i love this sonata to the very core...beethoven's greatest contribution to the violin repertoire, even greater than his contribution through the violin concerto.
ta sonata Beethovena zawsze mnie chwyta za serce od początku aż do samego końca z każdym pociągnięciem smyczka i naciśnięciem klawisza drga jakaś struna w moim sercu nie wiem co zainspirowało kompozytora ale musiało to być naprawdę nie tuzinkowe doznanie
nie mogę nawet wymienić fragmentu tego movement'u który mnie najbardziej porusza. Dla mnie jest to arcydzieło w najczystszej postaci.
ricayovillanueva, isn't the scene you have described from My Immortal Beloved, about the mysterious love of Beethoven's? It is one of my favourite films. Greetings from Romania
A man is trying to reach his lover. His carriage has broken down the rain.The wheels stuck in the mud. She will only wait so long. This is the sound of his agitation.
Maravilloso......Minstein....Dulce y bravo sonido que le dá al violín.......GERACIAS, MUCHAS GRACIAS A YOU TUBE POR OFRECERNOS ESTE REGALO, COMO MUCHOS Y MUCHOS OTROS............
I don't know music theory, so can somebody explain me this, please.
It's about pause at 1:28. It's so strange that every violinist makes it as long as he wants (maybe i am wrong, but it sounds like that). It is a tempo change but...
@heyaidkwhut but I get compared alot cause I'm in a circle of friend that are really musically talented,. :/ this girl I know completed gr.10 in 2 years piano. it's like uhmmm mom, I hav a life... -.-
Who came on here and disliked this? Lets hunt them down...we'll round them up by skillfully driving our converted Mr Whippy vans while playing Beethoven's Ninth over the xylophone.
The hypnotic sounds will stun them and our wheels will do the rest.
Who came on here and disliked this? Lets hunt them down...we'll round them up by skillfully driving our converted Mr Whippy vans while playing Beethoven's Ninth via the xylophone.
The hypnotic sounds will stun them and our wheels will do the rest.
This was originally written to be played by Bridgetower, a violinist friend of Beethovan's, but when they fell out he named it Kreutzer, after a noted violinist of his day. Kreutzer wouldn't (couldn't) pay it and said Beetovan didn't "understand" the violin. Tolstoy hated this piece and considered it too passionate. He and 2 artist friends agreed to create works based on this sonata, but Tolstoy was the only one who followed through.
GIvver!! This Sonata is hardcore! Aggressive all the way... This was not at all too aggressive for my taste. I do not "love" Milstein here...Just doesn't do it for me. Great perfomance nontheless! :-) Thanks.
This version of the kreutzer sonate is the best that i heard, someone here said is too agressive, but this sonate have to be strong, is Beethoven, no Mozart, besides this sonate for me express angry and feelings like that.
I'm not sure I like this interpretation... just a little too violent...
How come the pianists always need the scores and the violinists don´t? In every video of this sonata the pianist has the scores and the violinist doesn't... xD
This preformance isn't perfect if you watch carefully, as the pianst and the violinist aren't always in sync, but only on rare occasions. I'm not trying to take anyting away from this marvelous performance, it is just that i couldn't help but notice when listening to it. :D
@abigail1403 a tale told in a truthful manner. it is a spilling of one man's life and his vision grown from it regarding women and marriage. so deep into that analysis too. noone can deny the song and story fit
Arguably, Milstein was the greatest player for violin and piano and this piece demostrates it. I have listened to many others, but this is the best of the best. Such clean articulation.
I have been searching for this peices name for about 9 years , recorded this when I was a kid with headphones when it was being aired on my local music station and from then this has haunted me (though I had it ,but I wanted to know who composed it) and yesterday only I posted my video for this peice on a forum and I got the name ... I cannot express my happiness at this dicovery thankyou SamLee0519 for putting such great music on youtube
Exactly I though the same thing !!! I remember the description of how his wife and her lover play this movement, specially because you could feel the tension between those two, their gaze and their corporal language that shows that they were lovers. Just perfect, a perfect Sonata to show this. It´s like an encounter, a fight between lovers when their bodies were consuming. Just perfect!
BTW, I've just asked a prominent musicologist whether the 1st movement could be classified as a minor, his response was "Don't be silly". He also brought "Chernomor's March" from Glinka's "Ruslan and Lyudmila" as yet another example. You wouldn't guess it from listening to it, but it's actually written in C major. Why? No sharps or flats next to the clefs. Case closed.
no sharps next to the sharps or flats is not always i case for c major. take the suite for viola by ernest bloch for instance (which i played for my con recital), there are "no sharps or flats next to the clef" but due to the harmonic structure of the piece (or lack thereof) it is not in any key, as bloch focuses on tonal centres. the same can be said for hindemith op.25, etc. then again im butting in on an argument i havent read completely :)
True, but once one starts bringing 20th century music into this, then it gets really muddy. By that definition Bartok never wrote in any key apart from C major. Or the New Viennese School, they just write accidentals as they go along.
But the piece I mentioned ("Chernomor´s March") actually IS written in C major.
This "Musicspot" character is a tool. It's pointless to say anything to him, he's dead set on carrying on with his stupid crusade. You can name countless examples where it's not clear-cut (3rd cello sonata being a good one, where it takes even less time than in the Kreutzer for the key to change, or his late E major piano sonata), hence the way to go is with the established tradition. But some people can't live with that. They write books that go "Henry VIII was never the king of England", etc.
wtf.....can this argument about the key end??? i was on watching this video 2 weeks ago and it started. wow...and its still going. just watch the man play. hes pretty damn good
Also, just from the top of my head: take his piano sonata op.109, officially in E major, the "1st movement" there is very brief, more like an introduction, followed by a tumultuous allegro in e minor, and then comes the E major finale. It's not always clear-cut.
