@@elaineblackhurst1509 what? Play 3 Haydn sonatas with contrasting topics and then play some early Beethoven sonatas and the influence will be apparent. This is not a secret it’s common knowledge to any pianist. I’m just saying this is a good example. 🙄 relax maestro
I have my piano teaching ARCT from many years ago, now that I’m nearly 60 I’d like to work on my performers ARCT. I’m thinking of this lovely Haydn. Not an easy piece, but not an absolute monster either. My old teacher way back when always said Haydn was the real innovator of his time, emulated by everyone. That’s why they called him Papa Hayden - definitely one of the founding fathers of classical music
This Sonata should be played as much as the last one we hear it is full of great stuff solutions that hint Hadyn watched beethoven he didn't till 1807 .I wonder what Hadyn thought of the Eroica. People must have told him about it . I must find a Hadyn biography he had to be impressed with the new fervor and spirit HerrBeet. brought into the limited but so quickly opened metamorphosed world of the first half of the 19th century !
Beethoven first met Haydn* in 1790 in Bonn on his way to England; the last time in 1808 in Vienna at a performance of The Creation conducted by Salieri. It is 99% certain Haydn did not attend either rehearsals or the first performance of Beethoven’s 3rd symphony, in spite of what goes on in the ‘Eroica’ movie. * Who is Hadyn (sic) ?
Did Beethoven steal from Haydn when he composed his Fifth Symphony? Check out bars 53-57 (1:21, 2:49), 108-117 (4:06, 7:55) and 179-183 (5:54, 9:42) in the first movement and tell me that doesn't resemble a certain four-note "fate" motif.
I don’t think Beethoven stole the motif, but he did know his Haydn whose music he studied carefully; he assimilated what he learned,* then did his own thing. Similarities with the famous ‘fate’ motif that opens Beethoven’s Symphony 5 (1808) are not difficult to find in Haydn; besides the example you spotted from this sonata, check out the following works by Haydn: Symphony 28 (1765) - first movement. String quartet Opus 50 No 4 (1787) - first movement. Additionally, in terms of mood rather than actual notes: Missa in tempore belli (1796) - timpani solo from the Agnus Dei (Beethoven again recalled this movement much later in his Missa solemnis). The above is not really surprising as both Haydn and Beethoven shared a common compositional technique of working intensively with powerful rhythmic motifs that offered enormous possibilities for endless investigation and development; it’s a procedure found much less in Mozart who did things differently, though Mozart also uses the ‘Fate’ motif in the opening movement of his Piano Concerto No 25 (K503). * Forget the nonsense often quoted when Beethoven said: ‘I learned nothing from Haydn’. This comment - invariably taken out of context - referred *specifically and only* to the counterpoint lessons Beethoven took with Haydn on and off for about fourteen months between his arrival in Vienna in November 1792, and Haydn’s departure for his second trip to England in January 1794. Outside this context, Beethoven owed a profound debt to Haydn, though could never properly bring himself to acknowledge it.
Beethoven was writing for a generally learned audience where that rhythmic transition was ubiquitous in music of the time. The music of this period was syncopated in this manner and some other. In fact, Beethoven might have even been mocking or parodying the prevalence of such a cliché in his Fifth but people never caught on because they treat him and that Fifth Symphony so seriously. Mozart's 25th Concerto also used this.
00:00 Allegro; 10:42 Adagio e cantabile;
19:55 Finale: Tempo di minuet
i played this on my piano exams and it was so bad, the headmaster showed me this video and told me "this is how you do it" 💀
_Savage_
Nahhh, that’s so unprofessional
Im sure u played it fine
@@ameliadesecka904thanks amelia but i played it in half speed. but don't worry because i'm planning to get it to the right speed during summer
@@TouchingGrass101and I think whether to take this sonata for the final exam ...
this is a good version of this,though hard to get the speed. Is it not too fast?
yes，can be slower
If we could all learn to play well just by listening to recordings by professionals, we wouldn’t need teachers!
Second movement is surely one of Haydn's best
agree
100% agreed It’s so beautiful, it touched my heart and soul listening to this.❤
Just hit the Industrial Age and researching Steam Power
Civ III Spent hours playing that game
Im gonna play this in my final exam 😢
The motif in the 1st movement sounds like the motif from Beethoven's Appassionata 1st movement lol
Which became the motif for the 5th symphony
and sonata op 22
Which one?
@@simoneliloni6117 I was talking about the fate motif
@@yuk_notkim7658 I got it now. Thanks
I really like Brendel in Haydn, more than in other repertoire.
Yes, agreed. Brendel’s playing with Haydn really touches my heart and soul.❤
Perfect tempo for me.
