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  • I'm Daniel Barenboim and i would like to

  • welcome you to "Five minutes on..."

  • Beethoven's sonata for piano opus 10

  • number three

  • if you have watched the sequence on the

  • moonlight sonata and even more so

  • another one where it talked about the

  • impossibility of speaking about music

  • because when we do that we think we do

  • that we only talked about our reaction

  • to the music what we see me

  • according to our knowledge according to

  • our mood but not really today about the

  • essence of music music expresses itself in sound.

  • Today i would like to tell you

  • a little story about the last movement

  • of one of Beethovens most wonderful early

  • Sonatas or Christine number three.

  • When i was a child i went to the master

  • class of Edward Fisher great Swiss

  • pianist one of the greatest musicians i

  • think i ever met and he taught give a

  • lesson on the last movement of this Sonata

  • which goes something like this

  • and he spent the whole lesson talking

  • about the humor in this music and the

  • humor showed itself by these three notes

  • of the beginning being interrupted by

  • the silence and then being repeatedly

  • and he thought this was a perfect

  • example of humor in music.

  • and it was very convincing and I

  • remember the person who was playing the

  • piano had great difficulty to express

  • what the great master was telling him

  • but it tryed and did it somewhat.

  • Quite a fewyears later I went to a recital of

  • another great pianist that I greatly

  • admire Claudio Arrau. Claudio Arrau was one

  • the most serious musicians that ever

  • came on this earth.

  • He was able to see the dark side and the tragic side in the

  • most innocent music and I went to have

  • dinner with him after his concert and he

  • gave me a long lecture about the tragic

  • nature of the last movement of page of

  • the sonata opus ten number three

  • just imagine he said to me "Just imagine

  • three notes immediately interrupted as

  • if they are dying and then comes again

  • and again they're interrupting. It is the

  • inability of these three notes to become

  • something continues and create a melody

  • this is the very essence of tragic

  • expression in music.

  • And then the music gets going.

  • For me this has remained a perfect example of

  • the dangers of choosing objectives to

  • explain the music.

  • Music can really only be explained through sound.

  • Thank you very much for watching this sequence.

  • I hope you have enjoyed it and that would

  • be very delighted to read or hear your comments.

  • Thank you very much.

I'm Daniel Barenboim and i would like to

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5 Minutes On... Beethoven - Piano Sonata No. 7 (D major) | Daniel Barenboim [subtitulado]

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    夢想 posted on 2017/09/29
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