Grigory Sokolov is a rightful heir of the” piano throne” previously occupied by his mentor Emil Gilels. He is very famous in Europe, where most of his performances have been held regularly. He has been to the USA with concert tour right after winning the 3rd Tchaikovsky competition at 16. He met Van Clibourn then. He was in the USA only one more time several years later. Since then he has not been willing to come again. Whatever happened then, prevents him to come. As his friend I heard much about his first visit and his meeting with Van. But being very reserved otherwise, I only could sense, something bothered him after his second visit. I wouldn’t dare to ask, about it. Soon after that I left StPetersburg for the USA and he moved to Italy.
How does he do it? Those full chords so easy on the ear. All the different colors and nuances in the 1st movt. He keeps you on the edge of your seat. And that touch of humor at the end of the 1st movt.--those detache notes in the bass--stepping down to oblivion almost. Also i like his refusal to underplay the sudden outbursts of turbulent emotion.
I am an unashamed champion of Richter’s, shall we say controversial, interpretation of this wonderful sonata. I’ve listened to countless other ‘conventional’ interpretations and none move me, or engage me, in the manner Richter’s does. But your comments struck a chord - and so does this worthy and fascinating reading - quite different in tone, and of course speed, to Richter, yet in terms of musical quality and understanding, in many respects, comparable. Thanks for your input.
to sum it up: the best 894 on disc. Arrau and Richter played the sonata also wonderful, Giseking should be also mentioned, but Sokolov has an emotional approach which is simple great and overwhelming.
Anybody else noticed how the story of the last movement went from "life is good, let's not care", to "but what if...(34:50)", to "oh shit", to a full blown nightmare, in such a masterful way?
I don't agree that Peter's observation is a non statement nor one bit pretentious. Sokolov would seem to make a point of intensity in many pieces, thus his interpretation or feeling of what is profundity. Such are the nuances of any performers "interpretation." And this is a site for all to attempt insight. Perhaps your perspective of pretentiousness is itself a bit pretentious? But it's the enjoyment of the music that's important, ne c'est pas?
As well, comparing to Richter, the guy with the big, heavy hands, his version of 894, www.dailymail.co.uk/news/article-5101817/America-s-iron-lungs.html#ixzz4z1Z5I0xF, is by one listener's opinion too "slow" but imo compared to some of his banging passages in Beethoven it is very sensitive
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An unnoticed gem. I'm in heaven. Thank you Sokolov
Grigory Sokolov is a rightful heir of the” piano throne” previously occupied by his mentor Emil Gilels. He is very famous in Europe, where most of his performances have been held regularly.
He has been to the USA with concert tour right after winning the 3rd Tchaikovsky competition at 16. He met Van Clibourn then. He was in the USA only one more time several years later. Since then he has not been willing to come again. Whatever happened then, prevents him to come. As his friend I heard much about his first visit and his meeting with Van. But being very reserved otherwise, I only could sense, something bothered him after his second visit. I wouldn’t dare to ask, about it. Soon after that I left StPetersburg for the USA and he moved to Italy.
17:35 2nd mov.
27:00 3rd mov.
31:22 4th mov.
man this is a fantastic rendering!
Extraordinary. Revelatory. Deeply communicative.
How does he do it? Those full chords so easy on the ear. All the different colors and nuances in the 1st movt. He keeps you on the edge of your seat. And that touch of humor at the end of the 1st movt.--those detache notes in the bass--stepping down to oblivion almost. Also i like his refusal to underplay the sudden outbursts of turbulent emotion.
I am an unashamed champion of Richter’s, shall we say controversial, interpretation of this wonderful sonata. I’ve listened to countless other ‘conventional’ interpretations and none move me, or engage me, in the manner Richter’s does.
But your comments struck a chord - and so does this worthy and fascinating reading - quite different in tone, and of course speed, to Richter, yet in terms of musical quality and understanding, in many respects, comparable. Thanks for your input.
I heard Richter and Brendel playing this Sonata. But Sokolov shows us etherial beauty.
Weird way to spell Richter
Hard to imagine so few views in all these years as well as the paucity of comments.
Bravissimo!!
SUPERB - there's no-one like HIM!
Beside the late Arrau and perhaps Richter, I do not know one single pianist, who played this sonata with so much inner insight and intensity.
On the same level: Arcadi Volodos
Richter way above everyone in Schubert.
Great, thanks
to sum it up: the best 894 on disc. Arrau and Richter played the sonata also wonderful, Giseking should be also mentioned, but Sokolov has an emotional approach which is simple great and overwhelming.
Se trata de la escuela rusa de piano. Arrau es un pianista alemán y Richter, ruso, es "sui generis". Greetins from Chile.
❤❤❤
Genial. Thank you.
Anybody else noticed how the story of the last movement went from "life is good, let's not care", to "but what if...(34:50)", to "oh shit", to a full blown nightmare, in such a masterful way?
❤
I suppose in the end somebody would appear who one could compare to Richter but that I found surprising.
To tutaj Grisha mi sie najbardziej wydaje bogiem.Jego centrum
31:24 4th
Sokolov mistakes intensity for profundity.
interesting observation
pretentious non-statement
I don't agree that Peter's observation is a non statement nor one bit pretentious. Sokolov would seem to make a point of intensity in many pieces, thus his interpretation or feeling of what is profundity. Such are the nuances of any performers "interpretation." And this is a site for all to attempt insight. Perhaps your perspective of pretentiousness is itself a bit pretentious? But it's the enjoyment of the music that's important, ne c'est pas?
As well, comparing to Richter, the guy with the big, heavy hands, his version of 894, www.dailymail.co.uk/news/article-5101817/America-s-iron-lungs.html#ixzz4z1Z5I0xF, is by one listener's opinion too "slow" but imo compared to some of his banging passages in Beethoven it is very sensitive
I believe what you call "intensity" I call "clarity". Clarity is the hallmark of a Sokolov performance.