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Beethoven: sonata nº32, 2º mov. Parte1

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Uploaded by on Jul 25, 2008

Daniel Barenboim
Beethoven: sonata nº32 op.111
Segundo movimiento, parte1

I haven't uploaded parte 2 because is already uploaded by other youtubers, I don't like repeating things!

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Music

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Standard YouTube License

  • likes, 3 dislikes

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  • 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!]

  • I am surprised that old man uses Youtube now LOL

    n it is GORGEOUS, no other world GORGEOUS

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All Comments (26)

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  • @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.

  • Beethoven au sommet de sa création... Y a pas de mots...

  • the tempo is fine

  • @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).

  • @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.

  • I did not find the conclusion (Parte 2) by Barenboim.  However, there is a terrific performance by Schnabel, in three parts.

  • As Ashkenazy famously said years ago, 'This music has no bottom'!

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