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작성자용필이 조회 2회 작성일 2020-09-29 00:30:43 댓글 0

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Seong-jin Cho - Liszt : Piano Sonata in B Minor, S.178

Seong-jin Cho - Liszt : piano Sonata in B Minor (Finland Recital, 11.Oct.2019)

Musikhuset och Tempelplatsens kyrka.
JuliaH : Great delicacy!! Just amazing!!
준준 : 진짜 코로나 끝나면 보러가겠습니다 ㅠ
丶Mew丶 : 조성진... 저거 다 치고 손목 괜찮았을까.........
BROPY : 26:11 진짜 좋다
JY Sir :

김남성 : 덕분에 리스트소나타까지 보고듣고있네요 굉장합니다 연주실력! 또한 집중력이대단한거같아요 이곡도 라흐마니노프만큼 피아니스트혹사시키네요 우리나라에 보물이 태어나서 참감사하구나 응원합니다
丶Mew丶 : 사랑해요 조성진
dasom : : 기침 진짜 몰입도 너무 깨진다... 항상 느끼는거지만 연주자들의 집중력과 몰입도는 존경스러울만큼 대단..ㅠ_ㅠ...
Dahye Gold : 하 공부중이였는데ㅠㅠ 배경음악에 집중해버렸네
기민석 : 개인적으로 조성진씨가 cv alkan op 39 8 치는거 보고싶네요ㅋㅋ

Liszt: Sonata in B Minor (Zimerman)

A stupendous recording of what is (by academic consensus, at least) the most important post-Beethoven sonata. Along with Andre Laplante's recording this is probably one of the pinnacles of classical Romantic-era pianism. (Zimerman took 76 takes before he managed to get a recording of the Sonata he was satisfied with.)

The structural brilliance of this piece is nearly unmatched among the large-scale piano works of the period; the sonata opens with a deliciously harmonically ambiguous descent, and ends with a tritone harmonic leap that manages to sound kind of beautiful. The sonata is constructed from five (or, depending on your choice of academic, four, or seven, or nine) motivic elements that are woven into an enormous musical architecture. The motivic are relentlessly transformed throughout the work to suit the musical context of the moment. A theme that in one context sounds menacing and even violent, is then transformed into a beautiful melody (compare 0:55, 8:38, 22:22, 26:02). This technique helps to bind the sonata's sprawling structure into a single cohesive unit, and is a pretty cool example of double-function form (on which, more below). Michael Saffle, Alan Walker, and others contend that the first motive appears at the very start of the piece until bar 8, the second occurs from bar 9 until 12 and the third from measures 13 to 17. The fourth and fifth motives appear later in the piece at measures 105-108 and 327-338 respectively.

Broadly speaking, the sonata has four movements although there is no gap between them. Superimposed upon the four movements is a large sonata form structure, although the precise beginnings and endings of the traditional development and recapitulation sections has long been a topic of debate. Charles Rosen states in his book The Classical Style that the entire piece fits the mold of a sonata form because of the reprise of material from the first movement that had been in D major, the relative major, now reprised in B minor.

