I just purchased Goodyear's Beethoven complete sonatas. His Sonata #23 Appassionata had my heart racing. Seriously, Goodyear is a huge new star in the Beethoven pianist pantheon. Sensitive playing, delicate technique, fascinating use of tempo changes, and breaking out into violent emotion that Beethoven would have stood up and cheered for.
Yes I thought that too,as soon he started playing. It will make a good piano lesson as my teacher is no longer living. Also it will bring her closer to me- cannot wait the experience of the 3rd movement together!
Beautiful! I loved every minute of the performance, including "this guy's facial expression!" Listening is only a part of the performance. I am glad to have the visuals and closeups of his hands.
Yet ANOTHER magnificent petformance of this most challenging sonata - so well played it seems almpost beyinnd criticism, and yet -- I say this reluctantly, because it might sound like jealousy.which it is not --, I am missing some of the anxiety, pathos, anger and other warm human emotions implicit in the Allegro of the first movement, -- the second movement is played very well, but with such determined individuality it borders in places on mannered eccentricity, -- and the Vivacissimamente, which I believe is supposed to be an outburst of unbridled JOY at being reunited with a beloved friend after a oaneful extended absence is SO brilliantly played it borders more on VIOLENCE than EXULTATiON -- a most admirable display of consummate pianism -- a requisite quality in today's overly compeititive concert world to be sure --, .but the extreme emphasis on technical prowess moves this masterful perforrmance beyond the realm of Beethoven's expressive intentions into that of pure pyrotechnical display. I've long felt that Friedrich Gulda's historic, well-established rendition shares the same fault. There is a need for evidence of COMPASSION and HUMILITY in this sonata that too many great virtuosi seem to miss or override in their zeal to comply with the extraordinaruly callenging technical demands of the work. Nevertheless, this is a GREAT achievement and thoroughy enjoyable once accepted on its own. terms. Goodyear plays with tremendous authority.
A very valid post, thank you and I agree with it as well as Gulda's Amadeo recordings, where I personally do not care for his Op. 81a. I would suggest hearing Andrea Lucchesini play this, it is on Spotify and might be on RUclips.
Not convinced about the jacket... Convincing enough performance however.Was this part of an orchestral concert?Very strange...I suppose the orchestra players were in the bar... 3rd movement rather on the fast side meaning the final bars lose their impact.😕
I just purchased Goodyear's Beethoven complete sonatas. His Sonata #23 Appassionata had my heart racing. Seriously, Goodyear is a huge new star in the Beethoven pianist pantheon. Sensitive playing, delicate technique, fascinating use of tempo changes, and breaking out into violent emotion that Beethoven would have stood up and cheered for.
unglaublich gut , es swingt - ein fantastisch rhythmisch begabter Pianist
Oh my! He is phenomenal! Performed in a way I think Beethoven would have loved.
exactly my reaction to hearing him do Beethoven my first time.
Yes I thought that too,as soon he started playing. It will make a good piano lesson as my teacher is no longer living. Also it will bring her closer to me- cannot wait the experience of the 3rd movement together!
Beautiful! I loved every minute of the performance, including "this guy's facial expression!" Listening is only a part of the performance. I am glad to have the visuals and closeups of his hands.
Yet ANOTHER magnificent petformance of this most challenging sonata - so well played it seems almpost beyinnd criticism, and yet -- I say this reluctantly, because it might sound like jealousy.which it is not --, I am missing some of the anxiety, pathos, anger and other warm human emotions implicit in the Allegro of the first movement, -- the second movement is played very well, but with such determined individuality it borders in places on mannered eccentricity, -- and the Vivacissimamente, which I believe is supposed to be an outburst of unbridled JOY at being reunited with a beloved friend after a oaneful extended absence is SO brilliantly played it borders more on VIOLENCE than EXULTATiON -- a most admirable display of consummate pianism -- a requisite quality in today's overly compeititive concert world to be sure --, .but the extreme emphasis on technical prowess moves this masterful perforrmance beyond the realm of Beethoven's expressive intentions into that of pure pyrotechnical display. I've long felt that Friedrich Gulda's historic, well-established rendition shares the same fault. There is a need for evidence of COMPASSION and HUMILITY in this sonata that too many great virtuosi seem to miss or override in their zeal to comply with the extraordinaruly callenging technical demands of the work. Nevertheless, this is a GREAT achievement and thoroughy enjoyable once accepted on its own. terms. Goodyear plays with tremendous authority.
A very valid post, thank you and I agree with it as well as Gulda's Amadeo recordings, where I personally do not care for his Op. 81a. I would suggest hearing Andrea Lucchesini play this, it is on Spotify and might be on RUclips.
Obrigada Rafael❤️
Чудесное исполнение прекрасного произведения!
Sinsational
Rafael obrigado muito bom
MARAVILHOSO!
Sein Lächeln am Anfang ist sehr eindrucksvoll, obwohl die Leistung nicht so eindrucksvoll klingt. Auf Wiedersehen, Herr Goodyear!
Not convinced about the jacket...
Convincing enough performance however.Was this part of an orchestral concert?Very strange...I suppose the orchestra players were in the bar...
3rd movement rather on the fast side meaning the final bars lose their impact.😕