Beautiful rendition. The inner voices comes out so clear in comparison to the typical piano performance. Thank you! addition: Just realised I listened to this a couple of years ago. So glad you popped into my feed again :)
I've never been a massive fan of Beethoven, having heard it only on modern pianos. But this is a Eureka moment for me. The percussive nature of the clavi brings the most beautiful, rugged, crunchy texture to Beethoven's bass figures which, on the modern piano, get completely blurred and evened out. It also explains why pianists play quicker on the piano, because it helps compensate for the super-smooth, blurred out soundscape and the smoothness becomes more about drive the phrases forward - and it certainly does has have drama and excitement, but here at Wim's tempo we have drama in spades, with sooo much more colour. Electric! Well done.
I absolutely agree. Your use of the world "electric" is quite interesting, as I could imagine one saying this interpretation has a more "modern" feel due to the percussive nature of the bass figure, even though using the word "modern" in that case is as hilarious an anacrhonism as could be, so I guess "electric" feels more to the point. In fact, I have to confess about the reason why I'm talking about all of this and one of the reasons why I prefer this version . You see, in parallel, I'm quite a fan of heavy metal, and it makes me feel biased, perhaps even a bit uncomfortable, inhow I enjoy certain parts of this interpretation, like 8:28 or 20:38. Anyway, as I said, that's my favourite version no matter what!
@@BaroqueBach.Maybe he is saying that the sound is so good its " electric"or maybe the lerformance is electric , i dont know but i doubt he is claiming it to be digital, i mean i hope not
@@johncoleman7122 geez you know is still so hard to find people who know ancient rome and ancient greece werent just white and ancient egypt wasnt sand colored. Its absurd
I was ready to hate this. But this is - quite honestly, and without any hyperbole - one of the most musical performances of anything I've ever heard. Ever. It's not often you get a famous piece of music cast in an entirely new light, and this did it. Bravo, sir. Bravo.
Thank you so much Simon... it must be one of the best compliments a musician can get, knowing he pulled his listener to 'the other side' of perception!
Simon B Yes, I was of the same mindset. My late mother was a pianist. I grew up on Beethoven (and Chopin.) I myself had a protracted encounter with ‘Early Music’ but left the scene for a number of reasons (work, dogmaticism, etc.) I absolute LOVE this rendition of a famous war horse. I am really hearing it for the first time ... again.
This breathes in a way that I have never heard. The musicality is at the forefront here. The music, the harmonic language, shines in a way that I have never heard in any other version of this piece before.
Still my favorite performance because it sounds so alive! Your articulation is delightful. So full of energy and yet every note is clear. Looking forward to your next Hangout.
Gosh, I first heard this preformance a year back, revisiting it now, it seems it has aged like fine wine. Your ability to express complex emotions in such complicated phrases while using (what some would say) such an 'emotionless' (compared to the pianos of the modern day) clavicord. Bravo, you have my respect. What an emotionally stimulating performance, I can only imagine the countless hours of practice invested into this performance. Beautiful!
Thank you for your amazing work. You bring light to music that is constantly being further degraded by academics. Your interpretation, unlike many, felt fresh and truly authentic. It's so sad to see many young pianists today get shaped into cookie-cutters that sound like everybody else
This makes classicism aesthetics resound much more and also Beethoven's pioneering. Nowadays pianists plays Beethoven in the same way the play the entire romantic repertoire. Awesome! Would be nice to have all of your thougts organized in a book! Best wishes!
As someone who prefers the style of the baroque period, this is by far the greatest gift you could have given me as your listener. Thank you, Mr. Winters, for the fantastic performance. -D
From how you played shows how much Beethoven was an innovator of his days, to fully use what kind of tools he has, and to play it the best way possible. Amazing!
I love this performance, Wim. I don’t always find myself “agreeing” with your tempi conclusions, to be honest. But here, I find myself entranced, and I think a lot of it has to do with your flexibility of tempo, which is so wonderful, and of course your deeply heart felt expression. That’s exactly what Beethoven would love if he could hear it, I’m sure. But there’s a bigger and more important story this tells us. You see, I am a modern pianist increasingly identifying as a “keyboardist”, both of historical and modern instruments. I like the flexibility that term affords. I was drawn initially to historical performance practice studies, as I’m sure many are, by curiosity. It’s fascinating to study the musicological/theoretical intersections that come together in this world. It’s nice to locate this music in a particular place and time, and to try to capture that exact feeling, mood, atmosphere, cultural context, as best as we can today. However, I’m also realizing that, at least for me, the impetus to stay in the HP world is that it frees us from what I feel is a homogenous experience. Classical music is so heavily standardized. Piano students have tests, competitions, all with rules and guidelines about what’s “correct” about the way to play this music by mostly dead composers. (The historical movement of course points out many historical incongruities with what the modern players tend to think is “correct”, anyway, but I digress.) This is commodified, made into a purchasable “package” that is always the same. I feel that we historically-oriented players have opportunities to actually resist this commodification and standardization of our beloved music. And part of that process means being willing to experience the music on the “not precisely correct instrument”. We can play Beethoven on a clavichord. We can play Bach on a fortepiano. We can play Brahms on a late broadwood. Why not? To me the freeing realization is that we have the power to experiment so much more than others generally can, especially those that have to deal with the competition system, and it’s homogenizing effects. What do you think?
WOW, I have no words to thank you enough for this magnificent performance. So well understood, interpreted and played. I had goosebumps countless times. You sir, understand the music in such a deep and profound way that I would never been able to thank you enough to show this to everybody.
Wim doesn't play like a clockwork machine and this reason for me is enough to say how necessary is his work nowadays. Another important thing is that He always put the music on the foreground.
Maybe the most interesting version I've ever heard. I don't know if it's my favorite version but now I completely understand the intention of Beethoven and now I know how to conceive the sonata on the piano and what intention I have to give to play it better. For a young amateur pianist it helps a lot, so thank you. PS : I love the tempo of the allegro molto e con brio, most of the time I feel like pianists rush a lot this part, but here I can hear every single note and feel the fast tempo.
I agree with the comment earlier that this and the pianoforte as well demonstrate more intensity in Beethoven. Modern grands have more of a booming sound but you have less of a percussive attack than is apparent in this music and in pianoforte recordings I've heard. With modern grands then, it is not surprising that people often use blazing tempos to achieve intensity. Since you are using a different instrument, it helps wipe the slate clean of performance expectations and we're given something coherent and refreshing.
Indeed. After watching Mr Winter‘s channel, now I understand why Glenn Gould played the Appassionata using a ‚scandalously‘ slow tempo. He knew something at that time through his artistic sensitivity that only a handful of people understood what he was trying to convey.
Una interpretación impresionante, es una visión de la sonata patética, en sonido y expresión, que en definitiva debe convertirse en un punto de referencia para todo intérprete de Beethoven. Simplemente hermoso.
This performance is so powerful that It is difficult to believe that the Pathetique was not written for the clavichord. After this I wonder if I will be able to enjoy the other Beethoven sonatas performed on the modern piano, even with authentic tempi.
