Beethoven: Sonata No.5 in C Minor, Op.10 No.1 (Jumppanen, Jando, Korstick)

This is one of B.’s most approachable sonatas - it’s not that difficult to play (unless you are absolutely determined to take the last movement at tempo), and comes close to matching the Pathetique for dramatic power (rhetorical silences, material presented in unison, dynamic contrasts). Like the other Op.10 sonatas, the first movement’s development section is largely built around new material. The second movement one of B.’s prettiest slow movements, built around an ABAB “sonatina” form, and the last movement is (again, common to all the Op.10 sonatas) especially enjoyable. It’s a surprising blend of fizzy nervousness and humour: you’ve got that cavalier, almost-bathetic ending, the accented landings on wrong harmonies in the second theme, frenetic tremolos, big dynamic swings, and a pretty menacing main theme - all presented at breakneck speed.
MVT I, Allegro molto e con brio
EXPOSITION
00:00 - Theme 1
00:26 - Transition Theme
00:47 - Theme 2. Its closing quotes the opening of Theme 1
01:13 - Cadential Theme
DEVELOPMENT
02:49 - Theme 1 in C = V of (iv)
03:00 - Development Theme. Containing motif (x) - C/B/Db/C/Bb/G - at 3:02.
03:14 - Sequential development of (x), which drifts into the LH.
03:31 - Dominant preparation
RECAPITULATION
03:38 - Theme 1
04:00 - Transition Theme, starting on extremely remote key of Gb.
04:20 - Theme 2, in F. At 4:30 extra bars wrench it into C min
04:59 - Cadential Theme
MVT II, Adagio molto
EXPOSITION
05:15 - Theme 1
06:18 - Transition
06:46 - Theme 2
RECAPITULATION
08:22 - Theme 1, with new ornamentation
09:23 - Transition, which moves into 6/4 of Fb, necessitating extra bars to return to home dominant
10:01 - Theme 2
11:26 - Coda. Theme 1 with gentle accompaniment, with tender new 4-bar clause. Then alternation between tonic/dominant, closing on 5 bars of tonic
MVT III, Finale: Prestissimo
EXPOSITION
13:04 - Theme 1, opening with M1
13:25 - Theme 2. At 13:38 cadential theme enters with M1 in LH
DEVELOPMENT
14:54 - M1, closely developed. Arrives at V of (iv), then eventually the home dominant diminished 7th
RECAPITULATION
15:08 - T1
15:30 - T2, in C. At 15:41 it suddenly moves into minor, which it never leaves again. The cadential theme at 15:43 now enters without tremolos, with M1 in RH.
CODA
16:02 - The closing cadence-figure moves into Db, where T2 is presented in the form of a slow melody. Pause on the local dominant
16:24 - Diminished 7th, turning into C min (this passage is heavily reminiscent of the Tempest)
16:34 - T2 + T1 combined in final passage with subdominant color. At its close the sonata simply evaporates.

[@danal81]

I couldn’t thank you enough for this outstanding cultural contribution to the youtube community

[@Alhapro]

This musical play is outstanding,but the youtube community offers yu nothing.Since yu can search and buy this piece of music on stores.Then start practising by yourself on it!!

[@afriendlymusician3829]

@@Alhapro He means how many pieces Ashish has posted with so many different intepretations. Being able to hear all of the intepretations is important. Ashish also provides excellent information regarding the piece's structure and other facts about it.

[@marechaljailson3298]

Someone know the functions of the chords on F clef in 86-87-86-89 (functional harmony)?

[@MrRjcosta]

Happy Birthday Beethoven: 250 years👏🏻👏🏻👏🏻🎼🎶🎶🎶💛😊!

[@oxiol3181]

@@marechaljailson3298 I would say it's 85: i 6 4 waiting for v i resolution, then 86: dominant of dominant, except that instead of a F it's a raised F, producing the dim 7 tension from v to i (F to Bb). In sum, that is just a long cadence (v/v > i 6 4 > v > i)

[@jackdauner9384]

Beethoven's 5th Symphony was born at 15:03. I'm preparing a presentation on this piece. this is one of my favourite recordings I've found so far! Thanks for sharing

[@TRIHEDRAL]

I have a special love for sonatas 1, 5, and 11 in particular because they show Beethoven's total mastery of the form he inherited from Hadyn and Mozart. Already by the 2nd sonata I can sense his ambitions to modify and personalize

[@silvagalstyan2096]

I played this 3 years ago. It's really amazing when you can make this music yourself and feel the real pleasure of this music 🎵🎵🎶🎶

[@hesuteravanesyan582]

Ani Israelyan barev

[@silvagalstyan2096]

Barev

[@silvagalstyan2096]

@Alexander Arutyunyan բարև ձեզ

[@roberacevedo8232]

Barev

[@leo32190]

Barev?!

