《F小调第1号奏鸣曲》
《A大调第2号奏鸣曲》
《C大调第3号奏鸣曲》
《降E大调第4号奏鸣曲》
《C小调第5号奏鸣曲》
《F大调第6号奏鸣曲》
《降A大调第12号奏鸣曲》
《降E大调第13号奏鸣曲》
《升C小调第14号奏鸣曲》
《D大调第15号奏鸣曲》
《C大调第21号奏鸣曲》
（详情见文末链接）
Now Opus 10 No. 3, to me one of the miracles of music, not just of Beethoven. Along in Opus 10, it is a four movement work, in the lyrical, sunny key of D major. Let's see, [playing beginning of Beethoven's Violin Concerto in D major], etc. Other pieces in D major, certainly later Missa solemnis. This is, if I said that the first Sonata was dramatic and the second was comical, I cannot really find an adjective to the third, because it has many many phases; it is an enigmatic piece. It has this extraordinary slow movement, Largo e mesto, which is expression of the deepest tragedy that has ever been written to me. But the first movement is Presto, Alla breves, so you are counting two in a bar...Silence.
现在到了作品第10号之3，这是我奉为奇迹的作品，而且是对于一切音乐而言，不仅限于贝多芬。虽然同是作品第10号，这首奏鸣曲却有四个乐章，调性是阳光明朗的D大调。让我们来看D大调作品……（贝多芬《D大调小提琴协奏曲》），等等。还有其他作品，尤其是后来的《庄严弥撒》。如果我说第一首奏鸣曲是戏剧性的而第二首是喜剧性的，那么我找不出可以恰当概括第三首的形容词，它具有很多很多方面，像迷一般。这里有无可比拟的慢乐章，忧伤的广板，抒发最深重的悲剧感，我认为空前绝后。然而现在的第一乐章是急板，二二拍，即每小节数两拍......静寂。Again this movement starts with an upbeat, one two...It's piano, and there is no crescendo. Again it’s a variation of a Mannheim Rocket...Unison, then comes something very polyphonic...The first phrase almost everything staccato, and the second phrase almost everything legato. Very important in this movement is the mono-thematic thinking--if you take the first four notes, you can derive almost everything in this sonata from these four notes. You will see later...Always these four notes, and the inversion of it...Very dramatic, and with the syncopation. Now comes...again, four notes...modulation...We are on the dominant. Now comes the second subject, which is...Again, this is important, the notation of this theme, which many pianists play, in my opinion not right, four equal semiquavers. Usually you hear this theme...This is nonsense because Beethoven wrote a grace note, a crotchet, two quavers. Had he wanted four semiquavers, he could have written four semiquavers. I don't see why anybody would play...but you have to play the grace note melodically, on the beat...起步又是弱起拍……力度为弱，注意没有渐强。这再次是曼海姆火箭的一种变奏……同声齐奏，接着转丰富的多声部......第一个乐句几乎每个音都是断奏而第二个乐句几乎每个音都是连奏。这一乐章的一个非常重要的方面是它的单一主题思维，只要抓住最初的四个音符，那么这首奏鸣曲中几乎所有东西都可以从这四个音符中衍生而来。你们接下去就会看到……总是这四个音符，以及它们的逆行……这里非常有戏剧性，用到切分。接下来是……注意又是这四个音符……转调……我们到了属调。现在第二主题进入，是这样的……这里有一个要点，就是这一主题的记谱（第一乐章第53到第55小节）。很多钢琴家在这里弹成四个等值的八分音符，在我看来是不对的，你们经常会听到这一主题成为……这毫无道理，因为贝多芬分明写的是一个装饰音、一个四分音符、两个八分音符，如果他要求的是四个等值的八分音符，他会写明四个八分音符的。我看不到任何理由要弹成……这个装饰音必须作为旋律的一部分，在拍点上弹出……With this you show again the four notes...Now in minor...Always the four notes...Wonderful descend...While the bass plays the four note motif, the upper voices play these in inversion...Final theme...four notes...inversion...silence...For the first time we have the main theme in minor, with a huge crescendo, leading up to fortissimo...This is what we would expect. But what does he do?...Huge surprise, B-flat major. From A, sounds almost naked. Neapolitan key related to A, B-flat after A is Neapolitan...It was Domenico Scarlatti who first invented this hand crossing, but only before he became too fat. I assumed Beethoven in his twenties was still quite slender, he didn't have so much Wiener schnitzel yet, otherwise you can't play these hand crossings.这一句又表现出这四个音符……转小调……总是这四个音符……这里的下行写得好极了……现在低音奏出该四音符动机，上面的声部奏出它们的逆行……最终主题……四个音符……逆行……静寂……现在主要主题第一次在小调上出现，伴以一个大幅度渐强，将力度提高到很强……我弹的是我们期待中的和弦。但是他是怎么写的？……完全出乎意料，竟然是降B大调。从A直转，真可以说赤膊上阵。这是相对于A的那不勒斯调性，跟随在A之后，降B是那不勒斯调性（第一乐章第133小节）……这样的双手交叉弹奏，发明者是多米尼克·斯卡拉蒂，但是后来他身体变得过胖就无法再弹了。我相信二十几岁的贝多芬很苗条，还没有吃太多的维也纳炸猪排，不然没有办法弹这样的双手交叉。