This piece of music playing on a clavichord is much more expressive and powerful than that of playing on a fortepiano or modern piano. Thanks for your work. I already subscribed.
This sonata shines on the clavichord! I especially love the ornaments in the first movement-they seem to be even more beautiful than on the piano. One problem I have with the clavichord is that you don’t have a damper pedal-though I’m sure someone could come up with one, somehow! Though then it may not be as simple and intimate of an instrument. Anyway, this piece doesn’t seem to need that, and your playing is spectacular! Thank you for this wonderful performance!
Best version of Pathetique. I hadn't considered it playing this way. I truly appreciate your interpretation. Makes me want to play it this way instead of other traditional ways.
Funny thing it is, that if you play Beethoven on a clavichord or a fortepiano, the music comes out much more violently than on a modern grand piano, which is, indeed, much louder, but misses the idea by a bit...
proulxmontpellier Thanks for your reaction! If experience it the same way as you describe. Beethoven searches the edges of the instruments of his time, making use of all notes available on the then common 5 octaves keyboard instruments. That feeling of 'power' changes on a modern grand, although I know beautiful performances, but indeed, it changes the composition drastically. w.
The fortepiano can growl and shout. The changing tone is more effective in my opinion than the expressionless though crushing volume of a modern grand.
David Klein pianist here. The modern grand is more advanced, players need to work harder to master the touch and feel to create a proper sound. This is not to say the grand can replicate a clavichord or forte piano of course, but it is definitely possible to get some similar results in regards of tone and feel of a clavichord. It's just that people today don't interpret Beethoven's works as they did back in his time
I wouldn't say the modern grand is more advanced ... just different, and requiring different techniques from the musician. In a smallish room, a Hass clavichord is much more expressive than a Steinway piano. Anyway, Hogwood used to say that music students learning modern instruments should have some exposure to period instruments in order to understand what the music was supposed to be about.
Love This sound so different to piano and the tempo is quite perfect. I have recently discovered one which is perhaps the best sound: Forte piano with an excellent Russian player. Thank you Wim!
If you listen carefully you can hear that Mr. Winters is breathing slightly louder at the moments in the sonata where there is a release of tension and that his breathing is on beat:)
It's not so slow as one could expect it. The rugged and severe sound of the instrument makes it interesting in this tempo. I think on a modern Steinway it would be feeble in this tempo.
The immediacy of the touch to sound is phenomenal. (Way too many levers in a modern piano getting in the way of transmission of intention to sound source.) Not too far removed from an early square piano.
3:56 on the modern piano feels very, y'know, very emotionless, but on the clavichord, it feels like the world is ending! Wonderful interpretation, don't know why anyone would hate it.
Wim, I remember when my teacher (Edward J. Parker - he taught Jon Kimura Parker) first threw this at me to learn in 1988 at eighteen years old. I nearly passed out (had a heart-attack...take your pick). The first movement gave me cramps in my left hand. My left hand was always weaker than the right. The Klavier just gives it something, the violence of the first movement is absolutely expressive. The second movement is the most sublime...part that I've ever heard. And the third movement with the various voices interplaying with each other...just perfect... A perfect expressive tempo. This is one of the reasons why I miss playing. Hearing pieces that you once knew how to play...being played and realizing that your fingers aren't going to cooperate with you any longer. So my advice to the people who are currently taking lessons...Keep up with it. One thing I forgot to mention: was that I used to picture this piece as Beethoven's coming to grips with his impending hearing loss. The violence in the first movement was his frustration and anger with the fact that he was losing his hearing...the crashing notes, his desperate attempts to retain his ability despite the deafness closing in around him.; the second being his supplication...to a higher being. and the third, his coming to the realization that he will have to live with the hearing loss and persevere...and the last chord fading into silence. That was how I always interpreted the piece.
Hi Nikkei, it's remarkable how you picture this piece, since I have the same feeling. Beethoven is in dialogue with the Almighty, symbolized by runs down (heaven to earth) and runs up (earth to heaven), with diminished fifths, upgoing small sixths (cries), etc... he seems to ask if life is still worth it. And the answer at the end is... yes. If you have studied the piano long time ago and you would like to start again, you will be amazed how fast you'll catch up again with that level. I made a course on basic keyboard techniques and studying, but simply just try some easy pieces at a piano slowly, and you'll find joy again!
This is incredible... Honestly I had always heard of the clavichord, but I have never really heard it this way before. Especially seeing that a classical musician (probably not only classical, but at least let me say that for now :P) finally understands the correct way of using RUclips for these kind of performances in HQ is a big relief for me. Excellent performance, and excellent channel. It honestly makes me wonder whether I should do this in the future for the organ, one day, on a second channel :) Thank you for sharing these in-depth and thoughtful performances!
And thank you for these nice words... I really appreciate and it gives much energy to just continue in what I like to do so much! Go for that second channel, the journey is the real goal in life! take care, Wim
I prefer the pianoforte version, especially the second movement, but you are so right about Beethoven being in a world of transition and driving that change. However, good that you did this as one gets new insights into the music. I do wonder how the sound would have been softened a bit by having an audience, the bare room may be giving the sound too much of a sharp edge. Wish I had come across you 10 years ago.
What a wonderful and dynamic performance! bravo! It puts this piece of music in an entirely different light, color, and experience. I so enjoy the different tones (vibrations) and voices that each of the registers (lower to higher octaves) can create - like listening to multiple instruments. As a pianist I struggle to discover timing and feel - a constant struggle that always redefines itself with new discoveries of articulation. You certainly have created a lasting influence with your creative and unique expression of this piece. Thank you for sharing. Your skill in playing and interpretation is so rich and enjoyable. I so enjoy your channel overall - can't wait to hear the new piano forte. Best wishes Wim!!!
Beautiful performance! it has the soul of beethoven music! And definitely it is a new experience to hear beethoven in clavichord! And the tempo is really new and make it amazing. I wonder if that tempo could be applied on the piano as well? Or is it just for the clavichord? Thanks
The tempo seems very natural and almost perfect. Ane the video has almost no negative comments, whjch is quite rare if someone is familiar with youtube. The second movement is a tad faster than i would do it though. Anxious to see how the new interpretation is going to be like, but I think its going to be a great challenge for you to beat this recording.
Wow! I have only just discovered your channel and I started by looking at some of your very interesting discussions about the meaning of metronome markings. When I saw Beethoven Op 13 and clavichord in the title for this video I was intrigued. How? Why? Were just a couple of my thoughts. By the second bar I was hooked. This reminded me of a very famous quote about art often being so familiar it is "rubbed smooth of meaning". For me one of the many delights and surprises about this performance was just how wonderfully strange you allowed Beethoven's rhetoric to be. My response to it was similar to the one time I saw Picasso's Guernica for real. It is so famous from so many reproductions yet somehow it was only seeing the effect of real light on the image that released the howls of anguish. I can't thank you enough for sharing this.