No, this is a common error - even on CDs/LPs, sheet music and in concert programs:
Only the first 4 bars are in major key, then it´s immediately in a-minor, the whole introduction in a-minor, the whole Presto in a-m, 2nd subject in e-minor (dominant of a-minor, never of A-Major), whole repetition in a-m, 2nd movement in F-major (parallel of a-minor) and last movement, which can never be a deternination of key, is borrowed from op.30/2. Sorry.
i see what ur saying but if thats true then im sure people out there would notice too and change the key to a minor on sheet music, cds. etc. i own the urtext version of this and it doesnt say anything about the key
You said it: B. did not indicate any key. But WHEN you mention any it has to be a-minor. The mistake comes from a long tradition - nevertheless wrong. I have seen more and more records + where a-minor is indicated - (recently the Brahms-Solists Hamburg) - however not enough. Another example is Francescattis DVD. I´ve gained my insight thru musical analysis, not by tradition. I´ve also released an article about that topic. IMHO bars 1-4 are a transition from op.30/1 to op.47!
And besides, we might as well start calling Tchaikovsky's 1st piano concerto "D flat major", because only the first TWO bars plus the upbeat are in B flat minor.
The piece begins and ends in A major, that should settle it.
Hi, sorry - I used the wrong term (language issue) - F-major is actually the 6th grade of a-minor, in German "Tonic-Gegenklang".
For the key-designation the main part of the first movement - usually Allegro - is crucial - not the slow introduction - nor the finale. E.g. Beethovens 5th symphony isn´t in C-major - although the finale is.
Tchaikovsky: The 1st part is only the introduction (starting in b-flat-minor anyhow) - the Allegro con spirito with the main theme is in Bbmin so what.
Well, this is still debatable. For instance, the 2nd subject in the Tchaikovsky is in A flat major - dominant of D flat major. And it goes without saying that last movements don't determine the overall key of a piece. But I guess unless there's no indication from the composer and the matter is open to interpretation as it clearly is in this instance then we can simply agree to disagree. I myself will certainly keep on listing it as "A Dur" whenever I happen to play it.
Also, this might have something to do with our having been educated within different musical theory systems, but where I was learning my trade, the 2nd subject would've been the material that appears at 02:36 of this video (which happens to be in E major, dominant of A major), and what comes at 03:30 (in a minor) would've been called a concluding subject.
The 2nd subject is correct - it starts in E-Major, but already the 2nd half (Nachsatz in German) at 02:52 is in e-minor - as is the cadenza at 03:29 ... the key of a subject is determined by its cadenza (!), not by its beginning. Here 03:30 starts the concluding subject ... and it´s also in e-minor. In the reprise everything is transposed to a-minor. Remember Beethoven indicated no key designation in the title at all, but IF someone does it should be minor, not major.
Wait a second, how is 03:29 at all related to the 2nd subject?
And I also find it very telling that Beethoven himself took a movement from another A major sonata to serve as a finale here.
Another thing is, you claim that the introduction is in a minor aprt from the 1st 4 bars (factually incorrect, the piano comes in in A major as well). Could you perhaps name me a single a minor chord in the whole of the introduction?
03:29 - you might call it concluding subject, or "Schlussgruppe" - it´s in the same key e-minor as the ending of the 2nd subject.
In bar 5 the A-Major chord is a secondary dominant to the following d-minor chord (subdominant of a-minor), in bar 7 comes a false cadenza in a-minor: V. ->VI. grade, the same in bar 12. You don´t need a tonic to express a key in an introduction, just a cadenza ... the tonic comes in the Presto bar 3.
RE 03:29 I was simply asking how the 2nd subject was related to it (and having it's 2nd half in the same key is no proof of relation). I mean, we're talking about maybe the most strikingly different thematic bits of the piece.
And my challenge in regards to the introduction still stands. Bars 5-6 are essentially the same material with a diminished 6th (not uncommon in a major key) and added counterpoint. The 1st minor harmony to happen on a downbeat is g minor in bar 15 if memory serves
Sorry, you should be able to recognize a swimple cadenza: bar 5 is the minor subdominant of a-minor, proof is the "false cadenza" (Trugschluss) in bar 7 with an F-Major-chord VI.grade of a-minor, this would be f-sharp-minor if really in A-Major !!! The g-minor chord in bar 15 in the secondary subdominant in a-minor, belonging to the subdominant d-minor in the next bar, with its dominant right before.
I´m not sure what you mean with "related" !? The 1st (main) subject is in a-minor with a tendency to the 3rd grade C-major (ending in b.45). Transition, 2nd subject in b.91, first half in E-Major, 2nd in e-minor, cadenza and concluding subject in e-minor in b.143/44 (03:29), this is melodically related to the main subject (minor second in melody), but rests on the dominant e-minor. Everything from bar 5 is very typical for a-minor, but never A-Major.
The fact the 2nd subject's 2nd half is in e minor is irrelevant. The 2nd half of the 2nd subject in op.61 is in d minor, so what (actually, it's significantly more than just the 2nd half of it).
As for the introduction, yes, there's plenty of ANTICIPATION of a minor, however, anticipation does not mean the actual thing. And the three sharps next to the clef agree with me.
