Our relationship to Beethoven is a deep and paradoxical one. For many musicians, he represents a kind of holy grail: His music has an intensity, rigor, and profundity which keep us in its thrall, and it is perhaps unequalled in the interpretive, technical, and even spiritual challenges it poses to performers. At the same time, Beethoven’s music is casually familiar to millions of people who do not attend concerts or consider themselves musically inclined. Two hundred years after his death, he is everywhere in the culture, yet still represents its summit.
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Exploring Beethoven’s Piano Sonatas
カーティス音楽学校(Curtis Institute of Music)このコースについて
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カーティス音楽学校(Curtis Institute of Music)
The Curtis Institute of Music educates and trains exceptionally gifted young musicians to engage a local and global community through the highest level of artistry. A tuition-free policy ensures that talent and artistic promise are the only considerations for admission. With a small student body of about 175, Curtis ensures that each young musician receives an education of unparalleled quality, distinguished by personalized attention from a celebrated faculty and a “learn by doing” philosophy. Curtis students hone their craft through more than 200 orchestra, opera, and solo and chamber music offerings each year in Philadelphia and around the world.
シラバス - 本コースの学習内容
Welcome to Class!
We’re happy that you’ve joined us! The items you see here will enable you to get the most out of this course. Please note that many of the items have been updated to reflect the addition of Jonathan’s newest lectures.
How Things Were
To examine the relationship Beethoven had with the piano sonata, we begin by looking at its origins. In this lecture, we will discuss the role of music generally, and of the sonata specifically, in the time of Haydn and Mozart. This lecture will also provide an introduction to the form of the sonata—to the psychological effect sonata structure has on the listener. This background will be necessary to appreciate the innovations Beethoven introduces.
The First Thirteen
Beethoven’s work has traditionally been divided into three or four periods. This is problematic, for various reasons, but the first 13 of the 32 sonatas do, in a sense, form a unit. This lecture will focus on Sonata No. 4, Op. 7, which is the largest and altogether one of the most impressive of the early works.
New Paths
Beethoven’s conception of the sonata was perpetually in flux, but the year 1801 is a particularly experimental one. The four sonatas Op. 26 through 28 (Nos. 14 through 17, chronologically) feature the most concrete innovations among the sonatas written up to that point, and are the focus of this lecture. There will be discussion of the relationship between the movements in a classical sonata, and the radical shift it begins to undergo at this point. We will also examine the ways in which these sonatas were influential to future generations of composers, which the earlier works, great as they are, were not.
レビュー
EXPLORING BEETHOVEN’S PIANO SONATAS からの人気レビュー
This course and Mr. Biss' immense knowledge of Beethoven's sonatas and that era has given me a new interest in classical music. I can understand and speak about it more confidently than ever!
Fascinating trip through the marvellous Beethoven sonatas. Although I love them since many years, I'm very happy to see that It's always possible to progress.\n\nMany thanks Jonathan.
Excellent coverage of the essentials. Provided me with a lot of understanding that I didn't find elsewhere. I would recommend this to anyone interested in knowing about the sonatas.
I highly recommend this course to anyone that wants to look DEEPER into music. Believe me, after you are done with this course. You will see classical music completely different.
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