Scarlatti?....Haydn?...Mozart?....Beethoven?...Galuppi?...with Chopin and Schubert visiting in and out...? This very unique, fresh interpretation of the Hammerklavier stands out as one that depicts perfectly well that historic transition from earlier instruments....one can appreciate here the culmination and blend of several styles preceding that time....a blend with Beethoven's innovative deeply Romantic moments. Thanks for this beautiful version!
perfectly said! and thank the harvard music association! i just re uploaded it because they were not promoting this very well, and it deserved its own video. i dont think many people would see this glorious performance otherwise.
He’s so good. I met him in person and when they say don’t meet your hero’s they don’t mean him. He was so friendly and humble and forthcoming in the masterclass of his I was able to attend. He’s a wonderful person and a great ambassador for music. I wish I was his neighbor so I could hear him practice through my window all the time.
Pls hear the Artur Schnabel performance, for the ultimate - the performance by Walter Geiseking (who incidently has recorded the whole collection of Sonatas by both Beethoven and Mozart).
Very tasty! Aside the impeccable clarity of the fugue, in the first movement the voicing control is unlike anybody else I've heard! This is my new favourite after Levit's & Schnablel's!
UPDATE: I have now published a fairly rare recording of Hamelin playing Beethoven Sonata no. 32: ruclips.net/video/9RY72nLUqNM/видео.html. Please watch, it's incredible. Far better quality than this too.
Thank goodness for a 'paced' performance (and from a pianist who, of all pianists, COULD tear through at great speed of he wished!). I am interested in Beethoven's metronome markings for this work, the most 'wrong' of all his markings. In a lecture posted on this platform Schiff scoffs at pianists not playing the 1st movement at Beethoven's ludicrously fast marking for the 1st movement causing twitters around the student audience, and then proceeds to play it very rushed but still massively slower than the actual marked minim =132 which is very disingenuous. Well done Marc-Andre!
Yes I was pleasantly surprised when I saw the measured, yet highly virtuosic, approach Hamelin took, because if anyone can actually play it at the written MM it's Hamelin. On twitter Hamelin said that he didn't bother to try and reach 132 because it didn't make sense musically. I have a feeling all this confusion stems from the fact that Beethoven probably never actually fully played this sonata himself and was almost completely deaf when he wrote it, so he went overboard on the tempi (and other pianistic challenges). Beethoven never performed it publicly, and there aren't any historical sources talking about him playing it privately, just people on the internet saying "beethoven wrote it, of course he could play it" (which is a bad argument). Schiff's lectures on this piece have done a great deal of harm imo, and I was amazed that he talked so boldly about other pianists while still not being able to play at the "right" tempo.
Do I have this right... the left brain is controlling the right hand... the right 🧠 is controlling the hand....both hemispheres simultaneously doing different stuff.. while the optic nerve brings in upside-down information further tasking the brain to flip it too ... me "never!🤯" ...this guy is a genius
Best pianist alive Sad that he hasn't recorded many pieces he performed live like scriabin sonata 5, listz sonata and hungarian rhapsody and all the beethoven sonatas he played
Yes I think his restrained use of pedal really pays off here, brings so much clarity to the piece that most performance are lacking. And he plays fast, but not too fast, which is good because I was worried that hamelin might sacrifice some musicality in order to hit Beethoven's metronome marking.
I agree, a lot of this piece makes much more sense now. He was able to breathe new life into it. I think his decades of experience playing non standard, highly technical, and often atonal music gave him a unique ability to do justice to this sonata. Being a composer himself also probably made a big difference.
@@leeeiseman6100 because they never posted the hammerklavier seperately or even advertise that it was one of the pieces that hamelin played. I wanted more people to see this performance. It's one of the highpoints of his career, yet I'm sure most people don't even know hamelin has played the hammerklavier.
I'm not sure if Hamelin will ever do a studio recording of the Hammerklavier (he is notorious for sometimes never doing studio versions of big pieces that he plays live). However, if i he does record this it will definitely be issued on CD. Not sure about vinyl though!
