There is a similarity between the piano sonata no 26 and the String Quartet op 18 no 2. Three long drawn out notes 2 beats each dominate the first movements of both. In the piano sonata the notes are first found in the slow intro and the movement ends with them. In the quartet you hear them in the B theme of the exposition and then they are picked up and emphasized in the development when the cello broadly states this figure and the others pick upon it
Reluctantly I have to agree with Mr. Petrov's opinion; below. Richard Goode and I both studied with, Claude Frank -- I before Richard who is the younger of the two of us. I was present when Mr. Frank perfomed all 32 beethoven sinatas at Hunter College in the early seventies. I was also privileged to participate in several of the sessions when Mr. Frank recorded the recording sonatas for RCA Victor. I do know that Mr. Frank, who greatly admired his pupil Richard, would never have DREAMED of playing the two outer movements at these highly exaggerated death-defyng speeds. This is a case that proves the adage: Just because you CAN doesn't mean you SHOULD. I hadn't heard Richard in this snata before. Nprmally he is absolutely SUPERB. I have to admit I was DISAPPOINTED with his approach to Opus 81a.
Your analysis is spot on. It's all "very good," of course, but it misses being great, because of the overemphasis on speed at the expense of phrasing and dynamic nuances. Also, In the first movement I detect inaccuracies in those infamous passages in running chords and mixed double notes. Mr. Goode doesn't show any sgns of being stressed there, but I'm certain he's not playing exactly what Beethoven wrote in those two places. However, I'm pretty sure very few ever do. Gulda, Arrau, Solomon and Barenboim may be the exceptions, and I much prefer each of them to this brilliant-but-too glib interpretation..
Just had to say how jealous I am that you studied with Claude Frank. I found his recordings of the 32 sonatas on LP at used at a record store while in college and played them to death. The red label recording quality is only adequate, but his performances are amazing. I have several complete cycles now (including Goode's) but Frank's will always have a special place for me. I wish there was a better quality recording of his cycle available as my LPs are quite worn.
Jesus Christ this is an astonishingly perfect performance of this viciously gigantic and virtuosic masterwork just incredible.
06:37 2악장
9:51 3악장
There is a similarity between the piano sonata no 26 and the String Quartet op 18 no 2. Three long drawn out notes 2 beats each dominate
the first movements of both. In the piano sonata the notes are first found in the slow intro and the movement ends with them. In the quartet you hear them in the B theme of the exposition and then they are picked up and emphasized in the development when the cello broadly states this figure and the others pick upon it
Reluctantly I have to agree with Mr. Petrov's opinion; below. Richard Goode and I both studied with, Claude Frank -- I before Richard who is the younger of the two of us. I was present when Mr. Frank perfomed all 32 beethoven sinatas at Hunter College in the early seventies. I was also privileged to participate in several of the sessions when Mr. Frank recorded the recording sonatas for RCA Victor. I do know that Mr. Frank, who greatly admired his pupil Richard, would never have DREAMED of playing the two outer movements at these highly exaggerated death-defyng speeds. This is a case that proves the adage: Just because you CAN doesn't mean you SHOULD. I hadn't heard Richard in this snata before. Nprmally he is absolutely SUPERB. I have to admit I was DISAPPOINTED with his approach to Opus 81a.
Your analysis is spot on. It's all "very good," of course, but it misses being great, because of the overemphasis on speed at the expense of phrasing and dynamic nuances. Also, In the first movement I detect inaccuracies in those infamous passages in running chords and mixed double notes. Mr. Goode doesn't show any sgns of being stressed there, but I'm certain he's not playing exactly what Beethoven wrote in those two places. However, I'm pretty sure very few ever do. Gulda, Arrau, Solomon and Barenboim may be the exceptions, and I much prefer each of them to this brilliant-but-too glib interpretation..
Just had to say how jealous I am that you studied with Claude Frank. I found his recordings of the 32 sonatas on LP at used at a record store while in college and played them to death. The red label recording quality is only adequate, but his performances are amazing. I have several complete cycles now (including Goode's) but Frank's will always have a special place for me. I wish there was a better quality recording of his cycle available as my LPs are quite worn.
The speed of the first movement is insane (in a good way). I have never heard someone played this fast but yet sound so effortless!
Schnabel played a little faster.
1:25 1:37 1:49
Love the first movement man, but lots of mumbling, but other than that, Very very well done
Yeah, you have to do that, it adds you +20 % piano skillz.