3rd Movement: Short-Short-Short-LONG

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Exploring Beethoven's Piano Sonatas Part 3

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Curtis Institute of Music

Exploring Beethoven's Piano Sonatas Part 3

56 classificações

Welcome to Part 3 of Exploring Beethoven's Piano Sonatas! I'm delighted to launch another set of new lectures of this course as Part 3. As before, this class is meant for people of all levels of experience with Beethoven's music (including no experience at all!). Remember that you are able to watch the lectures as many times as you like, at whatever pace is comfortable for you. As I’ve done with the first two sets of Beethoven lectures, I look forward to meeting with students—online and in person, in various cities. The dates and locations will be posted in the Announcements and Events section, as part of the course content. So please remember to check back there for details. In these four new lectures, we will explore the following sonatas: • Sonata Op. 10, No. 1 • Sonata Op. 22 • Sonata Op. 31, No. 2 • Sonata Opp. 78, 79, 81a The Dolfinger-McMahon Foundation supports Curtis’s lifelong learning initiatives.

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Op. 10 No. 1

Opus 10 number 1: The "c minor Mood"6:06

Opus 10 number 1: Extremes of Tempo and Character1:49

1st Movement: Pulse as a Source of Character9:26

1st Movement: High Drama within the Conventions of the Time2:38

1st Movement: A Development with New Material4:28

1st Movement: Hammer Blows in c minor4:37

2nd Movement: An Adagio Oasis9:36

2nd Movement: A Coda that Expands the Movement’s Scope8:16

3rd Movement: Prestissimo!5:04

3rd Movement: Short-Short-Short-LONG3:16

3rd Movement: Beginning with Defiance; Ending with Mystery7:20

Conheça os instrutores

Jonathan Biss
Neubauer Family Chair in Piano Studies
Performance Faculty

The remainder of the exposition features that same blend of propulsion

with the occasional bit of impish humor,

and comes to end still in the relative major of the second theme, as expected.

(MUSIC)

This is followed by the development, and again, I think

we can all afford the time for me to play it in full.

(MUSIC)

This may not quite be slow movement level terse,

but it’s still pretty terse: 11 bars!

Unlike the slow movement, I think this can

be categorized only as a development,

and in that case, it may well be the shortest

development that Beethoven ever wrote.

Again: no monkeying around.

The modulation from the relative major (MUSIC)

back to the tonic (MUSIC)

is not a complicated one, and Beethoven doesn’t

deploy any of his usual tricks to extend the process and thus enhance the drama: quite

to the contrary, the drama is derived from the extreme compression of the material, the

lack of breathing room.

But by now, short developments in this sonata are old news.

What is really interesting about this development is how it ends.

(MUSIC)

Three repeated notes followed by another note with a fermata?

(MUSIC)

Sound familiar? (MUSIC)

It's way too close to be a coincidence.

Not that I think that Beethoven had this sonata in mind

when he wrote the 5th Symphony.

(The symphony was written much later than the sonata.)

I think that Beethoven was simply very drawn to that rhythm and that motive. And that on

account of its rhythmic strength and determination, its stubbornness, he associated it with the

key of c minor. It is true that a similar idea permeates

the first movement of the Appassionata, a work not in c minor,

(MUSIC)

but the fortissimo dynamic, and the fermata at the end

of the gesture make the appearances of the motive

in Op. 10 no. 1 and the symphony particularly similar.

And, amazingly, this is not the last time Beethoven

used this motive in a c minor movement: the c minor scherzo of the so-called

"Harp" string quartet is dominated by a motive

with an identical rhythmic footprint.

It’s unusual for a composer to re-purpose the same gesture so many times,

and Beethoven’s attraction to this very defiant gesture, particularly

in the context of his beloved c minor, is very revealing.

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