Ludwig van Beethoven Klaviersonate Nr. 29 in B-Dur, Op. 106, „Hammerklavier“ Videos
- Veröffentlicht in 1819 (Klaviersonate Nr. 29 in B-Dur, „Hammerklavier“, Beethoven)
- gewidmet Archduke Rudolf of Austria
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2024-04-17
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Charles Edward Ives Alexei Lubimov Drury Sinclair Kirkpatrick Cob Elliott Carter Beethoven 1623 1840 1874 1904 1911 1915 1919 1920 1938 1939 1947 1954 2012
Composer: Charles Edward Ives (20 October 1874 – 19 May 1954) Work Title: Piano Sonata No.2, 'Concord, Mass., 1840–60' Performers: Alexei Lubimov (piano), Laurent Verney (viola), Sophie Cherrier (flute) 0:00 - I. "Emerson" (after Ralph Waldo Emerson) 16:23 - II. "Hawthorne" (after Nathaniel Hawthorne) 29:21 - III. "The Alcotts" (after Bronson Alcott and Louisa May Alcott) 35:29 - IV. "Thoreau" (after Henry David Thoreau) The Piano Sonata No.2, Concord, Mass., 1840–60 (commonly known as the Concord Sonata) is a piano sonata by Charles Ives. It is one of the composer's best-known and most highly regarded pieces. A typical performance of the piece lasts around 45 minutes. Some material in the Concord Sonata dates back as far as 1904, but Ives did not begin substantial work on it until around 1911 and largely completed the sonata by 1915. The Concord Sonata was first published in 1919 with a second, revised, edition appearing in 1947. It is this version which is usually performed today. In 2012, a reprint of the original, uncorrected 1920 edition was published, including Essays before a Sonata and with an added introductory essay by the New England Conservatory's Stephen Drury. According to James B. Sinclair's catalogue of Ives' works, the sonata was publicly premiered by John Kirkpatrick on November 28, 1938 in Cos Cob, Connecticut. There had been earlier performances of isolated movements and excerpts. The second performance (given in many sources as the premiere), also given by Kirkpatrick, was given at the Town Hall in New York City on January 20, 1939. Among those present was Elliott Carter, who reviewed the piece in the March–April 1939 edition of the journal Modern Music. The sonata's four movements represent figures associated with transcendentalism. In the introduction to his Essays Before a Sonata (published immediately before the Concord Sonata) Ives said the work was his "impression of the spirit of transcendentalism that is associated in the minds of many with Concord, Massachusetts of over a half century ago. This is undertaken in impressionistic pictures of Emerson and Thoreau, a sketch of the Alcotts, and a scherzo supposed to reflect a lighter quality which is often found in the fantastic side of Hawthorne." The piece demonstrates Ives' experimental tendencies: much of it is written without barlines, the harmonies are advanced, and in the second movement, there is a cluster chord created by depressing the piano's keys with a 14 3⁄4-inch (37 cm) piece of wood. The piece also amply demonstrates Ives' fondness for musical quotation: the opening bars of Ludwig van Beethoven's Symphony No.5 are quoted in each movement. Sinclair's catalogue also notes less obvious quotations of Beethoven's Hammerklavier Sonata and various other works. Unusually for a piano sonata, there are optional parts for other instruments: near the end of the first movement there is an optional part for viola, and in the last movement a flute (an instrument which Thoreau played) briefly appears. Source: (http•••) Source videos: 1st movement: (http•••) 2nd movement: (http•••) 3rd movement: (http•••) 4th movement: (http•••)
Provided to YouTube by Universal Music Group Beethoven: Piano Sonata No. 29 in B-Flat Major, Op. 106 - "Hammerklavier" - IV. Largo - Allegro risoluto · Murray Perahia Beethoven: Piano Sonatas ℗ 2018 Deutsche Grammophon GmbH, Berlin Released on: 2018-02-09 Producer: Andreas Neubronner Studio Personnel, Recording Engineer: Markus Heiland Composer: Ludwig van Beethoven Auto-generated by YouTube.
Enlace a Lista de Reproducción “BARENBOIM ON BEETHOVEN - Live from Berlin”: (http•••) Enlaces de sonatas de Beethoven del ciclo de conciertos "Barenboim on Beethoven - live from Berlin": Sonata para piano n.º 29 en Si bemol Mayor, Opus 106 "Hammerklavier" I. Allegro: (http•••) II. Scherzo: Assai vivace: (http•••) III. Adagio sostenuto. Appassionato e con molto sentimento: (http•••) IV. Largo - Allegro risoluto: (http•••) Sonata para piano n.º 30 en Mi Mayor, Opus 109 I. Vivace ma non troppo - Adagio espressivo: (http•••) II. Prestissimo: (http•••) III. Tema y variaciones: (http•••) Sonata para piano n.º 31 en La bemol Mayor, Opus 110 I. Moderato cantabile, molto espressivo: (http•••) II. Allegro molto - Adagio ma non troppo: (http•••) III. Fuga: allegro ma non troppo: (http•••) Sonata para piano n.º 32 en Do menor, Opus 111 I. Maestoso: allegro con brio e appassionato: (http•••) II. Arietta: adagio molto, semplice e cantabile: (http•••) Sonata para piano n.º 1 en Fa menor, Opus 2 n.º 1 I. Allegro: (http•••) II. Adagio: (http•••) III. Minuetto: Allegretto: (http•••) IV. Prestissimo: (http•••) Intérprete: Daniel Barenboim, piano
The Sonatas for cello and piano No. 4 in C major, Op. 102, No. 1, and No. 5 in D major, Op. 102, No. 2, by Ludwig van Beethoven were composed simultaneously in 1815 and published in 1817 with a dedication to the Countess Marie von Erdődy (de). Introduction The Sonatas for cello and piano No. 4 in C major, Op. 102, No. 1, and No. 5 in D major, Op. 102, No. 2, by Ludwig van Beethoven were composed simultaneously in 1815 and published in 1817 with a dedication to the Countess Marie von Erdődy (de), a close friend and confidante of Beethoven's. Structure Sonata No. 5, Op. 102, No. 2 This sonata consists of three movements: Allegro con brio Adagio con molto sentimento d'affetto – Attacca Allegro – Allegro fugato While this sonata is more accessible and conventionally structured, the concluding fugue prefigures the fugal finales of the Hammerklavier Sonata and the late string quartets
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