I've lived with Beethoven's music for a large chunk of my life and this is my first opportunity to hear Martha Argerich play this masterpiece. I can say for my ear this is one of the most ideal interpretations of this work I've ever heard. It's beyond extraordinary and i was left hanging off every note and phrase, and the detail is beyond amazing
You are kidding, right? This piano is ghastly. And let's be QUITE clear: SHE doesn't have a sound; only the piano has that. People who think this, that, or the other pianist has a lovely tone simply do not know what the BLEEP they are talking about.
I should have said 'tone' off the bat, rather than start by saying 'sound,' and end by saying 'tone.' But people usually make comments like that using the word 'tone,' and I suppose my mind just automatically made the substitution, which, in any case, was made clear soon enough. So sure, she can have a sound, or a beautiful sounds, although I'd say it's more accurate to say she has many beautiful sounds, as I don't think there's always something about her performances that just screams "Argerich!" Sometimes, but certainly not always. Far from it, especially when compared to, say, Gieseking. Anyway, when it comes to tone, that's beyond the control of the pianist (unless you start taking on the role of a piano tech à la Alfred Brendel, who knows how to voice, although he prefers not to. This fact has been proven over and over again in blind listening tests. Plus there's, you know, physics. The piano hammers are not controlled by the pianist after escapement. Whether you, I, Martha Argerich, or Denzel Washington presses the key, the sound will be the same. Ditto with a piano player mechanism. That's provided, of course, that the hammer velocity is the same in each case. So if you strike the key with vigor, while Denzel gently caresses it, the velocity of the hammer will be different, changing the volume, the way the felt compresses, the resulting overtones produced, and so on. But if you both press the key in a manner that produces the same hammer velocity, the tone will be the same. Now, even with identical hammer velocities, there are things that can be done by the player to change affect the total sound in the form of (typically) undesirable extraneous noises. The impact of the key against the keybed is an example.You can make that louder, to the point of "thumping." The impact of fingernails against the key surface is another (or the fallboard, for that matter). Singing or humming along, and stomping on the pedals are some others. All of these things have been immortalized on recordings, even with celebrated pianists in some instances. None of these can properly be described as tone, however dramatically they might impact the sound. The way in which the key is released can have a tremendous influence on the sound, too, but that's still not tone. Artistry, sure. All of these things, and much more, all affect the sound. The way you link one note to the next, the dynamic level you choose, the way you voice a chord, the tempo, your use of rubato, and innumerable artistic elements will all affect the sonic outcome. But the idea that pressing in a key a particular way produces a different tone independent of the hammer velocity ... that one pianist makes a more beautiful piano tone because they have fleshier pads on their fingertips ... all of that is just rubbish. It's worth noting here that there are famous pianists who cannot identify their own recordings vs. those of their peers. That alone speaks volumes. @@BurningSky9
@@karlportland3280 I have sit meters away from Babayan and heard another pianist in the same piano moments later and I can say that the piano does NOT sound the same. Artists like Babayan, Volodos, Sokolov achieve this
@@karlportland3280you are so dismissive of giuliopoggia1551 but can't pianists produce different sounds, different tones. Are you saying there is no legato, staccato and that key strike (downstroke hold and lift) and pedaling are irrelevant? Horwitz was famous for his touch and unconventional flat fingered technique. But it was the sound he produced with this technique which was so appreciated. Of course a good piano is essential and should be voiced appropriately. But what separates great pianists from ok pianists is the tone/sound (whatever you want to call it). I may strike middle C like Horowitz but when it comes to playing particular passages or the entire work I would not measure up! Perhaps this is known as musicality. But I don't think it's wrong to say a pianist has a beautiful sound.
What a privilege to hear Martha A. playing this masterpiece and so beautifully! I don't think I would ever have the opportunity to hear this were it not for your video and youtube. Thank you so much!
You're very welcome, Rasha! There is a lot more on my channel! In case you haven't checked, I adivse you to take a look. You may discovery something you've never heard :)
The last sonatas of Beethoven require the utmost attention to each note with respect to all others -especially here the return of the initial cell before the "fugato" - which is not a fugue but a complex movement with several cells interacting - an actual fugue appearing during the movement. . .
