of course it is. It's Arau, whose lineage goes back to Beethoven himself! I appreciate the way he brings out all the inner lines, which makes the playing tasteful and justifies his tempos perfectly. A good contrast with Arau's take on Op. 31 no2 is Glenn Gould playing the same piece. His tempestuous tempos are another perfectly justified interpretation (not so much though his choice to omit the repeats!). If Gould sounds a little rushed in his live performance, it is not so much because of his tempo as it is his glossing over details like the inner voices, which Arau has so clearly given careful consideration to. Arau on Sunday, Gould on Tuesday...
truBador2 Arau or Arrau?
truBador2 no one asked
@@jrodriguezpianoWhy you gotta be so rude
@@98wongjf why you gotta suck bajood
The melody in the third movement is wonderful. I've heard from somewhere that Beethoven wasn't a good MELODY WRITER. Now I know that he was.
Nobody, in all of human history, has ever said that Beethoven isn’t a good melody writer. I’m glad you think he is though 😅
It is not that Beethoven was bad at writing melodies. It turns out that beethoven had difficulties in writing melodies, compared to Mozart. Beethoven even wondered if he was as good as they said.
@@lucasramos253 Indeed. A music teacher of mine once told me that it often took Beethoven quite some time to compose a single piece, whereas Mozart would churn out a piece in one sitting, sometimes even improvising it. Nonetheless, though apparently seeming as inefficient, Beethoven’s painstaking approach to composition produced a great deal of masterfully crafted works.
how is he deaf but still so amazinggg, I mean, I can’t even compose something presentable 🤯
@@lefinlay Unfortunately Bernstein did indeed say that. But it was just his way of speaking. The context is everything with Lenny's off the cuff remarks. Beethoven could write tunes: Good Lord yes.
Stupendo. Lo spartito utilissimo per cogliere tutte le sfumature di questo capolavoro.
4:18 end of exposition beginning of development 5:55 beginning of recap. thematic material interspersed with recits
All back in d minor. secondary theme in expo was in a minor which is the dominant key.
00:02 І ч. ГП d
00:53 І ч. СП
01:17 І ч. ПП а
08:41 ІІ ч. ГП В
11:36 ІІ ч. ПП F
19:05 ІІІ ч. ГП d
19:44 ІІІ ч. ПП a
19:04
19:43
24:32
19:54
24:43
22:28
22:59
26:19
26:19
26:31
26:31
26:18 .. a great sense of ACCENT and PAUSE ... it's over, everything is decided.. the sword does his job !
11:35 meet the Flintstones
JeriCurl And 15:45!!
hahaha
Very helpful thanks!
Oh my Gosh, thanks I was looking for it bro!
1 часть
0:05 - ГП
0:53 - СП
1:17 - ПП
6:03 - речитатив (подход к репризе)
2 часть
8:41 - ГП
11:36 - ПП
3 часть
19:05 - ГП
Everyone's favourie mvt is the 3rd but what about the first! When hearing it you literally would turn speechless.
It represents Beethoven who fights against his destiny and God who manifests himself with the arpeggios at the beginning of each phrase of the piece, the measures where the melody varies between bass and treble shows the dispute and the war of destiny (the bass) and Beethoven (treble)
15:43 is angelic.
22:03
19:04
26:36 ahah
thank you for sharing,loved it!
It's a traditional tune from Bedrock, USA.
2악장이 최고임.. 왼손 따다다단 따다다단 따다다단 미치겠다ㅠㅠㅜㅠ
While I like Arrau, I consider his playing in the first movement too ‘dry’. Regardless whether it should be played thematically, as in an approaching to a storm, I feel he overcalculated this one as if it were a math exercise
I agree
Jan Jacobi Beethoven didn't have in his mind the "Tempest " tittle
19:05 😍
Sublime ❤💙💞🍀🙏❣
This is how our parents told us how they went to school 4:54
Hahaha lmao ((((=
Τέλειο είναι
Ogni volta è più bella!
I часть
Гп 1 эл +2 эл 0:01 d
3 эл ГП/СП 00:47 соль ля СИ ля ля
1ПП 01:16
2ПП 01:30
ЗП 01:45
Разработка
4:21 развивает 1эл гп
II часть
Fis dur резко d moll
Монолог ? 05:34 ?
Кода
how is he deaf but still so amazinggg, I mean, I can’t even compose something presentable 🤯
GOOD
Arrau is my fave pianist, but Brendl does the best Berthoven Sonatas
I like Movement 3 19:3
L V B IS A GREAT COMPOSER
( LUDIG VAN BEETHOVEN )
Ludwig, not ludig
@@dawnthenightlightfury1195
Yes your right
Sorry for my mistake
I cant speak English very well Because im from Iran ( Islamic Rpublic Of Iran )
@@kiarashmohebbi275 Ludwig isn´t English
@@uwufffsunchez2626
Yes i know
He is from Germany
@@kiarashmohebbi275 Ich auch
When I read the notes, I must say, I'm really not a fan of extensive rubatos, that are not in the script.