Dear Maestro Winters, I really appreciate your work and - most of all - your passion about music (I am a graduated pianist - even if not a professional one - and I struggled a lot over the same topics, especially playing and trying to understand WK daily, till now). As a young composer myself, I believe that playing sonatas that way allow us to comprehend the "sonata form" naturally (e.g. the shifting in tonality, the sense of circularity and narration - the journey from Exposition to Recapitulation; the unrolling of themes' development and truly - as for the fugues - the possibility to master voices separately and simultaneously as well). This uncouncious "race" of today's performers I attribute - as a sign of the time - to an increasing "fear of the silence" (a phase of today's spiritual "Horror vacui") and to the towering "personalization" of music (with all its side positive/negative aspects, with all its contour of music business and industry); as for the latter phenomenon, You said it right: everyone has the right to express himself through music, but... everyone has also an "honesty obbligation" towards the composers, who cannot defend themself but through the legacy of their scores! (This "honesty obligation", by the way, concerns also the real skills of each performers as well.) There's here, in this long-standing conundrum, a "golden point" that everyone has to reach and find for himself, a golden point which is - nonetheless - quite truthfull and objective as well... You have certainly made a point to this Point :) However, I still have some concern about this "slowering" of tempos (although reasonable), especially in relation to timbres (clavichord - which is gorgeous, even with the "Pathetique"- VS piano) and to articulations (e.g. staccatos, which often time could provide good insights towards a right score's interpretation); yet, I firmly believe that this music could be "conquered" only via a thoughtful and awakened comprehension of it, even as lenghty - and sometimes painful - as it may seems nowadays, for our most distracted ears. Sorry for my English, and many greatings from Italy :)
Hi Guido, thank you so much for sharing your thoughts here, "Fear of silence", yes that's happening often, but it is in the silences that the magic often happens... For the tempi, you might be interested in this video as a starting point: ruclips.net/video/2yd7LWi4wus/видео.html&list=PLackZ_5a6IWVP1Nb_Zxr-RfFHX62Nz9iQ
I've seen that video before and I followed a little bit the "querelle", even your "disappointment video" about Facebook and scholars' reactions. (By the way: if one is truly faithfull to its inner conscience and sense of Truth, then there's no need of public endorsement of any kind, being completely free from frustration and from "the influence of the world's ways".) As for me, I could not completely endorse that video without delving deeply - in advance - in to the topic of metronomes; nonetheless - as I said - I find it more then reasonable (if not truthfull at all). My concerns were only about timbres ('cause one thing is the clavichord, with its natural reverb, and another thing is the piano - without considering the sustain pedal, which is not only a "timbre" resource); my concerns were also about articulations (see, e.g., your choice to articulate that way the first Waldstein's chords, which it perfectly works - when, without this kind of adjustment, the lenghty repetition of chords may sound really painful and blank.) You are not a dogmatic musician, but a pragmatic one (in your words, which I really appreciate), and a pragmatic and flexible one - as I believe - must sometimes adapt his "tempi conception" to every situation and context... Anyway, for me it's a big surprise finding out how clavichord has ultimately no big limitations in the field of dynamics (for which - as far as I know - pianos themselves were created, in order to compensate the "dynamics deafness" of the former keyboard intruments). I'll continue to follow your journey, waiting for the next videos (maybe some piano ones - it will be great, especially for some other LVB's sonatas). Bravo :)
I feel like I've just heard Beethoven for the first time. This makes me want to practice his music more. The Rondo is so wonderful - this interpretation allows the music to seep out and penetrate the heart. So many performances today are rushed and hurried and lack the warmth and human touch found here. Thank you.
Great to read Charles, thanks, would be great to read your progress in this! - do post a new comment then, it'll show up on the top of the comment feed-
Thanks Wim. You may just have cured my performance anxiety. I tell all my students to "forget speed" and just make it musical but your analysis encourages me to practice what I preach. My practice sessions are already much improved. I will write a longer comment when I make more progress.
Very nice to hear! RUclips doesn't let me receive notifications for replies, so I prefer if you post a new comment if you want me to reply :) And feel free to contact me for any questions: wwinters(at)telenet.be
You make a good case of the possibility of playing this piece on clavichord. I like the performance a lot. I am also marveled at how the human brain can "connect the dots", since the lines drawn by the clavichord are actually blobs in space... many things that you would swear are "legato", well, the sound died away ages before you hear the resolution of those dissonances...
Goodness...the textures of the instrument just bring this piece to life for me. The synth-like noises (I know the anachronism) of the bass and the guitar-like sounds of the alto and soprano make this so much more captivating than Beethoven usually is for me
As I stated elsewhere, although I was initially taken aback when I heard this sonata played on a clavichord, now after hearing it a few times, I really like it.
I really loved the way some of the effects sounded on the clavichord such as the "growling" sound of the left hand tremolo motifs in the allegro molto movement and the tonal contrast between the lower and upper voices in the hands crossing part (e.g. 3;15) which, in my imagination, evoked a conversation between an insistent man and a flirtatious woman. The sweet sound of the clavichord was also really effective in the 3rd movement, giving a wistful, yearning and nostalgic feeling - almost like someone thinking back on a dear romantic episode in years gone by or a lost love (brought out also by the relaxed tempo taken). I doubt Beethoven had this imagery in mind - it's just my way of trying to put what I felt into words :-). I am not a highly trained musician qualified to make academic comments but, as a simple listener in your virtual audience, I found your performance very emotionally moving. Thank you !
Followed Ted's advice and arrived here - and I sure wasn't disappointed! Lovely music, from an instrument I never heard before, in an awesome room. Brilliant.
First movement: Wim Winters woke up one morning and chose violence! That is my consistent thought to the persistently violent percussion with which the clavichords strings are plucked in this performance, especially in the ostinato passages, especially in the descending gestures of the left hand at the end of the second theme of the first movement... But there are moments, especially in the decorated melodic motifs, when it feels almost like a country dance... Now the second movement is about to start and I am curious... Second movement: the clavichord cannot really sing, can it? or can it? Perhaps since notes cannot really be sustained very long and so it is challenging to create a persuasive legato with this instrument.... or it just could be that this second movement, for all its sone, simply does not lend itself to the clavichord's colors. Approaching the end of the second movement and it sounds quite stormy... Third movement: The Rondo actually comes through rather nicely and I think I understand now why the first two movements did not come through as well: the texture of the rondo is much more spare - the first and second movements both have very thick harmonic textures and while the harmonic texture of the rondo is lighter and plays on the strengths of a plucked instrument. Even the fact the the rondo has clearly contrapuntal elements with variations on the theme in its central section really let the clavichord shine. I thoroughly enjoyed listening to this performance - it is a really useful and clarifying lens through which to appreciate how complex and sophisticated Beethoven's use of texture on the pianoforte truly is. This is especially true where Beethoven uses the very structure of the piano forte to tease out harmonics, like in measure 10 of the first movement, and then repeatedly throughout the second movement. The clavichord is not built for that kind of maneuver but the pianoforte, more robust sound board strings allow those moments when harmonics ring through the thicker textures of sustained chords into the silence that follows the deeper voices to really shine in Beethoven's music. For that insightful reminder, I thank you, sir - it will enrich my enjoyment of playing the pianoforte with Beethoven even more and I am sincerely grateful.
