Beethoven's Piano Sonatas

Course No. 7250
Professor Robert Greenberg, Ph.D.
San Francisco Performances
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Course No. 7250
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Course Overview

Beethoven was a revolutionary man living in a revolutionary time. He captured his inner voice—demons and all—and the spirit of his time, and in doing so, created a body of music the likes of which no one had ever before imagined. "An artist must never stand still," he once said. A virtuoso at the keyboard, Beethoven used the piano as his personal musical laboratory, and the piano sonata became, more than any other genre of music, a place where he could experiment with harmony, motivic development, the contextual use of form, and, most important, his developing view of music as a self-expressive art.

Pushing the Piano to Its Limit and Beyond

Spanning the length of his compositional career, Beethoven's 32 piano sonatas provide a window into his personal musical development, and they show the concept of the piano as an instrument and the piano sonata as a genre undergoing an extraordinary evolution.

The sonatas are not simply compositions for the piano, but are about the developing technology of the piano itself, an evolving instrument that Beethoven pushed to its limits and then beyond, ultimately writing music for an idealized piano that didn't come into existence until some 40 years after his death.

An Engaging and Exhilarating Professor

As in his previous courses, Professor Greenberg combines his perceptive analyses of musical excerpts with historical anecdotes, metaphors, and humor. He shows what goes on inside a musical composition: how it came to be written, how it works, and how—as is often the case with Beethoven—it may break all the rules to achieve a new and powerful effect. This course is somewhat technical and although musical knowledge is helpful, it is not necessary.

Popular, Experimental, Revolutionary, Shocking

Beethoven's 32 piano sonatas include some of his most popular works as well as some of his most experimental. This course touches on every one of these fascinating pieces, approaching them chronologically, from the terse and powerful first sonata of 1795 to the revolutionary Hammerklavier Sonata of 1818 and the radical last three sonatas of 1820–1822.

In addition to the Hammerklavier, you will explore in detail the other sonatas that, by virtue of their popularity or other special qualities, have been bestowed with evocative nicknames. These include:

  • Pathétique (Piano Sonata no. 8 in C Minor, op. 13): The modern popularity of this piece has obscured its shocking originality, which led a contemporary to characterize Beethoven's work as "lots of crazy stuff."
  • Funeral March (Piano Sonata no. 12 in A-Flat, op. 26): Beethoven's first 11 piano sonatas challenged and eventually broke the bonds of the 18th-century Classical style. In this work, he fully embraced a genuinely experimental, avant-garde approach to the sonata.
  • Moonlight (Piano Sonata no. 14 in C-Sharp Minor, op. 27, no. 2): The composer Hector Berlioz wrote that the haunting first movement of this famous work is "one of those poems that human language does not know how to qualify."
  • Tempest (Piano Sonata no. 17 in D Minor, op. 31, no. 2): Although Shakespeare's The Tempest reportedly inspired this sonata, the thematic parallels between the two works are elusive. But like the title of Shakespeare's play, Beethoven's sonata must qualify as one of the most expressively "tempestuous" in the repertoire.
  • Farewell (Piano Sonata no. 26 in E-Flat, op. 81a): Also known as Les Adieux and Das Lebewohl, this programmatic work commemorates the departure from and return to Vienna of Beethoven's close friend Archduke Rudolph.

Not all of Beethoven's greatest piano sonatas have nicknames. The last three are conventionally known by their opus numbers—109, 110, and 111—and are among Beethoven's most pathbreaking works.

"Oh, to Have Heard Him Play!"

Beethoven first achieved fame as a thrilling and unorthodox pianist who treated the piano, according to his contemporaries, in an "entirely new manner."

"When Beethoven played, expression always came first," says Professor Greenberg. "Beethoven was no more capable of slavish adherence to a steady beat than he was able to follow the constructs and rituals of Classicism. Oh, to have heard him play!"

To be present while Beethoven played was considered by contemporaries to be a revelatory experience. Johann Wenzel Tomaschek, a rival piano virtuoso, observed: "Beethoven's magnificent phrasing and particularly the daring of his improvisation stirred me strangely to the depths of my soul; indeed, I found myself so profoundly bowed down that I did not touch my piano for several days."

Piano manufacturers saw things differently. According to Andreas Streicher, Beethoven was so violent at the keyboard that he was "unworthy of imitation. ... He carries on in a fiery manner, and treats his instrument like a man who, bent on revenge, has his archenemy in his hands and, with cruel relish, wants to torture him slowly to death."