[@PepperonibeatsZombie]

I searched this up for help with Theory hw so I could hear where each theme and transitions were. I did not expect the description to straight up tell me the answers to my homework lmao

[@zachbarry1992]

Funny moment lmao

[@ryanconnelly2696]

same boat pal

[@eleSDSU]

Holy shit, you are 100% right!

[@hildapolesel5828]

@GOODSPEED LI q

[@hildapolesel5828]

The he use uh

[@jorgelopez-pr6dr]

C minor, the key of destiny and struggle.

[@ryanconnelly2696]

also the key of updog

[@Anonkontello]

What’s U P D O G?

[@Anonkontello]

wait... NOOOOOOO

[@fatitankeris6327]

​@@JohnA.SuttonWhat's updog?

[@stormlong2629]

And despair

[@baconkid640]

If anyone is struggling with the fingering for the first 16th note passage in mvm 3, I found that 2321 2432 1213 2143 2 worked very well and didn’t require many awkward fingerings. :)

[@trvm1]

wow u are clever! i am currently learning this piece and i thought of the exact same fingering!

[@ar-pharazon1260]

I haven't tried that before, thats pretty neat! I currently use 2321 2432 1432 1432.

[@imdark7372]

@@ar-pharazon1260 same

[@plaguedoc7727]

1212 1321 3432 1432 also works

[@sofykreinyn9193]

Когда-то в юности играла эту чудную сонату. Получаю огромное удовольствие следить по нотам, тем более, что можно вернуться посмотреть и послушать. На концерте такого удовольствия не получишь. Молодцы, что такое сейчас есть на Ю тьюбе.

[@user-sm5nk3rk1r]

2:40 is calm and light, splendid.

[@dimitrisbouk]

Beautiful sonata!!!! My favorite part is 3rd movement. Thank you for uploading this video!!!!

[@loveclassicalmusicalot]

If you count the fact that the finale of the Sonata uses the Picardy third, then it's the first of many minor key Beethoven piano sonatas that ends in major. The other three minor key Beethoven piano sonatas that have a final movement that end in major are number 19, number 27 and number 32. All of those three have two movements.

[@aperson6934]

34:19 - Korstick Mvt 1 39:02 - Mvt 2 48:52 - Mvt 3

[@abc-dp3fo]

¡¡Muchas gracias por tu contribución a la comunidad de KZbin!! ¡Excelente video!

[@vid4622]

第1楽章の第1主題が、第2楽章の変奏曲後半でふと姿を現すという巧みな構成。 楽章内だけでなく、楽章同士の関連性を有機的なものとしたベートーヴェンの功績は本当に偉大です。

[@Lucacarrara3173]

My 2nd B. Sonata... I remember being mesmerized as I was learning the 2nd movement, beautiful music.

[@floridasfinestproductions4651]

What was your first

[@lascronicasdenadie]

Those annotations are so usefull, thanks.

[@wodzimierzwosimieta2758]

Jumppanen: 0:00 5:16 13:05 Jando: 16:46 22:06 30:00 Korstick: 34:20 39:03 48:53

[@pianobros3465]

Thank you!!

[@jinli4640]

🥸

[@Trooman20]

Thanks mate

[@bootman26]

The middle movment is exquisite.

[@anthonyc6017]

Wow that second movement is something else

[@wiffle2614]

No it’s awful

[@waggawaggaful]

Really interesting to hear the Haydn influences and (in my opinion) relative simplicity of the first sonatas in comparison to the late sonatas that are much more technically difficult to perform, packed full of complex and totally new musical concepts not clearly derivative of any sound or composer who came before. Beethoven's technical ability clearly progressed the longer he played, and the fact that it took him decades of performance to reach the technicality required to play the late sonatas gives me hope that I'll get better at playing those late sonatas with time.

[@user-yl8ql1in5f]

Beautiful play!! 너무 멋져요

[@TimFatchen]

This takes me back! Couldn't play it like this now but oh! to be 16 again and blowing away the rest of the competition with it at the championship piano solo for Adelaide Eisteddfod!

[@segmentsAndCurves]

Happy birthday Beethoven!

