The music is divine (just ilke every other note in Beethoven's 5 last piano sonatas: Op. 101, 106, 109, 110 & 111). And the playing is 10/10. This is life-enhancing.
A truly beautiful and inspired performance. On the contested issue of tempo, I will quote two notable authorities. Mozart: "It is much easier to play the piece faster than slower." And, perhaps more surprisingly, Liszt: "If you cannot play a piece in a slow tempo, it is not ready yet." Thanks for sharing this wonderful musical treasure!
DEPTH AND SERENITY, the inner world of Beethoven masterfully presented by unforgettable Myra Hess. I heard her in an afternoon in Carnegie Hall of all the last three sonatas, an experience that remains in my heart .
Some people are commenting that the theme is a little slow. I disagree. The tonal quality and insight go beyond the notes. There is an inner depth that Beethoven wanted and gave in the instructions for this movt. Hess achieves this state like no other pianist. She is magnificent in this sonata, as she is in the op 110 there was simply no pianist that could play like this. I heard her in an all Beethoven concert in Carnegie Hall and the playing was on this inspired level.
I bought the LP back in the late fifties with my pocket money. It turned me on to all late Beethoven. But especially it made me aware of the ravishing harmonies and shifts of harmony in late Beethoven. Hess plays with such sensitivity to the sound. I would also add - for those who worship the present batch of young pianists - often Asian - and with fingers like magicians, it is ten times more difficult to play slow and pianissimo than fast and furious.
So right you are! Today's aficionados can't appreciate this level os artistry and simplicity as they as so used to "overly expressive" playing which is in reality distortion from the purity of this kind of playing
Hear, hear to all the comments below (including the ones about the slow tempo; but it works, doesn't it! and it's a long-term tempo, with poetic flexibility within an overall constancy, making this not just 'a set of variations' but an evolution, an edifice of many layers ... ). But guys, do listen to Solomon in the Beethoven Sonatas as well (he recorded all the great ones, including this). He too captures that ineffable, sublime quality in this music, and equally "effortlessly". And his "Moonlight" is like no other you've ever heard! Again I ask: Why do so few pianists play like this today?
What do they mean slow tempo? The tempo is fine! (Side note: it's about the same tempo as Arrau's who's hailed as one of the 20th century's great Beethoven interpreters. Hess is even a bit faster.) This interpretation by Hess is wonderful and subtle. This is a pianist with no ego - and that's a good thing with Beethoven.
Thank you. It is sublime and needed to be on RUclips for a long time. Hess is the greatest Beethoven, Brahms, Schubert player ever, I think. So soulful and such lyric tone. "the illusion of the singing tone" she said. Yes, it is magic.
Great playing, but I think the theme and first variation are a bit too slow. She is almost playing adagio, instead of andante, what means it should have kind of "walking" feeling.
My mother took a master class with her, and it left a deep and lasting impact.
That precious melody's final statement has eternity attached to it. Stoically letting go earthly home's last vestige, for spiritual love's ecstasy.
The music is divine (just ilke every other note in Beethoven's 5 last piano sonatas: Op. 101, 106, 109, 110 & 111). And the playing is 10/10. This is life-enhancing.
What's not to completely admire in this great performance? There is such subtlety and clarity in this sensitive Hess realization of Beethoven.
A truly beautiful and inspired performance. On the contested issue of tempo, I will quote two notable authorities. Mozart: "It is much easier to play the piece faster than slower." And, perhaps more surprisingly, Liszt: "If you cannot play a piece in a slow tempo, it is not ready yet." Thanks for sharing this wonderful musical treasure!
DEPTH AND SERENITY, the inner world of Beethoven masterfully presented by unforgettable Myra Hess. I heard her in an afternoon in Carnegie Hall of all the last three sonatas, an experience that remains in my heart .
Some people are commenting that the theme is a little slow. I disagree. The tonal quality and insight go beyond the notes. There is an inner depth that Beethoven wanted and gave in the instructions for this movt. Hess achieves this state like no other pianist. She is magnificent in this sonata, as she is in the op 110 there was simply no pianist that could play like this. I heard her in an all Beethoven concert in Carnegie Hall and the playing was on this inspired level.
I bought the LP back in the late fifties with my pocket money. It turned me on to all late Beethoven. But especially it made me aware of the ravishing harmonies and shifts of harmony in late Beethoven. Hess plays with such sensitivity to the sound. I would also add - for those who worship the present batch of young pianists - often Asian - and with fingers like magicians, it is ten times more difficult to play slow and pianissimo than fast and furious.
So right you are! Today's aficionados can't appreciate this level os artistry and simplicity as they as so used to "overly expressive" playing which is in reality distortion from the purity of this kind of playing
There are many ways to play this sonata - but Hess is just sublime
Hear, hear to all the comments below (including the ones about the slow tempo; but it works, doesn't it! and it's a long-term tempo, with poetic flexibility within an overall constancy, making this not just 'a set of variations' but an evolution, an edifice of many layers ... ). But guys, do listen to Solomon in the Beethoven Sonatas as well (he recorded all the great ones, including this). He too captures that ineffable, sublime quality in this music, and equally "effortlessly". And his "Moonlight" is like no other you've ever heard! Again I ask: Why do so few pianists play like this today?
What do they mean slow tempo? The tempo is fine! (Side note: it's about the same tempo as Arrau's who's hailed as one of the 20th century's great Beethoven interpreters. Hess is even a bit faster.) This interpretation by Hess is wonderful and subtle. This is a pianist with no ego - and that's a good thing with Beethoven.
My former professor always talked about Solomon's recordings when asked about op.109-111
Read my comment above for the answer.
What an extraordinary pianist and what a wonderful human being, her contribution to the arts during WW2 in Britain will live forever.
Thank you. It is sublime and needed to be on RUclips for a long time. Hess is the greatest Beethoven, Brahms, Schubert player ever, I think. So soulful and such lyric tone. "the illusion of the singing tone" she said. Yes, it is magic.
Quite probably my favourite Beethoven interpreter.
The uncertainty makes your remark amusing.
She didn’t play the notes, she played the meaning of the notes, if I may borrow the words of Nick Woud, timpanist of the Concertgebouw Orchestra.
@Yonderin I agree. It is still very hard not to love it though..
это мое любимое фортепианное произведение
Of course, just my opinion and personal interpretation.
lucky you!
The dame...
Poesy ; a tone-poet's.
Great playing, but I think the theme and first variation are a bit too slow. She is almost playing adagio, instead of andante, what means it should have kind of "walking" feeling.
Domenico Scarlatti: 'Show yourself more human than critical and your pleasure will increase.'
A shame she never recorded Op. 111. She hated recording, though, as I understand it.
groß
Schulmäßig und ganz brav gespielt. Dazu noch tot langweilig. Scholastically played and in addition dead boring.
Boring!!! Evidently you can't hear.
@@davidjohnson9796 - No, just a different reaction.