To leave out the repeat of the exposition is an amazing bit of artistic arrogance verging on vandalism and gross disrespect for an undisputed master!.There is much fine pianism, here but there is also much rushing where phrases become somewhat garbled.I remain quite unconvinced by this almost neurotic reading, and what is perhaps worse....coldly unmoved
Bergs music has a quality that I associate with much of the musical literature from Vienna and the Slavic regions, which is a sort of cramped feeling, emotionally. But it's still a masterwork, and Loriod's performance is brilliant. She's emphasizes the melodic elements even more than Gould.
This is great, I would never have thought to look for Loriod... EXCEPT WHERE IS THE EXPOSITION REPEAT? YOW! This is a grave reshaping of this piece: it is not a classical sonata, yet he very carefully repeats the exposition (ironically?) just like Mahler repeating the exposition of the 6th Symphony, and for the same reason: reference point. But still, as written, it's 25 percent of the piece!!!
Just to explain: measures 1 - 56 are marked with a repeat sign: in a Mozart sonata, this would be the exposition repeat, and Berg writes a very neat dove-tail right back into the very beginning. That way the piece is 234 bars long. We don't hear anything else in the piece twice, so Berg must have thought it was important and not just a formality. He's always referring back: the slow theme at m 30 is developed at 101 and again at 137...
I never stop being awed by the genius of this piece, of Alban Berg's music, and of Yvonne Loriod's interpretation -- exposition repeat or not!
LevMysh68 7 months ago
Finest harmony that can't be spoiled by any interpretation!
5InAnotherLand5 10 months ago
was geht alter?
DanKreiger 1 year ago
To leave out the repeat of the exposition is an amazing bit of artistic arrogance verging on vandalism and gross disrespect for an undisputed master!.There is much fine pianism, here but there is also much rushing where phrases become somewhat garbled.I remain quite unconvinced by this almost neurotic reading, and what is perhaps worse....coldly unmoved
rustymunga 1 year ago
Splendid interpretation!!!
2persimmon1 1 year ago
Elle joue avec beaucoup de clarté, de passion et de clarté par rapport à une dizaine de versions écoutées. Très beau!
sdegrace 1 year ago
Comment removed
sdegrace 1 year ago
May Yvone Loriod rest in peace. Thank you for your sublime rempdition.
fredmex65 1 year ago
le décès appris hier de Mme Loriod-Messiaen rend d'autant plus précieux ces documents
merci !
floorembden 1 year ago
rip y. loriod-
hswatnik 1 year ago
rip ms loroid.....
redhairedstepchild 1 year ago
RIP .died on 17 may 2010
hitlershak 1 year ago
Bergs music has a quality that I associate with much of the musical literature from Vienna and the Slavic regions, which is a sort of cramped feeling, emotionally. But it's still a masterwork, and Loriod's performance is brilliant. She's emphasizes the melodic elements even more than Gould.
daniel15671 2 years ago 4
This is great, I would never have thought to look for Loriod... EXCEPT WHERE IS THE EXPOSITION REPEAT? YOW! This is a grave reshaping of this piece: it is not a classical sonata, yet he very carefully repeats the exposition (ironically?) just like Mahler repeating the exposition of the 6th Symphony, and for the same reason: reference point. But still, as written, it's 25 percent of the piece!!!
rickypix 2 years ago
Just to explain: measures 1 - 56 are marked with a repeat sign: in a Mozart sonata, this would be the exposition repeat, and Berg writes a very neat dove-tail right back into the very beginning. That way the piece is 234 bars long. We don't hear anything else in the piece twice, so Berg must have thought it was important and not just a formality. He's always referring back: the slow theme at m 30 is developed at 101 and again at 137...
rickypix 2 years ago