Beethoven: Sonata No.3 in C major, Op.2 No.3 - Boris Giltburg | Beethoven 32 project
HTML-код
- Опубликовано: 26 авг 2024
- Beethoven 32 - Over the year 2020, I will be learning and filming all 32 Beethoven sonatas. Subscribe to this channel to follow the project, and visit beethoven32.com for blog posts and listening guides to each sonata.
Beethoven's sonatas Op. 2 were his calling card in Vienna as a composer. At that point - 1795 - he was already famous as a keyboard virtuoso, but the transition to fame as a composer was not obvious, and he took great care with the first works he published, a set of three trios (Op. 1) and three sonatas (Op. 2).
In both opus numbers, it was the final, third work which was to be the culmination of the opus. After the passion and darkness of the F minor sonata, and the easy, warm eloquence of the A major sonata, Beethoven turned to C major for a work of explosive brilliance. Virtuosity is the core trait of the music, whether serious or humorous, thundering or quick-fingered. One can imagine Beethoven proclaiming with happy self-assuredness: "look what I can do at the piano, no holds barred!" And yet there's nothing empty or ostentatious here: the technical brilliance rests upon a glowing musical foundation, and there's so much atmosphere, colour and narrative throughout to complement the passagework. The slow movement, too, stands out in its emotional maturity and often exquisite beauty - its deep musicality wonderfully balancing the fireworks of the fast movements.
Boris Giltburg, piano
Filmed by Stewart French
© 2020 Fly On The Wall, London (fotw.london)
Filmed at @FazioliPianos Concert Hall, Sacile, Italy
Allegro con brio - 0:04
Adagio - 10:30
Scherzo: Allegro - 17:03
Allegro assai - 20:11
Playing this sonata many times in concerts and listening to dozens of performances over RUclips, I am simply stating this is one of the best performances to this great sonata. Giltburg is not only a great pianist, but also has the intelligence to support a great intellect which is fully used to create coherent structures and detailed expression in his interpretation. Listening to his playing is like attending a great opera performance with all the characters and the way they change through the plot.
It's definitely not my favourite, but a great performance nonetheless. Agree that he definitely has some beautifully constructed structures and lyricism, I just personally don't agree with some of his decisions and dynamics, nothing against his skill or anything.
I will say, though, that the trills in the development (2:30-2:33 ish) are masterfully played, I'd do a lot to be able to play those that well ;P
I fell in love with your playing after Rach Études op. 39. It makes me so emotional..
You recording all 32 sonatas just makes me so happy. Looking forward for op. 31 and 109!!!
Perfect interpretation! Love the tempo on the 1st mvt. Most pianists tend to play it much faster and it loses so much of its lyricism.
A marvelous peformance. He plays with extraordinary intelligence . Every note is wonderfully articulated
Beautiful performance, as always, by Boris.
Thank you!
Your playing leaves me speechless every time. This adagio has stolen my heart.
Wonderful interpretation and Fazioli is just the best!
Nadie como Beethoven para hacernos entender este mundo del siglo XXI que nos ha tocado vivir. Gracias al interprete que lo ha transmitido fielmente.
This is one of the handful of his sonatas I just loved after 1 hearing. You've certainly set the standard here, really looking forward to opp. 13, 22, 31/2, 57, 81a and 110 to name a few
The playing is phenomenal - and I really love the camera work too. Feels so personal - like your right there watching. And as a pianist myself, being able to watch your hands stands in as “technical advice”. Really great stuff. I’ll be revisiting these for many many years to come. Thank you so much!
With pleasure!
You’re
@@cogitotal5121Great performance
Exceptionnelle interprétation.
Dans l'esprit de Haydn, toujours présent dans cette sonate, et pourtant très beethovénien...
On n'oublie pas non plus le piano-forte, bien que l'instrument soit moderne.
J'adore !
Very little I can add to all the well-deserved praise. I'm listening to these early sonatas in Vienna, not far from one of Beethoven's many addresses. The spirit of Beethoven, his incredibly fertile musical imagination move me with your excellent playing. Thank you so much your brief but succinct notes. What a performer B must have been; you cannot compose such music without being able to play/improvise it. Unimaginable that his knowledge of his irreversible deafness at such a young age (32) did not drive him to suicide but to ever greater heights and depths of expression. He is truly unique and incomparable (as the conductor Currentzis recently said).
Superb. Finally, someone plays it properly, as Beethoven wrote it. So refreshing after hearing every movement murdered by renowned "expert" exponents of Beethoven's piano sonatas, and wondering why all the gushing praise for them when this is so much superior.
Every moment I feel your sincerity to the music. thanks.
Exceptional recording! Looking forward to more!
I saw you playing Rachmaninoff 2nd Piano Concerto at the Bridgewater Hall... absolutely incredible!
Борис, спасибо Вам огромное за Ваш труд ❤️ гениально
Kind of speechless. Thank you, Mr Giltburg. Your Fazioli is also a joy to hear. 🙏🙏🙏
Wow, Increíble! Siempre yendo mucho más allá que cualquier otra interpretación.
Eduardo Poblete de Chile, extraordinario, magnífica interpretación, este gran intérprete vino hace algunos años al Teatro Municipal, felicitaciones, muchas gracias por este aporte ....
Exquisite performance Boris. Greetings and break a leg with your 32 Beethoven project !!!!
Bravissimo!
Молодец! Bravo!
Bravissimo! Excellent perf.
Brilliant playing!
Great !
Perfection!
brilliant!
Wonderful
amasing
Bravo Boris Giltburg! 👏👏👏👏👏👏Cuándo vienes a Chile?
♥️♥️♥️♥️♥️😍♥️♥️♥️♥️♥️Bravo! 👏💐
Not the biggest fan of some of your choices in your interpretation, but I respect you fully for actually playing the sforzandos properly at 6:00. It really pains me to see even concert pianists ignore those markings or fail to bring them out enough, it sounds almost lazy. Similar to Michelangelli, you actually respect the markings and play it as written, which makes it sound that much nicer
0:04
0:48
Great playing! Did you split up the thirds between your hands or how did you manage to make them sound so crispy?
Yes :) only the first time though, the second can be played with the RH only, using 2-4 to 1-5 as fingerings
@@BorisGiltburgPiano oh really? It looks like you're playing it both times split up between both hands, for instance at 2:44. Thanks for your reply btw, I'm probably going to change my old one-handed fingering to your two handed idea. Sounds much cleaner!
@@MagnusBaumgartl Ha, you're right! Didn't realise (or remember!) I was doing that.
Feels like you’re trying to hard…. Just let the music speak for itself, it feels all the time too passionate forced and unnatural, it is actually a very humorous piece
1st movement very well played though a little too slow.
for some reason #3 opus10 isn't played as well as opus 10 #2. He looks almost uncomfortable playing this piece, again unlike #2. as if he's going through the motions. 3rd movement's much better!