Pienamente convincente. Una giovane Argerich, (alla Fenice di Venezia), dà il suo apporto (fresco e nuovo) al sonatismo di Beethoven, un pò distaccandosi dalla tradizione interpretativa austro-germanica. Il risultato è ottimo. (Guarda caso, proprio nella sonata nella quale si intravvedono come motivi proto-schumanniani!).
Non convince me in alcun modo, l'indicazione per il primo movimento di Beethoven ("etwas lebhaft" - piuttosto vivace) è completamente ignorata e l'alternanza di passaggi esageratamente piano e altri esageratamente martellanti che continua durante l'intera esecuzione non ha nulla a che fare con ciò che il compositore scrisse. C'è un numero molto importante di migliori interpretazioni di questa sonata disponibile su TH-cam - prova Pollini solo per citare un esempio.
@DanielThomases: Non ho mai considerato Beethoven pienamente congeniale alla Argerich. Intendiamoci, resta un'artista di primo rango, indiscutibilmente, ma..............non fornisce il meglio di sè con il Genio di Bonn. E' anche da rilevare una immaturità interpretativa dovuta alla giovane età. Però, ad esempio, un Maurizio Pollini anche in giovane età "leggeva" con maggiore approfondimento...........................
@@dthomases1 Veramente caro mio questa sonata trabocca di piano subito seguenti a fortissimi altrettanto improvvisi. Noto marchio beethoveniano, peraltro. Forse dovresti dare un'occhiata alla partitura prima di parlare, non credi?
@@renato45222 La ricchezza timbrica, ritmica, agogica, dinamica, che è sempre stata propria alla Argerich - e che ha sempre saputo sprigionare con estrema libertà restando fedele al significato poetico della letteratura - Pollini se le sogna. Pollini è uno dei primi grandi ragionieri della musica occidentale e ha sicuramente raggiunto risultati eccelsi in questo senso. Risultati eccelsi e ammirevoli, ma non vi è ragione di credere il suo un approccio "migliore" del genio faustiano della Argerich. Beethoven non ha mai suonato se stesso con lo spirito analitico razional positivista che si loda in studiosi come Pollini e Zimerman. Musicisti enormi, sia chiaro. Queste vostre sono chiacchiere da bar.
Remarquable interprétation relativement lente mais tellement bien articulée et sensible, intelligente. Beaucoup d'autres interprétations paraissent fades à côté de celle de M. Argerich. Une véritable et grande artiste!!
Si vous me le permettez; ce n'est pas lent; Je connais parfaitement la pièce; Je l'ai enregistré et joué en concert, ce sont les meilleurs temps pour ce morceau, si vous voulez chanter, soyez expressif; Je trouve que le dernier mouvement, par contre, est un peu trop rapide, surtout dans la fugue, une partie très difficile à cause des doigtés et des embellissements, dont on arrive un peu fatigué pour la grande concentration expressive et rythmique des mouvements précédents et pour le fugate initiale; tout l'épisode (la fuga) doit être joué dans un paroxysme de grande intensité et vous êtes amené à courir pour tenter de soulager les tensions et surmonter cette pierre d'achoppement des tempêtes au plus vite ... (vous commencez toujours à courir quand vous êtes fatigué) . Les fugues de Beethoven sont incroyablement troublées, dures, c'est comme marcher sur des pierres pointues pieds nus. Toute la sonate est très difficile, avec des changements dynamiques soudains, et il faut trouver un fil rouge qui retienne les parties, si différentes les unes des autres même dans l'esprit de la sonate «organique» (dans l'idée formelle de Beethoven); Trop courir, mauvaise habitude romantique, liée à une fausse idée de la virtuosité, ruine tout, le chant et la polyphonie. Je ne suis pas un amoureux d'Argerich, mais c'est une très bonne interprétation. Dommage que l'enregistrement soit si précaire ... La musique, avant tout, c'est chanter, quoi qu'on fasse; sans chanter il n'y a rien; même les pauses doivent chanter ...