The second movement is seriously painful to learn , my god it’s like he didn’t want anyone to play the piece.
Either way very good piece!
12:00 sounds like a Flinstones melody
Точно подмечено. 🤣🤣🤣
Обажаемая❤
BELLISIMO :D
I might be an exception on this one but I think the 3rd movement should be played faster, around 1.25x of the original speed.
Edit: maybe even 1.35x
LordBabu no,you are not an exeption
Its his artistic interpretation of the piece.For others the beauty lies in speed,for him the beauty is in the tonality.
No. The tempo reads Allegretto, not Allegro.
@@phamnguyenductin that's what I was going to say, it's not necessary to play at a really fast tempo when it's not written, especially when this tempo notation is in a Beethoven's sonata, cause' he was very precise
Ivo pogorelich fait ressortir des motifs dans le mouvement 3 ,que je n ai jamais entendu par un autre interprète...
what is 42 x 13 = 312
what is 312 ??
is it Op. 31 nº 2
8:38 2nd movement for you know who
Ludwig von Beethoven!
Dmitry Jikharev *van
Ayrtonium truck?
flintstones?
💪
19:04
6:00
6:49
I disagree with the rallentendos in the Adagio. It breaks the tension.
Of course you do, Nicolas.... (Rolls eyes)
00.00❣❣
can someone please tell me a beethoven sonata that is “easier” to learn i have it for my final and i have to perform it in a really short time ,so by ur experience can u pls tell me. Im in second year at university of arts :) and i need help
by “easier” i mean less challenging cuz i dont really have enough time
My first Beethoven was the Pathetique Sonata. That is probably the least challenging. After Pathetique I learned Tempest.
@@mpianod9319 really? pathetique looks so challenging but im definitely gonna give it a look and try it out i thought it was way complicated
@@Allizblu The least challenging Beethoven's sonata I've ever played is undoubtdly nº 25 (Op. 79). Nº 27 (Op. 90) is also not very hard.
Reminds Mozart's piano sonata 14
Il y a une répétition de l exposition pour le premier mouvement ?! Il ne me semblait pas .quelqu un peut il confirmer ?
L interprétation manque de folie.
Слышно, что дедушка играет.
Ciao ho un canale di musica, letteratura, arte con lo scopo di intrattenere e spero anche di emozionare più gente possibile con le mie interpretazioni eseguite al piano di compositori come Bach, Chopin, Beethoven ecc... lettura dei miei autori preferiti e video naturalistici.
This pianist has quite a few different tempos going on... It's a, "Tempest." A storm. Forte means forte, piano means piano. BANG OUT THOSE CHORDS. THEN PLAY SOFT.
Who, Claudio Arrau? Hahaha. Sure thing, girlfriend.
Ludwig Van Beethoven I have to agree with Noah Kivler, Arrau is brilliant and you would have to be world class to accurately give criticism in my opinion
Troll alert.
Sure Arrau was great, but how can you disagree with Beethoven himself? He was possibly the most genius musician of all time and certainly knows how to play his own piece.
Beethoven referred to Shakespeare's play, where the actual storm plays little role. -- Arrau's discursive approach highlights many charms of this score. I like in particular his first movement: he reveals sinuosities that a more "stormy" interpretation would just ignore.
Usually Claudio Arrau interprets much better than this. I doubt, whether this recording is indeed played by C. Arrau!
12:00
Tempest? No tempest here.
Beethoven never thought of the term "storm" for this sonata, the name was given by someone else most likely Schindler
WHY IS IT OUT OF TUNE
Sibar jonna omyohane
8:41
6:12
22:28 i dont why is it hard to understand but this part which is the best in the whole piece sounds like shit when played without sustain, why dont piainist play with more meaning
01'30"
The third movement was too slow played. It should be more faster. This is why it is called the tempest sonata.
Edit: Turn up the playback speed to 1.15. This is the normal tempo. Not to mention it is in allegretto
* was played too slow/slowly *
* it should be faster *
Check your grammar lol.
@@maxgregorycompositions6216 i dont care man
@@olegkutsmyda4925 Ok.
@@maxgregorycompositions6216don’t be so mean lol😂
I don‘t think this is Arrau playing.
Ik
튠 나간듯 거의 반키높게들림 악보시작부터 내가 잘못보고있나했음
Pdf
this interpretation is unlistenable
Why? You're probably saying this because you're used to other interpretations that are more "brisk" than that, but in my opinion it's among the most successful interpretations of this sonata I've ever heard, especially the 3rd movement
19:04
2:10
19:03
19:04
6:25
7:15