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작성자모시조개 조회 8회 작성일 2021-10-25 09:40:32 댓글 0


Beethoven: Sonata No.13 in E-flat Major, "Quasi una fantasia" (Korstick, Lortie, Goode)

Even by his own genre-busting standards, B. went through something of an experimental phase in his Op.26 and Op.27 sonatas, and this one, the Op.27 No.1, represents the most striking product of that period. Everyone who’s ever played it loves it, but it’s otherwise slightly obscure, and does not appear immediately striking. But that’s really part of its design, where B. takes the archetypically argumentative form – the sonata – and gives in a basically narrative (fantasy-like, improvisatory, episodic) character.

So there’s no gaps between all the movements, which are arranged in fast-slow-fast-slow order. Motivic connections are sparse. Each movement fills in an expressive gap the previous one lacks. The first is graceful, the second restless/ominous/fidgety, the third inward, the last celebratory and a bit silly. Not a single movement is in sonata form. Moods change constantly.

The first movement begins with an absurdly simple, almost trivial melody. The only thing that undermines its total naivete is the careful articulation B. indicates and the constant changes in sonority which animate it. The C section is such a ridiculous contrast to this it almost seems like a new movement, though its C maj harmony has already been beautifully anticipated.

The second movement is, again, an exercise in articulation, with distinctly improvisatory chord sequences and some of B.’s most creative textural writing in the return of the scherzo. It’s one of those weird movements that can be interpreted a million ways and emerge unscathed.

The third movement barely deserves the name – a single melody in three parts. And yet it returns at the end of the dizzy and already-large final movement, a sudden injection of sincere feeling into an ingeniously wrought rondo (the development section is pretty awesome) full of orchestral timbres.

MVT I, Andante – Allegro – Andante. Eb Maj. ABACA (or ABA) form
00:00 – A SECTION. Extremely simple melody with two strains. Intricate articulation. Note short-short-long rhythm.
01:02 – B SECTION. New sonority (and in second strain, sudden bright new harmony in C maj which turns out to be dominant of (ii)), with same short-short-long rhythm.
02:08 – A SECTION, with very slight variation.
03:11 – C SECTION. Violently contrasting in C maj, with quick runs and arpeggios pausing eventually on the dominant of Eb.
03:50 – A SECTION. Identical to opening bars, but now with inversions in double counterpoint.
4:54 – CODA, using the same rhythm of the opening, now with its last beat missing.

MVT II, Allegro molto e vivace. C min. Scherzo and trio
05:27 – SCHERZO. Arpeggios with bass initially descending in semitones, eventually closing on a chain of suspensions. Note B.’s initially puzzling placement of the repeat sign “one bar late”, which actually indicates the first bar functions as a kind of upbeat.
06:04 – TRIO. Persistent LH iambic rhythm, with playful syncopation in RH
06:32 – SCHERZO. The repeat at 6:39 features some of B.’s most imaginative textural writing, with legato syncopations above staccato bass
06:56 – CODA.

MVT III, Adagio con espressione. Ab maj. Single melody with three parts, functioning as introduction to last movement.
07:12 – Melody, Strain I
08:09 – Melody, Strain II
08:59 – Melody, Strain III (repeat of I with variation in accompaniment and harmony). Closing on dominant of (V)

MVT IV, Allegro vivace. Eb maj. Sonata-Rondo (ABACABCoda*), with development as second episode.
10:26 – THEME, Strain I. Strain II at 10:35.
10:48 – Transition, based on Theme. Second bar of Strain I developed in sequence
10:58 – EPISODE 1, in (V), moving into unexpected territory such as the dominant of Ab. Note the B-C-A-Bb motif, which will recur. A new cadence-theme arises at 11:14.
11:36 – Theme
11:50 – EPISODE 2 / DEVELOPMENT. Repetition of Theme, Strain II in tonic minor, closing on dominant of Gb
11:57 – Theme, Strain I emerges in bass, with new closing continuation. This 3-bar group is heard 4 times in double counterpoint, with accompaniment suggesting original semiquaver running bass. Db maj, Gb maj, Bb min.
12:10 – The new closing continuation is reduced to 3 notes, descending in imitative sequence, then in 3-note groups cutting across 2/4 rhythm.
12:18 – 2-bar dramatic close in Bb min, then repeated in diminution.
12:24 – Repeated Bbs become accompaniment to the main chromatic idea of Episode 1(!). The Bbs (Eb min) become Gbs (Cb maj), then Ebs (Ab min) which rise again to Bb.
12:48 – THEME
13:07 – Transition, moving now to dominant
13:17 – EPISODE 1, in tonic
13:48 – CODA. Extension of Episode 1’s cadential theme, now in a more celebratory mood.
14:03 – The Adagio’s Strain III returns(!) in the tonic.
15:34 – The closing presto. Theme, Strain I is elaborated on in highly compressed form in a 4-bar phrase, which is then repeated an octave higher with added thirds. At 15:41 Episode 1’s main motif returns in both RH and LH, together with a very compressed version of Strain I.
Ashish Xiangyi Kumar : Korstick:
00:00 – Mvt 1
05:28 – Mvt 2
07:12 – Mvt 3
10:28 – Mvt 4
15:50 – Mvt 1
21:05 – Mvt 2
23:28 – Mvt 3
27:02 – Mvt 4
33:01 – Mvt 1
38:18 – Mvt 2
40:05 – Mvt 3
42:53 – Mvt 4

