 |
 |
 |
 |
Beethoven and the Sonata Form
Form was a continuing concern for Beethoven-the structure and inner logic of music, the way themes are built and developed and which elements are juxtaposed, and particularly the creation of unity from opposing ideas and themes. That is why the sonat...(more details) |
|
|
|
 |
 |
 |
 |
 |
The Fifth Symphony
The more one knows about Beethoven's music, the less necessary is it to say anything. By this time, students should understand the relationship between Beethoven's deafness and his composition, his use of sudden contrasts and about-faces, his mastery...(more details) |
|
|
|
 |
 |
 |
 |
 |
The Eroica
Although the Second Symphony bears the unmistakable stamp of Beethoven's language, it remains within the bounds of expression laid down by Haydn. But the Eroica, composed within a year of the Second, is another matter. Barenboim explains the workings...(more details) |
|
|
|
 |
 |
 |
 |
 |
The Appassionata
Its very name tells us about the emotional strength of this piano sonata. But it is a work of music, and therefore abstract. It does not correspond to events in the composer's life, nor can it be adequately described in words and images. The wordless...(more details) |
|
|
|
 |
 |
 |
 |
 |
The Last Piano Sonata
Opus 111, Beethoven's last sonata, has only two movements; there appears to be nothing further to say. The first movement shows his terrifying energy; the second is serene, elemental. Barenboim analyzes the development of subjects, the contrasts in m...(more details) |
|
|
|
 |
 |
See additional titles in