Ludwig van Beethoven (1770-1827): Sonata no. 17 in D minor opus 31 no. 2, "The Tempest" 1. Largo - Allegro 2. Adagio 7:48 3. Allegretto 13:57 Clara Haskil (1895-1960), piano Recorded in 1960
Is that a perfect example of what music is about - conveying composer's thoughts and feelings behind his composition? No technical analysis of pianist's playing matters here, just pure bliss of raw emotions and living though music. Priceless! This playing is something one cannot learn at school, music is about an artist's soul, not technique. Thank you for the opportunity to hear this gem!
What perfection by Clara Haskill. The technique required is purely classical, yet the music bursts with emotions. I have so much to learn every time I listen to her playing.
A second hearing has removed my earlier reservations - taken on its own terms, I now find that this performance is one of tremendous intensity and artistry!
I could rack my brain to find the perfect words to describe her playing...instead I'll just say, simply marvellous (and another Haskil treasure to add to my favourites).
Clara Haskil not.the Best Beethoven The Tempest player Better Are 1:Emil Gilels ( The Best The most beautiful piano sound) 2:. Maria Grinberg ( The most fierce! Maria The most passion) 3; Grigory Sokolov ( The most genius The Tempest Ever) 4: Wilhelm Kempff ( The most perfect colorful piano sound Ever) 5:Byron Janis
Her recordings of the LvB violin sonatas with Grumiaux are unsurpassed and gorgeous and addictive! CH was one of the giants of the musical world of her time! See Charlie Chaplin's comment in the wiki...
But Clara Haskil not The Great Mozart player! The Best Mozart piano concertos players really Are=Mozart 17 Dezo Ranki Mozart 18 Vladimir Ashkenazy Mozart 19 Radu Lupu Mozart 20 Vladimir Ashkenazy Mozart 21 Radu Lupu ( others like Artur Rubinstein Maurizio Pollini Vladimir Ashkenazy Murray Perahia) Mozart 22 Laura Mikkola Natalia Trull Jörg Demus Robert Casadesus Mozart 23 Solomon Cutner ( others like Vladimir Horowitz Radu Lupu Vladimir Ashkenazy Murray Perahia Maurizio Pollini) Mozart 24 Grigory Sokolov Maria Grinberg ( others like Wilhelm Kempff Mikhail Pletnev) Mozart 25 Murray Perahia Mozart 27 Alexei Lubimov ( others like Vladimir Ashkenazy Natalia Trull Emil Gilels Murray Perahia)
Yes that I can understand! This playing is perfect for my taste, elegant, flowing, in general maybe not very much typical Beethoven playing(btw what's typical Beethoven?)but simply it moves my heart and make me surprised by many details, it is a fantastic Beethoven playing.
I think the last movement is really marvellous here, very well phrased and with a lot of contrasts, the sudden modulation to B flat at 17:52 is comes as a complete surprise... and not TOO fast. How TH-cam dares to claim that it's Hell-'n Grimy-o is beyond me!
When she was at her best Clara Haskil wasvirtually unsurpassable. When she was not, her playing could be a little shaky and filled with odd inaccuracies. Haskil's Beethoven Opus 111 and Opus 58 (the Fourth concerto) are prime examples. In this sonata, -- which, incidentally, I performed for my audition for the Eastman School of Music (they took me ;-) -- Fraulein Haskil was decidedly at her best. My only criticism is that her slow movement, though perfectly executed, seems a bit too brisk and emotionally disengaged -- excellent, but perfunctory. The first movement is about as good as it could possibly get. The last movement gets very close to perfection.
Interestingly, it was these very things that gave rise to my initial reservations but, on a second hearing, I tried to abandon 'Texttreue' listening and found that I could easily appreciate Haskil's view of the music on her own terms. After all, I love Kempff's Beethoven, which is hardly 'Texttreue'!
I think it will be found that, though she studied in Vienna with the same teacher as Rudolf Serkin. she was in fact Romanian, not, as somebody seems to think, German, and she felt she owed much of her training to Paris. Probably not, therefore, Fraulein Haskil. I heard her in the 1950s in Manchester with Barbirolli in K488. Though she was clearly a very determined person, the performance was a true collaboration, and very beautiful.
나는 그저 숙연해집니다. 클라라의 연주는 내몸의 세포하나하나에 건반의 한음한음으로 말을 걸어옵니다. 어떤 위로보다 따뜻하네요. 하지만 그녀의 연주는 어쩜 이리도 냉철하고 그냥 기본음의 원형처럼 감정이 배재된 그저 음악 그자체. 나는 그 음악 전체를 마주할 수가 없어요 그저 원형만을 느낄 뿐.때로 나를 압도합니다.😮 그리고 나는 나의 모든 쿼테이션을 지워버려야합니다.