No hay ninguna duda que con un piano moderno se consigue mucho mas en dinámica, calidad sonora, expresión, matices etc, etc, pero... la genialidad de la composición, su mensaje, la profundidad de esta grandísima sonata, siempre estará ahí aunque sea tocada con un instrumento mediocre a desde el punto de vista actual, es beethoven.
beautiful my friend. my favorite of Beethoven's sonata, and despite being the kind of person who really does not give a fuck about "anachronism" in music, i appreciate the context you provided in the description. starting to really appreciate this instrument, i kind of want one.
I always thought I didn't like the music of Beethoven, it seemd to be pretentious, loud and rather complex than musical. But in your interpretation I understand that he forms a logical and necessary link between the music before Beethoven and the music after Beethoven. There is so much age of enlightenment and early romantic in it. And while other pianists may be more impressive on a technical level, your sheer commitment to musicality, simplicity and directness makes you my favourite player really
It is like a Bachian interpretation of Beethoven. I associate Beethoven with the tuning system that was very close but not quite equal temperament. This is full on baroque tuning, half a step away from our current tuning system. It sounds more majestic in this baroque tuning, because it sounds to me like D major in the exposition of the first movement. It really does sound major to me in this baroque tuning. And I know it isn't major in tonality. I think I like the more common equal temperament tuning better. I myself can get quite the forte, easily on my upright piano but in the left hand, soft dynamics is hard. And it is way harder at super fast tempos to even get the right hand to be quiet. And I tend to accentuate the difference in dynamics when I play a Beethoven piece. So Beethoven tells me to play forte, I play closer to fortissimo. Beethoven tells me to play piano, I play closer to pianissimo. Beethoven tells me to play pianissimo, I use the soft pedal because on my upright, pianissimo for most octaves is basically impossible, I either get louder notes, or no sound at all if I try to play pianissimo without the soft pedal. But I don't have the space for a grand piano, not even the smallest of them so I resort to the soft pedal for pianissimo and quieter or hope the pianissimo is short and I can get a true pianissimo without the soft pedal. But extensive pianissimo without the soft pedal is basically impossible for me unless I am playing in the second octave or higher on my piano. Forte though, is extremely easy, especially in the bass clef where the notes are naturally louder.
O, Erard! What kind of Erard to you have? You might want to look for Moscheles Beethoven edition, since he played that music on his Erard, and gave pedallings for them.
Thanks ! Not to surprise you another time,... but I'm slowly going through the piece again, here's the playlist :ruclips.net/p/PLackZ_5a6IWX91hHX3mVvMtpUvxoUWj3V 😀
Such a wonderful and energetic performance, I never thought I would enjoy the Pathetique on another instrument than the piano, but you changed my mind! It sounded like the piece was a whole step below the original key (B flat minor as opposed to C minor). Is this for a reason, or is it just because of the tuning of the clavichord or something else? Thanks and bravo
Thanks for listening and sharing your thoughts! Yes, the clavichord is an underestimated instrument... one reason for that being the fact that, like in the 18th c., there are not too much really good clavichords /clavichord builders. It is a really hard instrument to built in a way that the sound comes out of the instrument.
You did wonderfully given the limitations of the instrument. The second movement particularly suffers from this limitation. I think the way the instrument was miced for the recording could have been improved with some experiments with positioning and different microphone types. This is not a gripe, this is a sincere review of a wonderful performance.
A great performance on a magnificent unfretted clavichord! Congratulations to Wim Winters. It's also extremely well recorded: clavichords, with their quiet sound but huge dynamic range (ppppppp to p) are notoriously difficult to record. But on my computer, the sound as presented is much too loud. Try turning down the volume so you can just barely hear the quieter notes. Then you'll get a much better idea of how these instruments really sound.
I've been building early keyboard instruments for about 40 years. Thats the best clavichord I've ever heard!
Beautiful rendition. The inner voices comes out so clear in comparison to the typical piano performance. Thank you!
addition: Just realised I listened to this a couple of years ago. So glad you popped into my feed again :)
I've never been a massive fan of Beethoven, having heard it only on modern pianos. But this is a Eureka moment for me. The percussive nature of the clavi brings the most beautiful, rugged, crunchy texture to Beethoven's bass figures which, on the modern piano, get completely blurred and evened out. It also explains why pianists play quicker on the piano, because it helps compensate for the super-smooth, blurred out soundscape and the smoothness becomes more about drive the phrases forward - and it certainly does has have drama and excitement, but here at Wim's tempo we have drama in spades, with sooo much more colour. Electric! Well done.
Great!
I absolutely agree. Your use of the world "electric" is quite interesting, as I could imagine one saying this interpretation has a more "modern" feel due to the percussive nature of the bass figure, even though using the word "modern" in that case is as hilarious an anacrhonism as could be, so I guess "electric" feels more to the point.
In fact, I have to confess about the reason why I'm talking about all of this and one of the reasons why I prefer this version . You see, in parallel, I'm quite a fan of heavy metal, and it makes me feel biased, perhaps even a bit uncomfortable, inhow I enjoy certain parts of this interpretation, like 8:28 or 20:38.
Anyway, as I said, that's my favourite version no matter what!
How can you not be a massive fan of Beethoven? What's not to love?
This is the most powerful, dramatic Clavichord I've ever heard!
It is an electric clavichord,
effectively.
@@walterbushell7029 In literally what sense?
@@BaroqueBach.Maybe he is saying that the sound is so good its " electric"or maybe the lerformance is electric , i dont know but i doubt he is claiming it to be digital, i mean i hope not
Wow. This is like stripping away 100 layers of modern paint. I am sure Beethoven would have loved the immediacy.
thanks
Or stripping layers of old gunk and dirt from an old painting. Or restoring the polychrome paint on a Roman statue.
@@johncoleman7122 geez you know is still so hard to find people who know ancient rome and ancient greece werent just white and ancient egypt wasnt sand colored. Its absurd
The best clavichord-playing I ever heard! And a very powerful and genuine Beethoven interpretation, too!
I was ready to hate this. But this is - quite honestly, and without any hyperbole - one of the most musical performances of anything I've ever heard. Ever. It's not often you get a famous piece of music cast in an entirely new light, and this did it. Bravo, sir. Bravo.
Thank you so much Simon... it must be one of the best compliments a musician can get, knowing he pulled his listener to 'the other side' of perception!
Simon B Yes, I was of the same mindset. My late mother was a pianist. I grew up on Beethoven (and Chopin.) I myself had a protracted encounter with ‘Early Music’ but left the scene for a number of reasons (work, dogmaticism, etc.) I absolute LOVE this rendition of a famous war horse. I am really hearing it for the first time ... again.
