Trudelies Leonhardt plays Schubert, Sonata in B major, D 575
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- Опубліковано 5 жов 2024
- Trudelies Leonhardt, on an original Pianoforte by Benignus Seidner (Vienna 1815/20), plays Schubert, Sonata op. 147 in B major, D 575.
00'16'' : 1st movement, Allegro
09'03'' : 2nd movement, Scherzo
14'31'' : 3rd movement, Andante
21'13'' : 4th movement, Rondo : Finale
what a great Pianist! Bravo!
Such charm and warmth!
Well played, the biggest thing that gives this away is that even though she plays a very old piano with its (to our modern ears) quirky sound it doesn't bother at all, this means she is able to project the melody well despite the limitations of these very old pianos. Well done!
Of course, the sound would not have seemed "quirky" to Schubert at all. Modern pianos, wide in their volume and dynamic range, are limited in other ways, just as all instruments have their own parameters: the tone of the modern grand is (by design) homogenous throughout the range, whereas a Viennese piano of this period has distinct "registers" within in its 6 octave range. Surely it depends on what kind of music you want to play: good composers write specifically for the resources they have at hand. On this particular instrument Schubert's music is revealed as revolutionary, pushing instrument and player to the limits. When one becomes accustomed to the cutting-edge instruments of the composer's own time (in good condition and played with skill, taste and knowledge), that same music played on later instruments comes across as tame, despite the beauty of such a performance (assuming it is a good one). This piano from 1815 (rare to find them of this quality in this excellent restored condition) reminds us of just how rapidly piano technology changed in the early 19th century: every decade producing noticeable changes.
For example, this Seidner piano is drier and more edgy than the slightly later instruments by Conrad Graf of the 1820s and 1830s. And yet, with this Seidner: the treble sings nicely; everything is in balance and proportion, while the extreme bass is nasal and incisive; highly effective in the slow movement (for example). (The modern piano, with its vastly greater string tension has also a much slower tonal "decay"; while the tone is almost pure fundamental throughout the range, whereas this instrument has more overtones in the sound, as well as damping that is less ruthlessly efficient.) As soon as we start talking about "limitations" with any instrument (a label that is usually imposed by later commentators on earlier instruments whose tone is initially surprising to them), we must acknowledge that there is not a single instrument that does not have strengths and "limitations": great composers in all eras exploit both, holding music in a tension of creative excitement between composer, performer, instrument and listener, each challenged to their limits. That tension is what, in my view, makes this performance so exciting and "authentic". Not to mention the contribution of such a great musician as Trudelies Leonhardt, who takes us right into Schubert's own world. Oh, and we should mention Schubert, too!
@@peterwatchorn5618 I've heard similar instruments before being played by people trained to play them ... yet somehow they never sounded this good, including lauded pianists. Trudelies is simply playing it perfectly for this instrument. That to me is a rare skill that I appreciated and wanted to write about but used perhaps a bit too general of a tone whilst writing it.
True style and tempi, wonderful Schubert's spirit, great rendition!
Bellísimo, extraordinario, sublime.
immer genial und mit Ausdruck
Une très grande artiste ! Pourquoi si méconnue ???
Ca doit pas être facile de jouer une des sonates les plus difficiles de Schubert sur un piano aussi dur...bravo!
Is she daughter of Gustav?
No! The sister!
I’m wondering where she got the notion to play the Scherzo second. The relationships between adjacent movements work better when it is third.
Honestly, who cares? Enjoy the music!
I care, and would also like to know if there is an intelligent reason. It's a legitimate question.
Dans l'autographe le Scherzo se trouve avant l'Andante!