Beethoven Kreutzer Sonata No.9 - Patricia Kopatchinskaja & Fazıl Say
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- Опубликовано: 30 сен 2024
- Beethoven Kreutzer Sonata No.9 - Patricia Kopatchinskaja & Fazıl Say
Ludwig van Beethoven - Kreutzer Sonata No.9 - Opus 47 - 1802, 1803 - for piano and violin
PATRICIA KOPATCHINSKAJA: Violinist Patricia Kopatchinskaja's repertoire ranges from baroque and classical (often played on gut strings) to a number of new commissions or re-interpretations of modern masterworks. - patriciakopatch...
FAZIL SAY: Composing is always a form of improvisation: with ideas, with musical particles, with imaginary shapes. And it is in this sense that the artistic itinerary and the world-view of the Turkish composer and pianist Fazıl Say should be understood. - fazilsay.com/
Piano provided by Yamaha Music Europe / doremusic
Tolstoy'un Kreutzer Sonat isimli kitabını okuduktan sonra dinlemek daha bir farklı. Kitabın ana teması ve gerçekçiliğinin bu büyük bir eserle tam tamına uyuşması beni çok etkilemişti. (Y)
ismail mert bunların üzerine birde Immortal Beloved filmini izlemenizi öneririm.
Merve Kılıç Teşekkür ederim öneriniz için.
Yolculuk yaparken ayrı bir hoş olmuştu. Sanki olaylar besteden fırlamış yazıya dökülmüş gibi.
Pozdnişev😁
Thank you Kanye, Very Cool.
Tolstoy un kitabı getirdi beni buraya
Bir eser kişiden kişiye farklı duygular uyandırır. Tolstoy'un Kreutzer Sonat'ında bir eserin bir erkek üzerinde kıskançlık duygusunu kamçılamasını ve şehveti uyandırmasını okuyoruz, Beethoven'in sonat'ında eser bana yer yer depolanmış bir enerjiyi baskılamayı, bazen serbest bırakmayı, kimi zaman huzuru ve sakinliği hissettirdi. Belki de Pozdnyshev' de uyandırdığı duyguların sebebi Beethoven'in sonatı'nın şehveti çağrıştırması değil Pozdnyshev'in duygulanımına yol açan her şeyin kıskançlık duygusuna dönüşmesi ve benliğinde dizginlemeye çalıştığı duyguların müzik ile çoşup taşmasıdır. Belki de müzik, kilitli kutulara sakladığımızı sandığımız, baskıladığımız duyguların su gibi akıp gitmesine vesile olan bir anahtardır.
Şimdi Kroyçer Sonat'ı okuyorum hemde dinliyorum adeta müzikle birlikte okununca hipnoz etkisi oluşturdu böylesi etkiyi beklemiyordum sanırım sanat amacına ulaştığında bu hissedilir çok sevdim...
Harika bir roman Harika bir sanat eseri
unglaublich, visionär, kompromisslos.Ein emotionales Ereignis. Endlich eine Interpretation, welche den Geist Beethovens voll ausschöpft. Wunderbares Duo.
Tolstoy un kreutzer sonat kitabını okudukdan sonra daha bi ilgi çekici gelmeye başladı
Müziğin hızlanması Kroyçer Sonat'da Pozdnişev'in karısıyla ilgili kafasında kurduğu düşüncelerin birden alevlenmesi, karısıyla yaptığı tartışmaların şiddeti; durulması ise Pozdnişev'in düşüncelerinin yatışması, tartışmalarının tatlıya bağlanmasıdır.
Ama sonra karısını öldürdü
@@leylak5653 sanırım bunu yapması da kafasındaki düşüncelerin verdiği ağırlıkla bir rahatlama, duygularını boşaltma ve belkide kendi içindeki katharsis'i yaşamasıydı. Birde okurda uyandırdığı o rahatlama, korku veya acıma duygusunun fiziksel bir sebebi de olabilir.
Tolstoy burada müziği eleştiriyor.O dönemdeki aile hayatınlarına nasıl bir etkisi olduğunu söylüyor.Gerçekten eşi aldatıyor mu? Ve ayrıca Tolstoy kadının konumunu da açıklıyor ataerkil bir düşünceye sahip.Evet öldürmesi bi nevi
İçindeki o nefreti söndürüyor ama sonrasına pişman oluyor galiba.Bence her ne kadar aldatsa da boşanabilirdi herkes kendi yoluna giderdi.Bence günümüz evlilere de bir ders niteliği taşıyor
@@leylak5653 dediklerinize katılıyorum yazar o dönemki aile yapısını çok güzel göstermiş, Rusyada kadınlar her zaman aşağılanmıştır, kadının görevi ya bir işçi ya bir anne ya da evin yöneticisi (evle uğraşan). Lev Tolstoy kendisi zaten ataerkil izinden giden bir insan bunu Anna Karenina eserinde bizzat görebiliriz, kadının görevinin yalnızca ailesine yönelmesi ve çocuklarına eşine sadık olması gerektiğini düşünüyordu. Günümüzde kadının konumu yükseldi olarak görülse de Rusya'da hala kadına değersiz olduklarını hissettiriyorlar, bu da genlerle insandan insana geçiyor sanırım
@@jordokkk 🙏teşekkür ederim evet anna merak ettiğim bir roman ama onda da ataerkil düşüncesini olduğunu söylediğiniz için romana bakış açım olumsuzlaştı biraz ama yine de okuyacağım.Tolstoy her ne kadar ataerkil düşüncesine sahip olsa da eserleri okunmaya değer bence.