[@thedukeboi]

beautiful

[@josswindsor8288]

una muestra entre cientos de un joven artista reafirmándose en su arte

[@asianfailure]

3:37 scares me so much I love it

[@tarielkvitsiani181]

super!!! amazing!!!!! bravo!!! 👏👏👍

[@greylanders6101]

Wonderful!

[@wiffle2614]

I hate it

[@luminousharmony4000]

Hi! I played this around 1 month ago. I will be also be playing it for a a competition in a week. I am nervous because I don’t know if I would do good. I consider this piece pretty hard but once you get to know it, it will seem easy. To the wonderful, amazing learners out there, please remember that if you have any stressful situations, try to calm down and do what you like. If you are playing a hard piece, then try to break practices into little groups. It helps a TON for me! 😊

[@luminousharmony4000]

P.S my hands hurt now

[@luminousharmony4000]

Today is my competition 😬😬

[@ozichi._.]

How did it go? I'm sure you did great!​@@luminousharmony4000

[@321Lopper]

Thank you!!! So much in there. Bars 54-58 of the third movement seems to be the first appearance in Beethoven’s work of the “fate motif” which later returns in much grander works such as the 5th symphony, the appassionata and the 4th piano concerto, to name a few.

[@wiffle2614]

This song sucks

[@jordidewaard2937]

Ugh the clarity in those 16th notes in the final mvt is so hard to achieve

[@militaryandemergencyservic3286]

amazing sonata

[@richardgoldstein5600]

Yes, Beethoven's opus 10 is remarkable. Revolutionary even!

[@magnesium8996]

7:28 I like how the engraver makes the chord look so big and hard to play when its not

[@naturefruitmineralwater6307]

고맙습니다

[@massimourban]

Wow! Beautiful Sonata and video! 50:40...it sounds very simular to the first movement of Patetica.

[@jessielin518]

Good Job! 👍

[@abisagmunoz4583]

Hermosa musica 😉 😊

[@thongchaimaneesaithong8690]

It is good song. Very good !!!!!!

[@2sexyfomyshirt]

So I was watching frasier and heard him attempt this. I thought it was an interesting piece and luckily I had the subtitles on, which is how I'm here. Its quite beautiful. A work of art I had not heard yet, Beethoven truly was amazing.

[@asierperezavelino2502]

If you have a intermediate experience playing the piano it would not be impossible for you to play this yourself. When I attempted to play this, it was easier than I thought.

[@michaelgoutman681]

@@asierperezavelino2502 Play it or play it well? 2nd movement is not hard just to play but really hard to play well. Same goes for 3rd if you take it a tempo

[@burakunsal7499]

At bar 51 of the 2nd movement, Beethoven uses the rising motif of the first theme in the first movement as an ornament in an entirely different context, in fact, that transitional material really is just a variation on that motif. For reasons like this, he is considered a musical genius.

[@automobilemusicengines]

You mean 50! Good eye!

[@ingridkuo]

Wicked. Learning this for RCM Lev 10 @oh,no,me

[@felix_music]

13:17 i just love that run

[@sonofphilip8229]

Ya its so out of nowhere. Although you expect to land on dominant just because its the closing transition material of the first theme, the run itself is totally suggesting a V-i. It's like it goes in reverse at the end.

[@LucasPianoSalon]

