Piano Sonata No. 5 in C minor, Op. 10 No. 1: I. Allegro molto e con brio
Ludwig van Beethoven (16 December 1770 – 26 March 1827) was a German pianis… Read Full Bio ↴Ludwig van Beethoven (16 December 1770 – 26 March 1827) was a German pianist and composer of the transitional period between the late Classical and early Romantic eras. He is often regarded as one of the most brilliant, prolific and influential composers of all time.
Beethoven is widely regarded as a master of musical construction, sometimes sketching the architecture of a movement before he had decided upon the subject matter. He was one of the first composers to systematically and consistently use interlocking thematic devices, or 'germ-motives', to achieve unity between movements in long compositions. (Some insight into the meaning of the germ-motive device is given at the end of this bio.) Equally remarkable was his use of source-motives', which recurred in many different compositions and lent some unity to his life’s work. He made innovations in almost every form of music he touched. For example, he diversified even the well-crystallised form of the rondo, making it more elastic and spacious, which brought it closer to sonata form. He was mostly inspired by the natural course of nature, and liked to write songs describing nature.
Beethoven composed in a great variety of genres, including symphonies, concerti, piano sonatas, other instrumental sonatas (including for violin), string quartets and other chamber music, masses, lieder, and one opera.
Beethoven's compositional career is usually divided into Early, Middle, and Late periods:
In the Early (Classical) period, he is seen as emulating his great predecessors Haydn and Mozart, while concurrently exploring new directions and gradually expanding the scope and ambition of his work. Some important pieces from the Early period are the first and second symphonies, the first six string quartets, the first three piano concertos, and the first twenty piano sonatas, including the famous "Pathétique" and "Moonlight" sonatas.
The Middle (Heroic) period began shortly after Beethoven's personal crisis centering around his encroaching deafness. The period is noted for large-scale works expressing heroism and struggle; these include many of the most famous works of classical music. Middle period works include six symphonies (numbers 3 to 8), the fourth and fifth piano concertos, the triple concerto and violin concerto, five string quartets (numbers 7 to 11), the next seven piano sonatas (including the "Waldstein" and the "Appassionata"), and Beethoven's only opera, Fidelio.
Beethoven's Late (Romantic) period began around 1816. The Late-period works are characterised by intellectual depth, intense and highly personal expression, and formal innovation (for example, the Op. 131 string quartet has seven linked movements, and the Ninth Symphony adds choral forces to the orchestra in the last movement). Works of this period also include the Missa Solemnis, the last five string quartets, and the last five piano sonatas.
Deconstructing the sonata form, both in the overall schema (movements, tempos) and in the micro-form, Beethoven began to use germinal ideas propelling the whole melodic, harmonic, and rhythmic progression. In the first quartet of the group (E flat major, Op.127 – February 1825), the Adagio has five variations (in this case, a source-theme becomes the backbone of the tempo). That same year, in July, Quartet in A minor, Op.132, features a first movement with the traditional two themes, but without contrast; they display and disseminate sub-sections and ‘germs’ in a circular frame, interlocking with each other. Beethoven's germ-motive is like a Bach choral, summoning the other voices around itself.
The last quartet, Op. 135 in F major, was composed in a downplayed form, going back to a more traditional four-tempo structure. But internally one finds the same frozen micro-structure: the first movement is harmonically ambiguous, whereas the scherzo sounds like Bartók, and in the finale, the canon ‘Es muss sein’ plays a joyful role. A terrible grave comes in afterward, to dissolve into a soft pizzicato: adieu music, adieu life . It was never heard by the now deaf Beethoven, and he died shortly afterward.
Beethoven is widely regarded as a master of musical construction, sometimes sketching the architecture of a movement before he had decided upon the subject matter. He was one of the first composers to systematically and consistently use interlocking thematic devices, or 'germ-motives', to achieve unity between movements in long compositions. (Some insight into the meaning of the germ-motive device is given at the end of this bio.) Equally remarkable was his use of source-motives', which recurred in many different compositions and lent some unity to his life’s work. He made innovations in almost every form of music he touched. For example, he diversified even the well-crystallised form of the rondo, making it more elastic and spacious, which brought it closer to sonata form. He was mostly inspired by the natural course of nature, and liked to write songs describing nature.
Beethoven composed in a great variety of genres, including symphonies, concerti, piano sonatas, other instrumental sonatas (including for violin), string quartets and other chamber music, masses, lieder, and one opera.
