Ah Barenboim! au sommet de son art,pas d'exageration ostentatoire,juste joué les notes écrites ,avec le touché d'une douceur qui me fend le coeur.Plein d'inspiration ,c'est divin.Cette musique est Beethoven comme il la écrite et rêvé d'être interpreté avec cette douceur.Je sais que les 2 dernières sonates de Beethoven sont les points d'orgues de l'oeuvre pianistique,et les plus difficile à jouer,mais quand on est Barenboim,c'est que du bonheur.
Long a favorite piece (and movement) of mine. So beautiful. Whatever the technicalities, I find Barenboim's performance comes from deep in the heart of a man who, like me, has lived and thought long enough to get the message of the music.
Sin duda técnicamente impecable pero se centra demasiado en lo sonoro y a veces llega a aburrir... le falta la profundidad de Arrau o el vuelo de Gould.
Fell asleep after 30 seconds. Slowing the tempo to a near dead-stop, is not the way to establish profundity with this sublime movement. The first variation is executed with so much rhythmic irregularity and affectation that I had to stop listening.
Thanks, BachFong11 for responding. I'm sorry, but I beg to differ in the strongest possible terms. The rhythmic fluctuations are absolutely unacceptable here. Beethoven has already "written-in" here, a rhythmic plasticity that simply will not tolerate being tampered with.
This is known to all the major Beethoven interpreters. I challenge you to find another such interpretation from any of the important Beethoven interpreters - eg: Schnabel, Brendel, pollini. Do your research and get back to me. All the best
There is no authoritative way to play this movement. It can be played either way, but what I'm saying is that there is nothing wrong with this tempo. Baremboim is ALSO a key Beethoven figure who has recorded all of the sonatas. All Beethoven has "written in" is the tempo of Adagio MOLTO semplice e cantabile in 9/16. He has not written in any metronome marks. Baremboim is just another well-qualified interpreter to play this piece. I assure you.
Since Barenboim *is* an important Beethoven interpreter, that's all we need to establish viability. I think your sentiment of disliking it, or finding the link between slowness and profundity banal, is highly legitimate. But so is this interpretation. It is not "unacceptable" (who "accepts", anyway? The international Beethoven-policing unit?). In that sense BachFong11 is right on the money. There is no authoritative interpretive way... only preferences.
@jlaurson his playing is quite sublime as it transcends the notes whilst maintaining overall structure, rhythm, timing etc. and gives to the music a life that allows the listener to journey.
Absolutely right but not only for barenboim-Arrau is identical.
Tooooooooooooooo sow and sloooooooower..look at the notes:they are eights and even sixteenths(I am talking about the end part).Slowing down brings boredom.
Richter is the only one who respects the timing all through the work(both movements).
@superbemaison definitely a case for it being too slow. But in terms of music notation extra subdivisions actually indicate a slower tempo. This tradition goes back to Bach and the way he notated his music.
Ah Barenboim! au sommet de son art,pas d'exageration ostentatoire,juste joué les notes écrites ,avec le touché d'une douceur qui me fend le coeur.Plein d'inspiration ,c'est divin.Cette musique est Beethoven comme il la écrite et rêvé d'être interpreté avec cette douceur.Je sais que les 2 dernières sonates de Beethoven sont les points d'orgues de l'oeuvre pianistique,et les plus difficile à jouer,mais quand on est Barenboim,c'est que du bonheur.
MrRenesarah 3 months ago
Beethoven au sommet de sa création... Y a pas de mots...
JEANVIPERE 8 months ago
the tempo is fine
TheJoyfulPianist 1 year ago
I am surprised that old man uses Youtube now LOL
n it is GORGEOUS, no other world GORGEOUS
Desmonddd2002 2 years ago
where is parte 2?
OlegGultayev 2 years ago
I did not find the conclusion (Parte 2) by Barenboim. However, there is a terrific performance by Schnabel, in three parts.