This breathes in a way that I have never heard. The musicality is at the forefront here. The music, the harmonic language, shines in a way that I have never heard in any other version of this piece before.
Well said!!
Still my favorite performance because it sounds so alive! Your articulation is delightful. So full of energy and yet every note is clear. Looking forward to your next Hangout.
Gosh, I first heard this preformance a year back, revisiting it now, it seems it has aged like fine wine. Your ability to express complex emotions in such complicated phrases while using (what some would say) such an 'emotionless' (compared to the pianos of the modern day) clavicord.
Bravo, you have my respect.
What an emotionally stimulating performance, I can only imagine the countless hours of practice invested into this performance. Beautiful!
Thank you for your amazing work. You bring light to music that is constantly being further degraded by academics. Your interpretation, unlike many, felt fresh and truly authentic. It's so sad to see many young pianists today get shaped into cookie-cutters that sound like everybody else
This makes classicism aesthetics resound much more and also Beethoven's pioneering. Nowadays pianists plays Beethoven in the same way the play the entire romantic repertoire. Awesome! Would be nice to have all of your thougts organized in a book! Best wishes!
As someone who prefers the style of the baroque period, this is by far the greatest gift you could have given me as your listener. Thank you, Mr. Winters, for the fantastic performance.
-D
Thank you so much Douglas, nice to read!
From how you played shows how much Beethoven was an innovator of his days, to fully use what kind of tools he has, and to play it the best way possible. Amazing!
I love this performance, Wim. I don’t always find myself “agreeing” with your tempi conclusions, to be honest. But here, I find myself entranced, and I think a lot of it has to do with your flexibility of tempo, which is so wonderful, and of course your deeply heart felt expression. That’s exactly what Beethoven would love if he could hear it, I’m sure.
But there’s a bigger and more important story this tells us. You see, I am a modern pianist increasingly identifying as a “keyboardist”, both of historical and modern instruments. I like the flexibility that term affords. I was drawn initially to historical performance practice studies, as I’m sure many are, by curiosity. It’s fascinating to study the musicological/theoretical intersections that come together in this world. It’s nice to locate this music in a particular place and time, and to try to capture that exact feeling, mood, atmosphere, cultural context, as best as we can today. However, I’m also realizing that, at least for me, the impetus to stay in the HP world is that it frees us from what I feel is a homogenous experience. Classical music is so heavily standardized. Piano students have tests, competitions, all with rules and guidelines about what’s “correct” about the way to play this music by mostly dead composers. (The historical movement of course points out many historical incongruities with what the modern players tend to think is “correct”, anyway, but I digress.) This is commodified, made into a purchasable “package” that is always the same. I feel that we historically-oriented players have opportunities to actually resist this commodification and standardization of our beloved music. And part of that process means being willing to experience the music on the “not precisely correct instrument”. We can play Beethoven on a clavichord. We can play Bach on a fortepiano. We can play Brahms on a late broadwood. Why not? To me the freeing realization is that we have the power to experiment so much more than others generally can, especially those that have to deal with the competition system, and it’s homogenizing effects. What do you think?
WOW, I have no words to thank you enough for this magnificent performance. So well understood, interpreted and played. I had goosebumps countless times. You sir, understand the music in such a deep and profound way that I would never been able to thank you enough to show this to everybody.
One of the most historical informed practice performance I’ve watched. Bravo 👏
Wim doesn't play like a clockwork machine and this reason for me is enough to say how necessary is his work nowadays. Another important thing is that He always put the music on the foreground.
I feel like the clavichord will burst into flames any second 😵 this recording is intense! 😵😵
Yeah!
Oh, heavens above!!! That left me breathless. It is simply brilliant.
That clavichord has such a menacing sound! Its great.
We really enjoyed this unique rendition. It sounds so fresh.
Maybe the most interesting version I've ever heard. I don't know if it's my favorite version but now I completely understand the intention of Beethoven and now I know how to conceive the sonata on the piano and what intention I have to give to play it better.
For a young amateur pianist it helps a lot, so thank you.
PS : I love the tempo of the allegro molto e con brio, most of the time I feel like pianists rush a lot this part, but here I can hear every single note and feel the fast tempo.
I agree with the comment earlier that this and the pianoforte as well demonstrate more intensity in Beethoven. Modern grands have more of a booming sound but you have less of a percussive attack than is apparent in this music and in pianoforte recordings I've heard. With modern grands then, it is not surprising that people often use blazing tempos to achieve intensity. Since you are using a different instrument, it helps wipe the slate clean of performance expectations and we're given something coherent and refreshing.
Indeed. After watching Mr Winter‘s channel, now I understand why Glenn Gould played the Appassionata using a ‚scandalously‘ slow tempo. He knew something at that time through his artistic sensitivity that only a handful of people understood what he was trying to convey.
That tempo for the rondo is absolutely amazing. Never heard anything quite like it to make that last movement stand out as much as the first two.
Yup! It finally tells its own story and isn't just an appendix. You can feel the rhetoric/phrased nature of the piece
It really does sound as if it had been writted especially for the Clavichord, how amazing. You, sir, are truly talented.
Thanks Myli. It might as well be written for a clavichord. The unfretted clavichord (like mine) is first reported in pachelbel's time and place!
I believe the original version stated it could be played in clavichord or piano.
Una interpretación impresionante, es una visión de la sonata patética, en sonido y expresión, que en definitiva debe convertirse en un punto de referencia para todo intérprete de Beethoven. Simplemente hermoso.
This performance is so powerful that It is difficult to believe that the Pathetique was not written for the clavichord. After this I wonder if I will be able to enjoy the other Beethoven sonatas performed on the modern piano, even with authentic tempi.
Why am I shivering! This is amazing!
WOW!!! This is the best version of the Pathétique I' ve ever heard !!!
This piece of music playing on a clavichord is much more expressive and powerful than that of playing on a fortepiano or modern piano. Thanks for your work. I already subscribed.
This sounds tremendous on this clavichord. Excellent collection of music, musician, and instrument! It just works together.
This sonata shines on the clavichord! I especially love the ornaments in the first movement-they seem to be even more beautiful than on the piano. One problem I have with the clavichord is that you don’t have a damper pedal-though I’m sure someone could come up with one, somehow! Though then it may not be as simple and intimate of an instrument. Anyway, this piece doesn’t seem to need that, and your playing is spectacular! Thank you for this wonderful performance!
Best version of Pathetique. I hadn't considered it playing this way. I truly appreciate your interpretation. Makes me want to play it this way instead of other traditional ways.
2:37 Omg this is so epic it's the voice of Beethoven speaking through the clavichord
Coming back to this after long time, this is really something! I really love it
how i am lucky to have found this channel!
This performance still amazes me and I always come back to it. You are a musician with an M.
