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Beethoven: Well-Established Composer (04:45)

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By age 32, Beethoven is an established composer. He agonizes over his hearing loss. He considers suicide, but he knows he has much more music inside of him. He pushes the musical form of the sonata to the limit.

Beethoven Adopts Sonata Form for Creative Expression (02:11)

The sonata form consists of a large, fast first movement, a slow and expressive middle movement, and a final quick, rondo, upbeat finale. Beethoven adopts the sonata form for the expression of his creative genius.

Performance of Beethoven's Piano Sonata No. 21, Opus 53: First Movement (10:40)

Pianist Mia Chung plays Piano Sonata no. 21, Opus 53, also known as the "Waldstein." She performs the first movement: allegro con brio.

Performance of Beethoven's Piano Sonata No. 21, Opus 53: Second Movement (04:28)

Pianist Mia Chung plays Piano Sonata no. 21, Opus 53, also known as the "Waldstein." She performs the second movement: adagio molto.

Performance of Beethoven's Piano Sonata No. 21, Opus 53: Third Movement (09:14)

Pianist Mia Chung plays Piano Sonata no. 21, Opus 53, also known as the "Waldstein." She performs the third movement: allegretto moderato.

Background of the "Waldstein" Sonata (04:22)

Beethoven composes the "Waldstein" in 1803-04 and dedicates it to his patron Count Waldstein. In this sonata are technical passages of unprecedented difficulty. The three movements strengthen the cohesion of the entire work.

Sonata Style: Balance and Symmetry (03:00)

Pianist Mia Chung demonstrates the kinetic energy of the first movement of Beethoven's "Waldstein." The classical sonata was inspired by ancient Greek ideals of balance and symmetry. Chung describes the "nuts and bolts" of the movement.

"Waldstein" Sonata: Second Musical Theme (05:38)

Mia Chung discusses and demonstrates the hymn-like second theme of the first movement of Sonata no. 21 in C Major. She demonstrates the "superb craftsmanship" of Beethoven's composition.

"Waldstein" Sonata: Expressiveness of Seconds Movement (04:31)

The second movement is the organic link to the opening measures of the first movement. The second movement is halting, angular, and tranquil, and gradually gets more agitated before calming down to segue into the Rondo.

"Waldstein Sonata: Harmonic Planning of Third Movement (02:49)

The large-scale harmonic planning of Beethoven sets the second movement in F major. It gradually finds it way into G major, and then finally back to the tonic C, which is also the first note of the of the third movement.

"Waldstein" Sonata: The Ethereal and Primal of Third Movement (04:37)

Pianist Mia Chung demonstrates the Rondo theme of the third movement. The composer uses trills, double trills, and octave glissandos the transcendent. The work concludes with a "pyrotechnic show."

Pianist Commentary About First Movement of "Waldstein" Sonata (10:43)

Against a backdrop of a performance of the "Waldstein," pianist Mia Chung provides commentary about the first movement: allegro con brio.

Pianist Commentary About Second Movement of "Waldstein" Sonata (04:26)

Against a backdrop of a performance of the "Waldstein", pianist Mia Chung provides commentary about the second movement: adagio molto.

Pianist Commentary About Third Movement of "Waldstein" Sonata (09:13)

Against a backdrop of a performance of the "Waldstein", pianist Mia Chung provides commentary about the third movement: allegretto moderato.

Performance of Beethoven's Piano Sonata No. 31 in A-flat Major, Opus 110: First Movement (06:51)

Pianist Mia Chung plays Piano Sonata no. 31 in A-flat major, opus 110. She performs the first movement: moderato cantabile molto espressivo.

Performance of Beethoven's Piano Sonata No. 31 in A-flat Major, Opus 110: Second Movement (02:01)

Pianist Mia Chung plays Piano Sonata no. 31 in A-flat major, opus 110. She performs the second movement: allegro molto.

Performance of Beethoven's Sonata No. 31 in A-flat Major, Opus 110: Third Movement (10:52)

Pianist Mia Chung plays Sonata no. 31 in A-flat major, opus 110. She performs the third movement: adagio ma non troppo.

Background of Beethoven's Sonata No. 31 in A-Flat Major, Opus 110 (02:16)

Opus 110 comes at a later period in the composer's life when he was totally deaf. The narrative of the sonata is front and center. The first movement is only a brief introduction while the final movement carries the bulk of the emotional weight.

About the First Movement of Sonata No. 31 in A-Flat Major, Opus 110 (05:53)

Pianist Mia Chung performs the first movement of the sonata, and explains the "nuts and bolts" of the work. The tempo is moderate. Chung demonstrates important motifs of this movement.

About the Second Movement of Sonata No. 31 in A-Flat Major, Opus 110 (03:12)

The second movement introduces what pianist Mia Chung refers to as the "profane" in this sonata, which she describes as embodying the sacred and the profane.

About the Third Movement of Sonata No. 31 in A-Flat Major, Opus 110 (06:46)

The third movement introduces what pianist Mia Chung refers to as the "sacred" in this sonata, which she describes as embodying both the sacred and the profane.

Third Movement of Sonata No. 31 in A-Flat Major (05:27)

Pianist Mia Chung demonstrates the song-like quality of the third movement of Sonata no. 31 in A-flat major. The third movement's structure alternates two slow arioso sections with two faster fugues.

Pianist Commentary About Sonata No. 31 in A-Flat Major: First Movement (06:42)

Against a backdrop of a performance the sonata, pianist Mia Chung provides commentary about the first movement: moderato cantabile molto espressivo.

Pianist Commentary About Sonata No. 31 in A-Flat Major: Second Movement (02:05)

Against a backdrop of a performance the sonata, pianist Mia Chung provides commentary about the second movement: allegro molto.

Pianist Commentary About Sonata No. 31 in A-Flat Major: Third Movement (10:52)

Against a backdrop of a performance the sonata, pianist Mia Chung provides commentary about the third movement: adagio ma non troppo.

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Notations: A Composer’s Response to Crisis


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Description

In 1802, Beethoven faced the prospect of becoming deaf. But instead of causing defeat, that crisis triggered a season of transcendent creativity that changed the course of music history. In this program, pianist Mia Chung explores the innovations of Beethoven’s genius in the face of enormous obstacles as she performs, deconstructs, and discusses two of Beethoven’s most significant solo piano works: Piano Sonata no. 21 in C Major, op. 53 (“Waldstein”), composed in 1803-04, and Sonata no. 31 in A-flat Major, op. 110, composed in 1821. Ms. Chung has been called “uncommonly insightful, individualistic, lively” and “technically dazzling” by The New York Times. (2 hours 24 minutes)

Length: 144 minutes

Item#: BVL40452

ISBN: 978-1-60825-990-8

Copyright date: ©2008

Closed Captioned

Performance Rights

Prices include public performance rights.

Only available in USA and Canada.


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