It´s not irrelevant ´cause it´s not only about the 2nd half but about the cadenza which in op.47 is in e-minor - and in the concerto op.61 in A-Major (dominant of D-Major) in bar 76/77. Moreover the concluding subject in op.47 is in e-minor, in op.61 in A-Major ... AND would you still deny that the main subject in op.47 is in a-minor? Stick to the facts: the introduction from b.5 to 18 is in a-minor, often using its grades C-Major and d-minor - simple harmonic analysis! 3 # for b.1-4 only!
No issue of Urtext: If your understanding of "key" depends on the accidentals only you sure won´t ever see it ! A key is always defined by a cadenza - and the first cadenza after bar 4 is the "false" cadenza (in a-minor !) V. -> VI. grade in bar 7. The 3 sharps until bar 18 are irrelevant - most are anyhow cancelled by neutrals - and the remaining c-sharps are secondary dominants to the subdominant d-minor (in a).
Nice spin job. "The first cadenza after bar 4". In other words, "the 1st cadenza after the 1st cadenza".
Anyway, I now realize it's pointless to have a discussion with you. Even after I offer to "agree to disagree" (even though I have a Mount Rushmore sized pile of material to back me up), you insist on condescendingly ("you've got to listen") telling me that I (and the rest of the world) is wrong. Well, to each their own, I guess. I, however, am out of here. Enjoy your crusade. Viel Spass.
Didn´t I always say that the first 4 bars of the introduction are in A-Major - and THEN the piece goes on in a-minor?
However, I don´t need a mountain of backups (tradition can be very misleading), just Beethovens score - and my basic knowledge of harmonic analyses. But if someone still wants the earth to be flat ... no problem. Maybe you will recognize it in years to come!
To musicspotAT: Your question isn't without interest but your analyse is faulty. The 5th bar is still in A major. There is no sign of A minor at all in the introduction allthough it modulates. The first big cadenza in the Presto part goes to C major. You asked for A major chords after bar 5? Look here: bar 314 and 327 . Then, more importantly, the second subjet appears in A major at bar 412. After an unstable mvt with A minor passages the 1st mvt ends in A minor. The sonata is still in A major.
Regarding the introduction: the 1st chord (F major) after the "false cadenza" is not that important as, after a series of chords, we land in G major (bar 8) is then repeated (bar 13) then goes to G minor and then to D minor.
There is no way that you can find any hint of any A minor chord before bar 21 (in the Presto) and here it falls on a "weak beat" before the more important cadenza to C major. The very 1st 4 bars of explicit A major also stays in the ears of a normal listener.
This comment has received too many negative votesshow
Hi,
I have explained everything so far: All the first movement after bar 4 is in a-minor, including the whole Presto, and the 2nd movemt. is in F-Major, a relative of a-minor. The finale is never an indication of minor or major key (see B.5th.Symphony). Play the 1st mvnt. through and tell me where is A-Major? Nowhere after bar 4!
Humph, I think the "naming" of keys is often misleading, and one is lucky if concert/radio/disc notes get them right at all! Beethoven is unconventional in many cases and loves a minor-key argument after a Major intro:(another case would be the 3rd cello sonata).Agreed,we have a weighty mass of a-minor here,but,psychologically,for me,the work is "in" A, homing on that note whether minor or Major. In such doubtful cases, better leave off the mode.
This comment has received too many negative votesshow
Ok, I could certainly live with a designation "Sonata in A" without major or minor .... that´s a practical compromize - but not with a definite major-indication.
The 3rd cello sonata (op.69) is a completely other thing: (from memory) there is no introduction, the 1st theme is in A-Major, only the transition starts in a-minor and leads to E-Major. Scherzo in a-minor, finale in A-Major - so a typical Major-Sonata.
We will never know for sure, but IMHO Beethoven soon realzed that the 1st finale to the sonata op.30/1 was too long and heavy for it, so I think he decided to write a new sonata for this finale. The 1st 4 bars could be a transition from op.30/1 (theme of 2nd movement) to the new sonata - compare the melody. Nevertheless op.47 is in the minor key ... with a finale in A-major.
Here brought me to Tolstoi
eomi47 2 days ago
have to say, Tolstoi brought me here too
JohnnyDelgado83 3 days ago
i love this sonata to the very core...beethoven's greatest contribution to the violin repertoire, even greater than his contribution through the violin concerto.
dalecampbl8 3 weeks ago
Looking at Milstein reminds us that there are many schools of thought with regard to technique. This was fantastic.
tlcooper93 3 weeks ago in playlist Favorite videos
Tolstoi brought me here too. Wonderful!
marcionaves 1 month ago
The pianist who looks like Mahler pulls a face at 10:10 as though he made a mistake but for the life of me I can't tell what it is he did wrong.
sstuddert 2 months ago
@sstuddert He did nothing wrong. It's the streben.
floriobeethoven 3 weeks ago
@floriobeethoven good.
sstuddert 3 weeks ago
@sstuddert
He missed the additional C once octave higher with his pinky finger in the right hand.
jamesdongvideos 3 weeks ago
Comment removed
sstuddert 2 months ago
What a great piece!
crob647gtx 2 months ago in playlist Favorite videos
This gentleman plays the violin quite well and if I may add, in a very elegant and dignified manner.....
winrx 2 months ago
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hrm I'm just a small town girl
victoriaKlatt 2 months ago
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Wow...Amazing.
What do you guys think of mine.
youtube com/watch?v=u5nr3JVsLOk&feature=feedu
ChristopherMPiercy 2 months ago
lol you will see waiting you to teach me
AngleaMarniehl279 2 months ago
Une merveille de Beethoven. Presque un pléonasme ?
