#Sonata No. 30 in E Major Op 109: I | Explore Tumblr posts and blogs

innervoiceart · 11 months ago

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Piano Sonata No. 30 in E Major, Op. 109: I. Vivace ma non troppo - Adagio espressivo · Éric Heidsieck

Beethoven: Piano Sonatas Nos. 30 & 32 Remastered 1995 Warner Music France

Piano: Éric Heidsieck

Composer: Ludwig van Beethoven

#youtube #Beethoven #Sonatas #Sonata No. 30 in E Major Op 109: I #Vivace ma non troppo - Adagio espressivo #piano #classical music #music loves #ludwig van beethoven #Éric Heidsieck

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annoyingthemesong · 5 years ago

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Gould is considered one of the greatest interpreters of Bach and Beethoven, and my appreciation of him stops there. He was a technical genius, and a restless intellectual (his documentaries on various non-musical subjects are as engrossing and stimulating as Leonard Bernstein’s Harvard lectures - these men were brilliant thinkers, not just great musicians.)

But for the life of me I can’t get through his interpretations of Mozart, and even many of his Bach or Beethoven pieces, which are played so quickly and daringly that I fail to enjoy them as ‘music’, and instead hear them as mind puzzles, from a man whom was so technically proficient and genius at his craft, that he appears to be simply working to push and surprise himself, instead of please an audience.

His own stately, atonal, and strange compositions were also quite.. Bad, Schoenberg-like rip-offs, and especially considering how intensely he disparaged composers such as Mozart, Ravel, Liszt, Debussy, Chopin, Schubert (who ‘couldn’t write for the piano!’) His was a brainy approach to music; he valued technical complexity often at the expense of pure listening pleasure, and didn’t seem to grasp the value of what say, Chopin or Liszt could evoke from the instrument, or the sorts of dream-like states Ravel or Debussy could create in the listener. He was very strict in the type of piano music he liked, and liked to play.

That said, I have probably listened to his Goldberg Aria more than any other piece of classical music as of late, and his re-composed Beethoven Sonata in E Major is one of my favorite interpretations.

#classical #classical music #glenn gould #beethoven #music #piano

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viendiletto · 6 years ago

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I love your blog and you seem to be such a knowledgeable person!!! Could you suggest me some books, music, essays or biographies that you love? You're a big inspiration for me 🖤

Thank you so much, love! I hope you will read and listen to some of these, then!

Novels:

Il Piacere by Gabriele d’Annunzio

Notre-Dame de Paris by Victor Hugo

L’homme qui rit by Victor Hugo

Die Leiden des jungen Werthers by Johann Wolfgang von Goethe

Les amitiés particulières by Roger Peyrefitte

La dame aux camélias by Alexandre Dumas

Ultime lettere di Jacopo Ortis by Ugo Foscolo

Le Fantôme de l'Opéra by Gaston Leroux

Le Petit Prince by Antoine de Saint-Exupéry

L'Histoire du chevalier des Grieux et de Manon Lescaut by AntoineFrançois Prévost

Historia novellamente ritrovata di due nobili amanti by Luigi da Porto

Le sang noir by Louis Guilloux

Malombra by Antonio Fogazzaro

Quaderni di Serafino Gubbio operatore by Luigi Pirandello

Les amitiés particuliers by Roger Preyfette

Music:

