Beethoven Moonlight Sonata



(Piano Sonata No. 14) 1. Adagio sostenuto 00:00 2. Alegretto 05:30 3. Presto agitato 07:44 Music: Paul Pittman; Licensed under Creative Commons: By Attribution 3.0 Picture: The Piano Sonata No. 14 in C-sharp minor "Quasi una fantasia", Op. 27, No. 2, popularly known as the Moonlight Sonata, is a piano sonata by Ludwig van Beethoven. Completed in 1801 and dedicated in 1802 to his pupil, Countess Giulietta Guicciardi,[2] it is one of Beethoven's most popular compositions for the piano. […] Form Although no direct testimony exists as to the specific reasons why Beethoven decided to title both the Op. 27 works as Sonata quasi una fantasia, it may be significant that the layout of the present work does not follow the traditional movement arrangement in the Classical period of fast–slow–[fast]–fast. Instead, the sonata possesses an end-weighted trajectory, with the rapid music held off until the third movement. In his analysis, German critic Paul Bekker states that "The opening sonata-allegro movement gave the work a definite character from the beginning... which succeeding movements could supplement but not change. Beethoven rebelled against this determinative quality in the first movement. He wanted a prelude, an introduction, not a proposition.” The sonata consists of three movements: 1. Adagio sostenuto 2. Allegretto 3. Presto agitato Adagio sostenuto The first movement, in C♯ minor, is written in an approximate truncated sonata form. The movement opens with an octave in the left hand and a triplet figuration in the right. A melody that Hector Berlioz called a "lamentation", mostly by the right hand, is played against an accompanying ostinato triplet rhythm, simultaneously played by the right hand. The movement is played pianissimo or "very quietly", and the loudest it gets is mezzo forte or "moderately loud". The adagio sostenuto has made a powerful impression on many listeners; for instance, Berlioz said of it that it "is one of those poems that human language does not know how to qualify". Beethoven's student Carl Czerny called it "a nocturnal scene, in which a mournful ghostly voice sounds from the distance". The movement was very popular in Beethoven's day, to the point of exasperating the composer himself, who remarked to Czerny, "Surely I've written better things." Alegretto The second movement is a relatively conventional scherzo and trio, a moment of relative calm written in D-flat major, the more easily-notated enharmonic equivalent of C♯ major, the parallel major of the first movement's key, C♯ minor. Franz Liszt is said to have described the second movement as "a flower between two chasms". The slight majority of the movement is in piano, but a handful of sforzandos and forte-pianos helps to maintain the movement's cheerful disposition. Presto agitato The stormy final movement (C♯ minor), in sonata form, is the weightiest of the three, reflecting an experiment of Beethoven's (also carried out in the companion sonata, Opus 27, No. 1 and later on in Opus 101) placement of the most important movement of the sonata last. The writing has many fast arpeggios and strongly accented notes, and an effective performance demands lively and skillful playing. Of the final movement, Charles Rosen has written "it is the most unbridled in its representation of emotion. Even today, two hundred years later, its ferocity is astonishing." Beethoven's heavy use of sforzando notes, together with just a few strategically located fortissimo passages, creates the sense of a very powerful sound in spite of the predominance of piano markings throughout. […] Source: " Piano Sonata No. 14 (Beethoven). “ Wikipedia: The Free Encyclopedia. Wikimedia Foundation, Inc. 22 July 2004. Web. 28 Okt. 2014. Creative Commons Terms of Use: This video is licensed under a Creative Commons CC-BY license. Its attributed to Free Classical Music Video being licensed under the Creative Commons Attribution 3.0 Unported license. Licensed Material is licensed under Public License. Video Source:




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