PlanetThoughts 2 years ago
Long a favorite piece (and movement) of mine. So beautiful. Whatever the technicalities, I find Barenboim's performance comes from deep in the heart of a man who, like me, has lived and thought long enough to get the message of the music.
PlanetThoughts 2 years ago
As Ashkenazy famously said years ago, 'This music has no bottom'!
gordonsta2 2 years ago
yeah! i think his op 111 is very good! and the rest. my fav
edwardk1011 2 years ago
have you ever heard john lill? fantastic performace! perfection in my view!
edwardk1011 2 years ago
I know him, and his Beethoven. He´s a great master indeed!
aaabbbccc5 2 years ago
Sin duda técnicamente impecable pero se centra demasiado en lo sonoro y a veces llega a aburrir... le falta la profundidad de Arrau o el vuelo de Gould.
Una lástima en alguien tan capaz y tan dotado
sugus3 3 years ago
Made me cry, very profound.
BachFong11 3 years ago
Me too...
gorgalsi 3 years ago
Wonderful picture from 2.04 to 2.14. looks like he's in grief or walking the way of the cross; look at this drop of sweat...pure delight.
and i'm not fan of db
tchebinai71 3 years ago
Ale początek za wolne tempo powino troce szybkiej.
grzegorz19plonka 3 years ago
Super super suepr!!! ja tez ucze tego utwor
grzegorz19plonka 3 years ago
Fell asleep after 30 seconds. Slowing the tempo to a near dead-stop, is not the way to establish profundity with this sublime movement. The first variation is executed with so much rhythmic irregularity and affectation that I had to stop listening.
lourak 3 years ago
It's called Rubato, he gives it back like you're supposed to. Trust me, Baremboim knows EXACTLY what he is doing.
BachFong11 3 years ago
Part 1
Thanks, BachFong11 for responding. I'm sorry, but I beg to differ in the strongest possible terms. The rhythmic fluctuations are absolutely unacceptable here. Beethoven has already "written-in" here, a rhythmic plasticity that simply will not tolerate being tampered with.
lourak 3 years ago
Part 2
This is known to all the major Beethoven interpreters. I challenge you to find another such interpretation from any of the important Beethoven interpreters - eg: Schnabel, Brendel, pollini. Do your research and get back to me. All the best
lourak 3 years ago
There is no authoritative way to play this movement. It can be played either way, but what I'm saying is that there is nothing wrong with this tempo. Baremboim is ALSO a key Beethoven figure who has recorded all of the sonatas. All Beethoven has "written in" is the tempo of Adagio MOLTO semplice e cantabile in 9/16. He has not written in any metronome marks. Baremboim is just another well-qualified interpreter to play this piece. I assure you.
BachFong11 3 years ago
Since Barenboim *is* an important Beethoven interpreter, that's all we need to establish viability. I think your sentiment of disliking it, or finding the link between slowness and profundity banal, is highly legitimate. But so is this interpretation. It is not "unacceptable" (who "accepts", anyway? The international Beethoven-policing unit?). In that sense BachFong11 is right on the money. There is no authoritative interpretive way... only preferences.
[Civilized exchange, this, though!]
jlaurson 2 years ago 6
@jlaurson his playing is quite sublime as it transcends the notes whilst maintaining overall structure, rhythm, timing etc. and gives to the music a life that allows the listener to journey.
archifresh 2 years ago
@lourak
Absolutely right but not only for barenboim-Arrau is identical.
Tooooooooooooooo sow and sloooooooower..look at the notes:they are eights and even sixteenths(I am talking about the end part).Slowing down brings boredom.
Richter is the only one who respects the timing all through the work(both movements).
superbemaison 1 year ago
@superbemaison definitely a case for it being too slow. But in terms of music notation extra subdivisions actually indicate a slower tempo. This tradition goes back to Bach and the way he notated his music.
TheJoyfulPianist 1 month ago