Published on Nov 3, 2017 This is one of B.’s most approachable sonatas - it’s not that difficult to play (unless you are absolutely determined to take the last movement at tempo), and comes close to matching the Pathetique for dramatic power (rhetorical silences, material presented in unison, dynamic contrasts). Like the other Op.10 sonatas, the first movement’s development section is largely built around new material. The second movement one of B.’s prettiest slow movements, built around an ABAB “sonatina” form, and the last movement is (again, common to all the Op.10 sonatas) especially enjoyable. It’s a surprising blend of fizzy nervousness and humour: you’ve got that cavalier, almost-bathetic ending, the accented landings on wrong harmonies in the second theme, frenetic tremolos, big dynamic swings, and a pretty menacing main theme - all presented at breakneck speed. MVT I, Allegro molto e con brio EXPOSITION 00:00 - Theme 1 00:26 - Transition Theme 00:47 - Theme 2. Its closing quotes the opening of Theme 1 01:13 - Cadential Theme DEVELOPMENT 02:49 - Theme 1 in C = V of (iv) 03:00 - Development Theme. Containing motif (x) - C/B/Db/C/Bb/G - at 3:02. 03:14 - Sequential development of (x), which drifts into the LH. 03:31 - Dominant preparation RECAPITULATION 03:38 - Theme 1 04:00 - Transition Theme, starting on extremely remote key of Gb. 04:20 - Theme 2, in F. At 4:30 extra bars wrench it into C min 04:59 - Cadential Theme MVT II, Adagio molto EXPOSITION 05:15 - Theme 1 06:18 - Transition 06:46 - Theme 2 RECAPITULATION 08:22 - Theme 1, with new ornamentation 09:23 - Transition, which moves into 6/4 of Fb, necessitating extra bars to return to home dominant 10:01 - Theme 2 11:26 - Coda. Theme 1 with gentle accompaniment, with tender new 4-bar clause. Then alternation between tonic/dominant, closing on 5 bars of tonic MVT III, Finale: Prestissimo EXPOSITION 13:04 - Theme 1, opening with M1 13:25 - Theme 2. At 13:38 cadential theme enters with M1 in LH DEVELOPMENT 14:54 - M1, closely developed. Arrives at V of (iv), then eventually the home dominant diminished 7th RECAPITULATION 15:08 - T1 15:30 - T2, in C. At 15:41 it suddenly moves into minor, which it never leaves again. The cadential theme at 15:43 now enters without tremolos, with M1 in RH. CODA 16:02 - The closing cadence-figure moves into Db, where T2 is presented in the form of a slow melody. Pause on the local dominant 16:24 - Diminished 7th, turning into C min (this passage is heavily reminiscent of the Tempest) 16:34 - T2 + T1 combined in final passage with subdominant color. At its close the sonata simply evaporates.

[@LucasPianoSalon]

@Flight 32XThank you very much. You can also see my channel! There are several classical pieces uploaded!

[@afriendlymusician3829]

This is all in the description of the video with time stamps included. Whats the point of this comment?

[@LucasPianoSalon]

@The News is HereStop being so rude. You cannot go to a certain part of the piece from the description. Be like @Flight 32X and respect the music of Beethoven.

[@afriendlymusician3829]

@@LucasPianoSalon You good? You straight up just copied the whole description

[@LucasPianoSalon]

@@afriendlymusician3829 i post in comments so that it is easier for all of us to click on the time stamps.

[@wingko1096]

U play really well!

[@emilijakrivane6095]

I'm 13 years old and I play this composition! This is very beautiful song! ❤️

[@nurrasyid14_]

Song? It's a piece

[@imdark7372]

@@nurrasyid14_ you know its probably a lie when someone says that plays some piece but calls it song xD

[@nurrasyid14_]

@@imdark7372 B r u h

[@imdark7372]

@@nurrasyid14_ xD

[@marichristian1072]

@@imdark7372 I agree!

[@DC-op6no]

The beginning of 3rd movement sounds like the beginning of Chopin's polonaise in F-sharp minor op.44

[@chopinliszt2988]

Ling Ling watching from the corner be like: Oops, might have dropped a bit of talent there. (Quoted from TwoSetViolin)

[@hhlee3397]

I’d just played this for not more than one month. Now only complete the first movement. Comparing these three movements, wow the third one is amazing but complicated. Learning this I think I’d want to give up. But I’ll continue since pieces in minor keys are much more suitable for me. When one day I can play fluently, maybe feel full of satisfaction

[@mattklammer5232]

I can share your sentiment- satisfaction starts when it starts coming together and fluency arises- but that is only the beginning of the learning. Amazing things to come after!

[@YonkoKenji]

3:00 THAT SWITCH UP AND THE VOICE LEADING!!!!!!!! BEETHOVEN

[@thanhhuyentran386]

Love

[@opticalmixing23]

the same concept we hear right after the A section in his rondo sonata 8, but different rhythmically

[@user-vw8vs6cx4c]

I play this Sonata this year.1st movement

[@suetoniustranquillus9073]

50:53 sounds like 5th symphony

[@SILAS-cb9xl]

I hear also Tempest Sonata

[@oceanmachine1906]

Feels like a quote of it if not a theme and variation

[@louszeven6383]

Heerlijke muziek

[@lucasdelliosiv7493]

I really like this sonata, but I feel that the ending of the 3rd movement is very abrupt, and leaves me with blue balls.

[@AnNguyen-oz6qw]

Yea, somehow it leaves me very unsatisfied.

[@sonofphilip8229]

I wonder if its an attempt at humor or something. with that big diminished chord right before the final a tempo. You think you're about to step into a who new world or something. Then he just goes, "naw thats its". Kinda like how the 2nd mvnt of the 9th symphony has the trick ending.

