Barenboim: Beethoven - Sonata No. 16 in G major, Op. 31 No. 1

[@frédéricchopinFan.9479]

I love the semidemiwemibemihemidemisemiquavers at the second movement.

[@Ummm6126]

amazed by the quality of recording. It was 1983 !

[@redrakham8060]

This is such a beautiful amazing sonata!

[@snezhaasenova3463]

Oh, I like this interpretation of the Beethoven’s Sonata 16 G-Dur op.31, it’s the best I’ve heard of this piece. Brilliant technique, artistic sense, right dynamics, logical tempos etc. Very high class of performance!

[@shouyunzhang6475]

Nice! Amazing! Awesome!

[@FredHMusic-gr7nu]

This is the happy, comical side of beethoven that people easily forget about. Nonetheless, It's an amazing composition.

[@mirrors1]

Beethoven, despite all that he did not have from everyday life, also knew how to laugh and was also capable of self-mockery. He called himself "the Spagnoletto" because of the dark complexion of his face due to the vailo he had contracted as a child.

[@user-kk9hc7um8s]

​@@mirrors11:48 😮

[@josuepinos2747]

Superb!

[@SorokaAlexey]

Thank you for this channel

[@Euroarts]

Thank you for your comment! We are glad you enjoy our content :)

[@justaharmlesspotato69]

EuroArtsChannel Actually, Your channel is amazing!

[@luisrosa6250]

thanks for the video!

[@FredHMusic-gr7nu]

Also, why did you play play louder? 😂😂😂

[@matthewquan1529]

Because I like it.

[@billyfisher1539]

@@matthewquan1529 WHAT IS THE DYNAMIC, WHAT IS THE DYNAMIC?!?!?!?!

[@junong951]

@@matthewquan1529 I'm very sorry, but with all due respect, it is not good enough.

[@eduardocortes3082]

Sublime

[@volkerf.sesselmann6783]

wie immer, ganz weit vorn für meinen persönlichen Geschmack

[@RonojitBhuyan]

Master!

[@ainkim8247]

6:47 18:03

[@МахфузаАбдуллаева-б7п]

Zõr cholingan lekin nega yuklab bõlmaydi

[@user-ru2cf7mw8q]

18:05

[@ainkim8247]

0:20

[@georgenorris2657]

The first movement of this piece is beyond irritating. Beethoven trying to be funny in a very clodhopping way. The slow movement on the other hand is lovely and Barenboim plays it beautifully.

[@mirrors1]

Ain't it fun in a clod hopping way. But have you seen what he managed to come up with using a simple chord and backlash? In Beethoven it sometimes happens that what matters are not the themes, but the things that he manages to get out of them despite their simplicity. The second "thematic idea" that comes up at bar 64 is a brilliant and amusing mockery of the melodies of operas that were fashionable at the time. Except that he then makes something out of it that no other composer would have been able to do. In fact it switches to the left hand and in a minor key. Experimental sonata, someone called it. There is nothing experimental: great genius in drawing unthinkable music with materials that others would not even have considered. There is a point, always in the first movement, where something unexpected happens: the discourse becomes contrapuntal and harmonically very complex. Beethoven is showing that even the funny can become profound and problematic.

[@sjy2205]

@@mirrors1 This is a very convincing response . . . until I listen again to the actual piece. I love lots of Beethoven. My irritation with that damned first theme trumps the brilliance of his invention. Actually, another sonata like this is the C minor op 10 no.1. That first theme comes round just too often in the same kind of way although Beethoven wasnt trying to clodhop there. I'm probably just showing my age.

[@mirrors1]

@@sjy2205 Hello. The main theme of the Sonata op 10 n. 1 has such a marked character from the rhythmic point of view as few. In its original form it returns only in the Ripresa, just before the CODA. Every time his melodic drawing returns, Beethoven takes care not to reproduce it identical: at bar 22 he inverts the notes of the Tonica triad, as well as at bar 26 (with a procedure that Bach often uses). The theme returns to the beginning of DEVELOPMENT, but in a MAJOR KEY and then takes the first part and uses the notes of the diminished seventh chord. Then it is enough, only, as said before, in the so-called RIPRESA of the Sonata-form. In the CODA he uses the first 3 notes of the theme in progression to be able to finish in an expressive and extremely rational way. Sorry if I bored you. Your age? How old are you?

[@sjy2205]

@@mirrors1 Yes you are quite right about the care that he takes. I am sure that B. himself realised that the theme comes too often. I have played this piece and there are many lovely parts to it - p

[@peternorton3399]

No matter what Beethoven s motive was, this sonata is one of his best. Irritating???? such a rude comment.