Korstick 00:00 - Mvt I, Allegro vivace 09:38 - Mvt II, Largo appassionato 18:07 - Mvt III, Scherzo: Allegretto 21:04 - Mvt IV, Rondo: Grazioso Levit 27:45 - Mvt I, Allegro vivace 33:01 - Mvt II, Largo appassionato 41:36 - Mvt III, Scherzo: Allegretto 44:48 - Mvt IV, Rondo: Grazioso Pletnev 50:33 - Mvt I, Allegro vivace 58:19 - Mvt II, Largo appassionato 1:05:15 - Mvt III, Scherzo: Allegretto 1:08:49 - Mvt IV, Rondo: Grazioso Korstick is as he always is - taut, punchy, uncompromising in his treatment of contrasts. He’s especially effective in the chamber-like sections of the first and last movements, where the way he lets accented notes ring helps to enliven the contrapuntal interplay (see e.g., m.172 [4:06]). The second movement is devastatingly slow, so much so that it’s almost impossible to hear anything in it but grief. It’s remarkable how massive and orchestral Korstick can make relatively thin textures sound, not only in the Dm section (15:42) here, but also in the trio of the scherzo (19:34) and the second episode of the last movement (22:54). He’s also got a good eye for detail: see for instance the crisply articulated downward run that opens the piece (played with slightly detached 64th notes despite B.’s slur), or the meticulously observed staccato of the inner voice at 16:39. Levit’s playing is stuffed full of lovely and playful detail. There’s the way he lets the slurred figures in Mvt 1 due out (m.79 28:50), the feather-light, ultra-fast semiquaver sprays of the scherzo (41:36), which he achieves by very slightly delaying their entrance before speeding through them, or the last movement’s staccato LH and deliciously exaggerated slurs (m.182, 50:16). And for sheer gilded smoothness I don’t know of any recordings in which the arpeggios and scales in this sonata’s last movement equal Levit’s - they are a total joy to listen to. When I bought the Pletnev I was told that this recording only existed because someone in the studio left the mikes on while Pletnev was fooling around in between takes for another recording. It’s no surprise that his rendition of the sonata is intimate, hyper-expressive, even a bit flippant. There’s loads of rubato everywhere: the opening downward octave arpeggio, the cadence-theme of the exposition, the little rhythmic tugs of the scherzo’s main theme (where Pletnev coyly lingers on the quarter notes). There’s also the improvisatory approach to the Rondo’s first episode and the unexpected piano inserted into the otherwise stormy second episode. I find this kind of playing irresistible: its spontaneity and warmth is just so compelling. Which is not to say there isn’t a lot of logic to it: the lengthened chords at mm.86-87 (51:58) are stretched taut in order to launch the rapid triplet semiquavers which follow, for instance. And there’s real emotion here, too; the moment when the pace quickens at the second movement’s quasi-coda (1:02:29) is incredibly moving, as is the colour change at m.26 (36:38) to highlight the (local) Neapolitan harmony.
Edit, a few months later: I happened upon the original recording of the Bach 4th Paritita that I loved. It was Benjamin Grosvenor (because of COURSE it was). The whole performance is wonderful, his interpretation of the Aria is Magic, and the album to which the recording belongs (Dances) is full of gems. Highly recommend :D @@AshishXiangyiKumar I noticed just last week the 3rd and 4th Bach Keyboard Partitas are missing as well. I was wondering who you chose as the performers for the 4th specficially. I've never found a performance of the Aria as playful and satisfying as what you had uploaded, but I've forgotten the name of the pianists you featured; it had been a couple years since I had last listened. Silly me to think YT would let any of your contributions here be permanent fixtures. Happy to see Andersewski's performance of the 6th is still around. His interpretation of the sarabande is unparalleled imo. I went and bought a copy of his rendition as soon as I noticed the others missing. Losing both performances would've been too much to bear :P
@@jacobhebbel6448 Thanks for responding - the 4th is in D Major! I have a good recording by Goode (lol) but it's not the one I'm thinking of from Ashish's original submission
I love the sequence at 0:48. This sonata has some incredible modulations, including the false recap in F major (a major third down from A) compared with the false recap in the Op. 10, No. 2, which is in D major (a _minor_ third down from F). Also wanted to point out the effect of simple chords in first inversion when used at the right time: 1:10 and 4:38
If someone had played for me the tenuto section in the middle movement starting at measure 68, and asked me which period of Beethoven's career had produced those measures, I would have very confidently assured them that they were written in the late part of his career had I not listened to this today. This sonata is full of surprises!
