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  • (piano music)

  • (audience applauds)

  • - Well done.

  • It's a very hard piece,

  • and you did it admirably.

  • I know the difficulties of it.

  • I'm going to urge you to go beyond

  • even your limits, even your borders.

  • I want it wilder, and to try it,

  • at the thing, and let me talk a little bit

  • about it before we play it again.

  • The motives in this piece

  • carry throughout that first movement.

  • For instance, let's see.

  • The first motive, sorry,

  • (makes interpretive musical sounds)

  • that third, D to F.

  • We'll sort it out, but that's the motive.

  • It's not (makes interpretive musical sounds).

  • That's not it.

  • It's the connection between them.

  • (makes interpretive musical sounds)

  • Because, and I don't understand it,

  • everybody does this, or I hear it very often.

  • They slow the tempo.

  • (makes interpretive musical sounds)

  • And what is he do?

  • He adds a passing tone, between the D and the F.

  • He adds an E flat.

  • The C flat.

  • You see, so it urges forward.

  • And the same, woodwinds.

  • (makes interpretive musical sounds)

  • Up to there is one statement,

  • so it's one statement till, again,

  • that whole motive actually unifies it.

  • I find it's wild.

  • There's something wild about this piece.

  • First of all, the metronome marking.

  • Not that one can do it.

  • I mean, it's way too fast, 138,

  • but the message that it gives you

  • is that it's a rocket.

  • It's a comet from another world.

  • (makes interpretive musical sounds)

  • It used to be played

  • (makes interpretive musical sounds).

  • But that ignored that motive.

  • The F.

  • (makes interpretive musical sounds)

  • Now there's another motive

  • that's very, very important.

  • That semitone.

  • (makes interpretive musical sounds)

  • And I will show you, for instance,

  • (makes interpretive musical sounds)

  • you see, those two together.

  • And I think it should sound like a fountain.

  • (makes interpretive musical sounds)

  • Sorry.

  • (makes interpretive musical sounds)

  • Sorry.

  • And now here.

  • (makes interpretive musical sounds)

  • Sorry.

  • Am I in the wrong place?

  • Yeah, I don't think I'm in the right place.

  • I did from the second time.

  • (makes interpretive musical sounds)

  • To the E.

  • E, D, as opposed to E flat.

  • It will go in G major now.

  • And (makes interpretive musical sounds).

  • You hear the E going to the D, right?

  • This is very unusual for him to choose the key

  • of G major for the second subject.

  • It usually would be on the dominant,

  • or maybe in certain cases in minor

  • it would be, let's say, a third higher.

  • D flat, in this case maybe D major or something.

  • It's very unusual to take the key of G major.

  • But it allows him to do this.

  • So that when you have this

  • (makes interpretive musical sounds),

  • they're contradicting each other.

  • This is the way it's in the theme,

  • and then.

  • Do you know where this figure comes from?

  • Where is that?

  • (mumbles)

  • Yeah, it's the arpeggios.

  • That (makes interpretive musical sounds).

  • And now the one oasis of any time,

  • but it has to have relation

  • to the rest of the piece.

  • You hear that?

  • E flat to D.

  • (makes interpretive musical sounds)

  • And then it goes back.

  • Now, in the fugue where it goes forward,

  • I didn't understand

  • why you slowed the tempo such here.

  • Did you have a reason,

  • or it just happened like that?

  • - Oh, I didn't realize.

  • - You didn't realize.

  • Yeah, it got bit slow,

  • because this passage actually

  • is gonna come again.

  • Do you know where?

  • It's gonna come again,

  • but not with the same melody exactly.

  • I'll show you in the course of the fugue.

  • So, but anyway, what's the main voice leading?

  • (makes interpretive musical sounds)

  • Sorry.

  • So it goes (makes interpretive musical sounds)

  • and then.

  • So it will be this.

  • (makes interpretive musical sounds)

  • That's (makes interpretive musical sounds).

  • Okay, now we do this little fughetta,

  • and the most important parts

  • are this rising third.

  • That will connect it back together,

  • because there's a very strange marking.

  • There's a very unusual marking.

  • Which edition are you using, by the way?

  • (mumbles)

  • Uh huh.

  • That's not (mumbles) or the other,

  • take some new editions like the Barry Cooper,

  • is a good edition.

  • Schenker on the whole is a good edition,

  • but not in this place.

  • Why?