@@JG_1998 Hamelin absolutely nails Hammerklavier. One of only two or three performances I have heard that delivers it exactly right IMO. (I seek out the 29th in particular!) :-)
Even for Hamelin, the sonata is clearly a struggle. The only pianist I ever heard who cleared all the hurdles accurately and yet maintained the huge dynamic range Beethoven required was Earl Wild. And I believe he was close to 80 at the time. He recorded it too. Where (at Harvard) did this recital take place? It sounds like a padded cell: absolutely no reverberation, unnatural.
Hamelin is undoubtedly a fine pianist. And a very sensitive artist. His interviews and commentary make clear how genuine he is. But this interpretation of Opus 106 is simply not anywhere near the best. Anointing a *best* is not necessary, but some comment posters have taken the plunge, so I'll enter the ring. Solomon Cutner = clearly the best. Peter Serkin on the Graf Pianoforte. Today, Yuja Wang, without question (watch on RUclips 2 renditions). Not a little better, a LOT better. Hamelin uses some strange rubato in this rendition, odd hold overs and frankly, plays notes I've never heard, or seen before in the adagio and fugue; notes not contained in the sheet music for this work. I have been listening to this sonata for 50 years and playing it for 40: There aren't too many interpretations I haven't heard, from Kuerti to both Serkins to Sokolov to Berner (and a ton I don't have time to mention here). Hamelin fans are very quick to anoint anything he plays as "the best interpretation ever!" and though your passion is admirable, a little pragmatism never hurt. And btw, playing things as written isn't such a bad idea - it shows respect for the composer rather than elevating the artist above the composer. Kinda a good thing, actually, not precisely the same as, but 'similar' to interpreting the United States Constitution as written (constructionism) rather than as an amorphous mass to be shaped and molded as changing times, a deteriorating society and mores commonly invite.
Just to be clear: I never said this interpretation was the best ever, it simply has the most clarity I've ever heard. I agree that overall there are better interpretations of the Hammerklavier (although I think Hamelin's studio recording of this piece will be one of the best). However, I absolutely stand by my claim that Hamelin recording of Beethoven sonata no. 32 I have on my channel is the best around. I highly recommend checking it out.
People tend to get progressively deaf when feminine curves swing around ;). Yuja Wang is excellent pianist - technically speaking, but musically she is very cliché and is not very inspired, her phrases are never structured, she just makes nice sounds and overloads with contrasts. The bests in HammeKlavier are Sokolov, Brendel and Barenboim. It takes a whole life to understand this masterwork, many of the greatest never played it, this is how hard is. Hamelin is boring and even technically insecure, he rushes, makes weird rubatos and totally lacks dramatic power. Not the kind of music he shines. And to prevent someone saying I am harsh, I speak in the context of first class pianists, of course all mentioned are already very good.
@@Paroles_et_Musique i agree with your comment about yuja, but sokolovs Hammerklavier is very sluggish compared to Hamelin's! Hamelin plays the fugue 100x better than sokolov.
Neither have I, there are no recordings I can find of someone else doing it. But I've heard there's been some debate about how to play the opening motif. I would suspect he came to this conclusion because he's a composer and has also played so much unusual repertoire, so he knows how to tackle musical challenges in more out of the box ways. It pays off too, because the opening sounds much more fluid, without much gap, which is what beethoven intended in the score. If you listen to people who play it just with the left hand there is always a slight gap, even if they're playing very fast.
@@JG_1998 Oh no,it is not only by him. This is also in some editions, for example Edition Peters with Claudio Arrau fingerings. I am only wondering why he plays some dirty notes despite this hand crossing. Which should help...It hasn't help so much then 🤔 such a master like Hamelin with such monster technic. He can play everything from Godowsky-Chopin etudes to Alkan and so. But he makes it dirty in beginning even on recording. And it had to be not so fast at all. It doesn't matter. He plays so or so very nice.
@@lubosschelepak7032 Yeah at the beginning he did miss some notes, but to be fair he played Scriabin's White mass and Prokofiev's Sarcasms right before this. Most pianists wouldn't dream of playing those right before playing hammerklavier. It's a live show so I'm sure the final recording will have that issue ironed out. As far as tempo goes, he said on twitter recently that he didn't try to reach Beethoven's metronome markings because they didn't make sense musically. Also cool to know that there is a precedent for playing hands crossed, I knew it had to come from somewhere, but it's just not done often at all.
I must say I don't care for his slow movement. Too much rubato. He almost appears to be noodling. (But what noodling!) Also the left hand at 22:19 needs to speak louder (cf. Wilhelm Kempff).
