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작성자코난 조회 1회 작성일 2020-10-18 07:34:39 댓글 0


Schumann: Sonata No.1 in F-sharp minor, Op.11 (Perahia)

A sonata which illustrates beautifully Schumann’s narrative approach to the form, featuring typically vivid flights of fantasy bound together by the device of a falling perfect 5th. The falling 5th is first heard in the LH in the introduction [and is highlighted at 1:17 and 1:23], before it opens the main body of 1st movement [2:37] (with constant recurrences - 2:56, 3:00 etc). The 2nd movement unfolds over a sustained 5th in the bass, while the melody is punctuated by falling 5ths in the LH [12:56, 13:03, 14:29 etc], still with the same insistent dotted rhythm. In the 3rd movement the falling 5th appears in the LH at 16:04, and in the 4th movement the dotted falling 5th features prominently in the second theme: 19:56.

00:00 -- Mvt 1. Featuring an extraordinary introduction, with a melody fully formed enough to be considered a self-contained entity. Even when the introductory theme returns at the centre of the ensuing Allegro [9:15!], its reappearance seems to be an interruption, a sudden space opening in the midst of profound violence. In reality, of course, the introduction is a startlingly original bit of long-range anticipation, since its falling 5ths bind the whole work together. Note also the rapid harmonic turns of the allegro, and the way the falling 5th is absorbed into the ornamentation.
12:37 -- Mvt 2, Aria. Based on a song Schumann wrote when he was 18. It is significant that the falling 5ths were not in the original. Liszt singled out this movement for special praise, calling it ‘a song of great passion, expressed with fullness and calm’.
15:22 -- Mvt 3. A scherzo with two trios. The first quasi-trio's opening bars are underpinned by the 1st movement’s ‘rocking’ fifths motif, played pianissimo leggierissimo. The second trio ('Intermezzo') is a lovely parody of a polonaise, and Schumann marks it, appropriately enough, Alla burla, ma pomposo. There is a further surprise in store before the scherzo returns: a recitative, with a lone oboe rudely silenced by the whole orchestra, before the scherzo returns *at the wrong pitch* —a typically Schumannesque touch.
19:33 -- Mvt 3, Finale. A sonata-rondo featuring some pretty cool textures: tremolos mimicking a crescendo over a drum roll; a staccato passage near the close, marked quasi pizzicato; tutti chords punched out at top speed [22:17]. Notice how Schumann, with wicked inventiveness, pushes a duple-metre theme into the strait-jacket of three beats to the bar: rhythmic playfulness was one of the hallmarks of his style. The dramatic differences between this movement's two themes mirror the characters which Schumann quasi-allegorically adopted when composing: Florestan and Eusebius (representing the more turbulent and reflective sides of his character respectively).

Perahia handles the interpretative challenges of this difficult work extremely well: the rhythms are vital and intense, the knotty passages clear, the contrasts sharply (but not schizophrenically) outlined, and there is a clear sense of a coherent whole (often difficult to achieve in Schumann).
J Martin : What a strange form for a Sonata . It feels and looks on the page like one of Sch 's vivid Album Collections . What did the jealous headmasters say when this aglommeration? amalgamal was publihed ? Clara's father could not have liked it much A nocturne opening then this well-behaved mostly scherzo (so different from either Schubert or Beethoven ) much closer to Hadyn . Liszt deemed it attractive . The opening Nocturne returns later as a reminder and to calm down some violent fury - but . No. 2 and 3 are played much more often though I think audiences would prefer the seemly , pretty music instead . How many non-musical academics really pay close attention or know how to catch the hints of this music . I could easily spend a year on the gorgeous 3rd movement and the music's interior needs certainly escapes me . Bunte Blatte and Kinderszenen, Kreisleriana, Symphonic Etudes are more than enough . Perahia is always wonderful in Schu .
Houssam Bouhou : Bad composition ! Zero emotions in it , just some random meaningless notes . I've always thought Schumann isn't a good composer , and I was right .
André : Why in the fu**in world do I have to see a cheese comercial in the middle of this work of art???? Damn it.
Nicolas Alexandre Messina 19.06.1975 : Sometimes diabolic, sometimes sweet.
Ricardo Abapo Jr. : What's the song that was the basis of this sonata's aria?
Gabriella Cariddo : I’ll be honest, I’m not a huge fan of Schumann (and from what I gather, not a lot of other composers, like Mendelssohn, recognized him as a serious and substantial composer until later in his life) but I have to say that this piece is really great. Thank you for this.
robert flynn : Very informative tube site and Perahia is of considerable interpretive skills.
CMusic kim : Such a masterful dramatic love story a young Schumann has written with such sincerities! Unusually structured yet with an emotional outburst that is compressed to an art of piano music.
E.T. Deubner : Beethoven can suck it.
Henrico De klerk : Right on man

