Beethoven: Violin Sonata No. 10 in G major, Op. 96 - Leonidas Kavakos /Enrico Pace
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- Опубликовано: 18 мар 2021
- Ludwig van Beethoven (1770-1827) - Sonata for Violin and Piano No. 10 in G major, Op. 96 (1812)
00:07 I. Allegro moderato
11:41 II. Adagio espressivo
18:13 III. Scherzo: Allegro - Trio
19:57 IV. Poco allegretto
Leonidas Kavakos, violin
Enrico Pace, piano
Beethoven's creativity has never been surpassed.
Bellísima sonata interpretada perfectamente❤❤❤
Bravo!!!
Das Zelebrieren des grossen Beethoven verföhrt leicht zum Verwechseln von Expressivität und Sentimentalität. Beethoven ist nie weinerlich!
Es perfecto
19:56 ❤
Wo fand dieses Konzert statt?
זה צרית להיגמר ב5 ו2 ואז 1.
Sehr schön!!! Kleiner Tipp: Nie von Henle "Urtext" spielen. Die Leute dort empfehlen erstens: die unspielbarsten Fingersätze und zweitens versuchen sie Beethoven zu verbessern bzw. zu korrigieren - und das ohne Verstand für Komposition und musikalischer Dramaturgie.
Which edition do you recommend?
@@alanleoneldavid1787 Wiener Urtext Edition
Ich habe 2 Ausgaben von Henle der 10.Violin-Sonate: Sie unterscheiden sich in wesentlichen Punkten (Ligaturen, Artikulationszeichen; Dynamik) und beide tragen "Urtext" auf dem Cover. Unverlässlich in jeder Hinsicht. Kein kritischer Bericht. Eigentlich Schrott.
Kavakos is marvelous, as he usually is but I object to the over-romantic approach of the pianist. For my money Beethoven is better served with little or no inner rubatos and extra-added "affectations" that this pianist obviously feels is the correct way to interpret this composer. Karl Ulrich Schnabel was fond of calling this kind playing "pessimistic" because rather than simply playing the music without any added nuances they resorted to "affectations" instead of trusting in the simplicity of what the composer had written. This of course is a post-war trend that considers such style more "expressive" and necessary to bring out all the details. I firmly disagree. Compare his playing with that of Myra Hess with Issac Stern on the same sonata. One can say both approaches are valid but I feel that although this may be true in Brahms it is not in Beethoven. There lies the difference.
Of course, this objection is your prerogative, however, if I may push back on it a little... The interpretational philosophy as represented by Schnabel(might one call this a Millennium or, dare I say it, hipster trend?) assumes that music notation is complete. It was clearly not in Bach's time, as many periodic performance practices were assumed. Not in Mozart's time either, since, for example, many phrasing details, fingerings, bowings, and some ornamentation are left up to the performer. Comparing Beethoven's scores with that of the late romantic and 20th CE composers makes it clear it is possible to notate even more expressive detail than was customary in the 1820s. Indeed, the advent of various notations in the subsequent century after Beethoven proves that music notation is and was not complete. I think it is a pretty big leap to assume Beethoven himself considered his music notation to be a "complete" and whole representation of the music which flowed from his creative mind.
Additionally, there is the consideration of how music notation affected how composers and performers think about music. Much like the advent of the written form of our language, it has a definite and broad effect on how people think and use the language. Is it so strange a notion that Beethoven himself was able to imagine music beyond the limitations of the convention of notation?
Finally, as the music lives beyond the life of its creator, and exists through the performance of various artists, does their voice and musicianship count for nothing? I always considered the classical music performance as a collaboration between the composer and artist. The composers' music does not exist in some Platonically ideal realm. It is brought to life by various artists, and exists in a plurality of versions. Indeed, it exists in as many varieties as there are artists. This does not mean that every interpretation is equally as desirable, but that is ultimately up to every individual ear to decide.
@@paulyoshida1747 For me, simplicity is best and I prefer the understatement to the overstatement and I especially abhor affectations in interpretation, which this pianist delivers in spades. But this is a question of taste and temperament. I'm not saying he is an inferior pianist but he is not for me and especially in this Sonata which is border-line late Beethoven, it is my opinion that the essence of the music comes through better without any exaggeration and to let the music speak for itself. I much prefer the Schnabel (Artur, that is)/Szegeti performance to this one, mainly because of the exaggerated approach of the pianist