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Violin vs. Piano – Interview with Augustin Hadelich
Zlata Chochieva, famous for her recording of the complete Chopin Etudes, commented that violinist Augustin Hadelich’s performance of a Nocturne on the violin was ‘the most beautiful Chopin’ she ever heard. In this interview, Hadelich, who happens to be an excellent pianist as well, talks about his love for the violin and the piano. Read more >>

Topic: Beethoven op 2 no 1 1st movement sightreading  (Read 1039 times)

Offline faa2010

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Beethoven op 2 no 1 1st movement sightreading
on: January 24, 2021, 02:34:11 PM

I have another video.  For me, Beethoven is a difficult composer, more than Mozart and Haydn.  While with Mozart and Haydn I feel things are more simple, with Beethoven i feel is very complex in how to play and understand his music.

I was thinking in starting with this sonata as a good start with the rest of his more difficult pieces.

Feedback is welcome.

Offline anacrusis

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Re: Beethoven op 2 no 1 1st movement sightreading
Reply #1 on: January 24, 2021, 10:15:08 PM
You are pretty good at sight reading! This movement is a good introduction to his sonatas, as many of the others are quite difficult. You could have a look at the sonatas Op 49 as well, as those are known to be easier.

Beethoven was quite a revolutionary and individualistic composer in his time. We might not hear it so much with our modern ears, but even this early sonata was quite unusual in how he used for example the sforzandos for shock effect and he has some unusual harmonies and dissonances in there that at the time would have surprised the listener. It's not always "just" beautiful and its not meant to be. So follow his dynamics carefully and don't be afraid to have some attitude!

Offline thirtytwo2020

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Re: Beethoven op 2 no 1 1st movement sightreading
Reply #2 on: January 25, 2021, 08:39:04 AM
Hi faa2010,

I looked through a couple of your earlier postings and realised that some of the feedback I wanted to give has already been pointed out to you. It doesn't concern the Beethoven so much as your general approach and technique. It would interest me to hear how you think about two things

First, why do you consider it necessary to play with the metronome throughout the whole movement? I would perhaps understand it if you were actually 'sight-reading' in the sense of 'reading for the first time' and wanted to make a special point of following the flow of the music without to much focus on getting every note right. But it is evident that you have practiced this piece for some time and know sections by heart already.

Second, I think you need to find a way to relax your hands. You keep them always open and quite tense also when you don't need it.

My recommendation would be to turn the metronome off - it is clear that you don't have a problem with rhythm and that you don't the lack discipline to keep a nice practice tempo - and focus completely on acquiring a technique more kind to your hands. Seeing that you have had the same recommendations before and knowing that you are aware of the tension in your hands, it would be interesting to hear how you are dealing with those issues?


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