Henle Tutorial, Beethoven: Piano Sonata op. 13 “Pathétique”, Tutorial on the Interpretation

Claudius Tanski (Professor, Mozarteum Salzburg) talking to Callum McLachlan (Bachelor, Mozarteum Salzburg) about Beethoven's Piano Sonata op. 13, edited at G. Henle Verlag by Murray Perahia and Norbert Gertsch.
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[@jejwood]

This is the model of an excellent professor; leading a pupil into and through a piece by provoking him to discover his own thoughts and feelings about it.

[@gil-evens]

Callum McLachlan could give a masterclass himself, he has a wonderful tone and a great understanding of the music overall. Awesome video.

[@seppvomberg6370]

Superb! Wirklich interessant was die Beiden über das Stück reflektieren.

[@brandonmacey964]

Bravo thank you

[@man0sticks]

McLachlan’s comment about the orchestral quality of the first movement-that it sounds almost like a piano reduction of an orchestral score-is lifted word for word from András Schiff’s Wigmore Hall lecture on this sonata. It’s true nonetheless.

[@marksmale827]

I hope that in due course, Callum will discover the priceless piano repertoire of Beethoven's great admirer, Franz Schubert. I think the great Wilhelm Kempff's recordings of his sonata cycle will never be surpassed, but one never knows! Meanwhile, I will dream of owning a fully restored Schiedmayer grand with that rich, sumptuous tone they are famous for.

[@GeorgiosFiladelfefs]

Thank You.We have here many ideas for this sonata but we have to remember always that it is a sonata that must be projected to the public without a special box.First of all You have to speak for the sound and the message it needs to be present with this sound.Many young pianists of our time plays compact and sometimes with the same piano and forte dynamics.The way Beethoven wrote the E flat major episode with the soprano and bass legato that means that he maybe wanted a full sound for both hands.You dont speak about the technik of playing this sonata and how we go throught the weight to a lighter sound.And of course there is no matter of take a risk.And You have to take a risk.What about the limit of the tempo?And also the exact dynamics or an inside expression.Musical analysis I hope will not kill the pianistic traditions.....and also many other thinks like "real expression after the relaxing work,hands and ideas".
Articulation is always the same?Levels of connecting the ear with the hands.4 types of weight.I know the answers but since You are in Mozarteum You need a better level....

[@henleverlag]

Dear Valentina Vassileva, thank you for your detailed comment. There are, for sure, different ways to approach this sonata, as well as any other piece of music. Prof. Tanski is a renowned pianist and excellent teacher, we fully rely on his expertise and knowledge. For the Beethoven sonatas we've made a bunch of tutorial videos with him and some of his most promising and talented students, and each sonata tutorial we "splitted up" into a general introduction, the technical questions and the interpretation. You get the complete overview with all those tutorials here: th-cam.com/play/PLD6i5iBd6RUeXw52MZQlwiu2TFVzEAo8Z.html. We hope this will be helpful. Best wishes from the Henle marketing team.

[@GeorgiosFiladelfefs]

@@henleverlag Thank You for the link and Your answer.
Best wishes and of course the world of music has many aspects....

[@JerryEboy69]

To be fair, it’s natural to understand the dynamics in respect; certain sections require lesser or fuller sound.

[@MrCapacitors]

Call Beethoven haha