Jerryarvernix 3 months ago
How the fuck can you dislike this?!
ForsakenRainMan527 3 months ago
The best music ever heard...
terzagus 3 months ago 3
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lool i am a lonely girl from the uk
AlysiaMarcyzn265 4 months ago
09:28 "This is the sound of his agitation"
TheSelimyetkin 4 months ago 15
@TheSelimyetkin "ese es el sonido de su agitación"
manuelegirolamo 1 month ago
What a fantastic music.
I listened this music for the first time when i was in highschool
chokhome 5 months ago
ta sonata Beethovena zawsze mnie chwyta za serce od początku aż do samego końca z każdym pociągnięciem smyczka i naciśnięciem klawisza drga jakaś struna w moim sercu nie wiem co zainspirowało kompozytora ale musiało to być naprawdę nie tuzinkowe doznanie
nie mogę nawet wymienić fragmentu tego movement'u który mnie najbardziej porusza. Dla mnie jest to arcydzieło w najczystszej postaci.
karolkst22 5 months ago
tolstoi brought me here
linlomox 5 months ago 90
Comment removed
tishomingobluz 2 months ago
@linlomox :)
tishomingobluz 2 months ago
what does the man who's not playing do?
fafaffu2 6 months ago
@fafaffu2 Page turner
littleShepherd1 5 months ago
@fafaffu2 Turns the page of the score.
olivleonardo 5 months ago
Beethoven best violin sonata. After this comes 'Spring'
Adri58 6 months ago
The pianist Pludermacher makes all the difference ,his balance is superb.
He underpins a so/so violin part and gives the work the life it needs by this
careful balance .
dziady1 7 months ago
Hey youtube violinsts!
I'm a composer from Pittsburgh, PA. Check out a sample of my violin sonata and let me know what you think!
rkotcher 7 months ago
Who is this pianist?
hvk29 8 months ago
@hvk29 Mahler.
sstuddert 2 months ago
FANTASTIC...FANTASTIC,,,canal KOMENTERO from BRAZIL
komentero 8 months ago
ricayovillanueva, isn't the scene you have described from My Immortal Beloved, about the mysterious love of Beethoven's? It is one of my favourite films. Greetings from Romania
gianina311 9 months ago
wow, super sonata!!!!
clioniso 9 months ago
Vevo Beethoven ? o.o
ANTICRISTOREGIO 9 months ago
Esta es la mejor interpretación de la Sonata Kreutzer de todas.
tthis is the best interpretation of the Kreutzer Sonata of all
wolfgangcrysostomus 9 months ago
wow
waterchica 9 months ago
Dear sir Nathan Milstein
It is feelings that want to feel artist's honor in the appearance that the gentleman is
played,and to go on a trip. Thanks.
MultiBLUETRAIN 10 months ago
Subscribed. SamLee0519, thank you! Your channel is a gold mine!
zappr5 10 months ago
A man is trying to reach his lover. His carriage has broken down the rain.The wheels stuck in the mud. She will only wait so long. This is the sound of his agitation.
ricayovillanueva 10 months ago 4
@ricayovillanueva someone watched a bit too much "Immortal beloved"
long live beethoven
ioanabuzz 9 months ago
@ricayovillanueva LOL beethoven immortal beloved. Great film, great scene. Amazing music.
hatatske 6 months ago
Awesome.As good or better than it has ever been played TY SamLee for posting.
paulostroff99 10 months ago
SUBLIME. Putain.
desertofmind 10 months ago
Maravilloso......Minstein....Dulce y bravo sonido que le dá al violín.......GERACIAS, MUCHAS GRACIAS A YOU TUBE POR OFRECERNOS ESTE REGALO, COMO MUCHOS Y MUCHOS OTROS............
TheCasaverde 10 months ago
So epic one of my favs I still cant stop listening to to it
scout6686 11 months ago
amazing
scout6686 11 months ago
how peacful and composed!
FfSpgfLerWhd 11 months ago
I don't know music theory, so can somebody explain me this, please.
It's about pause at 1:28. It's so strange that every violinist makes it as long as he wants (maybe i am wrong, but it sounds like that). It is a tempo change but...
nbharakey 1 year ago
@nbharakey there is a "fermata" above the note he played ("f"). For more info about fermata, try wiki. i hope this is what you are looking for. :)
babyboom0725 11 months ago
@babyboom0725
Thanks a lot!
nbharakey 11 months ago
@heyaidkwhut but I get compared alot cause I'm in a circle of friend that are really musically talented,. :/ this girl I know completed gr.10 in 2 years piano. it's like uhmmm mom, I hav a life... -.-
misheshe 1 year ago
@heyaidkwhut ur riight, I hav three actually, violin piano guitar,
misheshe 1 year ago
intenseee ...
that piec is what level ?
10 ? or higher ?
wow... im in grade 9 :/ fml
misheshe 1 year ago
@misheshe I just wish i had an instrument lol be happy my friend :)
heyaidkwhut 1 year ago
Definately one of my most favoured of Beethoven's work.
Sorionio 1 year ago 4
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Who came on here and disliked this? Lets hunt them down...we'll round them up by skillfully driving our converted Mr Whippy vans while playing Beethoven's Ninth over the xylophone.
The hypnotic sounds will stun them and our wheels will do the rest.
Cocoheadedcannibal 1 year ago
This has been flagged as spam show
Who came on here and disliked this? Lets hunt them down...we'll round them up by skillfully driving our converted Mr Whippy vans while playing Beethoven's Ninth via the xylophone.