Beethoven's compositional career is usually divided into Early, Middle, and Late periods:
In the Early (Classical) period, he is seen as emulating his great predecessors Haydn and Mozart, while concurrently exploring new directions and gradually expanding the scope and ambition of his work. Some important pieces from the Early period are the first and second symphonies, the first six string quartets, the first three piano concertos, and the first twenty piano sonatas, including the famous "Pathétique" and "Moonlight" sonatas.
The Middle (Heroic) period began shortly after Beethoven's personal crisis centering around his encroaching deafness. The period is noted for large-scale works expressing heroism and struggle; these include many of the most famous works of classical music. Middle period works include six symphonies (numbers 3 to 8), the fourth and fifth piano concertos, the triple concerto and violin concerto, five string quartets (numbers 7 to 11), the next seven piano sonatas (including the "Waldstein" and the "Appassionata"), and Beethoven's only opera, Fidelio.
Beethoven's Late (Romantic) period began around 1816. The Late-period works are characterised by intellectual depth, intense and highly personal expression, and formal innovation (for example, the Op. 131 string quartet has seven linked movements, and the Ninth Symphony adds choral forces to the orchestra in the last movement). Works of this period also include the Missa Solemnis, the last five string quartets, and the last five piano sonatas.
Deconstructing the sonata form, both in the overall schema (movements, tempos) and in the micro-form, Beethoven began to use germinal ideas propelling the whole melodic, harmonic, and rhythmic progression. In the first quartet of the group (E flat major, Op.127 – February 1825), the Adagio has five variations (in this case, a source-theme becomes the backbone of the tempo). That same year, in July, Quartet in A minor, Op.132, features a first movement with the traditional two themes, but without contrast; they display and disseminate sub-sections and ‘germs’ in a circular frame, interlocking with each other. Beethoven's germ-motive is like a Bach choral, summoning the other voices around itself.
The last quartet, Op. 135 in F major, was composed in a downplayed form, going back to a more traditional four-tempo structure. But internally one finds the same frozen micro-structure: the first movement is harmonically ambiguous, whereas the scherzo sounds like Bartók, and in the finale, the canon ‘Es muss sein’ plays a joyful role. A terrible grave comes in afterward, to dissolve into a soft pizzicato: adieu music, adieu life . It was never heard by the now deaf Beethoven, and he died shortly afterward.
Piano Sonata No. 5 in C minor Op. 10 No. 1: I. Allegro molto e con brio
Ludwig van Beethoven Lyrics
We have lyrics for these tracks by Ludwig van Beethoven:
"An die Hoffnung" Op. 94 LUDWIG VcN BEETHOVEN (1770-1827) cn die Hoffnung op.94 (aus…
1 Joyful, joyful, we adore You, God of glory, Lord of love; He…
9th Symphony Freude, schöner Götterfunken, Tochter aus Elysium, wir bet…
Ah perfido Ah! perfido, spergiuro, Barbaro traditor, tu parti? E son qu…
Ah! perfido Op. 65: "Ah! perfido" Ah! perfido, spergiuro, Barbaro traditor, tu parti? E son qu…
Ah! perfido Op. 65: "Per pietà non dirmi addio" Ah! perfido, spergiuro, Barbaro traditor, tu parti? E son qu…
Ah! perfido! Op. 65 Ah! perfido, spergiuro, Barbaro traditor, tu parti? E son qu…
An die Hoffnung op. 32 LUDWIG V. BEETHOVEN (1770-1882) cn die Hoffnung op. 32 Tex…
An die Hoffnung op. 94 LUDWIG VcN BEETHOVEN (1770-1827) cn die Hoffnung op.94 (aus…
An die Hoffnung Op. 94 LUDWIG VcN BEETHOVEN (1770-1827) cn die Hoffnung op.94 (aus…
Joyful Joyful Joyful, joyful, we adore You, God of glory, Lord of love; He…
Moonlight Sonata Camper Van Beethoven Camper Van Beethoven We Love You All…
Presto Freude, schöner Götterfunken, Tochter aus Elysium, wir bet…
String Quartet in A major Kimi no te de kirisaite Omoi hi no kioku wo Kanashimi no…
String Quartet in A major Op. 18 No. 5: III. Andante cantabile Kimi no te de kirisaite Omoi hi no kioku wo Kanashimi no…
Symphony No. 2 in D Major I saw you standing on the corner You looked so big…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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LucasPianoSalon
Published on Nov 3, 2017
This is one of B.’s most approachable sonatas – it’s not that difficult to play (unless you are absolutely determined to take the last movement at tempo), and comes close to matching the Pathetique for dramatic power (rhetorical silences, material presented in unison, dynamic contrasts). Like the other Op.10 sonatas, the first movement’s development section is largely built around new material. The second movement one of B.’s prettiest slow movements, built around an ABAB “sonatina” form, and the last movement is (again, common to all the Op.10 sonatas) especially enjoyable. It’s a surprising blend of fizzy nervousness and humour: you’ve got that cavalier, almost-bathetic ending, the accented landings on wrong harmonies in the second theme, frenetic tremolos, big dynamic swings, and a pretty menacing main theme – all presented at breakneck speed.
