Criminally underrated channel

26:10 I think the C was not a mistake by Beethoven, because the Eb simply did not exist on his Broadwood piano. Modern pianos have a whole octave on top of what was present in Beethoven’s piano.

This superb playing and imaginative, yet very accessible presentation of a difficult Beethoven work really deserves to be far better known. I have watched most of your videos, and even though I have played most of the pieces you analyze , I have never failed to find new and exciting insights. My sincere thanks for this marvellous channel.

I am working on my piano literature in-class presentation on this piece, your video is going to help me get an A. Thank you!! Such a helpful and organized presentation!

Great 👍

thanks again for another informative tutorial video!

This is incredible! Incredible playing, incredible explanation of this incredible composition.

Great stuff man! Thought that you weren't gonna mention chopins revolutionary etude there for a second, but you did!

We don’t deserve this level of quality education for free! Really good stuff

Thank you so much for this enlightening analysis!

Fabulous work!! Thanks, it’s an increadible presentation

Vielen Dank. Sie eröffnen einen spannenden Zugang zu diesem Werk!

Brilliant presentation of this unique piano masterpiece! 👏

Excellent!

In my 60 years of concert going, the most intense and satisfying performance I've heard was Rudolf Serkin playing this sonata. In this performance, the predominant feeling of the first movement was not drama, but agitation. The piece is extremely unsettling; I was so agitated that I didn't calm down until well into Arietta. Of course, by the fifth variation I was in heaven.

Wonderful! thank you very much.

What a lesson! What a class! Tks. Bravo 👏

JUST FANTASTIC!!!!!!!!!!!!!!

Thank you so much! This makes my 15 page essay on this Sonata so much easier for me :)

I'm quite familiar with this piece but my comment here is directed to the piano itself. What an amazing bit of technology from which so many composers and pianists can produce so vastly different sounds, from Haydn, Mozart and Beethoven on up to the present day. But not just classical music, or music in that tradition, but pop music (think Stevie Wonder), jazz (Monk and Ellington), blues, boodgie-woogie (I think of Fats Waller), Gershwin, and so many more. What's also amazing is the quantity and quality of so much music that has been written for this instruments--volumes and volumes. And much of it quite good.

I’ve never heard this sonata in its entirety. But the first movement seems emotionally similar to the Pathetique Sonata. Latest Beethoven sonata I have heard in its entirety is the Appassionata Sonata, which sounds to my ears like "A Symphony for Solo Piano". And I wasn’t expecting the Picardy Third to be the end of the movement. Beethoven often moves to the parallel major like a Picardy Third only to be like: Psych! It’s still in minor. Dim7 Minor key

Hello Kilhamn. Sai here. About the video, I find it interesting and in a way that you're explaining is quite charming. Do more of these. Here, you deserve my sub.

The opening sequences of the intro is what Wagner grabbed and ran with, i.e Tristan prelude etc

This video is so inspiring!!!! Thank you very much!!!

This sonata definitely shares similarities to the pathetique. But most importantly , it requires a strict following to the dynamics. Some people claim that this sonata is unfinished , but I don't necessarily agree about this claim. Beethoven has planned an idea for a third movement , but eventually gave it up and decided to make it two movements. We , as pianists , casual musicians and listeners , are thankful this piece wasn't neglected in the piano repertoire.

Beethoven wanted to compose for eternity but unfortunately got stuck in simple harmonics, perhaps because of his deafness. Imagine what he could have done with modern neo-soul harmonics.

Thank you so much for such a detailed and much-needed analysis of this masterpiece! However, there are a couple of things I cannot agree with. 1. The first movement is not depicting angry nor fury nor anything similar. It is deeply tragic, all hopes are lost and there is NO way out, no light at the end of the tunnel (which is an underlying philosophy behind all the other Beethoven C minor works, such as The Fifth Symphony and Sonata op. 13, La Patetique). There is no fight therefore no possibility to win and turn chances around - this time, the death has come and the Hero has fallen. It is extremely intense - did you notice that there is no actual resolution in the form of the cadence and when there is, it is usually on the "weak" part of the bar (the second or forth)? Also, it may resemble the general outline of the first movement of op. 13 but as I said earlier, it is much more tragic, more intense and more "pessimistic" if you want than op. 13. 2. The dissonance, either in form of dissonant chords (such are diminished 7s at the beginning of the Intro or dominant 7s) or dissonant tonalities (the field of dominant G prevails through out the Intro; in Exposition we are mainly in C minor but the music is so intense and constantly developing that we don't get the impression of the peaceful and safe tonic - that happens for a moment with the second theme in A flat major, which is also a peculiar choice in the sense of tonal and harmonic structure; in the Development, we are again immersed in G minor with a lot of diminished or dominant 7s, usually forming sequences, as in the central part (mm.72-85) and ending part (mm.86-90)) is setting the motion for the entire first movement and its atmosphere. 3. There is no "classical" first theme as we are used to some of his previous works and the structure of this first movement resembles the first movement of the Fifth Symphony. However, there are 2 distinctive musical materials, the first and the second theme. However, the second theme in the Recapitulation has an "addition" in the form of the episode in the subdominant field (F minor), which is not very unusual for Beethoven. In the context of this movement, it provide us with a longed and expected resolution which has been postponed from the first bar. 4. After all the thurmoil, the tragedy, the death, the fatality of a being - comes the divine second movement. We are in heaven from the bar one, there is a new life, a new hope and a new chance for resurrection and redemption after all. Of course, there are minor struggles and contrasting part within the second movement as well but the overall atmosphere is divine, peaceful, tranquil and transcendent. Especially, those thrills and tremolos in the second part of the movement - such a brilliant way to employ them into the structure of the movement itself and the overall dramaturgy of the piece!

You mention the Revolutionary Etude at the end of this video because of the Minor-Major transition at the end. Well the Revolutionary Etude reminds me of a different, more well known sonata, Beethoven's Appassionata Sonata, particularly the third movement of that sonata: kzfaq.info/get/bejne/nZelf9V51p-4dJs.html - Revolutionary Etude kzfaq.info/get/bejne/eN-DbKd53d_Xg30.html - Appassionata Third Movement They share a lot of things in common including: - Beginning with a diminished seventh chord - Descending melodic figures outlining chords - Very active bass register - C minor as a chord - Lots of staccato octaves - The tempo is very similar In fact, I think the Appassionata Sonata might have been an inspiration for the Revolutionary Etude like is the case with Moonlight Sonata and Fantasie Impromptu

A look at Beethoven's Sonata 1-10 analysis kzfaq.info/get/bejne/aapnapB5l7DTYaM.html SERGİ = EXPOSİTİON GELİŞME= DEVELOPMENT SERGİNİN TEKRARI=REEXPOSİTİON ANA TEMA=FİRST THEME YAN TEMA=2. THEME BİTİŞ TEMASI=CODA

The "Jo-se-phine" Sonata

I don't learn this much at the university. Let that sink in!

In the third bar etc the arpeggio run up the piano. I have the fingering but I still can't seem to get up to speed smoothly without either smudge or slip. I'm using fingering. L/h 5.4.2.1 then r/h 1.2.4.2.2.4 then the chords?

will you do Op. 109 and 110 too? :)

12:10 this part sounds like Pathetique sonata 3rd movement

20:40 similar to the opening of Liszt's sonata in b minor. :)

'opposites and dualities ... earth and heaven' ..... can you enlarge on this at all? interesting idea and very interesting video

That sonata is just God-like. I also have to say that I would add more dynamics variety to your playing, but you are brave playing that sonata.