Nonetheless, once he became famous, Beethoven rarely if ever had to buy his own pianos, as piano builders vied with each other to lend him instruments. Nor did Beethoven let shortcomings of contemporary pianos limit his creativity. In his Piano Sonata no. 7 in D, op. 10, no. 3, he expands two musical phrases into high and low registers that didn't exist on the keyboards of the day.

Transferring Despair into Musical Action

Beethoven's childhood was dominated by abuse and loss. Already a bundle of gastric ailments and psychological neuroses, he went deaf over the course of his young and middle adulthood. He was desperately unlucky in love. Desiring a child, he did everything in his power to steal his nephew Karl from the boy's mother; when he succeeded, Karl attempted suicide.

As he entered his final decade, Beethoven became genuinely paranoid. And yet, says Professor Greenberg, Beethoven translated his experience into action—musical action—by composing pieces that by some amazing alchemy universalized his problems and his solutions.

Analyzing Beethoven's "Game"

Professor Greenberg analyzes many musical passages, taking you note-by-note, phrase-by-phrase through different movements of the sonatas, showing how Beethoven plans and achieves his surprising effects. Beethoven paid scrupulous attention to all aspects of his compositions, and Professor Greenberg elucidates these features and brings them vividly to life, such as thematic development, tempo, large-scale dramatic progression, and psychological manipulation by the performer.

You will learn a wealth of musical vocabulary: terms such as Viennese Classical style, sonata form, theme and variations, exposition, modulating bridge, recapitulation, cadence, minuet, rondo, fugue, and scherzo.

What You Will Hear: Extraordinary Performances by a Celebrated Pianist

Beethoven died 50 years before the invention of sound recording, so we will never hear his voice or the sound of his playing.

You will hear literally hundreds of excerpts of Maestro Claude Frank's recordings over the span of the course. Frank's recording of the 32 sonatas was originally released for the Beethoven bicentennial in 1970, and was hailed as "one of the year's 10 best" by Time magazine.

Truly, Beethoven's piano music is his voice, emerging from his mind, through his fingers, to our ears and hearts. And his piano sonatas are, more than any other of his amazing works, his personal testament, expressed in his own voice.

