Korstick -- 00:00 - Mvt 1 09:51 - Mvt 2 14:14 - Mvt 3 Jumppanen -- 23:30 - Mvt 1 34:02 - Mvt 2 38:25 - Mvt 3 There's not a huge amount separating Korstick and Jumppanen, to be honest. Usually I try to find contrasting recordings, but in this case these two so clearly stood out from the pack that it would have been criminal not to have them both here. Korstick goes for a no-holds barred, full-bloodedly dramatic approach: the contrasts and big and fat and defiant, the tempo uncompromising, and in the rondo he reels out the music with unerring rhythmic drive to build into some truly huge soundscapes. Jumppanen's tempi are similar to Korstick's, but he has a slightly more playful approach. In the first movement he opts for some pretty distinct tempo changes in service of expressiveness and plumps for a bit more staccato, while in the rondo he keeps his textures more lithe and sleek (and pedals a bit less), though his interpretation does not lack for exuberance.
8:18 those high pitches sounded like crying for help scared of the sudden loud bass, what a really amazing amazing composer i love how it sounded like two musics having a war at each other
The Waldstein will always remain my favourite middle-period sonata by Beethoven. When you began the countdown, I could barely contain my excitement for 21. What fantastic pay-off.
Wow! This Korstick guy has some serious balls. Reminds me of Schnabel in a way. My motto is old pianism is the best pianism, but I'm gonna check him out.
Korstik's Waldstein is just SUPERCALIFRAGILISTICEXPIALIDOCIOUS! Must wait to hear JUMPANNEN, but Korstick will be a tough act to follow on this one. Incredibly powerful, but sensitive in all the right places. An IMPORTAN>T performance to be sure. .
Je ne sais quelle est la meilleure illustration du " développement " , si contestable , entre ceux des allegros initiaux de la Waldstein et du trio Archiduc.
For me, Artur Schnabel is the Gold Standard when it comes to Beethoven Sonatas. Yet, this doesn't mean there aren't better interpretations (whatever "better" means - in the end, it is a matter of mood and taste). However, these two artists clearly enrich my playlist with colorful interpretations of my all-time Beethoven Sonata. Thanks for sharing and your comprehensive analysis!
I love your commentary and analysis, makes me listen to pieces and helps me understand them. Music should be subjective but logical analysis helps too. Thanks :-)
I like both renditions, they are expertedly crafted. Korstick has great drive and superior sense for dynamics. Jumppanen has greater clarity in execution, but feels sometimes "segmented" in his phrasing.
RH octaves at 22:30 aren't written as glissando. I wonder if playing them that way is just out of tradition, of if there's another edition that wrote it out that way. My urtext edition makes no indication of those being meant to be played as a glissando, and they are usually very good about keeping it as close to the original score as possible, and writing out any changes, additions or oddities in the footnotes.
There's no other way to play the octaves. I've seen some editions that include an ossia that has those scales written out as single notes, instead of octaves to make it easier. If you keep to the cut time prestissimo that is indicated, the tempo of those octaves is physically impossible to play without them being a glissando. Furthermore, the articulation of legato, makes it even worse. Lastly, I've never even heard or seen a pianist do the octaves not as a glissando.
You can't use two hands to perform each scale. Measures 467 and 471 prevent that, seeing as you must play other notes during the scales themselves. You would have to omit the half notes in those measures in order to do two hands on the scales. I've only heard pianists do two ways. One is to play the octaves as glissandos. Two is to simplify the scales into single notes.
Beethoven's fingering of 1 and 5 IS the indication that it is a glissando. The action of Beethoven's pianos were a lot lighter so this would have been much easier to do than on a modern piano today.
I think back to when this sonata was first published, people must have flipped to the finale and found these confounding passages with bass clef over treble for long stretches and thought they were some kind of technical showpiece. Nope! Your pal Beethoven is just using the most efficient method to execute a melody of almost childlike sweetness. Joke's on you.
just a personnal question. I have always found it immensly difficult to play the octave glissandi on 22:30 on most of the pianos, as they wouldn't quite simply allow to even play two or three octaves as a glissando, because of the depth the key is submerging when pressed. That is why i eventually learned this passage as scales which i play with both hands (as many pianists do aswell). If someone knows how to do it, you are free to tell me, it is really more out of curiosity for me now.
Dont press the keys all the way down, first start with only going on the surface of the keys, then build your way into pressing them more each time till you make sound.
@@miguelisaurusbruh1158 I meant that if that the 2nd mvt of sonata 32 was actually the 3rd (i.e. there was another movement between the two) it would be the most powerful.