Funny thing it is, that if you play Beethoven on a clavichord or a fortepiano, the music comes out much more violently than on a modern grand piano, which is, indeed, much louder, but misses the idea by a bit...
proulxmontpellier Thanks for your reaction! If experience it the same way as you describe. Beethoven searches the edges of the instruments of his time, making use of all notes available on the then common 5 octaves keyboard instruments. That feeling of 'power' changes on a modern grand, although I know beautiful performances, but indeed, it changes the composition drastically.
w.
The fortepiano can growl and shout. The changing tone is more effective in my opinion than the expressionless though crushing volume of a modern grand.
David Klein pianist here. The modern grand is more advanced, players need to work harder to master the touch and feel to create a proper sound. This is not to say the grand can replicate a clavichord or forte piano of course, but it is definitely possible to get some similar results in regards of tone and feel of a clavichord. It's just that people today don't interpret Beethoven's works as they did back in his time
I wouldn't say the modern grand is more advanced ... just different, and requiring different techniques from the musician. In a smallish room, a Hass clavichord is much more expressive than a Steinway piano. Anyway, Hogwood used to say that music students learning modern instruments should have some exposure to period instruments in order to understand what the music was supposed to be about.
Playing music from before 1850 on the modern piano is a good way to destroy people's understanding of the music.
It's definitely an excellent performance. The clavichord is a wonderful instrument with such great dynamics.
Love This sound so different to piano and the tempo is quite perfect. I have recently discovered one which is perhaps the best sound: Forte piano with an excellent Russian player.
Thank you Wim!
If you listen carefully you can hear that Mr. Winters is breathing slightly louder at the moments in the sonata where there is a release of tension and that his breathing is on beat:)
It's not so slow as one could expect it. The rugged and severe sound of the instrument makes it interesting in this tempo. I think on a modern Steinway it would be feeble in this tempo.
The immediacy of the touch to sound is phenomenal. (Way too many levers in a modern piano getting in the way of transmission of intention to sound source.) Not too far removed from an early square piano.
3:56 on the modern piano feels very, y'know, very emotionless, but on the clavichord, it feels like the world is ending!
Wonderful interpretation, don't know why anyone would hate it.
It is close to The Flaming Piano speed, so I can get used to it.
You really understand Beethoven. Thank you again. All the best to you maestro.
Wim, I remember when my teacher (Edward J. Parker - he taught Jon Kimura Parker) first threw this at me to learn in 1988 at eighteen years old. I nearly passed out (had a heart-attack...take your pick).
The first movement gave me cramps in my left hand. My left hand was always weaker than the right. The Klavier just gives it something, the violence of the first movement is absolutely expressive. The second movement is the most sublime...part that I've ever heard. And the third movement with the various voices interplaying with each other...just perfect... A perfect expressive tempo.
This is one of the reasons why I miss playing. Hearing pieces that you once knew how to play...being played and realizing that your fingers aren't going to cooperate with you any longer. So my advice to the people who are currently taking lessons...Keep up with it.
One thing I forgot to mention: was that I used to picture this piece as Beethoven's coming to grips with his impending hearing loss. The violence in the first movement was his frustration and anger with the fact that he was losing his hearing...the crashing notes, his desperate attempts to retain his ability despite the deafness closing in around him.; the second being his supplication...to a higher being. and the third, his coming to the realization that he will have to live with the hearing loss and persevere...and the last chord fading into silence. That was how I always interpreted the piece.
Hi Nikkei, it's remarkable how you picture this piece, since I have the same feeling. Beethoven is in dialogue with the Almighty, symbolized by runs down (heaven to earth) and runs up (earth to heaven), with diminished fifths, upgoing small sixths (cries), etc... he seems to ask if life is still worth it. And the answer at the end is... yes. If you have studied the piano long time ago and you would like to start again, you will be amazed how fast you'll catch up again with that level. I made a course on basic keyboard techniques and studying, but simply just try some easy pieces at a piano slowly, and you'll find joy again!
Sterling performance! Bravo!
Grande Sonate Pathétique | Opus 13
0:38 Grave
2:36 Allegro di molto e con brio
12:24 Adagio Cantabile
17:10 RONDO Allegro
Gosh... so beautiful. Thank you, Wim♥
This is incredible... Honestly I had always heard of the clavichord, but I have never really heard it this way before. Especially seeing that a classical musician (probably not only classical, but at least let me say that for now :P) finally understands the correct way of using RUclips for these kind of performances in HQ is a big relief for me. Excellent performance, and excellent channel. It honestly makes me wonder whether I should do this in the future for the organ, one day, on a second channel :)
Thank you for sharing these in-depth and thoughtful performances!
And thank you for these nice words... I really appreciate and it gives much energy to just continue in what I like to do so much! Go for that second channel, the journey is the real goal in life!
take care,
Wim
Wow... this version is just... thrilling
I prefer the pianoforte version, especially the second movement, but you are so right about Beethoven being in a world of transition and driving that change. However, good that you did this as one gets new insights into the music. I do wonder how the sound would have been softened a bit by having an audience, the bare room may be giving the sound too much of a sharp edge. Wish I had come across you 10 years ago.
A clavicord is a time machine back in the past!!! I feel the 1700s so strong
Okay, I think I am finally seeing the dynamic ability in the clavichord. Thank you.
What a wonderful and dynamic performance! bravo! It puts this piece of music in an entirely different light, color, and experience. I so enjoy the different tones (vibrations) and voices that each of the registers (lower to higher octaves) can create - like listening to multiple instruments. As a pianist I struggle to discover timing and feel - a constant struggle that always redefines itself with new discoveries of articulation. You certainly have created a lasting influence with your creative and unique expression of this piece. Thank you for sharing. Your skill in playing and interpretation is so rich and enjoyable. I so enjoy your channel overall - can't wait to hear the new piano forte. Best wishes Wim!!!
Over 130,000 views! And I was one of them on this one at some point. Don't know when but definitely worth the re-listen!! Stunning!
Beautiful performance! it has the soul of beethoven music! And definitely it is a new experience to hear beethoven in clavichord! And the tempo is really new and make it amazing. I wonder if that tempo could be applied on the piano as well? Or is it just for the clavichord? Thanks
The tempo seems very natural and almost perfect. Ane the video has almost no negative comments, whjch is quite rare if someone is familiar with youtube. The second movement is a tad faster than i would do it though. Anxious to see how the new interpretation is going to be like, but I think its going to be a great challenge for you to beat this recording.
@@geiryvindeskeland7208 I dont see the point of this comment as this is not single beat. I even said that i would prefer the second movement sloer.
This is...
just....
Fantastic isn't the word, you've left me speechless here.
Great to read in the morning, so glad it inspired you!
Wow!
I have only just discovered your channel and I started by looking at some of your very interesting discussions about the meaning of metronome markings.
When I saw Beethoven Op 13 and clavichord in the title for this video I was intrigued. How? Why? Were just a couple of my thoughts. By the second bar I was hooked. This reminded me of a very famous quote about art often being so familiar it is "rubbed smooth of meaning". For me one of the many delights and surprises about this performance was just how wonderfully strange you allowed Beethoven's rhetoric to be. My response to it was similar to the one time I saw Picasso's Guernica for real. It is so famous from so many reproductions yet somehow it was only seeing the effect of real light on the image that released the howls of anguish. I can't thank you enough for sharing this.
