1st Movement: The Structural Lines Grow Blurrier

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來自 Curtis Institute of Music 的課程

Exploring Beethoven's Piano Sonatas Part 3

49 個評分

Curtis Institute of Music

Exploring Beethoven's Piano Sonatas Part 3

49 個評分

Welcome to Part 3 of Exploring Beethoven's Piano Sonatas! I'm delighted to launch another set of new lectures of this course as Part 3. As before, this class is meant for people of all levels of experience with Beethoven's music (including no experience at all!). Remember that you are able to watch the lectures as many times as you like, at whatever pace is comfortable for you. As I’ve done with the first two sets of Beethoven lectures, I look forward to meeting with students—online and in person, in various cities. The dates and locations will be posted in the Announcements and Events section, as part of the course content. So please remember to check back there for details. In these four new lectures, we will explore the following sonatas: • Sonata Op. 10, No. 1 • Sonata Op. 22 • Sonata Op. 31, No. 2 • Sonata Opp. 78, 79, 81a The Dolfinger-McMahon Foundation supports Curtis’s lifelong learning initiatives.

從本節課中

op. 31 no. 2

Op. 31 no. 2: An Adventurous, Unsettling Masterwork3:04

1st Movement: A Recitative hat is not a Recitative; An Introduction that is not an Introduction7:28

1st Movement: A Confrontation of Opposites7:33

1st Movement: The Structural Lines Grow Blurrier7:23

1st Movement: And Finally, the Recitative!10:04

2nd Movement: Harmonic and Emotional Stability at Las3:20

2nd Movement: Evoking Voices and Instruments7:33

2nd Movement: Exploring the Piano’s Extreme Registers3:57

3rd Movement: A Slow-Moving Perpetual Motion9:34

3rd Movement: Anxiety and Ambuguity8:38

與講師見面

Jonathan Biss
Neubauer Family Chair in Piano Studies
Performance Faculty

When the repeat of the exposition comes to an end,

and we begin the development, we do so with yet another

largo arpeggio, which isn’t any longer a surprise: we’ve had two of them in the exposition,

after all, so counting the repeat, it’s appeared four times by now.

(MUSIC)

The continuation, however, is a huge surprise –

this movement, it seems, has an infinite capacity to surprise.

(MUSIC)

In the exposition, each time that largo arpeggio came,

it was followed immediately by the propulsive allegro.

(MUSIC)

Now, instead, we get not just one arpeggio (MUSIC),

but a second (MUSIC),

and a third (MUSIC).

Really, this is hugely destabilizing.

After the first arpeggio, the exposition has conditioned us to expect this (MUSIC).

We already knew that the arpeggio was not "merely" an introduction:

that notion was shattered when it recurred six bars into

the piece. But it had always been...contained. It was always just the one arpeggio, and then

we moved on to other business, the orderly, if highly agitated music of the allegro. Now,

we get three arpeggios, one immediately following the other,

each one more harmonically remote than the last.

(MUSIC)

The arpeggio’s presence, peppered throughout the exposition, was already

highly unusual, but now it is growing, like a cancer on the piece, causing the form itself

to list badly. I think the comparison with the Pathetique is once again instructive.

The slow introduction did indeed come twice more, which was at that point without precedent.

But each appearance was shorter – dramatically shorter – than the one before.

Here in the Tempest, the opposite is happening. The largo, contained at first,

has now tripled in size.

It’s probably not a great surprise that this triple-size, ghoulish

interruption has the effect of taking us FAR from home, harmonically speaking. When the

allegro comes storming back, we are not in the tonic of d minor, or the dominant a minor

that the exposition ended in, but the distant port of F# minor.

So, A minor:

(MUSIC)

F# minor.

(MUSIC)

So, really, the drama of the development –

and boy, is there drama – it comes right at the top.

The seismic events are those three successive arpeggios,

and then that where-are-we key of f# minor.

But everything else I played, while hugely intense, follows the script for developments

that we already know. It uses material straight out of the exposition,

(MUSIC)

and its primary function is to get us out of the harmonic morass

we landed in, and back to the dominant.

(MUSIC)

When we do get there, it turns out to be a LONG dominant – nothing in this

movement happens easily. And nothing in it happens quite normally, either.

Since the PIECE itself didn’t begin on a d minor chord, or, you know,

with a standard allegro,

of course the recapitulation can’t begin that way either.

(MUSIC)

No, our goal is that opening arpeggio (MUSIC), which means that

the "return", such as it is, is not going to provide a sense of closure or security.

It comes, instead, by way of another slowdown, another instance

of the piece’s momentum grinding nearly to a halt.

(MUSIC)

It's a homecoming in the sense that it's the recapitulation.

But a homecoming isn’t joyous if home isn’t a place

where you want to be, a place where you feel safe.

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