@@roccocicoria4888 Merci de votre commentaire très détaillé. Je suis un simple amateur et je me suis attaqué à ce premier mouvement que je trouve remarquablement poétique, et qui pour moi est vraiment la porte d'entrée vers le "dernier" Beethoven. Je vous donne mon adresse mail pour continuer plus facilement le dialogue: leopoldrenaud.pontier@gmail.com Je suis parfaitement d'accord avec vous: le plus important est de chanter et il faut savoir prendre son temps...Bien cordialement, R.PONTIER
Cher Renaud, pour des raisons de privacy, je ne peux pas mettre mon email ici; mais si vous aimez échanger d'autres réflexions sur cette sonate ou autre chose, je serai heureux de le faire à travers cette chat. Bonsoir et bonnes choses. @@renaudpontier
@@roccocicoria4888 Je comprends votre désir de respecter le "privacy", bien que je ne trouve pas que ce site soit l'idéal dans ce domaine puisque tout le monde peut nous lire.... Comme je crois comprendre que vous êtes pianiste professionnel, j'aimerai vous poser d'autres questions sur les dernières sonates de Beethoven. Que pensez vous des variations de la dernière, la 32, qui commence par un thème d'une lumineuse sérénité et qui, à la quatrième variation, s'agite d'une façon incroyable, en me faisant irrésistiblement penser à une anticipation du jazz ?? Est ce correct ?? Bien cordialement à vous. R.PONTIER
@@renaudpontier Vous avez bien dit; dans l"'arietta" de la sonate n32, la variation n3 présente une figuration rythmique typique du jazz des années 30-40, un peu dans le style du "stride piano" ... Beethoven incroyable prophète .. Mais le secret de cette sonate réside dans la dernière variation, précisément dans la note de C # qui émerge miraculeusement du trille infini. Un passage chromatique qui ouvre une nouvelle ère, dans le testament de les sonates. Vous dites que vous êtes un simple amateur mais vous faites preuve de connaissances et d'une grande sensibilité ... Que faites-vous dans la vie?
Comment allez vous ami Rocco. Il y a eu un long silence. J'espère rien de grave. J'appréciais beaucoup notre dialogue . Je pense qu'on peut le reprendre. J'ai encore des questions sur Beethoven Moi qui suis mathématicien à mes heures, je dirai que ce qui le distingue, c'est sa densité. Il a la puissance du continu par opposition au simple dénombrable.
It's clearly something taken semi-legally from a live performance, and probably issued on CD at some point, and I have found one or two issues of them, but they're all out of print. So I'm asking, because I'm wondering if there's a version in print that I have missed.
@@MominMalikYT she don't record pretty much any of Solo piano music any more because she felt lonely and prefer chamber music and concertante music (piano concertos)
My guess, having worked in that theater for 7 years, is that it was an "archival" recording -- maybe one or two microphones, but not properly "miked" because it was never meant to go to the public.
That's what I find so special here. Martha is never accused of playing anything too slowly, but here, *this* sonata, this movement... she is remarkably serene and patient. We'll never know, perhaps beforehand she told someone on a dare "fine, I'll play very slowly tonight to show you I can." Either way I eat it up. It's a wonderful performance!
Mr. Lima, two things. 1. do you have any information (date, maker, etc.) on the piano she is playing, and 2. could you reverse the first photo on this video (it's backwards). Thanks.
you've GOT TO BE KIDDING!!! Please, do not tell me you want the photo reversed because it is backwards. Since you have the time to be so pathetically RIDICULOUS, can't you take the time to see this was post more than 3 years ago???? Actually, what about Argerich's CLOTHES?? Are you not annoyed by the fact that it is not the dress that she is using during the actual CONCERT that originated the recording????? And what about the ORCHESTRA???? CANT U FUCKIN SEE there is NO ORCHESTRA in this recording?? OR do you think Argerich would play an ENTIRE SONATA as an ENCORE???? In other words, you can be arrogant enough to demand the photo to be reversed, but in fact you simply want to say TO THE WORLD THAT YOU, ONLY YOU know that the piano cannot be at this position. Let's face it: you grew up being told you are special, so you have to prove to the entire TH-cam community that your parents were not wrong, afterall, you KNOW the position of the piano during a piano concerto and you DEMAND the PHOTO TO BE CHANGED! you are the very reason TH-cam can be a ROTTEN place. GET A F. LIFE!!!!!!