This was the very dramatic development section, and then comes the recapitulation, which echoes the exposition in different tonal relationships. Then beautiful coda...wonderful sonority, and where are we now? D major...G major is the subdominant. He always reserves the subdominant for something very special. In this case, it’s for this coda...Four notes...It's like a string quartet--four players, four registers, they are repeating the same...How much can you do with four notes, he is really using it to the limit...Huge orchestral crescendo, wonderful sonority.这是极具戏剧性的展开部，然后是再现部，在不同调性关系之下回映呈示部。然后是美丽的尾声……多美的音响，我们现在何方？这是D大调……G大调就是它的下属调。贝多芬总是为下属调赋予特殊意义，在于现在的例子，就是这一尾声部分……四个音符……这就像弦乐四重奏——四位提琴家，四个音域，他们在重复同样的音型……总共四个音符能变出多少花样？他真是物尽其用了……巨大的乐队似的渐强，奇妙的音响。Now comes this extraordinary movement, D minor, Largo e mesto. Nothing ordinary about it. No tempo ordinario. Mesto is something that comes later in the String Quartet Opus 18 No. 1 in F major, or let’s think of Bartok’s Sixth String Quartet’s final movement. Something we associate with death and lamentation. It’s really crying over somebody very dear…You couldn’t write darker than this. Certainly the models of D minor are Mozartean, if you think of Don Giovanni or of the...[playing beginning of Mozart's Piano Concerto in D minor]. That kind of D minor but with a new experience of gravity. I don't think there has been gravity in music before like this, because of again the sheer weight of it.接下来就是这首非凡的乐章，D小调，Largo e mesto，忧伤的广板。这绝非常规标记，当然不是常规速度。忧伤的，Mesto，这一修饰后来又出现在《F大调弦乐四重奏》作品第18号之1（席夫口误，应为作品第59号），我们也会想到它在巴托克《第六弦乐四重奏》的末乐章也被用到。我们总是将这一语汇联系到死亡、哀悼。这是为至亲至爱者的哭泣……怎么可能写成比这更深暗！D小调音乐的范本无疑出自莫扎特之手，大家可以想到《唐·爵凡尼》或者这一首（莫扎特《D小调钢琴协奏曲》）。现在的乐章就是这一类D小调，同时又加入新的深重体验。在此前的音乐中我不认为曾经有过像这样的深重感，从它带来的如此压迫就可以断定。It’s a slow movement in 6/8 time, and I feel these six quavers have to have a very severe pulse, that you must never lose, and later...now comes the lament…It goes in very clear paragraphes, but you can see that from the second phrase, it is rather operatic. That’s when one has to apply Tempo rubato. This is when Mozart always complained when he heard Clementi's piano playing. I don’t like Clementi’s piano playing, he said, because his two hands are always together. Liszt said beautifully about Tempo rubato that it is like a tree--the trunk of the tree is solid and stands there, but the wind is blowing the leaves. So that is what I mean that a sort of severe pulse has to go through this movement, but the melody must be free...They are almost independent from each other. But today you play this and then there comes a certain great critic and says his two hands are not together. So what! Where is it written that two hands have to be always together? I have never ever read it, but somehow certain prejudice. Now comes a new theme...这是6/8拍的慢乐章，我感到这六个八分音符一定要构成绝不松散的律动，演奏者必须恪守始终。接下去……现在是致哀……这里的行进展现出非常清晰的分段，但是大家从第二个乐句（第二乐章第9小节）就可以看到，音乐非常歌剧化。面对这样的音乐就要运用散板节奏。这就要提到莫扎特总是对克莱门蒂的演奏表示不满。他说我不喜欢克莱门蒂弹琴，因为他的两只手任何时候都是对齐的。李斯特论及散板节奏时做了非常传神的比喻，他说这就像一株大树，树干坚挺不移而树叶随风摆动。这也就是我刚才说到，这个乐章一定要有严格的律动贯穿始终，与此同时旋律必得是自由的……两者几乎相互独立。问题是今天你如果这样演奏，就会有一位著名评论家出来说，他的两只手不是对齐的。不对齐又怎样！哪里有明文规定说两只手必须总要对齐？我从来没有读到过这样的理论，只能说这是一种偏见。下面是一个新主题……This is the development section, extraordinary atmosphere, to me this is resurrection. Schubert clearly knew this movement and loved it, and in the B-flat major Sonata...this section...to me it’s the same expression. Let's go on to see what happens here...But now crescendo...The accompaniment has to have the pulse. And above, this is like sobs. This is unbelievable. This music is not pretty, not lovely, it’s really, it’s like a Goya painting...and the return. It's quite extraordinary. Then the code--this is an enormous movement, the coda still increases this grief and this terrible tension...almost finished…这里是展开部，非凡的气氛，我认为这是复活。