MVT I, Allegro molto e con brio
EXPOSITION
00:00 – Theme 1
00:26 – Transition Theme
00:47 – Theme 2. Its closing quotes the opening of Theme 1
01:13 – Cadential Theme
DEVELOPMENT
02:49 – Theme 1 in C = V of (iv)
03:00 – Development Theme. Containing motif (x) – C/B/Db/C/Bb/G – at 3:02.
03:14 – Sequential development of (x), which drifts into the LH.
03:31 – Dominant preparation
RECAPITULATION
03:38 – Theme 1
04:00 – Transition Theme, starting on extremely remote key of Gb.
04:20 – Theme 2, in F. At 4:30 extra bars wrench it into C min
04:59 – Cadential Theme
MVT II, Adagio molto
EXPOSITION
05:15 – Theme 1
06:18 – Transition
06:46 – Theme 2
RECAPITULATION
08:22 – Theme 1, with new ornamentation
09:23 – Transition, which moves into 6/4 of Fb, necessitating extra bars to return to home dominant
10:01 – Theme 2
11:26 – Coda. Theme 1 with gentle accompaniment, with tender new 4-bar clause. Then alternation between tonic/dominant, closing on 5 bars of tonic
MVT III, Finale: Prestissimo
EXPOSITION
13:04 – Theme 1, opening with M1
13:25 – Theme 2. At 13:38 cadential theme enters with M1 in LH
DEVELOPMENT
14:54 – M1, closely developed. Arrives at V of (iv), then eventually the home dominant diminished 7th
RECAPITULATION
15:08 – T1
15:30 – T2, in C. At 15:41 it suddenly moves into minor, which it never leaves again. The cadential theme at 15:43 now enters without tremolos, with M1 in RH.
CODA
16:02 – The closing cadence-figure moves into Db, where T2 is presented in the form of a slow melody. Pause on the local dominant
16:24 – Diminished 7th, turning into C min (this passage is heavily reminiscent of the Tempest)
16:34 – T2 + T1 combined in final passage with subdominant color. At its close the sonata simply evaporates.
Leechturk [JJT]
A look at Beethoven's Sonata 1-10 analysis
https://www.youtube.com/watch?v=3D77-H2Jo1o&list=PLcOhYCL7SXR2jwdTf6vx-M0oEaEPSEmn8
SERGİ = EXPOSİTİON
VARIŞ KÖPRÜSÜ=BRİDGE
GELİŞME= DEVELOPMENT
SERGİNİN TEKRARI=REEXPOSİTİON
ANA TEMA=FİRST THEME
YAN TEMA=2. THEME
BİTİŞ TEMASI=CODA
Silva Galstyan
I played this 3 years ago. It's really amazing when you can make this music yourself and feel the real pleasure of this music 🎵🎵🎶🎶
Hesu Teravanesyan
Ani Israelyan barev
Silva Galstyan
Barev
Silva Galstyan
Alexander Arutyunyan բարև ձեզ
rober Acevedo
Barev
Layser H
Barev?!
Bacon Kid
If anyone is struggling with the fingering for the first 16th note passage in mvm 3, I found that 2321 2432 1213 2143 2 worked very well and didn’t require many awkward fingerings. :)
The random video maker
wow u are clever! i am currently learning this piece and i thought of the exact same fingering!
Ar-Pharazôn
I haven't tried that before, thats pretty neat! I currently use 2321 2432 1432 1432.
ImDark73
@Ar-Pharazôn same