Speechless. Amazing work!
Dear Maestro Winters, I really appreciate your work and - most of all - your passion about music (I am a graduated pianist - even if not a professional one - and I struggled a lot over the same topics, especially playing and trying to understand WK daily, till now). As a young composer myself, I believe that playing sonatas that way allow us to comprehend the "sonata form" naturally (e.g. the shifting in tonality, the sense of circularity and narration - the journey from Exposition to Recapitulation; the unrolling of themes' development and truly - as for the fugues - the possibility to master voices separately and simultaneously as well). This uncouncious "race" of today's performers I attribute - as a sign of the time - to an increasing "fear of the silence" (a phase of today's spiritual "Horror vacui") and to the towering "personalization" of music (with all its side positive/negative aspects, with all its contour of music business and industry); as for the latter phenomenon, You said it right: everyone has the right to express himself through music, but... everyone has also an "honesty obbligation" towards the composers, who cannot defend themself but through the legacy of their scores! (This "honesty obligation", by the way, concerns also the real skills of each performers as well.) There's here, in this long-standing conundrum, a "golden point" that everyone has to reach and find for himself, a golden point which is - nonetheless - quite truthfull and objective as well... You have certainly made a point to this Point :) However, I still have some concern about this "slowering" of tempos (although reasonable), especially in relation to timbres (clavichord - which is gorgeous, even with the "Pathetique"- VS piano) and to articulations (e.g. staccatos, which often time could provide good insights towards a right score's interpretation); yet, I firmly believe that this music could be "conquered" only via a thoughtful and awakened comprehension of it, even as lenghty - and sometimes painful - as it may seems nowadays, for our most distracted ears. Sorry for my English, and many greatings from Italy :)
Hi Guido, thank you so much for sharing your thoughts here, "Fear of silence", yes that's happening often, but it is in the silences that the magic often happens... For the tempi, you might be interested in this video as a starting point: ruclips.net/video/2yd7LWi4wus/видео.html&list=PLackZ_5a6IWVP1Nb_Zxr-RfFHX62Nz9iQ
I've seen that video before and I followed a little bit the "querelle", even your "disappointment video" about Facebook and scholars' reactions. (By the way: if one is truly faithfull to its inner conscience and sense of Truth, then there's no need of public endorsement of any kind, being completely free from frustration and from "the influence of the world's ways".) As for me, I could not completely endorse that video without delving deeply - in advance - in to the topic of metronomes; nonetheless - as I said - I find it more then reasonable (if not truthfull at all). My concerns were only about timbres ('cause one thing is the clavichord, with its natural reverb, and another thing is the piano - without considering the sustain pedal, which is not only a "timbre" resource); my concerns were also about articulations (see, e.g., your choice to articulate that way the first Waldstein's chords, which it perfectly works - when, without this kind of adjustment, the lenghty repetition of chords may sound really painful and blank.) You are not a dogmatic musician, but a pragmatic one (in your words, which I really appreciate), and a pragmatic and flexible one - as I believe - must sometimes adapt his "tempi conception" to every situation and context... Anyway, for me it's a big surprise finding out how clavichord has ultimately no big limitations in the field of dynamics (for which - as far as I know - pianos themselves were created, in order to compensate the "dynamics deafness" of the former keyboard intruments). I'll continue to follow your journey, waiting for the next videos (maybe some piano ones - it will be great, especially for some other LVB's sonatas). Bravo :)
I feel like I've just heard Beethoven for the first time. This makes me want to practice his music more. The Rondo is so wonderful - this interpretation allows the music to seep out and penetrate the heart. So many performances today are rushed and hurried and lack the warmth and human touch found here. Thank you.
Great to read Charles, thanks, would be great to read your progress in this! - do post a new comment then, it'll show up on the top of the comment feed-
Thanks Wim. You may just have cured my performance anxiety. I tell all my students to "forget speed" and just make it musical but your analysis encourages me to practice what I preach. My practice sessions are already much improved. I will write a longer comment when I make more progress.
Very nice to hear! RUclips doesn't let me receive notifications for replies, so I prefer if you post a new comment if you want me to reply :) And feel free to contact me for any questions: wwinters(at)telenet.be
You make a good case of the possibility of playing this piece on clavichord. I like the performance a lot. I am also marveled at how the human brain can "connect the dots", since the lines drawn by the clavichord are actually blobs in space... many things that you would swear are "legato", well, the sound died away ages before you hear the resolution of those dissonances...
I still remember watching this video for the first time back in 2015, been watching your channel ever since. Great work!
Great to read Nicholas!!
What an incredibly striking performance!!! I absolutely love this!!!
What a great version. I've never heard Beethoven on a clavier before, and it is amazing. I'm your fan!!
That is a clavichord, not a klavier
All keyboard instruments are claviers. In fact, in modern German, the word for piano is "klavier". This particular instrument is a clavichord.
Goodness...the textures of the instrument just bring this piece to life for me. The synth-like noises (I know the anachronism) of the bass and the guitar-like sounds of the alto and soprano make this so much more captivating than Beethoven usually is for me
As I stated elsewhere, although I was initially taken aback when I heard this sonata played on a clavichord, now after hearing it a few times, I really like it.
This is so extraordinarily expressive!
I really loved the way some of the effects sounded on the clavichord such as the "growling" sound of the left hand tremolo motifs in the allegro molto movement and the tonal contrast between the lower and upper voices in the hands crossing part (e.g. 3;15) which, in my imagination, evoked a conversation between an insistent man and a flirtatious woman. The sweet sound of the clavichord was also really effective in the 3rd movement, giving a wistful, yearning and nostalgic feeling - almost like someone thinking back on a dear romantic episode in years gone by or a lost love (brought out also by the relaxed tempo taken). I doubt Beethoven had this imagery in mind - it's just my way of trying to put what I felt into words :-). I am not a highly trained musician qualified to make academic comments but, as a simple listener in your virtual audience, I found your performance very emotionally moving. Thank you !
thanks for sharing your thoughts here!
C'est la première fois que j'entends cette version, et j'aime vraiment cette version aussi！
this guy gives the clavichord such great life
Talk about a completely unexpected experience! And yet it makes so much sense. And you perform it so convincingly. Terrific. Thank you so much!
Thanks for the feedback, Craig, glad you liked this Beethoven !
Brilliant! Thank you very much
Wim, I've just listened again to this performance of yours, for the umpteenth time, and it
never fails to surprise & delight - thanks.
Thanks, Bill, I really appreciate you letting me know !
Followed Ted's advice and arrived here - and I sure wasn't disappointed! Lovely music, from an instrument I never heard before, in an awesome room. Brilliant.
Thank you very much, Bruno Candeias !