WOW!! El ultimo Movimiento es en el que por primera vez siento el Porque es que lleva el nombre La Tempestad! Y eso que la he escuchado y visto por los mas grandes,
I agree with you, especially about the phrasing, truly wonderful! I think in general I prefer these German/Austrian pianists in Beethoven, plus some Russians (Richter, Gilels). However, this is an example of a piece that can NEVER sastisfy me completely in terms of interpretation... the only time when I am completely satisfied is when I have a walk and hear the music in my head, or when I read the notes - but from the moment I start to listen to a recording or to play myself, problems start! ;-)
I agree with O VT. If you know the play, you can hear it in Kempff's performance. The mystery, the island and waters and forest, and magical characters, are all there. Her rendition is a bit heavy handed and lacks the magic. The first movement, however, is splendid.
I also find not everything Haskil does exactly to my taste, including all of the things you mentioned. But I think this performance has wonderful power and passion (and I love the way she phrases)--perhaps different from the Beethoven presented by the Austro-German school (Kempff, Backhaus, Schnabel, Gieseking, et al.)--but I think its individuality is part of its appeal for me. I think if Haskil played it exactly as I would play it myself I'd be bored stiff!
The graceful and nimble cantabile in the adagio, and the choice of tempo which is hardly an adagio (Bashkirov said in a masterclass that Mozart's adagios have "one eye towards andante"), reveal the Mozartian roots of this music so convincingly that had I heard this movement out of context I might've said it's a piece by Mozart. Not necessarily my desert island performance of this great and enigmatic sonata but very beautifully played by one of the great Mozart pianists! Incidentally, in one of his several recordings of this sonata Gould plays the third movement at a breakneck speed, achieving an effect that makes one of think of - predictably, in his case - Bach rather than Beethoven. Again, not very Beethovenian, but the technical mastery, tonal beauty and sheer charm are such that you just get carried away with it! watch?v=oVNXeccU_DQ
18:90 - 25:27 what the hell is that??? I have played this movement and listened to perhaps 20 others. I have never heard that come out. Also, I understood it immediately. Love to Clara.
It's not a viril Beethoven as W Backhaus or Yves Nat ( j prefer him - 1956 recording before his death but j like Clara Haskil very near here W Kempff ( too delicate also in Beethoven ) , with Clara Haskil a piece is always a song , often melancholy , always a piano who speak to you . Clara Haskil us Mozart and Schumann but j like his Beethoven her Chopin , a famous pianust is always amazing to listen her
You are correct-The others the good ones Beethoven 17th sonata the tempest 1.E.Gilels 2.Maria Grinberg 3.Kempff 4.Richter 5.Byron Janis 6.a big suprise Glenn Gould can play this beethoven 17th a fine style.Gould was also a good one Chopin 3 sonata.But Gould Mozart sonatas and Bachwas not a good playing.Clara Haskill is one of the best Beethoven 17th sonata players for sure!!!!
Though it is playing of a great artist, it is not my favourite version overall! Many details -- in pedaling, dynamics, rhythm, accentuating, tempo -- I would like to hear differently... just my personal taste...
Is that a perfect example of what music is about - conveying composer's thoughts and feelings behind his composition? No technical analysis of pianist's playing matters here, just pure bliss of raw emotions and living though music. Priceless! This playing is something one cannot learn at school, music is about an artist's soul, not technique. Thank you for the opportunity to hear this gem!
What perfection by Clara Haskill. The technique required is purely classical, yet the music bursts with emotions. I have so much to learn every time I listen to her playing.
I love her tone...resonance....melodic line. She has great imagination...variety of touch/dynamics. Third movement is a tempest! Brava!!!!!
Wonderful, Erwin!
Thank you for this truly touching document of one of the greatest pianists in musical history and in the art of interpretation.
Yes, I agree with Sofi, Very lovely and flowing and inspiring. Thank you.
A second hearing has removed my earlier reservations - taken on its own terms, I now find that this performance is one of tremendous intensity and artistry!
I could rack my brain to find the perfect words to describe her playing...instead I'll just say, simply marvellous (and another Haskil treasure to add to my favourites).
Clara Haskil not.the Best Beethoven The Tempest player Better Are 1:Emil Gilels ( The Best The most beautiful piano sound) 2:. Maria Grinberg ( The most fierce! Maria The most passion) 3; Grigory Sokolov ( The most genius The Tempest Ever) 4: Wilhelm Kempff ( The most perfect colorful piano sound Ever) 5:Byron Janis
@@RaineriHakkarainen Cuánto sabes!