[@jinli4640]

Blue balls: 🔵🥏🌀🫐

[@polotrav3439]

It's a technique he uses which is also present in the Tempest sonata (and probably a few others). Beethoven chose for the movement to descend and fade away rather than have a grand, cadential finale, and I think it suits the movement perfectly as it is a very elegant and light movement. The fact that he so effortlessly brings us to C Major astounds me.

[@michaelgoutman681]

The thunderstorm had passed without a trace...

[@user-jc4nl6ff7x]

amazing it very fast

[@jinli4640]

Yez

[@MrTylerNicole1]

I just discovered Beethoven put in a Picardy third as the last chord of the last movement. Interestingly, he wrote a C MAJOR chord instead of a normal C minor chord. I know Picardy thirds were more common with J.S. Bach but I believe Beethoven used it one or two other times as well.

[@magnesium8996]

You're right

[@magnesium8996]

It does end in a c major chord

[@graceli2433]

why does this video sound so much better than when i play it??? ugh when will i be able to play at this level :\

[@Sunnyyou-ne5rn]

🤣😅😘😉

[@chopinliszt2988]

Sameeeeee

[@magnesium8996]

I feel you

[@sorenasabah5782]

Is it just me that the subsidiary theme of the third movement reminds me of Bach's keyboard concerto in d minor?

[@dzalbs_]

0:26

[@willyj3321]

I hear the Emperor Concerto’s third movement in the first movement of this sonata.

[@eternalclassicsbrothers9636]

Great playing! I just uploaded this piece too:)!

[@michelel.egerton6369]

Frasier, season 1, episode 20, "Fortysomething" brought me here

[@miguelisaurusbruh1158]

This is the second best of beethoven's early sonatas

[@tobychan4466]

Whats the best one

[@miguelisaurusbruh1158]

@@tobychan4466 Pathetique

[@erezsolomon3838]

@@miguelisaurusbruh1158 why you bully this poor man?

[@miguelisaurusbruh1158]

@@erezsolomon3838 His question was just pathetic

[@dayounglee_pf]

00:00 05:15 13:04

[@jenicachen5162]

When I play it I wonder how you do it

[@michaelsmith2157]

5:00

[@pdr770]

בלדה מספר אחד בD מינור.

[@user-nj5ui3tl3l]

13:04

[@alannina4189]

Las partituras donde estan xq no las encuentro :(

[@km10is]

Jando: 1st Mvt 16:46 2nd Mvt 22:06 3rd Mvt 29:59

[@dzunglong4034]

you can hear the Jando's breath in his part

[@erezsolomon3838]

Doc will be happy 😀

[@lieuho7210]

Bạn chơi tốt đấy.

[@mrwright7414]

I made a I at Texas State Solo & Ensemble on this Sonata some 40 years ago.

[@chuncheng451]

Ashish, or anyone knows why this sonata includes only "theme," but not "theme inside theme group, e.g. ThemeGroup-theme1" like the ones in sonata. no4? Is it just the way how the whole structure is decomposed for other movements' theme correspondence? thanks!

[@mackenziebuchter8406]

0:26 this is for my own personal use. carry on lol

[@TempodiPiano]

"the accented landings on wrong harmonies in the second theme" => why did you write "wrong harmonies"?

[@sonofphilip8229]

"wrong" in the sense of out of left field. Very far from the tonal center, meant to throw you off kilter.

[@user-pe9nh1qr5k]

Para mi la sonata de Mozart en do menor Kv 457, sirvió de modelo e inspiración para que el sordo de Bonn, compusiera esta sonata

[@Shost7]

Korstick !!!

[@user-ff3vd2bo3b]

5:15

[@jeffreyemge5435]

13'24" Example 3-18

[@rerus-officialchannel1060]

1:15 por una cabeza

[@simonhofstettermusic]

Originally from Mozart kv 373

[@ben_ivey]

I think this is the one Frasier tried to play in one episode

[@groszek4899]

05:15 II 13:04 III

[@starchythepotato2877]

I played this 4 years ago. Beginning is similar to Mozart's Cm sonata.

[@steffen5121]

The 64ths in the second movement really ruin my pleasure in playing it.

[@AnNguyen-oz6qw]

@@steffen5121 why thou?

[@steffen5121]

@@AnNguyen-oz6qw because they're too fast for me.