Evgeny Kissin: Schumann - Sonata No 1 in F# minor, Op. 11

Live recording from the Chorégies d'Orange - Frankreich, 2002
Evgeny Kissin - piano

Robert Schumann - Sonata No 1 in F# minor, Op. 11

0:13 First movement: un poco adagio, Allegro vivace
11:27 Second movement: Aria (Senza passione ma espressivo)
14:51 Third movement: Scherzo e Intermezzo: Allegrissimo - Lento alla burla ma pomposo - Tempo primo
19:16 Fourth movement: Allegro un poco maestoso

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Click here for Evgeny Kissin playing the Bach Cantata BWV 564:

GUSTAVO MARZANO : Mil gracias por todos estos Maravillosos videos de tan Grandes Artistas. Bendiciones
chadmorrismusic : 16:47 !!! A 100% milking of every last drop of Schumann's intent here, pure genius by both men. I think kids today would call this "swag"...
константин книга : о, Боже, как я люблю это произведение и это исполнение
Oudtshoornify : I would like to add my thanks to those of Mohamed Kamal. I have greatly enjoyed all your videos over very many years, dating from when Jacqueline was alive and well and amongst us. Thank you for your great work.
Oudtshoornify : Wow.
sisi sasa : 32:00
Falsch Spieler Falsch Spieler : Wunderschön und so direkt, bis jetzt eines meiner liebsten Stücke von Robert Schumann
Chiara Malek : 26.50 most beautiful besides the beginning
Tik Tak : Respect to the unbelievable skills of Mr. Kissin, but I guess this is how a russian virtuoso wants or should play? For me it's too fast, too loud boom boom. This is no beethoven, and Schumann for sure was not deaf. And if this makes me the only person in this world with this opinion, but this does not sound right to me. Just my humble opinion compared to someone like Perahia.
Gaming, music and jokes! *and a bit of cooking* : Plot twist: The 1st movement (excl. intro) was filmed by allegrovivace films, 3rd movement by allegrissimofilms, 4th movement by allegrounpocomaestosofilms.

Schumann - Piano Sonata No. 1 (Maurizio Pollini)

Robert Schumann - Piano Sonata No. 1 in F-sharp minor, Op. 11, "Grosse Sonate"
Piano: Maurizio Pollini

0:00 - Introduzione: Un poco Adagio - Allegro vivace
12:04 - Aria
15:13 - Scherzo: Allegrissimo - intermezzo: Lento
20:25 - Finale: Allegro, un poco maestoso
H dR : After the first 9 notes you know this will be majestic
sisi sasa : 33:00
Школа фортепиано PianoArt : По форме очень хорошо, не рассыпается
Neil Levenson : In this particular work, Lazar Berman is worth checking out...
Roberto Villarreal : Enorme interpretación, el Arte vivo
José Palomo Gómez : Gracias pollini !!!
Michelangelo Mulieri : Nothing compared to Gilels version..
Harry Haff : The intro to the first movement, 52 measures, unique. Material does not for development until the 2nd movement. The finale, longest of the 4 movements, Rondo but really without any development.
유한홍 : He was young
EmptyVee00000 : One of the better versions of this Sonata; compares favourably with Ashkenazy.




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