Henle Tutorial, Beethoven: Piano Sonata op. 31,2 “Tempest”, Tutorial on the Technique

Claudius Tanski (Professor, Mozarteum Salzburg) talking to Supawee Srisurichan (Bachelor, Mozarteum Salzburg) about Beethoven’s Piano Sonata op. 31,2, edited at G. Henle Verlag by Murray Perahia and Norbert Gertsch.
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[@antoniovisioli4460]

Momento sublime di relazione fra un grande docente ed un allievo semplicemente straordinario.

[@pianonight]

This is great to see and hear them work through the various difficulties.

[@man0sticks]

I would very much like to see more videos in this format. Too often, a so-called master class is simply an accomplised performer attempting to impose his own artistic vision on a student. Here, by contrast, two skilled musicians partner to work through various problems while giving us insights into how they think about these things. Nothing revolutionary here though. Slow practice, hands separate, rhythms- the time tested practice techniques, informed by an understanding of the orchestral nature of Beethoven’s composing for the piano.

[@henleverlag]

Thanks so much for your feedback, this is very much appreciated!

[@user-ui7gf7rw3z]

13:10 3rd movement (3악장)

[@ArmandHuangSaberi]

Thank you, Professor Claudius Tanski.

[@chuanyingyu8156]

10:27 second mvt

[@ta-dumpedyod8253]

Thanks so much for sharing this fantastic educational video.
Vielen Dank! 🎶❤️🎹

[@ilovetiananmen]

Beautiful!

[@jacksong2538]

man this is good

[@MelodyChangDipABRSMCTABRSM]

Wonderful video! Thanks for sharing 😃

[@abisal_gergiev]

👍🏻👍🏻👍🏻

[@freakmusic4009]

I really wonder if crossing hands at the tremolo part is wrong. Clearly it is not written for crossed hands but, there are dozens of pianist play it that way or, the other way around. By crossing hands, holding down the whole notes are really hard and lots of pianist don't even hold those notes, leaving it to pedal. So isn't that wrong?

[@tanskiclaudius]

Thank you for your comment, you are right - both solutions are possible in my opinion. It depends also on the physical condition of the pianist.
Important is the music - we need clear structure of the broken chords followed
by a wonderful cantabile melody. In the middle of this elements a kind of Tremolo-Tutti (but controlled rhythm) of strings, supported by careful pedal.
How you achieve this - with crossing or with changing hands is up to you.
Supawee Srisurichan proves that he choosed the solution which musically fits for him perfectly.
I

[@fabiomangone9789]

It dipens, on the sheet music you can see that every last note in the bass clef continues in the others beats, in the first two phrases where is present the melody I'll keep that bass note down by switch hands and when the progression start to arrive to E minor I'll not switch hands, so I'll keep playing tremolo with the RH and the other with LH. In this video the tremolo are made only with the right hand while the left plays bass and higher notes

[@niampatel9115]

@@fabiomangone9789 i think the sustained note is teh one problem holding back from everyone playing crossed hands for the entire passage. So in order to play all notes the hardest part is the transition form playing the triplets in the right to the left. Keeping rhythm and making it sound completely seamless. I think this is the way to play it but it adds that technical aspect which is harder to perfect which is another nuance of this piece - balance and 'legato' where ou may not expect there to be legato

[@bryanryan4504]

Love this movement but I dislike the more popular 3rd movement.

[@edminsonramirez8521]

:D