Moonlight sonata – Beethoven – Bass Guitar
May 27, 2010 tapping
http://www.myspace.com/bassgk
Grzegorz Kosi?ski – Piano sonata No. 14 in C# minor (cis-moll), “Moonlight” Op. 27, No. 2, mov.1 – adagio (composed by Ludwig van Beethoven) – on 6-string spector bass guitar. Tapping technique.
Thanks for support to SeBASStian, Tito and Maciek!
I believe Beethoven was a genius.
Duration : 0:6:16
Tags: adagio, Bach, bass, BassGK, Beethoven, beethovenslady, claro, classical, de, elise, for, fur, guitar, kosinski, ksi??ycowa, luna, metal, mondscheinsonate, Moonlight, MOZART, neoclassical, piano, rock, smalin, Sonata, String, tapping, vivaldi
Moonlight Sonata – Beethoven – Bass Guitar (Live)
Sep 10, 2009 sweep picking
http://www.myspace.com/bassgk
My own performance of Moonlight Sonata (Piano Sonata No. 14 in C minor (cis-moll) “Moonlight” Op. 27 No. 2., movement 1) from Ludwig van Beethoven, during my solo concert on bass guitar in Gliwice, Silesia, Poland.
I play it in F# minor (fis-moll), on a 5-string Spector Bass Guitar
Sonata ksi??ycowa – gitara basowa
Grzegorz Kosi?ski – koncert solowy, Gliwice 26.10.2008 (go?cinnie podczas Wielkiego Fina?u GKP)
Sonata Ksi??ycowa – Sonata fortepianowa nr 14 cis-moll op. 27 nr 2 Ludwiga van Beethovena, jedna z najs?ynniejszych sonat w historii muzyki. Powsta?a w latach 1800-1801. Trzydziestoletni kompozytor zadedykowa? j? swojej ukochanej, hr. Giulietcie Guicciardi.
Nazwa, która przylgn??a do Sonaty, nie zosta?a nadana przez samego Beethovena (ten okre?li? j? Sonata quasi una fantasia – Sonata na kszta?t fantazji), ale przez poet? i krytyka muzycznego Ludwiga Rellstaba. Wed?ug niego, pierwsza cz??? Sonaty przywodzi na my?l odbicie ?wiat?a ksi??yca w spokojnej, g?adkiej tafli jeziora. (Rellstab mia? na my?li Jezioro Czterech Kantonów w Szwajcarii.)
Cz??ci Sonaty [edytuj]
I Adagio sostenuto
II Allegretto
III Presto agitato
Ksi??ycowa nie ma klasycznej budowy sonaty. Pomini?ta jest pierwsza cz??? (szybka), allegro sonatowe. Pocz?tkowe Adagio sostenuto odpowiada formalnie cz??ci drugiej, powolnej. Beztroskie Allegretto gra rol? Menueta lub Scherza, stoj?cego zazwyczaj na trzecim miejscu. Fina?, Presto agitato (“bardzo szybko i w?ciekle”) ko?czy dzie?o mocnym akcentem.
The Piano Sonata No. 14 in C-sharp minor “Quasi una fantasia”, Op. 27, No. 2, by Ludwig van Beethoven, is popularly known as the “Moonlight” Sonata (Mondscheinsonate in German). The work was completed in 1801[1] and rumored to be dedicated to his pupil, 17-year-old Countess Giulietta Guicciardi,[2] with whom Beethoven was, or had been, in love.[3] The name “Moonlight” Sonata derives from an 1832 description of the first movement by music critic Ludwig Rellstab, who compared it to moonlight shining upon Lake Lucerne.[4][1]
Beethoven included the phrase “Quasi una fantasia” (Italian: Almost a fantasy)[5] in the title partly because the sonata does not follow the traditional sonata pattern where the first movement is in regular sonata form, and where the three or four movements are arranged in a fast-slow-[fast]-fast sequence.
The work is possibly the most familiar of all Beethoven’s piano sonatas, and is widely performed and recorded.
Contents
The sonata has three movements:
1. Adagio sostenuto
2. Allegretto
3. Presto agitato
The first movement is written in a kind of truncated sonata form. A melody that Hector Berlioz called a “lamentation” is played (mostly by the right hand) against an accompanying ostinato triplet rhythm. The movement is also played pianissimo or “very quietly”, and the loudest it gets is mezzo-forte or “moderately loud”. The movement has made a powerful impression on many listeners; for instance, Berlioz wrote that it “is one of those poems that human language does not know how to qualify.” The work was very popular in Beethoven’s day, to the point of exasperating the composer, who remarked to Czerny, “Surely I’ve written better things.”[6]
The second movement is a relatively conventional minuet and trio; a moment of relative calm written in D-flat major. This key signature is enharmonically equivalent to C-sharp major, that is, the tonic major for the work as a whole. The slightly odd sound of the first eight bars seems to be the result of the minuet starting in the “wrong” key; i.e. the dominant key of A-flat major. The music settles into D-flat only in the second phrase, bars 5-10.
The stormy final movement (C-sharp minor), in sonata form, is the weightiest of the three, reflecting an experiment of Beethoven’s (also carried out in the companion sonata, Opus 27 no. 1 and later on in Opus 101) placement of the most important movement of the sonata last. The writing has many fast arpeggios and strongly accented notes, and an effective performance demands flamboyant and skillful playing.
Of the final movement, Charles Rosen has written “it is the most unbridled in its representation of emotion. Even today, two hundred years later, its ferocity is astonishing.”
The musical dynamic that predominates in the third movement is in fact piano. It seems that Beethoven’s heavy use of sforzando notes, together with just a few strategically located fortissimo passages, creates the sense of a very powerful sound in spite of the overall dynamic.
Duration : 0:5:39
Tags: Bach, basowa, bass, BassGK, Beethoven, elise, for, fur, gitara, got, guitar, hamm, ksi??ycowa, mam, metal, miller, Moonlight, MOZART, rock, solo, Sonata, talent, tapping, version, wooten
