Almost 200 years later, after hearing Stravinsky and Shostakovich and late Liszt and Berg and Schoenberg and Hindemith, this fugue still sounds modern. Love it!
@@antonczerny that is, if you don't count Art of Fugue and the Musical Offering. That sounds pretty avant-garde at least compared to the rococo stuff other people were writing at the time. Or if modernity is synonymous with dissonance for you you may want to go back to Rebel's Les Élémens from 1738 which reminds me a bit of Arvo Pärt's Collage über Bach.
Beethoven's transcription as heard in this marvelous performance is a true revelation. I was never before aware of the exquisite delicacy of some of the passages and the clarity and exuberance of others. Even the more bombastic sections have a pleasing sonority. The string version always sounded to me sternly belabored, while this one sounds more joyous and uplifting. Thank you for making it available and kudos to the performers.
Turning pages for this recording was CRAZY! The pages are black with notes, and you have to turn twice as often as for a solo score, because the music on the the left and right pages (Primo and Secondo parts) is happening at the same time. It's nice to be able to just listen to the music!
@@mememanfresh How do you mean, "what"? As I said, I was so busy turning the musicians' pages, I couldn't listen to what they were playing, until the recording came out! Obviously, I could hear the music, watching the notes on the page, but not to follow it as a composition.
7:19 sounds like the music that would play on the stage with the men dressed in uniforms dancing with canes. Beethoven sounded a little ahead of his time.
He made the "scherzo" replace the minuet and was an extravert. He was also exposed to a bunch folk songs, which may have bled through. The work may be considered to have symphoniv subparts(and that's the scherzo section). Also, syncopation was heavily by Beethoven and his contemporaries.
How could He write such a piece. How could He contain all those notes, all those dissonances, beautifully posed together, as if it was normal or even easy. Incredible! Very interesting the play on an original piano. The sound is a mixture not always distinguishible, a mass of sounds where you abandon yourself, without end... Can You thing He was [mostly] deaf? [Thank you very much for the post]
Still the greatest single movement ever written. In its original form (last movement of Op130) it has yet to be matched. I admit that in my view, it's just too big for the piano to contain (even two of them!). A wonderful posting nonetheless. Many thanks.
A really excellent performance. I've never thought it worked well as piano four hands, but these guys make an excellent case for it. The wonderful beauties of the piece come through.
The timbre of a modern piano really isn’t suited for this piece, it sounds too boomy. Whereas this 19th century piano has a much more mellowed timbre and resembles much closer to a string quartet
Your opinion! Mine? The old "period" instruments sound out of tune, hallow, and ugly in comparison to a modern rich deep beautiful sounding concert grand. When I hear this AWFUL sound, I think I'm in a pool hall of the 1920s or old-out west saloon where the poor pianists has to put up with out-of-tune half-ass pianos! Do you REALLY think Beethoven, who was so frustrated with the out-of-turn instruments of his day would prefer this? I think you and all those who think like you, need to THINK again! This is unlistenable! The pianists are wonderful, such a shame they wasted all that work and talent on this inferior instrument!
@@mikekarren5010 well, this is not a matter of opinions is a fact that pitch has changed over the region and time, and no instrument is "inferior" just intended for different things, Betthoveen made this arraengment to an instrument like this, so he may have a very good idea of what it would sound like, if he would know modern loud Stainway's monster he would compose in a different style.
I think Alfred Mann's designation of what a fugue is, a style and not a form best fits what a fugue is. Many fugues break any designation of some form that one would try to apply, yet ascribing pieces or sections thereof named fugue, fugato, and fuga in many many different works as a style fits what one can hear. A fugue is immediately identified when we hear it in Kalinnikov, Tchaikovsky, Webern and so on. They are styles within forms of Sonata Allegro, Rondo, many times a trio in Scherzi.
Almost 200 years later, after hearing Stravinsky and Shostakovich and late Liszt and Berg and Schoenberg and Hindemith, this fugue still sounds modern. Love it!
Paradoxically, Beethoven was the first modern of them all long, long ago.
@@antonczerny that is, if you don't count Art of Fugue and the Musical Offering. That sounds pretty avant-garde at least compared to the rococo stuff other people were writing at the time. Or if modernity is synonymous with dissonance for you you may want to go back to Rebel's Les Élémens from 1738 which reminds me a bit of Arvo Pärt's Collage über Bach.
Beethoven's transcription as heard in this marvelous performance is a true revelation. I was never before aware of the exquisite delicacy of some of the passages and the clarity and exuberance of others. Even the more bombastic sections have a pleasing sonority. The string version always sounded to me sternly belabored, while this one sounds more joyous and uplifting. Thank you for making it available and kudos to the performers.
