To finish the piece, Beethoven kind of rolls the music like a snowball rolling down a hill getting larger and larger and then Bang!, we’re at the end. 1: Well folks, this is very NOT normAAL music…, Did you hear that the “sighs” came back after the huge crescendo? In fact, I think this music reaches a tragic pathos that is stronger than perhaps anything else Beethoven ever wrote. And of course, since it’s Beethoven, he does it…in absurdum…he does it for the WHOLE movement. They are all in a Major key. 10, No. The names of these patrons are preserved on the scores of Beethoven and Haydn and Mozart: van Swieten, Lobkowitz, Kinsky. Whenever I listen to this movement I hear the sorrowful, dramatic and ultimately terrifying dialogue between two lovers who are arguing about their relationship – and eventually, coming to the sad, immobilizing conclusion that it should end. The music turns and twist, it’s surprising and entertaining, exciting and energetic – without no real melodies or themes. This motive, the “sighs”, will come back at the end. 3 slow movement. And it makes quite an effect, a kind of “what the heck will happen now?”-moment: I will get a little technical here, but it’s fun and has a purpose: What you just heard was, in essence: 1) Octaves (meaning there are no harmonies, just ALWAYS the same notes played at the same time: first there are three D:s, then three C#s, etc. Piano Sonata 7, Op.10, No.3 Piano Sonata 8, Op.13, "Pathétique" Piano Sonata 8, Op.13, "Pathétique" (Brendel) Following the jaunty first phrases, a downward cascade of notes leads the left hand to one note below the lowest F then possible and the ensuing upward sweep carries us to a high F-sharp, also a note which did not exist on the restricted keyboards of the day. We have examples like this in many pieces, one of my favorite musical quote is in Leonard Bernstein’s wonderful, wonderful West Side Story. The same thing that makes us being so touched that we weep when we hear beautiful music, and then we say “oh, it was so lovely!” Lovely, to cry? I love how Beethoven “restarts” the octave-laughing theme and this time he stops it again, but in another, much more dramatic way. 3 sonata, but not entirely. 10 No. It’s also in the same key, D-minor: Why is tragedy such a horrible thing in real life and such a profoundly moving thing in music? It’s a pretty melody, bubbly, almost childish: This is typical of this movement. I agree with you that to be able to see the beauty in every-day life that´s great. 3 in D Major. 7 sonata there are the Op. But here the are, anyway…, Op. 10, No. When I then heard the attached music, I thought “nonono, THAT is rather a dialog!” Then I saw what you actually had written. 10, the No. There is nothing worse than a bunch of slow movements after each other, without the fast movements before and after. This was ONE comment, let’s call it a paranthesis. But isn’t fulfillment in life based on being able to see the beauty of every-day things? ), Now, this little phrase “There’s a place…” is “stolen” from who? Let’s take a look, or a hearing rather, at what happens next: 1) ALL the steps in the motion are now chords, instead of octaves, 3) sustained, connected notes, which is called legato. Resignation is the word, indeed! Beethoven will use this little four-note motive, which by itself is nothing (really, nothing) and use it in every which way throughout the whole first movement. https://beethovensonatas.files.wordpress.com/2009/11/blogg10-3-2one.mp3, Op. Explain the rondo…. The full return to affirmation is confirmed by the last movement Rondo which opens with a teasing three-note question, repeated and then answered with what sounds like a Beethovenian improvisation on that motif. Give Now The movement ends with the spirit of hope and light using the little power it has left in a few heartfelt sighs at the top of the piano. Arriving at her tomb, he sees her laying dead, and after killing the man she was about to marry (he is there, too) he kills himself. Beethoven sometimes strikes me like a magician, who asks his audience “who can give me the simplest, silliest motive?”. Enter your email address to subscribe to this blog and receive notifications of new posts by email.

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