Korstick’s performance is fantastic in the old sense of the word – full of fantasy, imagination, intensity. Even though he pays fanatical attention to the score (listen to the articulation in the opening, or the intensity of the scherzo at 6:39), there’s a real sense of fun to his playing. The contrasts are unabashedly huge, the dynamic shading is consistently exciting, and especially in the last movement the contrapuntal playing is near-perfect.

Lortie has a languid, lie-back-in-the-deckchair sort of approach, with slow tempi but lovely phrasing which yields some really surprising effects: the second movement ends up sounding almost sad, for instance. There’s a sense that you’re discovering the work as it slowly emerges, which I suppose is what improvisation should sound like.

Goode’s interpretation is dry, spry, and really compelling: listen to the beautifully clipped articulation right at the very beginning of the second movement, or the pearly scales in the last. Rather unexpectedly, his third movement is really moving, mostly on account of its being taken with a very classical kind of honestly. And in the first movement, even the opening melody is expressive, which you’d never expect from something so simple.

(Apropos of nothing, it strikes me that just comparing the three performers’ second movements gives you a very good idea of how they approach this sonata.)
Charles Cxgo : One of Beethoven’s most fantastic epics ever, but with a happy ending.
1st mvmt knocking theme between two voices, one knocks the other answers, but secretively with hidden passion.

2nd mvmt, still two voices, but now in anguish and despair, like two souls destined to be separate but desperate to be one. Among the most tragic of Beethoven moments ever, true sense of hopelessness.

3rd reflective reminiscing, an old nostalgic voice reminiscing past (notice there’s only one ‘voice/voices’ in unison), but with just a small hint of hope towards the end leading into the finale

4th, from the ashes, a sort of transcendence, full of hope, rising above mortality of some sorts. Notice two voices against one another, perhaps the same voices from the 1st mvmt? Abruptly ended by 3rd moment nostalgic voice...was all this just a dream? Hopeful fantasy?...maybe not! As two voices spirit on higher and higher in freedom and joy into eternity
David Zas : this is my favorite sonata from Beethoven!!! I love that so many of you too appreciate the work. YouTube is a beautiful place, eh?!
Jack Lindahl : The second movement of this sonata is one of my favorite of all Beethoven sonata movements. It's so ... odd. And breathtaking.
JFG : As always, your selections are exquisite. Thank you for your time, effort and helpful insights in the description. Keep up the good work!

Beethoven Sonata N° 13 Daniel Barenboim

Srinivas Vemuri : When mr Barenboim is playing, I feel Beethoven's soul has descended on him. Such is his perfection to my ears.
Brian Bernstein : the way he brings back the third movement in the fourth is so nice, and something he would do again and again
Hallie Kruger : He plays with absolute control and serenity, but all the emotion comes out in the music.
Michael Courter : What a beautiful treasure from the sublime Beethoven and masterful interpretation by Barenboim. We have convenience and security as well as this jewel available free at a keystroke and sadly, most of us consume garbage and tear ourselves and each other apart with our ignorance and lack of gratitude. Shame on you, give up your membership in the cult of victomology and rejoice at the treasures our ancestors left us with their blood.
David B : Although some parts are considerably slower that i've heard (Pollini) I like the way Barenboim makes every single note stand out in it's own right; he does not allow blurring to occur in order to achieve a flow.

Jiin Kim Beethoven No. 13 in E flat Major

0:00 1st
4:56 2nd
6:58 3rd
9:40 4th
R x : Thank you for a rewarding performance. Played with both musical sense and skill.
당근 : 편입 실기곡인데 음악이 깔끔하고 너무 좋아서 매일 듣습니다 앞으로도 좋은 음악 들려주세요☺️
유림 : 작년부터 자주 와서 듣는데 베토벤 소나타 13번 연주 들은 것 중에 정말 가장 와닿는 연주 같아요 ㅠㅠ 음 하나하나가 너무 맑고 소중하게 들려요
Nicola Palmieri : very clean and precise performance
정동운 : 1년 전에 31번 듣고 너무 좋아서 충격 받았었는데 13번도 있었네요. 이 연주도 좋아요 ㅜ 잘 들었습니다!




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