Walker believes that the development begins roughly with the slow section at measure 331, the lead-back towards the recapitulation begins at the scherzo fugue, measure 459, and the recapitulation and coda are at measures 533 and 682 respectively. Each of these sections (exposition, development, lead-back, and recapitulation) are examples of Classical forms in and of themselves, which means that this piece is one of the earliest examples of Double-function form, a piece of music which has two classical forms occurring simultaneously, one containing others. For instance the exposition is a sonata form which starts and ends with material in B minor, containing the second part of the exposition and development wandering away from the tonic key, largely through the relative major D. Similarly, the development section also functions as the scherzo movement of a more traditional multi-movement sonata.
Noah Johnson : Anybody else notice the voicing he does here?
11:54 Top Line
11:58 Middle Line
12:02 Bottom Line
PointyTailofSatan : I find Liszt and Godowsky are very similar in terms of the left hand being as or even more complex than the right in much of their music.
helostcontroll : oh man, liszt's just something isn't he?
Indian PUBG player : This is not the most important post Beethoven sonata. Chopin's B flat minor (Funeral March) is perhaps the most important post Beethoven sonata. This is just atonal key-banging.
Metracrepas : 5:43... love and sorrow, melancholy and disbelief.
aardvaark069 : at 19:40 in the Joseffy edition the marking is 'Sarcastico'. I noticed that a long time ago and I think I remember that correctly. Yes, they took liberties in those days I guess.
Martin van Heusden : This is storytelling of the finest, most convincing sort. OMG!!!
Nicolas Alexandre Messina 19.06.1975 : More than one million views : i am proud of the inhabitants of earth.
Partho Roy : What a wonderful introduction you wrote for the video; one of my favorite pieces
Kelly Fis6her : I tried looking this up but had no luck: how many original pieces did Liszt compose? Or how many were transcriptions? Whichever way is easiest to answer.
Also, could I get a list, or a Liszt, (I aim for originality!) of his better originals? No transcriptions please. Thank you.

Liszt: Piano Sonata in B minor, S.178 - Yejin Noh / 리스트: 피아노 소나타 B단조 - 피아니스트 노예진

F. Liszt: Piano Sonata in B minor, S.178
Pianist Yejin Noh
9th Jul. 2019 @ Seoul Arts Center

https://ncmklassik.com/pianist-yejin-noh/

피아니스트 노예진, 리스트 피아노 소나타 B단조
2019년 7월 9일 예술의전당 실황

Piano Sonata in B minor, S.178(1852~53년 작곡)는 리스트의 무수한 피아노 곡 중에서도 기술적으로나 표현력에 있어서 최고의 기량을 요구하는 곡이자 역사상 모든 피아노 음악을 통틀어서도 최고 정점에 있는 곡 가운데 하나이다.

지난 2019년 7월 9일 예술의전당에서 열린 본 리사이틀에서 피아니스트 노예진은 자신의 뛰어난 테크닉과 음악성을 유감없이 보여주고 있다.

피아니스트 노예진

- 몬트리올 국제 콩쿨 파이널리스트, 이태리 FVG 국제 피아노 콩쿨, 일본 타카마쓰 국제 피아노 콩쿨, 워싱턴 국제 피아노 콩쿨, 미국 서든 하이랜드 국제 피아노 콩쿨, 샌 안토니오 국제 피아노 콩쿨, 와이드먼 국제 피아노 콩쿨 등 입상

- Bacau 필하모닉 오케스트라, Seto 필하모닉 오케스트라, Wallonia 로얄 체임버 오케스트라, Savannah 필하모닉 오케스트라, Shreveport 심포니 오케스트라, 코리안심포니오케스트라, 대구시향, KBS교향악단, 성남시향, 프라임 필하모닉 오케스트라 협연

- 미국 샌 안토니오 심포니 스트라우스 페스티벌 초청 독주회, 포틀랜드 피아노 인터내셔널 초청 순회 독주회, 일본 다카마쓰 초청 솔로 및 듀오 연주회, 주희성\u0026노예진 듀오 콘서트, 예술의전당 다수 리사이틀 등

- 음반: 하이든 피아노 소나타 (2018, NCM KLASSIK)

- 서울대학교 음악대학 전체수석 졸업. 인디애나 음대 석사 및 최고 연주자 과정 이수, 서울대 음대 박사 학위 취득

Recorded at 9th Jul. 2019 @ Seoul Arts Center
Mastered by NCM KLASSIK

℗ \u0026 © 2019 New Cosmos Media Inc.
www.NCMKlassik.com
Bambie : 연주자님 음악 너무 좋아요
엄정환 : 좋은 음악 올려주셔서 고맙습니다. 연주자가 혼신의 힘을 다하는군요. 빠르게 느리게 강하게 약하게 왜 리스트 곡을 치기 어렵다고 하는지 잘 알 수 있었습니다.

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