@@quaver1239 Music is rather like food, some you like and some you don’t, and some people have rather more sophisticated and grown-up tastes than others. Many would rate MacDonalds above a Michelin-starred French or Italian meal and that’s cool, but like with music, it’s no measure of quality.
Masterful playing. Remarkable musicianship. Wonderful range of colours kept within strict timing giving energy, excitement, and just the right tension making this rendition so beautiful to listen to.
i heard this from a remote ticket to bendigo chamber music festival with daniel de borah playing it earlier this year and often come here to listen to different interpretations
@@elijim3764 The importance of the 14 months of counterpoint lessons between Beethoven’s arrival in Vienna in November 1792 and Haydn’s departure for his second visit to England in January 1794 is usually hugely overstated. Beethoven was clear that he ‘…learned nothing’ from these lessons, indeed on Haydn’s return from England in 1795, he played the Opus 2 piano sonatas to Haydn which the following year he dedicated to him, but pointedly refused to add ‘Pupil of Haydn’ to the dedication after being requested so to do by Haydn. Salieri with his Italian vocal lessons similarly cannot really be labelled ‘Beethoven’s teacher,’ and the third one we need to add to this list of so-called ‘teachers’ is Albrechtsberger who took on the counterpoint lessons after Haydn left for England. Whilst all three can to a small and very specific degree be labelled ‘teacher of Beethoven’, all must be qualified as explained above; the only person really entitled to be called Beethoven’s teacher in the generally accepted sense of the word is his Bonn teacher Christian Gottlob Neefe (1748-1798), though even with him, there were clearly areas where the 22 year-old Beethoven was still deficient on his arrival in Vienna.
This work which is one of the greatest keyboard works of the 18th century Classical period is correctly entitled: *Andante con variazioni* (Hob. XVII:6) Haydn himself also called the work ‘Sonata’ (did he ever intend adding additional movements ?), and also in the composer’s own hand elsewhere, ‘Un piccolo divertimento’; the word ‘Variations’ (French) is not by Haydn, and this word first appears in ‘Variations pour le Clavecin ou Pianoforte…’ in the Artaria first edition published in Vienna in 1799. Wiener Urtext in their edition get the title right, but the normally reputable Henle-Verlag’s Urtext edition removes the Italian title completely, and in a very un-international expropriation, replaces it with the German ‘Variationen f - moll’ with the word ‘Sonate’ (not Sonata) in brackets underneath. (Henle also messes up the English version in smaller print below the German heading). As noted in the Wiener Urtext Edition, the correct Italian title best describes the work; un piccolo divertimento reflects the intimate character of the piece; whilst the French/German title is simply too general to be meaningful.
He truly loves Haydn. Can hear this in every beautiful note and phrase. Many thanks, SW.
how could one not love Haydn?
@@petermerelis : Sadly, there are many who don’t. András Schiff could tell you about this.
@@quaver1239
Music is rather like food, some you like and some you don’t, and some people have rather more sophisticated and grown-up tastes than others.
Many would rate MacDonalds above a Michelin-starred French or Italian meal and that’s cool, but like with music, it’s no measure of quality.
テーマ第1主題 0:28
テーマ第2主題 2:49
変奏①第1主題 4:29
変奏①第2主題 6:32
変奏②第1主題 7:45
変奏②第2主題 9:54
再現部 11:24
コーダ 12:25
Thank you for this analysis
Masterful playing. Remarkable musicianship. Wonderful range of colours kept within strict timing giving energy, excitement, and just the right tension making this rendition so beautiful to listen to.
The sound of a Bosenderfer is so beautiful and Schiff's playing too of course ❤❤❤
The Bosen def fits this style very well
Haydn sublime, Schiff immenso
i heard this from a remote ticket to bendigo chamber music festival with daniel de borah playing it earlier this year and often come here to listen to different interpretations
Imagine being such a masterful composer and ALSO the teacher of one of the titans of western music.
Haydn or Schiff? And who did he teach?
@@salar111haydn took Beethoven as a student
@@elijim3764
The importance of the 14 months of counterpoint lessons between Beethoven’s arrival in Vienna in November 1792 and Haydn’s departure for his second visit to England in January 1794 is usually hugely overstated.
Beethoven was clear that he ‘…learned nothing’ from these lessons, indeed on Haydn’s return from England in 1795, he played the Opus 2 piano sonatas to Haydn which the following year he dedicated to him, but pointedly refused to add ‘Pupil of Haydn’ to the dedication after being requested so to do by Haydn.
Salieri with his Italian vocal lessons similarly cannot really be labelled ‘Beethoven’s teacher,’ and the third one we need to add to this list of so-called ‘teachers’ is Albrechtsberger who took on the counterpoint lessons after Haydn left for England.
Whilst all three can to a small and very specific degree be labelled ‘teacher of Beethoven’, all must be qualified as explained above; the only person really entitled to be called Beethoven’s teacher in the generally accepted sense of the word is his Bonn teacher Christian Gottlob Neefe (1748-1798), though even with him, there were clearly areas where the 22 year-old Beethoven was still deficient on his arrival in Vienna.
best trills ever! fabulous and tasteful
Verdaderamente hermoso, Schiff tocó esto anoche en el teatro Colón y fue una maravilla.
Argentina?
Best if the right hand never knows what the left is doing. Amazing tribute to a lost friend.
Bravissimo! Perfection!
"Fine - Laus Deo" (''The end -- praise be to God")
So wunderschön
A masterly and serene performance
これ好き
Галантное исполнение! Какое и должно быть!
That was in 2005.
Hungarian television broadcasted his Haydn-series.
so impressive
Мастер высочайшей культуры!
This work which is one of the greatest keyboard works of the 18th century Classical period is correctly entitled:
*Andante con variazioni*
(Hob. XVII:6)
Haydn himself also called the work ‘Sonata’ (did he ever intend adding additional movements ?), and also in the composer’s own hand elsewhere, ‘Un piccolo divertimento’; the word ‘Variations’ (French) is not by Haydn, and this word first appears in ‘Variations pour le Clavecin ou Pianoforte…’ in the Artaria first edition published in Vienna in 1799.
Wiener Urtext in their edition get the title right, but the normally reputable Henle-Verlag’s Urtext edition removes the Italian title completely, and in a very un-international expropriation, replaces it with the German ‘Variationen f - moll’ with the word ‘Sonate’ (not Sonata) in brackets underneath.
(Henle also messes up the English version in smaller print below the German heading).
As noted in the Wiener Urtext Edition, the correct Italian title best describes the work;
un piccolo divertimento reflects the intimate character of the piece;
whilst the French/German title is simply too general to be meaningful.
0:26
...nemaštovito,ravno...
Listen again! Perhaps you were asleep?
@@quaver1239 Poslusajte Backhaus,Fischer,Perahia....mozda vam se otvore novi vidici...
@Daniela Laura, well, I always ask: could I play it better? (The answer's no)
Sounds pretty good to me.
Dude can’t believe you copied coral chorus in fortnite 😡😡😡😡
Can’t believe this I think they should sue