András Schiff - Sonata No.15 in D, Op.28 "Pastoral" - Beethoven Lecture-Recitals

András Schiff - Beethoven Lecture-Recitals
Wigmore Hall (London, UK), 2004-06
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004-06 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available below as eight audio lecture-recitals.
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[@tinkerchel]

LECTURE NOTES: --------------1st movt--------------- 1. @0:52 the timpani strokes 2. @1:59 the first phrase of this sonata, Beethoven at his non-4-square best: 10, 10, 8, 8, 4. 3. @2:54 transition to the second subject: 4 voices like a string quartet 4. @4:37 Schubertian 5. @6:08 closing theme with oboe then horns 6. @7:35 counterpoint in the left hand 7. @8:14 a composition method of foreshortening, where smaller and smaller sections of the theme is used 8. @9:05 inversion of the 3-note-motif 9. @9:54 a frightened little child drops his head in through the door --------------2nd movt: liede ABA------------ 10. @12:12 bass ostinato sempre staccato, oboe which is a combination of a chorale & a march 11. @14:09 dissonant diminished 7th chords 12. @14:46 cheerful middle B section: pastoral elements of bird song, horned first then answered by the flute. Nightingale🐦🎶~ 13. @15:55 variation of A 14. @16:24 coda: 🐦returns but not so chirpy any more 15. @17:20 you have the lowest & highest register of the keyboard --------------3rd movt: scherzo------------ 16. @18:01 string quartet: 1st violin, 2nd violin, viola, cello. Tonic, sub-dominant, dominant, tonic. 17. @19:17 trio: a simple little dance. 4 different ways of harmonizing it. --------------4th movt: rondo-------------- 18. @20:21 bagpipe 19. in swinging 6/8 time, same as the "Pastoral" symphony 20. @22:29 a beautiful development session that's very Bachian, and foreshadows the late Beethoven 21. a virtuosic coda

[@leilathomas2536]

Thank you for these notes! I'm currently learning the piece and I find your notes very helpful

[@tinkerchel]

@@leilathomas2536 happy to have helped~good good luck with your playing(´ฅ•ω•ฅ`)

[@zitronensorbet2067]

Thank you so much for uploading this great lecture!

[@luizg8034]

amazing interpretation and information! and he plays it so well... i wonder if there's anywhere i can hear him play it all the way through

[@benchuu1014]

He recorded the 32 sonatas! It is on Spotify. Easy to find. Enjoy it!

[@jordidewaard2937]

Actually pretty interesting video if you're learning the piece

[@MrGeencie]

Listening to this in .5 speed for historic tempo :]

[@fink7968]

you should really do a bit more research into Wim Winters and doublebeat before assuming that his work is in anyway legitimate. We can listen to the recordings of Schnabel, whose teacher studied with Carl Czerny. Are we meant to believe that Leschetizky randomly decided to play/teach these works at double the tempo of his supposed double beat teacher? Are we to believe that people who spent 6-8 hours a day in front of a piano couldn't figure out how to play quickly? Wim Winters has a bias towards extremely slow tempi and tries to feels justified in this bias by rooting through history for documents from obscure teachers that happen to support his bias.

[@avivdor1454]

"Historic Tempi" with Beethoven don't really make sense to me because when he started to write metronome markings he wrote fast tempos. Most of them are actually played too slowly most often! e.g. the Hammerklavier sonata is marked "Allegro" at 138 bpm.

[@antoniosilva7083]

At 0.5 András voice seems that of a drunk man. So, music become drunk too. And Wim?