Very interesting recording, thanks! The piano did not have much sustaining power but this could have been due to the quality of recording or both. This condition though, made for a more transparent bass that may well have been Beethoven's intention, given the pianos of his day. This was especially noticable in the conclusions of the sections in the 1st movement, and appreciated that usually get muddied up with modern pianos. Another aspect of approach in Lamond's period is what has been termed as "splashing" something that piano teachers later warned their students to avoid, that is, not playing both hands (or fingers) at exactly the same time. However, being strict about that makes it difficult to separate voices. Turn of the century recordings show that pianists at that time were not shy about doing it, so that style must have been well accepted. Also, the tempi are interesting. The 2nd movement is taken slower than usual and the Adagio movements are faster. All in all, with his free use of rubato, it is indeed a very convincing performance and holds together well.
Ja Proclus, unglaublich romantisch. Manchmal denke ich, dass er der einzige Romantiker unter den Komponisten war, weil er in jeder Hinsicht die Grenzen der Konvention gesprengt hat: die der Form, des Ausdrucks, des Metrums, des Tempos, und vor allem die des Gefühls. Die Freiheit der Seele weht immer und überall, in jeden Winkel, als wolle er durch Allem alles erfassen, was natürlich in seinen Spätwerken gipfelt. In den späten Streichquartetten wird dieses Gefühl transzendent, himmlisch und göttlich. Man möchte in einem langsamen Satz dieser Quartette immerfort sein, sich überwältigen lassen von dieser ungeheuren Allseligkeit des cantablen Melos und der sublimen, jenseitigen Romantik. Man möchte einfach nicht mehr weg, wie jemand, der einen hohen Berg erklommen hat und dableiben will. Es ist die romantische Anwandlung desjenigen der zurückgeschaut hat und mühsam nach dem bisschen Vorne lugt, was ihm noch bleibt, in den süßen Tod. Ich kann diese Quartette nicht immer hören, weil diese Substanz mich so ergreift und erschüttert, dass ich fast die Orientierung verliere....BEETHOVEN, der Romantiker!
Arioso dolente 8:20 - 9:59 ... Fuga at 10:00 ... L'istesso tempo di Arioso 11:54 - 12:57 ... And from 13:11... played so wonderfully
Frederic Archibald Lamond 1868 - 1948 .... is about 60 here, his Beethoven developed .. and still developing ... Amazing playing ...
💝💝💝 Thank you, Livio, so very much for the most wonderful upload, amazing sound ..
I agree. It seems the earlier the player was born, the better they play.
The way he plays the end of the last movement is so strange compared to modern interpretations! Wild and wonderful!
Very interesting recording, thanks!
The piano did not have much sustaining power but this could have been due to the quality of recording or both. This condition though, made for a more transparent bass that may well have been Beethoven's intention, given the pianos of his day. This was especially noticable in the conclusions of the sections in the 1st movement, and appreciated that usually get muddied up with modern pianos.
Another aspect of approach in Lamond's period is what has been termed as "splashing" something that piano teachers later warned their students to avoid, that is, not playing both hands (or fingers) at exactly the same time. However, being strict about that makes it difficult to separate voices. Turn of the century recordings show that pianists at that time were not shy about doing it, so that style must have been well accepted.
Also, the tempi are interesting. The 2nd movement is taken slower than usual and the Adagio movements are faster. All in all, with his free use of rubato, it is indeed a very convincing performance and holds together well.
Wonderful playing. Very clean recording, but does not sound overly cleaned up. It must've come from nearly unused discs. Thank you for the upload.
Sehr frei und romantisch, aber das stört bei dieser Sonate nicht, weil der Pianist wunderbare Phrasierungsbögen spannen kann.
Very nice!
Beethovens Musik ist sehr frei und romantisch, nicht wahr
Ja Proclus, unglaublich romantisch. Manchmal denke ich, dass er der einzige Romantiker unter den Komponisten war, weil er in jeder Hinsicht die Grenzen der Konvention gesprengt hat: die der Form, des Ausdrucks, des Metrums, des Tempos, und vor allem die des Gefühls. Die Freiheit der Seele weht immer und überall, in jeden Winkel, als wolle er durch Allem alles erfassen, was natürlich in seinen Spätwerken gipfelt. In den späten Streichquartetten wird dieses Gefühl transzendent, himmlisch und göttlich. Man möchte in einem langsamen Satz dieser Quartette immerfort sein, sich überwältigen lassen von dieser ungeheuren Allseligkeit des cantablen Melos und der sublimen, jenseitigen Romantik. Man möchte einfach nicht mehr weg, wie jemand, der einen hohen Berg erklommen hat und dableiben will. Es ist die romantische Anwandlung desjenigen der zurückgeschaut hat und mühsam nach dem bisschen Vorne lugt, was ihm noch bleibt, in den süßen Tod.
Ich kann diese Quartette nicht immer hören, weil diese Substanz mich so ergreift und erschüttert, dass ich fast die Orientierung verliere....BEETHOVEN, der Romantiker!
Dies sind einige schöne Worte von dir, Klaus ... So sehr wahr über die Quartette ... Lassen Sie uns nicht vergessen, Schubert, obwohl
Unter den wahren Romantiker, müsste man Bach nicht vergessen ...........
Is this from a piano roll or 78s?
Well, I can't say for certain, but judging from the surface noise, if it's a piano roll, it's a 78 rpm recording of a piano roll.
This is not a piano roll.