15:43 this is hypnotic to me since fifty years. I listen and listen to this like a tibetean monk. Seing the sun and its eternity every time. And the complete love into the last variation ........ revelation, memory of something even not occured
I like to imagine I'm hearing him play a gorgeous Steinway (which I'm guessing he was) recorded by the best engineers of today. Somehow it adds an extra dimension in appreciating the beauty and power of his playing.
Marvelous performance. The only performance that compares is Dame Myra Hess- Both give a spiritual dimension to this sonata which in my mind is the most beautiful that Beethoven composed. These two artists of the 20th century set the standard. Of course others are following and these include Paul Lewis, Alfredo Perl. Goode, Schiff and Uchida. Others from the 20th century include Solomon, Arrau and Pollini. However there is something transcendent about Hess and Schnabel in op 109 and 110.
Herman Joseph completely agree with you. There is something spiritual to both Schnabel and Hess' interpretations. I also feel that this sonata marks the height of Beethoven's piano sonatas. It expresses everything novel in Beethoven's late sonatas: the fuga, the trill, the amazing separation and coming together of treble and bass, thema and variations but most of all the new form. With this sonata, we are so far away from the early Haydn dedicated sonata dialectic. It's truly an amazing creation.
Schnabel makes a great review of Beethoven's piano sonatas. However, the performance is not according to the revised score. Sudden tempo runaway, emphasis on extreme dynamics. It is the same expressionist tendency and style as Furtwängler, Cortot, Mengelberg, and Knappertsbusch. Speaking of painters, it is Kokoschka and Picasso of a certain period. In mental content, it is not a scientific analysis of performance. It only expresses emotions as one of the audience.I am Japanese living far east and far from Europe,seeing Western music.I look at Western music calmly in relation to other art in the same style.
@@bigbeautifullife7329 Bach was not very interested in the new Classical style because it focused on the pure emotion, which Bach felt was a distraction.
Wonderful. I too love the Kovacevich version from the early 70's (when he was Stephen Bishop). This sonata is where Beethoven became fully bored with classical sonata form, so he just "re-invented" it (as they say now). Schnabel achieves a sound here that makes it seems as though the entire piece was improvised--as though it arose from a single intense session, fully formed, from Beethoven's creative core.
Beethoven was never "bored" with Sonata form because there was no such thing. The term wasn't even defined until the 1840's and had nothing to do with the extraordinary imagination Beethoven shows in all of his major works.
Actually, Sir, you are incorrect. Please see Maynard Solomon, Beethoven, 1st Ed, pp. 96-97. Solomon also quotes Tovey on this point. But yes, absolutely, I agree: Beethoven's "extraordinary imagination ... shows in all of his works."
Is there a more creative sonata than this? I very much doubt it. And Schnabel knows exactly how to interpret it in concordance with Beethoven's innermost wishes.
Superlative music-making. A truly transcendent experience. Far better transfer than on the EMI complete Schnabel/Beethoven. I share your sense of rapture. Don't let me spoil yours by noting that there are no pyramids in the Valley of the Kings. The three best known are on the plain at Giza.
This is truly superb, but personally I find the Backhaus as the more dynamically engaging version. But with this great sound for the historic Schnabel performance (is it the Naxos remastering?), I'll certainly have to add this to my Beethoven treasure! Thanks for posting it!
You would like Kovacevich v much, looks like from your list, esp his first late-Beet round, from 40 years ago. (Not finding in this Schnabel what everyone else does, must relisten and study more intensively.)
@@TheSteveBerlin yes, sir; and I think that is the only one he made of his early venture I have not done a pointed comparison w his later remake(s?), but I have for 110 and 111 and the earlier by far have more drive and strength I am glad to hear from someone who appreciates him and gets him in the proper way; he is not quite as widely admired and preconized as he should be imo tnx
where are that times!? beautiful people, beautiful thinks, beautiful its performance, pure expression, pure emotions, heart!
this is fantastic, how he can let sing the first note in the second part, i never could do that. I admire him so much
I believe he studied with the old Master Beethoven himself, I could be wrong. Gayathri
Composition
...after 55 years...still loving this great piece!
15:43 this is hypnotic to me since fifty years. I listen and listen to this like a tibetean monk. Seing the sun and its eternity every time.
