Analysis: Mvt 1: Molto allegro [Sonata-Form] EXPOSITION (0:00) Primary Theme (P1), a Mannheim Rocket (M1) in C minor followed by a dominant answer (notice the similarity to Beethoven's Sonata Op. 2 No. 1). There's something about this theme and this movement that keeps menacingly pulsating like a time bomb. (0:09) Counter-Theme 1 (P2), a haunting descending chromatic line (M2) above dominant pedal point. A cadence brings us to the (0:21) Transition Section. A false entry of P1 is answered by M1 not in G, but in B♭ major (the secondary dominant). The stream of triplets is M3. (0:26) Then, we hear a melody in the relative major that could be the Secondary Theme, if that B♭ note didn't keep getting stuck. It grows more and more impatient, until the chromatic M2 brings the authentic (0:41) Secondary Theme (S1) in E♭, the relative major. This beautiful melody with cross-handed answers still feels somewhat unsafe and dubious. This sense of relentless fear is also very beethovenian. (0:51) Counter-Theme 2 (S2). The melody gets interrupted by loud chromatic octaves (M2) and comes to a halt. After a dramatic pause, we try to go back to the safe relative major, but M2 destroys our hopes again. In response, a sinking cadenza-like catharsis of fury in F minor is unleashed, and the spirit of Beethoven is foreseen once more. (1:05) Counter-Theme 3 (S3). We manage to come back to E♭ through a dim7 chord, finally making peace with M2. (1:16) M3 comes back to close the Exposition. (1:23) Unexpectedly, we get interrupted by two occurrences of M1 in stretto, ending the section in a very scary and insecure G7 chord. That minor 9th interval in RH is specially spooky. DEVELOPMENT (2:57) Episode 1: recalling the Transition Section, a false P1 enters in the parallel major, answered by C7 and falling into that transitional melody in F minor. (3:07) Episode 2: a modulative series of invertible imitation between M1 and M3 (Fm, D7, Gm, G7, Cm, G7). (3:20) After a dramatic pause, the tail of M1 comes back timidly, pulsating menacingly. That deep and somber Bdim7 chord concludes the Development, sliding to G7 at the last moment. RECAPITULATION (3:31) P1 + P2. (3:53) The modified Transition also begins with a false P1, but in a very tight stretto. M3 is replaced for the tail of M1, resembling the end of Development Section. (3:57) We hear some new transitional material in the neapolitan (D♭ major), but it gets stuck again, this time at that G note. (4:09) S1 + S2 + S3 in the tonic. (4:45) With the entrance of M3, the feeling of conclusion becomes inevitable. CODA (4:53) Mozart fools our ears by introducing extra five statements of M1 in stretto, then presenting a gorgeous sparkling theme that floats in the air for a little moment until it fades away. This long and elaborate Coda is once more an incredible premonition of Beethoven, resembling his extended cadential sections. The choice of ending the 1st movement of a sonata in a 'morendo' fashion is also very innovative. Mvt 2: Adagio [Ritornello Form] SECTION A (5:18) Theme A (A1) in E♭ major. (6:00) Section A's conclusive Theme (A2) begins with chromatic lines, recalling M2 from mvt 1. (6:18) Transition. The chromatic call-and-response comes back, reinforcing the secondary dominant (F major). SECTION B (6:33) Theme B (B1) in B♭ major. (7:00) Theme B's conclusive Theme (B2) recalls the call-and-response structure. (7:20) Brief Transition through B♭7. SECTION A (7:32) A1 with additional ornamentation. (8:13) A2. SECTION C (8:33) Theme C (C1) in the subdominant (A♭ major). How wonderful is this melody, so innovative in its lyricism? It's almost impossible to imagine Beethoven hadn't been inspired by this section when composing the 2nd mvt of his 8th Sonata, only 15 years later. Beethoven manages to expand the sublimity