  • Beethoven has a very strange marking.

  • Where is it?

  • It's also wrong here.

  • Here, which is a quarter note, actually.

  • He writes piu, and that's not piu crescendo.

  • Let me demonstrate what it is

  • and why I think it's there.

  • E flat,

  • F,

  • G,

  • and now A flat is a neighbor.

  • That's the top voice.

  • Now, the top voice gets to something else.

  • And he writes piu here.

  • (makes interpretive musical sounds)

  • And I think it's to stress the same motive

  • of E flat, F, G,

  • with the neighbor note of A flat.

  • (makes interpretive musical sounds)

  • Sorry.

  • (makes interpretive musical sounds)

  • Now the bass has the same motive.

  • So we had from the top voice,

  • the middle voice, and now the bass.

  • With this motive of E flat, F, G.

  • Now (makes interpretive musical sounds).

  • Now, it's in C minor,

  • and it's still the same motive.

  • E flat, F, sorry.

  • F, G (makes interpretive musical sounds).

  • Sorry.

  • (makes interpretive musical sounds)

  • And now.

  • Because he's back at the G major.

  • It's not really a G major,

  • but this G chord has persisted,

  • even though the fugue was in E flat.

  • It went to C minor,

  • and it ends up

  • (makes interpretive musical sounds).

  • If you can imagine a D there.

  • D, E flat (makes interpretive musical sounds).

  • The same (makes interpretive musical sounds).

  • The dominant of G major.

  • We have not left G.

  • But now suddenly,

  • it's B,

  • but I'm not so concerned with, watch.

  • It's a G flat in the bass.

  • Sorry.

  • So this, with this G flat,

  • we start the return to the B now.

  • The return to the theme.

  • So we've gone from G, G flat,

  • and then we need to go to F,

  • so how do we go there?

  • We go through an inner voice.

  • So (makes interpretive musical sounds).

  • That's with that inner voice.

  • That note is why I wouldn't take so much time

  • on the G, because it's coming from a G flat.

  • And except for that G flat,

  • we've always returned to G.

  • And now, it goes step wise.

  • (makes interpretive musical sounds)

  • And that's why I'm against that D flat.

  • (makes interpretive musical sounds)

  • Because that doesn't follow the step wise,

  • and the five to six progression,

  • which will land you.

  • You played, I think, correctly

  • with an A natural.

  • But anyway, that's one motion,

  • from this G flat

  • (makes interpretive musical sounds)

  • to the B flat.

  • Now that G flat is gonna come back again

  • in a spectacular fashion.

  • By the way, this cantabile il legato.

  • Where's that in your edition?

  • No, where were we?

  • (mumbles)

  • Yeah, here.

  • It's not even here.

  • Ah, here.

  • Cantabile il legato.

  • In the first edition, it's in very big letters,

  • as if it's a different tempo.

  • It's like a different section.

  • And so, I play it like that.

  • Something a little bit out of this world.

  • Let's see.

  • That's also a point of contention,

  • this G flat, but I think the G flat

  • is so important in this piece,

  • as I said.

  • That's the turning point.

  • Here in this movement,

  • and in something that's gonna happen

  • right now, and also in the fugue,

  • at the end of the fugue.

  • (makes interpretive musical sounds)

  • That G flat, and that makes

  • for the (makes interpretive musical sounds).

  • That G flat is sort of a fly in the ointment.

  • Because it doesn't allow it to completely relax.

  • That G flat is always there.

  • Okay, but now.

  • Now this tempo change.

  • We're in the key of G flat major.

  • And it's idyllic.

  • It's like nothing before.

  • (makes interpretive musical sounds)

  • G flat major owns this, the recapitulation.

  • (makes interpretive musical sounds)

  • Just for a moment, G flat major comes back,

  • only as a dominant.

  • (makes interpretive musical sounds)

  • But that's a passing event.

  • Why?

  • Um, let's see.

  • It goes five to six, five to six,

  • five to six, and it goes back

  • to the B flat major.

  • Let's go (makes interpretive musical sounds).

  • Five to six.

  • (makes interpretive musical sounds)

  • And we're in the dominant of the main piece,

  • so it was really from G flat to F.

  • It's gonna go there directly.

  • (makes interpretive musical sounds)

  • Like that.

  • And then we're back in...

  • Okay, so now play it a little bit.

  • Let's see how we can affect it.

