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Favorite Beethoven Sonata
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Favorite Sonata?
Pathetique
30%
 30%  [ 7 ]
Moonlight
4%
 4%  [ 1 ]
Pastoral
4%
 4%  [ 1 ]
Les Adieux
4%
 4%  [ 1 ]
The Tempest
13%
 13%  [ 3 ]
Waldstein
8%
 8%  [ 2 ]
Appassionata
21%
 21%  [ 5 ]
Hammerklavier
13%
 13%  [ 3 ]
Total Votes : 23

Author Message
Amnesia
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Posted: Thu Aug 26, 2004 9:40 pm    Post subject: Favorite Beethoven Sonata

Which is your favorite out of those listed? I like most of them; Pathetique, Moonlight, Waldstein to name a few , but my favorite for now would have to be the Pathetique . What about you?

Last edited by Amnesia on Thu Aug 26, 2004 9:43 pm; edited 3 times in total
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TheRach
i hate rovolCz



Age: 6
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Posted: Thu Aug 26, 2004 9:40 pm    Post subject:

What about Hammerklavier and Tempest?

Edit: Lol you already changed it.
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Amnesia
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Age: 18
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Posted: Thu Aug 26, 2004 9:42 pm    Post subject:

Sorry, I submitted the post too early... I've added them
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Goldberg
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Age: 17
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Posted: Thu Aug 26, 2004 9:45 pm    Post subject:

I'm going with Hammerklavier of those listed. I really only like the Pastoral and Les Adieux from that list besides the op. 106. My real favourite is 109, and also 111, 26, 7, 27-1, 79, and 101.
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Debussy
Chopin Music's Casanova
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Age: 17
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Posted: Thu Aug 26, 2004 10:00 pm    Post subject:

My vote goes to the Pathétique, but the Moonlight Sonata is indeed very good, as well.
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virtuoso_735
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Joined: 25 Aug 2004
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Posted: Fri Aug 27, 2004 1:16 am    Post subject:

I like all of those sonatas listed above!

Each is so original and beautiful and virtuostic. But if I had to pick a few out of the above, it would have to be Appasionatta and Waldstein. There are other sonatas without names that are just as good as well.
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beethoven
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Posted: Fri Aug 27, 2004 4:38 am    Post subject:

My favourite sonata are all of them, but I voted for Hammerklavier as well.
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Philip Daniel
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Posted: Fri Aug 27, 2004 5:13 am    Post subject:

Les Adieux & Opus 111 are my favorites; Waldstein is my least favorite. But I admire all of them .
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Comme_le_Vent
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Posted: Fri Aug 27, 2004 6:19 am    Post subject:

appassionata

it has da most fury - nuff said

but if i were to choose 1 mvt of any sonata - da moonlight 3rd

da embodiment of demonic fury
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Brewtality
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Posted: Fri Aug 27, 2004 6:34 am    Post subject:

yeah i agree with da fury of the appassionata. I also really like the last movement of les adieux
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virtuoso_735
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Posted: Fri Aug 27, 2004 6:17 pm    Post subject:

The Appasionata and Waldstein sonatas contain virtuosity and "fury" unheard of before Beethoven's time. These are the most innovative sonatas Beethoven wrote before his late period. The Waldstein sonata was written after his friend and patron, Count Waldstein, gave him a new Broadwood piano. It was one of the best pianos of the day. But of course it became a mess after a while due to Beethoven's constant banging, since he was going deaf.
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Amnesia
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Posted: Fri Aug 27, 2004 9:19 pm    Post subject:

Hehe . I really love the first movement of the Waldstein. It is soo beautiful . The third movement of the moonlight is also a favorite
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virtuoso_735
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Joined: 25 Aug 2004
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Posted: Sat Aug 28, 2004 6:38 pm    Post subject:

Amnesia wrote:
Hehe . I really love the first movement of the Waldstein. It is soo beautiful . The third movement of the moonlight is also a favorite


The third movement of moonlight sonata was the piece that got me interested in classical music in the first place.
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beethoven
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Posted: Sun Aug 29, 2004 3:46 am    Post subject:

I'm interested to see what you people think about Op.111?
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Philip Daniel
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Posted: Sun Aug 29, 2004 3:58 am    Post subject:

beethoven wrote:
I'm interested to see what you people think about Op.111?

It's one of the most subjective and personal pieces in Beethoven's ouvre, and I find every single note compelling and beautiful; in fact, it is hard not to be drawn to the beauties of Beethoven's many sonatas & variations for piano, but this one is special . The passion of the first movement and the grace of the arietta that follows are very touching, and Beethoven's craftmanship in the variations form he uses to achieve his means in both movements is unsurpassed. The contrapuntal ingenuity of movement one that precedes the cantabile melodiousness of movement two can be analogized to the idea of Beethoven looking back to the strict classicism of Bach, Handel, Haydn, and his teachers Neefe and Albrechtsberger and forward to the free emotional outpourings in music that would characterize much of the romantic period.
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