Andras is a true master. The sound he can hear in his head and execute perfectly through his hands is amazing and filled with surprises. Even in the last movement, each turn sounds different and fresh. How he manages to constantly draw your attention even in the flimsiest passages is simply incredible.
I'm totally blown away! I have to change my mind about this guy. He bored me to tears a few decades ago when I heard him at Davies Hall in San Francisco. But this interpretation of The Tempest is simply wonderful!!
mcd etc: Glad to hear you changed your mind. He is an OUTSTANDING pianist. If you are not subscribed to the Wigmore Hall site, I recommend it. He appears there occasionally.
Une des meilleures interprétations de cette merveilleuse sonate. Dramatique, mais sans sècheresse. Un tempo et une articulation parfaits. Le finale est grandiose.
МУЗЫКА, МАСТЕР, ИСПОЛНЕНИЕ - ЗАВОРАЖИВАЮТ!!! ПРОСЛУШАЛА СОНАТУ в полном смысле слова "НА ОДНОМ ДЫХАНИИ"!! БЛАГОДАРЮ БОГА ЗА ПОДАРОК СУДЬБЫ -- СЛУШАТЬ И СЛЫШАТЬ УНИКАЛЬНОГО МУЗЫКАНТА АНДРАША ШИФФА!! НЕПОВТОРИМЫЙ!!!
Thank you. Enjoyed this very much even though sound and picture quality quite poor. Schiff recently had some sharp remarks about people who like to “watch” music. “Close your eyes,” he said, “and the music is still there.” Yes, but there is something quite wonderful about seeing a pianist or violinist making music. We can’t help it; we just like it! The technical quality of both sound and film had improved immeasurably in Japan by the time he performed there in 2014.
Yes, that was the point. The music is too great for me to resist sharing even though the visual quality is regrettable. At least we can close our eyes, listen and never have to dispute or question who actually plays the piece so wonderfully.
@@SandWolf_ You do a great work with this beautiful channel. For the last two years, I am not able to walk and go out, because of problems with my back. My company, marvelous company, are these greats artists, especially sir Andras Schiff. To hear and see these videos is a great gift. Thanks so much.
@@ilyamurom absolutely wonderful how the genius of the old masters are brought by these amazing interpreters of today into the sanctuary of my home at the magical touch of a button! A joy beyond imagination, particularly to the housebound isolated souls in their latter years reaching out for the music they love…. One can only be grateful for the wonderful people who play for all who care to listen and the genius of technology that makes it possible. Just thank you so much for the pleasure; the gift of appreciation and the accessibility of wonderful music today.
Just search for Beethoven Lectures in YT. It could appear among your feeds on the right. He specifically mentioned out that this part should not be too fast
Интересно... Вы нашли столько возможностей для критики этого пианиста... Наверное Вы профессионал. Интересно, как это произведение исполнял сам Бетховен, хотя я думаю иу него были разные настроения и исполнение было разным..
Strange that he should play the last movement rather steadily. This is 3/8. If Beethoven did not use 3/4 he obviously meant that he intended one beat in a bar, at the speed of Allegretto (fairly fast), not Andante. With 3 pulses in a bar this turns out to be 3/4, which is THEN fairly fast!!!
grumpy etc: I suspect he doubts the "Tempest" title, not least because of the way the movement ends. To me, it makes sense and I definitely get the impression of one in a bar. Für Elise has the same feel, don't you think?
@@Nai61a I suppose I might be influenced by the first movement of Op.79 which is marked presto alla tedesca, in the style of the ländler or the waltz. In Op.79 there is a fast one in a bar, because it is presto, but in 3/4 time. However, in this sonata Beethoven wrote allegretto, fairly fast, but in 3/8 time. When does 3/4 time closely equate to 3/8 when the speed indication is so markedly different? Yes, one CAN view Schiff's performance as one in a bar, but it is not at the speed of allegretto, which is suitable for three beats to the bar; so why did Beethoven not write it in 3/4 time which would match his, and Schiff's, tempo marking?
