Piano Forum
Piano Board => Student's Corner => Topic started by: mikeowski on July 22, 2012, 11:56:29 PM
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Hi!
I need suggestions for a Beethoven piece I can learn in the near future, after I'm done with these (to give you an idea of what I can play):
Rach: prelude 23/5
Bartók: Allegro Barbaro
Mozart: K 332, 1st movement,
I also finished Goldberg Aria, Var I, IV
I like me a good challenge, so it can be about as or maybe even a bit more difficult than the above pieces, if you think the extra work learning it would pay off.
I've been thinking about the eroica variations + fugue op 35.
Would it be possible for me to learn them in a reasonable timespan?
Thanks in advance.
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Beethoven Sonata op. 2 no. 2
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I wouldn't attempt a beethoven fugue until you have done several Bach ones.
For the sonata, why not start at the beginning with 2/1. It's quite fun to play and a good introduction to Beethoven from what you've already done. After that, maybe the Pathetique?
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Thanks for the suggestions.
Wow, these works are quite lenghty. I'll have to think about it first as I always need a lot of time to learn notes (I'm very bad at reading), though I'm getting faster lately, so maybe by then (then = november/december) it won't be that much of a pain for me.
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could repost later with a suggestion but i'd broaden your concept of 'next piece' and consider doing a set of shorts or even a couple of sonatinas as you'd get a lot of variety and can custom cut pieces or add them to padd or thin out the rep to your liking for length/total music, etc.
i.e. a set of bagatelles, or dances, etc. etc.
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Beethoven at the level you are suggesting will be - Sonata in C minor op.10 no.1 & Sonata in F op.10 no.2. They are not too long...
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10/1 and 10/2 are pretty nice too, I might play one of them, thanks.
Of course, several short ones are fine too, if you know some nice ones.
On that note, what about if I pick out a few eroica variations? Is that fine like with the goldberg variations or should the op 35 be played as a whole?
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10/1 and 10/2 are pretty nice too, I might play one of them, thanks.
Of course, several short ones are fine too, if you know some nice ones.
On that note, what about if I pick out a few eroica variations? Is that fine like with the goldberg variations or should the op 35 be played as a whole?
that might work. make sure you play the original theme, and the final var especially if there is a coda w no break going into the end (i need to see the score this is just a general deal).
also the reason for the work, informal study, formal program (academic),competition or audition?
just check w rules. you can play excerpts of works for formal programs (i.e. I once programmed no.s 7-15 of a set of Bartok 15 dances for a recital)
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that might work. make sure you play the original theme, and the final var especially if there is a coda w no break going into the end (i need to see the score this is just a general deal).
also the reason for the work, informal study, formal program (academic),competition or audition?
just check w rules. you can play excerpts of works for formal programs (i.e. I once programmed no.s 7-15 of a set of Bartok 15 dances for a recital)
As an informal study and recital piece for a music school concert.
However, the final piece would be the fugue, which I was told would be too much for me. My fugue repertoire is pretty limited -->
Goldberg var 4 (if that counts, it's a 4 voice piece so it's at least related I think) and I tried BWV 891 but put it down shortly before reaching page 2.
I really like op 10/2 and op 2/2 so far, so I might play one of them. Or maybe some smaller pieces of course.
Any other suggestions will still be appreciated!
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As an informal study and recital piece for a music school concert.
However, the final piece would be the fugue, which I was told would be too much for me. My fugue repertoire is pretty limited -->
Goldberg var 4 (if that counts, it's a 4 voice piece so it's at least related I think) and I tried BWV 891 but put it down shortly before reaching page 2.
I really like op 10/2 and op 2/2 so far, so I might play one of them. Or maybe some smaller pieces of course.
Any other suggestions will still be appreciated!
you could do the rondo in g major op 51 no 2, it's a slow extended form work so about 8-10 minutes of music there. it is incredibly lovely.
again you listed rep above you worked on but that tells me nothing, rather how you play a piece realy dictates what level of rep can be reccommended.
still it is very nice.
Musicology:
2 Rondos, Op.51
Key: G
Year: 1796-1802
Genre: Other Keyboard
Pr. Instrument: Piano
No.1 in C
No.2 in G
The first of the two Rondos, Op. 51, was published in 1797 by Artaria in Vienna and the second in 1802, also by Artaria in Vienna, but with a dedication to Countess Henriette Lichnowsky, sister of Prince Karl Lichnowsky, one of Beethoven's most important patrons. The first of the set is cast in C major, the second in G major
Marked Andante cantabile e grazioso and in 2/4 meter, the Rondo in G major is a combination of Mozartean grace and ornamentation and Beethoven's sense of concentration. Cast in ternary rondo form, or ABACABA, this piece is also infused with characteristics of sonata form. For instance, the B section is on the dominant, but moves back to the tonic for the return of A. More telling is the central section, which is set in E major, far removed from the tonic on the "sharp side," creating precisely the kind of tension typical of sonata-form movements. Contrast is increased by the 6/8 meter of section C. As in sonata-form movements, when B returns, it is in the tonic, not the dominant. The A section is itself ternary in construction. The first part is characterized by thirty-second-note flourishes that descend to connect the tones of the melody, while similar flourishes ascend in the central segment as the tune moves from right hand to left. The return of the first part of the theme is extended through repetition of the falling flourishes; Beethoven uses this extension each time it appears to modulate to the ensuing key
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If you've never played a Beethoven Sonata before, I'd probably go for No.2 in f minor ... it's 4 movements, but it's a very nice piece. I'm actually thinking of pulling this one out of the bag again (haven't played it in over 15 years).
It's ranked at difficulty level 10 in Jane Magrath's book. (I'm pretty sure anyway.. :-\ ) .. It will be on par with the pieces that you've played - maybe more like a birdie. I'm also refreshing K332 at the moment and I can say with confidence that the f minor Sonata is more difficult. So, it would be a nice step up for you.
Anyway, I'd probably stay away from most of his other major Sonatas until you've knocked this one off. Beethoven's Sonatas get progressively harder. His middle period sonatas are painful and his Hammerklavier is among the most challenging Sonatas ever written. However, I must admit, that's one of my least favorite of his.
Best of luck to you and I hope this hepls.