And the complete love into the last variation ........ revelation, memory of something even not occured
I like to imagine I'm hearing him play a gorgeous Steinway (which I'm guessing he was) recorded by the best engineers of today. Somehow it adds an extra dimension in appreciating the beauty and power of his playing.
magnifique la pub en plein milieu, la brute est en marche, la brute est déjà là
II - 3:50
III - 6:06
Marvelous performance. The only performance that compares is Dame Myra Hess- Both give a spiritual dimension to this sonata which in my mind is the most beautiful that Beethoven composed. These two artists of the 20th century set the standard. Of course others are following and these include Paul Lewis, Alfredo Perl. Goode, Schiff and Uchida. Others from the 20th century include Solomon, Arrau and Pollini. However there is something transcendent about Hess and Schnabel in op 109 and 110.
Herman Joseph completely agree with you. There is something spiritual to both Schnabel and Hess' interpretations. I also feel that this sonata marks the height of Beethoven's piano sonatas. It expresses everything novel in Beethoven's late sonatas: the fuga, the trill, the amazing separation and coming together of treble and bass, thema and variations but most of all the new form. With this sonata, we are so far away from the early Haydn dedicated sonata dialectic. It's truly an amazing creation.
Schnabel makes a great review of Beethoven's piano sonatas. However, the performance is not according to the revised score. Sudden tempo runaway, emphasis on extreme dynamics. It is the same expressionist tendency and style as Furtwängler, Cortot, Mengelberg, and Knappertsbusch. Speaking of painters, it is Kokoschka and Picasso of a certain period. In mental content, it is not a scientific analysis of performance. It only expresses emotions as one of the audience.I am Japanese living far east and far from Europe,seeing Western music.I look at Western music calmly in relation to other art in the same style.
I'm surprised you didn't mention Emil Gilels.
@@bigbeautifullife7329 Bach was not very interested in the new Classical style because it focused on the pure emotion, which Bach felt was a distraction.
Imagine if we had Dinu Lipatti recording these sonatas
Замечательное исполнение! Всё наполненно поэзией и созидательной энергией!
Wonderful. I too love the Kovacevich version from the early 70's (when he was Stephen Bishop). This sonata is where Beethoven became fully bored with classical sonata form, so he just "re-invented" it (as they say now). Schnabel achieves a sound here that makes it seems as though the entire piece was improvised--as though it arose from a single intense session, fully formed, from Beethoven's creative core.
Beethoven was never "bored" with Sonata form because there was no such thing. The term wasn't even defined until the 1840's and had nothing to do with the extraordinary imagination Beethoven shows in all of his major works.
Actually, Sir, you are incorrect. Please see Maynard Solomon, Beethoven, 1st Ed, pp. 96-97. Solomon also quotes Tovey on this point.
But yes, absolutely, I agree: Beethoven's "extraordinary imagination ... shows in all of his works."
This is just an astounding performance.
Bravo!!!!! Thanks for uploading it!!!!!
Profound playing !
Beethoven touched the sky’s here.
grazie ancora
Muchas gracias por compartirlo.
Whoa. This is a good one.
Really a shame that the publisher--either on RUclips or the original edition--cut off the last chord before Schnabel did!
Pp⁰
Is there a more creative sonata than this? I very much doubt it. And Schnabel knows exactly how to interpret it in concordance with Beethoven's innermost wishes.
Superlative music-making. A truly transcendent experience. Far better transfer than on the EMI complete Schnabel/Beethoven.
I share your sense of rapture. Don't let me spoil yours by noting that there are no pyramids in the Valley of the Kings. The three best known are on the plain at Giza.
grazie
This is truly superb, but personally I find the Backhaus as the more dynamically engaging version. But with this great sound for the historic Schnabel performance (is it the Naxos remastering?), I'll certainly have to add this to my Beethoven treasure! Thanks for posting it!
You would like Kovacevich v much, looks like from your list, esp his first late-Beet round, from 40 years ago. (Not finding in this Schnabel what everyone else does, must relisten and study more intensively.)
The Kovacevich recording is also superb. I have it on an old Seraphim LP from the early 70', when he was still Stephen Bishop.
@@TheSteveBerlin yes, sir; and I think that is the only one he made of his early venture
I have not done a pointed comparison w his later remake(s?), but I have for 110 and 111 and the earlier by far have more drive and strength
I am glad to hear from someone who appreciates him and gets him in the proper way; he is not quite as widely admired and preconized as he should be imo
tnx
Wow!
no, I get it now, and retract the parens.
Did he use metronome in the 3rd part? ;)
Chopin is the gvjip
He looks as if he's saying "oh shit..."
Not a thinking pose at all I think.