According to Berlioz's notes after his live Liszt's concert experience with first edition score of this sonata in his hand. Liszt did play everything on score perfectly. So these two stories don't quite match...
Musicologists have found conflicting evidence which implies that pianists used to play both slower and faster-because the actual difference wasn’t speed, but instead a more flexible and variable approach to tempo. Following literally every indication in Beethoven’s score wouldn’t even have crossed the mind of a romantic like Berlioz, because the meticulously faithful style held no aesthetic merit until recent times-people were more free to choose their own tempo.
@ There are sources from the 19th Century indicating that composers and performers in the Classical and early-Romantic eras were very strict about tempo steadiness and metronome indications. However, it is human nature to say one thing and do another (and to “revise” one’s memory of the past in accord with certain ideals), and I think this applies to politicians as well as composers and music teachers. 😉
Мой любимый пианист, самый лучший из лучших, божественный, поцелованный Богом и очень любим истинными ценителями музыки! Здоровья, Вам, Григорий Соколов и долголетия!
Sarà anche un ottimo pianista ma le mie orecchie non ce la fanno.Hanno ascoltato dal vivo tutti i più grandi del Novento:ABMichelangeli,Pollini,Richter,Gilels,Magaloff,Brendel Baremboim,Pogolerich,Aschenazy,.Proprio non ce la faccio ad ascoltare questi suoni ruvidi e metallici su questi staccati ritmosi e nevrotici.Boh!
41:32 First fugue of the fourth movement 6' 15 minutes. Much too slow compared with 4'52 minutes [144 Mälzel per crotched prescripted by Beethoven. You should listen to Beveridge Webster, HJ Lim, Laetitia Hahn, Friedrich Gulda Video (1970), Stephan Beus for getting a real Beethoven experience. Sokolow's movements with his arms are too awkward to reach a higher speed. The same in the first and second movement. And the 21 minutes drawling third movement is sleepy boring.
You can listen to his Chopin Etudes, especially the op.25 no.12 and there you will see how slow his "awkward arms" are... i think you realy don't know what you are talking about
it is obviously Grigory Sokolovs artistic choice to play the work at that exact speed. In return he achives an almost unparalleled clearness of articulation, and is able to show the different voices of the Fugue. Just comparing the speed almost says nothing about the Quality of a performance. The same goes for the Adagio...
내가 가장 좋아하는 피아니스트!! 연주가 너무 아름다워서 할 말을 잃었다.
He strikes a great balance! I feel too many pianists nowadays are sacrificing quality to speed and cheap showmanship.
Бесконечно благодарна. Исполнение гениальное.Здоровья Вам и долгих лет жизни ❤❤❤❤❤❤
Fantastic. The best version I know❤
Liszt wrote that the Hammerklavier takes about an hour to perform. In which case, he probably played it at tempi similar to this.
According to Berlioz's notes after his live Liszt's concert experience with first edition score of this sonata in his hand. Liszt did play everything on score perfectly. So these two stories don't quite match...
@@洋鸽哥 Lizst may have followed the score exactly, in the sense that there were no tempo fluctuations that Beethoven did not indicate.
Liszt used to also complain that many pianists played too fast, even back in his days.
Musicologists have found conflicting evidence which implies that pianists used to play both slower and faster-because the actual difference wasn’t speed, but instead a more flexible and variable approach to tempo. Following literally every indication in Beethoven’s score wouldn’t even have crossed the mind of a romantic like Berlioz, because the meticulously faithful style held no aesthetic merit until recent times-people were more free to choose their own tempo.
@ There are sources from the 19th Century indicating that composers and performers in the Classical and early-Romantic eras were very strict about tempo steadiness and metronome indications. However, it is human nature to say one thing and do another (and to “revise” one’s memory of the past in accord with certain ideals), and I think this applies to politicians as well as composers and music teachers. 😉
Fantastic
Мой любимый пианист, самый лучший из лучших, божественный, поцелованный Богом и очень любим истинными ценителями музыки! Здоровья, Вам, Григорий Соколов и долголетия!
As usual with him _ Comme d'habitude avec lui ❤❤❤
У меня взрорвались полушария от восторга!
Notification sound at 8:29 (maybe intended to avoid copyright strike).
I think the original source of this video is a screen recording, I certainly didn’t put it there
@@DreamBoatPianoArchive Ah, that makes sense.
Master
Спасибо!!!
Finally, its back! But the quality of the Video and it's not in synch with the Audio 😢
Yes this is not a fantastic source unfortunately, if there was a better one it probably ran into copyright issues
収録データを明記して頂けませんか？
Sarà anche un ottimo pianista ma le mie orecchie non ce la fanno.Hanno ascoltato dal vivo tutti i più grandi del Novento:ABMichelangeli,Pollini,Richter,Gilels,Magaloff,Brendel Baremboim,Pogolerich,Aschenazy,.Proprio non ce la faccio ad ascoltare questi suoni ruvidi e metallici su questi staccati ritmosi e nevrotici.Boh!
Blame the piano technician for the metallic sound.
Как бы. Хотелось услышать. В. Исполнении Григория лунную. Сонату , патетическую и Апассионату
41:32 First fugue of the fourth movement 6' 15 minutes. Much too slow compared with 4'52 minutes [144 Mälzel per crotched prescripted by Beethoven.
You should listen to Beveridge Webster, HJ Lim, Laetitia Hahn, Friedrich Gulda Video (1970), Stephan Beus for getting a real Beethoven experience.
Sokolow's movements with his arms are too awkward to reach a higher speed. The same in the first and second movement. And the 21 minutes drawling third movement is sleepy boring.
You can listen to his Chopin Etudes, especially the op.25 no.12 and there you will see how slow his "awkward arms" are... i think you realy don't know what you are talking about
it is obviously Grigory Sokolovs artistic choice to play the work at that exact speed. In return he achives an almost unparalleled clearness of articulation, and is able to show the different voices of the Fugue. Just comparing the speed almost says nothing about the Quality of a performance. The same goes for the Adagio...
@@AlexanderGuglielmettiindeed.
And nobody ever mentioned what a horrible fugue this is even with a superb rendition like Sokolov's
Sounds horrible or reads? @@jandrosibilia5242
Not synchronized, I hate it... anyway, thank you very much.