Beethoven Moonlight Sonata 2nd and 3rd Movements Paderewski

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Uploaded by on Feb 17, 2008

Somehow,the first movement of this sonata has been seperated from the other two movements.It is still on my channel and,of course,the sonata is more effective if one listens to the first movement before listening to the other two. Paderewski recorded this Sonata on January 29&30 of 1937 at the age of 76. Unfortunately, this is the only large work that Paderewski ever recorded.He didn't like the breaks that were required when making 78RPM recordings. But listen to the colors!

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Uploader Comments (Beckmesser2)

  • This just goes to show how much change there has been in piano interpretation. I will agree that there are some beautiful things in this performance, but in this age of more historically informed performance practice he could never get away with this style. The drastic changes in tempo, the overpedaling, the failure to follow Beethoven's dynamic and phrase markings are all out of fashion these days. It's a Romantic interpretation of a Classical work.

  • Theodore Leschetizky,who studied with Beethoven's most famous pupil Carl Czerny,says of his teacher,"Czerny taught that Beethoven shoud be rendered with freedom of delivery,and depth of feeling.A pedantic,inelastic interpretaion of the master made him wild." The practice of treating music printed on a page as a pharmacist would read a prescription,is a twentieth century phenomenon and is more closely related to the scientific method than with art.

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  • He's the one who gets the 2nd movement right.  Everybody else gives you the loud, bouncy treatment.

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  • i LOVE his interpretation of the second movement -- it has just the right playful feel to it that is missing from the interpretations of so many other pianists.

  • ˙pןɹoʍ ןɐǝɹ ǝɥʇ oʇ ǝɯoɔןǝʍ

  • I don't like this interpretation. It is not as "constant" as e.g. Brendel's version. But eventually it's a matter of taste.

  • 2 people will see one day what a real uppercut to the face is like.

  • @gatesurfer From Finck's book: "Czerny, who knew what he was talking about (he was a pupil of Beethoven and the teacher of Liszt), tells us that Beethoven used the pedal a great deal far more than is indicated in his works. Nothing, indeed, was more foreign to Beethoven's temperament than academic primness and literalness. He employed expression-marks more freely than any master before his time, yet he still left many nuances to the feeling of the player."

  • @Beckmesser2

    this is both right and absolutely horrible.. where does this scientific way of interpretation come from, I really wonder how this could happen, it's truly a very disapointing development..!

    I once heard a recording of a Chopin (!) student playing his first ballade, it was everything but accurate to the notes and dynamic suggestions written... and they were pupils of chopin.. isn't that a most convincing argument to let music be played as freely as the interpreter wants to..!??

  • I WANT TO LEARN THE 3rd MOVEMENT!!!!!!!!!!!!!!!!!!!!!! I PRINTED OUT THE WHOLE THING ONCE IT WAS LIKE 28 PAGES!!! LIKE ALL OF THE MOVEMENTS TOGETHER!!! IM TWELVE AND IM WORKING ON SONATINA IN G MINOR BY BEETHOVEN ITTSS SOO AWESOMMEEE I FINISHED THE FIRST PAGE OF 8 !! YAYAYA!!! BUT I WANT TO LEARN THIS!!! SO AWESOMMMMMMMME!!!!!

  • @Beckmesser2 very well said, and nice video.

  • @Beckmesser2 very well said!

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