The influence Haydn had on Beethoven is so strong here
sonata op 22
You need to specify; if anything, the famous Lestat section from the slow movement foreshadows to my ears the sonorities of Schubert.
@@elaineblackhurst1509 what? Play 3 Haydn sonatas with contrasting topics and then play some early Beethoven sonatas and the influence will be apparent. This is not a secret it’s common knowledge to any pianist. I’m just saying this is a good example. 🙄 relax maestro
@@dozie85
Maestra.
I have my piano teaching ARCT from many years ago, now that I’m nearly 60 I’d like to work on my performers ARCT. I’m thinking of this lovely Haydn. Not an easy piece, but not an absolute monster either. My old teacher way back when always said Haydn was the real innovator of his time, emulated by everyone. That’s why they called him Papa Hayden - definitely one of the founding fathers of classical music
0:44 пп
2:34 зп
This Sonata should be played as much as the last one we hear it is full of great stuff solutions that hint Hadyn watched beethoven he didn't till 1807 .I wonder what Hadyn thought of the Eroica. People must have told him about it . I must find a Hadyn biography he had to be impressed with the new fervor and spirit HerrBeet. brought into the limited but so quickly opened metamorphosed world of the first half of the 19th century !
Beethoven first met Haydn* in 1790 in Bonn on his way to England; the last time in 1808 in Vienna at a performance of The Creation conducted by Salieri.
It is 99% certain Haydn did not attend either rehearsals or the first performance of Beethoven’s 3rd symphony, in spite of what goes on in the ‘Eroica’ movie.
* Who is Hadyn (sic) ?
0:27 сп
How do you do this?😮 U R AMAZING!
My teacher recommended this to me ❤
Me to
Your op to me
My man
Cool
Eeeeeeeeeeeeereeeeeeeeeeeeeeeeeeeeeeeeeeee3eeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeee3eeeeeeeeeeeeeeeeeeeeeeeeerdddd
Eeeeedeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeedddddeeeeeeeeeeeeeee
Such beautiful playing......
0:11
3:04 разработка
Beautiful Sonata -
14:36 🥀
Did Beethoven steal from Haydn when he composed his Fifth Symphony? Check out bars 53-57 (1:21, 2:49), 108-117 (4:06, 7:55) and 179-183 (5:54, 9:42) in the first movement and tell me that doesn't resemble a certain four-note "fate" motif.
I don’t think Beethoven stole the motif, but he did know his Haydn whose music he studied carefully; he assimilated what he learned,* then did his own thing.
Similarities with the famous ‘fate’ motif that opens Beethoven’s Symphony 5 (1808) are not difficult to find in Haydn; besides the example you spotted from this sonata, check out the following works by Haydn:
Symphony 28 (1765) - first movement.
String quartet Opus 50 No 4 (1787) - first movement.
Additionally, in terms of mood rather than actual notes:
Missa in tempore belli (1796) - timpani solo from the Agnus Dei
(Beethoven again recalled this movement much later in his Missa solemnis).
The above is not really surprising as both Haydn and Beethoven shared a common compositional technique of working intensively with powerful rhythmic motifs that offered enormous possibilities for endless investigation and development; it’s a procedure found much less in Mozart who did things differently, though Mozart also uses the ‘Fate’ motif in the opening movement of his Piano Concerto No 25 (K503).
* Forget the nonsense often quoted when Beethoven said:
‘I learned nothing from Haydn’.
This comment - invariably taken out of context - referred *specifically and only* to the counterpoint lessons Beethoven took with Haydn on and off for about fourteen months between his arrival in Vienna in November 1792, and Haydn’s departure for his second trip to England in January 1794.
Outside this context, Beethoven owed a profound debt to Haydn, though could never properly bring himself to acknowledge it.
Beethoven was writing for a generally learned audience where that rhythmic transition was ubiquitous in music of the time. The music of this period was syncopated in this manner and some other. In fact, Beethoven might have even been mocking or parodying the prevalence of such a cliché in his Fifth but people never caught on because they treat him and that Fifth Symphony so seriously. Mozart's 25th Concerto also used this.
You do realize what a basic rhythm that is, right? What's next? Beethoven stole the idea of 16th runs from Mozart's sonatas?
And with it being so simple, it's very possible for multiple people to have this same idea.
Please
0:11
I like Brendels playing of this inspite of the feisty speed
12:04
0:49- 1:20 🎉🎉 AMAZING
Cringe compilation
Mozart composed this part.
Kidding :)
3:28 разработка 2 часть
I did this for my ATCL ❤😍
Dislike to Ghana
Слабое
Oh no.....Restrained perfection and nuance.....BRAVO from Mexico City!