The hypnotic sounds will stun them and our wheels will do the rest.
Cocoheadedcannibal 1 year ago
Comment removed
Cocoheadedcannibal 1 year ago
Wonderful stuff... let's hope that the same passion exists as far in the future for this art as it did as long ago in the near past.
powersphincter 1 year ago
Very astounding piece... A musical surprise.
HenriNioto 1 year ago
The hundredth face of Beethoven... ^^
HenriNioto 1 year ago
@chaddyfromtheblock: Why would Milstein have chosen Pludermacher if he didn't think he could "keep up" with him?
Rettihsllub 1 year ago
Superb playing! TY.
paulostroff99 1 year ago
nice to see some good old-fashioned camerawork here and none of that modern swooping across the stage that makes you feel like a trapped albatross.
jackbiggins 1 year ago 62
@jackbiggins lol,
omgtkseth 4 months ago
I have the same feelings when I listen to this option as when they read the novel of the same name
robertceltimid 1 year ago
Why does Pludermacher insist on making faces? He cant keep up with Milstein and it shows.
chaddyfromtheblock 1 year ago
@chaddyfromtheblock : Because, Chadwick, he is young.
MusicPredominates 1 year ago
@chaddyfromtheblock
Keeping up with a blistering tempo is one helluva a harder to do on piano than violin, da
tonywsmith2 1 year ago
@chaddyfromtheblock I don't think facial expressions are really something you can control while playing.
lasaboteuse 10 months ago
@lasaboteuse very true :]
donesixfour 9 months ago
Listen to Viktoria Mullovas version, it's amzaing to.
Chopofiev 1 year ago
Incrível interpretação, esta se sente na alma!!!
Astro502 1 year ago
@Astro502 Um brasileiro comentando num vídeo de uma música do Beethoven
Que orgulho
PaulThePuppetier 1 year ago 3
@PaulThePuppetier Né? xD
Se ninguém gostasse estaríamos perdidos
KinngLion 1 year ago
This was originally written to be played by Bridgetower, a violinist friend of Beethovan's, but when they fell out he named it Kreutzer, after a noted violinist of his day. Kreutzer wouldn't (couldn't) pay it and said Beetovan didn't "understand" the violin. Tolstoy hated this piece and considered it too passionate. He and 2 artist friends agreed to create works based on this sonata, but Tolstoy was the only one who followed through.
gotarmadillo 1 year ago 2
That Steinway is so beautiful
Leitilumo 1 year ago 3
damn this is good
bannaanaamr 1 year ago
maravilloso
mauriciorome 1 year ago
GIvver!! This Sonata is hardcore! Aggressive all the way... This was not at all too aggressive for my taste. I do not "love" Milstein here...Just doesn't do it for me. Great perfomance nontheless! :-) Thanks.
rebeccanubodys 1 year ago
GOD
Beabrasa 1 year ago
Amen!
as334 1 year ago
he is incredible
ThePiggyoh 1 year ago
Fantastico. God bless you for sharing this with us!
Burrie1L 1 year ago
Milesein is great, but let's see more of that pianist!
mahler151 1 year ago
TOO HARSH... I'm sorry...I like Beethoven for his whole gama of dynamics and stuff...but I felt this too agressive... u.ú*
GothicalSOberhauser 1 year ago
@GothicalSOberhauser Christ, don't even try and listen to the late quartets then.
sstuddert 2 months ago
This version of the kreutzer sonate is the best that i heard, someone here said is too agressive, but this sonate have to be strong, is Beethoven, no Mozart, besides this sonate for me express angry and feelings like that.
nvsmp 1 year ago 2
powerfull !!!!!!!
i love beethoven
abigail1403 1 year ago
wonderful piano and violin
shenlazarus 1 year ago
I have a feeling that reading the score for this is akin to gazing upon the visage of Dread Cthulhu.
potsdogho 1 year ago
Bella esecuzione
9Violin 1 year ago
Who are the 18 people who didn't like this?
felixmendelssohn 1 year ago
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@felixmendelssohn The people who do not know good music when they hear it.
MissCasey89 1 year ago
Immortal Beloved got me hooked on this. :)
nahedh 1 year ago 4
aria!
connessionetrusca 1 year ago
that's 'cause artists are a bunch of fakers...read Plato...
johnhofi 1 year ago
I'm not sure I like this interpretation... just a little too violent...
How come the pianists always need the scores and the violinists don´t? In every video of this sonata the pianist has the scores and the violinist doesn't... xD
hypermusic12 1 year ago
Crisp fiery & majestic !
JazzLoverKhurram 1 year ago
Il mio pezzo preferito in assoluto.
Spesso mi fermo qui ad ascoltarla :)
meggie1974 1 year ago
Flying style - good!
bobon47 1 year ago
这人拉得比较细腻，看来也是功力深厚，，但是似乎大卫拉得更好一些，，，
qujohn88 1 year ago
Franchement bravo.
margotte31 1 year ago
ti amo nathan!!!
Liu120803 1 year ago
me too : Sonate à Kreutzer
andoniprimo 1 year ago
This preformance isn't perfect if you watch carefully, as the pianst and the violinist aren't always in sync, but only on rare occasions. I'm not trying to take anyting away from this marvelous performance, it is just that i couldn't help but notice when listening to it. :D
jojobinx91 1 year ago
Hermosa canción... realmente emocionante
hanshelina 1 year ago
una interpretación genial!!!!! MILSTEIN Maestro!!!!!!!
zuzanazuzanita 1 year ago
A marvelous performance of one of the greatest pieces of music ever composed. Wow.
