Beethoven: Sonata No.17 in D Minor, \”Tempest\” (Korstick, Grimaud, Lewis) | 셰익스피어 템페스트

Beethoven: Sonata No.17 in D Minor, \”Tempest\” (Korstick, Grimaud, Lewis)


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The Tempest Sonata is one of those crazy feats of compositional genius whose sheer craft is undetectable because it’s so emotionally compelling from the very first listen. But there is no harm in briefly listing what makes it so extraordinary, I suppose.
In the 1st movement nearly everything is built up from the first line of music – the motifs of a arpeggio, scale, and turn. It’s kind of impossible to unhear once you know they’re there, and it’s a level of motivic integration that represents the perfection of the technique Haydn developed. There’s also the incredibly dramatic use of long (developed) recitativelike passages as contrast to passages of searing intensity, and the introduction of wonderfully dark new material in the recapitulation. The 2nd movement is unreasonably beautiful, and the famous 3rd features some of the most gorgeous modulations ever put to paper. Note also how the dramatic movement happens not in the (almost unchanging) figuration, but in the harmony, where turbulence and restlessness is often followed by very long periods of total harmonic stasis [e.g., 23:21], usually as a dominant preparation.
MVT I
EXPOSITION
00:00 – Theme Group 1, Motif A (Rising Arpeggio)
00:14 – TG1, Motif B (Scalar Passage, with notes in groups of 2)
00:18 – TG1, Motif C (Turn)
00:24 – Counterstatement of TG 1, entering in a surprise E6, the dominant of III
00:37 – Motif B
00:48 – Transition (or an extension of TG 1): Motif A rising in bass, answered by Motif C in RH. Surprisingly substantial.
01:06 – Theme Group 2, Theme 1 (= Motif B!, with Motif C in the LH.) A minor.
01:18 – TG2, Theme 2 (= Motif C, with lengthened 2nd note)
01:26 – TG2, Theme 2, with Motif C now in the deep bass
01:31 – TG2, Theme 3 (Cadential Theme)
DEVELOPMENT
03:51 – Motif A, repeated thrice, arriving in F
04:37 – Transition Theme (Motif A + C), sequentially deployed, rising constantly
04:58 – 22(!) bars of dominant preparation, totally devoid of any thematic allusion. Short recitative (with a little Neapolitan Eb) leads into
RECAPITULATION
05:19 – TG1, with 4 bars of recitative attached to each statement of the largo. This section hangs on a Ab, which is transformed
06:43 – into a G (in enharmonic implied Gb minor!) in a darkly guttural 4 chords. This ushers in a extraordinary modulating section.
06:55 – TG2, in tonic.
07:36 – CODA
MVT II
EXPOSITION
07:59 – Theme 1. (Motif A = rising doubledotted 3note figure)
09:38 – Transition, with stately rising theme. (Motif B = drumroll in bass)
10:55 – Theme 2. At 11:42 Motif B enters, building into dominant minor 9th chord
RECAPITULATION
12:08 – Theme 1, with Motif A immediately used as inner voice. At 13:00 a demisemiquaver accompaniment drifts down the keyboard
13:42 – Transition
14:54 – Theme 2
CODA
15:42 – Motif B, again building into a dominant minor 9th
16:26 – Motif A, roundedoff, in LH then RH
16:45 – Recalling Theme 1
17:19 – A new, 2bar long 3rd theme enters and is repeated in the middle voice, before the movement ends.
MVT III
EXPOSITION
18:06 – Theme Group 1, Theme 1. A single motif (Motif A) repeated 16 times in RH. Note codetta with chromatic descending line
18:29 – Transition. Theme 1 in bass, interspersed with arpeggiated figure
18:38 – Theme Group 2, Theme 1, entering with insistent hemiola and 6 bars of dominant harmony
18:55 – TG2, Theme 2
19:05 – TG2, Theme 3 (Cadential Theme)
DEVELOPMENT
20:26 – Motif A in dim7 of iv, modulating into A min
20:37 – The bass uses Motif A to climb up a dim7 in D min, then shifts to D min harmony, then shifts into C min by flattening the A and introducing the inversion of Motif A in the RH. Then movement into the dim7 of Bb min
20:54 – Dramatic entrance of inverted A motif in RH, while LH climbs up bass chromatically.
21:06 – TG1 Theme 1, in Bb min
21:12 – Chromatic rising, landing on a dominant 7, suddenly revealed
21:19 – to be a augmented 6th when it resolves into the dominant of D min
21:23 – Dominant preparation begins, oscillating between G min and D min
21:41 – 16 bars of continuous descent to the home dominant
RECAPITULATION
21:53 – TG1, Theme 1. The bII in bar 18 becomes the subdominant of Bb, introduction a surprisingly lyrical passage.
22:14 – Transition. Tonal movement around circle of 5ths. G min harmony becomes augmented 6th chord, leading back into
22:34 – D min, TG2. Note how at 23:00 (Theme 3) Beethoven omits the expected high G, since his piano didn’t have the note, and substitutes a really nice repetition of the high D instead.
CODA
23:12 – Mimicking the beginning of the development, without forte outbursts
23:21 – for 16 bars(!) we dwell on the dominant, leading to
23:33 – a violent restatement of TG1 Theme 1, with an A pedal in the highest registers
23:54 – The original codetta from Theme 1 is now presented in full. With another familiar tonicdominant swing the sonata ends.

