Beehoven's music is the best example of the saying:
"the correct tempo is what the PARTICULAR phrase or section NEEDS". a lyrical section might NEED to have more "breathe" or space, or relaxation of tension..a thunderous one might need more "forward" motion..an "arrival section" might NEED more EMPHATIC holding before the closing "cadence"...etc. etc. etc. of course all of them under one "over-all" tempo.
there is a story of beethoven..which seems supported by accounts of his time: when he was conducting some works of his, he WAS known to gesticulate much, even JUMP so high or bend down so low (for pianississimo) that the players couldn't see him anymore...maybe that will give people an idea of how "wild" he might have been in his conceptions and how truly earthshaking in music tradition some of his "bold" ideas were, including on interpretation.
he was famous as an improviser who was said to create STORMS and whild rides.
let us not be too judgemental of fellow pianists. I have known ALL the works of beethoven from very strict traditions of playing , but i am always open to others so long as they are SINCERE in their playing.
if people both have played ALL the works of beethoven, they can understand from his history also that there is a connection to why beethoven discarded "metronomes" after finding they were useless for "maintaining" tempo. he then declared indicated tempi are towards the IDEA of the music rather than actual "metronome regularity". a real understanding of beethoven IMPLIES FLEXIBILITY within a strong inner rythm sense through the bigger structure.
Overall a well-performed piece. I have one major concern. The opening melody is played with absolutely no dynamic contrast whatsoever. If I were to take out the bass and accompaniment and listen only to the melody, then it would sound like pounding. One suggestion that I would make: don't play it at all; SING IT!!
i like the way you play this piece... i just started to learn it for a bit of ''light'' reading after passing my grade7 woop turns out its not that light tho.....
1. This melody has three parts to it: the melody, which is the most important, second in importance is the bass, and then finally the accompaniment. To me, the accompaniment was a tad too loud, and the bass too soft.
room resonant frequency at the recorders position, and I imagine the camera quality could give the illusion that certain notes were played louder or of similar imprecisions. It's hard, I think, to judge aspects of sound recorded under such uncontrolled circumstances. youtube conversion rate, upon upload, is also very low. I'm sure you already knew that, just adding in case you didn't.
A computer software would most likely interpret this much better. Give me a break !!!!
decozac59 1 year ago
very nice
unalegeli 2 years ago
i just remember nodame cantabile by hearing this wonderful music..
montiverds 2 years ago
good
amandalim78 2 years ago
Beehoven's music is the best example of the saying:
"the correct tempo is what the PARTICULAR phrase or section NEEDS". a lyrical section might NEED to have more "breathe" or space, or relaxation of tension..a thunderous one might need more "forward" motion..an "arrival section" might NEED more EMPHATIC holding before the closing "cadence"...etc. etc. etc. of course all of them under one "over-all" tempo.
tedly10027 3 years ago
there is a story of beethoven..which seems supported by accounts of his time: when he was conducting some works of his, he WAS known to gesticulate much, even JUMP so high or bend down so low (for pianississimo) that the players couldn't see him anymore...maybe that will give people an idea of how "wild" he might have been in his conceptions and how truly earthshaking in music tradition some of his "bold" ideas were, including on interpretation.
tedly10027 3 years ago
he was famous as an improviser who was said to create STORMS and whild rides.
let us not be too judgemental of fellow pianists. I have known ALL the works of beethoven from very strict traditions of playing , but i am always open to others so long as they are SINCERE in their playing.
tedly10027 3 years ago
What's up with that much rubato? That's not for this piece!
lizardcz 3 years ago
if people both have played ALL the works of beethoven, they can understand from his history also that there is a connection to why beethoven discarded "metronomes" after finding they were useless for "maintaining" tempo. he then declared indicated tempi are towards the IDEA of the music rather than actual "metronome regularity". a real understanding of beethoven IMPLIES FLEXIBILITY within a strong inner rythm sense through the bigger structure.
tedly10027 3 years ago
Thank you! I'm learning this piece right now and need a good example to listen to :D
cantareadio 3 years ago
anyone know if this piece should be played with the soft pedal down all the way?
lkggeorge 3 years ago
In the original score there is no instruction.
However it's possible to use it (with judgment! - certainly not down all the way).
horusun 3 years ago
Overall a well-performed piece. I have one major concern. The opening melody is played with absolutely no dynamic contrast whatsoever. If I were to take out the bass and accompaniment and listen only to the melody, then it would sound like pounding. One suggestion that I would make: don't play it at all; SING IT!!
zhangpianist 4 years ago
Only the theme and the bass are important. The middle notes (accompaniement) are a bit loud.
And yes, that is not easy ! The piano is also important for this.
The second part before the theme comes again is better.
grunthor31 4 years ago
This guy has talent, but the performance was a little rough. The final cord was rushed; I never like to hear Beethoven rushed.
talkingdonut 4 years ago
true..i read somewhere that beethoven worried most about a straight perfect tempo
4aggieharts 3 years ago
I love this movement.
MNBrink289 4 years ago
good!
jhon1b 4 years ago
i like the way you play this piece... i just started to learn it for a bit of ''light'' reading after passing my grade7 woop turns out its not that light tho.....
floettree 4 years ago
Here is my advice, from student to student:
1. This melody has three parts to it: the melody, which is the most important, second in importance is the bass, and then finally the accompaniment. To me, the accompaniment was a tad too loud, and the bass too soft.
loujay2129 4 years ago
room resonant frequency at the recorders position, and I imagine the camera quality could give the illusion that certain notes were played louder or of similar imprecisions. It's hard, I think, to judge aspects of sound recorded under such uncontrolled circumstances. youtube conversion rate, upon upload, is also very low. I'm sure you already knew that, just adding in case you didn't.
drcavacho 4 years ago
slow it down a bit and feel the 2 4
great job though otherwise
barelyapianist 4 years ago
I think the 2/4 rhythm isn't clear because the quadruplets are too sonorous. But to have a better rhythm it's advisable to slow the play up a bit.
Thank you
horusun 4 years ago
He must have a good teacher!
chopsticks7 4 years ago
that was flawless...good job
mozartsnum1fan 4 years ago
Beautiful.
chibagirl 5 years ago
I like this movement. Great to see and hear you playing it.
12thomas345 5 years ago
is the ost beautiful movement of the whole pathetique sonata dont u think?
jego38 4 years ago