The Teaching Company: Beethoven's Piano Sonatas

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Course Lecture Titles 1. Beethoven and the Piano 2. Homage to Mozart 3. The Grand Sonata, Part 1 4. The Grand Sonata, Part 2 5. Meaning and Metaphor 6. The Striking and Subversive, Op. 10 Continued 7. The Path �tique and the Sublime 8. The Opus 14 Sonatas 9. Motives, Bach and a Farewell to the 18th Century 10. A Genre Redefined 11. Sonata quasi una fantasia-The Moonlight 12. Lesser Siblings and a Pastoral Interlude 13. The Tempest 14. A Quartet of Sonatas 15. The Waldstein and the Heroic Style 16. The Appassionata and the Heroic Style 17. They Deserve Better, Part 1 18. They Deserve Better, Part 2 19. The Farewell Sonata 20. Experiments in a Dark Time 21. The Hammerklavier, Part 1 22. The Hammerklavier, Part 2 23. In a World of His Own 24. Reconciliation

The Teaching Company: Beethoven's Piano Sonatas Review

Beethoven was a revolutionary man living in a revolutionary time. He captured his inner voice-demons and all-and the spirit of his time, and in doing so, created a body of music the likes of which no one had ever before imagined. "An artist must never stand still," he once said. A virtuoso at the keyboard, Beethoven used the piano as his personal musical laboratory, and the piano sonata became, more than any other genre of music, a place where he could experiment with harmony, motivic development, the contextual use of form, and, most important, his developing view of music as a self-expressive art. Pushing the Piano to Its Limit and Beyond Spanning the length of his compositional career, Beethoven's 32 piano sonatas provide a window into his personal musical development, and they show the concept of the piano as an instrument and the piano sonata as a genre undergoing an extraordinary evolution. The sonatas are not simply compositions for the piano, but are about the developing technology of the piano itself, an evolving instrument that Beethoven pushed to its limits and then beyond, ultimately writing music for an idealized piano that didn't come into existence until some 40 years after his death.

Greenberg is one of the all-time greatest lecturers, he will have you on the floor laughing. You get savory bits from Beethoven's life (why did Beethoven try to hit his most loyal patron over the head with a chair?) and the historical time period along with some of the most beautiful music ever written played by one of the world's best pianists, Claude Frank. Greenberg is such a great explainer that if you know nothing about music you will come away with a better understanding of theory concepts in addition to being introduced or re-introduced to both the familiar and the unfamiliar among Beethoven's sonatas. For example, he explains that a "key" is a set of relationships and an expectation as to a particular resolution. You don't know you're in the "key of C" until you hear something that leads you to conclude that the "C" triad chord is the tonic (i.e., expected end or resolution point) of the piece or section of the piece, like a cadence starting out from the dominant. Highly recommended, as are his lectures on the string quartets.

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