@@johnpointon4462 my pleasure, im just glad more people are seeing this performance. the harvard musical association was not doing a good job of promoting it.
Obviously a gifted and fine pianist but quite wayward in this performance, perhaps too tired - whatever, I am sure there are better performances of this great sonata. He starts like the great Richter and finishes like the wayward Kempff, keep practising...
fair assessment of the performance as a whole, but I disagree about the order. I think the first movement is more lacking, but the fugue is unmatched in it's clarity, virtuosity, and viciousness.
lol, musically i think hamelin is anything but a coward. the man plays the most difficult pieces imaginable and he does it live. Before playing hammerklavier at this recital he played scriabin's white mass and prokofiev's sarcasms. most pianist's half his age don't have the stamina, courage, or technique to pull that off. He's the only pianist I know of that will play Gaspard de la nuit, his own paganini variations, and a Rachmaninoff sonata in one concert. He doesn't have anything to prove at this point. also i wonder if beethoven did actually intend for the intro to be played with crossed hands. the way that the B flat is written as a single note, rather than attached to the 2nd chord leads me to believe that crossed hands is the way it's supposed to be played. Either way, it sounds better with crossed hands. Ultimately Hamelin's hammerklavier overall sounds much more professional and clear than schiff's.
I think Andras has a point, though. If the performer was able to deal with the discontinuity created from the huge leap in a subtle manner, he should be on track for the rest that the sonata will demand of a performer. Besides, the subtle crack on the tempo plants a subliminal psychological seed on the mind of the listener, one that comes to full fruition in that section of the fugue (yeah, that one, we're all thinking it).
This sonata is for Great Musicians.... not only Great Pianist. Obviously all is perfect in your interpretation ... all clean.... But .... not much imaginative performance... and nothing special. Hamelin is more for other repertoire , Liszt for example....
Wow, this was remarkably unclean and even messy at moments. I mean, for Hamelins standards. Not his greatest performance. Could even use a bit of practicing. Wrong notes. Missing notes. Muddy passages. Rhythmically unstable passages. You name it.
He cheats on the first note, playing it with the right hand over the left. I’m certain he could play the way Beethoven wrote it, for the left. It’s annoying and cheap, the way he does it…..
cmon man, it sounds cleaner the way hamelin is playing it, and it's not like he's someone who takes the "easy" route with anything musically..... he did it for musical reasons.
juche god so u r saying what Beethoven wrote should be ignored?? Many pianists play it with the left hand and it definitely sounds better because when it’s played w the left hand it sounds aggressive because the pianist has to move their hand very quickly. Beethoven writes his music very specifically and especially his late works and his markings should not be ignored. Sorry, Beethoven could have easily written it how Mr Hamelin plays it, but Beethoven didn’t. I would rather listen and follow the instructions of Beethoven…….
Debrucey if u asked Beethoven I bet he would say, “play it the way I wrote it.” And being a classical trained pianist myself, it absolutely does matter. Based on ur comment I can tell u don’t play so what would u know. And if u do play, then ur comment is even more baseless……since u choose to ignore important notations. Ask the great pianist, Andrea Schiff, what he thinks….he’s completely embarrassed for any pianist who cheats on this leap.
@@thaddeusdubois6209 hamelin is 100x better as a pianist than schiff lol. I doubt he cares about what schiff thinks of the way he plays this leap. Hamelin has played the most difficult works imaginable at a level even their composers couldn't dream of. He has nothing to prove. He's also a composer himself, so I trust him to understand Beethoven's intentions more than other pianists. It is likely beethoven never even played this piece himself (he was deaf by the time he wrote it), so it stands to reason that he didn't fully realize what he was asking of the pianist. Also it would be sad if this "cheat" ruins the rest of this incredible interpretation for you...
He’s so good. I met him in person and when they say don’t meet your hero’s they don’t mean him. He was so friendly and humble and forthcoming in the masterclass of his I was able to attend. He’s a wonderful person and a great ambassador for music. I wish I was his neighbor so I could hear him practice through my window all the time.
Scarlatti?....Haydn?...Mozart?....Beethoven?...Galuppi?...with Chopin and Schubert visiting in and out...?