Romanı ilk kez yaklaşık elli yıl önce okumuştum. Yıllar sonra müzik eşliğinde tekrar okumak çok farklı bir duygu. Fazıl ve Patricia'nın uyumu mükemmel. Teşekkürler... 🌹
I'm sure Beethoven is smiling.
Totally! He himself was notorious for his animated emotional performances. This is Beethoven in the spirit of Beethoven.
I think he'd be yelling.
@@crimeancomposer Probably depends on the day....lol
@@personalnotesmusic 😜
tentu saja
Kreutzer Sonat, artık Tolstoy ile daha anlamlı, daha gerçek.
I. First movement (adagio sostenuto 00:01/ presto 04:05)
II. Second movement ([F major] andante con variazioni)
I. First variation: lively triple meter with trills 13:05
II. Second variation 15:21
III. Third variation (F minor): darker and more meditative state 18:49
IV. Fourth variation: it recalls the first and second ones 22:04
V. Fifth variation (F major): slower and more dramatic feel, becoming romantic in the end 24:49
III. Third movement (presto) 27:41
Her duyguyu kalbimde hissettim. Yüreğinize sağlık. Ruhum size büyük bir teşekkür borçlu...
Kısa bir eleştiri:
Dünya'da trend olan, olduğu sanılan müzikler aslında sadece süslü bir tabakta önümüze sunulanlardan ibaret. Tamamen ticari, sanatsız, dolayısıyla emeksiz projeler... Maalesef bu iki değerli üstadın hayat verdikleri, muhteşem eserdeki gibi müzikleri kendimiz talep ederek buluyor ve dinliyoruz. Bu müzikler daha çok hayatımıza girmeli, acilen!
Beethoven yaşasaydı eğer duymasına gerek kalmazdı. Gördükleri ayakta alkışlamasına yeterdi.
Harika 😄
Profound, fierce, passionate, outspoken… Beethoven comes to life!
Fantastic! The best performance of the Kreutzer I've ever heard. The tempi were great. And there was a feeling of freedom, of spontaneity in their playing. Bravo!
Ungemein lebendige und packende Interpretation! 😲😲😲
Bestimmt.
Dear "Fazıl Say", thanks for your several uploads. I already heard some of your works /presentations, such as: "Istanbul Symphony", "NAZIM ORATORIO", "Beethoven's Appassionata" etc. All are perfect. Espessialy for "Appassionata", I wrote my positive comments, you can see it. For the present performance, I will repeat the comment of "oyfoss2": "Beethoven will love it !!"---Regards from Greece---
I love this energetic interpretation. They follow the notation perfectly.
I feel that Beethoven would approve. Everyone doesn't have to imitate Oistrakh.
Climbing Skins
Dear Climbing Skins<
My complaint with so many musicians is that they feel compelled to imitate the greatest artists, and, with violinists, Heifitiz in particular.
If I didn't have to accommodate students aping the Kopanchiskaya/Say performance, I would laugh.
I disagree to your claim that Beethoven himself would approve. Maybe future neurotics will champion tempi beyond orbits, balanced by human nakedness.
Thank you; we are reminded of the upside-down violin intermezzo during the premiere of the Beethoven Concerto!
Score for you!
All Best,
Eduard Laurel
How would Beethoven approve. He wouldn't hear it
Oistrakh the best with Kogan
@@EduardLaurel ok Eduard
setuju
Böyle bir sanatçının Türk olması muhteşem bir şey çok gurur verici ❤️
Nasıl anlatsam size? Müzik kendimi, gerçek durumumu unutturuyor bana. Kendimin olmayan, bambaşka bir dünyaya götürüyor beni. Müziğin etkisi altındayken gerçekte hissetmediğim şeyleri hissediyormuşum, anlamadığım şeyleri anlıyormuşum, yapamadığım şeyleri yapıyormuşum gibi geliyordu bana. Bunu ben müziğin, esneme ya da gülmenin yaptığı etkiyi yapmasıyla açıklıyorum: Uykum yok, ama esneyenlere baktıkça ben de esniyorum; ortada gülecek bir şey yok, ama gülenleri gördükçe ben de gülüyorum.