For me the Waldstein is a peculiar case. My late father was a Beethoven expert, and after I had mastered the Moonlight's 3rd movement at age 15 or 16, my father just said "this is nothing compared to the Waldstein" so, can you imagine, I never even listened to it until decades later. Oh what I missed all these years...
0:50 excuse me, how does beethoven go from 4/4 (8 eighths per measure) to 12/8 without any warning? In the upper part of the page it has 8, then goes on with those chords for a little, and then starts with another rythm. The same thing happens in 1:26, but opposite.
there's a track in cities;skyline that appears to be inspired by 'movement 3' and after hearing it so many times now it started to sound patronizing, now i cant stand it :\
Korstick --
00:00 - Mvt 1
09:51 - Mvt 2
14:14 - Mvt 3
Jumppanen --
23:30 - Mvt 1
34:02 - Mvt 2
38:25 - Mvt 3
There's not a huge amount separating Korstick and Jumppanen, to be honest. Usually I try to find contrasting recordings, but in this case these two so clearly stood out from the pack that it would have been criminal not to have them both here. Korstick goes for a no-holds barred, full-bloodedly dramatic approach: the contrasts and big and fat and defiant, the tempo uncompromising, and in the rondo he reels out the music with unerring rhythmic drive to build into some truly huge soundscapes. Jumppanen's tempi are similar to Korstick's, but he has a slightly more playful approach. In the first movement he opts for some pretty distinct tempo changes in service of expressiveness and plumps for a bit more staccato, while in the rondo he keeps his textures more lithe and sleek (and pedals a bit less), though his interpretation does not lack for exuberance.
Ashish Xiangyi Kumar I always love your descriptions and analysations
😊😊😊😊😊😊😊😊
8:18 those high pitches sounded like crying for help scared of the sudden loud bass, what a really amazing amazing composer i love how it sounded like two musics having a war at each other
20:47 is just about the best that any composer has ever done with C major.
Korstick makes it incredibly lively.
Your analysis in the description really helps people to understand the structure of the piece.
The Waldstein will always remain my favourite middle-period sonata by Beethoven. When you began the countdown, I could barely contain my excitement for 21. What fantastic pay-off.
With every listening the perfection of these works becomes more evident.
Mr. Kumar, you have done a great service to the musical world. You have introduced to me artists I have never heard of. Thanks for the education.
Incredible voicing 18:40 - 19:33
Wow! This Korstick guy has some serious balls. Reminds me of Schnabel in a way. My motto is old pianism is the best pianism, but I'm gonna check him out.
Yeh, but a bit too fast for my taste.
Korstik's Waldstein is just SUPERCALIFRAGILISTICEXPIALIDOCIOUS! Must wait to hear JUMPANNEN, but Korstick will be a tough act to follow on this one. Incredibly powerful, but sensitive in all the right places. An IMPORTAN>T performance to be sure.
.
I felt like the E major section in the first section should have been dwelt on more in Korstik’s Waldstein.
by far my favourite of all his sonatas...
Same here. My late father was a Beethoven superfan (and expert), was his favorite too, unfortunately I never had the skill to play it for him.
I can see (hear) why this is so special. It makes my heart go brrrrrr
Je ne sais quelle est la meilleure illustration du " développement " , si contestable , entre ceux des allegros initiaux de la Waldstein et du trio Archiduc.
For me, Artur Schnabel is the Gold Standard when it comes to Beethoven Sonatas. Yet, this doesn't mean there aren't better interpretations (whatever "better" means - in the end, it is a matter of mood and taste).
However, these two artists clearly enrich my playlist with colorful interpretations of my all-time Beethoven Sonata.
Thanks for sharing and your comprehensive analysis!
I've been looking forward to this one.
I love your commentary and analysis, makes me listen to pieces and helps me understand them. Music should be subjective but logical analysis helps too. Thanks :-)
22:29 holy shit
I like both renditions, they are expertedly crafted. Korstick has great drive and superior sense for dynamics. Jumppanen has greater clarity in execution, but feels sometimes "segmented" in his phrasing.
Happy 250th birthday Beethoven!