  • Will it be too difficult for you,

  • or, because you're not used to it?

  • To play in this fast tempo?

  • (mumbles)

  • You try it.

  • Good boy.

  • (audience laughs)

  • Sorry, that's the problem with this.

  • It took me a long time.

  • (makes interpretive musical sounds)

  • Now I want to hear

  • (makes interpretive musical sounds).

  • Yeah, that's a theme.

  • (makes interpretive musical sounds)

  • You can't take off

  • (makes interpretive musical sounds)

  • and go to sleep.

  • (makes interpretive musical sounds)

  • Between D and F is an active movement.

  • (makes interpretive musical sounds)

  • No, no.

  • It relaxes.

  • What's happening?

  • (makes interpretive musical sounds)

  • Don't relax.

  • (makes interpretive musical sounds)

  • yes, but all of that melodic, sorry, and legato.

  • (makes interpretive musical sounds)

  • Beautiful.

  • Woodwinds.

  • No, it's slowing down.

  • You see, sorry.

  • (makes interpretive musical sounds)

  • It needs to keep that motion.

  • Yes, go.

  • That's it.

  • (makes interpretive musical sounds)

  • Yeah, but the motive

  • (makes interpretive musical sounds).

  • You see, it's on the third and fourth beat

  • of the, this is in the...

  • That's the third, downwards,

  • instead of upwards.

  • (makes interpretive musical sounds)

  • So it's the two motives, the third

  • and the (makes interpretive musical sounds).

  • (makes interpretive musical sounds)

  • Tempo.

  • Great.

  • Great, no, that was very good.

  • It's, you think of an octave.

  • It's spanning an octave

  • from the beginning to the end of that passage.

  • That'll give you the motion to do it.

  • Just think of an octave.

  • (makes interpretive musical sounds)

  • Now less, less now.

  • (makes interpretive musical sounds)

  • Move, move.

  • (makes interpretive musical sounds)

  • That's it.

  • Great.

  • (makes interpretive musical sounds)

  • Good.

  • Tempo, tempo.

  • That's from the motive.

  • Tempo.

  • (makes interpretive musical sounds)

  • And then (makes interpretive musical sounds).

  • Here, one (makes interpretive musical sounds).

  • (makes interpretive musical sounds)

  • That's great.

  • Now, your attention to be

  • to the C, E, D, C, E, D.

  • No, but in tempo.

  • Yeah.

  • The image, I don't want it to be finger work.

  • Sorry.

  • An image of fountains.

  • (makes interpretive musical sounds)

  • Because, you know he wasn't able to work.

  • He didn't write a piece for a year

  • before this, with such a depression.

  • And then he was determined to create

  • and do something new,

  • and this was a fresh inspiration,

  • and that inspiration is in the piece.

  • (makes interpretive musical sounds)

  • Yeah, it's too weak.

  • (makes interpretive musical sounds)

  • Yeah, you're gonna have to work.

  • You're gonna work, because it's,

  • it's too fingery,

  • it's too (makes interpretive musical sounds).

  • - More legato?

  • - Yeah, more legato, and more in one motion.

  • Rather than (makes interpretive musical sounds).

  • Sorry, and then

  • (makes interpretive musical sounds).

  • Because that's going...

  • That's gonna come back later.

  • That's better.

  • (makes interpretive musical sounds)

  • More, sorry.

  • This would be more.

  • (makes interpretive musical sounds)

  • No, you see I don't hear that it goes

  • from E to D, you see.

  • Where is that?

  • This E to this D.

  • (makes interpretive musical sounds)

  • - Yeah, then it goes up?

  • - Yeah, it doesn't matter where it is.

  • - Okay.

  • - It's not, I don't know.

  • It's hard to verbalize what's wrong with it.

  • It doesn't flow.

  • (makes interpretive musical sounds)

  • Sorry.

  • I don't know where that...

  • Play it for me.

  • That's better.

  • More, more E.

  • More.

  • Less, less, less.

  • Crescendo, now the E, the E

  • is the important note to go into.

  • (makes interpretive musical sounds)

  • That's right.

  • It's exaggerated, but that's right.

  • And now the E, and that.

  • To the E.

  • That's tension.

  • (makes interpretive musical sounds)

  • Less and less, less.

  • At that point, you remember these, fountain.

  • (makes interpretive musical sounds)

  • Take time to, yeah.

  • (makes interpretive musical sounds)

  • Back in tempo.

