Piano Sonata No. 7 in D, Op. 10, No. 3: I. Presto
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. 7 in D Op. 10 No. 3: I. Presto
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, 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. 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…
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
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
Ashish Xiangyi Kumar
Lortie:
00:00 – Mvt 1
06:25 – Mvt 2
16:50 – Mvt 3
19:29 – Mvt 4
Jando:
23:18 – Mvt 1
31:12 – Mvt 2
40:44 – Mvt 3
43:33 – Mvt 4
Lortie’s performance is one of my all-time favourite B. recordings; when I’m listening to it, at least, it’s hard to imagine something more perfect. The dynamic control on display is pretty extraordinary [0:14, 0:38, 5:01], there’s all sorts of beautiful colorization everywhere [1:33, 5:05, all over the last movement], the 2nd mvt’s doleful lyricism is completely realized, and passages are articulated with a lot of care [see the non-legato closing at 23:09]. Jando’s performance displays the same attention to detail as Lortie’s, but his much slower tempi in the 1st mvt allow him to play with these microscopic variances a lot more: this performance is less sleek, but somehow more down-to-earth, more honest. There’s a lot less pedal in his recording, where the fingers do most of the work, and his tempo in the 2nd mvt is also brisker than Lortie’s. His dry style yields some unexpected rewards, such as the wonderful semidemiquaver passages at 34:58 and similar, where the textures are more orchestral but the grief starker/more biting, and the rondo, where the razor-sharp articulation gives a really nice, crisp, bite to the whole movement.
Ольга Коменда
00:00 І ч. ГП 1 т. D-dur
00:20 І ч. ГП 2 т. h-moll
00:45 І ч. ПП A-dur
01:16 І ч. ЗП A-dur
03:24 І ч. РБ
06:25 ІІ ч. ОТ d-moll
09:57 ІІ ч. СР F-dur
16:50 ІІІ ч. ОТ D-dur
19:29 IV ч. РФ D-dur
20:38 IV ч. ЕП B-dur
JordC
My Orchestra arrangement of Beethoven's Piano Sonata no. 7:
Woodwinds:
Flute
2 Oboes
2 Clarinets (in A (first, third and fourth movements), C (second movement))
2 Bassoons
Brass:
2 Horns (in D)
2 Trumpets (in D, second movement tacet)
Percussion:
Timpani (second movement tacet)
Strings:
Violins I, II
Violas
Cellos
Basses
Ashish Xiangyi Kumar
Incidentally: I seem to be facing a slightly weird issue where some of my uploads (like the Tempest Sonata or Thibaudet's Mendelssohn PC 1, among others) aren't discoverable (by me!) on YT via the search function. So:
1. Is anyone else facing this issue, and if so,
2. Any idea why this is the case, and
3. How I should get around this?
And to clarify, using the case study of the Tempest video:
1. It's not a copyright issue: there are no geographical viewing restrictions, though you can't view it on mobile devices;
2. The video still gets a healthy number of views each day, about 10% of which are via YT search.
Ashish Xiangyi Kumar
Lortie:
00:00 – Mvt 1
06:25 – Mvt 2
16:50 – Mvt 3
19:29 – Mvt 4
Jando:
23:18 – Mvt 1
31:12 – Mvt 2
40:44 – Mvt 3
43:33 – Mvt 4
Lortie’s performance is one of my all-time favourite B. recordings; when I’m listening to it, at least, it’s hard to imagine something more perfect. The dynamic control on display is pretty extraordinary [0:14, 0:38, 5:01], there’s all sorts of beautiful colorization everywhere [1:33, 5:05, all over the last movement], the 2nd mvt’s doleful lyricism is completely realized, and passages are articulated with a lot of care [see the non-legato closing at 23:09]. Jando’s performance displays the same attention to detail as Lortie’s, but his much slower tempi in the 1st mvt allow him to play with these microscopic variances a lot more: this performance is less sleek, but somehow more down-to-earth, more honest. There’s a lot less pedal in his recording, where the fingers do most of the work, and his tempo in the 2nd mvt is also brisker than Lortie’s. His dry style yields some unexpected rewards, such as the wonderful semidemiquaver passages at 34:58 and similar, where the textures are more orchestral but the grief starker/more biting, and the rondo, where the razor-sharp articulation gives a really nice, crisp, bite to the whole movement.
Videos
Ashish Xiangyi Kumar OOOOOOOOMMMMMMMGGGGGGGG THANK YOU!!
Jamie N.
Your analysis always exceed my expectations! They never fail to disappoint
Videos
Eternalshimo HAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHAAHHA
Матвей Мещеряков
I really aprreciate your passion toward music. Yeah, totally out of this world. btw, i think the biggest piece of "total masterworks than noone listen too" is mozart's 41th symphony, probably the best his creation, one of the best music pieces that humanity has created... and the view count on the biggest video barely reaches 2M...
Aall Pprr
YOU CANNOT PUT ADS IN THE MIDDLE OF THE SONATA OR EVEN WORSE OF THE MOVEMENT
Ab Cd
Wow. That second movement is definitely one of the most beautiful things EVER written. Beethoven was a master of emotion and his music is as relevant today as it was back then.
RocheSSBM
It’s so well hidden, I never liked the first movement of this sonata so I just skipped it. But one day i went and played it all along, searching for some hidden gems and found one of my favs of beethoven.
Charlie
@RocheSSBM what was it that you found
Isaac van der Merwe
Second movement is deeply profound....had an ad about 45 seconds from end of it. Was falling asleep