-- Il s'agit là de l'une des plus belles versions que j'ai entendu de cette magnifique Tempête de Beethoven. --
Her recordings of the LvB violin sonatas with Grumiaux are unsurpassed and gorgeous and addictive! CH was one of the giants of the musical world of her time! See Charlie Chaplin's comment in the wiki...
But Clara Haskil not The Great Mozart player! The Best Mozart piano concertos players really Are=Mozart 17 Dezo Ranki Mozart 18 Vladimir Ashkenazy Mozart 19 Radu Lupu Mozart 20 Vladimir Ashkenazy Mozart 21 Radu Lupu ( others like Artur Rubinstein Maurizio Pollini Vladimir Ashkenazy Murray Perahia) Mozart 22 Laura Mikkola Natalia Trull Jörg Demus Robert Casadesus Mozart 23 Solomon Cutner ( others like Vladimir Horowitz Radu Lupu Vladimir Ashkenazy Murray Perahia Maurizio Pollini) Mozart 24 Grigory Sokolov Maria Grinberg ( others like Wilhelm Kempff Mikhail Pletnev) Mozart 25 Murray Perahia Mozart 27 Alexei Lubimov ( others like Vladimir Ashkenazy Natalia Trull Emil Gilels Murray Perahia)
Lovely. Very flowing. Inspiring!
A wonderful pianist..
Quelle merveille!!! La meilleure interpretation que j'ai entendu.
I grew up with this recording as standard. It couldn´t sound more natural!
I'm listening to it again with my mother, it is really truly beautiful, great artistic playing :-0 Certainly my most favoriteTempest!
Yes that I can understand!
This playing is perfect for my taste, elegant, flowing, in general maybe not very much typical Beethoven playing(btw what's typical Beethoven?)but simply it moves my heart and make me surprised by many details, it is a fantastic Beethoven playing.
I think the last movement is really marvellous here, very well phrased and with a lot of contrasts, the sudden modulation to B flat at 17:52 is comes as a complete surprise... and not TOO fast.
How TH-cam dares to claim that it's Hell-'n Grimy-o is beyond me!
que bello toca, que hermosa Clara, excelente
extraordinary.
When she was at her best Clara Haskil wasvirtually unsurpassable. When she was not, her playing could be a little shaky and filled with odd inaccuracies. Haskil's Beethoven Opus 111 and Opus 58 (the Fourth concerto) are prime examples. In this sonata, -- which, incidentally, I performed for my audition for the Eastman School of Music (they took me ;-) -- Fraulein Haskil was decidedly at her best. My only criticism is that her slow movement, though perfectly executed, seems a bit too brisk and emotionally disengaged -- excellent, but perfunctory. The first movement is about as good as it could possibly get. The last movement gets very close to perfection.
This is really wonderful, this is a true music, brava!
C est vraiment la musique de ce passionné qu etait Beethoven !
Pagina storica ed esecuzione strabiliante. Grazie ad Angelisa anche da parte mia: l'indicazione dei movimenti è sempre utile.
Gracias por el momento
Interestingly, it was these very things that gave rise to my initial reservations but, on a second hearing, I tried to abandon 'Texttreue' listening and found that I could easily appreciate Haskil's view of the music on her own terms. After all, I love Kempff's Beethoven, which is hardly 'Texttreue'!
Magnifica!!!
I think it will be found that, though she studied in Vienna with the same teacher as Rudolf Serkin. she was in fact Romanian, not, as somebody seems to think, German, and she felt she owed much of her training to Paris. Probably not, therefore, Fraulein Haskil. I heard her in the 1950s in Manchester with Barbirolli in K488. Though she was clearly a very determined person, the performance was a true collaboration, and very beautiful.
She was a Swiss citizen since 1949 and lived in Vevey. Much more Mademoiselle than Fraulein ;)
나는 그저 숙연해집니다. 클라라의 연주는 내몸의 세포하나하나에 건반의 한음한음으로 말을 걸어옵니다. 어떤 위로보다 따뜻하네요. 하지만 그녀의 연주는 어쩜 이리도 냉철하고 그냥 기본음의 원형처럼 감정이 배재된 그저 음악 그자체. 나는 그 음악 전체를 마주할 수가 없어요 그저 원형만을 느낄 뿐.때로 나를 압도합니다.😮 그리고 나는 나의 모든 쿼테이션을 지워버려야합니다.
