0:00 I. Allegro molto e con brio 7:30 II. Largo con gran epressione 16:44 III. Allegro 21:40 IV: Rondo: Poco allgretto e grazioso Artur Schnabel, piano
To those who are talking about the mistakes and "sloppiness" of the performance, I honestly think what makes a virtuoso is the ability to be "sloppy" but still make it able to sound amazing. If we wanted "perfection" and precision, we could just program the notes into a computer with a good piano sound and have it play it for us, but I find when great musicians put their entire heart into their piece and and play it with extreme passion, not only might there be slight imperfections, but sometimes those 'mistakes' can add to the music and make us feel the passion they actually have when playing the piece.
Some of the people upset about the "sloppiness" have become too used to recordings of this or any piece, especially in this digital age. There are reasons why Schnabel and Cortot were/are considered such great pianists. Greatness isn't decided upon solely by how many right notes one plays.
This sonata was written in capital city of Slovakia, Bratislava in Keglevichov Palace, for the Earl Carl Keglevich's daughter Anna Lujza Keglevich or also called Babetta, he was also teaching her.
Commenters have remarked about the Schnabel's playing mistakes, of which there are many. But -- at least to me -- it's so rare to find such an exciting interpretation, which cuts right to the spirit of the music, that I don't really mind. Also, Schnabel's performance is uncompromising. He plays the non-slow movements with energetic speed and, unlike almost all other pianists, refuses to slow down during the accelerated runs (with which Beethoven mercilessly bedevils performers). I like that. Even with the mistakes, this helps keep the music's dramatic impact at a high level throughout. I am very grateful for these Schnabel posts.
I suppose it's easier to comment on the mistakes than to really grasp the full extent of the majesty and spirituality that Schnabel transmits through his playing. As my wonderful mentor reminded me, Botticelli had a tough time drawing feet, but could that in any way take away from the supreme beauty of the Birth of Venus?
1:32 heroic beauty ............... 1:37 how on earth is it possible to play like this .... ? 3:38 again ......... never heard this moment so beautiful since him. Schnabel for eternity ?
With all the charm, compactness, and fluidity of early Beethoven. He's having fun, just beginning to push the envelope. The largo is a precursor of a lot of largos to come-so measured and peaceful. The rondo feels as if it's over before its time, and that penultimate slip to b-natural is the prettiest of fissures, and then we slip back quietly to home. M.V.
"Charme, densité et fluidité.."comme vous posez bien les éléments de l équation mystérieuse des œuvres de jeunesse de Beethoven,ce mélange de grâce et de lourdeur d autant plus fascinant qu il seraitt moins conscient que la lucidité psychologique croissante des œuvres posterieures. Sans rapport direct, je voudrais cependant militer contre la nuisibilite de la définition de Liszt "l enfant,l homme,le dieu"et pour ma proposition "l homme,le héros,le prophète"
I too prefer Brendel, the early and the later recordings, but I also come to Schnabel because of and from Brendel, because I know Schnabel was an important influence on Brendel and his playing. In this case, the student or follower surpassed the master. But still, I go back to the man who inspired Brendel and, to some extent, showed him a way to approach Beethoven. I come to Schnabel to see him in and for himself, but also to trace the performance and interpretation genealogy of Brendel, especially with relation to the Beethoven piano works. And of course Brendel is only one line of influence in twentieth century piano performance for Schnabel--he had such a huge influence on so many great pianists, again, particularly with relation to Beethoven: he represents an important phase in twentieth century Beethoven piano performance and interpretation. His impact on performance history is signal. We are lucky that so many of his recordings have been preserved, even if the sound quality is not always premium. So if he didn't practice much later in life and made a few mistakes on recordings--this is less significant than the totality of his entire career, the breadth of his impact, and our ability to listen to him at different phases in his career and get a glimpse of his interpretive evolution.
Interviews w/ many great pianists reveal that many of them felt Schnabel was one of the greats and that felt they had much to learn from his interpretations . This in itself is one reason to listen to him. Those familiar w/ even a bit of the instruments history have surely heard already , before hearing him , that he was not a perfectionist in performance regarding the correct notes. It is a given. Why complain then? What is far more interesting is his playing . Too many musicians today are from a mold or cookie cutter and have no individuality having spent so much energy trying to play to please teachers w/ a surface facility that seems valued out of proportion . Schnabel only sounds like himself and only worked to reveal what he valued in the music and not what others demanded.