@@grumpyoldpianistplus These are the imponderables Beethoven has left us. There is, if memory serves, a g major movement in 3/8 in the op 130 quartet - I am a violinist and very, very bad pianist! - which usually has the same sort of movement as the finale of the "Tempest", as Schiff plays it, though it is an allegro. Judging what is appropriate is so difficult, is it not, even when Beethoven left us his metronome markings? Be all that as it may, I am full of admiration for Schiff's playing - beautiful and so well thought out.
@@Nai61a The quartet movement you mention is probably the second movement, which is roughly the same as this sonata, although it could be construed as 3/8 + 3/8 = 6/8 since there is no stronger beat on the first of each three, whereas, in this sonata, there is a strong 3 beats to a bar, making one strong beat in every three. (I hope this is making sense!) The movement in the quartet seems to be Beethoven trying to do a grafting of a scherzo and a minuet. He even indicates a strong first beat on the first bar but not the second bar, causing it to sound like more like 6/8. Most perplexing!! There are many times in other notational problems where composers have voted for one option which does not seem to suit what they are trying to project! I still have the notion that 3/8, using semiquavers, as opposed to 3/4 using quavers, must mean a faster speed in the composer's mind. Please let's not get into metronome markings when there was no universal agreement from one manufacturer to another in the first 50 years of their inception, causing composers to indicate wild speeds!
I HATE IT WHEN HE USES TRIPLETS IN A MELODY LINE FOR BEETHOVEN!!! He should do that only with Schubert occasionally to smooth out the melodic, song-like, line.
Bemerkenswert, dass dieser begnadete Pianist an der pianistischen Umsetzung scheitert. Das Adagio ist so unglaublich spitz und hässlich gespielt! Der viel zu direkte Anschlag, der keine verbindende Armfühung kennt, kein Abmildern im Handgelenk, zerstört alle guten Ideen. Hieran merkt man dann doch, wie maßlos überzeugt dieser Pianist von sich ist. Er kümmert sich kaum um die Pianistik und um den realen Klang, der aus dem Flügel kommt, sondern er zelebriert nur seine eigenen Gedanken, die er sich über die Sonate gemacht hat. Der letzte Satz ist viel zu behäbig und gemütlich interpretiert. Schiff spielt wie ein hochgebildeter Würdenträger aus der Barockzeit, mit gepudeter Perücke und Seidenhandschuhen. Aber wo bleibt Beethoven und sein ungestümes Temperament, wo die echte Dringlichkeit des Ausdruck? Was der berühmte Beethovenschüler Carl Czerny über diese Sonate geschrieben hat und seine sehr durchdachten Metronomzahlen, all das prallt an Schiffs Wohlstandsbäuchlein, an seiner Selbstgefälligkeit ab. Nein, von einem so gefeierten Pianisten erwarte ich wesentlich mehr künstlerische Ernsthaftigkeit!
Ja, er ist masslos eingebildet. Ja, er kuemmert sich mehr um seine Gedanken als um dem Klang, den er erzeugt. Aber irgendwie faellt das nicht so sehr ins Gewicht wie seine Intelligenz und Kontrolle.
Видеоклипы
0:00 1st movement
9:06 2nd movement
17:36 3rd movement
(Couldn't find this comment so made it myself 😂)
Andras is a true master. The sound he can hear in his head and execute perfectly through his hands is amazing and filled with surprises. Even in the last movement, each turn sounds different and fresh. How he manages to constantly draw your attention even in the flimsiest passages is simply incredible.
У Бетховена нет ,, невзрачных отрывков ")))
I'm totally blown away! I have to change my mind about this guy. He bored me to tears a few decades ago when I heard him at Davies Hall in San Francisco. But this interpretation of The Tempest is simply wonderful!!
mcd etc: Glad to hear you changed your mind. He is an OUTSTANDING pianist. If you are not subscribed to the Wigmore Hall site, I recommend it. He appears there occasionally.