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Beethoven: Sonata No.17 in D Minor, \

(북튜브 / 책 소개) 윌리엄 셰익스피어의 폭풍우(The Tempest)


셰익스피어 희곡 템페스트
여섯번째로 소개할 책은 윌리엄 셰익스피어의 폭풍우입니다.

(북튜브 / 책 소개) 윌리엄 셰익스피어의 폭풍우(The Tempest)

Why should you read Shakespeare’s “The Tempest”? – Iseult Gillespie


Explore William Shakespeare’s play “The Tempest”, a story of shipwreck, magic and a fight for power.

Claps of thunder and flashes of lightning illuminate a swelling sea, as a ship buckles beneath the waves. It is no ordinary storm, but a violent and vengeful tempest, and it sets the stage for Shakespeare’s most enigmatic play. Why does this play still resonate with modern readers? Iseult Gillespie investigates.
Lesson by Iseult Gillespie, directed by Héloïse Dorsan Rachet.
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Why should you read Shakespeare’s “The Tempest”? - Iseult Gillespie

L. V. Beethoven: Sonata nº 17 «Tempest», Op. 31 nº 2 (1802)


Sonata nº 17 «Tempest», Op. 31 nº 2 (1802) (score), de Ludwig van Beethoven (17701827). Claudio Arrau, piano.
I. Largo Allegro (00:00)
II. Adagio (8:40)
III. Allegretto (19:04)
The Piano Sonata No. 17 in D minor, Op. 31, No. 2, was composed in 1801/02 by Ludwig van Beethoven. It is usually referred to as \”The Tempest\” (or Der Sturm in his native German), but the sonata was not given this title by Beethoven, or indeed referred to as such during his lifetime. The name comes from a claim by his associate Anton Schindler that the sonata was inspired by the Shakespeare play. However, much of Schindler’s information is distrusted by classical music scholars. The British music scholar Donald Francis Tovey says in A Companion to Beethoven’s Pianoforte Sonatas:
With all the tragic power of its first movement the D minor Sonata is, like Prospero, almost as far beyond tragedy as it is beyond mere foul weather. It will do you no harm to think of Miranda at bars 31–38 of the slow movement… but people who want to identify Ariel and Caliban and the castaways, good and villainous, may as well confine their attention to the exploits of Scarlet Pimpernel when the Eroica or the C minor Symphony is being played (pg. 121).
The first movement alternates brief moments of seeming peacefulness with extensive passages of turmoil, after some time expanding into a haunting \”storm\” in which the peacefulness is lost. This musical form is unusual among Beethoven sonatas to that date. Concerning the time period and style, it was thought of as an odd thing to write; a pianist’s skills were demonstrated in many ways, and showing changes in tone, technique and speed efficiently many times in one movement was one of them. The development begins with rolled, long chords, quickly ending to the tremolo theme of the exposition. There is a long recitative section at the beginning of this movement’s recapitulation, again ending with fast and suspenseful passages.
The second movement in Bflat major is slower and more dignified. The rising melodic ideas in the opening six measures are reminiscent of the first movement’s recitative. Other ideas in this movement mirror the first, for instance, a figure in the eighth measure and parallel passages of the second movement are similar to a figure in the sixth measure of the first.

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The third movement is a sonatarondo hybrid in the key of D minor. It is at first flowing with emotion and then reaching a climax, before moving into an extended development section which mainly focuses on the opening figure of the movement, reaching a climax at measures 169–173. The recapitulation, which is preceded by an extensive cadenzalike passage of sixteenth notes for the right hand, is followed by another transition and then another statement of the primary theme. The refrain undergoes phrase expansion to build tension for the climax of the movement at measure 381, a fortissimo falling chromatic scale.
I don’t own the audio nor the scores shown in the video.
audio: Claudio Arrau https://www.youtube.com/watch?v=WKTj4… / https://www.youtube.com/watch?v=PjxrI… / https://www.youtube.com/watch?v=syYFO…
score: ISMLP

L. V. Beethoven: Sonata nº 17 «Tempest», Op. 31 nº 2 (1802)

백건우 Kunwoo Paik – Beethoven : Piano Sonata No.17, ‘The Tempest’ : III. Allegretto


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베토벤 피아노 소나타 17번 ‘템페스트’ : 3악장
Beethoven : Piano Sonata No.17 in D Minor, Op. 312 : III. Allegretto
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백건우 Kunwoo Paik - Beethoven : Piano Sonata No.17, 'The Tempest' : III.  Allegretto

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