Kroyçer Sonat-Lev Tolstoy
abi sen mahvolmuşsun
Sayfa 85 :) (İş Bankası Kültür Yayınları)
I have been inspired by this violinist. Because of Patricia, I use emotion, passion, and soul in my performances. I love the way she plays. Everything is just perfect.
Ahmet Ümit'in "Sultanı Öldürmek" kitabı sayesinde Tolstoy'un Kreutzer Sonat'ını öğrenmek, Tolstoy sayesinde Beethoven'ın aynı isimli nadide eserini Fazıl Say'dan dinleyebilmek... Edebiyat ve müzik gerçekten mükemmel bir şey.
I think you mean “rarely heard.”
Some might say that this performance is too passionate, some might say it is rushed, or even dare to say words like it is raw, but to me it is the soul of a man poured into a single performance who has never known any kind of peace in his entire life, just experienced pain, unfulfilledness, doubt and misery, but gave the rest of us such joy and pleasure that cannot be described with our mundane mortal words...
@Levente Molnár Bravo for your wonderful comment, I AGREE! Patricia and Fazil are extraordinary and HONEST!
Beethoven'ın birçok eserinde hızlanmak, çoğu zaman coşkuyu öne çıkartmak için bir avantajdır bence. Fazıl Say bunu iyi yakalamış bi bestecidir ki Beethoven kayıtlarının bazılarını normalden hızlı çalarak dinleyiciyi haz anlamında harekete geçiren, tetikleyici bi etki sağlamıştır. Ben şahsım adına bunun bir hata değil, bilinçli olarak yapılan bir şey olduğunun kanısındayım. Ayrıca, aksine Beethoven keşke hayatta olsa da görse bu kadar iyi yorumlayan sanatçıları..
L.N. Tolstoy’un mâlum kitabıyla eş zamanlı dinledim. Bir cinayetle uyumlu.
Senelerdir bıkmadan usanmadan dinlerim. Niyeyse hiç yorum yapmamışım. O kadar güzel bir parça ki insanın ta iliklerine işliyor. İkilinin uyumu da çok güzel. Sırf Fazıl Say Türk diye değil, en çok bu ikilinin çalışını beğendiğim için bunu dinliyorum. En çok 12:49-13:02 arasını beğeniyorum, harika.
Escuchaba hace ya 38 años la interpretación de la sonata Kreutzer de la colección Salvat, me cautivó siendo un niño de 4 años. Al paso de los años esta fue parte de mi vida en esos momento importantes y tan únicas. Hoy al escuchar esta interpretación de estos genios, mi alma renace en cada acorde, me uno a mis padres cada vez que la escucho. La mejor interpretación que he visto y escuchado
Where is the love button
Michael Cardini you’ve created it 👍🏾❤️
Pocas veces encontré tanta solvencia y tanto dominio del instrumento en una violinista, en el pianista y en una dupla de músicos como ustedes. Creo que desde el punto de vista de la interpretación han elegido intensionalmente llevar el mensaje de fuerza y pasión que encierra esta música hasta llegar al extremo de manera que surgen ya sentimientos de bronca, agresividad y descarga emocional que a mi criterio y sensibilidad, la exceden un poco. Pero es una versión arrolladora y vertiginosa a mas no poder. Los finales de frase en los movimientos rápidos son extremadamente cortos, violentos y sucios la mayoría de las veces en el violín. Oigo que el violín está soportando el límite de presión y velocidad y el sonido es distorcionado muchas veces, por el mismo toque. Hecho que no sucede con el piano, ya que no puede tocar sucio, aunque sí toque bien corto. Hay una variedad de ideas magistralmente coordinadas, toques y tempi tan contrastantes a distancias tan corta de tiempo, acentos exagerados y repentinos que aportan demasiada inestabilidad emocional al borde de la locura. ¡Parece casi una obra contemporánea! Pero atrapa por la energía, explosividad, convicción absoluta y dominio artístico-virtuosístico de ambos músicos. Una versión diferente, espectacular, extrema, límite, loca, viva, emotiva y emocionante, con cambios y agregados, y también es coherente en sí misma, fina, impecable, acabada y completa. ¡Bravo! ¡Felicitaciones! y ¡Gracias!
These two are perfect to pair for this sonata and it's tempo because they both seem to enjoy playing fast and are doing extremely well at it.
Beautiful!!!. Amazing!!! Heavenly!!!, Perfect!!!
Congrats to Patricia and Fazil and thanks for all this art.
Leopoldo Sánchez Cantú
It's "Fazıl" not "Fazil"
OMG.....Mind....Blown....This was incredible. I don't want to listen to the other vanilla performances any more!