Fa poc que escolto la música del geni de Bonn i reconec que és genial. Particularment prefereixo a Bach, però la genialitat de Beethoven tothom ha de reconeixer-la i de veure que és un dels tres millors compositors de la llarga història de la música clàssica. Per mi, els tres principals són: del barroc, Johann Sebastian Bach, del classicisme Beethoven i del romanticisme Johannes Brahms. Per mi, crec que són els tres pilars sobre el que se sosté la bona música
@Drosophila Melanogaster That's because you lack the cognitive powers to appreciate the absolute greatness of Gilels. keep developing them ..there is always hope.
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I've lived with Beethoven's music for a large chunk of my life and this is my first opportunity to hear Martha Argerich play this masterpiece. I can say for my ear this is one of the most ideal interpretations of this work I've ever heard. It's beyond extraordinary and i was left hanging off every note and phrase, and the detail is beyond amazing
I have also lived with Beethoven's music for a long time, and yes, this performance "works".
Yeah she’s the best pianist alive right now
What a gorgeous sound she has...
You are kidding, right? This piano is ghastly. And let's be QUITE clear: SHE doesn't have a sound; only the piano has that. People who think this, that, or the other pianist has a lovely tone simply do not know what the BLEEP they are talking about.
I should have said 'tone' off the bat, rather than start by saying 'sound,' and end by saying 'tone.' But people usually make comments like that using the word 'tone,' and I suppose my mind just automatically made the substitution, which, in any case, was made clear soon enough. So sure, she can have a sound, or a beautiful sounds, although I'd say it's more accurate to say she has many beautiful sounds, as I don't think there's always something about her performances that just screams "Argerich!" Sometimes, but certainly not always. Far from it, especially when compared to, say, Gieseking. Anyway, when it comes to tone, that's beyond the control of the pianist (unless you start taking on the role of a piano tech à la Alfred Brendel, who knows how to voice, although he prefers not to. This fact has been proven over and over again in blind listening tests. Plus there's, you know, physics. The piano hammers are not controlled by the pianist after escapement. Whether you, I, Martha Argerich, or Denzel Washington presses the key, the sound will be the same. Ditto with a piano player mechanism. That's provided, of course, that the hammer velocity is the same in each case. So if you strike the key with vigor, while Denzel gently caresses it, the velocity of the hammer will be different, changing the volume, the way the felt compresses, the resulting overtones produced, and so on. But if you both press the key in a manner that produces the same hammer velocity, the tone will be the same. Now, even with identical hammer velocities, there are things that can be done by the player to change affect the total sound in the form of (typically) undesirable extraneous noises. The impact of the key against the keybed is an example.You can make that louder, to the point of "thumping." The impact of fingernails against the key surface is another (or the fallboard, for that matter). Singing or humming along, and stomping on the pedals are some others. All of these things have been immortalized on recordings, even with celebrated pianists in some instances. None of these can properly be described as tone, however dramatically they might impact the sound. The way in which the key is released can have a tremendous influence on the sound, too, but that's still not tone. Artistry, sure. All of these things, and much more, all affect the sound. The way you link one note to the next, the dynamic level you choose, the way you voice a chord, the tempo, your use of rubato, and innumerable artistic elements will all affect the sonic outcome. But the idea that pressing in a key a particular way produces a different tone independent of the hammer velocity ... that one pianist makes a more beautiful piano tone because they have fleshier pads on their fingertips ... all of that is just rubbish. It's worth noting here that there are famous pianists who cannot identify their own recordings vs. those of their peers. That alone speaks volumes. @@BurningSky9
@@karlportland3280 I have sit meters away from Babayan and heard another pianist in the same piano moments later and I can say that the piano does NOT sound the same. Artists like Babayan, Volodos, Sokolov achieve this
as gorgeous as she was at that time
@@karlportland3280you are so dismissive of giuliopoggia1551 but can't pianists produce different sounds, different tones. Are you saying there is no legato, staccato and that key strike (downstroke hold and lift) and pedaling are irrelevant? Horwitz was famous for his touch and unconventional flat fingered technique. But it was the sound he produced with this technique which was so appreciated. Of course a good piano is essential and should be voiced appropriately. But what separates great pianists from ok pianists is the tone/sound (whatever you want to call it). I may strike middle C like Horowitz but when it comes to playing particular passages or the entire work I would not measure up! Perhaps this is known as musicality. But I don't think it's wrong to say a pianist has a beautiful sound.
