When I want to listen to Beethoven's violin sonatas, these are the players I like best. They let the music speak having to exhibit their wonderful virtuosity. Which is true virtuosity!
Great performers, no question, although full of high and late romantic mannerisms. This sometimes interrupts Beethoven's classic logical flow. Eclecticism. Compare to the new recording of Zimmermann and Helmchen (2020).
The pianist's wrists are somewhat low, but it doesn't matter because he is so clear and crisp (also expressive). I'm glad it works for him. Of course nothing needs to be said of the violinist that hasn't already been mentioned. A very wonderful duo.
Sonatas for piano and violin I’m off to Vienna to rehearse four programmes of Mozart’s music which violinist Erich Höbarth and I are playing this season in Perth Concert Hall, Scotland’s newest concert hall (our first concert is on November 11). We’re tackling twelve of Mozart’s sonatas for piano and violin. Piano and violin, I hear you say? Isn’t it ‘violin and piano’? Well, not according to Mozart who called them ‘sonatas for piano and violin’. In his letters, he mentions playing the piano parts himself ‘with the accompaniment of a violin’. That was how they were perceived until the nineteenth century and the age of the celebrity violinist, when things flipped around. These works, and many others like them, started to be listed as ‘violin sonatas’, and the piano part was suddenly ‘the accompaniment’. Even today the violinist is often the one with their photo on the record cover, the one whose name is in bigger font in the programme, or the only one whose name is mentioned at the end of the radio broadcast. Why does this matter? It matters because the re-labelling tricks people into perceiving things falsely. They expect the violin part to be the leading voice, when in fact the meat of the musical narrative is in the piano part. If you approach these works expecting the violin part to be pre-eminent, you experience a kind of cognitive dissonance as you listen: often the violin is doing something quite modest, and you sense that the piano part is full of interest and information, but you don’t understand why such prominent material should be relegated to ‘the accompaniment’. The answer is that it isn’t an accompaniment. If you switch to hearing the music as piano with violin, everything falls into place. Of course you still need an excellent violinist, and perhaps even more importantly, an excellent musician, both of which I’m fortunate to have. With more historical awareness, and with the intervention of a few strong-minded pianists, things are beginning to move back to Mozart’s original concept of ‘sonatas for piano with violin’. If you look up all the available recordings on Spotify, you’ll find about half of the duo sonatas advertised with the pianist’s name first, the other half with the violinist’s name first. This shows the confusion around the topic. It’s clearly a situation in transition, but at least there is movement. Liked this post? Subscribe to the RSS feed for more of the same!
Anne Sophie's problem are the rubbati which are easy to listen all along her interpretation. Once someone made me realize about that in her performing of Kreutzer sonata in which it is not so evident. But in this one!!! OMG! Just comparing with Oistrack and Oborin version is very very notorious.
Could you please further explain what you mean by rubati? It's a term that I believe I have associated with something else. And why do they pose a problem for her in your opinion? Thanks!
Da dove vengono e dove vanno i suoni?Chi sta in mezzo a produrli lo sa?E chi con strumenti li esegue ne fissa al momento la presenza.EEd è tutto?No ;i suoni tracciano solchi di letizia nell'anima o di tristezzaa e restano a dare senso alla vita.
Very nice playing and connection between the two. I certainly can't do better, but I disagree with their interpretation of the last movement. They slow down at the end of each statement of the main theme and insert (unmarked) rubato at the end of many other phases. It kills the momentum as each section leads to the next. It doesn't make much sense to my ear. A more fluid interpretation is more powerful and exciting. Judging by the dynamic/expressive markings of the piece, Beethoven intended a powerful and exciting conclusion to the sonata. In my opinion, their interpretation sounds cute and playful. (although expertly executed)
The technique, the tunning, and the sincronization is excellent, what I criticize is the expresion, and I don't mean the dinamics, what I mean is that it is played as if it was Mozart. Beethoven is explosive not playful.
This is very early Beethoven and still very much of the world of Hayden and Mozart as opposed to the Beethoven who would create bridge to the Romantic era.
This is as many pointed out EARLY Beethoven, which was very influenced by mozart, and that time periods norms, which Beethoven started to first really break at the turn of the century
interesting insight. even post-edit it manages to impart no information, though if you want quality pillowcases, try Brooklinen. www.brooklinen.com/collections/gs/products/classic-pillowcases?variant=6885069443&gclid=CjwKCAiA25v_BRBNEiwAZb4-ZaXOW-XTr3iEN5cg2ER3jhSjkMAHaTmvspJfwwEJGzUyf6_BPKbM5hoCRS4QAvD_BwE
Um... EXCUSE ME Mr. I-know-it-all, but I'm and a few other thousands are a walking-Talking evidence for a happy CLASSICAL musicians so keep your mouth shut if you DON'T KNOW anything, got it!!? OMG!! YOU'RE The one WHO is pathetic and one Said individual.