Same thought, this is the perfect version
I've never heard this sonata played with such electricity and bravura. Patricia is, to use a cliche, a breath of fresh air: anyone who hasn't heard her performance of the violin concerto (here on RUclips) should drop everything and do so. Fazil Say on piano gives her wonderful support in this eccentric and memorable rendition. Thank you so much for sharing it with us.
Is presto.. but... is so fast and she plays with bravura, is the first time I listen this performance... is a little slowly...but she plays with bravura..
ComposerInUK
Try Bartok/Szigeti for the same electricity but more control from the violinist.
I was suprised the violin wasn't broken in the first presto.
ComposerInUK - whose name is...?
Kopatchinskaja and Fazil Say are playing beautifully. I really enjoyed and would love to hear them more. Wishing them successfully in their way of art.
Sevgilisine ulaşmaya çalışan bir adam. Faytonu yağmurda arıza yapmış. Tekerleri çamura saplanmış. Kız da fazla beklemez. Bu müzik adamın sıkıntısının sesi.
sıradışı olmuş hayranlıkla dinledim,teşekkürler Say ve Kopatchinskaja :)
Fantastic! Both of these young musicians are incredibly talented and touched by the divine grace! A wind of freshness blows on the whole work!
Go Patricia and Fazil! Roaring and outrageous! All the emotions of a man stunned and frantic after being betrayed by a lover... emotions swinging back and forth from tenderness to fury to distress... to acceptance... to joy, 'hey, I'm free again!' Brilliant! Congratulations!
Wow Particia!!
Türkten çok yabancı olduğu için utandım.
41Tsubasa Anca gidip o sen olsan bari dinlerler bizimkiler
Silisyums ya ne bok yerse yesinlerde bu bi şaheser 👌
Tolstoydan geldik😀
tolstoy okuyorum, geldim.
Tavsiyenle okudum, geldim, gördüm, yendim hehhehe
Aa bir Alıntılarla Yaşıyorum izleyicisii
@@CerennEla aaa merhabaa
Verrückter Geiger. Zertifiziert intergalaktisch!🌹
Espeluznante!! Es la belleza, es la pasión, es la fuerza... ...es el genio de Beethoven al unísono y en vivo, con toda la sangre y como regalo por parte de estos dos maravillosos artistas, Patricia Kopatchinskaja y Fazil Say... En fin... ...hay obras tan únicas y hermosas, que tan sólo se pueden decir con un piano y un violín.
The most passionate music Beethoven ever wrote, and this outstanding duo got it perfectly right. A marvelous performance.
Although quite controversially played with murderous tempi, I didn't lose interest for a split second. Would Beethoven have liked it? :-) Quelle technique .....
Raoul Tak Beethovens pupil Cerny left detailed indications how to play this sonata: They just apply these instructions and his tempi. Its not their fault if almost everybody else ignores them.
emilelaurent Thanks...I didn't think of this. Though, I've also read that Cerny's descriptions how to play Beethoven's work were not always received with gratitude at that time. With due respect I prefer to play this sonata with the genuine Beethoven "marks", which are sufficient to get a complete idea how Beethoven wanted this to sound. But get me right: this performance is highly interesting.
Raoul Tak Still Cerny was Beethovens pupil and had a photographic memory. He wanted to preserve his first-hand knowledge to posterity, e.g. with metronome marks which Beethoven did not give. But its not only Cerny. A contemporary review in the renowned Allgemeine Musikzeitung 1805 spoke about this piece using words like "esthetic and artistic terrorism", "grotesque", "bizarre", and spoke of the "most astonishing excesses", Clearly the public was shocked. Do todays polite and tame interpretations really reflect this?
emilelaurent thank you for sharing that! I always wonder how close today's musicians are to playing the music as it was intended
+Noah R. thank you sir. That was a great, interesting and educational comment you had written. I apprecaite it :D
Incredible interpretation ... Absolutely brilliant playing. Thank you for posting!
lol this is probably the worst interpretation of Beethoven's Kreutzer Sonata No.9 in terms of following the music sheet, (don't) get me wrong it has its own attractiveness). It's way too bombastic and violent for Beethoven. Of course, the nature of this piece is somewhat romantic, but she's playing it as if it's a concerto written by Tchaikovsky or Paganini. But, in terms of personality and style, I would say this is by far the most unique interpretation I've ever heard.
