Chopin, sonata No.3 op.58, 4th movt

Sergey Kuznetsov performing Chopin piano sonata No.3 h-moll op.58, movement IV

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• piano
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• h-moll
• 58
• Sergey
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• Hamamatsu
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• 奏鳴曲

[fredericfranc]

@sergeypiano ...appeal of their interpretations. Again, I want to stress that nowhere do they "go un-Chopinesque" and this procedure requires terrific musical judgement, and is inherently very hard to do, requires tremendous coordination-technical skill to execute...you could not teach it in the conservatories, there is enough there to do already...but an ambitious pianist could try it, there are some of those around...this is what I thought was going on there...you will think otherwise maybe..

[fredericfranc]

@sergeypiano ...personality, bring it "closer" to the listener, make it more listener-friendly. This cold, Prussian, military sonata, with all those marches in it could use some of that, maybe.In my view Lipatti and Kappel (and also Katsaris, but you have distaste for him, not only you) do use some of that, i.e. they go beyond the customary "local dynamics" in their interpretations, and do some of this kind of surreptitious "recomposing", and this does in fact account for quite a bit of the..

[fredericfranc]

@sergeypiano ...I am going "dancing in the minefield"...well, this Op 58 sonata, so Germanic, polyphonic, with counterpoint in it, so un-Chopinesque, sounding like Max Reger composed it, etc. is perhaps open to being treated as having "layers of sound" running temporal-wise in parallel and open to being dynamically manipulated longitudinally and independently, yet not really violating the composer's intent, but rather being "orthogonal" to his intentions. This will give the music somewhat "new"

[sergeypiano]

@fredericfranc Could you elaborate on your concept of "revoicing"? Any connection with Anton Rubinstein's concept of "re-composing" a piece?

[fredericfranc]

@sergeypiano ...that Chopin, when composing the last movement, did it "under duress" as a sop to the requirements of the "sonata tradition"...that the movement is a "sarcastic-snide" commentary by Ch. "against the Beethoven-sonata tradition" and should be conceived somewhat ironicaly...but this is perhaps too clever by a half...

[fredericfranc]

@sergeypiano ...I find your various responses here, well, impressive, and business-like enough, not to really want to make for further trouble, esp. given that YOU are the artist here. I just have a couple of side points: you don't give enough attn. in your dscussion to the idea of "revoicing" this movement, and, in fact even the first movm't too, because the sonata practically invites this as an expressive device, but you might perhaps find the concept distasteful...also I have this notion..

[sergeypiano]

5. Once again, I do not think that one must play this movement as a simple crescendo from beginning to the end. Nor do I think that I myself play so. :)

[sergeypiano]

... Kapell plays the third iteration of the main theme (one in B minor again) in much the same character and the same touch (!) as he does the first iteration, then the third iteration sounds lax in a way, then the B major coda sounds a bit unprepared, not as a result of the whole sonata.

I think Gilels can give a good example of what I find appropriate in this movement.

[sergeypiano]

3. I am afraid your examples are somewhat poor: I find Katsaris' performance as appalling as it can ever be, Bozhanov's one far better but lacking the dramatic construction (see below) and Kapell's one I find very good (especially the second, connecting, theme) but not outright convincing, and precisely for the reason discussed:

cf

[sergeypiano]

@fredericfranc I guess I see what you mean... Up to a point. :)

Then it is all a matter of perception: I have to say you are the first person known to me who feels my rendition as "simple affirmation of life" whatever.

1. Of course Chopin was quite alien to the idea of simplistic expression of anything: tragedy, joy etc.

2. I presume I have never opined that this movement is a simplistic as riding a lift from B minor to B major.

...cf