How To: Beethoven's Moonlight Sonata (Tips/Advice/Analysis!) with Dr. Lisa Yui
Join Dr. Lisa Yui as she discusses and demonstrates Beethoven's famous "Moonlight Sonata". What was the piece's compositional history? Where did the nickname "moonlight" really come from? What are are some ways that I can improve my performance of this work? All of these questions and much more will be answered today!
Find the start time in your time zone by clicking the photo or following this event link:
https://app.tonebase.co/piano/live/player/lisa-yui-beethoven-moonlight
We are going to be using this thread to gather suggestions and questions!
- What questions do you have on this topic?
- Any particular area you would like me to focus on?
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It's difficult to understand Beethoven's rationale for the rather light-hearted 2nd movement caste between the serene, mystic first and the thundering, angry, and anxiety-ridden last movements. Other than it is just contrast and Beethoven had somewhat of a sense of humor perhaps about his own tendency to over seriousness. In the context of the whole, it works as contrast and in general but doesn't add to an understanding of the meaning.
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Michael I will share your thoughts with Dr. Yui and then she will share her opinion on the matter! But you make good points!!
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This is the piece which I always wanted to learn it properly. I Hope can get some insights from her, so could possibly overcome the obstacles for the final movement. Am not sure how could makes myself less tense over the forearm while playing those fast passages. As it slow me down terribly. Is there any ideal range of the speed for a non professional to play, as I definitely can’t play the speed of what I always heard from CDs/anyone who perform in YouTube etc
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I love this piece and am excited to get some professional input. I'm interested in getting some ideas for expression and dynamics. What do you think about when you play it? Any imagery to help with the expression?
Btw, I play only the 1st movement. I can get through the second but never studied it. The third is way beyond me.
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Hi, I haven one question about pedalling in the first movement from bar nr 28 the left hand is always playing the same G#k octave with a dreamy melody in the right hand. So I presume pedalling til bar 34 is useful but from bar 35 tot 37 I suppose the left hand so fade out with the melody and we don't use the pedal here ?
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I watched this lesson after the Live Stream due to work. It is quite enjoyable!
Dr. Yui, your clear explanations at the beginning were excellent. Thank you.
I appreciate the distinction you made between the title Beethoven gave it and the name the poet gave it. Your sensitivity to the piece shines through.
It makes sense that a romantic name conjures up romantic imagery, and, as you wisely pointed out, that can be misleading and rob the movement of the meaning intended by the composer - as far as we can discern it.
Your point about it being optimal to play the piece in its entirety is well taken.
Dominic, thank you for your meticulous attentiveness to the viewer - with showing images, scores, enlarging, circling with precision and speed. Excellent!
Thank you for a wonderful lesson all the way around!
Thank you, Dr. Yui! Thank you, Dominic! Thank you, everyone! To those who asked questions - Thank you!
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Thank you all. This is very inspiring , interesting and helpful.
Is this the very book mentioned by Dr. Lisa Yui?
《Beethoven》by Maynard Solomon
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minute 48:00 has always been the most enjoyable part of the piece to play, in my opinion.
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Just being pedantic here, but the statement that once you've play a note you can release it, as there's 'nothing else that can be done to alter the sound of that note', could be a little misleading. Holding a note down while other subsequent notes are played allows it to continue to ring (- just try putting a note down without allowing it to sound, then play other notes over it - you will hear the original note ring).
