The beautiful craziness from within. This is not too fast; it's most authentic for Schumann and comes to life through the contrasting most inspired slower sections. Consider the pianos Schumann had at the time, with extremely light and shallow touch. Like the first sonata, a stroke of genius.
I am not an expert, but are you sure the entire recording is by Argerich? I heard another recording where she played the 3d part (the scherzo) and it sounded different to this one. There, she played the opening chord more like a tremolo, and less like "hits", as she does in this recording. Perhaps she altered the way she plays the sonata over time?
@@ryanting1707As fast as possible within the limits of musicality is what I think Schumann meant, the second part of that phrase is just so obvious he didn’t indicate it. Obviously it’s not supposed to just be a speed contest
@@timotheeprouvost1564 Which, to be fair, was probably slower in the 1800s. And, arguably, "unable to hear details" is in fact faster than possible. The question is then "possible for which purpose?".
@@timotheeprouvost1564 As fast as possible but also it should be did not kill musicality. Argerich seems left it the second subject in the background. Look at Levitzki he played fast and quite a symphonical.
Martha a total gift to us - her speed is not human - I can see her enjoying this piece so much!!!
The beautiful craziness from within. This is not too fast; it's most authentic for Schumann and comes to life through the contrasting most inspired slower sections. Consider the pianos Schumann had at the time, with extremely light and shallow touch. Like the first sonata, a stroke of genius.
My favourite sonata by schumann!! Thanks so much for sharing:)
un secondo movimento favoloso quasi ipnotico Grande Martha.
Fascinating 👍🏼
Great Song of Schumann.
Spectacular Played 🎶🎹👏
I didn't hear any singing.
you missed the piano singing then
@@baronmeduseignorant comment. ever heard of mendelssohns songs without words?
@@ohiomyfired They had to be called that because he knew that songs normally have words. Otherwise he would have just called them 'songs'.
@@baronmeduse even more so ignorant. it is referring to the fact that these songs dont have a title, hence without words
5:40
10:43
12:16
12:15 Rondo is impressive
0:14
ピアノRTA会場はここですか？
Here is the place that Piano speedrun is held?
I am not an expert, but are you sure the entire recording is by Argerich? I heard another recording where she played the 3d part (the scherzo) and it sounded different to this one. There, she played the opening chord more like a tremolo, and less like "hits", as she does in this recording. Perhaps she altered the way she plays the sonata over time?
❣️❣️
10:42
First movement, I mean
The tempo marking is literally “so rasch wie moglich” which translates to “as fast as possible”
@@ryanting1707As fast as possible within the limits of musicality is what I think Schumann meant, the second part of that phrase is just so obvious he didn’t indicate it. Obviously it’s not supposed to just be a speed contest
Sorry, way too fast. Can no longer hear the individual notes.
Wow I agree with this
I get your point, however Schumann tempo indication is As fast as Possible so…
@@timotheeprouvost1564 Which, to be fair, was probably slower in the 1800s.
And, arguably, "unable to hear details" is in fact faster than possible. The question is then "possible for which purpose?".
@@timotheeprouvost1564 As fast as possible but also it should be did not kill musicality. Argerich seems left it the second subject in the background. Look at Levitzki he played fast and quite a symphonical.
Too fast!
Ahahah LOL. Schumann wrote "as fast as possible" and then... "Faster" !!