Beethoven: Sonata No.10 in G maj, Op.14 No.2 (Kovacevich, Yokoyama) скачать в хорошем качестве

Beethoven: Sonata No.10 in G maj, Op.14 No.2 (Kovacevich, Yokoyama)

B.’s 10th is one of those sonatas whose lyricism and gentle humor belie its exquisite craftsmanship. The first movement, for instance, has several themes that are certainly distinct (the first is rather Bachian, the second is arch-typical Viennese, the third is duet-like), but they’re definitely not contrasting in the classical sense of the word. And there’s a cunning rhythmic trick played right from the opening bar, where the theme actually enters half a beat earlier than you hear it (you’ll definitely hear the first beat on the LH G; try listening to it “correctly” and the whole movement will transform in your head), which sets up a subtle but definite moment of rhythmic disorientation when the high melody enters in m.4. And in a sly acknowledgement of this trick, B. actually corrects this deceptive rhythm in the coda. The second movement is the first theme-and-variation movement B. would put in his sonatas, and is pretty explicitly humorous, though some variations are straightforwardly lyrical (it is also one of those things that reacts well to nearly any interpretive liberty). The final movement, like the first, begins deep in rhythmic ambiguity, although unlike the first movement this ambiguity is not hidden. The ingenuity with which B. uses modulations and plays with rondo form here is pretty wonderful: the coda, for instance, contains the final third episode and return of the theme. Like the second movement, the third movement has a funny ending: it builds up to a big brilliant finish, but instead evaporates with a turn in the bass. MVT I, Allegro EXPOSITION 00:00 – Theme 1 00:11 – Transition theme 00:38 – Theme 2 01:10 – Cadence Theme DEVELOPMENT 03:13 – Theme 1, G min, moving into Bb 03:29 – Theme 2, Bb 03:39 – Theme 1 in Ab in bass, revealed to be Neapolitan of G min. Modulates into Eb, then pauses on dominant 04:07 – Theme 1. Eb, diverted with 3 extra bars to modulate into G min 04:20 – Pedal on dominant established, with dramatic RH figuration (and an inversion of the cadence theme in the LH upper voice). At 4:31 dominant preparation, using Theme 1 RECAPITULATION 04:47 – Theme 1 04:59 – Transition Theme 05:31 – Theme 2 06:02 – Cadence Theme CODA – 06:23, with Theme 1 set in a new rhythmic angle so you hear it correctly for the first time. MVT II, Andante 06:48 – Theme. First strain comic (each phrase ending on dominant), second lyrical 07:55 – Var.1 09:00 – Var.2 (listen to Yokoyama on this) at 10:02, a short bridge 10:10 – Var.3 (again, Yokoyama is incredible on this) MVT III, Scherzo: allegro assai 11:06 – Theme (note its harmonic and rhythmic deceptiveness) 11:24 – Episode 1 11:39 – Theme 12:03 – Episode 2 12:33 – Theme (in wrong key!), moving back into tonic. At 13:19, another modulation, into F maj, before another quick return to G. 13:34 – CODA/Episode 3, in brilliant concertante style, which nonetheless ends with a lightly humorous touch, quoting a motif from the theme deep in the bass. If the new material introduced here is of Episode 3, then the closing refrain can be read as the final return of the theme, with a Lydian flavor.