Is this a reupload to include Levit's recording? I'd be curious which other recordings from his cycle you'd deem worthy to include in your Beethoven sonata series. Certainly the Waldstein?
There was a copyright issue with the Kovacevich recording in the previous version, so that got taken down. But since Korstick and Kovacevich are quite similar, and I thought Levit's recording was much better than Blechacz's, I took the opportunity to redo the video (swapping Kova for Korstick, and Blechacz and Levit). Happy accident, in a way!
@@Stickbeef It's not really physically possible for me to play that passage with 1 hand only due to my hand size. But yes, it's not difficult if you just use the left hand to play the first note of each triplet and the right hand for the other two.
The general impression of Op. 109 is that it exudes a sense of introspection and profound emotional depth. However, beneath its serene façade lies a composition that showcases Beethoven's daring and innovative spirit. To begin with, the sonata presents technical challenges that require great skill and control from the pianist. Notably, the composition features intricate passages that demand precision and agility, such as the challenging runs and arpeggios found throughout the work. In addition to its technical demands, Op. 109 demonstrates Beethoven's adventurous approach to harmonic progression. The sonata explores unconventional and strikingly modern modulations, defying the conventions of its time. Beethoven employs unexpected key relationships, such as the use of E minor in the second movement, which creates a sense of emotional tension and unpredictability. Furthermore, the sonata displays Beethoven's ability to juxtapose contrasting keys, introducing moments of brightness and intensity, as exemplified by the incorporation of C major towards the conclusion of the third movement. Furthermore, Beethoven's exploration of textures in Op. 109 is truly remarkable and ahead of its time. The composition incorporates innovative and daring textural elements that were groundbreaking for its era. For instance, the sonata features passages with intricate and intricate interweaving of voices, creating a rich and complex tapestry of sound. Additionally, Beethoven employs contrasting textures, such as the juxtaposition of delicate and intimate passages with bold and assertive sections, heightening the expressive power of the composition. In summary, Op. 109 not only captivates with its introspective and emotionally profound nature, but it also reveals Beethoven's daring and forward-thinking compositional techniques. The technical challenges, unconventional harmonic progressions, and innovative textures all contribute to the unique and captivating character of this remarkable sonata. So I would say it is a narrow fifth place compared to the other sonatas.
@@dpetrov32 This is a good write up. I’m not sure if it’s by ChatGPT. Regardless, what sonatas are ahead of 109 if it’s fifth? The 109 should be first.
@@BRNRDNCK haha yea bro i was experimenting with chatgpt. I fed it Ashish's description of this sonata (as in - the description of this video) and asked it to make it relevant to op. 109. the last sentence was added by me and I didn't think about it too much. I'd say the opera 111, 110, 106 go before it. So now that I think about it, I wasn't that far from my actual opinion. I'd say it's 4th or 5th, tied with the 2nd sonata of op. 31, but you could argue the Tempest doesn't have the emotional depth of the 109.
One wonders if Beethoven put fingerings at bar 84 ff. It is an easy figure if played with both hands. Beethoven always chose to jump over the lowest fence, never using difficulties as a badge of nobility. Can it be a publisher who added fingering?
I have Transcendental etudes (Clidat and Ovchinnikov) downloaded on my phone, but why this video is no longer on the channel. I would like to see it again😢
There is a very old recording from a (very different looking) Igor Levit from 2005 on RU-vid where he plays this sonata, and that he discusses in his podcast series on the Beethoven sonatas.
Just listen to measures 50 to 57 especially 53 and 54. The golden mean is at M49 . This section is one of the most tender spots in all of Beethoven piano sonatas.
@@Bruce.-Wayne In all fairness last time I tried was almost 10 years ago but the technicalities, still give me nightmares. The recording's so clean it gives me shivers.
I inspire to be like you so bad your literally the second beethovan. The amount of hard work is mad like me annotating one movement is so tiring and confusing. The detailed analysis and the complication of description you get through a hard to infer piece is just bewildering. Are you a music professor or something?
Hans Von Bulow rated every Beethoven sonata according to difficulty from easiest to hardest, this sonata came in at number 20, more difficult than both tempest and moonlight according to Bulow