Yes he's going with the implied language of the music for his phrasing rather than a strick literal interpretation that is our value today when listening. Blame the conservatory factory farms for that and the competitions for who can play the loudest and fastest . How can one judge a subjective and human performance? One can't so we refer to actual perimeters of exactness to a score and technical proficiency.
Philip Kuttner I think this is the best of his "classical period" sonatas (before opus 31), and is the longest and most difficult amongst them. That first movement is so bright and exhilarating; it's like a rollercoaster ride out at the fairgrounds. And Schnabel does not disappoint.
This is the only great Schnabel recording out of the sonatas. He actually practiced for this one and it was very impressive technically. Schnabel, when he was younger, had the most amazing technique. At this age, he stopped practicing and when it came to recording the sonatas, he played almost all of them terribly. However, it is important to listen to them because of the musical ideas and even technical. He just did not practice though and was very sloppy apart from having great ideas. But Opus 7 is a glimpse into Schnabel when he was younger before he recorded. Amazing performance. If only he recorded the other sonatas like this and actually practiced the other ones.
@@marichristian1072 He played this piece extremely well. I hate his other recordings of Beethoven since he never practiced them and was making a lot of errors and was not able to do them technically. His opus 106, 101, 57, 53, 111, 110, 109 were terrible. The ones I listed are the most difficult ones, but he just could not play them. But I believe that he practiced the opus 7. I think it was great technically, and this is also one of the most difficult ones. Trust me, this piece is much more difficult than it looks and I am surprised that he played it so well compared to the other Beethoven sonatas. If he played all the other sonatas like this, his 32 sonatas would be amazing.
@@hodmchess6133 , Saying that Schnabel one of the greatest and admired Beethoven interpreters played Beethoven terribly shows your lack of understanding.
@@Fritz_Maisenbacher To be honest, there are recordings and pianists I like more. I do not reject everything Schnabel put on record, and to be honest I do not know all his Beethoven recordings, but I am simply not fond of it. My preference still goes to Brendel in his first cycle on Philips... A very moving and deep emotional journey through a psychological soundscape that tells a story of love and passion; probably the first sonate that stands in the great tradition of the story-tellers Chopin and Liszt. That's what I hear in Brendel. Maybe one day Schnabel will convince me with his approach. People evolve. Greetings ! 😊😊😊
@@Beethovens.Heritage You may hear every music appropriate or not appropriate to your your own life and inner sensibility . This is perfectly normal . But there is something special with Schnabel playing Beethoven ...... my friend , .... this is a Holy Garden for so many of us . So many listeners who are suddenly cured with this specific beauty .... this is for these people no more "music" or "interpretation" ..... this is like a mother , or words of love or passion , revelation and light .... If you don't like it , this is ok , but stay still , just go away , let us alone in our extatic moments ........................ and come back when you will , as a new lover .
Very clumsy and inaccurate playing in the first movement... hollow virtuosity really... the second movement without depht... No really... no movement without mistakes and emptiness... I doubtlessly prefer Brendel in this sonata... Barenboim as well...
@@Fritz_MaisenbacherThere is no such thing as a holy garden. Only the possibility and right to a personal argumented opinion. Sorry, it does not comply to your honest but very emotional devotion.
To those who are talking about the mistakes and "sloppiness" of the performance, I honestly think what makes a virtuoso is the ability to be "sloppy" but still make it able to sound amazing. If we wanted "perfection" and precision, we could just program the notes into a computer with a good piano sound and have it play it for us, but I find when great musicians put their entire heart into their piece and and play it with extreme passion, not only might there be slight imperfections, but sometimes those 'mistakes' can add to the music and make us feel the passion they actually have when playing the piece.
I couldn't have put it better myself. I'm learning it and there are plenty of notes in the wrong order..and half the speed of this interpretation...
Some of the people upset about the "sloppiness" have become too used to recordings of this or any piece, especially in this digital age. There are reasons why Schnabel and Cortot were/are considered such great pianists. Greatness isn't decided upon solely by how many right notes one plays.
@@jeremyberman7808 There you have Langlang.
This sonata was written in capital city of Slovakia, Bratislava in Keglevichov Palace, for the Earl Carl Keglevich's daughter Anna Lujza Keglevich or also called Babetta, he was also teaching her.