JazzySimpleton 1 year ago
ｇｊｚｄｈんｘｄｄｈｋ
debusyou 1 year ago
currently reading the story by tolstoy with this name.
powerful
tattoofthesun 1 year ago 90
I read some of that........why exactly is it called that?
mahler151 1 year ago
@tattoofthesun Me too, I was reading in this moment the part of the wife's concert and I'm curious to listen to this music! :)
LallyFreakOut 1 year ago 4
@LallyFreakOut Oh wow!
It is the craziest song and story!
tattoofthesun 1 year ago
@tattoofthesun i just know that book and i want to read it already!!!
abigail1403 1 year ago
@abigail1403 a tale told in a truthful manner. it is a spilling of one man's life and his vision grown from it regarding women and marriage. so deep into that analysis too. noone can deny the song and story fit
tattoofthesun 1 year ago
@tattoofthesun That's what brought be here too!
bateman88 1 year ago
@tattoofthesun
doing the very same thing lol
dkidfrmdbx 1 year ago
@dkidfrmdbx just finished the story myself...disturbing ending :)
tangoseven70 1 year ago
@tattoofthesun me too:D
parcumare 9 months ago
@tattoofthesun master!!!
boa1786 8 months ago
@tattoofthesun so do I!
DafniElissa 7 months ago
Arguably, Milstein was the greatest player for violin and piano and this piece demostrates it. I have listened to many others, but this is the best of the best. Such clean articulation.
GeniusHaydn 1 year ago
@GeniusHaydn ：Ａｒｇｕａｂｌｙ， ｓｏｍｅｔｈｉｎｇ ａｌｌ ｔｏｇｅｔｈｅｒ ｔｈａｎ ｙｏｕ ｗｅｒｅ ｔｏ ａｒｇｕｅ ｉｎ ｔｈｅ ｆｉｒｓｔ ｐｌａｃｅ． Ｇｏ ｔｏ ｂｅｄ ｆｏｒ ｙｏｕｒ ａｂｓｏｌｕｔｅ ｃｈｅｅｋ．
3NUNS 1 year ago
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Beethoven is a shit
majark4 2 years ago
I have been searching for this peices name for about 9 years , recorded this when I was a kid with headphones when it was being aired on my local music station and from then this has haunted me (though I had it ,but I wanted to know who composed it) and yesterday only I posted my video for this peice on a forum and I got the name ... I cannot express my happiness at this dicovery thankyou SamLee0519 for putting such great music on youtube
arj4bass 2 years ago 4
Simplesmente bárbaro. Aliás, não apenas a Kreutzer, mas TODAS as sonatas para piano e violino de mestre Beethoven são divinas!
silvionatal49 2 years ago 3
Thanks Mister Lee !
3NUNS 2 years ago
After reading Tolstoy's "Kreutzer Sonata," one simply has to listen to this.
laurelalia1 2 years ago 3
@laurelalia1
Exactly I though the same thing !!! I remember the description of how his wife and her lover play this movement, specially because you could feel the tension between those two, their gaze and their corporal language that shows that they were lovers. Just perfect, a perfect Sonata to show this. It´s like an encounter, a fight between lovers when their bodies were consuming. Just perfect!
aleja087 2 years ago
Exactly the same way I ended up listening to this.
mrremuff 2 years ago
Well, it'd be funny if it wasn't so sad.
BTW, I've just asked a prominent musicologist whether the 1st movement could be classified as a minor, his response was "Don't be silly". He also brought "Chernomor's March" from Glinka's "Ruslan and Lyudmila" as yet another example. You wouldn't guess it from listening to it, but it's actually written in C major. Why? No sharps or flats next to the clefs. Case closed.
ghettowizard 2 years ago 4
Comment removed
CampanellaDaemon 2 years ago
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no sharps next to the sharps or flats is not always i case for c major. take the suite for viola by ernest bloch for instance (which i played for my con recital), there are "no sharps or flats next to the clef" but due to the harmonic structure of the piece (or lack thereof) it is not in any key, as bloch focuses on tonal centres. the same can be said for hindemith op.25, etc. then again im butting in on an argument i havent read completely :)
CampanellaDaemon 2 years ago 3
True, but once one starts bringing 20th century music into this, then it gets really muddy. By that definition Bartok never wrote in any key apart from C major. Or the New Viennese School, they just write accidentals as they go along.
But the piece I mentioned ("Chernomor´s March") actually IS written in C major.
ghettowizard 2 years ago
hahaha
violinaficionado 2 years ago
This "Musicspot" character is a tool. It's pointless to say anything to him, he's dead set on carrying on with his stupid crusade. You can name countless examples where it's not clear-cut (3rd cello sonata being a good one, where it takes even less time than in the Kreutzer for the key to change, or his late E major piano sonata), hence the way to go is with the established tradition. But some people can't live with that. They write books that go "Henry VIII was never the king of England", etc.
ghettowizard 2 years ago 3
wtf.....can this argument about the key end??? i was on watching this video 2 weeks ago and it started. wow...and its still going. just watch the man play. hes pretty damn good
prayformercy4 2 years ago
Also, just from the top of my head: take his piano sonata op.109, officially in E major, the "1st movement" there is very brief, more like an introduction, followed by a tumultuous allegro in e minor, and then comes the E major finale. It's not always clear-cut.
ghettowizard 2 years ago 3
Wiki lists it as A major as well.
ghettowizard 2 years ago 3
the KREUTZER is in a-minor - not in A-Major !
