Dec 31, 2020
It’s a huge honor to have the great Professor Giorgio Sanguinetti return to the program for his 2nd appearance. He is the author of the award-winning book “The Art of Partimento” which was published in 2012 which won the Wallace Berry Award from the Society of Music Theory and today we will talk his new book “Le Sonate per pianoforte di Beethoven. Genere, forma, espressione” published by Libreria Musicale Italiana.
0:51 Why did you pick the subject of the piano sonatas of
Beethoven for this book?
2:26 Did you play many of the piano sonatas yourself over your
career?
3:38 Introduction to Beethoven’s piano sonatas
7:03 Did Beethoven play the sonatas live for audiences? or was it
more for sale for private use?
11:35 What is the paradigm shift that took place?
15:29 How were the pianos in Beethoven time?
18:42 What should someone do to get better at sight-reading?
19:46 How did Beethoven play his own sonatas?
22:29 Did the Italians ever talk about form, how did they teach
it?
23:38 How would Beethoven have thought about the form of his piano
sonatas?
28:04 Beethoven and Adolph Bernhard Marx
31:01 Marx’s radical view of music theory
32:09 What were Beethoven’s politics?
33:52 The rise and decline of Formenlehre
37:36 What was the criticism of Formenlehre?
39:34 Edward T. Cone and the Sonata Principle
40:32 What were the essential differences between William Caplin
and Hepokoski/Darcy’s theories?
42:45 What about Hepokoski and Darcy’s theory?
45:59 Hermeneutics
49:38 Religion and Hermeneutics
51:20 Topic Theory
54:13 Did Beethoven ever write introductory explanations about his
sonatas?
55:50 Schemas
1:00:10 Beethoven’s metronome markings
1:02:26 Werktreue
1:05:22 Should performers today play the score of these piano
sonatas with complete faithfulness to the intention of the
composer?
1:07:01 How do you feel about the great surge in interest in
partimento recently?
1:08:33 What’s the best way to learn partimento?
1:10:11 Is there a best starting collection of partimenti that
beginners should start with?
1:12:12 How should someone learn written counterpoint?
1:13:31 Is partimento useful in the modern age with newer
contemporary styles?
1:16:55 How should partimento be integrated into music education?
Can it complement other theories or should it be taught on it’s
own?
1:18:38 On Partimento not having to be an opposing method to other
methods of analysis and music education
1:19:56 Wrapping up and upcoming events/projects