@@goldberg72 A Ravenna lei con la sua scuola ha eseguito l'integrale delle sonate di Beethoven. Ho ascoltato una sua magistrale interpretazione della sonata op. 2 n. 3
Magnifica interpretazione! Conosco questa sonata da molti anni ma ascoltata oggi da Maria Tipo mi è sembrato di sentirla per la prima volta, con la gioia che vi lascio immaginare! Grazie ad adgo2 per averla caricata.
What an enjoyment to hear her play this composition. I rate this among the best interpretations, and there are so many... Her phrasing is so intelligent, so musical!
An admirable sonata but one that I don't like listening to because it's a straightjacket of a work and all good performances sound the same apart from the pedantic controversy of whether to play the wholly uninteresting bit at 23'40" glissando or staccato. The genius of Maria Tipo is more obvious in her Goldberg variations and her Scarlatti.
agreed, come to think of it...but it's always a pisser to play. plus, there are millions have people who have never heard it before, and its basically a one giant rush, or one better than the next succeeding each other (a la very very high marijuana rushes). The reason--the only example in its (joking) purest sense, of Beethoven's Muscle Middle Period. And one more thing: besides the glissando octaves, in the last movement is quite a serious artistic choice (if carried out, by Schnabel theonly one ive heard) of the manuscript pedal down not only through the tonic and dominant but through the alternations of major and minor alternations in the rondeau theme (not done here).
@@baudecordier thank you for this thoughtful and enlightening comment. The musically illiterate music lover who I am will give the Schnabel (his first Waldstein!) another, more attentive hearing
"All good performances sound the same"? Not even close. Pletnev, Grinberg, Horowitz, all quite different. But I agree, people talk way too much about the octave passage and too little about the rest of the piece.
@@magicmulder I should have added a few qualifiers such as "tend to sound the same", that "same" is in relation to what this works means to me and, most importantly that I can't hope to listen to all past and future good performances of this sonata. Now my statement is safer. Thanks
@@philippeyared2050 To each their own. ;) For me the Waldstein is one of the best musical pieces ever so I may be a bit partial about it. Love to listen to it, hate to play it. ;)
una delle migliori pianiste di questo secondo ultimo novecento
Alberto Pélissier ho avuto la fortuna di sentirla dal vivo
@@goldberg72 A Ravenna lei con la sua scuola ha eseguito l'integrale delle sonate di Beethoven. Ho ascoltato una sua magistrale interpretazione della sonata op. 2 n. 3
Abito a Firenze e ho avuto la fortuna di conoscerla .Straordinaria!!!
Magnifica interpretazione! Conosco questa sonata da molti anni ma ascoltata oggi da Maria Tipo mi è sembrato di sentirla per la prima volta, con la gioia che vi lascio immaginare! Grazie ad adgo2 per averla caricata.
Merveilleusement interprétée avec fougue , virtuosité , .et grandeur Beethovénienne . A réécouter sans lassitude.
What an enjoyment to hear her play this composition. I rate this among the best interpretations, and there are so many... Her phrasing is so intelligent, so musical!
Maria Tipo: la bellezza della musica.
Una luminosità straordinaria!
Brava!
Unica
14:54
Tipo is superior to Argerich
An admirable sonata but one that I don't like listening to because it's a straightjacket of a work and all good performances sound the same apart from the pedantic controversy of whether to play the wholly uninteresting bit at 23'40" glissando or staccato. The genius of Maria Tipo is more obvious in her Goldberg variations and her Scarlatti.
agreed, come to think of it...but it's always a pisser to play. plus, there are millions have people who have never heard it before, and its basically a one giant rush, or one better than the next succeeding each other (a la very very high marijuana rushes). The reason--the only example in its (joking) purest sense, of Beethoven's Muscle Middle Period. And one more thing: besides the glissando octaves, in the last movement is quite a serious artistic choice (if carried out, by Schnabel theonly one ive heard) of the manuscript pedal down not only through the tonic and dominant but through the alternations of major and minor alternations in the rondeau theme (not done here).
@@baudecordier thank you for this thoughtful and enlightening comment. The musically illiterate music lover who I am will give the Schnabel (his first Waldstein!) another, more attentive hearing
"All good performances sound the same"? Not even close. Pletnev, Grinberg, Horowitz, all quite different.
But I agree, people talk way too much about the octave passage and too little about the rest of the piece.
@@magicmulder I should have added a few qualifiers such as "tend to sound the same", that "same" is in relation to what this works means to me and, most importantly that I can't hope to listen to all past and future good performances of this sonata. Now my statement is safer. Thanks
@@philippeyared2050 To each their own. ;) For me the Waldstein is one of the best musical pieces ever so I may be a bit partial about it. Love to listen to it, hate to play it. ;)