So true! This guy is brilliant.

Haha lol

@@DenZhdanovPianist Oh, how I love your sense of humor. I'm watching this again a year later, and the "Subscribe" bell chiming on the third G sharp at 3:03-3:06 cracked me up.

A great association, thanks!

Happy that my points resonate with your feelings!😊 wish you a lot of fun and achievement on the musical path!

Thank you for the feedback! The link to the comprehensive 3-hour tutorial on the whole piece is in the description.

Love meeting people who are on the same wave! Welcome aboard and hope you’ll find more useful content here!

Same here.. 🙂. Great stuff it is.

Thanks for commenting! Yes, there are many videos which sadly didn’t get to “suggested” by KZfaq so there is no discussion and they don’t gain many views. Check out my Tutorials playlist and subscribe for more video lessons!

😎

'Romantic' aesthetics at its core are very somber and even tragic. It's a period marked by a reevaluation of the meaning of life, a deep existential crisis in the face of a fate stronger than the vulnerable individual. The pinnacle of this style wasn't found in some of Chopin's early Waltzes or Brahms' lullaby, as many might believe, but in the later works of Chopin, Brahms, Bruckner, and Wagner. These works are as intricate and profound as the literature and philosophy of their time. It's unfortunate that modern times have often reduced the Romantic style to sentimental and cheesy salon-like entertainment.

That’s a very good interpretation! I enjoyed it a lot! And you feel the music very well by what you describe. It doesn’t necessarily make any of us wrong. I am not completely sure that even Lola Astanova is wrong by playing it like… well, the way she feels it. If demand of people is a criteria, she is definitely interpreting it better than me or Bernstein or almost anyone else😂 It’s useless to argue that someone’s subjective perception is better than of others - we don’t have any objective criteria to prove it’s really so. Music is not science but rather esoteric when it comes to interpretation: I can’t prove I am right but I will do everything to convince you that only I am right, using all the means from logical arguments to mental manipulations, and even calling you a talentless stump if you are not agreeing. That’s what most of teachers do. I guess my definition of sentimentality is different of yours, since you mean substantially deep emotional experiences, while for me sentimentality is rather a surrogate of a real emotion. Yes, as more mature as a musician you become, as more “it must be played only this way” you’d be. I have seen too much of this in my life, by having a few equally brilliant teachers simultaneously, who would give me absolutely contrary concepts and interpretational ideas, without a slightest attempt to accept that the other perspective might also be good, so I consciously try to be more open-minded in this regard, it’s not always easy though!

I would definitely like to hear it!

@@DenZhdanovPianist Thank you! It would be for either a synthesizer or electric piano - so still a 'solo' piece. I heard this piece recently and it stayed in my mind, and then I began to hear it very 'differently'. I mean, it is the kind of piece which can be taken in many directions, I believe.

Coming in a couple of weeks. Full version of the course is already available, link in the description

That’s strange, you probably have a fautly google, because I found bunch of answers in 3 minutes!😉 music.stackexchange.com/questions/110581/why-did-beethoven-use-triplets-for-the-whole-first-movement-of-moonlight-sonata

That’s a very complex topic. Did you check a video about different memory types? That might be a good start. kzfaq.info/get/bejne/aJdmd8mmkqvQqps.html

@@DenZhdanovPianist Thank you.

Thanks for bringing it up, a good point. I am using Henle Verlag typically in my work, but for KZfaq videos I prefer to use any public domain editions just to be safe. The Alla Breve issue is discussed in the complete version of the master-class, this video here is just an excerpt.

Great question! Both Henle and the first edition (1802) say cut time but… the holograph of the manuscript (available on imlsp) doesn’t have time signature for that movement at all!

Haha yes funny things are sticky😅

Yeah, I see your point, I was expecting this comment. Since this piece has no title or description left by the composer, we can’t proof neither your nor mine point of view, so both of these views are condemned to be subjective. But my point is that… …people nowadays are usually uncomfortable reflecting on things like death and extreme mental states, but the most profound artists like Beethoven were not afraid to dig there. Quite oppositely, artists explore these topics constantly ever since ancient greek tragedies, where the deepest possible shock WAS INTENDED, in order to lead a horrified audience member to the following catharsis. A Catharsis is the biggest prize one can hope to gain communicating with the true Art, but it comes for a price of not being afraid to leave one’s emotional and mental comfort zone. Why do people believe that “Late Beethoven” steps with one leg in the romantic era already? It’s not only because he has started to hypertrophy the sonata form or used weird harmonies. Mainly it’s because the circle of his artistic ideas expanded too far away beyond classicism era towards XIX century Romanticism concepts, which are not only about “love” and salon sentimentality, as naïve people think, but first of all about an existential crisis of human being and a tragic shortness of human life. For example, Goethe’s Faust, Liszt’s Totentanz, Chopin’s Funeral March (well, a good amount of his works is extremely tragic, and not sentimental as many would think). Examples are countless. Thus, if an artist speaks of such things it doesn’t mean they are depressed or live in a negative paradigm, it might just mean they are trying to be honest with the material they work on. By the way, speaking about cultural roots of the Western society, both ancient philosophy and Christianity have got a mighty “death flavored” impulse that has affected our culture for thousands of years: violent death of Socratus and Jesus Christ respectively.

The great French poet, Paul Valery, once dat in the back of a lecture at the Sorbonne explicating one of his poems. At the end of the lecture, the professor recognized him and said, "Oh! M. Valery! I hope I did justice to your poem!" Paul Valery responded, "I never realized how great a poem it was until I listened to your interpretation." In every art form, the viewer, listener, or performer is also engaged in a creative enterprise. Your rendition is profound and beautiful, and has opened up a completely transformative approach to this Sonata.

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Oh yeah lol

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