Bis 5:40 gehört. Passt! Die Waldstein-Sonate war auch eine meiner ersten Beethoven-Sonaten. Ich mag ihre demutsvolle Haltung wie sie an die Dinge herangeht. Sie ist wirklich eine tolle junge Interpretin!
I very much appreciate Michael Korstick's interpretation of the Waldstein Sonata. Ms Pacini, however, convinces me. She is a blessing in her restraint - unlike the unspeakable Yuja Wang, she does not try to accelerate her fame and career with sexy outfits.
Look at 21:20. She is the only pianist ( known to me) who plays these octave glissando with one hand, first right, then left. Other pianist avoid this difficulty by playing with both hands. Bravo!
Octave glissandos did not exist (and were impossible on the pianos ot that time) during Beethoven' s period. It is a pure invention of modern pianists. I' ve an old recording by Horowitz: he plays the octaves staccato, and Barenboim uses the two hands I think. It 's not an obligation to go for a glissando!
@@marcbauw1 The "coda's glissando octaves, written in dialogue between the hands, compel even advanced performers to play in a simplified version since it is more demanding to play on the heavier action of a modern piano than on an early 19th-century instrument." Wikipedia.
@@Opoczynski Wikipedia doesn’t change the fact they are simply not written as glissando. Horowitz, Rubinstein, Kempff and Lisitska play them non-glissando. Most others plays them glissando. The two hand cop-out is very rare BTW, at least at the top level.
Impressionante, bravissima!!! Eccellente interpretazione. Chiedo però il perché del mancato ritornello nell'esposizione del I movimento: dal punto di vista strutturale la sonata ne risente molto, senza la ripetizione della prima parte lo sviluppo (specialmente il suo inizio) non ha la stessa forza.
Unglaublich! Habe schon an anderer Stelle über ihr Spiel geschrieben, dass sie viel von den "Alten" hat. Hier erinnert sie mich etwas an Edwin Fischer. Sie braucht aber den Vergleich nicht, denn sie ist absolut authentisch und in sich selbst ruhend. Die Energie fliesst hier ganz natürlich. Ich finde allerdings den Beifall am Schluss eindeutig zu schlapp.
Fabulous, Sophie! Everything is idiomatic but freshly thought out, your sound is rich and flexible with fully integrated hands (and wonderful peddling!) producing an 'orchestral' sonority, much in the manner of the great Stephen Kovacevich at his very best. Beautiful touch and glorious control of the emotional and physical troughs and peaks in the unfolding narrative of the work. One little quibble - too much rubato in the main theme of the middle movement! This is the curse of the current generation's piano style!! Keep it simple eg listen to anything by Lipatti, and Yeol Eum Son's arietta in Beethoven's opus 111 ( the 2011 recording, which is sublime....) ruclips.net/video/PuhYzlAur8w/видео.html Brava!!
beautiful, a great interpretation of the Waldstein great tempo, the more I listen to it the more I love it.
Sophie,ich bin wirklich beeindruckt,grüße orson.
She's amazing!!!!!!
fantastisch, hier ist die Sonate wie ein Orchester, mächtig, aber auch gefühlvoll, kaum einer spielt das so
Amazing music 🎹 Spectacular 🎹
Unglaubliche Interpretation! Große, logische Bögen und einfach nur ideale, immer spannende Phrasierung! Gratulation! Freue mich auf mehr!!
Hervorragend . Beethoven wäre voll des Lobes!
Vielen Dank!
Bis 5:40 gehört. Passt! Die Waldstein-Sonate war auch eine meiner ersten Beethoven-Sonaten. Ich mag ihre demutsvolle Haltung wie sie an die Dinge herangeht. Sie ist wirklich eine tolle junge Interpretin!
Ich habe die Künstlerin live erlebt. Der helle Wahnsinn! Das Tor nach oben steht ganz weit offen.
Very listenable and enjoyable performance.
The best 'Waldstein' ever heard!
just amazing!!!
Hear more!
so traurig schubertisch habe ich den letzten satz noch nicht gehört. sehr schöne oktavglissandi übrigens :)
yup this is pretty amazing right there and pretty much exactly what Schnabel demanded in his edition.... swag
Wonderful 🌟♥️🌟♥️🌟♥️
I very much appreciate Michael Korstick's interpretation of the Waldstein Sonata. Ms Pacini, however, convinces me. She is a blessing in her restraint - unlike the unspeakable Yuja Wang, she does not try to accelerate her fame and career with sexy outfits.
Wonderful!
Look at 21:20. She is the only pianist ( known to me) who plays these octave glissando with one hand, first right, then left. Other pianist avoid this difficulty by playing with both hands. Bravo!
Octave glissandos also for instance Lucas Jussen, Pletnev ( video 1987 ) , Arrau and others.
she must have been familiar with this piano. most pianists do not dare play these glissandi on an unfamiliar instrument.
Octave glissandos did not exist (and were impossible on the pianos ot that time) during Beethoven' s period. It is a pure invention of modern pianists. I' ve an old recording by Horowitz: he plays the octaves staccato, and Barenboim uses the two hands I think. It 's not an obligation to go for a glissando!
@@marcbauw1 The "coda's glissando octaves, written in dialogue between the hands, compel even advanced performers to play in a simplified version since it is more demanding to play on the heavier action of a modern piano than on an early 19th-century instrument." Wikipedia.
@@Opoczynski Wikipedia doesn’t change the fact they are simply not written as glissando. Horowitz, Rubinstein, Kempff and Lisitska play them non-glissando. Most others plays them glissando. The two hand cop-out is very rare BTW, at least at the top level.
Impressionante, bravissima!!! Eccellente interpretazione. Chiedo però il perché del mancato ritornello nell'esposizione del I movimento: dal punto di vista strutturale la sonata ne risente molto, senza la ripetizione della prima parte lo sviluppo (specialmente il suo inizio) non ha la stessa forza.
Bravo
Wunderschoen!
Questa ragazza, secondo me, ha suonato la migliore interpretazione dell sonata Waldstein da quando viveva Vladimir Horowitz.
Hai ragione, Lionello, io soltanto mi riferivo a questa sonata in particolare. Buon Natale, e cari saluti dalla Nuova Zelanda!
1:21
Unglaublich! Habe schon an anderer Stelle über ihr Spiel geschrieben, dass sie viel von den "Alten" hat. Hier erinnert sie mich etwas an Edwin Fischer. Sie braucht aber den Vergleich nicht, denn sie ist absolut authentisch und in sich selbst ruhend. Die Energie fliesst hier ganz natürlich. Ich finde allerdings den Beifall am Schluss eindeutig zu schlapp.
sie strahlt musikalisches Talent förmlich aus.
Fabulous, Sophie! Everything is idiomatic but freshly thought out, your sound is rich and flexible with fully integrated hands (and wonderful peddling!) producing an 'orchestral' sonority, much in the manner of the great Stephen Kovacevich at his very best. Beautiful touch and glorious control of the emotional and physical troughs and peaks in the unfolding narrative of the work. One little quibble - too much rubato in the main theme of the middle movement! This is the curse of the current generation's piano style!! Keep it simple eg listen to anything by Lipatti, and Yeol Eum Son's arietta in Beethoven's opus 111 ( the 2011 recording, which is sublime....) ruclips.net/video/PuhYzlAur8w/видео.html
Brava!!
It's aweful when a pianist doesn't repeat an exposition section. It takes so much away from the music and the form of a Sonata. No good