00:00 시작 00:49 제 2주제 03:25 (제시부>발전부) 06:33 (bass 바뀌며 coda) 07:29 (2악장) 08:50 (A부분 주제변형) 09:53 (B부분) 15:40 (2악장 coda) 16:45 (3악장시작) 19:21 (3악장 B부분) 21:38 (4악장시작) 22:09 (4악장 B부분) 23:28 (4악장 c시작 부분) 27:06 (c부분 c
Commenters have remarked about the Schnabel's playing mistakes, of which there are many. But -- at least to me -- it's so rare to find such an exciting interpretation, which cuts right to the spirit of the music, that I don't really mind. Also, Schnabel's performance is uncompromising. He plays the non-slow movements with energetic speed and, unlike almost all other pianists, refuses to slow down during the accelerated runs (with which Beethoven mercilessly bedevils performers). I like that. Even with the mistakes, this helps keep the music's dramatic impact at a high level throughout. I am very grateful for these Schnabel posts.
I swear some posters just listen for the trivial mistakes. I couln't agree more with your assessment of Schnabel's performance.
Having the privilege listening to Schnabel and giving attention to the mistakes ........ such dirty , silly assholes on You Tube .....
I suppose it's easier to comment on the mistakes than to really grasp the full extent of the majesty and spirituality that Schnabel transmits through his playing. As my wonderful mentor reminded me, Botticelli had a tough time drawing feet, but could that in any way take away from the supreme beauty of the Birth of Venus?
1:32 heroic beauty ............... 1:37 how on earth is it possible to play like this .... ? 3:38 again ......... never heard this moment so beautiful since him. Schnabel for eternity ?
00:00
07:30
16:44
21:40
19:22 Schubert D.940
Schubert inspirad this
I wonder if any pianist has ever played the largo with exact time values throughout?
The grazioso finale shows Schnabel's tenderness toward the music which brings out the glory of the movement. One of my all time favorites.
What an amazing Sonata..so much colour and lovely harmonies..
Es fantástico! Gracias por mostrar esta grabación, pues cada día es más difícil escuchar a este grandioso pianista.
is it me or can i hear the moonlight sonata in the largo?(for very brief a time)
With all the charm, compactness, and fluidity of early Beethoven. He's having fun, just beginning to push the envelope. The largo is a precursor of a lot of largos to come-so measured and peaceful. The rondo feels as if it's over before its time, and that penultimate slip to b-natural is the prettiest of fissures, and then we slip back quietly to home.
M.V.
I'm not usually a fan of his earlier works, but I think I might go ahead and read through this one.
"having "fun" " , is that all you noticed , you moron ?
"Charme, densité et fluidité.."comme vous posez bien les éléments de l équation mystérieuse des œuvres de jeunesse de Beethoven,ce mélange de grâce et de lourdeur d autant plus fascinant qu il seraitt moins conscient que la lucidité psychologique croissante des œuvres posterieures.
Sans rapport direct, je voudrais cependant militer contre la nuisibilite de la définition de Liszt "l enfant,l homme,le dieu"et pour ma proposition "l homme,le héros,le prophète"
I too prefer Brendel, the early and the later recordings, but I also come to Schnabel because of and from Brendel, because I know Schnabel was an important influence on Brendel and his playing. In this case, the student or follower surpassed the master. But still, I go back to the man who inspired Brendel and, to some extent, showed him a way to approach Beethoven. I come to Schnabel to see him in and for himself, but also to trace the performance and interpretation genealogy of Brendel, especially with relation to the Beethoven piano works. And of course Brendel is only one line of influence in twentieth century piano performance for Schnabel--he had such a huge influence on so many great pianists, again, particularly with relation to Beethoven: he represents an important phase in twentieth century Beethoven piano performance and interpretation. His impact on performance history is signal. We are lucky that so many of his recordings have been preserved, even if the sound quality is not always premium. So if he didn't practice much later in life and made a few mistakes on recordings--this is less significant than the totality of his entire career, the breadth of his impact, and our ability to listen to him at different phases in his career and get a glimpse of his interpretive evolution.
Interviews w/ many great pianists reveal that many of them felt Schnabel was one of the greats and that felt they had much to learn from his interpretations . This in itself is one reason to listen to him. Those familiar w/ even a bit of the instruments history have surely heard already , before hearing him , that he was not a perfectionist in performance regarding the correct notes. It is a given. Why complain then? What is far more interesting is his playing . Too many musicians today are from a mold or cookie cutter and have no individuality having spent so much energy trying to play to please teachers w/ a surface facility that seems valued out of proportion . Schnabel only sounds like himself and only worked to reveal what he valued in the music and not what others demanded.
6:18 exactly HERE : one of the most fantastic moment of piano playing; by Artur Schnabel. And more : 6:32.