of these few measures across a whole movement in itself. (9:11) We start modulating to B♭ major. Scales run up and down across the keyboard. (9:34) Instead of the expected return of C1 in the subdominant, it enters in G♭ major - a rather distant key. (9:49) A sequential progression (G♭, A♭m, B♭m, Cm) leads to the Trasition: a chain of arpeggios modulating to E♭. SECTION A (10:43) A1 + A2, even more ornamented. (11:42) A new passage followed by a brief written Cadenza. (12:53) Surprisingly, the movement ends in a tonic version of B2, which is elongated by bringing the repeated notes to the bass. Mvt 3: Allegro assai [Sonata-Rondo Form] SECTION A (13:26) Theme A in C minor (A1). The moaning-like syncopations, the sinking feeling and the permanently-unresolved tension are incredibly beethovenian. (13:38) Counter-Theme (A2). Listen to those dynamic contrasts and dramatic pauses! (14:01) The transition consists of a simple B♭7 chord. SECTION B (14:03) Theme B in the relative major (E♭ major). (14:23) Counter-Theme (B2). (14:34) Transition. SECTION A (14:44) Return of A1 + A2. (15:14) As a transition, a fragment of A2 is deviated to a secondary dominant, D♭dim7. SECTION C (15:17) Theme C in the subdominant (F minor). The melody seems a series of mournful sighs. (15:23) Already transitioning, that fragment of A2 comes back, bringing the theme to G minor. SECTION B (15:34) B1 + B2 in the tonic (C minor). (16:04) An interesting transition, foreshadowing the syncopations of Theme A. SECTION A (16:11) Return of A1. (16:17) Before the entrance of A2, doubtful fragments of the first theme keep recurring - much like a small Cadenza. (16:43) A2, finally. (17:04) Before the Coda, Theme C comes back once more, in F minor. (17:12) Coda, similar to Section B's transition at 14:34. The heaviness of those last two measures (not resolving at all the emotional tension of the movement) is also very Beethoven-like.
Beethoven was obviously influenced by Mozart. this sonata was completed in 1784 and Beethoven visited Vienna intending to study with mozart in 1786. they met and it is recorded that mozart was impressed with Beethoven's abilities. it seems plausable that Beethoven would have known this sonata and been inspired by it.
It’s just a rumor told by one single guy unfortunately. Chances are much better they never met. Mozart wad ridiculously busy with an opera, and had tons of other prodigies trying to meet him
Beethoven pathetic sonata took a lot from this sonata. Especially the theme for the second movement of the pathetic. It is literally copy and paste. Listen the second movement of Mozart's c minor sonata entirely and the second movement of Beethoven's pathetic.
And even the first and third movements can be related to the Pathetique Sonata, albeit the first movement of the Mozart is not that close, but the third movement of the Mozart resembles the third movement of the Pathetique a bit at the beginning, especially where the repeated G octaves are, and the Mozart retransition resembles the Beethoven retransition from a harmonic standpoint(both use a diminished seventh to retransition back to tonic in their respective third movements), and they both end in very energetic C minor outbursts. And even the first movement of the Pathetique can be related to the third movement of the Mozart.
1 ЧАСТЬ 0:00 - главная партия 0:21 - связка 0:41 - побочная партия 2:57 - разработка 4:53 - кода 3 ЧАСТЬ 13:27 - главная партия 14:03 - побочная партия 15:17 - разработка
Even the slow-part Moonshine sonata is copied from Don Giovanni. I don't think Beethoven is a better composer than Mozart, and only his Quartets and symphonies are original and "new". Yet I'm a big fan of Ludwig, don't get me wrong. But for a big pianist, his concertos are boring compared to Mozart's.
