Ludwig van Beethoven: Cello Sonata No. 5 in D major, Op. 102, No. 2 / Sol Gabetta, Nelson Goerner
ฝัง
- เผยแพร่เมื่อ 28 ส.ค. 2017
- Nelson Goerner, Piano
Sol Gabetta, Violoncello
LUDWIG VAN BEETHOVEN:
Cello Sonata No. 5 in D major, Op. 102, No. 2
Recorded on 17 July 2016 in the Church in Saanen
Join us at «Gstaad Digital Festival» and watch the entire concert at: www.gstaaddigitalfestival.ch/... - เพลง
6:42 the chair is also in D major!
It made me think about Saint-Saens' Danse Macabre intro hahaha :)
Sol Gabetta and Nelson Goerner are noticeable interprets of the "third manner" of Baathoven, so touchy to render with its variability of feelings and musical events intertwinned in each other. This recording is a masterwork.
Thanks from Brasil
I love Sol.
Amazing control of cello tone - in the beginning of the slow movement she sounds like an English horn!
Hauntingly beautiful!
Amazing
bravo! excllent
Saludos raza!, pásenla chidori con esta excelsa pieza.
2 mov. 6:35
3 mov. 14:40
Hi would you say this is a chamber ensemble playing a homophonic texture with cello as soloist and piano as accompaniement? or both piano and cello are equal in this masterpiece?
Hùng Lorin definitely equal.
@@hunglorin5838 Beethoven cello Sonata 3 to 5 was cello and piano being equal while the ones before I would say was leaning to one sonata
Lovely bow control, timing, pressure. In my amateur opinion many cellists, even famous ones are allowed too much scratchy digging in the fortes and thin rubs in the pianissimos; it’s almost expected as part of the atmosphere created by the instrument. I get the impression, again as an amateur observer, that the French school of cellists, if that’s correct - Tortelier, Fournier, Gendron and now Capucon go for a cleaner tone. YoYo Ma, to my ear, also has a lovely clean sound. My instruments are violin and piano so if I am stirring up the cellists with nonsense I apologize!
This is the sound picked up by the relatively close mics, the effect further in the audience would be somewhat different. The upper partials are required to enable the cello sound to project above the piano. I am not sure I agree about the observation about the French school though, the recording techniques in the 60s and pre-digital were also somewhat different, using fewer mics which gave a sound perhaps more equivalent to what audiences would have heard.
Interesting choice to cram a bunch of audience on the stage behind the piano xD Guess just that many people wanted to see the show lol. Though they can't see much past the Grand.
Sol Gabetta heir of Jacqueline!
The cello takes too much space, especially during the fugue - poor pianist that has laid down so much hard work and he is barely noticed. At least, give him some space when he plays the theme?!
Yes, I think that's the problem with many recordings of this movement, and in this one it's not even so obvious. Still rather good performance, but I definitely prefer hearing this intricate fugue presented with more symmetry.
great cellist performens ,pianist its to slow or to fast ,timinig is a pitty.