Ernani (opera) by Giuseppe Verdi

Giovanna d’Arco (opera) by Giuseppe Verdi

Luisa Miller (opera) by Giuseppe Verdi

Rigoletto (opera) by Giuseppe Verdi

Il Trovatore (opera) by Giuseppe Verdi

La Traviata (opera) by Giuseppe Verdi

Aida (opera) by Giuseppe Verdi

Otello (opera) by Giuseppe Verdi

Mazurkas by Fryderyk Chopin

Ballad No. 1 in G minor, Op. 23 by Fryderyk Chopin

14 waltzes by Fryderyk Chopin

Scherzo No. 2 in B flat minor, Op. 31 by Fryderyk Chopin

Scherzo No. 4 in E, Op. 54 by Fryderyk Chopin

19 nocturnes by Fryderyk Chopin

Symphony No. 3 in F major, No. 90 by Johannes Brahms

String quartet in D minor, D. 810 by Franz Schubert

String quartet in G minor, D. 887 by Franz Schubert

Inspiration a Baveno, Op. 4a by Marco Enrico Bossi

Cello suite No. 5 in C minor, BWV 1011 by Johann Sebastian Bach

Cello suite No. 2 in D minor, BWV 1008 by Johann Sebastian Bach

Toccata in D minor, BWV 913 by Johann Sebastian Bach

Matthäus-Passion by Johann Sebastian Bach

Johannes-Passion by Johann Sebastian Bach

Violin sonata No. 1 in G minor, BWV 1001 by Johann Sebastian Bach

Sonata No. 2 in E minor by Benedetto Marcello

Sonata No. 3 in A minor by Benedetto Marcello

Sonata No. 4 in G minor by Benedetto Marcello

Piano sonata No. 23 in F minor, Op. 57 by Ludwig van Beethoven

Piano sonata No, 30 in E, Op. 109 by Ludwig van Beethoven

Four Seasons by Antonio Vivaldi

Tosca (opera) by Giacomo Puccini

Manon Lescaut (opera) by Giacomo Puccini

Crisantemi by Giacomo Puccini

I Capuleti e i Montecchi (opera) by Vincenzo Bellini

Sei ariette da camera dedicate a Marianna Pollini by Vincenzo Bellini

Symphony in B flat major by Vincenzo Bellini

Lucia di Lammermoor (opera) by Gaetano Donizetti

Requiem, Op. 48 by Gabriel Fauré

Élégie, Op. 24 by Gabriel Fauré

Dido and Aeneas (opera) by Henry Purcell

The Gordian Knot Unty’d by Henry Purcell

Serenade in B flat, K. 361 by Wolfgang Amadeus Mozart

Mauerische Trauermusik, K. 477 by Wolfgang Amadeus Mozart

Requiem in D minor, K. 626 by Wolfgang Amadeus Mozart

Piano concerto No. 22 in E flat major, K. 482 by Wolfgang Amadeus Mozart

Adagio and fugue in C minor, K. 546 by Wolfgang Amadeus Mozart

Great mass in C minor, K. 427 by Wolfgang Amadeus Mozart

Symphony in A minor, K. 16a by Wolfgang Amadeus Mozart

Quartet in C major, K. 465 by Wolfgang Amadeus Mozart

Giselle (ballet) by Adolphe Adam

Miserere by Gregorio Allegri

The Sleeping Beauty, Op. 66 (ballet) by Pyotr Ilyich Tchaikovsky

Damia (French singer)

Dalida (Italian-French singer)

Yves Montand (Italian-French singer)

Luigi Tenco (Italian singer)

Tefta Tashko (Albanian singer)

Roberto Murolo (Italian singer)

Maria Carta (Italian singer)

Ámalia Rodrigues (Portuguese singer)

Asmahan (Syrian singer)

Fabrizio De André (Italian singer)

Françoise Hardy (French singer)

Imperio Argentina (Spanish-Argentinean singer)

Lina Termini (Italian singer)

Marie Laforêt (French singer)

Édith Piaf (French singer)

Umm Kulthum (Egyptian singer)

Rezső Seress (Hungarian singer)

Barbara (French singer)

Essays:

I benandanti. Ricerche sulla stregoneria e sui culti agrari tra Cinquecento e Seicento by Carlo Ginzburg

Italienische Reise by Johann Wolfgang von Goethe

Anonimo Gaddiano

Libro dell’arte by Cennino Cennini

Biographies:

Ma double vie by Sarah Bernhardt

Lucrezia Borgia, la sua vita e i suoi tempi by Maria Bellonci

Elisabeth, Kaiserin wider Willen by Brigitte Hamann

L’impératrice by Nicole Avril

#ask #anonymous

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sonyclasica · 4 years ago

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RUDOLF BUCHBINDER

RUDOLF BUCHBINDER PLAYS BEETHOVEN

El pianista publica la colección de 9 CDs Rudolf Buchbinder Plays Beethoven el 30 de octubre.

9 CD DISCO 1 - CD

Piano Sonata No. 1 in F Minor, Op. 2, No. 1

1 I. Allegro

2 II. Adagio

3 III. Menuetto. Allegro

4 IV. Prestissimo

Piano Sonata No. 2 in A Major, Op. 2, No. 2

5 I. Allegro vivace

6 II. Largo appassionato

7 III. Allegretto

8 IV. Rondo. Grazioso

Piano Sonata No. 3 in C Major, Op. 2, No. 3

9 I. Allegro con brio

10 II. Adagio

11 III. Scherzo. Allegro

12 IV. Allegro assai

DISCO 2 - CD

Piano Sonata No. 4 in E-Flat Major, Op. 7

1 I. Allegro molto

2 II. Largo

3 III. Allegro

4 IV. Rondo

Piano Sonata No. 5 in C Minor, Op. 10, No. 1

5 I. Allegro molto e con brio

6 II. Adagio molto

7 III. Finale. Prestissimo

Piano Sonata No. 6 in F major, Op. 10/2

8 I. Allegro

9 II. Allegretto

10 III. Presto

DISCO 3 - CD

Piano Sonata No. 7 in D major, Op. 10/3

1 I. Presto

2 II. Largo e mesto

3 III. Allegro

4 IV. Rondo. Allegro

Piano Sonata No. 8 in C Minor, Op. 13, "Pathetique"