Sorry for disagreeing: Beethovens pupil Carl Cerny not only left tempo indications but also detailed instructions how to play the Kreutzer sonata: He says that the first movement needs the strength and stamina of an accomplished virtuoso to maintain the stormy and wildly excited character throughout. The last movement should be as brilliant and fiery as the first but much more lively. The end noisy and prestissimo (Carl Cerny: Über den richtigen Vortrag der sämmtlichen Beethovenschen Klavierwerke, 1842, reprint Universal-Edition, 1963, p.116-117). A contemporary reviewer qualified this composition as bizarre and grotesque, in fact a sort of aesthetic and artistic terrorism. Therefore the Kopatchinskaja/Say version is probably the best in terms of following the music sheet and the available historical information. Only the Hubermann/Friedmann recording from 1930 is similar in character. Friedmann having been educated in the direct Beethoven tradition (by a pupil of a pupil of Cerny) he probably knew what he was doing.
Jerry Kim yanılıyor. Bu sonarı çok iyi tanırım, çalmaya çalışmıştım, bir zamanlar.. Kanımca yorum Fazıl Say'a aittir. Çok büyük bir keyifle izledim. Her sanatçı ya bir kopya yorum yapar veya kendi yorumunu yapar. Aslında bu bir Fazıl Say yorumudur. Bence. Fazıl, Tanrının Türklere bir armağanıdır. Ne yazık ki kıymetini bilemiyoruz.. Bütün dünya onu alkışlıyor. Eminim Tanrı bile şaşırmaktadır, Bu olağan üstü insanı nasıl yanlış yere gönderdim diyordur.
> way too bombastic and violent for Beethoven
LOL
Sorry to disagree with you, but While tempi are similar in Humbermann/Friedmann (Heifetz's tempi are also similarly fast), he is far from this aggressive throughout the piece and is actually closer what you have despondently shut down as "Polite" interpretations than he is to this interpretation. I would even argue that Heifetz is far more aggressive in this music than most other violinists if you want a point of interpretational comparison.
Personally, her work is not to my taste though I do appreciate her last movement most, particularly the spicatto articulations at the tip during the opening phrases.
Stop following the music sheet and listen. Hear and feel the passion.
Sad fact: when you want to play on a competition you must play it like all those other violinist or the jury is gonna think you are crazy. But as a succesful violinist they would say, wow awesome🤔
I would not enjoy it as much as if someone plays it death in front of me. Humans do not only value the sound itself. We love music because it was conditioned with positive feelings we had while listening. We start to like the piece without needing the other part that conditioned us. So if we see emotional act it gets boosted again- its like feeding dog while ringing, and later if you only ring without feeding the dog will slowly ignore the more often you do. ~
That’s why I don’t play in competitions
Wer das Glück hat, diese Aufnahme zu hören, wohnt einer kammermusiklischen Sternstunde bei. Geigerin und Pianist geben ihr Äußerstes, um der Größe und der Tiefe Bethovens gerecht zu werden. Allein der Umgang der Geigerin mit dem Vibrato könnte Lehrbücher füllen. Wie größte Kraft, ja Wildheit und intimste Zartheit sich begegnen, ist phänomenal. Eine große Stunde, von der man sagen möchte: Verweile doch, du bist so schön!
Dem ist absolut nichts hinzuzufügen. 💯✍😌
Wildheit, ja! Götterliche Wildheit!
To all those trashers of these two great artists: obviously you have no idea how artists let go of control of their physical gestures once they start playing and getting lost in the magic of music. If you think they would be embarrassed to watch themselves on tape you are sorely mistaken. These are genuine performance artists, they learned to let themselves embraced by the rhythm and the score of the music they play a long time ago and not to care about what dimwits think about their facial or bodily gestures. This is, without doubt, one of the greatest performances of the Kreutzer Sonata. If you cannot stand to see what you term as ''excessive dramatic gestures'' then I suggest you ''listen to'' the performance, rather than watch it. This way you may be able to enjoy an extraordinarily spectacular rendering of this great piece, that is, if you have any appreciation of quality music.
Amen... This is gorgeous playing... at the highest level artistry... I got goosebumps listening - from almost the opening violin intervals.
It's just too beautiful, they are completely outstanding
mmmm... this is the least philosophical thing I've ever heard.
it isn't her body that throws me. its her performance.
ruclips.net/video/8NOF_ueaxJ4/видео.html
I agree when I get into playing my instruments in public I used to holdback but I sounded horrible but when I let loose people tell me to not stop playing
When RUclips suggests a video with Patricia Kopatchinskaja playing a piece of music I know well, I'm never sure whether I'm going to like what she does with it or not. But I'm always sure I won't be bored.
Completely agree!
But would you agree with her rendition? I am not a musician and I find it very expressive and passionate but cannot judge more than that... .
@@curaticac5391 There are some parts of it I like, some parts I don't. It's very different from how most people play the piece, but that's what makes Patricia Kopatchinskaja interesting to listen to. She defies convention and does things her own way.
@@Chamtechie Thank you very much!
Surely, played the way Beethoven would have liked his Kreutzer Sonata to sound AND for its player to look when playing it! A super-great classical music video!