Great performance, many thanks for posting it
Did I hear some tempo fluctuations?
So what ? If you are not pleased with it , go back to your kitchen and contemplate your dishwasher .
Yes he's going with the implied language of the music for his phrasing rather than a strick literal interpretation that is our value today when listening. Blame the conservatory factory farms for that and the competitions for who can play the loudest and fastest . How can one judge a subjective and human performance? One can't so we refer to actual perimeters of exactness to a score and technical proficiency.
Really like how the third movement seems to grow out of the silence of the ending of the Largo.
Non ho parole
I like the 2nd movement the best out of all his sonata's slow movements.
It's one of his greatest. The whole sonata is one of his best, and not programmed as often as I would like.
Philip Kuttner I think this is the best of his "classical period" sonatas (before opus 31), and is the longest and most difficult amongst them.
That first movement is so bright and exhilarating; it's like a rollercoaster ride out at the fairgrounds. And Schnabel does not disappoint.
21:38
לודוויג ואן בטהובן-סונטה מס' אופוס 7 פרק 4 במי במול מז'ור
This is the only great Schnabel recording out of the sonatas. He actually practiced for this one and it was very impressive technically. Schnabel, when he was younger, had the most amazing technique. At this age, he stopped practicing and when it came to recording the sonatas, he played almost all of them terribly. However, it is important to listen to them because of the musical ideas and even technical. He just did not practice though and was very sloppy apart from having great ideas. But Opus 7 is a glimpse into Schnabel when he was younger before he recorded. Amazing performance. If only he recorded the other sonatas like this and actually practiced the other ones.
One of the most funny and stupid comment on YT ... thank you !
@FunnyGuy 00 someone who played this sonata.
@@hodmchess6133, sorry but that explains your comment
@@marichristian1072 He played this piece extremely well. I hate his other recordings of Beethoven since he never practiced them and was making a lot of errors and was not able to do them technically. His opus 106, 101, 57, 53, 111, 110, 109 were terrible. The ones I listed are the most difficult ones, but he just could not play them. But I believe that he practiced the opus 7. I think it was great technically, and this is also one of the most difficult ones. Trust me, this piece is much more difficult than it looks and I am surprised that he played it so well compared to the other Beethoven sonatas. If he played all the other sonatas like this, his 32 sonatas would be amazing.
@@hodmchess6133 , Saying that Schnabel one of the greatest and admired Beethoven interpreters played Beethoven terribly shows your lack of understanding.
❤️❤️ thanks.
grazie
Pika das galáxias
kkkk ... Tpdaca obra de BEETHOVEN tb é..
- zeni me
Rekla sam da!
4:01
21:40
Those are wrong notes at 2:44 and 3:55, right?
A very clumsy and inaccurate playing in the first movement... no drive but only hollow empty virtuosity... Not my cup of tea really...🤔🤔🤔
And that is only what you noticed ?
@@Beethovens.Heritage
So go away .
@@Fritz_Maisenbacher To be honest, there are recordings and pianists I like more. I do not reject everything Schnabel put on record, and to be honest I do not know all his Beethoven recordings, but I am simply not fond of it. My preference still goes to Brendel in his first cycle on Philips... A very moving and deep emotional journey through a psychological soundscape that tells a story of love and passion; probably the first sonate that stands in the great tradition of the story-tellers Chopin and Liszt. That's what I hear in Brendel. Maybe one day Schnabel will convince me with his approach. People evolve. Greetings ! 😊😊😊
@@Beethovens.Heritage
You may hear every music appropriate or not appropriate to your your own life and inner sensibility . This is perfectly normal .
But there is something special with Schnabel playing Beethoven ...... my friend , .... this is a Holy Garden for so many of us . So many listeners who are suddenly cured with this specific beauty .... this is for these people no more "music" or "interpretation" ..... this is like a mother , or words of love or passion , revelation and light ....
If you don't like it , this is ok , but stay still , just go away , let us alone in our extatic moments ........................ and come back when you will , as a new lover .
Very clumsy and inaccurate playing in the first movement... hollow virtuosity really... the second movement without depht... No really... no movement without mistakes and emptiness... I doubtlessly prefer Brendel in this sonata... Barenboim as well...
So go away from here
This is a holy garden.
Didn't you know ?
@@Fritz_MaisenbacherThere is no such thing as a holy garden. Only the possibility and right to a personal argumented opinion. Sorry, it does not comply to your honest but very emotional devotion.
When I see your stupid face, I know where is the Holy Garden.
The place where you are not.@@Beethovens.Heritage