5 I. Grave - Allegro di molto e con brio

6 II. Adagio cantabile

7 III. Rondo: Allegro

Piano Sonata No. 9 in E Major, Op. 14, No. 1

8 I. Allegro

9 II. Allegretto

10 III. Rondo. Allegro comodo

Piano Sonata No. 10 in G Major, Op. 14, No. 2

11 I. Allegro

12 II. Andante

13 III. Scherzo. Allegro assai

DISCO 4 - CD

Piano Sonata No. 11 in B-Flat Major, Op. 22

1 I. Allegro con brio

2 II. Adagio con molta espressione

3 III. Minuetto. Minore. Minuetto

4 IV. Rondo. Allegretto

Piano Sonata No. 12 in A-Flat Major, Op. 26

5 I. Andante con variazioni

6 II. Scherzo

7 III. Marcia funebre

8 IV. Allegro

Piano Sonata No. 13 in E-Flat major, Op. 27, No. 1

9 I. Andante. Allegro

10 II. Allegro molto e vivace

11 III. Adagio con espressione

12 IV. Allegro vivace

Piano Sonata No. 14 in C-Sharp Minor, Op. 27, No. 2, "Mondschein"

13 I. Adagio

14 II. Allegretto

15 III. Presto

DISCO 5 - CD

Piano Sonata No. 15 in D Major, Op. 28

1 I. Allegro

2 II. Andante

3 III. Scherzo. Allegro vivace

4 IV. Rondo. Allegro ma non troppo

Piano Sonata No. 16 in G Major, Op. 31, No. 1

5 I. Allegro vivace

6 II. Adagio grazioso

7 III. Rondo: Allegretto

Piano Sonata No. 17 in D Minor, Op. 31, No. 2

8 I. Largo. Allegro

9 II. Adagio

10 III. Allegretto

DISCO 6 - CD

Piano Sonata No. 18 in E-Flat Major, Op. 31, No. 3

1 I. Allegro

2 II. Allegretto vivace

3 III. Menuetto

4 IV. Presto con fuoco

Piano Sonata No. 19 in G Minor, Op. 49, No. 1

5 I. Andante

6 II. Allegro

Piano Sonata No. 20 in G Major, Op. 49, No. 2

7 I. Allegro ma non troppo

8 II. Tempo di Menuetto

Piano Sonata No. 21 in C Major, Op. 53, "Waldstein"

9 I. Allegro con brio

10 II. Adagio molto

11 III. Allegretto moderato

Piano Sonata No. 22 in F Major, Op. 54

12 I. Im tempo d'un Menuetto

13 II. Allegretto

DISCO 7 - CD

Piano Sonata No. 23 in F Minor, Op. 57, "Appassionata"

1 I. Allegro assai

2 II. Andante con moto

3 III. Allegro ma non troppo - Presto

Piano Sonata No. 24 in F-Sharp Major, Op. 78

4 I. Adagio cantabile. Allegro ma non troppo

5 II. Allegro vivace

Piano Sonata No. 25 in G Major, Op. 79

6 I. Presto alla tedesca

7 II. Andante

8 III. Allegro vivace

Piano Sonata No. 26 in E-Flat Major, Op. 81a

9 I. Adagio - Allegro

10 II. Andante espressivo

11 III. Vivacissimamente - Poco andante - Tempo I

Piano Sonata No. 27 in E Minor, Op. 90

12 I. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck

13 II. Nicht zu geschwind und sehr singbar vorgetragen

DISCO 8 - CD

Piano Sonata No. 28 in A Major, Op. 101

1 I. Allegretto ma non troppo

2 II. Vivace alla marcia

3 III. Adagio ma non troppo, con affetto

4 IV. Allegro

Piano Sonata No. 29 in B-Flat Major, Op. 106, "Große Sonate für das Hammerklavier"

5 I. Allegro

6 II. Scherzo. Assai vivace

7 III. Adagio sostenuto

8 IV. Largo. Allegro

DISCO 9 - CD

Piano Sonata No. 30 in E Major, Op. 109

1 I. Vivace ma non troppo

2 II. Prestissimo

3 III. Gesangvoll, mit innigster Empfindung

Piano Sonata No. 31 in A-Flat Major, Op. 110

4 I. Moderato cantabile molto espressivo

5 II. Allegro molto

6 III. Adagio ma non troppo. Fuga. Allegro ma non troppo

Piano Sonata No. 32 in C Minor, Op. 111

7 I. Maestoso

8 II. Arietta. Adagio molto semplice e cantabile

#rudolf buchbinder

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club78-blog · 5 years ago

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Hans Richter-Haaser * Beethoven