Turning pages for this recording was CRAZY! The pages are black with notes, and you have to turn twice as often as for a solo score, because the music on the the left and right pages (Primo and Secondo parts) is happening at the same time. It's nice to be able to just listen to the music!
what
@@mememanfresh How do you mean, "what"? As I said, I was so busy turning the musicians' pages, I couldn't listen to what they were playing, until the recording came out! Obviously, I could hear the music, watching the notes on the page, but not to follow it as a composition.
why don't they memorize it?
@@musicfromthefrederickcolle1433 you were there! Damn that's cool
@@jerrykim7777 Memorizing a 15-minute composition is not easy at all. This being fast-paced makes it even harder.
Four-hand piano seems the way to go with this - this performance seems nicely denticulated, with both players hearing each other as one - well done!
7:19 sounds like the music that would play on the stage with the men dressed in uniforms dancing with canes. Beethoven sounded a little ahead of his time.
Beethoven heard the future
He made the "scherzo" replace the minuet and was an extravert. He was also exposed to a bunch folk songs, which may have bled through.
The work may be considered to have symphoniv subparts(and that's the scherzo section).
Also, syncopation was heavily by Beethoven and his contemporaries.
Brilliant performance and very impressive sound of the instrument.
Thank you for uploading this recording of Dmitry and me, bringing this great transcription to a wider audience!
How could He write such a piece. How could He contain all those notes, all those dissonances, beautifully posed together, as if it was normal or even easy. Incredible! Very interesting the play on an original piano. The sound is a mixture not always distinguishible, a mass of sounds where you abandon yourself, without end... Can You thing He was [mostly] deaf? [Thank you very much for the post]
Correction: he was totally deaf at that age (I don't know precisely, but I remember to be like this).
Still the greatest single movement ever written. In its original form (last movement of Op130) it has yet to be matched. I admit that in my view, it's just too big for the piano to contain (even two of them!). A wonderful posting nonetheless. Many thanks.
Thank you Paul. It isn't 2 pianos it is one piano 4-hands
A really excellent performance. I've never thought it worked well as piano four hands, but these guys make an excellent case for it. The wonderful beauties of the piece come through.
cool, thanks. Always a pleasure to hear this great fugue
EXCEPTIONAL ♥♥♥♥♥♥♥♥♥
Wonderful!❤
Gracias gracias
The timbre of a modern piano really isn’t suited for this piece, it sounds too boomy. Whereas this 19th century piano has a much more mellowed timbre and resembles much closer to a string quartet
Your opinion! Mine? The old "period" instruments sound out of tune, hallow, and ugly in comparison to a modern rich deep beautiful sounding concert grand. When I hear this AWFUL sound, I think I'm in a pool hall of the 1920s or old-out west saloon where the poor pianists has to put up with out-of-tune half-ass pianos! Do you REALLY think Beethoven, who was so frustrated with the out-of-turn instruments of his day would prefer this? I think you and all those who think like you, need to THINK again! This is unlistenable! The pianists are wonderful, such a shame they wasted all that work and talent on this inferior instrument!
@@mikekarren5010 well, this is not a matter of opinions is a fact that pitch has changed over the region and time, and no instrument is "inferior" just intended for different things, Betthoveen made this arraengment to an instrument like this, so he may have a very good idea of what it would sound like, if he would know modern loud Stainway's monster he would compose in a different style.
@@mikekarren5010 Amazing how many different opinions there exist in the world. Sadly, yours is way off the mark and pointlessly impertinent.
Que forma de medir la capacidad humana
Il pianoforte su cui suonare la sua Musica non è stato ancora inventato: specie per questa "Grande Fuga".....
Comunque, ottima esecuzione!
Correction: it's Grobe Fugue (I don't have in my keyboard that weird "b" in german). You forgot the "u" between the "g" and "e".
עם סיום שמח איטי ב2.
1 person playing or 2 ? thanks
Four hands which is this piece means 2 people. 2 hands is one person.
@@chris937034 hands means 4 hands and 1 person
I didn't like this music. It gave me anxiety.
ahahahahahahaah
Go back to Michael Jackson... he has mostly calm music
Do you prefer the string quartet version?
This isn’t even really a fugue
Why?
I mean technically it isn't.
But this is Bach level of counterpoint
Beethoven does what he wants.
I think Alfred Mann's designation of what a fugue is, a style and not a form best fits what a fugue is. Many fugues break any designation of some form that one would try to apply, yet ascribing pieces or sections thereof named fugue, fugato, and fuga in many many different works as a style fits what one can hear. A fugue is immediately identified when we hear it in Kalinnikov, Tchaikovsky, Webern and so on. They are styles within forms of Sonata Allegro, Rondo, many times a trio in Scherzi.
It's a DOUBLE FUGUE.