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Thursday, April 03, 2008


I have to say I love Beethoven for labeling this piece RONDO. He is my kind of composer, and a genius at that. The rondo takes place in an ABACABA form, with modulations and accidentals here and there, and a very skilled pianist. The A section (c minor) comes in right away without any introduction and continues through measure 17. In A2 b’ does not return, and in A3 the a section is shortened and b is stretched out. There is a coda after A4. A1 (which ends with a suffix) and B1 are separated by a large block chord and a pause, but then B jumps into quick eighth notes in both hands. Later on in the B section (modulates to Eb major) the two hands alternate the quick eighth note rhythmic pattern. There is another big block chord at the end of B before heading in to A2. In the C section there are a lot of flats and naturals added to move into the key of Ab major. This section is a little different in style and feeling; however it included the alternation between the hands just before the pause, as seen in section B1. There is yet another chord and pause then the A section returns us to c minor and continues in this key through the end of the final B and A sections. Completed nicely with a descending scale in the right hand to end on a c minor chord.
I really enjoyed listening to this piece. To me it a lot like what an aria is meant to be, a way for the performer to show off their skills. I, being a vocalist (say what you will) would fail miserably if handed a piece of such intensity and skill level. I would love to be able to play to through a piece that is so well known and lovely to the ear. I like this recording because the pianist does not take too many liberties or artistic interpretations, so I was able to follow along easily and not get lost. I realize that many people may decide to put their own spin on it, but for educational purposes I like not getting lost in artistic differences. I also think that Beethoven wrote it this way because that is what he wanted, and I have trouble with performers who take too many liberties anyways.

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