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24 lectures
 |  Average 45 minutes each
  • 1
    Beethoven and the Piano
    Professor Greenberg introduces the course with a brief biography of Beethoven and the early history of the piano followed by a discussion of the recordings of Beethoven's piano sonatas used throughout the course, performed by the distinguished pianist Claude Frank. x
  • 2
    Homage to Mozart
    This lecture explores the Classical style that Beethoven inherited from Haydn and Mozart, highlighting some of its more notable features. Then we look at Beethoven's Piano Sonata no. 1 in F Minor, op. 2, no. 1, from 1795, as both an homage to Mozart and an example of Beethoven's pianistic audacity. x
  • 3
    The Grand Sonata, Part 1
    Beethoven's first four piano sonatas are four-movement works that are orchestral in scope, reflecting Beethoven's concept of the piano as a major instrument. We look at the second of his opus 2 set—Sonata no. 2 in A—as an example of these "grand sonatas." x
  • 4
    The Grand Sonata, Part 2
    Continuing our study of Beethoven's grand sonatas, we examine Sonata no. 3 in C, no. 3, op. 2, and Sonata no. 4 in E flat, op. 7. In both these works, we see Beethoven's early artistic declaration that he was not interested in slavishly following the Classical tradition. x
  • 5
    Meaning and Metaphor
    In his three opus 10 sonatas, Beethoven continues his formula of composing a triad of starkly different works, ranging from darkly passionate to witty to grand. We look at the first of these pieces: Piano Sonata no. 5 in C Minor. x
  • 6
    The Striking and Subversive, Op. 10 Continued
    Piano Sonata no. 6 in F, op. 10, no. 2 remained a special favorite of Beethoven's for many years after its composition. We examine the elements that make it seem so playful, before turning to the grander work that concludes the opus 10 set: Piano Sonata no. 7 in D. x
  • 7
    The Pathétique and the Sublime
    We focus on one of Beethoven's most popular piano sonatas: no. 8 in C Minor, op. 13 (Pathétique). Professor Greenberg shows how time and popularity can trivialize even the most revolutionary creation, rendering us immune to what was once considered new and shocking. x
  • 8
    The Opus 14 Sonatas
    Beethoven's music can be supple, light-hearted, quick-witted, and genuinely humorous, just as it can be heroic, magnificent, and spiritually profound. Beethoven's lighter side is delightfully on display in his two opus 14 piano sonatas: no. 9 in E and no. 10 in G. x
  • 9
    Motives, Bach and a Farewell to the 18th Century
    We focus almost entirely on the first movement of Piano Sonata no. 11 in B flat, op. 22, to understand Beethoven's developing compositional priorities and the influence of Bach on his music. Written in 1800, this work is in many ways Beethoven's farewell to the 18th-century Viennese Classical style. x
  • 10
    A Genre Redefined
    From this point on, each of Beethoven's piano sonatas is markedly different from what came before it. No. 12 in A flat, op. 26 (Funeral March) shows a remarkable degree of contrast between its movements and has, as its third movement, an anguished funeral march. x
  • 11
    Sonata quasi una fantasia—The Moonlight
    The most popular of all of Beethoven's piano works is his Sonata No. 14 in C Sharp Minor, Op. 27, No. 2 (Moonlight). Imbued with tragic feeling, the Moonlight is almost impossible not to relate to the composer's progressive hearing loss. x
  • 12
    Lesser Siblings and a Pastoral Interlude
    We study two underappreciated works: Sonata no. 13 in E flat, op. 27, no. 1 continues Beethoven's assault on the Classical sonata template, while Sonata no. 15 in D, op. 28 (Pastoral) is a revolutionary work that elevates musical pastoral clichés to a high art. x
  • 13
    The Tempest
