Very clear ideas and playing each note with such richness, maturity (not rushing immaturely ever) and even without neglecting to sing and express in the ff passages. CONGRATULATIONS.
There can, of course, never be "the best" recording or performance of this snow-capped peak of piano literature. Everyone has their own favorite or reference recording - old (e.g. Horowitz, Rubinstein), later 20th century (e.g. Arrau, Pollini), or contemporary (e.g. Trifonov, Piemontesi). I probably would still pick Krystian Zimmerman's 1991 recording as my personal "gold standard". But if the Fairy Godmother came to me tonight and asked me to pick how I could play this piece, I would choose to be able to play it like Dominic Chamot. Of course, the exposition and recapitulation (or first movement and finale, depending on how you view the structure of the composition) have all the white-hot energy and devastating virtuosity one could wish for. But - and that does include all the "great ones" of the past and the present - I cannot think of a single interpretation in which the extended slower, lyrical middle section (measure 297-459) was or is the true highlight and the centerpiece. Everyone impresses with the fast and flashy passages, but Mr. Chamot makes his rendition stand out by investing the utmost love, care, attention and musicality into this "slow movement". He is the only one I've heard who dares to take as much time - lavish, carefree, seemingly endless amounts of time - as required to truly listen to each phrase, each harmony, and each note in this magically suspended and elevated "slow movement" of the sonata. The entire section held me in rapt attention to the point that the fugato/scherzando return of the Allegro energico became not an awaited or anticipated, but breathlessly dreaded event, finally giving the unfolding demonic drama its bitter due.
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Ooo this is SOOOO special and most beautifully played. Thank you
Thank you so much!
Very clear ideas and playing each note with such richness, maturity (not rushing immaturely ever) and even without neglecting to sing and express in the ff passages. CONGRATULATIONS.
amazing performance, i just found this song and you killed it!!
i finished watching the full performance and loved it
There can, of course, never be "the best" recording or performance of this snow-capped peak of piano literature. Everyone has their own favorite or reference recording - old (e.g. Horowitz, Rubinstein), later 20th century (e.g. Arrau, Pollini), or contemporary (e.g. Trifonov, Piemontesi). I probably would still pick Krystian Zimmerman's 1991 recording as my personal "gold standard". But if the Fairy Godmother came to me tonight and asked me to pick how I could play this piece, I would choose to be able to play it like Dominic Chamot. Of course, the exposition and recapitulation (or first movement and finale, depending on how you view the structure of the composition) have all the white-hot energy and devastating virtuosity one could wish for. But - and that does include all the "great ones" of the past and the present - I cannot think of a single interpretation in which the extended slower, lyrical middle section (measure 297-459) was or is the true highlight and the centerpiece. Everyone impresses with the fast and flashy passages, but Mr. Chamot makes his rendition stand out by investing the utmost love, care, attention and musicality into this "slow movement". He is the only one I've heard who dares to take as much time - lavish, carefree, seemingly endless amounts of time - as required to truly listen to each phrase, each harmony, and each note in this magically suspended and elevated "slow movement" of the sonata. The entire section held me in rapt attention to the point that the fugato/scherzando return of the Allegro energico became not an awaited or anticipated, but breathlessly dreaded event, finally giving the unfolding demonic drama its bitter due.
La musique est la langue de Dieu.
Eine herrliche Aufnahme!