@@eduardoguerraavila8329 Hollow.. LOL. You are probably one of these rock-music lovers who discovered classical music by Beethoven, and were blown away by it, and think that all the rest must suck, without actually giving it a try. There are no romantic effects in Mozart, which you probably like in Beethoven, which makes it sounds too clean for you, and dismisses it as being boring before you should. Beethoven desperately tried to be as good as Mozart with his piano concertos and in opera. He failed. His chamber music is OK, but not better than Mozart's. Only the uneven symphonies and late quartets are standing out. Btw, I am a Beethoven fan. He is definitely my number 2, but has to share that with Bach. Schubert after them.
it is a bit too fast for my liking but it is “molto allegro” after all, lord knows what mozart would have put if the metronome existed during his time since Beethoven was known for having some insanely fast markings
Horrible interpretation. 1st movement is too fast, no distinction between staccato and non staccato notes in the opening motif. Generally hard to get intepretations that do justice to this sublime piece ... Most seem to botch it in one way or other.
![Mozart: Piano Sonata No. 14 in C minor, K.457 [Gould]](http://i.ytimg.com/vi/2SiVzBMkXYU/mqdefault.jpg)
![Mozart: Piano Sonata No. 14 in C minor, K.457 [Gould]](/img/tr.png)
Analysis:
Mvt 1: Molto allegro [Sonata-Form]
EXPOSITION
(0:00) Primary Theme (P1), a Mannheim Rocket (M1) in C minor followed by a dominant answer (notice the similarity to Beethoven's Sonata Op. 2 No. 1). There's something about this theme and this movement that keeps menacingly pulsating like a time bomb.
(0:09) Counter-Theme 1 (P2), a haunting descending chromatic line (M2) above dominant pedal point. A cadence brings us to the
(0:21) Transition Section. A false entry of P1 is answered by M1 not in G, but in B♭ major (the secondary dominant). The stream of triplets is M3.
(0:26) Then, we hear a melody in the relative major that could be the Secondary Theme, if that B♭ note didn't keep getting stuck. It grows more and more impatient, until the chromatic M2 brings the authentic
(0:41) Secondary Theme (S1) in E♭, the relative major. This beautiful melody with cross-handed answers still feels somewhat unsafe and dubious. This sense of relentless fear is also very beethovenian.
(0:51) Counter-Theme 2 (S2). The melody gets interrupted by loud chromatic octaves (M2) and comes to a halt. After a dramatic pause, we try to go back to the safe relative major, but M2 destroys our hopes again. In response, a sinking cadenza-like catharsis of fury in F minor is unleashed, and the spirit of Beethoven is foreseen once more.
(1:05) Counter-Theme 3 (S3). We manage to come back to E♭ through a dim7 chord, finally making peace with M2.
(1:16) M3 comes back to close the Exposition.
(1:23) Unexpectedly, we get interrupted by two occurrences of M1 in stretto, ending the section in a very scary and insecure G7 chord. That minor 9th interval in RH is specially spooky.
DEVELOPMENT
(2:57) Episode 1: recalling the Transition Section, a false P1 enters in the parallel major, answered by C7 and falling into that transitional melody in F minor.
(3:07) Episode 2: a modulative series of invertible imitation between M1 and M3 (Fm, D7, Gm, G7, Cm, G7).
(3:20) After a dramatic pause, the tail of M1 comes back timidly, pulsating menacingly. That deep and somber Bdim7 chord concludes the Development, sliding to G7 at the last moment.
RECAPITULATION
(3:31) P1 + P2.
(3:53) The modified Transition also begins with a false P1, but in a very tight stretto. M3 is replaced for the tail of M1, resembling the end of Development Section.
(3:57) We hear some new transitional material in the neapolitan (D♭ major), but it gets stuck again, this time at that G note.
(4:09) S1 + S2 + S3 in the tonic.
(4:45) With the entrance of M3, the feeling of conclusion becomes inevitable.
CODA
(4:53) Mozart fools our ears by introducing extra five statements of M1 in stretto, then presenting a gorgeous sparkling theme that floats in the air for a little moment until it fades away. This long and elaborate Coda is once more an incredible premonition of Beethoven, resembling his extended cadential sections. The choice of ending the 1st movement of a sonata in a 'morendo' fashion is also very innovative.
