Emotionally powerful moments in Beethoven

[cbmajor7]

I'm interested in some of the most emotionally powerful moments in Beethoven's piano sonatas.  What are some of your favorite excerpts that you feel express the most powerful emotions? Any emotion is fine (joy, sorrow, agitation, passion, jealousy, etc.), but ideally it would be an exemplar of that emotion.  If you would like to share your favorite moments, please pass on the Sonata number (or Op. number), which movement it is, in what measures it happens, and what emotions you feel that it represents.  I'm particularly interested in less well-known movements.

For example, I find the opening of the sonata No. 26 (Op. 81a, "Les adieux") to be very moving.  The C minor triad seems to exude a mournful, resigned spirit after the Eb-G of the first sonority and the Bb-F open fifth almost establish Eb major.  Or, I've always found the "E" major modulation in ms. 42-44 in the second movement of the Pathétique to exhibit an almost paradoxical joyful, resolved feeling that is yet colored by the agitation and unease expressed by the dense, insistent triplet chordal figures underneath the melody.

Thanks for your thoughts!

[lorditachijr]

I think one can find a plethora of emotions and feelings in Beethoven's music. My personal favorite is his heroism. Nobody does heroic better than Beethoven. My all-time favorite example of this is the F Major modulation of the second theme in the development of the Appassionata. It comes almost out of the blue (you've been playing around with Db major, and are expecting to resolve an Ab dominant 7th), but it fits so perfectly. He truly was a master of harmonies.

This development is one of Beethoven's most genius creations. He is able to portray so many different emotions and moods. It really epitomizes the "storytelling" aspect of music.

Some other very powerful moments for me are the resolutions in Variation 3 of Op. 26's first movement and a great number of moments in Waldstein. There are probably moments for me in almost all of the Beethoven Sonatas, but I unfortunately have not delved into most of them yet.

[richterfan1]

Waldstein 1st Movement, second theme, Chords in E Major
Pathetique 2nd Movement

But the most emotional moment in whole Beethoven's Piano for me is here from 9:03... Freaking emotional

[alessandro]

Impossible to answer your question thinking about "Hammerklavier".   I don't even want to think about it.   Filtering a movement or a bar out of this universe ? Everything is there.

Kind regards and welcome.

Oh, come on.   For the sake of the topic, only one out of...

Second movement scherzo.   Starting at 2:46

[iratior]

The last movement of the "Les Adieux" sonata (the name of which, to Beethoven's anger, is not in accordance with his intention that it be "Das Lebewohl") has some powerful emotions.  This sonata, recall, is about seeing again someone who was missed during their absence.  Near the ending, the furiously fast tempo is suddenly stopped, and the melody is done slowly.  You can almost hear and feel the sobs and tears;  they are sobs and tears of joy, but somehow they suggest the inscrutable quasi-masochistic fallibility of one who has made an accommodation with pain the way Proserpina made an accommodation with the six pomegranate seeds.

[b_nghiem]

Are concertos allowed to be listed, or is this thread strictly for sonatas. In any case, I find it strange that no one as mentioned the monumental op 111 (or any of the last 5 sonatas ) - no words are capable of explaining it; you are hearing Beethoven overcome the struggles of mortal life (that we all can at some point relate to) and transcend against all odds.

True genius!

[bombergal1]

Waldstein 3rd movement with the Major 7th arpeggios...it's heavenly to me.

[cbmajor7]

Concertos are certainly not off limits, if you want to share with us what your favorite moments are.  For my purposes, however, I'm restricting my field of inquiry into only the sonatas.  This is because I'm interested in conducting a study on emotional expression in a given repertoire, and I need to limit the scope of the study to make it a bit more manageable.  Thanks!

[emill]

Beethoven Piano Concerto No.5 in E-Flat Major, Op.73 "Emperor" - [2] Adagio un poco mosso

I just don't why I am so gripped and overwhelmed with so much confusing emotions of sorrow, sadness then gladness and happiness whenever I come to this movement ..... it is not only once that I broke down with tears ...... beautiful .... proof that the human spirit is unfathomable. As Pianowolfi says in his signature:   "Without Beethoven the world wouldn't exist anymore."

[philb]

As far as sonatas go,

[cbmajor7]

Thanks for your responses.  Do you think you could be more specific, b_nghiem?  Are there are specific sections in the op. 111 that you find particularly moving?

Also, is there a time in this recording, philb, that you'd particularly point to as being powerfully emotional?

[terexyun]

I guess this is pretty well known, but how about op.2 no.1's last movement, bars 20 to 50. One of my favorite beethoven sections, although early and not as crazy as his later stuff, its like a storm came(that whole broken chords section with the hidden melodies within) and then left leaving a smooth, yet still unsettling, reflection upon what just happened (that lyrical octave part right after)... not sure if that makes sense lol 

[southpaw]

Opus 26. I love the main theme of the last movement. So simple, with dominant sevenths in contrary motion.  It swings irresistibly. 

[sphince]

piano sonata no.7 mov.2 if you add some rubato(DON'T) it's like playing chopin.

[candypiano]

  Definitely Waldstein first mvt opening.  The first time I heard these few measures, I got goose bumps.  It really lightens your heart up with a certain intensity.

By the way, the whole sonata is a masterpiece.  I just love how Beethoven intertwines the darker emotions with the bright and hopeful motif.

[stiefel]

First, the coda of the 1st movement of op 7.  As it is with most codas of Beethoven, the movement could have naturally ended in the tonic of e flat major without the coda.  But, the coda is there, and it immediately launches us into c minor.  It's heartbreaking!  But Beethoven modulates through f minor, to b flat major, and finally back to e flat major again where the lyrical 2nd theme of the movement is presented in such a triumphant, nostalgic way.  It's like beethoven giving thanks to god for giving him music.

Second, the return of the fugue in the final movement of op 110.  The first time I heard this sonata I was so reassured at this moment.  It was like the resigned beauty of realizing that the world really is all right after all.

[49410enrique]

i would tend to equate powerful moments with specific performances by certain artists or groups of artists (ensemble works) vs in just the score, since i can specifically recall times i felt such moments in certain performances of a work, and not so much in other performances of the same work.

this is consistently in my top two beethoven moments of all that i am aware (for now, obviously it is up for review/change all the time but it has yet to be knocked off its thrown)