WOW!! El ultimo Movimiento es en el que por primera vez siento el Porque es que lleva el nombre La Tempestad! Y eso que la he escuchado y visto por los mas grandes,
Einfach phantastisch!
I agree with you, especially about the phrasing, truly wonderful! I think in general I prefer these German/Austrian pianists in Beethoven, plus some Russians (Richter, Gilels).
However, this is an example of a piece that can NEVER sastisfy me completely in terms of interpretation... the only time when I am completely satisfied is when I have a walk and hear the music in my head, or when I read the notes - but from the moment I start to listen to a recording or to play myself, problems start! ;-)
Happy birthday !!!!!
The POWER OF the opening.
I agree with O VT. If you know the play, you can hear it in Kempff's performance. The mystery, the island and waters and forest, and magical characters, are all there. Her rendition is a bit heavy handed and lacks the magic. The first movement, however, is splendid.
I also find not everything Haskil does exactly to my taste, including all of the things you mentioned. But I think this performance has wonderful power and passion (and I love the way she phrases)--perhaps different from the Beethoven presented by the Austro-German school (Kempff, Backhaus, Schnabel, Gieseking, et al.)--but I think its individuality is part of its appeal for me. I think if Haskil played it exactly as I would play it myself I'd be bored stiff!
The graceful and nimble cantabile in the adagio, and the choice of tempo which is hardly an adagio (Bashkirov said in a masterclass that Mozart's adagios have "one eye towards andante"), reveal the Mozartian roots of this music so convincingly that had I heard this movement out of context I might've said it's a piece by Mozart. Not necessarily my desert island performance of this great and enigmatic sonata but very beautifully played by one of the great Mozart pianists!
Incidentally, in one of his several recordings of this sonata Gould plays the third movement at a breakneck speed, achieving an effect that makes one of think of - predictably, in his case - Bach rather than Beethoven. Again, not very Beethovenian, but the technical mastery, tonal beauty and sheer charm are such that you just get carried away with it! watch?v=oVNXeccU_DQ
лучшее исполнение этой сонаты
Brilliant.
18:90 - 25:27 what the hell is that??? I have played this movement and listened to perhaps 20 others. I have never heard that come out. Also, I understood it immediately. Love to Clara.
Thinking of you London ❤️💆❤️.
It's not a viril Beethoven as W Backhaus or Yves Nat ( j prefer him - 1956 recording before his death but j like Clara Haskil very near here W Kempff ( too delicate also in Beethoven ) , with Clara Haskil a piece is always a song , often melancholy , always a piano who speak to you . Clara Haskil us Mozart and Schumann but j like his Beethoven her Chopin , a famous pianust is always amazing to listen her
Τέτοιοι ουράνιοι ήχοι ενέπνεαν τον Θεό στις " 7 ημέρες " της Δημιουργίας....Κωνσταντίνε,Σ'ΕΥΧΑΡΙΣΤΩ ΠΟΛΥ. ΜΕ ΣΥΓΚΙΝΕΙΣ.
I agree. Try Wilhelm Kempff.
Beethoven speaks. It's a mistake to think of her as a "Mozart pianist." She is equally wonderful in Beethoven and Schumann, just to name two.
You are correct-The others the good ones Beethoven 17th sonata the tempest 1.E.Gilels 2.Maria Grinberg 3.Kempff 4.Richter 5.Byron Janis 6.a big suprise Glenn Gould can play this beethoven 17th a fine style.Gould was also a good one Chopin 3 sonata.But Gould Mozart sonatas and Bachwas not a good playing.Clara Haskill is one of the best Beethoven 17th sonata players for sure!!!!
De qui est son portrait en début de vidéo ?
Avec bite o vent on passe de fabulent moment
Merci pour cela
Not my favorite sonata, but wow this performance is brilliantly dark and fierce!
Whose drawing is it at the start?
Though it is playing of a great artist, it is not my favourite version overall! Many details -- in pedaling, dynamics, rhythm, accentuating, tempo -- I would like to hear differently... just my personal taste...
Oirla, oir... Mmm...
Wonderful, yet I personally very much prefer Wilhelm Kempff's interpretation.
awful interpretation
Can you explain what's awful about this interpretation?
If not give at least some example of what you think is a better interpretation! Thanks.
Josip you are a drama
@@MusikPiratCH a woman did it; that's what he objects to.
@@kafenwar What's wrong with a woman playing Beethoven? Clara Haskil was one of the very best pianists of her time! :D
@@MusikPiratCH Absolutely nothing at all. I think her playing is marvelous, but Josip Drame doesn't think so.
Not my favorite sonata, but wow this performance is brilliantly dark and fierce!