Incandescent Marvel. You got it . I get it.
if you slowed down the tempo of the opening movement and changed the time signature to 3/4 you'd have the "Waltztime" Sonata. ;-]
people sure compose really good Op. 53's
The first movement is built on an accord and a scale
Timeless! thanks for uploading
please for the love of god someone tell me how to play at this tempo i play at like 20 on a good day
Genius sonata
RH octaves at 22:30 aren't written as glissando. I wonder if playing them that way is just out of tradition, of if there's another edition that wrote it out that way. My urtext edition makes no indication of those being meant to be played as a glissando, and they are usually very good about keeping it as close to the original score as possible, and writing out any changes, additions or oddities in the footnotes.
im not sure- i do glissando when i play them but i think they're supposed to be seperate
There's no other way to play the octaves. I've seen some editions that include an ossia that has those scales written out as single notes, instead of octaves to make it easier. If you keep to the cut time prestissimo that is indicated, the tempo of those octaves is physically impossible to play without them being a glissando. Furthermore, the articulation of legato, makes it even worse. Lastly, I've never even heard or seen a pianist do the octaves not as a glissando.
You can't use two hands to perform each scale. Measures 467 and 471 prevent that, seeing as you must play other notes during the scales themselves. You would have to omit the half notes in those measures in order to do two hands on the scales. I've only heard pianists do two ways. One is to play the octaves as glissandos. Two is to simplify the scales into single notes.
Barenboim plays them as scales between both hands
Beethoven's fingering of 1 and 5 IS the indication that it is a glissando. The action of Beethoven's pianos were a lot lighter so this would have been much easier to do than on a modern piano today.
I think back to when this sonata was first published, people must have flipped to the finale and found these confounding passages with bass clef over treble for long stretches and thought they were some kind of technical showpiece.
Nope! Your pal Beethoven is just using the most efficient method to execute a melody of almost childlike sweetness. Joke's on you.
just a personnal question. I have always found it immensly difficult to play the octave glissandi on 22:30 on most of the pianos, as they wouldn't quite simply allow to even play two or three octaves as a glissando, because of the depth the key is submerging when pressed. That is why i eventually learned this passage as scales which i play with both hands (as many pianists do aswell). If someone knows how to do it, you are free to tell me, it is really more out of curiosity for me now.
Dont press the keys all the way down, first start with only going on the surface of the keys, then build your way into pressing them more each time till you make sound.
most powerful third movement in all his 32 ones.
Yeah cuz sonata 32 only has 2 movements.
@@Numberonesorabjifan You don't seem to understand english
@@miguelisaurusbruh1158 I meant that if that the 2nd mvt of sonata 32 was actually the 3rd (i.e. there was another movement between the two) it would be the most powerful.
@@Numberonesorabjifan Oh ok, yeah ur right
@@miguelisaurusbruh1158 I worded it quite badly though
The Korstick's 8ths glissandos :o
I've played many pieces. This one destroys me.
For me the Waldstein is a peculiar case. My late father was a Beethoven expert, and after I had mastered the Moonlight's 3rd movement at age 15 or 16, my father just said "this is nothing compared to the Waldstein" so, can you imagine, I never even listened to it until decades later. Oh what I missed all these years...
So pathétique.
@@Ok-uo2hl🤣
0:50 excuse me, how does beethoven go from 4/4 (8 eighths per measure) to 12/8 without any warning? In the upper part of the page it has 8, then goes on with those chords for a little, and then starts with another rythm.
The same thing happens in 1:26, but opposite.
Unmarked (implied) triplets
Ashish Xiangyi Kumar, have you uploaded any stuff you write? i would like to hear it :)
i found it, thanks. His composition sounds nice in my opinion.
The fact that the double beat “performance” of Waldstein is longer than this whole (double performance) video, is so laughable.
2nd movement opening reminds one strongly of Chopin's Op 2 variations
22:30
46:52
This piece is not for those who have Dupuytren’s contracture! 9:13 9:14 9:14 9:15 9:15
Do you plan on uploading all the Beethoven sonatas? Just curious
He does, as said elsewhere.
Awesome, thanks!
whoah
Jumppanen plays movement 3 literally like a robot
Am I mad for hearing some Petrushka in the final movement?
C double sharp noted 3:29 3:29 3:30
7:41 7:41 7:42 7:43
Il y a dans la coda du rondo la meme theatralite excessive que dans le finale qu quatuor 12.
4:06 4:06 4:07 4:08
Unübertroffen
오우 3악장 왼손 삽지리네
there's a track in cities;skyline that appears to be inspired by 'movement 3'
and after hearing it so many times now it started to sound patronizing, now i cant stand it :\
38:57 38:58 38:58
13:34
Wow that’s ht
8
muito linda mas a minha preferida é a n°31 que tem até uma fuga ao estilo de J.S.Bach!
Can you do the 14th sonata?
17:32, 18:44