musicspotAT 2 years ago
its in a major...not in a minor. lol
prayformercy4 2 years ago
No, this is a common error - even on CDs/LPs, sheet music and in concert programs:
Only the first 4 bars are in major key, then it´s immediately in a-minor, the whole introduction in a-minor, the whole Presto in a-m, 2nd subject in e-minor (dominant of a-minor, never of A-Major), whole repetition in a-m, 2nd movement in F-major (parallel of a-minor) and last movement, which can never be a deternination of key, is borrowed from op.30/2. Sorry.
musicspotAT 2 years ago
i see what ur saying but if thats true then im sure people out there would notice too and change the key to a minor on sheet music, cds. etc. i own the urtext version of this and it doesnt say anything about the key
prayformercy4 2 years ago
You said it: B. did not indicate any key. But WHEN you mention any it has to be a-minor. The mistake comes from a long tradition - nevertheless wrong. I have seen more and more records + where a-minor is indicated - (recently the Brahms-Solists Hamburg) - however not enough. Another example is Francescattis DVD. I´ve gained my insight thru musical analysis, not by tradition. I´ve also released an article about that topic. IMHO bars 1-4 are a transition from op.30/1 to op.47!
musicspotAT 2 years ago
How's F-major a parallel of a-minor?
And besides, we might as well start calling Tchaikovsky's 1st piano concerto "D flat major", because only the first TWO bars plus the upbeat are in B flat minor.
The piece begins and ends in A major, that should settle it.
ghettowizard 2 years ago 3
Hi, sorry - I used the wrong term (language issue) - F-major is actually the 6th grade of a-minor, in German "Tonic-Gegenklang".
For the key-designation the main part of the first movement - usually Allegro - is crucial - not the slow introduction - nor the finale. E.g. Beethovens 5th symphony isn´t in C-major - although the finale is.
Tchaikovsky: The 1st part is only the introduction (starting in b-flat-minor anyhow) - the Allegro con spirito with the main theme is in Bbmin so what.
musicspotAT 2 years ago
Well, this is still debatable. For instance, the 2nd subject in the Tchaikovsky is in A flat major - dominant of D flat major. And it goes without saying that last movements don't determine the overall key of a piece. But I guess unless there's no indication from the composer and the matter is open to interpretation as it clearly is in this instance then we can simply agree to disagree. I myself will certainly keep on listing it as "A Dur" whenever I happen to play it.
ghettowizard 2 years ago 3
Also, this might have something to do with our having been educated within different musical theory systems, but where I was learning my trade, the 2nd subject would've been the material that appears at 02:36 of this video (which happens to be in E major, dominant of A major), and what comes at 03:30 (in a minor) would've been called a concluding subject.
ghettowizard 2 years ago 3
The 2nd subject is correct - it starts in E-Major, but already the 2nd half (Nachsatz in German) at 02:52 is in e-minor - as is the cadenza at 03:29 ... the key of a subject is determined by its cadenza (!), not by its beginning. Here 03:30 starts the concluding subject ... and it´s also in e-minor. In the reprise everything is transposed to a-minor. Remember Beethoven indicated no key designation in the title at all, but IF someone does it should be minor, not major.
musicspotAT 2 years ago
Wait a second, how is 03:29 at all related to the 2nd subject?
And I also find it very telling that Beethoven himself took a movement from another A major sonata to serve as a finale here.
Another thing is, you claim that the introduction is in a minor aprt from the 1st 4 bars (factually incorrect, the piano comes in in A major as well). Could you perhaps name me a single a minor chord in the whole of the introduction?
ghettowizard 2 years ago 2
03:29 - you might call it concluding subject, or "Schlussgruppe" - it´s in the same key e-minor as the ending of the 2nd subject.
In bar 5 the A-Major chord is a secondary dominant to the following d-minor chord (subdominant of a-minor), in bar 7 comes a false cadenza in a-minor: V. ->VI. grade, the same in bar 12. You don´t need a tonic to express a key in an introduction, just a cadenza ... the tonic comes in the Presto bar 3.
musicspotAT 2 years ago
Comment removed
MonikaUrbonaite 2 years ago
RE 03:29 I was simply asking how the 2nd subject was related to it (and having it's 2nd half in the same key is no proof of relation). I mean, we're talking about maybe the most strikingly different thematic bits of the piece.
And my challenge in regards to the introduction still stands. Bars 5-6 are essentially the same material with a diminished 6th (not uncommon in a major key) and added counterpoint. The 1st minor harmony to happen on a downbeat is g minor in bar 15 if memory serves
ghettowizard 2 years ago 2
Sorry, you should be able to recognize a swimple cadenza: bar 5 is the minor subdominant of a-minor, proof is the "false cadenza" (Trugschluss) in bar 7 with an F-Major-chord VI.grade of a-minor, this would be f-sharp-minor if really in A-Major !!! The g-minor chord in bar 15 in the secondary subdominant in a-minor, belonging to the subdominant d-minor in the next bar, with its dominant right before.
musicspotAT 2 years ago
I´m not sure what you mean with "related" !? The 1st (main) subject is in a-minor with a tendency to the 3rd grade C-major (ending in b.45). Transition, 2nd subject in b.91, first half in E-Major, 2nd in e-minor, cadenza and concluding subject in e-minor in b.143/44 (03:29), this is melodically related to the main subject (minor second in melody), but rests on the dominant e-minor. Everything from bar 5 is very typical for a-minor, but never A-Major.