舒伯特一定熟知这一乐章并且深爱它，在他的《降B大调奏鸣曲》中……这一段……我认为是同样的抒发。让我们再来看这里发生的事情……现在渐强……伴奏部分保持脉动，在高音，这无异于哽咽。难以置信。这音乐不优美，不可爱，真正应该比做戈雅的绘画……到这里返回。多么非凡。接下去是尾声，这是一首巨大篇幅的乐章，尾声仍在进一步加剧音乐的哀伤和可怕的张力……就要结束了……(23:33) This starts the most touching moments to me in Beethoven. After such a deep tragedy and frozen silence, suddenly life begins. It is like real hope, like a little flower on the side of a grave, after this...Therefore it must come without interruption and without coughing...The sign of a good audience is if nobody coughs here. It's a beautiful minuetto dolce with a sweet expression. It’s really 'Neue Kraft fühlend', that he wrote in the space of the A minor String Quartet--to feel the new strength, new life...But of course we cannot forget what we heard in the last 10 minutes, it is really through the tears of the previous movement. Then comes something imitative…The Trio is again humoresque...now legato...da capo al fine.现在到来的，是在我心目中贝多芬音乐的最感人瞬间。在那样深重的悲剧、冰封的静寂之后，一瞬间生命开始了。这是真正的希望，就像在那之后坟墓旁边开放出一朵小花……所以它进入时一定不可以有间歇，也不可以有人咳嗽……听众水平高的表现，就在于此处无人咳嗽。这是一首优美的小步舞，标记柔和意味表情甜美。这是真正的“感到新的力量”，转借他写在《A小调弦乐四重奏》乐谱空白间的旁注——感到新的力量、新的生命……当然我们不可能忘记刚才十分钟听到的东西，仍然透过前面乐章遗下的泪痕。接下来是一段互相模仿的段落……三声中部又是带有幽默感的……转连奏……转回起始直到结束标记。Then the Finale, Allegro, so tempo ordinario, starts with a very innocent question...Is it true?...Comes something like a cadenza that is a passage that you have to switch off the metronome here--it will never work. One two three four one two three four...Fermata, and then a tempo, a deceptive cadence...you would expect...Affirmative...Now we are at home, and really the tempo starts here...This is banal, but deliberately so. He just wants to have a virtuoso passage here...Fermata. This is a sonata rondo, combining the elements of rondo form and the sonata form. And then here comes this very interesting...This is incredible...I spoke before about when Beethoven writes something in unison, it’s rhetorical...He modulates chromatically and leaves it half way up in the air...Wrong key...下面是终曲，快板乐章，因此是常规速度，它始于一个非常童真的提问……“真的吗？”……接下去是一段华彩似的乐段，处理这类句子一定要关掉节拍机，有它一定搞不对。一二三四一二三四，延长记号，回归原速，一个假终止……你会期待是这样的……肯定语气……现在我们回到家中了，这一乐章的节奏实际从这里开始（第四乐章第9小节）……这一句很俗气，他故意这样。他只是要在这里加一句炫技乐句（第四乐章第17至第23小节）……延长记号。这是一首回旋奏鸣曲，兼备回旋曲式与奏鸣曲式两者的要素。下面到来的东西非常有趣……难以置信（第四乐章第33小节）……我已经讲到贝多芬写下同声齐奏总是带有雄辩的因素……他用半音转调让事情停在半空……错位调性……In unison, remember this?...Mysterioso...With this modulation, we are home again...variation...then comes the recapitulation and he reaches the subdominant, and then again a very unusual ending to this sonata, that's why it never has any success. Success is not important, certainly not for Beethoven. That shows that sometimes the greatest pieces are the most misunderstood ones, because after this I will come to the Pathétique Sonata, which is a very great piece, but I think this is much greater. Beethoven also never understood the popularity of his Moonlight Sonata. He was always angry why people don't understand my F-sharp major Sonata that is much greater. Because it doesn't have a nickname. If this Sonata...Let's give this Sonata a nickname and bring it up to the level what it deserves...You coughed at the right time. It wonderfully evaporates into nothingness. This passage, if it was for nothing else, is miracle...That was Opus 10.同声齐奏，记得这里吗？（贝多芬《C小调奏鸣曲》作品第10号之1终曲）……神秘的……借助这段转调我们又回到家中（第四乐章第56小节）……变奏……接着是再现，他把我们带到下属调，进入这首奏鸣曲的极不寻常的结尾，这也是它为什么不成功的原因。成功不重要，这尤其不在贝多芬的考虑之中。这就是一个例子，说明有些时候最伟大的作品正是那些蒙受最大误解的作品，因为下一首我们就要谈及《悲怆奏鸣曲》，那当然是一首伟大作品，但是我认为现在这一首比它更伟大很多。还有就是贝多芬一直不理解为什么他的《月光奏鸣曲》那样备受欢迎，他总是愤愤然为什么人们不理解我的《升F大调奏鸣曲》，那要好很多。为什么呢，就是因为它没有一个别名。如果这首奏鸣曲……我们来送给它一个别名，那样才好让它的地位提升到应有的受欢迎程度……您刚才的一声咳嗽真太是时候了。这首音乐就这样奇妙地去无踪影。仅此一句，且不说其他，已经堪称奇迹（第四乐章第102至第108小节）……以上就是作品第10号。
