Это видео недоступно.
Сожалеем об этом.
András Schiff - Sonata No.32 in C minor, Op.111 - Beethoven Lecture-Recitals
HTML-код
- Опубликовано: 5 авг 2024
- András Schiff - Beethoven Lecture-Recitals
Wigmore Hall (London, UK), 2004-06
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004-06 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available below as eight audio lecture-recitals.
----
Full playlist:
• Beethoven Lecture-Reci...
View the MP3 files on the Internet Archive:
archive.org/details/AndrasSch...
Originally available at:
web.archive.org/web/201904301...
I feel supremely grateful for being able to hear these András Schiff lectures on the 32 Beethoven sonatas. Thank you Mr. Schiff, you make us love Beethoven still more and understand his self and his language, which returns a deeper enjoyment of his piano sonatas.
Gratitude and forgiveness, man that got me
Gratitude
He couldn't have ended this lecture any better. Made me really emotional, in fact. Nothing more needed to be said. The music alone speaks for the entire universe.
This final sonata of Beetoven is equivalent of final symphony of the composer. Both embody the chaos and beauty of the universe and celebration of humanity.
When Schiff finishes the final movement he says nothing. There is nothing more to say. There are no words to describe this music. It's beyond language.
The final movements of this sonata and of opus 109 seem to come from heaven, so perfect and spiritual are they.
This Sonata is so moving. It is so emotionally complex. Great lecture!
In 1821, Josephine von Brunswick died at the age 42. 1821-22 is when Beethoven wrote the op 111.
I think, through the Arietta, Beethoven talks to Josephine. The theme opens by calling her name twice.
Nice thought!
My warmest thanks for making this available. It's been quite a journey and I'm grateful for each moment. Thanks!
when I was young, early 20s or so, I always listened to Beethoven sonata from the beginning. I sometimes got stuck (keep listening) on opus 22, sometimes op 26, sometimes tempest and others. However, I could always finalize the full 32 sonata listening cycle within a few months. Now I am in my middle 40s, I always start from opus 111, the last one. This time, I never go beyond this piece. And I haven't finishing my Beethoven sonata listening cycle already for years..
These lecture/recitals are an absolute treasure. Very thankful for it.
Thank you very much!!! Thank you!!!! I have dearly missed them!!!!!!!!!!!
At 21:20 I hear the most beautiful playing by Schiff . Many thanks to mr. Arrau and mr. Barenboim for their wonderful interpretations of the op. 111.
Check richter and schnabel. Baremboim is no match for the real masters
@@igorcavalheiro2323yes, Schnabel is wonderful too. You should listen to the Barenboim 1967 EMI recording. He was a genius at 25 .
Thank you very much for giving us the possibility to enjoy this journey!!
Jésus, THANK YOU SO MUCH
As much as I totally revere Sir Andras Schiff, jazz forms and other later forms of music are not banalities. I think any music can have a spiritual depth and there can be good and bad music within any genre. Sure, Beethoven definitely wasn't writing jazz and it definitely is just a coincidence that the music has a similar sound to Boogie-Woogie unless Beethoven was psychic, but even Bach's music uses R7, R9 and R11 chords (eg Prelude no 1 from Well-tempered Klavier) which we would think of as belonging to the language of jazz forms today. It's probably more helpful to see musical boundaries as totally blurred.
yea he sounds boorish when he made that comment
I don’t think he’s dissing jazz, his comment is more about the banality of a superficial comparison at the cost of masking what is really happening.
Yesterday, Sir Andras was playing this live at Wigmore Hall, and many chats referred to jazz or proto-jazz wrt this sonata...I wish they only listened to this lecture before making similar statements!(26:00)
I personally think Sir Andras goes a little too far on a dogmatical side when he resents the boogie-woogie similarity in one of the variations. I can appreciate that he feels it almost being sacrilegious to suggest that, but music is never only one thing.
@@michaelgoutman681 i couldn't agree more. Also calling jazz a "banality" was a little unnecesary
0:57 очень хорошая соната спору нет! Однако 31 все-таки лучше! 1:31
An excellent demonstration and moderation with insight which Mr. Schiff here delivers - it is that indeed -- with one grave shortcoming: When analysing the Arietta Mr.Schiff makes a passing comment on the fact that it should be by no means be compared with a Boogie-Woogie --- as if the musical genre of Boogie-Woogie, which came to the surface historically speaking as a shoot-off of rhythmically based music such as Ragtime which was danced to at the time of its invention around 1900. Beethoven, having been a visionary, someone who - because of their alliance to the universe, to creation itself - can sense what is to occur in times ahead as a logical consequence of what took place in he past - but, for whatever reason Mr. Schiff fails to make that connection, instead looking down on Boogie-woogie and even Jazz putting such genres down as lesser forms of music, even referring to them as "banalities" - in my opinion not only unwise but also arrogant - thank you.
The sense we get from the mentioned section (i.e. Variation nr. 3) as of Boogie-Woggie is the result of our current knowledge and experience with Jazz music. It has nothing to do with the structure and the logic of the music itself, nor Beethoven was that much of a visionary. The sound of Variation nr. 3 is the result of composer manipulating the rhythmical component, i.e. diminishing the rhythm from the Variation nr. 1-3. We could say that the sound created that way is a mere coincidence and, as said above, an association that comes from our current perspective. I don't believe that people from 19th century who listened or performed this Sonata have thought of it as a predicament of the future Jazz. It might sounded odd but as do the Ninth Symphony with the chorus in the 4th movement (odd in the sense of "nothing heard or thought of before").
batu mikakakaka
meufrobatu
Oof, doesn't value Jazz, does he.