Late Beethoven Thread - Page 4

Originally Posted by ppllzz

i am playing the last mvmt of hammerklavier, such a terrible sounding song... cannot imagine anyone listening to it out of their own volition

Originally Posted by A Y

I love op. 109, 110, 111. The Grosse Fugue is delightfully weird, like he got in a time machine and came back with all these new ideas:

Originally Posted by FiveFiveFive

That's like basing your opinion of the "Rach 3" off David Helfgott's recording.

Originally Posted by bach

Wrong answer. This threak is for gushing about erudite-sounding tunes from some dead guy.

Originally Posted by ppllzz

i am playing the last mvmt of hammerklavier, such a terrible sounding song... cannot imagine anyone listening to it out of their own volition

Originally Posted by imageWIS

You make it sound almost like a Conne thread without teh ghey and teh geriatric female stage performers... which is frankly an insult to the OP, Manton.



I'm not crazy about it either (although, I'll salute any pianist that can pull of its complicated technicality), I much prefer the presto agitato movement of No. 14.

Originally Posted by ppllzz

you should refer to sonatas by op. # or nickname... no one really knows which sonata number they are...

Originally Posted by FiveFiveFive

I know you picked it by accident, but there's the problem -- the Norrington recording is a POS. Is it the one with the London Classical Players?

That's like basing your opinion of the "Rach 3" off David Helfgott's recording.

Originally Posted by imageWIS

I don't like calling it the 'Moonlight' and I thought it was rather obvious since you mentioned a piano sonata... but, ok I'll use Opus numbers next time.

Originally Posted by Manton

Hammerklavier, first movement:

Typical AB, AB' sonata form opening:

A Section -- B flat major section (opening themes); 1-44; 44 measures
B Section -- G major section (second groupd of themes); 45-125; 81 measures
*repeat*
A -- B flat major section (opening theme; identical); 44 measures
B' -- G major section (changed at the very end this time); 45-129; 85 measures

[[The above is about half the movement, timewise]]

C -- E flat major development section of main theme; sort of quasi-fugal; 130-192; 63 measures
D -- very short 8 measure interlude; C major (193-200)
E -- D major, picks up theme from B -- short section, only 12 measures (201-213)
F -- B major; recapitulates opening theme; also only 12 measures (214-226)
G -- Back to B flat major; restates first part of opening theme, then develops second part; lengthy quote from second part, still in B flat major formally, but chords modified with flats to change key sound; 39 measures (227-266)
H -- B minor, but a quote from the first (B flat major) theme; sounds rather sinister in this key; 6 measures (267-272)
I -- back again to B flat major; lengthy quites from the first G major section, but in this key; first quoted, then considerably developed; (273-405 [end]); 132 measures.

Ten key changes, and some of the most extraordinary choices imaginable. Look how short some of the sections are.

Originally Posted by Manton

Ahem. This the *Late* Beethoven thread.

Originally Posted by Manton

Ahem. This the *Late* Beethoven thread.

Originally Posted by imageWIS

8:56 pm is pretty late in Boca Raton