Roni's Journal

Tuesday, 21 August 2007

Sneak peak: Moonlight Sonata

The Phrygian progression discussion was a prelude to the upcoming post on Beethoven's Sonata No. 14 in C-sharp minor.


There's always been a discrepancy over the twelfth bar on whether to play the note c or b in the second triplet group ... But, in fact, there is no discrepancy, because, as per the counterpoint rules of the classical period, two separate voices mustn't move in parallel octaves or fifths, unless once is doubling the other. Clearly, the middle triplet note is not doubling the (already-doubled) bass-line. And hence – c, and not b, should be played.

The second movement turns out to be a light-hearted exercise in classical harmony. Unfortunately, the main motif is hardly a melody, and, what's more, it is repeated 20 times in the course of (fortunately, only) two minutes.

Again, Beethoven eyes a motif by Mozart for the first part of his second subject, and...repeats it six times until it gets him somewhere. He even grabs the ornaments along!

Over 20 top recordings will be reviewed, and the best of them selected.

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