Friedrich Gulda plays Beethoven "Les Adieux"

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Uploaded by on Jul 5, 2011

Sonata No. 26 Op. 81a in E flat major

1. Das Lebewohl (Les Adieux - The Farewell): Adagio - Allegro
2. Abwesenheit (L'Absence - The Absence): Andante espressivo (In gehender Bewegung, doch mit viel Ausdruck - In walking motion, but with much expression)
3. Das Wiedersehen (Le Retour - The Return): Vivacissimamente (Im lebhaftesten Zeitmaße - The liveliest time measurements)

rec. 1967

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Music

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  • @quinto34 This argument reduces music to an athletic activity. The need to prove one's virtuosic superiority is propelled by ego and not by the spiritual roots of music. I respect your opinion. I base mine on 35 years of playing Beethoven and 20 years of teaching him. May I recommend reading the book: "Beethoen, the man and the artist, as revealed in his own words" and learning this sonata (if you haven't already) to gain more insight into this amazing spirit.

  • @dsarrafi You can compensate lack of feel or technique with speed, but on the other hand, speed is often well thought over by high level pianists like Gulda..he gives Beethoven a great energetic, forward drive which suits the composer briljantly IMO. Just because you don't recognize this, don't agree or dislike it, (which is fine) doesn't mean he 'doesn't want to feel' ..better not mess with peoples motives, it's not fair.

  • Thank you

    

  • He sure brings out all the right notes e.g. the LH double appoggiaturas in the closing theme. But Beethoven's marking is Allegro not Presto!  Much of the articulation, phrasing and emotion of the piece is lost at this tempo. Also, the rhythm (LH chords & RH repeated notes) suggest a carriage taking the traveller away. You don't hear that at this tempo. Pianists who can't or don't want to feel, compensate with speed. Technique is not just speed!

  • I heard this perfomance of a great pianist, Daniel Barenboim, and i can say that this is much better!

  • bravo!

  • Splendid, stellar performance. Thanks for posting!

  • Amazing Gulda. Heard him live once in Madrid, with his kippá, playing whatsoever the audience demanded.

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