Stupid comment... And ill informed at best... Have you ever meet one? Or played something yourself for that matter? Just because it doesn't look like Tom & Jerry playing doesn't make the performers emotionless or fake. Everyone does it differently, keep that in mind next time you make a comment like that
![Beethoven.Violin.Sonata.No.5.Op24.Spring.[Anne.Sophie.Mutter.Lambert.Orkis]](http://i.ytimg.com/vi/PGFs7n6n3-8/mqdefault.jpg)
![Beethoven.Violin.Sonata.No.5.Op24.Spring.[Anne.Sophie.Mutter.Lambert.Orkis]](/img/tr.png)
![Beethoven.Violin.Sonata.No.7.op.30.No.2.[Anne-Sophie.Mutter.-.Lambert.Orkis]](http://i.ytimg.com/vi/EQVixrP7Sxs/mqdefault.jpg)
What pure tones from the violin.. What happy tones from the piano... (1st movement)..
3:35 Amadeus: 'the rest is just the same isnt it?'
HAHAHA
😏😏😏
When I want to listen to Beethoven's violin sonatas, these are the players I like best. They let the music speak having to exhibit their wonderful virtuosity. Which is true virtuosity!
Can we please make clones of Lambert and assign each violinist a clone of him, he is so amazing
0:45 1 mov
10:15 2 mov
18:17 3 mov
0:47- Allegro con Brio
10:17- Thema con Variazioni
18:17- Rondo- Allegro
Great performers, no question, although full of high and late romantic mannerisms. This sometimes interrupts Beethoven's classic logical flow. Eclecticism. Compare to the new recording of Zimmermann and Helmchen (2020).
...halt ein echter Mutter :D :D
Beautiful notes the combination of violín and piano it's very sweet
Congrats to Beethoven then :)
Breathtaking !!
Incomparable! Superb interpretation!
The pianist's wrists are somewhat low, but it doesn't matter because he is so clear and crisp (also expressive). I'm glad it works for him. Of course nothing needs to be said of the violinist that hasn't already been mentioned.
A very wonderful duo.
So expressive and musical! I love Mutter's playing!
The actual starting time is 0:48
ㅁ
Dick Moores x
Thanks
I should have read reviews first 😰
there's a quotation from Mozart k. 375a, sonata for two pianos, third movement, in this third movement, if anyone is interested...
Thanks!
I noticed it as well, tho im sure its k 448 in the current Köchel Verzeichnis
I love how the pianist is smiling at 6:55
This is really pleasing to the ears!
Great Violin & Piano feast...Great Anne....! Pure & clear notes from Violin
I've been a big Sophie-Ann Mutter for years!
how's that possible?? i've been a big fan
Wonderful!!! Thanks
Sonatas for piano and violin
I’m off to Vienna to rehearse four programmes of Mozart’s music which violinist Erich Höbarth and I are playing this season in Perth Concert Hall, Scotland’s newest concert hall (our first concert is on November 11). We’re tackling twelve of Mozart’s sonatas for piano and violin.
Piano and violin, I hear you say? Isn’t it ‘violin and piano’? Well, not according to Mozart who called them ‘sonatas for piano and violin’. In his letters, he mentions playing the piano parts himself ‘with the accompaniment of a violin’. That was how they were perceived until the nineteenth century and the age of the celebrity violinist, when things flipped around. These works, and many others like them, started to be listed as ‘violin sonatas’, and the piano part was suddenly ‘the accompaniment’. Even today the violinist is often the one with their photo on the record cover, the one whose name is in bigger font in the programme, or the only one whose name is mentioned at the end of the radio broadcast.
Why does this matter? It matters because the re-labelling tricks people into perceiving things falsely. They expect the violin part to be the leading voice, when in fact the meat of the musical narrative is in the piano part. If you approach these works expecting the violin part to be pre-eminent, you experience a kind of cognitive dissonance as you listen: often the violin is doing something quite modest, and you sense that the piano part is full of interest and information, but you don’t understand why such prominent material should be relegated to ‘the accompaniment’. The answer is that it isn’t an accompaniment. If you switch to hearing the music as piano with violin, everything falls into place. Of course you still need an excellent violinist, and perhaps even more importantly, an excellent musician, both of which I’m fortunate to have.
With more historical awareness, and with the intervention of a few strong-minded pianists, things are beginning to move back to Mozart’s original concept of ‘sonatas for piano with violin’. If you look up all the available recordings on Spotify, you’ll find about half of the duo sonatas advertised with the pianist’s name first, the other half with the violinist’s name first. This shows the confusion around the topic. It’s clearly a situation in transition, but at least there is movement.
Liked this post? Subscribe to the RSS feed for more of the same!
