베토벤피아노소나타22번

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작성자잠수함 조회 4회 작성일 2021-07-28 00:51:25 댓글 0

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Beethoven: Sonata No.22 in F Major, Op.54 (Lortie, Korstick, Buchbinder)

It's hard not to feel a bit of pity for the Op.54 – it’s a little thing jammed right between the massive Waldstein and Appassionata, and even though it’s every bit as radical as those behemoths it’s practically unknown and rarely performed. This is probably because its radical nature is expressed in a way that makes it hard to pin down: the Waldstein is bright, and Appassionata is dark, and the Op.54 is – well, what, exactly? Happy? Delicate? Tipsy? I suppose the way to put it is this: it’s structurally very odd, but in a rather gently misleading sort of way.

Take the first movement, which is in ABABA form. The A section is formed from a theme that’s designed to have no hint of tension or progression in it: all of its 8 phrases end in the tonic. The B section has a theme that (a) basically isn’t a theme, being formed of just brusque octaves, (b) modulates without preparation, (c) suddenly decides to shift midway to 2/4 time, and (d) has suddenly become a *lot* shorter the second time it appears. The only real development you get is the decoration of the A theme each time it appears, and the whole movement is built almost entirely around the contrast between the two themes (this is also a feature of some of the very latest sonatas, in particular the Op.109 in E Maj).

The second movement is even more bizarre. It’s in sonata form (ish), but either the exposition does not give you the full theme (and yes, it’s basically monothematic, with what might be a new idea in the development), or the recapitulation itself continues to develop the theme aggressively. And the whole texture of the movement is surprisingly Chopinesque: it’s a highly pianistic perpetuum mobile in 2-part harmony on a single theme, with some odd accenting thrown in (the LH “jerk” at 5:50). The only texture this movement seems to know is counterpoint, the only counterpoint it seems to know is 2-part counterpoint, and the only kind of 2-part counterpoint it knows is basically, well, arpeggios. Tonally, it moves between lilting farce and straight-up drama (Tovey calls this movement “childlike, or even dog-like”), and modulates with abandon into distant keys, in contrast to the more typical tonic-dominant schema of the first movement.

MVT I - In tempo d'un menuetto
00:00 – A section
00:54 – B section
02:15 – A section (with decoration)
03:09 – B section (now shorter)
03:33 – A section (more decoration)
04:30 – Cadenza and Coda [4:54] (or an extension of the A section – note how the triplet rhythm of the B section is now integrated into the A theme, and how some of the abrasiveness of the B section is present too: 5:27)

MVT II - Più allegro
05:48 – EXPOSITION (Theme 1 – just one theme, for now)
06:27 – DEVELOPMENT
06:49 – Introduction of syncopated motif
07:08 – Grating modulatory sequence
07:18 – Increasingly distant keys, accompanied by what might just about qualify as Theme 2
07:41 – Back on safe ground again, with the syncopated motif
07:56 – Back to the tonic, which is apparently safe ground for a RECAPITULATION[?], but – the music again shifts keys, and leads to
08:14 – Theme 2, now overtly dramatic, modulating relentlessly
08:31 – Lots of dramatic tiptoeing around the dominant, which leads first (very surprisingly) back to A major for a repeat, and the second time around to the
10:52 – CODA, which integrates both Theme 1 and the syncopated motif

Beethoven Sonata N° 22 Daniel Barenboim



Mozart, Piano Concert Nr 22 Es Dur KV 482 Rudolf Buchbinder Piano & Conducter, Wiener Phi



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