Beethoven - Moonlight Sonata (By J.Ledesma) скачать в хорошем качестве

Beethoven - Moonlight Sonata (By J.Ledesma)

José Ledesma plays 1st Mov. The Piano Sonata No. 14 in C♯ minor "Quasi una fantasia", op. 27, No. 2, by Ludwig van Beethoven The sonata, which is in three movements, as most sonatas of the classical period, is best known for the first movement, Adagio sostenuto (there are about 10 times as many recordings of it than there are of the whole piece). 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. The work was very popular in Beethoven's day, to the point of exasperating the composer himself, who remarked to Carl Czerny, "Surely I've written better things. Beethoven’s “Moonlight sonata”, a name coined by German music critic Ludwig Rellstab after Beethoven’s death, is one of the most widely known classical music pieces, and has been since it was composed some 200 years ago. The descending bass-line, characterising the introduction, sometimes called the Phrygian progression, (which it, strictly speaking, isn’t in this case, because it detours to subdominant f-sharp before reaching the target dominant g-sharp), had been used long before Beethoven: Adagio from a Sonata by Albinoni, written 100 years earlier And thus, borrowing the idea of this baroque rhetoric figure, Beethoven starts his Sonata. But what really captured the public’s heart was the ever-imploring polyrhythmic motif making up the main theme. Both the perpetual triplets and the polyrhythm were copied out of Mozart’s score – from the Commendatore’s death scene in ‘Don Giovanni’. #MúsicaDeRelajación #MúsicaDemeditation #MúsicaTibetana #MúsicaChamánica #MúsicaSanación #MúsicaClasica