Beethoven - Violin Sonata No.1. Op.12 １Mov (처음부터－10:13초)
베토벤 바이올린 소나타 제１번 Op.12 중 1악장
Anne Sophie's problem are the rubbati which are easy to listen all along her interpretation. Once someone made me realize about that in her performing of Kreutzer sonata in which it is not so evident. But in this one!!! OMG! Just comparing with Oistrack and Oborin version is very very notorious.
Could you please further explain what you mean by rubati? It's a term that I believe I have associated with something else. And why do they pose a problem for her in your opinion? Thanks!
❤❤❤
The 2nd mov 10:15
3:35
베토벤 바이올린 소나타 제 1번 Op.12중 1악장
0:46
11:51
Da dove vengono e dove vanno i suoni?Chi sta in mezzo a produrli lo sa?E chi con strumenti li esegue ne fissa al momento la presenza.EEd è tutto?No ;i suoni tracciano solchi di letizia nell'anima o di tristezzaa e restano a dare senso alla vita.
bella frase di chi è?
Here’s the genius
ALABADO SEA JESUCRISTO
BRAVO
happy birthday
Very nice playing and connection between the two. I certainly can't do better, but I disagree with their interpretation of the last movement. They slow down at the end of each statement of the main theme and insert (unmarked) rubato at the end of many other phases. It kills the momentum as each section leads to the next. It doesn't make much sense to my ear. A more fluid interpretation is more powerful and exciting. Judging by the dynamic/expressive markings of the piece, Beethoven intended a powerful and exciting conclusion to the sonata. In my opinion, their interpretation sounds cute and playful. (although expertly executed)
The 4th mov. Starts from 18:17
it is 3rd mov
0:46
10:15
what does this comment mean? most people write their comments in English
Start at 0:45
6:30
>Right click >Stop download
I think this is what we all came here for.
The technique, the tunning, and the sincronization is excellent, what I criticize is the expresion, and I don't mean the dinamics, what I mean is that it is played as if it was Mozart. Beethoven is explosive not playful.
This is very early Beethoven and still very much of the world of Hayden and Mozart as opposed to the Beethoven who would create bridge to the Romantic era.
This is as many pointed out EARLY Beethoven, which was very influenced by mozart, and that time periods norms, which Beethoven started to first really break at the turn of the century
What a great performer she is. She is able to make the violin sing and to express human feelings. Remarkable.
Gorgeous!!!!!!!!
Just came from a performance of this on historical instruments and Mutter's vibrato is really jarring at first after that.
fantastic interpretation ! and the pianist is awesome as well as ms.Mutter
Wow, she tuned to 444...
Like Piano
@@chassagnonadrian9341 like violin
WOW
They both have an exaggerated sense of rubato; almost always the phrase gets chopped up.
100th commment?
Too much rubato
Música bella y sublime escrita por el gran músico Beethoven pero la violinista tiene que cambiar de cara al ejecutar esta música, desde Abancay Perú.
Sonata para violino e piano nº 1, em Ré maior, op. 12 nº 1, de Ludwig van Beethoven.
Anne-Sophie Mutter e Lambert Orkis
Bruno
Bad jokes.
Rondo 18:17
好婦
??????????
@@141gray Blarbint ez flikosene
ㅣ
That's not what Beethoven composed.....
Αλέξανδρος - Alexander no it is right. i have that composition. I play that at my home.
@@user-wm3iv1dl9q no, it's in F and it's for a big orchestra with tuba
I guess you spoke to Beethoven and he told you he composed something else and these people are playing someone else's work in his name?
If you put a pillowcase over her head, she’s barely ok...
interesting insight. even post-edit it manages to impart no information, though if you want quality pillowcases, try Brooklinen. www.brooklinen.com/collections/gs/products/classic-pillowcases?variant=6885069443&gclid=CjwKCAiA25v_BRBNEiwAZb4-ZaXOW-XTr3iEN5cg2ER3jhSjkMAHaTmvspJfwwEJGzUyf6_BPKbM5hoCRS4QAvD_BwE
I have never seen a happy classical musician. They put all their emotions into their playing. It's all fake. Sad, pathetic individuals.
what the hell are you talking about?
Um... EXCUSE ME Mr. I-know-it-all, but I'm and a few other thousands are a walking-Talking evidence for a happy CLASSICAL musicians so keep your mouth shut if you DON'T KNOW anything, got it!!? OMG!! YOU'RE The one WHO is pathetic and one Said individual.
you are full of horse packy
Some bitter mofoker sucked at classical music when he was young...
Stupid comment... And ill informed at best... Have you ever meet one? Or played something yourself for that matter? Just because it doesn't look like Tom & Jerry playing doesn't make the performers emotionless or fake. Everyone does it differently, keep that in mind next time you make a comment like that
❤❤❤
10:17
0:47
3:34
10:17