I just fell in love with this Beethoven sonata by Andras Schiff. What a beautiful interpretation! What a master!!
Une des meilleures interprétations de cette merveilleuse sonate. Dramatique, mais sans sècheresse. Un tempo et une articulation parfaits. Le finale est grandiose.
So beautiful touch
I think that’s how you should play it! Amazing! What an artist!
Fantástica interpretación.
His Beethoven, Schubert and Schumann is so good. I love his interpretations.
Don't forget his Bach! :)
You're right. His Bach is every bit as good.@@ShirleyYu19
I played this repertoire in my piano diploma exam back in 2011. So happy to be hearing this on RUclips again after so many years.
all 3 movements?
彼の奏でるテンペストは、天界を寛容に包み込むような風や雨、海のうねりなどが繊細に表現されているように感じます。
「こういう嵐も悪くないな～😊」と思わせるテンペストでした🎉
Különleges élmény volt, elég sok feldolgozást hallottam, talán ez volt a legjobb, lirai, különleges hangzást varázsolt a Mester! Köszönöm!
Brilliant Performance I saw Schiff once in Leicester play mozarts 9 and 20 concerto he is a master of the piano
Through Schiff I feel as if Beethoven is a friend and mentor❤
МУЗЫКА, МАСТЕР, ИСПОЛНЕНИЕ - ЗАВОРАЖИВАЮТ!!!
ПРОСЛУШАЛА СОНАТУ
в полном смысле слова "НА ОДНОМ ДЫХАНИИ"!!
БЛАГОДАРЮ БОГА ЗА ПОДАРОК СУДЬБЫ -- СЛУШАТЬ И СЛЫШАТЬ УНИКАЛЬНОГО МУЗЫКАНТА
АНДРАША ШИФФА!!
НЕПОВТОРИМЫЙ!!!
Шедевральное испольнеие!!!
Thank you. Enjoyed this very much even though sound and picture quality quite poor. Schiff recently had some sharp remarks about people who like to “watch” music. “Close your eyes,” he said, “and the music is still there.” Yes, but there is something quite wonderful about seeing a pianist or violinist making music. We can’t help it; we just like it! The technical quality of both sound and film had improved immeasurably in Japan by the time he performed there in 2014.
Yes, that was the point. The music is too great for me to resist sharing even though the visual quality is regrettable. At least we can close our eyes, listen and never have to dispute or question who actually plays the piece so wonderfully.
@@SandWolf_ You do a great work with this beautiful channel. For the last two years, I am not able to walk and go out, because of problems with my back. My company, marvelous company, are these greats artists, especially sir Andras Schiff. To hear and see these videos is a great gift. Thanks so much.
@@ilyamurom absolutely wonderful how the genius of the old masters are brought by these amazing interpreters of today into the sanctuary of my home at the magical touch of a button! A joy beyond imagination, particularly to the housebound isolated souls in their latter years reaching out for the music they love…. One can only be grateful for the wonderful people who play for all who care to listen and the genius of technology that makes it possible. Just thank you so much for the pleasure; the gift of appreciation and the accessibility of wonderful music today.
A slow moving ship on the ocean in the last movement.
Because it's alegretto, which is not presto or even allegro
Just search for Beethoven Lectures in YT. It could appear among your feeds on the right. He specifically mentioned out that this part should not be too fast
👏👍
Unico
Thats a piano Grandmaster if I've ever seen one
Arrau!!!!!
Интересно... Вы нашли столько возможностей для критики этого пианиста...
Наверное Вы профессионал.
Интересно, как это произведение исполнял сам Бетховен, хотя я думаю иу него были разные настроения и исполнение было разным..
17:37 第3楽章
Strange that he should play the last movement rather steadily. This is 3/8. If Beethoven did not use 3/4 he obviously meant that he intended one beat in a bar, at the speed of Allegretto (fairly fast), not Andante. With 3 pulses in a bar this turns out to be 3/4, which is THEN fairly fast!!!
grumpy etc: I suspect he doubts the "Tempest" title, not least because of the way the movement ends. To me, it makes sense and I definitely get the impression of one in a bar. Für Elise has the same feel, don't you think?