Wim
First movement: Wim Winters woke up one morning and chose violence! That is my consistent thought to the persistently violent percussion with which the clavichords strings are plucked in this performance, especially in the ostinato passages, especially in the descending gestures of the left hand at the end of the second theme of the first movement... But there are moments, especially in the decorated melodic motifs, when it feels almost like a country dance...
Now the second movement is about to start and I am curious...
Second movement: the clavichord cannot really sing, can it? or can it? Perhaps since notes cannot really be sustained very long and so it is challenging to create a persuasive legato with this instrument.... or it just could be that this second movement, for all its sone, simply does not lend itself to the clavichord's colors. Approaching the end of the second movement and it sounds quite stormy...
Third movement: The Rondo actually comes through rather nicely and I think I understand now why the first two movements did not come through as well: the texture of the rondo is much more spare - the first and second movements both have very thick harmonic textures and while the harmonic texture of the rondo is lighter and plays on the strengths of a plucked instrument. Even the fact the the rondo has clearly contrapuntal elements with variations on the theme in its central section really let the clavichord shine.
I thoroughly enjoyed listening to this performance - it is a really useful and clarifying lens through which to appreciate how complex and sophisticated Beethoven's use of texture on the pianoforte truly is. This is especially true where Beethoven uses the very structure of the piano forte to tease out harmonics, like in measure 10 of the first movement, and then repeatedly throughout the second movement. The clavichord is not built for that kind of maneuver but the pianoforte, more robust sound board strings allow those moments when harmonics ring through the thicker textures of sustained chords into the silence that follows the deeper voices to really shine in Beethoven's music. For that insightful reminder, I thank you, sir - it will enrich my enjoyment of playing the pianoforte with Beethoven even more and I am sincerely grateful.
Wow! This really brings the music to life in my opinion. Truly amazing. Thank you so much for posting this!
thanks Hector!
Absolutely lovely interpretation and playing! Bravo!
No hay ninguna duda que con un piano moderno se consigue mucho mas en dinámica, calidad sonora, expresión, matices etc, etc, pero... la genialidad de la composición, su mensaje, la profundidad de esta grandísima sonata, siempre estará ahí aunque sea tocada con un instrumento mediocre a desde el punto de vista actual, es beethoven.
Wow. The first movement was incredible. I really want to hear you playing it the same way on an early 19th century pianoforte :)
Maestro, uw ziel lacht ons toe!
Ik zie het, voel het en hoor het.
Bedankt om de bezieling en de begeestering van uw kunst met ons te delen!
💞
beautiful my friend. my favorite of Beethoven's sonata, and despite being the kind of person who really does not give a fuck about "anachronism" in music, i appreciate the context you provided in the description. starting to really appreciate this instrument, i kind of want one.
This was absolutely captivating from start to finish! Very powerful performance
Great for us amateur pianists.....still hope for us. :) Every note is crystal clear.
Beautiful!
Absolutely amazing ! stunning ! A magnificent performance !
Thanks!
I always thought I didn't like the music of Beethoven, it seemd to be pretentious, loud and rather complex than musical. But in your interpretation I understand that he forms a logical and necessary link between the music before Beethoven and the music after Beethoven. There is so much age of enlightenment and early romantic in it. And while other pianists may be more impressive on a technical level, your sheer commitment to musicality, simplicity and directness makes you my favourite player really
Ho riascoltato,affascinante dal punto di vista per l’interpretazione magistrale!I miei sinceri complimenti.
Well done. I loved it!
It is like a Bachian interpretation of Beethoven. I associate Beethoven with the tuning system that was very close but not quite equal temperament. This is full on baroque tuning, half a step away from our current tuning system. It sounds more majestic in this baroque tuning, because it sounds to me like D major in the exposition of the first movement. It really does sound major to me in this baroque tuning. And I know it isn't major in tonality. I think I like the more common equal temperament tuning better.
I myself can get quite the forte, easily on my upright piano but in the left hand, soft dynamics is hard. And it is way harder at super fast tempos to even get the right hand to be quiet. And I tend to accentuate the difference in dynamics when I play a Beethoven piece. So Beethoven tells me to play forte, I play closer to fortissimo. Beethoven tells me to play piano, I play closer to pianissimo. Beethoven tells me to play pianissimo, I use the soft pedal because on my upright, pianissimo for most octaves is basically impossible, I either get louder notes, or no sound at all if I try to play pianissimo without the soft pedal. But I don't have the space for a grand piano, not even the smallest of them so I resort to the soft pedal for pianissimo and quieter or hope the pianissimo is short and I can get a true pianissimo without the soft pedal. But extensive pianissimo without the soft pedal is basically impossible for me unless I am playing in the second octave or higher on my piano.
Forte though, is extremely easy, especially in the bass clef where the notes are naturally louder.
So special!... Something different and unique!... Thank you once again!
We can clearly see that you enjoy to play Beethoven, and your clavichord...makes me want to give it a new try on my Erard !
O, Erard! What kind of Erard to you have? You might want to look for Moscheles Beethoven edition, since he played that music on his Erard, and gave pedallings for them.
AuthenticSound 1858 model 1. Already have the Moscheles version, it suits well to the Erard (original hammers and strings)
Superb interpretation and superb instrument! Congratulations!
A gorgeously different, and compelling rendition of a piece I thought couldn't be surprised by anymore! Lovely channel you have, and thank you !
Thanks ! Not to surprise you another time,... but I'm slowly going through the piece again, here's the playlist :ruclips.net/p/PLackZ_5a6IWX91hHX3mVvMtpUvxoUWj3V 😀
Such a wonderful and energetic performance, I never thought I would enjoy the Pathetique on another instrument than the piano, but you changed my mind! It sounded like the piece was a whole step below the original key (B flat minor as opposed to C minor). Is this for a reason, or is it just because of the tuning of the clavichord or something else? Thanks and bravo
Tutto un’altro aspetto la grande sonata eseguita con il clavicordo è molto geniale e piacevole ascoltarLa grazie Maestro.
I didn't know the clavichord was capable of such dynamic expressiveness. What a great sound, and great playing! Bravo!
Thanks for listening and sharing your thoughts! Yes, the clavichord is an underestimated instrument... one reason for that being the fact that, like in the 18th c., there are not too much really good clavichords /clavichord builders. It is a really hard instrument to built in a way that the sound comes out of the instrument.
You did wonderfully given the limitations of the instrument. The second movement particularly suffers from this limitation. I think the way the instrument was miced for the recording could have been improved with some experiments with positioning and different microphone types. This is not a gripe, this is a sincere review of a wonderful performance.
I absolutely love the sound of both the clavichord and the harpsichord.
A great performance on a magnificent unfretted clavichord! Congratulations to Wim Winters. It's also extremely well recorded: clavichords, with their quiet sound but huge dynamic range (ppppppp to p) are notoriously difficult to record. But on my computer, the sound as presented is much too loud. Try turning down the volume so you can just barely hear the quieter notes. Then you'll get a much better idea of how these instruments really sound.
thanks Tom