What a privilege to hear Martha A. playing this masterpiece and so beautifully! I don't think I would ever have the opportunity to hear this were it not for your video and youtube. Thank you so much!
What a superb performance...... She should have done an entire Beethoven 32 series.
Here is another artist who just gets better with age. Genius.
This was recorded in 1969.
So thrilled to find Martha's 28. Thank you for sharing.
I can't believe I just heard this!
Bless you and thank you for having this here^^!
You're very welcome, Rasha!
There is a lot more on my channel! In case you haven't checked, I adivse you to take a look. You may discovery something you've never heard :)
The last sonatas of Beethoven require the utmost attention to each note with respect to all others -especially here the return of the initial cell before the "fugato" - which is not a fugue but a complex movement with several cells interacting - an actual fugue appearing during the movement. . .
Just perfect... What else can I say.
Thank you so much for uploading. Of course its an old recording, but her genius shines through and through.
Beautiful and amazing
ciao max ,thanks for that nice photo of Martha
Wow..how beautiful sound..😂🥰👍❤️❤️❤️❤️
Absolutely beautiful!⚘
Phenomenal.
no conocía la grabación. esperaba un segundo movimiento bastante más rápido (acostumbrado como estoy a las corridas de martha, ja). grata sorpresa.
Pienamente convincente. Una giovane Argerich, (alla Fenice di Venezia), dà il suo apporto (fresco e nuovo) al sonatismo di Beethoven, un pò distaccandosi dalla tradizione interpretativa austro-germanica. Il risultato è ottimo. (Guarda caso, proprio nella sonata nella quale si intravvedono come motivi proto-schumanniani!).
Non convince me in alcun modo, l'indicazione per il primo movimento di Beethoven ("etwas lebhaft" - piuttosto vivace) è completamente ignorata e l'alternanza di passaggi esageratamente piano e altri esageratamente martellanti che continua durante l'intera esecuzione non ha nulla a che fare con ciò che il compositore scrisse. C'è un numero molto importante di migliori interpretazioni di questa sonata disponibile su TH-cam - prova Pollini solo per citare un esempio.
@DanielThomases: Non ho mai considerato Beethoven pienamente congeniale alla Argerich. Intendiamoci, resta un'artista di primo rango, indiscutibilmente, ma..............non fornisce il meglio di sè con il Genio di Bonn. E' anche da rilevare una immaturità interpretativa dovuta alla giovane età. Però, ad esempio, un Maurizio Pollini anche in giovane età "leggeva" con maggiore approfondimento...........................
@@dthomases1 Veramente caro mio questa sonata trabocca di piano subito seguenti a fortissimi altrettanto improvvisi. Noto marchio beethoveniano, peraltro. Forse dovresti dare un'occhiata alla partitura prima di parlare, non credi?
@@renato45222 La ricchezza timbrica, ritmica, agogica, dinamica, che è sempre stata propria alla Argerich - e che ha sempre saputo sprigionare con estrema libertà restando fedele al significato poetico della letteratura - Pollini se le sogna. Pollini è uno dei primi grandi ragionieri della musica occidentale e ha sicuramente raggiunto risultati eccelsi in questo senso. Risultati eccelsi e ammirevoli, ma non vi è ragione di credere il suo un approccio "migliore" del genio faustiano della Argerich. Beethoven non ha mai suonato se stesso con lo spirito analitico razional positivista che si loda in studiosi come Pollini e Zimerman. Musicisti enormi, sia chiaro.
Queste vostre sono chiacchiere da bar.
Quite unique !
