Beethoven: Sonata No.1 in F minor, Op.2, No.1 - Boris Giltburg | Beethoven 32 project
Музыка
Beethoven 32 - Over the year 2020, I will be learning and filming all 32 Beethoven sonatas. Subscribe to this channel to follow the project, and visit beethoven32.com for blog posts and listening guides to each sonata.
Beethoven's sonatas Op. 2 were his calling card in Vienna as a composer. At that point - 1795 - he was already famous as a keyboard virtuoso, but the transition to fame as a composer was not obvious, and he took great care with the first works he published, a set of three trios (Op. 1) and three sonatas (Op. 2).
The F minor sonata, opening the opus, is laconic in its musical language and form, but highly expressive in its emotional content. The first movement sets the tone: very personal and sincere; but reserved, its emotional outbursts never overpowering. It is followed by a serene second movement showing Beethoven already on a quest for lyrical, poetic beauty. The third movement is a hybrid minuet and scherzo, starting off as a melancholy, somewhat stylized dance, which changes its character drastically towards the end. And it is the finale which is perhaps the most striking movement of the four. Beethoven takes the closing chords of the first movement and puts them above a stormy whirlwind of sound, at times furious, at times impassioned, at times haunted and driven. A beautiful middle section, repeated twice, serves as a point of calm, but can only delay the inevitable return of the storm and the final collapse.
Boris Giltburg, piano
Filmed by Stewart French
© 2020 Fly On The Wall, London (fotw.london)
Filmed at Jaques Samuel Pianos, London,
@FazioliPianos , piano No. 2782273
Пікірлер: 48
Allegro - 0:05 Adagio - 6:01 Menuetto and trio - 11:03 Prestissimo - 14:53
@Iusty_gamer
4 жыл бұрын
Boris es una hermosa interpretación, es imposible no emocionarse hasta las lagrimas, se que haras un hermoso trabajo con las 32 sonatas y este comienzo es glorioso. Te deseo lo mejor y espero las demas con muchas ansias!. The best to you.
@Trombosilbo
3 жыл бұрын
Nice prestissimo
@fateenrhapsodies864
3 жыл бұрын
Dear Mr Boris , you really inspired me while working on this Beethoven Sonata, here is my take on it. kzread.info/dash/bejne/k46Ek9NmgpTglLw.html
This was the first Beethoven sonata that I learned, and I never cease to derive joy from it. The adagio is just breathtaking. No. 1 will always hold a special place for me among Beethoven's sonata cycle, and indeed among all sonata cycles. Wonderful performance, by the way.
Hey Boris, I just wanted to mention that you have the most consistently perfect playing combined with a profound understanding of the music. It's beyond my comprehension. Especially considering that you're working on all 32; how the heck can you do all that so perfect? Masterpiece played by a master👏🏼👏🏼
This is an amazing project. A lot of Beethoven sonatas are very underrated, and a maestro like you playing them is heaven.
This fine artist plays with just the right amount of rubato and expression, for my taste. Spot-on technique and articulation. I haven’t yet found an interpretation of his that I don’t like. Absolutely my favorite pianist.
That's the way I like to follow! In my opinion this is the very best interpretation of this sonata on the net in terms of phrasing, volume and vocalism - just pure musicality and technical perfection.
@JcFiscus42
Жыл бұрын
I think I agree. Also add sound quality to that list of qualities.
What a masterpiece that prestissimo finale is! Just never tire of listening to it.
Magnificent! Thank you. Can scarcely believe what I’ve just heard and seen. 🙏
I hope this gets millions of views.
No comment!! Standing ovation and Bravo!!!
Desde la ciudad de Río Cuarto, Provincia de Córdoba, Argentina, gracias por esta bellísima interpretación!! Ojalá algún día vuelva a dar un concierto en esta ciudad y poder disfrutar de sus exquisitas interpretaciones, como pude hacerlo hace unos años. Seven month ago I wrote this commentary. Today I think de same! Thanks you very much!
I love these sonatas so much, and know them so well, it will be wonderful to take this Journey with you. btw, you play the Adagio with the most exquisite sensitivity. I love the sound of the Fazioli in this!
I am learning this piece and looks like my teacher is in great agreement with your interpretation XD thanks for taking on the project!
What an awesome early birthday present! Thank you!