This very unique, fresh interpretation of the Hammerklavier stands out as one that depicts perfectly well that historic transition from earlier instruments....one can appreciate here the culmination and blend of several styles preceding that time....a blend with Beethoven's innovative deeply Romantic moments. Thanks for this beautiful version!
perfectly said! and thank the harvard music association! i just re uploaded it because they were not promoting this very well, and it deserved its own video. i dont think many people would see this glorious performance otherwise.
C.P.E. Bach and Albrechtsberger as well
He’s so good. I met him in person and when they say don’t meet your hero’s they don’t mean him. He was so friendly and humble and forthcoming in the masterclass of his I was able to attend. He’s a wonderful person and a great ambassador for music.
I wish I was his neighbor so I could hear him practice through my window all the time.
Yes he's super nice, will respond to most questions on twitter. You're so lucky you got to take a masterclass from him!
That's probably the most grace and clarity that I've ever heard for the impossible trills at 40:30
One of the best I ve ever heard
Pls hear the Artur Schnabel performance, for the ultimate - the performance by Walter Geiseking (who incidently has recorded the whole collection of Sonatas by both Beethoven and Mozart).
Very tasty! Aside the impeccable clarity of the fugue, in the first movement the voicing control is unlike anybody else I've heard! This is my new favourite after Levit's & Schnablel's!
I've heard talk of Hamelin recording the late sonatas for maybe a decade and I wonder if he's finally gonna do it. Would love to hear it.
Best he record the complete 32 - then sure to be a best (?) seller, ha-ha...
Hamelin’s colossal technique is always in service of the music.
It is always a treat to hear him perform.
He played it in Moscow this October after C.P.E. Bach's sonata and Beethoven's 3rd sonata.
In schaffhausen too
Listening to this interpretation was like witnessing a geological event!! What a giant!!
Thx for uploading
The legend has played this after all!
Legendary
UPDATE: I have now published a fairly rare recording of Hamelin playing Beethoven Sonata no. 32: ruclips.net/video/9RY72nLUqNM/видео.html. Please watch, it's incredible. Far better quality than this too.
He will be subbing for Andras Schiff at Carnegie Hall -- I'll be there; can't wait to hear it in person!
I just saw him tweet about it! Please let everyone know how it is. I hear he will be playing more Beethoven.
Hamelin is playing this sonata in Montreal on March 12.
Was there this afternoon. Fabulous performance of Hammerklavier with Dukas' sonata in the first part of the program.
@@denisrobert36 I was there too. A great performance.
Muy buena interpretación
Thank goodness for a 'paced' performance (and from a pianist who, of all pianists, COULD tear through at great speed of he wished!). I am interested in Beethoven's metronome markings for this work, the most 'wrong' of all his markings. In a lecture posted on this platform Schiff scoffs at pianists not playing the 1st movement at Beethoven's ludicrously fast marking for the 1st movement causing twitters around the student audience, and then proceeds to play it very rushed but still massively slower than the actual marked minim =132 which is very disingenuous. Well done Marc-Andre!
Yes I was pleasantly surprised when I saw the measured, yet highly virtuosic, approach Hamelin took, because if anyone can actually play it at the written MM it's Hamelin. On twitter Hamelin said that he didn't bother to try and reach 132 because it didn't make sense musically. I have a feeling all this confusion stems from the fact that Beethoven probably never actually fully played this sonata himself and was almost completely deaf when he wrote it, so he went overboard on the tempi (and other pianistic challenges). Beethoven never performed it publicly, and there aren't any historical sources talking about him playing it privately, just people on the internet saying "beethoven wrote it, of course he could play it" (which is a bad argument). Schiff's lectures on this piece have done a great deal of harm imo, and I was amazed that he talked so boldly about other pianists while still not being able to play at the "right" tempo.
It is actually minim = 138....even more ridiculous!
Do I have this right... the left brain is controlling the right hand... the right 🧠 is controlling the hand....both hemispheres simultaneously doing different stuff.. while the optic nerve brings in upside-down information further tasking the brain to flip it too ... me "never!🤯" ...this guy is a genius
So true!
That was Cyan yesterday not Cranberry. Just for clarification.