  • Good.

  • The bass too.

  • (makes interpretive musical sounds)

  • Tempo, tempo.

  • Left hand, left hand.

  • (makes interpretive musical sounds)

  • G flat coming back again.

  • Yeah now, connect.

  • (makes interpretive musical sounds).

  • Not too slow.

  • It has to have some connection.

  • It is, I agree with you,

  • it's a little bit slower.

  • But it still has to have some connection

  • to the rest of the movement.

  • Now tempo, getting back.

  • (makes interpretive musical sounds)

  • Shh, shh, shh, shh.

  • (makes interpretive musical sounds)

  • Okay, go the second time.

  • (makes interpretive musical sounds)

  • Now same tempo.

  • No, it's slow.

  • You see.

  • That's slow.

  • (makes interpretive musical sounds)

  • It's the same tempo, but I wanna hear...

  • (makes interpretive musical sounds)

  • That's good.

  • (makes interpretive musical sounds)

  • Great.

  • Now with the fugue.

  • No, not (makes interpretive musical sounds).

  • A kind of half staccato,

  • (makes interpretive musical sounds).

  • Now F, yeah, E flat, now F, G.

  • Bring the A flat.

  • Now, sorry, and then, sorry.

  • (makes interpretive musical sounds)

  • He writes piu for that voice.

  • I think it's a quarter note.

  • That's in the English edition that they put

  • (makes interpretive musical sounds).

  • Yes, but I play it with the left hand.

  • Yeah, that's right.

  • Yes.

  • Follow the middle voice.

  • G, that's right.

  • (makes interpretive musical sounds)

  • Now, it's lower voice, lower voice.

  • Sorry.

  • Lower voice, not the top.

  • (makes interpretive musical sounds)

  • Tempo.

  • Sorry.

  • I just hear accents all over the place.

  • I wanna hear E flat and G.

  • Mainly those notes.

  • And then soft.

  • Now F.

  • G.

  • Subito, tempo.

  • (makes interpretive musical sounds)

  • Now it's C minor.

  • Don't hit.

  • (makes interpretive musical sounds)

  • F.

  • G.

  • (makes interpretive musical sounds)

  • Sorry.

  • Follow me in the voice after this.

  • (makes interpretive musical sounds)

  • And then.

  • So, then it goes in one voice.

  • Do you know what I mean?

  • (mumbles)

  • Yeah, no.

  • Here's the top voice.

  • (makes interpretive musical sounds)

  • Right.

  • Good.

  • (makes interpretive musical sounds)

  • Now, as if, where are you?

  • Yes, as if you were going to go back.

  • Yes, that's it.

  • Because it's the same.

  • Imagine a D there, and it will fit.

  • This D to the E flat,

  • to the F to the G.

  • (makes interpretive musical sounds)

  • It's the same...

  • (makes interpretive musical sounds)

  • Tempo, tempo.

  • (makes interpretive musical sounds)

  • Piu, piu, piu,

  • not (makes interpretive musical sounds).

  • Piu.

  • (makes interpretive musical sounds)

  • Sorry.

  • (makes interpretive musical sounds)

  • Not.

  • (makes interpretive musical sounds)

  • That's it.

  • (makes interpretive musical sounds)

  • That's good.

  • Crescendo this time.

  • (makes interpretive musical sounds)

  • (claps)

  • (makes interpretive musical sounds)

  • Ah, no, that's heaven, that's heaven.

  • It's not really heaven.

  • (audience laughs)

  • No, it's too loud.

  • It's too loud.

  • Yeah, okay.

  • From the D.

  • Ah, yes.

  • (audience laughs)

  • You got it, you got it.

  • What's the matter?

  • Yes.

  • Not too slow.

  • Now we're on G flat in the bass.

  • No, no.

  • (makes interpretive musical sounds)

  • What is?

  • (makes interpretive musical sounds)

  • Shh, it's not too loud.

  • Even in forte, because it has a long way to go.

  • (makes interpretive musical sounds)

  • Shh, shh.

  • No, no, it's suddenly softer, isn't it?

  • Where are you?

  • Yeah, yeah, it's suddenly softer

  • in order to make that crescendo.

  • (makes interpretive musical sounds)

  • No, it's A sharp.

  • Yes.

  • Shh, no, no, don't do that.

  • Just follow the G, F, E, A.

  • In one thing.

  • Don't stop for the G.