    While the groundbreaking Third Symphony was Beethoven's public declaration of his "new path" as a composer, the piano sonatas were, collectively, his workshop for getting there—none more so than Sonata no. 17 in D Minor, op. 31, no. 2 (Tempest). x
  • 14
    A Quartet of Sonatas
    We explore the other two opus 31 sonatas: no. 16 in G (which literally saved the life of pianist Claude Frank) and no. 18 in E flat. We also look at the opus 49 pair: no. 19 in G Minor and no. 20 in G; both were published against Beethoven's wishes and have since become favorites of young players. x
  • 15
    The Waldstein and the Heroic Style
    Piano Sonata no. 21 in C, op. 53 (Waldstein) is like no other music written by Beethoven or anyone else. We study this remarkable piece—from its unrelenting opening theme to its breathtaking prestissimo ("as fast as possible") conclusion. x
  • 16
    The Appassionata and the Heroic Style
    Likened to Dante's Inferno and Shakespeare's King Lear, Sonata no. 23 in F Minor, op. 57 (Appassionata) is not only esteemed by audiences, it was also one of Beethoven's favorites among his piano works. With the Waldstein, it is a quintessential example of Beethoven's "heroic" style. x
  • 17
    They Deserve Better, Part 1
    We examine two Beethoven sonatas that deserve more attention than they are generally accorded: no. 22 in F, op. 54, and no. 24 in F sharp, op. 78. The former is an inspired, virtuosic, and genuinely experimental piece of music; the latter is one of the strangest and most adventurous works in the repertoire. x
  • 18
    They Deserve Better, Part 2
    Continuing our exploration of Beethoven's often overlooked piano sonatas, we study no. 25 in G, op. 79, and no. 27 in E Minor, op. 90. The opening movement of op. 79 is a parody of Classically styled piano sonatas, while op. 90 opens with great pathos and tenderness. x
  • 19
    The Farewell Sonata
    Piano Sonata no. 26 in E flat, op. 81a (Les Adieux) was dedicated to the Archduke Rudolph, an aristocratic patron and friend of Beethoven's who was fleeing Vienna ahead of Napoleon's armies—hence, the Farewell Sonata. We look at the piece as a mirror of contemporary events and as program music. x
  • 20
    Experiments in a Dark Time
    Piano Sonata no. 28 in A, op. 101, is unique among Beethoven's 32 in that he had someone else's hands and spirit in mind when he composed it—namely his brilliant student Baroness Dorothea von Ertmann. It is also one of Beethoven's most rigorous and experimental works composed to that point in his life. x
  • 21
    The Hammerklavier, Part 1
    Piano Sonata no. 29 in B flat, op. 106 (Hammerklavier) was the groundbreaking work—the first masterpiece—of Beethoven's late period. It is the most virtuosic keyboard music ever written to its time. In this lecture, we cover the first of its four movements. x
  • 22
    The Hammerklavier, Part 2
    We continue our study of the Hammerklavier, focusing on the paradoxical fourth movement fugue, composed seemingly without limits or limitations. The Hammerklavier has been called "monstrous and immeasurable," a sonata like no other. With it, Beethoven opened the door to a new expressive world. x
  • 23
    In a World of His Own
    Beethoven's last three piano sonatas owe much to his epic Missa Solemnis ("Solemn Mass") which was also composed in the period 1820–1822. We explore the spiritual and compositional links to the Missa Solemnis, particularly as they relate to sonatas no. 30 in E, op. 109, and no. 31 in A flat, op. 110. x
  • 24
    Reconciliation
    Beethoven completed his final piano sonata, no. 32 in C Minor, op. 111, in 1822—five years before his death. Opus 111 seems obviously Beethoven's valedictory statement for the genre; it ties up loose ends, yet it is so stunningly original that it caps, rather than continues, the composer's run of 32 sonatas for piano. x