Wonderful how she breathes freshness and vitality into all she plays even if we have heard it a hundred times
The pianist & violinist show astounding craftsmanship in this sonata. The duo performed with great vitality, the tempo was always in unison. A scherzo version with delightful intonation, technical brilliance melodic sound of harmony and beauty.
The most honest interpretation of this sonata. No one dares to play like them!
facts
Even a trained Carnatic classical musician like me from India can very well appreciate this. Music has no region and language. Excellent rendition ..
To much beautiful
@Jeb Clar She is Moldovan, not Russian. Bite your tongue.
Carnatic music for ever!!!
Any problem with Russian people? That has no meaning. We all are sons of God. Politicians should stand out of this kingdom.
Fantastic vitality! These two can do anthing they want with their musical skills. Very refreshing to see some creativity in interpretation and still adherence to the musical line.
You can hear the trapped screaming in the music.
wow.
this is amazing, Hands down my favourite interpretation of this Sonata.
The more I listen to Patricia and Fazil, the more I want to throw to the dustbin all the other versions I have of the Kreutzer, I'm sure Ludwig is on my side!!!!!!!
jchenergy same :)
The Kreutzer sonata,,being one of the most complex, most multidimesional in feeling and musicianship of all Ludwig van works, deserves all kind of intrepretations. Every couple of artists play it as they feel it. This Kopatchinskaya /Say version have all the vitality, mistery (second movement) and expression that it deserves. As for meaning of the work, it reflects probably a lot of hidden frustrations and desires of Ludwig Van. For those interested about it, read the Tolstoy's novel "The Kreutzer Sonata"
Thanks for the information, I didn't know the relation between Tolstoy and this Sonata.
jchenergy I saw a wonderful dramatic production of Tolstoy's novella years ago. The music was played very fittingly at different points throughout the play. I was already familiar with the sonata, but Tolstoy's version was new to me.
"The Kreutzer sonata,,being one of the most complex, most multidimesional in feeling and musicianship of all Ludwig van works"
It's not even in the top 10 of Ludwig "my firends call me Louis" van B's most complex works..
Check out the late quartets, piano sonatas, the 9th, the Missa Solemnis.
Not dissing the Kreutzer here. Far from it. But in his last decade, LvB became a MONSTER.
And to those who think I'm using the word "monster" for effect only : I'm not.
(Strongly urge lovers of this music not to waste their time with Count Tolstoy's hypercranky novella.)
@@mmorseca it is not a bad one and not boring either. why don't you want others to read it? it gives a nice perspective of a jealous person imo.
Mr. Fazil and Patricia, thanks for giving us back this supernatural sonata that years of the traditional formula had distorted from its original tempo and savagery.
They did an amazing job, havent seen a better performance over this
Il n'est pas toujours bon de rajouter de la passion là où il y en a déjà beaucoup. Mais bah! Nous sommes au XXIème siècle et il faut bien que les nouveaux interprètes se distinguent des anciens...
Et son excès de passion tourne presque à l'hystérie .
leidenschaftlich, energisch, grossartig, wunderbar, einzig, über sich selber hinausgewachsen - beide verkörpern musik in unverwechselbarer selbstverständlichkeit !
we are beethoven-ists... tolstoy-ists... and fazıl say-ists... and now we became kopatchinskaja-ists...
Kreutzer is one of my favorites and have listened it from numerous artists so far. Yet, this has been clearly the most vigorous and joyable one for me. I am not a professional to judge these performances from a point of musician but as a listener, I can say that this wonderful interpretation helped me understand the passion of Ludwig van Beethoven.
To Leon Orthopedic: Was Beethoven really an advocate of boundaries? Here is an essay from Patricia's website:
Aesthetic and artistic terrorism: the Kreutzer sonata
After its publication in 1805 the Kreutzer Sonata was discussed in great detail in the "Allgemeine Musikzeitung", noting that in order to appreciate this strange work one had to be biased by "aesthetic or artistic terrorism" and going on to describe the composition as "grotesque", "exaggerated" and "strange".
This sonata was not written for Kreutzer, but actually for George Bridgetower (1779-1860), a mulatto, acrobatic violin virtuoso and womanizer. He received the sheet music the day before the premiere, which took place with Beethoven at the piano in Schuppanzigh's Augarten Pavilion in front of a prominent audience. In the first movement, after the slow introduction, a brilliant, arpeggiated piano solo leads to the rapid part. In the repetition Bridgetower played this piano solo on the violin ex tempore, whereupon Beethoven interrupted, got up, embraced Bridgetower with the exclamation "Once again, my dear fellow" and then continued to play. After the performance, which reportedly only caused laughter, Beethoven wrote the dedication to his partner: "Sonata mulattica Composta per il Mulatto Brischdower, gran pazzo e compositore mulattico" on the manuscript. Only hours later, over wine, he got into an argument probably over Bridgetower's disparaging remark about a woman. In anger Beethoven withdrew dedication and manuscript - despite Bridgetower's his apologies and pleading requests - and transferred them to the violin virtuoso Rodolphe Kreutzer (1766-1831), who however rejected the piece as unplayable...
