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Thread: What is your favorite Beethoven sonata?

  1. #226
    Member Score reader's Avatar
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    The ''Pathétique'' for me as well. I can never get that rumbling C Minor chord out of my head.

  2. #227
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    At the moment it has to be Op 110. The 1st movement is gorgeous and the fugue of the last movement is also breathtaking. Wish I could play this piece!

  3. #228
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    They all suck.

    Jk it's hard to pick. Beethoven was a master of composition and tone; he could take the simplest motive and turn it into a 45 minute long musical dissertation. A lot can be learned both in technique and composition from all 32 of his sonatas. I choose not to study them or even think much of the pieces themselves because I feel he's too overrated.

  4. #229
    Senior Member KenOC's Avatar
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    In my view Beethoven wrote 30 piano sonatas. I’m always sorry to see the two Op. 49 sonatinas included in the cycle.

    Both are early works, written about a decade prior to their publication. They seem intended for beginning pianists and are good examples of their type. They often appear in books of similar pieces by Clementi, Kuhlau, Dussek, and the like, and in that company they are a good fit. But as part of Beethoven’s cycle of full-fledged sonatas, they seem distinctly inferior.

    It seems that brother Kaspar sold them to a publisher without Ludwig’s permission, or so the story goes. No bad thing, perhaps, as otherwise the two works might have been lost. But they really shouldn't be considered part of the sonata cycle.
    Last edited by KenOC; May-09-2018 at 00:52.


  5. #230
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    19 and 20 as played by Annie Fischer and Emil Gilels are in no way inferior to any other Beethoven sonata. I can understand how they may be odd ducks of the group based on your post, but the quality is there, and the numbering can not be changed so many years after the fact, so we'll just have to accept 32 as the number in general circles.

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  7. #231
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    Always liked #10, such a beautiful piece full of light and lyricism


  8. #232
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    I can't pick favorites although I could probably pick a top ten in no order. The last time I was impressed by a Beethoven sonata was just a couple of hours ago when I heard Gulda's excited, frenzied beginning to the Waldstein, lifting me up into a sudden whirlwind blitz of busy grandeur.

    My favorite is almost always the one I've heard most recently.
    "Tea cleared my head and left me with no misapprehensions". -- The Duke of Wellington

  9. #233
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    It's almost impossible to choose. But I particularly like some of his more obscure stuff like No. 9, 22, 27.

  10. #234
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    All of them but I have a special memory with Beethoven - Piano Sonata No. 24 in F# major, Op. 78 -À Thérèse and I also love the sound of it on the Fortepiano. Here is a precious contribution by Andras Schiff with his lecture and explanation on this piece who shows great pianism and understanding of this piece. https://www.youtube.com/watch?v=IpjTeUShoJA

  11. #235
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    I have one question which regard to learn something from composicion principles with piano sonates. Which is better?... especially as development chords things first of all,
    I want choice music one in this two mastters: Beethoven or Tchaikovsky? And what pick up for example in sonates? Number? Thanks.
    Last edited by Listenerris; Aug-29-2018 at 17:53. Reason: I will do progress
    We exist in the world, and you and me.

  12. #236
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    The opus 109 and the waldstein spring to mind

  13. #237
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    My favorite are the Pathetique Sonata and the Appasionata sonata, though I like all of his sonatas.

  14. #238
    Senior Member KenOC's Avatar
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    I admit to a life-long fondness for Beethoven’s final three piano sonatas: Opp. 109, 110, and 111. Beethoven had promised his publisher “an opus of three sonatas,” which would have been his first since the Op. 31. But that was not to be since each sonata took about six months to write. So they were published separately, each with its own opus number.

    Still, they seem very much a related trio, sharing a warmth and depth of the same sort. They are totally original, owing almost nothing to what had come before; and very little that came after owes much to them, since their specialness is of a sort that can’t be copied.


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