It's interesting how ones hearing evolves/changes. I started playing the piano 2 years ago. One year ago i watched this video, and today watching again. And i am hearing so many new things! Thank you for these videos
@naphtanaptha
6 ай бұрын
same here! I played it about 3 years ago and revisiting it now is like playing a whole new piece.
Beautiful interpretation!!
Great as always. And really cool video art!
Beautifully played. Thanks for posting.
stunning
Already looks like Levit has some competition this year. Keep em' coming Boris!
@davidunger3199
3 жыл бұрын
At the time of No. 24 when I am writing this it seams Levit got a lot of competition and I must say I greatly prefer Boris' much more sensitive and grounded playing to that of Igor which is perhaps more virtuosic at times but feels much less thoughtful.
@quaver1239
3 жыл бұрын
@@davidunger3199 : Agreed. I too prefer Boris Giltburg’s interpretations over and above Levit’s.
I love this! So impressed that you plan to tackle all the Sonatas! I have your Rachmaninoff Preludes CD and I listen to it all the time, its my ¨go to” CD for learning a new Prelude or interpretation! This is superb, cant wait to hear the rest of the Sonatas!
Very very good!!!
Good luck on this epic adventure! A learning experience like no other Im sure 🙂
Sublime!
This is something special 💜
Wunderbar!
Superb!!!
Chapeau!
Quite the journey ya have in your future. Good luck.
Beeeaauutiful prestissimo!
Again an amazing interpretation! Really minor: but is the high note at 7:37 not supposed to be d instead of f? Or is this is a mistake in my edition?
@BorisGiltburgPiano
4 жыл бұрын
Sebastiaan Michiels Henle’s new edition (edited by Perahia) has F, with a comment about a semi-visible 3rd ledger line in the original score. Bärenreiter has D in the text, but with a comment that this is likely to be a mistake instead of F. I felt the F made a lot of sense, as a progression from D (bar 17), through E (bar 19) and finally F (bar 21), where it feels really satisfying as the highest note in the line.
@sebastiaanmichiels6320
4 жыл бұрын
@@BorisGiltburgPiano Thank you so much for your reply! And I agree, the resolution of reaching the F feels great, especially since my brain is still wired to D. Thank you!
@jialunluo769
4 жыл бұрын
I was wondering about this too. It came as a surprise since I am also studying this piece XD.
Hi. İts interests me. Why did you use pedal in 2-nd bars, "g" note.....
!!!!!!
Good but not as good as other early Beethoven piano sonatas ie op.10 #2.
Great performance... Pity for the unnecessary repetition of the second section of the last movement... against all semantic logic...🤔🤔🤔
@BorisGiltburgPiano
3 жыл бұрын
Thank you! Regarding the repeat, I would agree in most other sonatas, but here a case could be argued in favour (apart from the fact that Beethoven asked for it) - the finale doesn't have a contrasting second theme, meaning both the first and second themes are the same kind of relentlessly driven material. The only respite comes in the middle episode, which only appears once, unless the repeat is observed. I like the narrative arc which then emerges - the middle section offers some hope, which is then crushed in the reprise. But... despite the defeat, the middle section tries again, even though the final outcome is known. Hope against all odds :)
@Beethovens.Heritage
3 жыл бұрын
@@BorisGiltburgPiano Thanks for this elaborate explanation, which, reconsidering the fact that I always have a very strange feeling with this repetition, sounds very convincing. Concerning the 3 sonates opus 2, only this first one, explicitly indicates this repetition in the last movement, when I am not mistaken. I think Beethoven must have been himself surprised by the way his dramatic stream-of musical-content must have broken formal conventions... 😊👍😊
@andrewkohler3707
Жыл бұрын
@@BorisGiltburgPiano I was about to thank you for taking the repeat that is usually neglected. The form of the sonata is extraordinary, not least because that A-flat major episode (its own rounded binary, repeats written out with variation) actually *replaces* the development section in this piece!! Beethoven of all composers certainly knew what he was doing regarding form and proportions, and while I find it a great insult to any composer to omit their repeats (the creator should get to decide the length and proportions, after all - that's one thing not up to interpretation), to omit any of Beethoven's is truly absurd! What makes this and Opus 10 No. 2 such unusual cases is that they are the only sonatas with second repeats in sonata-form finales that don't have codas - you actually play the final measure twice. Compare the finale of Opus 54, which is already a (delightfully) quirky form, and Opus 57, which is unique in not having a corresponding repeat of the exposition (that von Bülow said that repeat is unjustified makes me happy that Liszt's daughter left him for Wagner).