Beethoven's student Carl Cerny gives numerous hints about the interpretation of the Kreutzer Sonata: According to him the first movement requires a great virtuoso for endurance, strength and to hold on to the stormy, wildly excited character. The last movement is just as brilliant and fiery as the first, but much livelier. All eighths staccato, unless the opposite is expressly stated. The end noisy and prestissimo. Cerny also gives metronome marks: First movement: Presto, halfs = 144; Second movement: Andante, eighth note = 88; last movement: Presto, whole measure = 88. An interpretation is probably only "historically correct" if it takes these guidelines into account and, for example, makes it clear that this sonata was written for a "gran pazzo" ("totally crazy") and that it had a strange and "terrorist" effect on contemporaries.
This view is exactly confirmed by the historical recording by Bronislav Hubermann and Ignaz Friedman (1930, Naxos historical). Ignaz Friedman was a "grandchild" of Karl Cerny through Teodor Leszetycki, thus a great-great-grandson of Beethoven and will have known how to play the piece. Another notable recording is the one by Bartok and Szigeti, also quite fast. Most of the later recordings appear limp and lame compared to them.
Literature:
Carl Cerny: On the correct performance of all Beethoven's piano works, 1842, reprint Universal Edition, 1963, pp. 76-78 (in the original edition pp. 84-86)
That is wild wow
Surelly the best performance of this sonata I have ever listened to.
Versteh absolut nichts von Musik aber dieses Stück lässt mich erstarren und innehalten. Genial
Tremendous performance. The faster the better! As soon as the second movement started I thought, "I see where this is headed! Wow!! Freaking wow!!!"
Someone directed me to this performance as a 'controversial' one. But I found nothing controversial here. Vigorous, energetic, imaginative, true to the intention of the composer - yes, all of that and much more. At the same time, thoroughly entertaining and satisfying.
They are both insanely talented musicians. And that performance was really awesome. Also violinist is so cuteee! ♡♡
Now that's how you play the Kreutzer!
This is by far one of my favorite performances of this piece, but I was sad to see ads every 3 minutes. It made it very hard to enjoy such a beautiful performance.
Очень интересно!
Всё правильно,музыка должна быть живой,а не памятником самой себе.
Oh, god, so much pedantic bad blood around... Some snobbish wannabe dilettanti seem to forget that originally this Beethoven's great sonata was made and dedicated thinking in a virtuoso, Bridgetower, and then given to another virtuoso, Kreutzer, who didn't dare to try it... So, to condemn this performance because is done in a virtuoso manner seems to be quite absurd, to say the very least... They can't appreciate the great, really great work of the violinist, her great fingering which gives excellent and clear sounds, differentiating neatly all the notes even in the fastest passages, and the good work of the pianist who keep the pace and tempo decorously, and both maintaining along the whole work the nuances and feeling of the music they are playing, differently from some former sacred cows who would had been so keen in trying to live to their virtuoso fame that would play more like mechanical devices, and some other quite inflated new generation musicians who have to play it slowing it down out of context because for them otherwise it would be, as same Kreutzer said, "unplayable"... Imho, this is a great, amazingly brilliant performance and a pleasure to listen to it. As a matter of fact it reminds me precisely of the Oistrakh and Oborin version, which, by the way, is even a little faster than this one... Many, many heartfelt thanks from me to these musicians for their fine art, very fine art, in this so very good and satisfactory rendering.
The performers read the Beethoven's mind and replaying that beautiful mind. Their waving of bodies help them to understand and transmit it to audience .ore effective.
😄
F A N T A S T I C ! ! !
There are two Beethoven's 9th. The Kreutzer and the authentic one: The Bridgetower. With the subtitle Mulatico Lunatico. The first one is frankly boring as is Kreutzer’s legacy. The other is one of the greatest of the entire repertoire.
Tolstoy’s novel is excellent craft of a repulsive moralistic nonsensical argument that attempts to justify a feminicide by blaming it on society, and not on the psychopath that actually killed his wife. The work itself is a spoil, and has spoilt one of the greatest sonatas ever written.
We should stop calling -and playing- this masterpiece Kreutzer, that arrogant creep couldn’t even bring himself to play the piece. Bridgtower premiered the work alongside Beethoven and clearly was the inspiration behind it.
This is an outstanding interpretation of The Bridgetower Sonata.
What a wonderful comment, thank you for sharing your knowledge!
Simon, your comment is music to my eyes! Yes, Kreutzer was an arrogant creep.