@@gguunnz same thing lol
Best pianist alive
Sad that he hasn't recorded many pieces he performed live like scriabin sonata 5, listz sonata and hungarian rhapsody and all the beethoven sonatas he played
He recorded all scriabin sonatas.
true, but he has recorded hungarian rhapsody no. 2. His live performance in japan is much better than the studio recording tho IMO.
@@ustadspencertracy7195 really? Where I can find them?
@@lazza1160 on his album "marc andre hamelin plays liszt". I may upload it because I haven't seen any videos of the studio version online.
@@JG_1998 thank you
Немного ускоренный темп и весьма аскетична педаль; но в выигрыше - чётко передана форма, прекрасно представлена целостность.
Yes I think his restrained use of pedal really pays off here, brings so much clarity to the piece that most performance are lacking. And he plays fast, but not too fast, which is good because I was worried that hamelin might sacrifice some musicality in order to hit Beethoven's metronome marking.
This rendition stands forever; the gold standard that will never be surpassed. I second the motion of his being the greatest living pianist.
I agree, a lot of this piece makes much more sense now. He was able to breathe new life into it. I think his decades of experience playing non standard, highly technical, and often atonal music gave him a unique ability to do justice to this sonata. Being a composer himself also probably made a big difference.
Is there some reason why you re-posted the Harvard Musical Association's livestream without permission?
@@leeeiseman6100 because they never posted the hammerklavier seperately or even advertise that it was one of the pieces that hamelin played. I wanted more people to see this performance. It's one of the highpoints of his career, yet I'm sure most people don't even know hamelin has played the hammerklavier.
@@JG_1998 this video deservs more visual than any other hammerklavier (ecxept Pollini or Richter hammerklavier)
I think Levit played it the best
This needs to be widely available! Im old school--are CDs and LPs still commercially viable media?
I'm not sure if Hamelin will ever do a studio recording of the Hammerklavier (he is notorious for sometimes never doing studio versions of big pieces that he plays live).
However, if i he does record this it will definitely be issued on CD. Not sure about vinyl though!
@@JG_1998 Hamelin absolutely nails Hammerklavier. One of only two or three performances I have heard that delivers it exactly right IMO. (I seek out the 29th in particular!) :-)
I wonder what Gluck would have thought of this?
Even for Hamelin, the sonata is clearly a struggle. The only pianist I ever heard who cleared all the hurdles accurately and yet maintained the huge dynamic range Beethoven required was Earl Wild. And I believe he was close to 80 at the time. He recorded it too. Where (at Harvard) did this recital take place? It sounds like a padded cell: absolutely no reverberation, unnatural.
check out ashkenazy
@@gregmacdougall5022 No. Check out Maria Grinberg.
@@gregmacdougall5022 ...and Igor Levitt.
Hamelin is undoubtedly a fine pianist. And a very sensitive artist. His interviews and commentary make clear how genuine he is. But this interpretation of Opus 106 is simply not anywhere near the best. Anointing a *best* is not necessary, but some comment posters have taken the plunge, so I'll enter the ring. Solomon Cutner = clearly the best. Peter Serkin on the Graf Pianoforte. Today, Yuja Wang, without question (watch on RUclips 2 renditions). Not a little better, a LOT better. Hamelin uses some strange rubato in this rendition, odd hold overs and frankly, plays notes I've never heard, or seen before in the adagio and fugue; notes not contained in the sheet music for this work. I have been listening to this sonata for 50 years and playing it for 40: There aren't too many interpretations I haven't heard, from Kuerti to both Serkins to Sokolov to Berner (and a ton I don't have time to mention here). Hamelin fans are very quick to anoint anything he plays as "the best interpretation ever!" and though your passion is admirable, a little pragmatism never hurt. And btw, playing things as written isn't such a bad idea - it shows respect for the composer rather than elevating the artist above the composer. Kinda a good thing, actually, not precisely the same as, but 'similar' to interpreting the United States Constitution as written (constructionism) rather than as an amorphous mass to be shaped and molded as changing times, a deteriorating society and mores commonly invite.
Just to be clear: I never said this interpretation was the best ever, it simply has the most clarity I've ever heard. I agree that overall there are better interpretations of the Hammerklavier (although I think Hamelin's studio recording of this piece will be one of the best). However, I absolutely stand by my claim that Hamelin recording of Beethoven sonata no. 32 I have on my channel is the best around. I highly recommend checking it out.
