András Schiff - Sonata No.2 in A, Op.2/2 - Beethoven Lecture-Recitals
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- เผยแพร่เมื่อ 10 พ.ค. 2020
- András Schiff - Beethoven Lecture-Recitals
Wigmore Hall (London, UK), 2004-06
András Schiff last performed the complete Beethoven piano sonatas at Wigmore Hall from 2004-06 to overwhelming critical acclaim, with the editor of the Guardian, Alan Rusbridger, describing one particular performance as ‘a riveting mixture of erudition, analysis, passion, wit and memory’.
On the day before each of the eight recitals in the series, the world-renowned pianist, pedagogue and lecturer gave a lecture-recital in which he explored the works to be performed. Deeply engaging and insightful, these thought-provoking lecture-recitals, recorded live at the Hall, are available below as eight audio lecture-recitals.
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Full playlist:
• Beethoven Lecture-Reci...
View the MP3 files on the Internet Archive:
archive.org/details/AndrasSch...
Originally available at:
web.archive.org/web/201904301... - เกม
LECTURE NOTES:
--------1st movt-----------------
1. @4:53 it's often with late Schubert pieces that he looks back to the early Beethoven.
2. @5:02 a very important example of modulation. One of the earliest examples of masterly modulation.
3. @5:44 impossible fingering. One of the first from Beethoven.
---------2nd movt-----------------
4. Beethoven is getting increasingly dissatisfied with the Italian musical notation. Then he discovered the metronome.
5. Bass piano imitates cello/double bass pizzicati. Above that maybe 3 muted trombones.
Sempra tenuto(always hold the chords) for the chords.
Sempra staccato for the bass.
6. entirely new sonorities: fuller, different proportions, dynamics that's reminiscent of Brahms.
7. @12:23 pianissimo to fortissimo creating an element of fullness, which is very new for that time.
8. @13:16 Brahms' cello sonata in F major clearly "stole" from this movement.
----------3rd movt: scherzo----------
9. @14:02 Schubert's late A major sonata "stole" from this. Not as big a theme as Brahms though "tsk tsk"
10. the trio is in the tonic key but in the minor
----------4th movt: rondo--------------
11. huge intervals reminiscent of an opera singer. E.G. Cosi Fan Tutte's Fiordiligi. A homage to the opera.
12. @17:12, middle session in the minor key: beauty & the beast.
13. @18:22 Beethoven's writing for the full fist. Not so transparent like Mozart's or Shubert's piano writing.
"I try to observe every single marking of Beethoven! ? Then why do you play the Es and F#s at beginning of bars 1 and 3 held when they are marked with a dot under?
in italian, staccato means detached, not necessarily play the note shorter
@@nolans9848 That makes no sense. If they are to be held for the full crotchet (quarter note) they don't need any sign. And you brought up staccato. It's not in the score and I made no mention. The dot definitely means don't hold for full value
He did NOT say "I observe" but "I try to observe." In Beethoven - as with Mozart and Bach - there is great leeway for personal interaction and interpretation; Beethoven, himself, was a great improvisor and would have probably taken even more liberties than Mr. Schiff! If the only thing that concerns you is "strict adherence to markings & notation," you've just missed the point of playing Beethoven beautifully (his ludicrous metronome markings in his symphonies are farcically fast, at best... and certainly NOT to be followed religiously!). Mike D.
@@gardenphoto When Liszt took liberties and played Chopin not as written Chopin said in effect "please play the notes as written". Schiff may disregard clear markings of Beethoven, but cannot then maintain that he "tries to observe them". That is absurd and inconsistent. Beethoven's puzzling metronome markings in his deaf years are quite another matter and should not be confused with clear articulation indications from his youth
@@stephenarnold6359 "Trying" is STILL not an abbsolute and therefore cannot be construde as a deffinite assertion. Deafness and one's age have absolutely NOTHING to do with a composer's ability to judge tempo (Beethoven could "hear" music - fully formed! - in his head better than most!). I still find your argument against Mr. Schiff ungrounded and positively unmusical. Until YOU have acheived what Mr. Schiff has achived as a performer and scholar, I would most humbly suggest that you bow to his expertise concerning Beethoven performance. Mike D.