  • You're in your mind, this is still active.

  • That low G flat.

  • Shh.

  • Anticipation.

  • And come on, anticipate.

  • (makes interpretive musical sounds)

  • (claps)

  • (mumbles)

  • Go on now.

  • It's still, yeah, no,

  • that G flat is very important.

  • (makes interpretive musical sounds)

  • Okay, without bringing in tension.

  • (makes interpretive musical sounds)

  • Where, where are you?

  • I would gradually get into that tempo,

  • cantabile il legato, I'd get into it.

  • So in other words, a little bit here,

  • a little bit less here, and nothing.

  • (makes interpretive musical sounds)

  • And open up, heaven, open up.

  • Back in tempo.

  • (makes interpretive musical sounds)

  • (claps)

  • (makes interpretive musical sounds)

  • Now for a moment, he looks at the dark side.

  • (makes interpretive musical sounds)

  • And that's finished.

  • (makes interpretive musical sounds)

  • Back to F.

  • So this.

  • Yes.

  • (makes interpretive musical sounds)

  • The fountain.

  • That's good.

  • You're gonna have to work on that,

  • because it's not, it's too notey.

  • And it doesn't have an atmosphere,

  • which is, it's a very beautiful theme,

  • but if it's too fingery, it doesn't sound right.

  • Okay, let's go.

  • Low E.

  • Which note corresponds to the E flat before?

  • It's the G.

  • Yeah, that's right.

  • (makes interpretive musical sounds)

  • Move, move, move.

  • No, no, relax that, relax, sorry.

  • Relax that.

  • Disappears.

  • (makes interpretive musical sounds)

  • Not fingers.

  • (makes interpretive musical sounds)

  • C.

  • Move, move.

  • (makes interpretive musical sounds)

  • (hits piano)

  • Don't hit, don't hit.

  • (makes interpretive musical sounds)

  • Now do it again.

  • Get into that better.

  • It's not a virtuoso thing.

  • It's (inhales) exhilaration, like that.

  • Well, you know where it is.

  • Yeah, don't hit.

  • Play legato.

  • Yes.

  • No hitting.

  • (makes interpretive musical sounds)

  • Now, exhilarating.

  • (makes interpretive musical sounds)

  • You can take time.

  • Now back in tempo.

  • (makes interpretive musical sounds)

  • No.

  • Don't take time.

  • (makes interpretive musical sounds)

  • (claps)

  • Shh.

  • Exhilarating.

  • Yeah, you're so loud

  • you're not gonna be able to get louder.

  • This...

  • (audience laughs)

  • Yeah, you have to crescendo all through this.

  • All through this.

  • - So I need to (mumbles)?

  • - No, no, don't get too loud, that's all.

  • Drop.

  • Yeah, but don't lose time there.

  • - Oh.

  • - No, without an accent.

  • That's it.

  • Shh.

  • That's it.

  • More now.

  • Every, more and more.

  • More.

  • (makes interpretive musical sounds)

  • There comes that G flat again.

  • Yeah, it's a motto of the piece.

  • Go on.

  • Tempo.

  • (makes interpretive musical sounds)

  • Now, it sounds too ordinary.

  • It sounds too ordinary.

  • It's a miracle.

  • (makes interpretive musical sounds)

  • That's nice.

  • Shh.

  • This trilling can go on forever.

  • Shh.

  • Okay.

  • Hey, can that be exhilarating?

  • (makes interpretive musical sounds)

  • That's it.

  • (makes interpretive musical sounds)

  • More each time.

  • Hold with the pedal.

  • Here.

  • (makes interpretive musical sounds)

  • Don't hit, relax.

  • Yes.

  • (makes interpretive musical sounds)

  • Hold with the pedal, and now very soft.

  • Shh.

  • It's too loud, too loud.

  • Now.

  • Yes.

  • No, like you've seen a ghost.

  • (makes interpretive musical sounds)

  • Spooked.

  • (makes interpretive musical sounds)

  • Shh, shh, shh.

  • Shh, shh, shh, shh.

  • (makes interpretive musical sounds)

  • (audience applauds)

(piano music)

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A2 初級 美國腔

齊修。貝多芬漢默克洛維爾奏鳴曲鋼琴大師班 (Qi Xiu: Beethoven Hammerklavier Sonata Piano Master Class)

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    Amy.Lin 發佈於 2021 年 01 月 14 日
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