The first movement, in C♯ minor, is written in an approximate truncated sonata form. The movement opens with an octave in the left hand and a triplet figuration in the right. A melody that Hector Berlioz called a «lamentation», mostly by the right hand, is played against an accompanying ostinato triplet rhythm, simultaneously played by the right hand. The movement is played pianissimo or «very quietly», and the loudest it gets is mezzo forte or «moderately loud».
The adagio sostenuto has made a powerful impression on many listeners; for instance, Berlioz said of it that it «is one of those poems that human language does not know how to qualify. The work was very popular in Beethovens day, to the point of exasperating the composer himself, who remarked to Carl Czerny, „Surely Ive written better things.
Allegretto
The second movement is a relatively conventional scherzo and trio, a moment of relative calm written in D-flat major, the enharmonic equivalent of C♯ major, the more easily-notated parallel major of C♯ minor. Franz Liszt described the second movement as “a flower between two chasms.»[citation needed] The slight majority of the movement is in piano, but a handful of sforzandos and forte-pianos helps to maintain the movements cheerful disposition.
Presto agitato
The stormy final movement (C♯ minor), in sonata form, is the weightiest of the three, reflecting an experiment of Beethovens (also carried out in the companion sonata, Opus 27, No. 1 and later on in Opus 101) placement of the most important movement of the sonata last. The writing has many fast arpeggios and strongly accented notes, and an effective performance demands lively and skillful playing.
It is thought that the C-sharp minor sonata, particularly the third movement, was the inspiration for Frédéric Chopins Fantaisie-Impromptu, which manifests the key relationships of the sonatas three movements.
Of the final movement, Charles Rosen has written «it is the most unbridled in its representation of emotion. Even today, two hundred years later, its ferocity is astonishing.
Beethovens heavy use of sforzando notes, together with just a few strategically located fortissimo passages, creates the sense of a very powerful sound in spite of the predominance of piano markings throughout. Within this turbulent sonata-allegro, there are two main themes, with a variety of variation techniques utilized.
Beethovens pedal mark
See also: Piano history and musical performance, Mute (music), and Piano pedals#Beethoven and pedals
At the opening of the work, Beethoven included a written direction that the sustain pedal should be depressed for the entire duration of the first movement. The Italian reads: „Si deve suonare tutto questo pezzo delicatissimamente e senza sordino“. (»One must play this whole piece [meaning «movement»] very delicately and without dampers.") The modern piano has a much longer sustain time than the instruments of Beethovens day, leaving for a rather blurry and dissonant tone.
One option for dealing with this problem is to perform the work on a restored or replicated piano of the kind Beethoven knew. Proponents of historically informed performance using such pianos have found it feasible to perform the work respecting Beethovens original direction.
Johann Sebastian Bach (1685-1750).
Harpsichord Concertos.
¡Hermosos Concertos de Bach!
Concerto for harpsichord in A major BWV 1055
1. Allegro
2. Larghetto
3. Allegro ma non tanto
Concerto for harpsichord in F minor BWV 1056
4. Allegro
5. Largo
6. Presto
Concerto for harpsichord in D major BWV 1054
7. Allegro
8. Adagio e sempre piano
9. Allegro
Concerto for harpsichord in E major BWV 1053
10. Allegro
11. Siciliano
12. Allegro
Concerto for harpsichord and two recorders in F major BWV 1057
13. Allegro
14. Andante
15. Allegro assai
Concerto for harpsichord in D minor BWV 1052
16. Allegro
17. Adagio
18. Allegro
Concerto for three harpsichords in D minor BWV 1063
19. Allegro
20. Alla Siciliana
21. Allegro
Concerto for two harpsichords in C major BWV 1061
22. Allegro
23. Adagio ovvero Largo (Quartetto tacet)
24. Fuga Vivace
Concerto for three harpsichords in C major BWV 1064
25. Allegro
26. Adagio
27. Allegro
Concerto for two harpsichords in C minor BWV 1060
28. Allegro
29. Largo ovvero Adagio
30. Allegro
Concerto for four harpsichords in A minor BWV 1065
31. Allegro
32. Largo
33. Allegro
Concerto for harpsichord in D minor BWV 1059
34. Allegro
35. Adagio
36. Presto
Concerto for harpsichord in G minor BWV 1058
37. Allegro
38. Andante
39. Allegro assai
Gustav Leonhardt, harpsichord
Leonhardt Consort
Gustav Leonhardt
Herbert Tachezi, harpsichord (BWV 1052)
Concentus musicus Wien
Nikolaus Harnoncourt (BWV 1052)
Юмористическое шоу канала «Россия 1». Компания артистов «Аншлага» как всегда теплая и веселая. Братья Александр и Валерий Пономаренко решили внести предложение использовать полиграф при приеме чиновников на работу, а Геннадий Ветров и Игорь Маменко попробуют разобраться в отношениях инспектора ГАИ и водителя. Сегодня в «Аншлаге» также интервью с любимой всеми актрисой, легендарной Ольгой Аросевой. Также зрителей ждут семейные советы от Клары Новиковой и новые анекдоты от Владимира Моисеенко. Гости программы — музыканты необычного оркестра Юрия Гальцева. А в рубрике «Золотой архив» — любимые номера прошлых лет. На сцене также с премьерными номерами: Владимир Винокур, Светлана Рожкова, Андрей Баринов и другие.
Ведущая: Регина Дубовицкая
В этом году исполнилось 95 лет со дня рождения замечательного поэта Михаила Танича. Он написал тексты для невероятного количества популярнейших и любимых песен, которые поют уже много десятилетий. В студии программы «Сегодня вечером» снова прозвучат его песни, а близкие и друзья Михаила Танича вспомнят все самое лучшее, что для них связано с именем этого удивительного человека и прекрасного поэта.
«Квартал 95» — это сочетание юмора, хороших шуток, лучших приколов и позитивного взгляда на жизнь, острой политической сатиры, а также смешных музыкальных номеров и трогающих до глубины души песен в конце каждого нового выпуска Вечернего Квартала.
Актеры Квартал 95: Евгений Кошевой, Владимир Зеленский, Елена Кравец, Степан Казанин, Александр Пикалов, Юрий Крапов, Юрий Корявченков (Юзик), Мика Фаталов — реальные звезды ТВ и шоу-бизнеса, отечественного кино — любимцы многомиллионной аудитории настоящих ценителей качественного юмора
Смотрите лучшие юмористические проекты Студии Квартал 95 на нашем ютуб-канале