Duo Amie | Beethoven Cello Sonata No 5 - Duo Amie (Julie Reimann, Cello & Ellyses Kuan, Piano) @DuoAmie | Uploaded March 2023 | Updated October 2024, 2 hours ago.
#beethovensonata #duoamie #cellopiano #cello #beethoven #cellomusic
I. Allegro Con Brio: 0:00
II. Adagio Con Molto Sentiment D'aftetto: 05:04
III. Allegro: 14:46
Beethoven wrote his 5th and last cello sonata in 1815, and it essentially marked his goodbye to chamber music with piano, probably because he himself could no longer himself perform on the piano due to his deafness. This sonata also marks techniques and elements that would govern the next path in his music, namely more equality of voices, harmonic suspension and nontraditional harmonic connections, a more ‘stream of consciousness’ approach (particularly noticeable in the sublimely mesmerizing second movement of the sonata), and close juxtaposition of deeply contrasting themes and motifs (particularly evident in the first movement). The last movement is a lively and rhythmic fugue, beginning in a playful way, and then bursting forth in an almost nonstop energetic romp from beginning to end. The paintings we chose for the sonata are from the works of Paul Klee. While not a contemporary of Beethoven (he was born in 1879 in Switzerland), his parents were musicians, and he himself was an excellent violinist. Like Beethoven, he was unique in his time, and his art is difficult to pigeonhole into the styles of his generation. He was a master of color, and the works we chose for the sonata reflect this, and also his musical influence, particularly ‘Polyphony’ and ‘Fugue in Red’.
Connect with Duo Amie: duoamie.org
open.spotify.com/artist/6313XBHTKqvMBzPiW11cD9?si=LbVm6lkGRk2ClXCbKVlvNg
#beethovensonata #duoamie #cellopiano #cello #beethoven #cellomusic
I. Allegro Con Brio: 0:00
II. Adagio Con Molto Sentiment D'aftetto: 05:04
III. Allegro: 14:46
Beethoven wrote his 5th and last cello sonata in 1815, and it essentially marked his goodbye to chamber music with piano, probably because he himself could no longer himself perform on the piano due to his deafness. This sonata also marks techniques and elements that would govern the next path in his music, namely more equality of voices, harmonic suspension and nontraditional harmonic connections, a more ‘stream of consciousness’ approach (particularly noticeable in the sublimely mesmerizing second movement of the sonata), and close juxtaposition of deeply contrasting themes and motifs (particularly evident in the first movement). The last movement is a lively and rhythmic fugue, beginning in a playful way, and then bursting forth in an almost nonstop energetic romp from beginning to end. The paintings we chose for the sonata are from the works of Paul Klee. While not a contemporary of Beethoven (he was born in 1879 in Switzerland), his parents were musicians, and he himself was an excellent violinist. Like Beethoven, he was unique in his time, and his art is difficult to pigeonhole into the styles of his generation. He was a master of color, and the works we chose for the sonata reflect this, and also his musical influence, particularly ‘Polyphony’ and ‘Fugue in Red’.
Connect with Duo Amie: duoamie.org
open.spotify.com/artist/6313XBHTKqvMBzPiW11cD9?si=LbVm6lkGRk2ClXCbKVlvNg