People tend to get progressively deaf when feminine curves swing around ;). Yuja Wang is excellent pianist - technically speaking, but musically she is very cliché and is not very inspired, her phrases are never structured, she just makes nice sounds and overloads with contrasts. The bests in HammeKlavier are Sokolov, Brendel and Barenboim. It takes a whole life to understand this masterwork, many of the greatest never played it, this is how hard is.
Hamelin is boring and even technically insecure, he rushes, makes weird rubatos and totally lacks dramatic power. Not the kind of music he shines.
And to prevent someone saying I am harsh, I speak in the context of first class pianists, of course all mentioned are already very good.
@@Paroles_et_Musique i agree with your comment about yuja, but sokolovs Hammerklavier is very sluggish compared to Hamelin's! Hamelin plays the fugue 100x better than sokolov.
@@JG_1998 You are a true fan then, more power to you ;)
Thanks for uploading the sonata.
His playing here sounds like if Rachmaninoff would play this piece
interesting and astute observation!
So cool
I've never seen hands crossing on the opening chords. Is this Hamelin's own arrangement?
Neither have I, there are no recordings I can find of someone else doing it. But I've heard there's been some debate about how to play the opening motif.
I would suspect he came to this conclusion because he's a composer and has also played so much unusual repertoire, so he knows how to tackle musical challenges in more out of the box ways. It pays off too, because the opening sounds much more fluid, without much gap, which is what beethoven intended in the score. If you listen to people who play it just with the left hand there is always a slight gap, even if they're playing very fast.
@@JG_1998 Oh no,it is not only by him. This is also in some editions, for example Edition Peters with Claudio Arrau fingerings. I am only wondering why he plays some dirty notes despite this hand crossing. Which should help...It hasn't help so much then 🤔 such a master like Hamelin with such monster technic. He can play everything from Godowsky-Chopin etudes to Alkan and so. But he makes it dirty in beginning even on recording. And it had to be not so fast at all. It doesn't matter. He plays so or so very nice.
Ah sorry, it is live. I didn't see
@@lubosschelepak7032 Yeah at the beginning he did miss some notes, but to be fair he played Scriabin's White mass and Prokofiev's Sarcasms right before this. Most pianists wouldn't dream of playing those right before playing hammerklavier. It's a live show so I'm sure the final recording will have that issue ironed out. As far as tempo goes, he said on twitter recently that he didn't try to reach Beethoven's metronome markings because they didn't make sense musically. Also cool to know that there is a precedent for playing hands crossed, I knew it had to come from somewhere, but it's just not done often at all.
There has always been debate about whether to play the opening leap with one hand or two. Hamelin, as always, picks the most efficient option.
Good
35:20
I must say I don't care for his slow movement. Too much rubato. He almost appears to be noodling. (But what noodling!) Also the left hand at 22:19 needs to speak louder (cf. Wilhelm Kempff).
Marc really needs an original UNTUCKit, not some knock-off.
Why did you take away the color?
to keep the file size smaller. I didn't think many people would mind. maybe I should've uploaded in color though.
@@JG_1998 There's no issue these days with file size. RUclips sorts it out and offers people what their connection will manage.
@@classicaloracle no i meant for how long it would take me to upload the video, and how much space the video would take up on my computer.
@@JG_1998 It sounds just fine to me in b&w!! Thanks so much for uploading this inspiring offering.
@@johnpointon4462 my pleasure, im just glad more people are seeing this performance. the harvard musical association was not doing a good job of promoting it.
Juche
Obviously a gifted and fine pianist but quite wayward in this performance, perhaps too tired - whatever, I am sure there are better performances of this great sonata. He starts like the great Richter and finishes like the wayward Kempff, keep practising...
fair assessment of the performance as a whole, but I disagree about the order. I think the first movement is more lacking, but the fugue is unmatched in it's clarity, virtuosity, and viciousness.