La grabación no hace honor a la interpretación. La escuché tocar esta obra en 1969 en el Teatro Colón de Buenos Aires. Fue algo increíble
Remarquable interprétation relativement lente mais tellement bien articulée et sensible, intelligente. Beaucoup d'autres interprétations paraissent fades à côté de celle de M. Argerich. Une véritable et grande artiste!!
Si vous me le permettez; ce n'est pas lent; Je connais parfaitement la pièce; Je l'ai enregistré et joué en concert, ce sont les meilleurs temps pour ce morceau, si vous voulez chanter, soyez expressif; Je trouve que le dernier mouvement, par contre, est un peu trop rapide, surtout dans la fugue, une partie très difficile à cause des doigtés et des embellissements, dont on arrive un peu fatigué pour la grande concentration expressive et rythmique des mouvements précédents et pour le fugate initiale; tout l'épisode (la fuga) doit être joué dans un paroxysme de grande intensité et vous êtes amené à courir pour tenter de soulager les tensions et surmonter cette pierre d'achoppement des tempêtes au plus vite ... (vous commencez toujours à courir quand vous êtes fatigué) . Les fugues de Beethoven sont incroyablement troublées, dures, c'est comme marcher sur des pierres pointues pieds nus. Toute la sonate est très difficile, avec des changements dynamiques soudains, et il faut trouver un fil rouge qui retienne les parties, si différentes les unes des autres même dans l'esprit de la sonate «organique» (dans l'idée formelle de Beethoven); Trop courir, mauvaise habitude romantique, liée à une fausse idée de la virtuosité, ruine tout, le chant et la polyphonie. Je ne suis pas un amoureux d'Argerich, mais c'est une très bonne interprétation. Dommage que l'enregistrement soit si précaire ... La musique, avant tout, c'est chanter, quoi qu'on fasse; sans chanter il n'y a rien; même les pauses doivent chanter ...
@@roccocicoria4888 Merci de votre commentaire très détaillé. Je suis un simple amateur et je me suis attaqué à ce premier mouvement que je trouve remarquablement poétique, et qui pour moi est vraiment la porte d'entrée vers le "dernier" Beethoven. Je vous donne mon adresse mail pour continuer plus facilement le dialogue: leopoldrenaud.pontier@gmail.com
Je suis parfaitement d'accord avec vous: le plus important est de chanter et il faut savoir prendre son temps...Bien cordialement,
R.PONTIER
Cher Renaud, pour des raisons de privacy, je ne peux pas mettre mon email ici; mais si vous aimez échanger d'autres réflexions sur cette sonate ou autre chose, je serai heureux de le faire à travers cette chat. Bonsoir et bonnes choses. @@renaudpontier
@@roccocicoria4888 Je comprends votre désir de respecter le "privacy", bien que je ne trouve pas que ce site soit l'idéal dans ce domaine puisque tout le monde peut nous lire.... Comme je crois comprendre que vous êtes pianiste professionnel, j'aimerai vous poser d'autres questions sur les dernières sonates de Beethoven. Que pensez vous des variations de la dernière, la 32, qui commence par un thème d'une lumineuse sérénité et qui, à la quatrième variation, s'agite d'une façon incroyable, en me faisant irrésistiblement penser à une anticipation du jazz ?? Est ce correct ??
Bien cordialement à vous. R.PONTIER
@@renaudpontier Vous avez bien dit; dans l"'arietta" de la sonate n32, la variation n3 présente une figuration rythmique typique du jazz des années 30-40, un peu dans le style du "stride piano" ... Beethoven incroyable prophète .. Mais le secret de cette sonate réside dans la dernière variation, précisément dans la note de C # qui émerge miraculeusement du trille infini. Un passage chromatique qui ouvre une nouvelle ère, dans le testament de les sonates. Vous dites que vous êtes un simple amateur mais vous faites preuve de connaissances et d'une grande sensibilité ... Que faites-vous dans la vie?
beautiful
Una gran pianista Palmas
Que diosa mi compatriota ❤
Just look how beautiful she is here and he look at her after decades of smoking. OIt,s just got to give you a reason to quit.