Show me a tonic A-Major chord after b.5 !?
musicspotAT 2 years ago
The fact the 2nd subject's 2nd half is in e minor is irrelevant. The 2nd half of the 2nd subject in op.61 is in d minor, so what (actually, it's significantly more than just the 2nd half of it).
As for the introduction, yes, there's plenty of ANTICIPATION of a minor, however, anticipation does not mean the actual thing. And the three sharps next to the clef agree with me.
ghettowizard 2 years ago 3
It´s not irrelevant ´cause it´s not only about the 2nd half but about the cadenza which in op.47 is in e-minor - and in the concerto op.61 in A-Major (dominant of D-Major) in bar 76/77. Moreover the concluding subject in op.47 is in e-minor, in op.61 in A-Major ... AND would you still deny that the main subject in op.47 is in a-minor? Stick to the facts: the introduction from b.5 to 18 is in a-minor, often using its grades C-Major and d-minor - simple harmonic analysis! 3 # for b.1-4 only!
musicspotAT 2 years ago
Hmm, I don't see a change of key in bar 5. Maybe it's just me. Or my Urtext edition. Or something.
ghettowizard 2 years ago 3
No issue of Urtext: If your understanding of "key" depends on the accidentals only you sure won´t ever see it ! A key is always defined by a cadenza - and the first cadenza after bar 4 is the "false" cadenza (in a-minor !) V. -> VI. grade in bar 7. The 3 sharps until bar 18 are irrelevant - most are anyhow cancelled by neutrals - and the remaining c-sharps are secondary dominants to the subdominant d-minor (in a).
musicspotAT 2 years ago
Nice spin job. "The first cadenza after bar 4". In other words, "the 1st cadenza after the 1st cadenza".
Anyway, I now realize it's pointless to have a discussion with you. Even after I offer to "agree to disagree" (even though I have a Mount Rushmore sized pile of material to back me up), you insist on condescendingly ("you've got to listen") telling me that I (and the rest of the world) is wrong. Well, to each their own, I guess. I, however, am out of here. Enjoy your crusade. Viel Spass.
ghettowizard 2 years ago 4
Didn´t I always say that the first 4 bars of the introduction are in A-Major - and THEN the piece goes on in a-minor?
However, I don´t need a mountain of backups (tradition can be very misleading), just Beethovens score - and my basic knowledge of harmonic analyses. But if someone still wants the earth to be flat ... no problem. Maybe you will recognize it in years to come!
Best reg.
musicspotAT 2 years ago
To musicspotAT: Your question isn't without interest but your analyse is faulty. The 5th bar is still in A major. There is no sign of A minor at all in the introduction allthough it modulates. The first big cadenza in the Presto part goes to C major. You asked for A major chords after bar 5? Look here: bar 314 and 327 . Then, more importantly, the second subjet appears in A major at bar 412. After an unstable mvt with A minor passages the 1st mvt ends in A minor. The sonata is still in A major.
phyramus7 1 year ago
MusicspotAT:
Regarding the introduction: the 1st chord (F major) after the "false cadenza" is not that important as, after a series of chords, we land in G major (bar 8) is then repeated (bar 13) then goes to G minor and then to D minor.
There is no way that you can find any hint of any A minor chord before bar 21 (in the Presto) and here it falls on a "weak beat" before the more important cadenza to C major. The very 1st 4 bars of explicit A major also stays in the ears of a normal listener.
phyramus7 1 year ago
I used to play violin. I have the sheet music, the tonic key is A major. The piece begins in A major and returns to A major in the final movement.
EllaPren 2 years ago 3
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Hi,
I have explained everything so far: All the first movement after bar 4 is in a-minor, including the whole Presto, and the 2nd movemt. is in F-Major, a relative of a-minor. The finale is never an indication of minor or major key (see B.5th.Symphony). Play the 1st mvnt. through and tell me where is A-Major? Nowhere after bar 4!
musicspotAT 2 years ago
Humph, I think the "naming" of keys is often misleading, and one is lucky if concert/radio/disc notes get them right at all! Beethoven is unconventional in many cases and loves a minor-key argument after a Major intro:(another case would be the 3rd cello sonata).Agreed,we have a weighty mass of a-minor here,but,psychologically,for me,the work is "in" A, homing on that note whether minor or Major. In such doubtful cases, better leave off the mode.
NOSEhow2LIV 2 years ago 18
This comment has received too many negative votes show
Ok, I could certainly live with a designation "Sonata in A" without major or minor .... that´s a practical compromize - but not with a definite major-indication.
The 3rd cello sonata (op.69) is a completely other thing: (from memory) there is no introduction, the 1st theme is in A-Major, only the transition starts in a-minor and leads to E-Major. Scherzo in a-minor, finale in A-Major - so a typical Major-Sonata.
musicspotAT 2 years ago
@NOSEhow2LIV
Blow it out of your ass, partner. This is just good music---ok terrific music. I'm easy. Yea Millstein.
A pox upon motor mouths like you.
tonywsmith2 1 year ago
@NOSEhow2LIV
When you get this straight in your own mind, tell it to us in English.
tonywsmith2 1 year ago
@NOSEhow2LIV In A-ish
heyaidkwhut 1 year ago
@NOSEhow2LIV why not d-minor ?
EMPERORMIKI 11 months ago
We will never know for sure, but IMHO Beethoven soon realzed that the 1st finale to the sonata op.30/1 was too long and heavy for it, so I think he decided to write a new sonata for this finale. The 1st 4 bars could be a transition from op.30/1 (theme of 2nd movement) to the new sonata - compare the melody. Nevertheless op.47 is in the minor key ... with a finale in A-major.
musicspotAT 2 years ago