Beethoven - Piano Sonata No. 4 in E-Flat Major, Op. 7 (Feinberg) скачать в хорошем качестве

Beethoven - Piano Sonata No. 4 in E-Flat Major, Op. 7 (Feinberg)

Beethoven’s Sonata No. 4 is the first truly “great” sonata of his (that is to say, the three before are also great in their own way), and it is also the first sonata to be given its own opus number. Despite its brilliance and radicalness, it is somewhat underappreciated compared to the sonatas surrounding it. While none of B.'s sonatas can really be considered as “obscure,” the fourth is definitely one of the lesser-known sonatas. The sonata consists of four movements, which seems to progressively transition from orchestral to pianistic. Movement 1 is essentially an orchestral work transcribed for solo piano; it’s easy to imagine the moment at 4:46 as an orchestral tutti, the repeated Eb in the left hand at 4:56 as the brass, and the hollow octave melody at 3:03 as the woodwinds. It's one of B.'s most exciting movements, and it's really a miracle how well constructed and textured the whole movement is. Movement 1 also seems to foreshadow the next four movements; the main theme being the fourth, the C Major outburst at 1:18 being the second, and the splash of the minor 9ths being the third. Movement 2 is also orchestral in nature, but not in the same grand sense as the first. There's definitely orchestral textures e.g. full chords, cello-like accompaniments, but the movement is more meditative and definitely a lot more generous with the pauses. The movement also features some unusual writing, such as the eerie pianissimo chirps at 9:31 that interrupts the gaps between phrases. Movement 3 is one of my personal favorite Beethoven scherzos. It’s all about contrast; the light, playful scherzo of the outer sections against the dark, uncompromising trio of the middle section labeled "Minore." The trio seems to appear out of nowhere; after a single B-flat that interrupts the silence, a haze of muddy broken chords splashes across the music like a tidal wave. The occasional sforzandos and crescendos become more frequent as the passage progresses, and after fading into a delicate pianississimo, the scherzo returns and the trio vanishes just as quickly as it arrived. Movement 4 is the most pianistic of the four movements (though perhaps except the crescendo chord at 21:23, which is only possible with wind/string instruments). The coda stands out as one of Beethoven’s warmest and most genius passages, featuring a return of the main theme in the “wrong key” and transforming the fierce, mechanical second episode into a glorious river of peace and comfort. Feinberg's playing here is one of the most convincing I've heard. His first movement is full of raw energy yet still retains phenomenal control and refined tone. His second movement is dignified with the appropriate rubato in all the right spots. His third movement is extremely slippery and fluid, and the trio is not overly dramatic and surprisingly very poetic. And finally, Feinberg brings out the gentle humor and generosity of the fourth movement perfectly. His rhythm is very flexible, yet they never interrupt the flow nor degrade the precision needed for this sonata. 00:00 - First Movement 06:26 - Second Movement 14:16 - Third Movement 19:20 - Fourth Movement Composer - Ludwig van Beethoven Composition - "Grand Sonata "Piano Sonata No. 4 in E-Flat Major, Op. 7 Year of composition - 1796 Performer - Samuil Feinberg Year of performance - 1961 _________________________________________________________________________________________________ All credits go to their respective owners. Audio source -    • Samuil Feinberg plays Beethoven Piano...