Badira Skoda est a ma connaissance qui dose bien les ponctuations de la première section du finale , et en fait ressortir le très fin humour ; ce n est pas une course a l abime amusée , comme peut l être l allegretto de l opus 54.
Supcharged I once gave an impromptu performance while the audience was impatiently awaiting the results of a provincial finals competition. The incensed adjudicator, upon hearing of it, stepped back in and shut the lid of the piano as I was approaching the cadence point before the major section of the funeral march.
Il faut ABSOLUMENT avoir entendu le scherzo sur instrument d époque ! Autrement il est noyé , abruti ( et l auditeur ) sous les graves ! ( Même remarque pour l andante a variations de l opus 57 )
C'est une sonate très décevante sur le plan musical que vous proposez là, par rapport à ce que vous êtes capable de faire d'habitude. Premier mouvement : techniquement très maîtrisé ; musicalement d'une platitude à mourir. Second mouvement : plus de dynamisme. Troisième mouvement : si les oppositions musicales sont bel et bien présentes, vous pourriez mieux accentuer les paradoxes et l'aspect "funèbre", par contraste avec le dernier mouvement. Dernier mouvement : le plus réussi des quatre. 13,5/20
Its soo sad that no one of these "pianists" had done an academic version of these varitions... All play without care about the rithm. They change it as much as they want beetwen one variation an another.
Musete F16 It is called "interpretation". FYI, the notes just lie there on the page until a talented pianist performs the piece. When you play as well as Richard Goode ("pianists" indeed!) you may make your own recordings and play as academically as you like, the rhythms played as carefully as you prefer, and I suspect it will be a rather dull rendition compared to this.
Mike Bauman well... You are right... But what I mean is that I feel these rallentandos just like rubatos. (Too much) . but ofcourse these interpretation is truly beatifull, thats for sure sir!.
Musete F16 Thanks for being so gracious in accepting my rebuttal. I have read that Beethoven was a very very expressive player. He would frequently move listeners to tears (and then laugh at them and mock them for being silly! He could be an ass at times, no doubt.) I would not be surprised if he himself took slight liberties with time, especially in slower movements. It isn't like the concept of rubato suddenly materialized when Chopin came along. That said, we all have preferences for how much liberty should be taken. I would agree that Beethoven suffers when too much is taken, I just don't think Goode takes too much. If you prefer a more straightforward performance there have to be some out there. In my opinion Goode is far better than someone like Claudio Arrau for Beethoven when it comes to putting less of himself into the music.
Mike Bauman yes true. The last movent of these sonate looks like if beethoven was angry with the people listening... all is p and then sf suddenly apear... ofcourse this can be i terpretate in many different ways but that how I see it: the people where a bit sleepy... then beethoven push that acords hard to make them be surprised... (and wake up !)
Musete F16 Haydn did it in his Surprise Symphony, why not Beethoven? You have quite the imagination Musete F16. I would just point out that Beethoven's music is full of sudden sforzandos. It is why we love him so. To me the last movement is a little weird. It seems too whimsical, especially the way it starts. Ludwig wanted some contrast I'm sure, and certainly achieved it, but it seems like an offshoot from the rest of the piece instead of part of it. I love the other three movements. I don't feel this way about most of his other pieces, they seem better integrated. I first heard this sonata 35 years ago and I feel the same way about it today.
Видеоклипы
I am enjoying this performance very much.
Sonata for piano and humming :) I think it's so sweet. And a beautiful rendition that I hadn't heard before, thanks.
Beauty!
Badira Skoda est a ma connaissance qui dose bien les ponctuations de la première section du finale , et en fait ressortir le très fin humour ; ce n est pas une course a l abime amusée , comme peut l être l allegretto de l opus 54.
would it be a terrible idea to play this at my friends birthday party
+Supcharged It's never a terrible idea to play Beethoven!
+Daniel Titchener it's a funeral march tho...
Supcharged I once gave an impromptu performance while the audience was impatiently awaiting the results of a provincial finals competition. The incensed adjudicator, upon hearing of it, stepped back in and shut the lid of the piano as I was approaching the cadence point before the major section of the funeral march.
Il faut ABSOLUMENT avoir entendu le scherzo sur instrument d époque ! Autrement il est noyé , abruti ( et l auditeur ) sous les graves !
( Même remarque pour l andante a variations de l opus 57 )
C'est une sonate très décevante sur le plan musical que vous proposez là, par rapport à ce que vous êtes capable de faire d'habitude.
Premier mouvement : techniquement très maîtrisé ; musicalement d'une platitude à mourir.
Second mouvement : plus de dynamisme.
Troisième mouvement : si les oppositions musicales sont bel et bien présentes, vous pourriez mieux accentuer les paradoxes et l'aspect "funèbre", par contraste avec le dernier mouvement.
Dernier mouvement : le plus réussi des quatre.
13,5/20
ofnofn
eelevinas Mais t'es qui toi au juste? j'espère que tu te rend compte à quel point tu es ridicule au moins...
Il a fait ça pour presque toutes les vidéos beethovenienes de Richard goode.
Vous n êtes pas au bout du voyage 😀
Its soo sad that no one of these "pianists" had done an academic version of these varitions... All play without care about the rithm. They change it as much as they want beetwen one variation an another.
Musete F16
It is called "interpretation". FYI, the notes just lie there on the page until a talented pianist performs the piece. When you play as well as Richard Goode ("pianists" indeed!) you may make your own recordings and play as academically as you like, the rhythms played as carefully as you prefer, and I suspect it will be a rather dull rendition compared to this.
Mike Bauman well... You are right... But what I mean is that I feel these rallentandos just like rubatos. (Too much) . but ofcourse these interpretation is truly beatifull, thats for sure sir!.
Musete F16 Thanks for being so gracious in accepting my rebuttal. I have read that Beethoven was a very very expressive player. He would frequently move listeners to tears (and then laugh at them and mock them for being silly! He could be an ass at times, no doubt.) I would not be surprised if he himself took slight liberties with time, especially in slower movements. It isn't like the concept of rubato suddenly materialized when Chopin came along.
That said, we all have preferences for how much liberty should be taken. I would agree that Beethoven suffers when too much is taken, I just don't think Goode takes too much. If you prefer a more straightforward performance there have to be some out there. In my opinion Goode is far better than someone like Claudio Arrau for Beethoven when it comes to putting less of himself into the music.
Mike Bauman yes true. The last movent of these sonate looks like if beethoven was angry with the people listening... all is p and then sf suddenly apear... ofcourse this can be i terpretate in many different ways but that how I see it: the people where a bit sleepy... then beethoven push that acords hard to make them be surprised... (and wake up !)
Musete F16 Haydn did it in his Surprise Symphony, why not Beethoven? You have quite the imagination Musete F16. I would just point out that Beethoven's music is full of sudden sforzandos. It is why we love him so.
To me the last movement is a little weird. It seems too whimsical, especially the way it starts. Ludwig wanted some contrast I'm sure, and certainly achieved it, but it seems like an offshoot from the rest of the piece instead of part of it. I love the other three movements. I don't feel this way about most of his other pieces, they seem better integrated. I first heard this sonata 35 years ago and I feel the same way about it today.