Beethoven Sonata in C major, op. 53 "Waldstein." David Korevaar, piano. Live from Longmont скачать в хорошем качестве

Beethoven Sonata in C major, op. 53 "Waldstein." David Korevaar, piano. Live from Longmont

Day 21, Sonata 21-- 3 weeks' worth of Beethoven. The op. 53 Sonata was dedicated to Beethoven's longtime patron (going back to Bonn days) Count Waldstein, and his name has stuck to the piece ever since. It's a huge piece, but Beethoven's original conception was even bigger, with a full-fledged slow movement (published later as "Andante favori") that he discarded in favor of the "Introduzione" that precedes the Rondo. The piece also feeds off of the comic-opera and Shakespearean ideas of comedy that one can hear in the first and third sonatas of op. 31. Stylistically, it strikes me as being part of Beethoven's search for new ways to go forward. It feels transitional: he never really had written its like before, and he would never again write anything quite like it. It is obsessive, it is filled with material that is truly bare-bones (everything is a scale or a chord), it is virtuosic with a whole catalogue of crazy difficulties culminating in the octave glissandi and long trills of the coda of the finale. He experiments with a whole new sound world in the pedal effects of the last movement as well. And...my own pet idea...he borrows numerous elements from the Alla Turca style, with some not-so-subtle references to Mozart's Abduction from the Seraglio, especially in the finale (the opening theme is a fuzzy recollection of a passage from the overture, the first episode is a recasting of Osmin's rage music). The figurations of the first movement (wiggling thirds, repetitive rhythmic and harmonic figures) also refer to Alla Turca tropes. This is also the first of several sonatas (including the Appassionata and Les Adieux) that replace a full-fledged slow movement with an open-ended introduction to the finale--an interesting way of dealing with the growing length of the outer movements.