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Your professor

Robert Greenberg

About Your Professor

Robert Greenberg, Ph.D.
San Francisco Performances
Dr. Robert Greenberg is Music Historian-in-Residence with San Francisco Performances. A graduate of Princeton University, Professor Greenberg holds a Ph.D. in Music Composition from the University of California, Berkeley. He has seen his compositions—which include more than 45 works for a wide variety of instrumental and vocal ensembles—performed all over the world, including New York, San Francisco, Chicago, Los Angeles,...
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Reviews

Beethoven's Piano Sonatas is rated 4.6 out of 5 by 61.
Rated 5 out of 5 by from Another Greenberg classic This is my 4th course by Prof Greenberg, having listened to the fundamentals, Mozart, and Beethoven string quartets. His style is energetic and animated, which may not work for everybody, but does liven things up. Obviously, he approaches the music from a composer's perspective, spending time on themes, scales, modulatory bridges, and recapitulations, which may be too much for the casual listener. There is some overlap with the Beethoven string quartet course in describing events in Beethoven's life, unavoidably. His lectures on the most famous sonatas are worth the price alone, such as the Moonlight, Appasionata, and Hammerklavier sonatas. Both of the sonatas on the recent Lang Lang live in Vienna recording are discussed here.
Date published: 2010-08-31
Rated 5 out of 5 by from Good for beginners and advanced Some reviewers have felt that Professor Greenberg was too superficial while others regard his courses as highly technical. I am an avid listener to classical music and have played French Horn in a student orchestra, sung in college glee clubs, and performed in a serious amateur chamber choir. I consider myself somewhere between intermediate and advanced for a non-professional musician. And while not every single lecture within every single course is a home run, I have learned a great deal from Professor G. Some of what I have learned has been the historical and cultural context of the compositions. I have also learned how various pieces fit into the life course and biography of the composer. Technical matters, like sonata form, rondo, fugue, scherzo, or more arcane points like hemiola and orchestral unison, not only increased my knowledge of musicology, they also tuned my ear to notice things I had not consciously been aware of before the course. So the bottom line is that Professor G's courses work well for beginners, intermediates, and advanced. Perhaps he crosses back and forth between humor, cultural reference, and note by note analysis too much for some listeners but it worked very well for me. With that long introduction I will note that I started my journey through his course series with Bach. I then went to the Beethoven symphonies. My third course was the piano sonatas of Beethoven before going on to my fourth -- the Beethoven string quartets. Of all of these I was least familiar with the piano sonatas, so this course was especially helpful. Beethoven was a great pianist. It was his original and primary way to get notice early on in his career. As his deafness progressed he wreaked havoc on the instruments of his day, none of which could withstand the pounding that his later compositions demanded. As his deafness progressed he ultimately was no longer able to perform at all. The piano was, nevertheless, the laboratory in which he tried out new concepts of composition. Even at the very beginning he was stretching the conventions of the classical model, and when the ever gracious Haydn suggested that his third sonata be delayed in deference to its radical nature, Beethoven, yet again, alienated his generous part-time teacher. Every human passion was expressed in Beethoven's piano sonatas. I was surprised to note how experimental some of the early and middle sonatas were. But it was the sonata dubbed Hammerklavier that marked the turn from his so-called middle period to his late period. Beethoven went through at least three self-inventions. By the final period he had so vastly exceeded the boundaries of the classical model that he returned to his earliest roots -- Bach. Beethoven's first important teacher was Lutheran and taught Beethoven Bach's Well Tempered Clavier. Beethoven's final three piano sonatas have more in common with Bach's music than Mozart's or Haydn's. Professor G. explores the relationship between various sonatas and different women in Beethoven's life, not only the so-called "Immortal Beloved," but several others as well. As I noted in my review of the course on Beethoven's symphonies, the piano sonata course sounds less spontaneous than the symphony course. It sounds more as though the Professor is reading from a script before a tiny audience rather than from an outline before a larger audience. One gets used to this but I preferred the tone of the symphony course's style. Nevertheless, I highly recommend this course and the performances by Claude Frank featured on it.
Date published: 2010-08-23
Rated 3 out of 5 by from OK, but could be better I wish Prof. Greenberg did not view himself as an expert on, apparently, every single facet of concert music from the 18th through the 20th centuries. I moreover wish The Teaching Company would bring some other lecturers in to cover much of the material that Prof. Greenberg has been granted by default, it would seem. He's just not that good a musicologist or a historian. I get the sense that to prepare a series of lectures he reads some liner notes from a few CDs, a biography or two of the composer in question, maybe a Wikepedia article, and then considers himself ready to roll. I just never get the sense that he really has a mastery of the material, at least not the way I do with most other Teaching Company lecturers. I have listened to a number of his courses, and at this point I am just really tired of of his superficial surveys of some very profound music and am not inclined to listen to any more of them. His courses are very much for dilettantes--much more so than most of The Teaching Company offerings. That being said, I would recommend this course -- but only to someone who did not know much about music or about Beethoven, and who had not heard more than one or two Prof Greenberg courses before.
Date published: 2010-07-05
Rated 5 out of 5 by from Beethoven's String Quartets Another fantastic study as presented by the best lecturer I have ever listened to...I have now studied all of his lectures...some of them, like Mozart's chamber music, more than once! He is detailed and very clear, but his humor adds to the presentation to make learning more about music absolutely FUN! I am hoping someday he will do a lecture of Gilbert and Sullivan.
Date published: 2010-02-16