Mvt 2: Adagio [Ritornello Form]
SECTION A
(5:18) Theme A (A1) in E♭ major.
(6:00) Section A's conclusive Theme (A2) begins with chromatic lines, recalling M2 from mvt 1.
(6:18) Transition. The chromatic call-and-response comes back, reinforcing the secondary dominant (F major).
SECTION B
(6:33) Theme B (B1) in B♭ major.
(7:00) Theme B's conclusive Theme (B2) recalls the call-and-response structure.
(7:20) Brief Transition through B♭7.
SECTION A
(7:32) A1 with additional ornamentation.
(8:13) A2.
SECTION C
(8:33) Theme C (C1) in the subdominant (A♭ major). How wonderful is this melody, so innovative in its lyricism? It's almost impossible to imagine Beethoven hadn't been inspired by this section when composing the 2nd mvt of his 8th Sonata, only 15 years later. Beethoven manages to expand the sublimity of these few measures across a whole movement in itself.
(9:11) We start modulating to B♭ major. Scales run up and down across the keyboard.
(9:34) Instead of the expected return of C1 in the subdominant, it enters in G♭ major - a rather distant key.
(9:49) A sequential progression (G♭, A♭m, B♭m, Cm) leads to the Trasition: a chain of arpeggios modulating to E♭.
SECTION A
(10:43) A1 + A2, even more ornamented.
(11:42) A new passage followed by a brief written Cadenza.
(12:53) Surprisingly, the movement ends in a tonic version of B2, which is elongated by bringing the repeated notes to the bass.
Mvt 3: Allegro assai [Sonata-Rondo Form]
SECTION A
(13:26) Theme A in C minor (A1). The moaning-like syncopations, the sinking feeling and the permanently-unresolved tension are incredibly beethovenian.
(13:38) Counter-Theme (A2). Listen to those dynamic contrasts and dramatic pauses!
(14:01) The transition consists of a simple B♭7 chord.
SECTION B
(14:03) Theme B in the relative major (E♭ major).
(14:23) Counter-Theme (B2).
(14:34) Transition.
SECTION A
(14:44) Return of A1 + A2.
(15:14) As a transition, a fragment of A2 is deviated to a secondary dominant, D♭dim7.
SECTION C
(15:17) Theme C in the subdominant (F minor). The melody seems a series of mournful sighs.
(15:23) Already transitioning, that fragment of A2 comes back, bringing the theme to G minor.
SECTION B
(15:34) B1 + B2 in the tonic (C minor).
(16:04) An interesting transition, foreshadowing the syncopations of Theme A.
SECTION A
(16:11) Return of A1.
(16:17) Before the entrance of A2, doubtful fragments of the first theme keep recurring - much like a small Cadenza.
(16:43) A2, finally.
(17:04) Before the Coda, Theme C comes back once more, in F minor.
(17:12) Coda, similar to Section B's transition at 14:34. The heaviness of those last two measures (not resolving at all the emotional tension of the movement) is also very Beethoven-like.
Yes, i know the same... Sounds like Beethoven
TK BRO
Third movement is also what helped Betthoven happen, among other things,
Beethoven was obviously influenced by Mozart. this sonata was completed in 1784 and Beethoven visited Vienna intending to study with mozart in 1786. they met and it is recorded that mozart was impressed with Beethoven's abilities. it seems plausable that Beethoven would have known this sonata and been inspired by it.
It’s just a rumor told by one single guy unfortunately. Chances are much better they never met. Mozart wad ridiculously busy with an opera, and had tons of other prodigies trying to meet him
@@brianbernstein3826 Hummel never talked about it, while he was living in with the Mozarts at the time, and he was a friend of Beethoven later.
8:33 Pathetique Sonata
Your channel name is awesome
Yes, in some points, sounds like pathetique!
1 часть:
0:00- ГП
0:21 - Связка
0:41 - ПП
2:57 - Разраб.
4:53 - Кода
3 часть:
13:27 - ГП
14:04 - ПП
15:17 - Разраб.
