Haydn-Piano Sonata in C minor, Hob. XVI\20 (Pavel Kolesnikov)
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- Опубліковано 20 вер 2024
- Pavel Kolesnikov was born in Novosibirsk on 25.02.1989 in the family of scientists. He began to study piano and violin at age six. After study with prof. Mary Lebenzon in 2004-2007 he entered the Moscow State Conservatoire in 2007, where he continues his education with prof. Sergei Dorensky, prof. Andrei Pisarev, prof. Pavel Nersessian and Nikolai Lugansky.
Pavel is the prize winner of various National and International Competitions including the 7th International piano competition in Andorra (1st prize), the 3rd International Gilels piano competition in Odessa (1st prize), the 1st European piano competition in Poznan (3rd prize), the Scottish International Piano Competition 2010 (3rd prize).
He took part in the International Casalmaggiore Festival in 2005 and 2006 and also in the Verbier Festival&Academy in 2007 and 2009. In 2007 he was awarded with the national order The Young Talent of Russia.
Pavel plays concerts both as soloist and chamber musician in Russia, the Ukraine, Italy, Spain, Germany, the United Kingdom and Poland.
1st mov. 0:08 2nd mov. 6:11 3rd mov. 10:24
Thank you!
0:10 the first movement
6:13 the second movement
10:24the third movement🙈
it should be first and second and third movement I think
@@ItsSunnyMonster haha🙃
I have to say that I came here because I'm doing the analysis of that sonata, I didn't care about the pianist. But few seconds after listening with the music sheet, I was so surprised by how well he plays the piano and how stylistically correct is his interpretation.
Since 2011 Pavel Kolesnikov won Canada's Honens Prize for piano in 2012 and moved to London.
He has now seven recordings released from the label Hyperion.
Tchaikovsky Chopin, Beethoven, Bach, Couperin and Hahn.
In case you haven't noticed😊
Equilibrio e cantabilità. L'Haydn che adoro. Ottimo lavoro.
Pashulia! So great to hear this wonderful performance!
An excellent performance carefully thought out yet fresh and spontaneously sounding.
Такое ощущение, что играет сам Гайдн. Стиль и характер композитора переданы на 100%.
And I wonder: can play better this sonata? These Russians never cease to amaze me. And the quarry of new talents is endless, thank God.
The Andante on this is so beautiful. Mozart and Haydn on the same level.
Same, but different; very little of Haydn sounds like Mozart, nor Mozart like Haydn.
You're really amazing!!! Wonderful performance!!
Haydn beautifully played.
Excelent sonata!👏👏
👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻great!!!!!!!!!!
Amazing clary in he 16th notes
bravo
artist
3:20
3:19
he is cute
why is there a simply piano add at 12:04 wth 😒
Greet
0:34
It is good that this sonata is a repertoire piece for serious musicians; it is the world’s first great minor key sonata - thank you for your performance.
Two points: firstly, it is absolutely wrong to ignore the da capo (repeat) instructions on classical sonatas - it is an indefensible error of judgement as it unbalances both the movement and the sonata as a whole.*
Additionally, it significantly reduces the stature of the work, and in a monumental sturm und drang sonata like this, we need to hear the themes laid out and developed more than once.
Secondly, like with the sonatas of Mozart, particular care needs to be taken when left hand chords are balanced with a right hand melody.
Modern pianos, with their much more powerful bass, are very different from 18th century fortepianos.
In one or two places, in spite of the pianists obvious attempts to play the music with a sensitivity to 18th century performance practice, the sound is not properly balanced.
The left hand chords in Haydn and Mozart were written intended for 18th century fortepianos, had they been writing for a modern grand, the chords would have been written differently, an awareness of this is important to good performances of this repertoire.
* Subsequent comment: as suspected, the concern about omitting the repeats is explained - as is often the case - by competition rules; it remains however a travesty, and I trust that such a fine pianist will never commit this un-musical error in live concerts, or recordings.
Elaine Blackhurst Regarding your first point, this is a competition performance and repeats are omitted in the interest of time. The real travesty is all the noise from the audience!
God forbid a pianist is in control of the music they choose to perform
Harry Rees The musician is not in control; the instruction comes from the competition organising committee.
I agree that in some moments I've head slightly hard sounded left hand, that move balance between both hands and voices. But I'm not a musician, just a listener.
Thanks for your explanation of the possible nature of this kind of sounding.
0:10
im in school
0:40