Rated 5 out of 5 by from Beethoven's Piano Sonatas Wow, I have read books on the structural analysis of Beethoven’s Piano Sonatas. They can be quite esoteric, complex if not overwhelming at times. I wanted something that went beyond the usual CD jacket cover of information and something that wasn’t so complex that only a DM could get through it. I wanted something that would make the study enjoyable as well. Professor Greenberg’s course is exactly what I was searching for. This course provides piano/music majors with a sheer treasure trove of instruction. Prof. Greenberg analyzes each piano sonata in detail. A piano/music student will benefit immensely from the clarity and detail of this instruction. Greenberg does a masterful job. When I was in college, such a course simply did not exist, but I often thought how incredible it would be if it did. Prof. Greenberg covers all the essentials including overall structure of the sonatas, their melodic and harmonic development, as well as their rhythmic and dynamic features. He does so with his unique sense of humor, frequently providing pertinent information on Beethoven himself. Make no mistake about it, this class is something a piano/music major could expect in an upper level course in a music college or conservatory. I find it helpful to have studied music theory, formal analysis, and piano. It’s not essential, however. I listened to each lecture with my copy of the Beethoven Piano Sonatas in hand and followed along with the analytical comments. It was like having your own professor sit down and guide you through each sonata. It was really fun! I can’t thank you enough, Prof. Greenberg!!
Date published: 2010-02-06
Rated 4 out of 5 by from Good but Too Complex for Car I listen to car tapes during my commute. I love Beethoven, but this material is a little too complex to understand without accompanying visuals (and in traffic). Therefore, if you're going to get it, you should probably buy the DVDs.
Date published: 2009-10-10
Rated 5 out of 5 by from An Indispensible Series for the Pianist Any Greenberg course is a great course. I've listened to over ten of his courses and have yet to be disappointed despite ever growing expectations. This course is no exception. This course works on many levels. Those only familiar with Beethoven's symphonies will benefit greatly from this more intimate experience. Those who already enjoy Beethoven's piano music will receive a richer appreciation for these masterful works. Those of us who play the piano and have studied some for these pieces will add others to our repertoire and better understand how to interpret sonatas written by a man whose music was decades ahead of the instrument for which he wrote.
Date published: 2009-04-25
Rated 5 out of 5 by from Another fabulous effort Professor Greenberg delivers another tour de force performance. This time we learn the intricate details and genius that resulted in some of the most compelling piano music ever written. These lectures are the ones I return to most often. I wish they would never end. Which brings me to another point...I wish professor Greenberg would follow up these works with more! A breakdown of the quartets and cello sonatas would be a most worthy addition. I can't wait and I hope I won't have to for long. This is a must buy for piano and Beethoven fans.
Date published: 2009-03-20
Rated 5 out of 5 by from Indepth: For Serious Beethoven Lovers Prof. Greenberg is a Teaching Company treasure, and his love of Beethoven is obvious from the many courses he provides on Beethoven's life and music. I am an amateur classical pianist. I never got to the point of even adequately performing any Beethoven piano sonata, but I have them all on CD (thank you, Naxos) and Prof. Greenberg's insights are perfect for someone who wants a solid overview of the more significant sonatas. Onviously, he cannot go into every one in detail, but he puts the attentive listener on the road to a deeper understanding of all of them.
Date published: 2009-01-19
Rated 5 out of 5 by from Another 5 Star Performance Forgive me again for adding another glowing review for Prof Greenberg, but he really is a masterful lecturer. Not only is his knowledge of music history profound, but his storytelling is incredibly entertaining. One might wonder how music history could be funny...well, he finds a way, and even the mighty German Beethoven offers us something to chuckle at amidst the ups and downs of his peerless career. In this lecture series, Prof Greenberg will give you an education on Beethoven's life and Piano Sonatas which will do much to help you appreciate the conflicts being resolved in both. You will not listen to these and feel like it is dumbed down if you have musical knowledge, nor will you be overwhelmed with details out of your ability to comprehend if you don't. Greenberg seems to have a knack of addressing all parties who listen such that everyone should feel educated and fulfilled. This along with the Symphonies of Beethoven come with high praise from me. PS Please TTC, let's get Prof Greenberg on the lecture podium again with a series on Beethoven's Chamber works (esp Piano Trios and String Qts)!
Date published: 2009-01-02
Rated 5 out of 5 by from The Piano Man Exposed! I was not much of a piano listener until now! Greenberg knows how to tickle the keys as well as the intellect!!!
Date published: 2008-12-19
Rated 5 out of 5 by from Dr Greenberg's presentation was very informative, and delightfully animated. He made the course a huge success.
Date published: 2008-10-17
Rated 5 out of 5 by from This is a wonderful course! I got lost in the score often. You cannot imagine my shock and gratitude at finding measure markings in lecture 22- finally.
Date published: 2008-10-17
Rated 5 out of 5 by from Dr. Greenberg - delightful - he has the energy of a atomic bomb with more impact
Date published: 2008-10-17
Rated 5 out of 5 by from The Beethoven Piano Sonatas course was more technical than historical and a wonderful "under the microscope" look at Beethoven. Please give us a similar course about Chopin's Piano Music!
Date published: 2008-10-17
Rated 5 out of 5 by from Professor Greenberg strikes the perfect balance between being entertaining and being instructive and informative.
Date published: 2008-10-17
Rated 5 out of 5 by from Another excellent course presented by professor Greenberg. His knowledge, presentation, and humor made this learning experience a rich one.
Date published: 2008-10-17
Rated 5 out of 5 by from This course helped me to have a understanding and greater appreciation of Beethoven as composer & pianist
Date published: 2008-10-17
Rated 5 out of 5 by from I have learned more from these lectures than anywhere else. They're superior! The professor is such a good teacher & humerous too! I'd give it an A+!!
Date published: 2008-10-17
Rated 5 out of 5 by from I have studied & played piano over 40 years and Beethoven is my favorite composer. Professor Greenberg's lectures have given me new insights & understanding of these wonderful sonatas. Thank you!
Date published: 2008-10-17
Rated 5 out of 5 by from As an evolving, open minded musician myself, I found the course deep, rich, intense, very fast, overloaded with facts and information and difficult to follow. but that is the way it should be, am I not correct?
Date published: 2008-10-17
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