That first image is L/R flipped
Comment allez vous ami Rocco. Il y a eu un long silence. J'espère rien de grave. J'appréciais beaucoup notre dialogue . Je pense qu'on peut le reprendre. J'ai encore des questions sur Beethoven Moi qui suis mathématicien à mes heures, je dirai que ce qui le distingue, c'est sa densité. Il a la puissance du continu par opposition au simple dénombrable.
Max, do you have the approximate dates of the photographs?
Where did you find this? I can't find a commercial CD issue of this recording.
Maybe she never recorded on a studio. It says live in the description
It's clearly something taken semi-legally from a live performance, and probably issued on CD at some point, and I have found one or two issues of them, but they're all out of print. So I'm asking, because I'm wondering if there's a version in print that I have missed.
15:02 *
What a pity that the sound recording is so disastrous! she should record it again (and also op. 110 & op.111) . Unfortunately this will never happen.
Why doesn't she make recordings of those sonatas?
@@MominMalikYT she don't record pretty much any of Solo piano music any more because she felt lonely and prefer chamber music and concertante music (piano concertos)
My guess, having worked in that theater for 7 years, is that it was an "archival" recording -- maybe one or two microphones, but not properly "miked" because it was never meant to go to the public.
1:20 sound is not close to anything I ever heart
I love MA but the opening it is a little to slow for my taste. One of my favorite movements of Beethoven,
That's what I find so special here. Martha is never accused of playing anything too slowly, but here, *this* sonata, this movement... she is remarkably serene and patient. We'll never know, perhaps beforehand she told someone on a dare "fine, I'll play very slowly tonight to show you I can." Either way I eat it up. It's a wonderful performance!
Mr. Lima, two things. 1. do you have any information (date, maker, etc.) on the piano she is playing, and 2. could you reverse the first photo on this video (it's backwards). Thanks.
you've GOT TO BE KIDDING!!! Please, do not tell me you want the photo reversed because it is backwards. Since you have the time to be so pathetically RIDICULOUS, can't you take the time to see this was post more than 3 years ago???? Actually, what about Argerich's CLOTHES?? Are you not annoyed by the fact that it is not the dress that she is using during the actual CONCERT that originated the recording????? And what about the ORCHESTRA???? CANT U FUCKIN SEE there is NO ORCHESTRA in this recording?? OR do you think Argerich would play an ENTIRE SONATA as an ENCORE???? In other words, you can be arrogant enough to demand the photo to be reversed, but in fact you simply want to say TO THE WORLD THAT YOU, ONLY YOU know that the piano cannot be at this position. Let's face it: you grew up being told you are special, so you have to prove to the entire TH-cam community that your parents were not wrong, afterall, you KNOW the position of the piano during a piano concerto and you DEMAND the PHOTO TO BE CHANGED! you are the very reason TH-cam can be a ROTTEN place. GET A F. LIFE!!!!!!
Fa poc que escolto la música del geni de Bonn i reconec que és genial. Particularment prefereixo a Bach, però la genialitat de Beethoven tothom ha de reconeixer-la i de veure que és un dels tres millors compositors de la llarga història de la música clàssica. Per mi, els tres principals són: del barroc, Johann Sebastian Bach, del classicisme Beethoven i del romanticisme Johannes Brahms. Per mi, crec que són els tres pilars sobre el que se sosté la bona música
14:26
Is this really argerich playing?
Will Earl Yes, it is
How can you be sure? The piano sounds like a forte piano
@@willearl9923 Probably because the recording is old
@@willearl9923 It sounds like a 19th c. piano. I've asked Max Lima for more info. If so, that would make this recording even more amazing.
That’s the same question I have. This might not be Argerich
14:02
Nowhere near the Richter and Gilels recordings.
@Drosophila Melanogaster That's because you lack the cognitive powers to appreciate the absolute greatness of Gilels. keep developing them ..there is always hope.
Did your parents compare you with your siblings when you were a child?
@@brozors I have no siblings..so the answer is no.
Everyone has their own preferences!
@@rigel48 It's not about preference..it's about doing justice to the score and the composer's intentions.
Im Vergleich zu den wirklich Großen eher schwach, kein Vergleich etwa zu Gilels oder Pollini!
How beautiful sounds!!
14:29