Like yourself, I want this sonata renamed the Bridgetower Sonata
sevgili fazil, en güzel yorumlaninizdan bir tanesi, ayni zamanda en güzel videolarınızdan bir tanesi, diger bir taneside bach chaccone , sanırım italyada idi o konser.
günde 2 defa dinliyorum
This is one of my favorite music videos period, the 1st movement which is all I care about. I watched all the other Kreutzers and I like this more than the others. Arousing every second.
Excellent chemistry yields beautiful art work
Wow. Such a great performance! I've never seen so much devotion to music in my entire life and I'm not sure to see any alike again! Great Job!❤
kitabı okuduktan sonra tüylerim ürpere ürpere dinledim...🏹
Olağanüstü bir roman
Hançeri çıkarma sahnesinde senin de yüreğine acı girdi mi?
The best Interpretation I have ever heard! Great!
le sonate di LVB sono sempre scritte per far assurgere al piano pari dignità col violino ma qui Patricia con il suo straripante violino vanifica le volontà di Ludwig
This performance needs much and careful thought before evaluation, certainly more than Traci Lee seems to have given it. I shall listen to it again before I come to a definite, though wholly personal, verdict. It must be remembered, though it rarely is, that Beethoven wrote the sonatas for "Piano and Violin". The pianist is not an accompanist. They seem to understand that well, and this may well account for their eye contact, gestures/body language, and facial expressions. Gould waved his arm about playing solo. They are communicating, a particularly difficult thing in this technically enormously demanding work. If this is disagreeable to you, for heaven's sake don't watch Emmanuel Ax, Maria Joao Pires, Alfred Brendel, Sir John Barbirolli conducting Elgar with Jackie du Pre....Obviously, music is for the ears, so listen to this video again with your eyes closed if the artists' physical characteristics bother you, and so also with the artists mentioned above and many more, though far from enough. And perhaps eschew concerts and videos. Or do you not look at the performers at concerts? In truth, there is much to learn about the music by watching the communication between or among performers who express it physically. I am referring to chamber or orchestral collaborations, of course, not Gould 'conducting' himself or the 'Cirque du Soleil' antics of Lang Lang.
Excelente poder de comunicaci'on,en todo momento se disfruta una muy variada gama de timbres y ,el desempe;o interpretativo de ambos solistas es verdaderamente impresionante
わたしは「２１世紀は主観性の豊穣の時代」と見ますが、それを証明するような新次元の演奏に「ブラボー！！」
二人とも作曲家でもあるスーパー・デュオ。
イタズラっ子でおてんば娘のままの楽しいお母さんのコパチンスカヤは、天才中の天才！サイの余裕しゃくしゃくで、豊かで自由そのものピアノとのデュオは、まさにスーパー。
幸せーエロースを画に描いたような演奏。けた違いの自由。こんなに面白くて楽しいベートーヴェンは史上はじめてではないか。もうたまらん。
¿Poco femenina??
@@adolfosanchez71 女性は、男性ほど単純ではない。あらゆる面がすべて女性です。
Excellent chemistry
様子見のように控え目の冒頭から、一転、二重奏と言うより丁々発止、ヴァイオリンとピアノの果たし合いのような演奏と相成って仰天。世界に希望が見い出せない今日、音楽の世界に若い才能がしっかり育っているのはせめてもの慰め。
Здорово! Столько страсти, эмоций, сопереживания. И, конечно, технически блестяще. Настоящее современное творческое прочтение, без всякой архивной пыли. Поздравляю!
Da. Spasibo.
For anyone that doesn't know Beethoven wrote this in dedication/for a young black violinist (George Bridgetower) who Beethoven had taken under his wing and become friends with (mostly because of their shared experience with abusive fathers and both being bi-racial). But they got into a huge falling out and Beethoven last minute changed the dedication to Kreutzer a German guy and George Bridgetower was lost in history.
Rodolphe Kreutzer was from Paris and never played the piece...
I could listen and watch these two all day long!
Amazing version. Never heard it interpreted like this before. Bravo!
가장 크로이처다운 크로이처 소나타..
1악장의 바이올린과 피아노의 기싸움부터 23악장의 완벽한 화해의 조화까지 완벽하다
베토벤이 바라던 그대로를 재현한것 같다
Teşekkürler Tolstoy, sayende videoki iki şahsa da gıcığım.
Majestuosa interpretacion, hoy Joshua Bell y Yuja Wang son de lo mejor en el universo en sus respectivos instrumentos. BRAVISIMO, hermosa y emotiva, que presentación!!!
This is better than the ones I've seen!!!
It's okay to memorize it and play it. But the cadenza lacks originality. If you play a concerto by looking at the score, you will be able to play it rationally and well. However, if you do not see the originality of the cadedenza after looking at the score, change your job.