It is regretful that the composer whom i admired most at the turn of the 20th century - the composers of the austro-german tradition, had gradually become an entirely orchestral tradition. And I think this is one of the great pities in piano repertoire that people such as Mahler and Wagner and strauss, never composed anything for the piano, yet I hear influences from the three composers in this work. i think the berg sonata fits in beautifully with this whole aesthetic, and it seems to be the closest representation in keyboard literature of this sort of overwhelming orchestral and colouristic sound.
FWIW, Strauss composed a piano sonata (op. 5) and two sets of short piano pieces (opp. 3 and 9). They’re early works but still very much worth a listen.
@@noprahwinfrey2007 In my opinion Strauss's piano sonata is one of the most painfully neglected pieces of the entire repertoire. Very mendolsohnish but also forshadows Strauss's powerful orchestration
The real tragedy here is the coughing fits throughout Hamelin's performance, which (of course) are at their worst right when the final resolution to B minor happens. Hamelin was delivering a beautifully nuanced and hushed close as well... nearly drowned out entirely :/ Also-and I can't believe I'm saying this-but I actually really enjoyed Gould's stretching the tempi to their limits?
Gould's essay on the Sonata ("Piano Music of Berg, Schoenberg and Krenek" in "The Glenn Gould Reader") is ambivalent: " . . surely one of the most auspicious Opus 1 debuts in music history", while being a work which "[allows Berg] to cloak his most dissolute habits . . [it] indulges his greatest weaknesses: the jacked-up sequence, the melody supported by chromatically sliding sevenths, the plagiarism of the whole-tone scale." I like Gould when he's playing Bach, I appreciate his championing the Berg Sonata, and overall he's an engaging essayist, but his bias against Berg overall, as compared with his total adulation of Schoenberg and Webern, really colors those comments. The sequencing doesn't bother me, the sevenths are part-and-parcel of Berg's style, and I don't get how one plagiarizes a scale unless Liszt put a copyright on it. But I like this performance by Hamelin, he gets the structure and the flow.
Personally I prefer Peter Hill's interpretation, although Hamelin's is good. Gould seems rather leaden, draging between phrases. Interesting to hear other versions and how radically they alter the tone of the work (my favourite piece of music, incidentally). Thanks for posting.
@@heidemariehegelein8750 Ich persönlich bevorzuge Peter Hills Interpretation, obwohl die von Hamelin gut ist. Gould wirkt ziemlich bleiern, schleppt sich zwischen den Phrasen. Es ist interessant, andere Versionen zu hören und wie radikal sie den Ton des Werks verändern (übrigens mein Lieblingsmusikstück). Danke fürs Posten.
One of the most paradoxically beautiful works I've ever heard.
lol
I agree it is indeed beautiful plus
My two favorite interpretations of this work!
All those notes, how are they invented, written down, read, memorized, played? This is superhuman.
It is regretful that the composer whom i admired most at the turn of the 20th century - the composers of the austro-german tradition, had gradually become an entirely orchestral tradition. And I think this is one of the great pities in piano repertoire that people such as Mahler and Wagner and strauss, never composed anything for the piano, yet I hear influences from the three composers in this work. i think the berg sonata fits in beautifully with this whole aesthetic, and it seems to be the closest representation in keyboard literature of this sort of overwhelming orchestral and colouristic sound.
FWIW, Strauss composed a piano sonata (op. 5) and two sets of short piano pieces (opp. 3 and 9). They’re early works but still very much worth a listen.
Wagner también escribió varias obras para piano. Sugiero escuchar "Elegie"
Check out Korngold piano sonata 2
Yeah
@@noprahwinfrey2007 In my opinion Strauss's piano sonata is one of the most painfully neglected pieces of the entire repertoire. Very mendolsohnish but also forshadows Strauss's powerful orchestration
Très belle musique, très sophistiquée, romantique et moderne à la fois.
Bitte auf deutsch!
Von wann ist diese Kompositionen?
Awesome! Awesome! Awesome!
Berg, is the best composer of the second school, he makes the twelve town technic romantic.
The real tragedy here is the coughing fits throughout Hamelin's performance, which (of course) are at their worst right when the final resolution to B minor happens. Hamelin was delivering a beautifully nuanced and hushed close as well... nearly drowned out entirely :/ Also-and I can't believe I'm saying this-but I actually really enjoyed Gould's stretching the tempi to their limits?
Yessir absolutely great
What's the point of the key signature? There isn't a single F# or C# that isn't manually marked as such.
because it's just indication that it's (very loosely) in B minor, it's not really to do with ease of notation
You ought to check out some Max Reger scores. Same situations all the way.
My synesthesia won’t let me see this in any color other than black and white
Thanks.
Epic :D
Gould's essay on the Sonata ("Piano Music of Berg, Schoenberg and Krenek" in "The Glenn Gould Reader") is ambivalent: " . . surely one of the most auspicious Opus 1 debuts in music history", while being a work which "[allows Berg] to cloak his most dissolute habits . . [it] indulges his greatest weaknesses: the jacked-up sequence, the melody supported by chromatically sliding sevenths, the plagiarism of the whole-tone scale." I like Gould when he's playing Bach, I appreciate his championing the Berg Sonata, and overall he's an engaging essayist, but his bias against Berg overall, as compared with his total adulation of Schoenberg and Webern, really colors those comments. The sequencing doesn't bother me, the sevenths are part-and-parcel of Berg's style, and I don't get how one plagiarizes a scale unless Liszt put a copyright on it. But I like this performance by Hamelin, he gets the structure and the flow.
Personally I prefer Peter Hill's interpretation, although Hamelin's is good. Gould seems rather leaden, draging between phrases. Interesting to hear other versions and how radically they alter the tone of the work (my favourite piece of music, incidentally). Thanks for posting.
Auf deutsch bitte
@@heidemariehegelein8750 Ich persönlich bevorzuge Peter Hills Interpretation, obwohl die von Hamelin gut ist. Gould wirkt ziemlich bleiern, schleppt sich zwischen den Phrasen. Es ist interessant, andere Versionen zu hören und wie radikal sie den Ton des Werks verändern (übrigens mein Lieblingsmusikstück). Danke fürs Posten.
Wunderbar gespielt, aber einfacher in Agogik und Dynamik gäbe den Gedanken mehr Zeit, sich entfalten. Es ist schon extreme genug Musik!
YEAAAAAA
I prefer Gould of the two,though I don,t like Gould as a rule.
👏
Gould does a good job don't get me wrong, but Hamelin totally kicks his ass up & down the block on this one
long life to berg!
Edoardo Lulu
He's dead
@@GUILLOM sadly he is
@@GUILLOM fr?
rubbish
This comment will surely contribute a lot to society
@@GUILLOM there was no need to respond to it
@@romanmusic9629 there was no need to respond to my response