2 часть
5:18 - начало
0:01 гп
0:57 сдвиг в пп
The last Mozart is the young Beethoven
Or The young beethoven is the old Mozart
@@etiennedelaunois1737what's the difference
@@Canufindnowthe perspective
It's not. They had vastly different styles. To say such is to insult both of them.
For example, Beethoven is motivic and Mozart lyrical , even when he is struggling .
The beginning looks like Beethoven's first sonata, that's cool
Beethoven pathetic sonata took a lot from this sonata. Especially the theme for the second movement of the pathetic. It is literally copy and paste. Listen the second movement of Mozart's c minor sonata entirely and the second movement of Beethoven's pathetic.
And even the first and third movements can be related to the Pathetique Sonata, albeit the first movement of the Mozart is not that close, but the third movement of the Mozart resembles the third movement of the Pathetique a bit at the beginning, especially where the repeated G octaves are, and the Mozart retransition resembles the Beethoven retransition from a harmonic standpoint(both use a diminished seventh to retransition back to tonic in their respective third movements), and they both end in very energetic C minor outbursts. And even the first movement of the Pathetique can be related to the third movement of the Mozart.
“Pathetic” sonata 😂 the word is pathetique as in pertaining to Greek pathos
Beethoven's sonata looks like this beginning, you mean. ;)
@@etiennedelaunois1737 pathetic sonata 🤣🤣
Bellissima interpretazione!! Veramente emozionante. ❤
1 ЧАСТЬ
0:00 - главная партия
0:21 - связка
0:41 - побочная партия
2:57 - разработка
4:53 - кода
3 ЧАСТЬ
13:27 - главная партия
14:03 - побочная партия
15:17 - разработка
2 часть:
5:18 - Начало
2:57
2nd part is attributed to Moses and the apostle John
This is a song-like sonata though it contains a lot of Haydn's innovation. Not Beethoven's style.
Jump to 9:30 i think beethoven copied that for the slow section of his Pathetique. Although I think Beethoven's is better.
Even the slow-part Moonshine sonata is copied from Don Giovanni. I don't think Beethoven is a better composer than Mozart, and only his Quartets and symphonies are original and "new". Yet I'm a big fan of Ludwig, don't get me wrong. But for a big pianist, his concertos are boring compared to Mozart's.
@@castheeuwes1085you are not a Beethoven's fan. Mozart music is hollow and campy besides Beethoven's mastery.
@@eduardoguerraavila8329 Hollow.. LOL. You are probably one of these rock-music lovers who discovered classical music by Beethoven, and were blown away by it, and think that all the rest must suck, without actually giving it a try. There are no romantic effects in Mozart, which you probably like in Beethoven, which makes it sounds too clean for you, and dismisses it as being boring before you should. Beethoven desperately tried to be as good as Mozart with his piano concertos and in opera. He failed. His chamber music is OK, but not better than Mozart's. Only the uneven symphonies and late quartets are standing out. Btw, I am a Beethoven fan. He is definitely my number 2, but has to share that with Bach. Schubert after them.
@@castheeuwes1085 LULW
Será un suicidio escoger está para mi repertorio de la carrera y voy a la mitad? 🫠
Brother preparé esta pieza para el programa antes del pregrado😢
Good piece, with some foreshadow of Beethoven's style, but FAR from being a piece at the level of the great master Beethoven.
3rd mvt is quite odd
wtf is the tempo
This tempo no problem
it is a bit too fast for my liking but it is “molto allegro” after all, lord knows what mozart would have put if the metronome existed during his time since Beethoven was known for having some insanely fast markings
Too fast!
What🤣
Allegro?
Too fast and like an AI.
Arrau plays it with heart.
Horrible interpretation. 1st movement is too fast, no distinction between staccato and non staccato notes in the opening motif. Generally hard to get intepretations that do justice to this sublime piece ... Most seem to botch it in one way or other.
1:29
2:59