@@Nai61a I suppose I might be influenced by the first movement of Op.79 which is marked presto alla tedesca, in the style of the ländler or the waltz. In Op.79 there is a fast one in a bar, because it is presto, but in 3/4 time. However, in this sonata Beethoven wrote allegretto, fairly fast, but in 3/8 time. When does 3/4 time closely equate to 3/8 when the speed indication is so markedly different? Yes, one CAN view Schiff's performance as one in a bar, but it is not at the speed of allegretto, which is suitable for three beats to the bar; so why did Beethoven not write it in 3/4 time which would match his, and Schiff's, tempo marking?
@@grumpyoldpianistplus These are the imponderables Beethoven has left us. There is, if memory serves, a g major movement in 3/8 in the op 130 quartet - I am a violinist and very, very bad pianist! - which usually has the same sort of movement as the finale of the "Tempest", as Schiff plays it, though it is an allegro. Judging what is appropriate is so difficult, is it not, even when Beethoven left us his metronome markings?
Be all that as it may, I am full of admiration for Schiff's playing - beautiful and so well thought out.
@@Nai61a The quartet movement you mention is probably the second movement, which is roughly the same as this sonata, although it could be construed as 3/8 + 3/8 = 6/8 since there is no stronger beat on the first of each three, whereas, in this sonata, there is a strong 3 beats to a bar, making one strong beat in every three. (I hope this is making sense!) The movement in the quartet seems to be Beethoven trying to do a grafting of a scherzo and a minuet. He even indicates a strong first beat on the first bar but not the second bar, causing it to sound like more like 6/8. Most perplexing!! There are many times in other notational problems where composers have voted for one option which does not seem to suit what they are trying to project!
I still have the notion that 3/8, using semiquavers, as opposed to 3/4 using quavers, must mean a faster speed in the composer's mind.
Please let's not get into metronome markings when there was no universal agreement from one manufacturer to another in the first 50 years of their inception, causing composers to indicate wild speeds!
ウッ ターン
シフ
Mechanical and metronomic.
I HATE IT WHEN HE USES TRIPLETS IN A MELODY LINE FOR BEETHOVEN!!! He should do that only with Schubert occasionally to smooth out the melodic, song-like, line.
Gould does it better!
Bemerkenswert, dass dieser begnadete Pianist an der pianistischen Umsetzung scheitert. Das Adagio ist so unglaublich spitz und hässlich gespielt! Der viel zu direkte Anschlag, der keine verbindende Armfühung kennt, kein Abmildern im Handgelenk, zerstört alle guten Ideen. Hieran merkt man dann doch, wie maßlos überzeugt dieser Pianist von sich ist. Er kümmert sich kaum um die Pianistik und um den realen Klang, der aus dem Flügel kommt, sondern er zelebriert nur seine eigenen Gedanken, die er sich über die Sonate gemacht hat. Der letzte Satz ist viel zu behäbig und gemütlich interpretiert. Schiff spielt wie ein hochgebildeter Würdenträger aus der Barockzeit, mit gepudeter Perücke und Seidenhandschuhen. Aber wo bleibt Beethoven und sein ungestümes Temperament, wo die echte Dringlichkeit des Ausdruck? Was der berühmte Beethovenschüler Carl Czerny über diese Sonate geschrieben hat und seine sehr durchdachten Metronomzahlen, all das prallt an Schiffs Wohlstandsbäuchlein, an seiner Selbstgefälligkeit ab.
Nein, von einem so gefeierten Pianisten erwarte ich wesentlich mehr künstlerische Ernsthaftigkeit!
Ja, er ist masslos eingebildet. Ja, er kuemmert sich mehr um seine Gedanken als um dem Klang, den er erzeugt. Aber irgendwie faellt das nicht so sehr ins Gewicht wie seine Intelligenz und Kontrolle.