BEETHOVEN – Sonata No. 17 in D minor Op. 31 No. 2

I. Largo – Allegro

II. Adagio

III. Allegretto

BEETHOVEN – Sonata No. 30 in E major Op. 109

I. Vivace ma non troppo – Adagio espresivo

II. Prestissimo

III. Andante molto cantabile ed espressivo

Hans Richter-Haaser – piano

COLUMBIA – 33CX 1737

1960

MONO 24 Bit / 96 kHz

!!! The purchase of this record was made possible by money from the record pool

View On WordPress

#Richter-Haaser

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plusorminuscongress · 6 years ago

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Inquiring Minds: Aaron Diehl. Jazz Scholar, Keyboard Professor

Inquiring Minds: Aaron Diehl. Jazz Scholar, Keyboard Professor By Neely Tucker Published April 09, 2019 at 10:00AM

Aaron Diehl is the most recent virtuoso to play the Coolidge Auditorium as one of the Library’s 2018-2019 Jazz Scholars, taking the stage March 23. He also spent some time researching the archives.

The 32-year-old has put together a stellar career, leaping into the spotlight by making the finals of the Jazz at Lincoln Center’s Essentially Ellington competition when he was 17. His rolling, New Orleans-inflected chops, mixed with classical scholarship, caught the attention of Wynton Marsalis. Diehl, born in Columbus, Ohio, was the grandson of a pianist and started studying classical piano when he was seven. After Marsalis took note of him, he studied at The Julliard School, learning under heavyweights such as Kenny Barron and Eric Reed. In 2011, he won the American Pianists Association Cole Porter Jazz Fellowship — $50,000 and a recording contract.

He’s recorded four albums, the most recent of which is “Space Time Continuum” (2015), and his career continues to blossom.

We caught up with him as his research at the Library was wrapping up, a few days after his concert.

Photo credit: John Abbott

The term “jazz scholar” almost sounds like a professorial term, which I suppose is fine if we’re talking about Professor Longhair. How did you decide to use your time at the Library, what to look up, and what to dive into?

I had visited the Library of Congress for the first time at the end of 2016, when I was preparing for a touring program called “Jelly and George,” featuring the music of George Gershwin and Jelly Roll Morton. Larry Appelbaum was gracious in giving an introduction to the collection of both composers, but with my schedule in D.C. being limited to a few hours, I could barely scratch the surface. Fast-forward to my formal visit as a “jazz scholar” and it was even more overwhelming because I had two days of tours by various curators. Some of the highlights:

A 16th century book on Euclid (housed in the rare book collection)

A sketch and final manuscript of Ludwig Van Beethoven’s Piano Sonata No. 30 in E Major (Opus 109)

George Gershwin’s manuscript of Concerto in F and Rhapsody in Blue

A viola made by Antonio Stradivari

This was a general overview of the entire library, which gave me the chance to understand more about the scope of the collections so I can return for specific research.

Mozart and Beethoven: In looking at their scores, as a working musician now, what strikes you as most different (if anything) about how they worked and composed then?

I’ve seen facsimiles of Mozart’s scores. Very clear and neat. Same with Gershwin—you could basically hand those manuscripts to a musician and they could read it right off the page. Beethoven is another story. The sketch of Op. 109 was barely legible, and in final version I could maybe read the first 4 bars. Genius comes in all forms. He was the greatest of them, no doubt.

What were the surprises? What touched you the most?

The Guttenberg Bible. That changed the game for the dissemination of written text, sacred and otherwise.

Early jazz is mythologized so much. It’s easy to do, because the music is so fresh, so original. What parts of that music, those traditions, do you pull on in your own playing?

What first drew me to the music of early stride pianists like James P. Johnson, Luckey Roberts, et al, is the feeling of their left hands against a syncopated right hand. I somehow try to incorporate an underlying sense of momentum and groove in my own playing, even if it isn’t directly tied in to the stylistic language of early American piano.

Quick, without thinking: Five favorite New Orleans’ songs.

“Do You Know What It Means to Miss New Orleans?”

“New Orleans”

“Big Chief”

“Whistle Stop”

“The Pearls”

You actually got to play the Gershwin piano in the Gershwin Room. Wow.

“Wow” is right! And it’s in good condition!

You’ve played with a lot of great musicians, including Benny Golson. How does playing with a legend like that affect your performance when you’re on stage with him, if at all?

I really feel a connection to the ancestors playing with someone like Mr. Golson. I have only played with him a handful of times, but hearing that signature tone coupled with his illustrative stories about writing tunes like “Stablemates” and “Along Came Betty” is a priceless experience. That’s becoming more rare as great masters are leaving. On stage, I just try to take in the moment and learn as much as I can on the bandstand.

Lastly: It’s a Sunday afternoon. You’re by yourself, the piano is just over there. What would you be most likely to sit down and play?

Whatever comes to mind. Sometimes that’s just free improvisation. Exploration is the first step in creating structure for my practice routine.