[@AnNguyen-oz6qw]

@@steffen5121 ahhhhh, pracetice practice

[@steffen5121]

@@AnNguyen-oz6qw Time to get some Lang Lang insurance. xD

[@maye5307]

3:00

[@edwardhartz1029]

What tempo should I set the metronome for movement 3 when practicing?

[@user-zh4ym1df9e]

Im learning this this semester under dr tracy xian and if i do well enough i may have the opportunity to have a masterclass with alexander kobrin because of my school! Any tips??????

[@luluunjs]

I’m going to play this piece and it looks quite difficult I’m actually kinda scared 😭

[@Leechturk]

A look at Beethoven's Sonata 1-10 analysis kzbin.info/www/bejne/aXWaaGB-Z6-iZ9E SERGİ = EXPOSİTİON VARIŞ KÖPRÜSÜ=BRİDGE GELİŞME= DEVELOPMENT SERGİNİN TEKRARI=REEXPOSİTİON ANA TEMA=FİRST THEME YAN TEMA=2. THEME BİTİŞ TEMASI=CODA

[@minu-if6ue]

只今練習中～ 中間部の長調の響き最高！！！誰か分かってくれるかなーー

[@user-tg7su5wv6f]

日本人だ！私も今練習中です！

[@user-fr3fh4ve4t]

@@user-tg7su5wv6f 日本人じゃないかもしれませんよ。 冗談言ってすみません笑

[@anelamujkovic1633]

05:15 13:04

[@timesfire]

Why do people have to rush? Presto doesn’t mean play it literally as fast as you can. You lose the lyric quality of the final movement when you blaze through it.

[@jameshakai1662]

Presto doesn't, but Prestissimo does. And I don't see presto anywhere, just prestissimo

[@timesfire]

@@jameshakai1662 I would concede that point, with the stipulation that once you start to lose phrasing and musicality, you are doing nothing but hitting hammers as fast as mechanically possible, but losing the flavor of the music. If "as fast as possible" is the goal, why not just speed up the video, or get a machine to hit the notes rather than a musician?

[@myrovanloon4030]

J W the first movement of Schumann’s 2nd piano sonate literally has the tempo marking ‘as fast as possible’. Schumann was an early romantic who didn’t come long after Beethoven, so it wasn’t uncommon for people in that period to play really fast. It also gives a special texture. So if this last movement is marked ‘prestissimo’ that means it was meant to be played very fast, which is very common for a last movement in a sonata, as its meant to bring some exitement into the music after the slow 2nd movement.

[@icemorewaterless]

6:18

[@jancowell]

13:05 (Mvmt 3, Prestissimo)

[@antonwilling170]

ich muss mir dieses wundervolle werk für die schule anhören

[@hatewithhate179]

du tust mir leid, das Werk ist komplett aids

[@antonwilling170]

@@hatewithhate179 Danke man

[@Sunnyyou-ne5rn]

Ist doch ein sehr schönes Stück!

[@hatewithhate179]

@@Sunnyyou-ne5rn nein mann is nich so nice

[@Sunnyyou-ne5rn]

@@hatewithhate179Jeder hat seine eigene Meinung.

[@luhan4922]

I am your 222th comment!

[@magnesium8996]

Lmao did you actually go count them

[@magnesium8996]

Nevermind im stupid

[@michaelgoutman681]

I have no idea why Jumppanen (around 195) and Korstick (around 200) are so determined to play finale at such a tempo. It sound like someone trying to break a world speed record rather than interpret a piece of music as beautiful as this. For example, pedal B flats in bars 22 and 24 are not working at 200, there is simply not enough time for the B flats to fade enough so that the bass line can be played at piano. Of course, interpretation is individual, but Beethoven didn't mean to portray an epileptic seizure. Jando is a lot more measured in his choice of tempos (in all movements). My favorites for this Sonata are Gilels(kzbin.info/www/bejne/hnPUg6CBeLpqo6c) and Kempff (kzbin.info/www/bejne/oniUd52uh7-HmZY)

[@bertuspieters4154]

"Prestissimo" means "at top speed". We don't know what Beethoven meant to portray.

[@michaelgoutman681]

@@bertuspieters4154 I agree, we can only guess :) The point I was trying to make is that this movement sounds unmusical to my ears when played at such a speed, like playing a good movie at a double speed. Enough time to register what's going on but not enough time to appreciate it. Of course it is just an opinion

[@saudakid4210]

48:53 - Finale: Prestissimo

[@greenjay4086]

15:00