Wow...where Kempf is calmly classical Kraus is wild and dramatic. I haven't heard a faster Waldstein ever. She handles the technical/mechanical challenges with aplomb and plays the pauses superbly. Thankyou to pianopera for this fascinating listen to a pianist I haven't listened to before. I shall play more Kraus. By the way there is a boxed set of Kraus just out.
1:22 She killed me ! This chord was so unpredictable for me. I was not expecting that "bang" with a rush just after. It makes this part like a bit wilder to me. Another feature of the wonderful Waldstein. I love it so much
@@canman5060 This has to do with the instrument she's playing on, other pianists, believe it or not, e.g. François-René Duchâble, play that part without resorting to glissando!
I REALLY like how Krauss handles 6:00-6:20, the passage leading to the recap. Often whipped off, she plays the figures clearly and 'well pronounced'; and I think the passage is 'bigger' and more anticipation filled for her doing so. IMO.
man, she takes the cake. big advantage over the more controlled modern day recordings. for preparing a bright day. i wanna be shattered i take korstick, the night version.
I much admired the tasteful musicianship and clarity of expression and tone in this performance. However, she does seem to struggle a bit with the most demanding parts of the last movement. Well worth listening to all the same, as there are some fresh insights in her interpretation.
Sorry, it doesn't do it for me. To much tugging around with the tempo in the first movement. The first movement needs forward momentum and Kraus doesn't provide it. To Stephen Hunt, if you want to hear faster (and much better) try Dubravka Tomsic or Rudolf Serkin
Beyond a certain level of excellence, it's nonsensical to talk about 'better' - Kraus is just *different* from what comes closest to your personal ideal performance, apparently. Personally I love the tempo changes and don't miss any "forward momentum".
Well that's a load of tripe, most modern day recordings are 25-27 minutes long, so wheres this rubbish about forward momentum coming from. What's wrong with tempo changes? There are supposed to be tempo changes in the first movement.
Can't get any better than this, IMHO.
I love how Lily Kraus plays Beethoven! She’s so exciting! Brilliant!
Did you notice how harmonically she changed the academic accents into something native and natural? Amazing fingers !
Wow...where Kempf is calmly classical Kraus is wild and dramatic. I haven't heard a faster Waldstein ever. She handles the technical/mechanical challenges with aplomb and plays the pauses superbly. Thankyou to pianopera for this fascinating listen to a pianist I haven't listened to before. I shall play more Kraus. By the way there is a boxed set of Kraus just out.
1:22 She killed me ! This chord was so unpredictable for me. I was not expecting that "bang" with a rush just after. It makes this part like a bit wilder to me. Another feature of the wonderful Waldstein. I love it so much
I just found my new favorite interpretation, I was mesmerized by this one. Thank you!
That glissando! Amazing!
I will break all my fingers for doing this !
@@canman5060 This has to do with the instrument she's playing on, other pianists, believe it or not, e.g. François-René Duchâble, play that part without resorting to glissando!
Magnificent!
I REALLY like how Krauss handles 6:00-6:20, the passage leading to the recap. Often whipped off, she plays the figures clearly and 'well pronounced'; and I think the passage is 'bigger' and more anticipation filled for her doing so. IMO.
20:44 to 20:17 is one of a kind performance.
Where did this beauty come from?
I always linked her with Mozart.
She is a great Schubert player as well. I love her colorful sound.
man, she takes the cake.
big advantage over the more controlled modern day recordings. for preparing a bright day. i wanna be shattered i take korstick, the night version.
❣
I much admired the tasteful musicianship and clarity of expression and tone in this performance. However, she does seem to struggle a bit with the most demanding parts of the last movement. Well worth listening to all the same, as there are some fresh insights in her interpretation.
Sorry, it doesn't do it for me. To much tugging around with the tempo in the first movement. The first movement needs forward momentum and Kraus doesn't provide it. To Stephen Hunt, if you want to hear faster (and much better) try Dubravka Tomsic or Rudolf Serkin
Beyond a certain level of excellence, it's nonsensical to talk about 'better' - Kraus is just *different* from what comes closest to your personal ideal performance, apparently.
Personally I love the tempo changes and don't miss any "forward momentum".
Well that's a load of tripe, most modern day recordings are 25-27 minutes long, so wheres this rubbish about forward momentum coming from. What's wrong with tempo changes? There are supposed to be tempo changes in the first movement.