Andras Schiff insists that pianists must play the opening as written or they are cowards.
lol, musically i think hamelin is anything but a coward. the man plays the most difficult pieces imaginable and he does it live. Before playing hammerklavier at this recital he played scriabin's white mass and prokofiev's sarcasms. most pianist's half his age don't have the stamina, courage, or technique to pull that off. He's the only pianist I know of that will play Gaspard de la nuit, his own paganini variations, and a Rachmaninoff sonata in one concert. He doesn't have anything to prove at this point.
also i wonder if beethoven did actually intend for the intro to be played with crossed hands. the way that the B flat is written as a single note, rather than attached to the 2nd chord leads me to believe that crossed hands is the way it's supposed to be played. Either way, it sounds better with crossed hands.
Ultimately Hamelin's hammerklavier overall sounds much more professional and clear than schiff's.
@@JG_1998 Agree. The Hungarian purist should play Alkan.
I think Andras has a point, though. If the performer was able to deal with the discontinuity created from the huge leap in a subtle manner, he should be on track for the rest that the sonata will demand of a performer. Besides, the subtle crack on the tempo plants a subliminal psychological seed on the mind of the listener, one that comes to full fruition in that section of the fugue (yeah, that one, we're all thinking it).
@@JG_1998 you should see maltempos complete alkan op39 in one concert, definitely more crazy than that
曲をタスクとして処理している印象。
バレンボイムが好きです。
作品への敬愛が感じられる。
作品を大きく捉えている。
Barenboim's rendition is a bit lethargic and unclear in my opinion.
Fantastically fumbling fingers.😂
Pas fort. Piano ou prise de son inégale. Manque de précision dans certains passages. Bref, c'est une copie à reprendre.
At last someone who has 2 functioning ears!
Disappointing. For this listener, at any rate.
thanks for subscribing anyways though!
@@JG_1998 : A pleasure to find you and subscribe. Just felt Mr Hamelin could’ve done far better!
This sonata is for Great Musicians.... not only Great Pianist. Obviously all is perfect in your interpretation ... all clean.... But .... not much imaginative performance... and nothing special. Hamelin is more for other repertoire , Liszt for example....
I think he didn't wear his heart on his sleeve for the 3rd movement, but the 4th was like an astronomical event
Wow, this was remarkably unclean and even messy at moments. I mean, for Hamelins standards. Not his greatest performance. Could even use a bit of practicing. Wrong notes. Missing notes. Muddy passages. Rhythmically unstable passages. You name it.
Clean, safe and cold like a Walmart Center
The formula that hits the mark!
It's not particularly clean nor safe.
Many better versions
He cheats on the first note, playing it with the right hand over the left. I’m certain he could play the way Beethoven wrote it, for the left. It’s annoying and cheap, the way he does it…..
cmon man, it sounds cleaner the way hamelin is playing it, and it's not like he's someone who takes the "easy" route with anything musically..... he did it for musical reasons.
juche god so u r saying what Beethoven wrote should be ignored?? Many pianists play it with the left hand and it definitely sounds better because when it’s played w the left hand it sounds aggressive because the pianist has to move their hand very quickly. Beethoven writes his music very specifically and especially his late works and his markings should not be ignored. Sorry, Beethoven could have easily written it how Mr Hamelin plays it, but Beethoven didn’t. I would rather listen and follow the instructions of Beethoven…….
It literally doesn't matter. Like, at all.
Debrucey if u asked Beethoven I bet he would say, “play it the way I wrote it.” And being a classical trained pianist myself, it absolutely does matter. Based on ur comment I can tell u don’t play so what would u know. And if u do play, then ur comment is even more baseless……since u choose to ignore important notations. Ask the great pianist, Andrea Schiff, what he thinks….he’s completely embarrassed for any pianist who cheats on this leap.
@@thaddeusdubois6209 hamelin is 100x better as a pianist than schiff lol. I doubt he cares about what schiff thinks of the way he plays this leap. Hamelin has played the most difficult works imaginable at a level even their composers couldn't dream of. He has nothing to prove. He's also a composer himself, so I trust him to understand Beethoven's intentions more than other pianists. It is likely beethoven never even played this piece himself (he was deaf by the time he wrote it), so it stands to reason that he didn't fully realize what he was asking of the pianist. Also it would be sad if this "cheat" ruins the rest of this incredible interpretation for you...
He’s so good. I met him in person and when they say don’t meet your hero’s they don’t mean him. He was so friendly and humble and forthcoming in the masterclass of his I was able to attend. He’s a wonderful person and a great ambassador for music.
I wish I was his neighbor so I could hear him practice through my window all the time.