Spannende Interpretation dieser fein komponierten Klaviersonate im relativ schnellen Tempo mit klarem und gut artikuliertem Anschlag sowie sorgfältig kontrollierter Dynamik. Die Virtuosität dieses genialen Pianisten ist echt bewundernswert. Echt atemberaubend!
в музыке есть еще содержание есть личность исполнителя. Я не очень люблю Бетховена в исполнении Гилельса. Больше у него мне нравится Лист Шуман Шуберт фантастически исполнял Гилельс клавесинную музыку. Бетховен больше в исполнении Соломона Моисеевича Хаскил Соломн сознательно скуп на на звук. Но он здорово чувствовал что играл.@@RaineriHakkarainen
Emil Gilels is Better! Lupu Mikhail Pletnev better! The greatest pianists of All Time Are really Artur Rubinstein Grigory Sokolov Emil Gilels Radu Lupu Mikhail Pletnev Sviatoslav Richter Maurizio Pollini Wilhelm Kempff Vladimir Ashkenazy Alexei Lubimov Stanislav Igolinsky Solomon Cutner Maria Grinberg Natalia Trull
Isn't it such a loss that Solomon declined recording with Wilhelm Furtwängler? It would have been the 2 greatest together and would have left us with a legacy.
+Andros Noe I've often wondered about this, Andros, and I know Solomon anguished over that decision. However, it is compensated for via an extraordinary Beethoven 3 with Boult on Naxos, together with the Tchaikovsky No. 1 with Harty from 1929; Beethoven 2 with Cluytens and Brahms 1 with Jochum in concert performances with the Berlin PO; concert performances on Brahms 1 with Maazel and with Cantelli. A Beethoven 3 with Beinum and the Concertgebouw. There's even a Tchaik 1 from a concert in Kansas City that leaves Horowitz standing and is a lesson in how to deal with a pretty bad orchestra -- "pick 'em up and run?" May require a bit of searching, but the Boult, Cluytens, Joch, Beinum and Kansas City are very well worth it.
I suspect this is because of Furtwängler's association with the Third Reich, and Solomon's being Jewish. Though Furtwängler repeatedly said that he did not want to be involved in politics, openly denouncing Hitler and running afoul of the Third Reich as a result of his artistic decisions, he nevertheless effectively allowed himself to be used to lend an air of cultivation and refinement to a regime founded on very evil ideas and actions. Conducting at Bayreuth didn't really do him any favours in this department either, as we all know how much Hitler loved his Wagner. It is unfortunate, however, as you say.
Furtwangler just wanted to practice his art where he had complete artistic freedom with an orchestra he loved. And a public that adored him. To him he couldn't care less who ran the government. This he got in Berlin. So what else was he supposed to do? Flee to America and hope to find an orchestra to lead equal to the BPO and start building a following? In a strange country? All because of Hitler? Toscanini did it, but he was very fortunate. He founded his own orchestra.
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This is music making of the highest order. Solomon is masterful here! Thanks so much for sharing.
Spannende Interpretation dieser fein komponierten Klaviersonate im relativ schnellen Tempo mit klarem und gut artikuliertem Anschlag sowie sorgfältig kontrollierter Dynamik. Die Virtuosität dieses genialen Pianisten ist echt bewundernswert. Echt atemberaubend!
An exceptional rendering of this sonata. Solomon really was peerless with Beethoven. And I daresay he still is.
Not true! Wilhelm Kempff and Emil Gilels better more colorful beautiful piano sound for Beethoven than Solomon Cutner!
Great recording bring out the brio in the first movement which lacking in so many other recordings
великолепное исполнение. Наверное вообще Соломон лучший исполнитель Бетховена
Not true! Wilhelm Kempff Emil Gilels better! Gilels and Kempff more beautiful colorful piano sound than Solomon Cutner!
в музыке есть еще содержание есть личность исполнителя. Я не очень люблю Бетховена в исполнении Гилельса. Больше у него мне нравится Лист Шуман Шуберт фантастически исполнял Гилельс клавесинную музыку. Бетховен больше в исполнении Соломона Моисеевича Хаскил Соломн сознательно скуп на на звук. Но он здорово чувствовал что играл.@@RaineriHakkarainen
wow thanks
Best interpretation ever! :D
I agree
Another that I love is a magical performance by the Hungarian Annie Fischer (1978 but not released until after her death).
Emil Gilels is Better! Lupu Mikhail Pletnev better! The greatest pianists of All Time Are really Artur Rubinstein Grigory Sokolov Emil Gilels Radu Lupu Mikhail Pletnev Sviatoslav Richter Maurizio Pollini Wilhelm Kempff Vladimir Ashkenazy Alexei Lubimov Stanislav Igolinsky Solomon Cutner Maria Grinberg Natalia Trull
@@RaineriHakkarainen No way. But that's your cup of tea and your selection (not mine). :P
IMHO Beethoven and Gilels don't fit together! ;)
@@RaineriHakkarainen In other words, damn near everyone. Comments such as this are just silly.
Interprétation somptueuse, furieuse comme il convient
Maybe a bit more classical than romantic, but such surefooted, transparent and effortless pianism won't easily be found elsewhere...
Isn't it such a loss that Solomon declined recording with Wilhelm Furtwängler? It would have been the 2 greatest together and would have left us with a legacy.
+Andros Noe I've often wondered about this, Andros, and I know Solomon anguished over that decision. However, it is compensated for via an extraordinary Beethoven 3 with Boult on Naxos, together with the Tchaikovsky No. 1 with Harty from 1929; Beethoven 2 with Cluytens and Brahms 1 with Jochum in concert performances with the Berlin PO; concert performances on Brahms 1 with Maazel and with Cantelli. A Beethoven 3 with Beinum and the Concertgebouw. There's even a Tchaik 1 from a concert in Kansas City that leaves Horowitz standing and is a lesson in how to deal with a pretty bad orchestra -- "pick 'em up and run?" May require a bit of searching, but the Boult, Cluytens, Joch, Beinum and Kansas City are very well worth it.
I suspect this is because of Furtwängler's association with the Third Reich, and Solomon's being Jewish. Though Furtwängler repeatedly said that he did not want to be involved in politics, openly denouncing Hitler and running afoul of the Third Reich as a result of his artistic decisions, he nevertheless effectively allowed himself to be used to lend an air of cultivation and refinement to a regime founded on very evil ideas and actions. Conducting at Bayreuth didn't really do him any favours in this department either, as we all know how much Hitler loved his Wagner. It is unfortunate, however, as you say.
Furtwangler just wanted to practice his art where he had complete artistic freedom with an orchestra he loved. And a public that adored him. To him he couldn't care less who ran the government. This he got in Berlin. So what else was he supposed to do? Flee to America and hope to find an orchestra to lead equal to the BPO and start building a following? In a strange country? All because of Hitler?
Toscanini did it, but he was very fortunate. He founded his own orchestra.
Probably, yeah
Joe Toms
Actually Toscanini offered him his seat in NY but Furtwangler denied.