Amazing... Beethoven with Richard Goode. Thank you so much as I have terminal cancer and listen to it nightly. I have thrown my television out and replaced it with music like this for the remainder of my life. Thank you for this post. God Bless
My warmest thanks to whomever put these sonatas here. I had never heard of Richard Goode before, and after listening to the first two sonatas I am now a big Goode fan. Now a personall comment to Dean Calahan: if you call Claudio Arrau a "human piano roll", what would you call Wilhelm Kempf? Sometimes he plays like a bored bureaucrat...
Yeah, this is the best recording of no.2 i thibk there is. I'd not heard of him either, but I do like him quite a bit. In my opinion, Kempf is one of the best pianist of the 20th century, I'd only put the likes of Backhaus, Rachmaninoff and Schnabel ahead of him. Some of his interpretations are also wildly fast, like his 1927 Waldstein
When you hear every note is not the same and the excellence of his lines, clarity of his texture , the seemingly perfect technique . I'm amazed the perfection obsessed Michelangeli did not programme this Sonata along with op.2 no.3 he played so often . This is a studio recording but this pianist is stellar . The sense here ,pacing . It can't be better . I forgot Schnabel long ago . Maybe he wasn't recorded well . So .
La escucha dilecta, fuera de las salas de espectáculo, devuelve aquel tono íntimo al que las sonatas estuvieron destinadas, para ambiente “privado”, algo que cuesta hoy entender en esta sociedad del espectáculo, al precio del aplauso, a toda costa. Amplio repertorio para navegar en el día a día y salvar baches o vadear torrentes, a modo de canon sin palabras. Escucha callada, una a una, paso a paso, a solas, como modo idóneo. Si las tres primeras se editaron en la primavera de 1786 como Op 2 - tras los tríos con piano-, en contraste con estos, Beethoven por fin se entrega al flujo de su “principal maquina de ideas”, la improvisación sobre un instrumento que dominaba, sin tener que traducirlo «en cuerdas de tripas y en arcos de crin de caballo». Y si ninguna de estas sonatas «posee el impacto visceral del Trio en do menor, en conjunto son más concentradas y más consistentemente originales». En particular la sonata nº 2 muestra claramente un rasgo distintivo del autor: «el efecto expresivo, el relato dramático, se plasma en una sonoridad que es particular para la obra. De ahora en adelante cada sonata para piano de Beethoven constituirá un mundo emocional único expresado mediante una aproximación singular al instrumento » (Jan Swafford, Beethoven, Barcelona, Acantilado 2017: 297-300) .
one of the most difficult movements ever written in Beethoven's piano sonatas according to andras Schiff is like a piano concert to play this Scherzo: Allegretto, few pianists play it live.
Carlos Rupert Really I’ve always thought it was the easiest movement? The first movement has always been the killer for me, and even the last movement. Technically AND musically I’ve never had trouble with the scherzo unlike the first and last movements, what makes it so tough?
Видеоклипы
Amazing... Beethoven with Richard Goode. Thank you so much as I have terminal cancer and listen to it nightly. I have thrown my television out and replaced it with music like this for the remainder of my life. Thank you for this post. God Bless
Listen to Artur Schnabel instead of this Mr. Goode , that could cure you ....
this dudes dead lol
My warmest thanks to whomever put these sonatas here. I had never heard of Richard Goode before, and after listening to the first two sonatas I am now a big Goode fan.
Now a personall comment to Dean Calahan: if you call Claudio Arrau a "human piano roll", what would you call Wilhelm Kempf? Sometimes he plays like a bored bureaucrat...
Yeah, this is the best recording of no.2 i thibk there is. I'd not heard of him either, but I do like him quite a bit.
In my opinion, Kempf is one of the best pianist of the 20th century, I'd only put the likes of Backhaus, Rachmaninoff and Schnabel ahead of him. Some of his interpretations are also wildly fast, like his 1927 Waldstein
When you hear every note is not the same and the excellence of his lines, clarity of his texture , the seemingly perfect technique . I'm amazed the perfection obsessed Michelangeli did not programme this Sonata along with op.2 no.3 he played so often . This is a studio recording but this pianist is stellar . The sense here ,pacing . It can't be better . I forgot Schnabel long ago . Maybe he wasn't recorded well . So .
La escucha dilecta, fuera de las salas de espectáculo, devuelve aquel tono íntimo al que las sonatas estuvieron destinadas, para ambiente “privado”, algo que cuesta hoy entender en esta sociedad del espectáculo, al precio del aplauso, a toda costa. Amplio repertorio para navegar en el día a día y salvar baches o vadear torrentes, a modo de canon sin palabras. Escucha callada, una a una, paso a paso, a solas, como modo idóneo. Si las tres primeras se editaron en la primavera de 1786 como Op 2 - tras los tríos con piano-, en contraste con estos, Beethoven por fin se entrega al flujo de su “principal maquina de ideas”, la improvisación sobre un instrumento que dominaba, sin tener que traducirlo «en cuerdas de tripas y en arcos de crin de caballo». Y si ninguna de estas sonatas «posee el impacto visceral del Trio en do menor, en conjunto son más concentradas y más consistentemente originales». En particular la sonata nº 2 muestra claramente un rasgo distintivo del autor: «el efecto expresivo, el relato dramático, se plasma en una sonoridad que es particular para la obra. De ahora en adelante cada sonata para piano de Beethoven constituirá un mundo emocional único expresado mediante una aproximación singular al instrumento » (Jan Swafford, Beethoven, Barcelona, Acantilado 2017: 297-300) .
one of the most difficult movements ever written in Beethoven's piano sonatas according to andras Schiff is like a piano concert to play this Scherzo: Allegretto, few pianists play it live.
It is full of the most awkward writing, booby traps every other bar!
Carlos Rupert Really I’ve always thought it was the easiest movement? The first movement has always been the killer for me, and even the last movement. Technically AND musically I’ve never had trouble with the scherzo unlike the first and last movements, what makes it so tough?
I'd still take it over Hammerklavier 1 or 4, but these are quite extreme examples
belle résonance Merci
Mouvement 4 : la démarche féminine selon Ludwig !
I think the hardest movement is the second because of his slowness.It never ends...
Schubert est inspiré de cela !
16:10
eladi