Sonata for Piano No.23 in F minor 'Appassionata', Op.57 - Allegro ma non troppo
Ludwig van Beethoven's Piano Sonata No. 23 in F minor, opus 57, colloquiall… Read Full Bio ↴Ludwig van Beethoven's Piano Sonata No. 23 in F minor, opus 57, colloquially known as the Appassionata, is considered one of the three great piano sonatas of his middle period (the others being the Waldstein sonata, opus 53 and Les Adieux, Opus 81a).
An average performance of all three movements of the Appassionata sonata lasts about 23 minutes.
An average performance of all three movements of the Appassionata sonata lasts about 23 minutes.
Sonata for Piano No.23 in F minor 'Appassionata' Op.57
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
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@astailgonsama7852
Primary theme: 0:00
Transition: 1:10
Secondary theme: 1:36
Extra theme: 2:18
Essential Expositional Closure: 2:40
Development begins: 2:53
Retransition: 5:31
Recapitulation begins: 5:41
Primary theme: 5:41
Transition: 6:17
Secondary theme: 7:17
Extra theme: 7:58
Essential Structural Closure: 8:20
Coda to end: 8:32 - 10:07
@user-pq7ed9bd3k
@micoveliki8729 I know this is like four months late but no one has replied to you so I thought I would.
Movement 2 - Theme and variations - Db Major
11:05 - Theme Part 1.
11:50 - Theme Part 2.
12:42 - Variation 1 Part 1. Theme with syncopation
13:22 - Variation 1 Part 2.
14:06 - Variation 2 Part 1. The theme becomes more melodic and lyrical
14:47 - Variation 2 Part 2.
15:24 - Variation 3. For the first time in the sonata, there is joy. The theme takes on a sense of playfulness and remedy and while the joy isn't overbearing or anything, it does give the slight sense that there is still hope left. There are also no exact repeats in this variation
16:29 - Variation 4. For the most part, with some minor changes such as the melody jumping up an octave at some points and the removal of the repeats, this variation is really just a repeat of the theme. It brings us home and gives a sense of comfort and resolution.
17:19 - As the music winds down, it prepares for a cadence to end the movement in the tonic key of Db Major. But instead, Beethoven pulls one of the best tricks of this sonata. At first it seems the movement will end in a standard ii-V-I progression, perfectly cadencing the movement and ending it peacefully. But the V chord doesn't go to the tonic, instead, a rolled diminished 7th chord is played. The bliss and hope of the second movement is abruptly halted as mystery and tension takes over. The 7th chord is played again, now violently in fortissimo, and without pause, the music transitions into the finale.
Finale - Sonata Form - F minor
INTRODUCTION
17:34 - The diminished 7th chord is repeated
17:39 - A 16th note figure appears as it works its way down to the bass where theme 1 will be presented.
EXPOSITION
17:51 - Theme 1 in F minor. Theme 1 introduces two important motifs. Motif 1 is the change to Neapolitan harmony (using the key a half step above the tonic) at 17:55. And motif 2, is the dotted rhythm, first heard in the bass of the theme but is first heard quasi melodically above the theme at 17:58.
18:05 - Theme 2 in F minor. Note motif 2 in the middle voice and then in the top voice at 18:17.
18:29 - Transition, based on theme 1, going from F minor to C minor
18:39 - Theme 3 (subordinate theme) in C minor. Note how the theme begins on Neapolitan Db (motif 1).
18:55 - Theme 4 (cadential theme) in C minor. The 4th theme begins with using a canon version of theme 1 and then transitions to an echo like phrase at 19:01
DEVELOPMENT
19:14 - Theme 1 built from a diminished 7th chord
19:21 - Theme 1 in Bb minor
19:34 - A new, nervous theme in Bb minor.
19:48 - Theme 1 in a cannon that goes from F minor to F# Major (motif 1), to diminished 7th harmony, to Bb minor.
19:57 - Shift to C minor which sets up the cadenza
20:03 - Cadenza using Neapolitan (motif 1) and diminished 7th harmony
20:31 - The harmony has shifted to a dominant 7th chord preparing us for a return to F minor.
RECAPITULATION
20:37 - Theme 1 back in F minor with theme 2 following suit at 20:51
21:15 - Transition going from F minor to, uh… F minor.
21:24 - Theme 3 in F minor
21:42 - Theme 4 in F minor
21:51 - Here Beethoven does another neat trick. As the momentum and intensity builds you’d expect the movement to reach its climax but instead, it veers off to a different path and repeats the development and recapitulation as the music attempts to maintain control over itself.
24:33 - Finally, after the repeat, the music begins to spin out of control, catalyzing into the coda.
CODA
24:39 - The tempo jumps to presto and a new, violent, dance of death theme is introduced.
24:59 - Theme 1 at rapid speed, crawling up the keyboard.
25:09 - Ending material
25:17 - The music cascades down the keyboard, violently closing out the sonata in the darkness of F minor.
@user-ki4rg4wf3o
0:00 1ч головна тема
0:36 1ч тема долі
7:15 1ч побічна тема
11:05 2ч тема варіацій
17:51 3ч головна тема. перший елемент
18:17 3ч головна тема. другий елемент
18:37 3ч побічна тема
19:34 3ч тема епізоду в розробці
24:39 3ч тема коди
@rodrigomanzano4650
Lenin once said: "I know of nothing better than the Appassionata and could listen to it every day. What astonishing, superhuman music! It always makes me proud, perhaps with a childish naiveté, to think that people can work such miracles! … But I can’t listen to music very often, it affects my nerves...If I continue listening to it, I won't be able to carry on with the Revolution." In my opinion, one of the deepest and best examples that music can reach out to everyone.
@MarcoGDaz
Rodrigo Manzano Unfortunately Mr Lenin didn't own an i-Pod.It could have saved thounsands lifes.
@ferozaleeming6906
MarcoGDaz nice one. we are learning about him in History!
@VesChrist
MarcoGDaz + iPod wouldn't have helped. Comrade Lenin got STD - syphilis and had brain damage (half his brain is believed to be rotten) - from the years he spent in Western Europe and the prostitutes there.
@primitivac603
I Am the Walrus?
@nekocekoBiHMK
Not the bloody walrus
@e.hutchence-composer8203
It’s crazy to think that Beethoven was writing master piece after master piece. Even if we look at Op. 50 - Op. 60 we have the Waldstein Sonata Op. 53, Eroica Symphony Op. 55, Appassionata Sonata Op. 57 and the 4th Piano Concerto Op. 58. How Beethoven managed to write such great music over and over again consistently throughout his life is a wonder to the world of art.
@Solon_2
Ha only at the begining, when he was older he was considered a genius
@mikhailsungurov2472
I agree greatest composer of all time to me. Bach is 2nd.
@dradenhaven1549
@mikhail sungurov Bach-Mozart-Beethoven the holy trinity of classical music.