@@wardropper The abusive partner seems to be her musical persona. She'll beat the hell out of Chopin one moment, then caress him the next, as if to say, "you know I didn't mean what I did or said before . . ."
I grew up on Emil Gilels' version of Waldstein sonata which my parents played nearly every Sunday at our home. I always thought that his performance defined the standard with which this sonata should be played. Yet I have to admit that Martha Argerich's performance is just breath-taking. She plays it with so much energy, passion and brilliant technique. I can see why she is considered one of the greatest and most innovative pianists of our era.
Gilels' version still is the standard! His and Pletnev's are the best recordings IMO but it's always interesting to hear a fresh and unique take like Argerich here.
Whatever one might say about the performance as a whole (and I love it, as a matter of fact), Argerich is one of the few pianists (even among the greats) who "gets it" concerning the transition between the 2nd and 3rd movements. It's one of the most sublime passages in all music, and simply can't be rushed. Forget the time signature: it goes beyond music; it almost goes beyond art. It's as though the whole world were slowly, silently winding down...and then the music falls into the joyous rondo... Most pianists miss that moment...which is such a pity...
Martha Argerich is a blessing. She does certain things with her touch and power that just set her apart from other outstanding musicians. She can sense and conjure the colors and shading which give us listeners something unexpectantly fresh each time we hear her play. Brava Martha, brava
Come on Steven and Strawberry!! NOT TRUE! Argerich not the Most Powerful Loudest Pianist Ever! Argerich not the most Colorful Beautiful piano Sound! Marta Argerich not The Big Genius! Better More Colorful Beautiful piano Sound than Argerich=Wilhelm Kempff Emil Gilels Radu Lupu Artur Rubinstein Vladimir Ashkenazy! MORE POWERFUL Louder than Argerich=Mikhail Pletnev The Most Powerful Loudest Pianist Ever=( Prokofiev Piano Concerto no 1 by Pletnev!!) Pletnev The Supernova Explosion Power! Pletnev The Nuclear BOMB POWER! NO-ONE IS CLOSE PLETNEV HIS POWER! The Second Loudest Hardest Hitter Of The Keyboard was Lazar Berman! More Genius than Argerich=Sviatoslav Richter Solomon Cutner Grigory Sokolov. Maurizio Pollini Alexei Lubimov Stanislav Igolinsky!!!!!
Legend says that as Martha was playing the third movement, the stage hands pushed the piano slowly towards the exit. Upon arriving at the foyer, Martha skipped the last two chords and jumps into a carriage and the horses took her away to airport.
she blacked out on this one. best version i've heard ever - usually cant even sit through the entire piece. didnt even think about it when listening to this recording
For me Martha’s speed does not always work in the composer’s favor. Sample for instance an early Mozart K.467 with I suspect a harried Peter Maag. But here both young Argerich and Beethoven joyously take flight in the first movement (as her teacher Gulda was wont to do) then she peers as deeply inward as Schnabel did in the mysterious second movement, only to see the sun rise slowly and then gloriously as it did for Arrau. Martha only half-jokingly spoke of how intimidated she was by the Chilean. Sad if it kept her from giving us more Beethoven like this. Thanks so much for sharing.
GRACIAS!!!!! Lo que Ud hace con el piano es magia pura; esta sonata es mi preferida, en ella están expresados todos los sentimientos!, Logra que uno se maraville, sonría, llore y AME la vida!!!! GRACIAS!!!!!
I'm sorry, how did you find this? It should be a recording of a recital she gave on the 4th of february, 1970, in Tokyo (Kosei Nenkin Kaikan). Is there a tape somewhere? I don't seem to find anything!
Beethoven would have said, "That's how it should go! Can you please play my Hammerklavier Sonata, too, pleeeease!! Every poor composer like myself wants to find the unbelievable brilliant performer like Martha!
Come on Rhys! The Truth is Argerich ONE of the Queens of the piano! The Queens=Marta Argerich Lubov Timofeeva Maria Grinberg Natalia Trull Irina Zaritskaya Tatiana.Nikolaeva Laura Mikkola( the Best Mozart piano.concerto no 22 by Mikkola!!) Viktoria Postnikova( her Tchaikovsky piano concerto playing in 1970 in the Tchaikovsky Competition Was the Best.Better than the Boring John Lill and Krainev and Gutierrez!) Anna Vinnitskaya!!
@@Ernesto7608 I never said she plays it the best. Also, think about what you're saying -- in order to be able to judge something, you have to like it first. OK, buddy.
@@danlo5 took me sooo long to finally enjoy this piece (thought it was shit at first), but then I tried playing it and it felt so good. hope you'll get there too
The rigors of practice, discipline and concentration underlie the exultant freedom and emotion of this performance. The amazing thing is that everyone can share some inkling of what that must feel like to the performer. Thank you Martha and thank you Beethoven. Boy she really rumbles the low register going back to the recap in the first movement, doesn't she?
The Queen of the piano taking no prisoners. Love this! P.S. How is it that everybody has an opinion and can criticize someone like her?! I mean, If one doesn't like it, their own problem. But, who on Earth can really criticize Martha Argerich on her choices regarding Beethoven? Are we nuts here? She is a top-level, world-class-defining super artist, and she makes her choices, and if you don't like it, fine. But actually schooling HER of all people on how to play Beethoven?! That is completely and utterly ridiculous! And shows an ego beyond bounds from people that most likely aren't worthy to shine her shoes at their best. Btw. has anyone of the critics heard Josef Hofman? What can I say, Einstein was right about the bounds of the Universe and human stupidity...
Would Martha Argerich be beyond critique by anyone on this planet then Sami? Oh jewel among pianists, oh gem of Argentina…sparkle for us! We are aware of Martha’s ability / recognise her choices, yet she isn’t flawness…and some critiques / opinions are reasoned and have validity…since she is merely an interpreter of the original composer. Beginning to think that the deifying / pandering of the female (by certain men) is tied into the defence of her...I don't think citing the 'universe' is necessary.
Ok, I have come strong, but I hope you have read the comments. If we didn't know who we are talking about, it would seem that for some it is the God of piano (commenter) passing judgement on a novice (M.A.). One thing is to have an opinion, which everyone is entitled to have (but of course it is not necessarily correct!), and another thing is to school this particular individual. It has nothing to do with the female as you mentioned. but It very much has to do with the super-legend status in this particular case. Disagreeing with a super legend is of course fine. However, SCHOOLING the super-legend is not. Except of course if the one to school the super-legend is of similar or higher calibre, in which case she might actually have the opportunity to benefit from it. Otherwise it is vanity of the worst kind - everyone and his/her grandma can suddenly feel that they know better than her and instruct her on how to do her job. And that part I do find ridiculous and vain to the max - except of course I don't believe for a second that an artist of her level is not informed of the correct historical practices and all that. But in the end she made her choices, and her choices throughout history led her to super-legend status. So schooling is out of the question. Disagreeing is ok if properly conducted and supported, but that is another ballgame from schooling. And to be honest: and I am speaking for the ones that are not at her level but try to school her, I would really like to see what they are doing, play the particular piece. No words, but actions. Money where the mouth is and all that. I am entitled to my opinion too, right?
Wow! Different than I am used to hearing it, but still so wonderful. She interpreted it--i don't think everyone who plays it, even very well, actually "interprets" the piece. I wonder if anyone has ever been able to play so fast as Argerich--what a force of nature she is!
@Lon Weaver Come on Lon!! NOT TRUE!! The Truth is Argerich not the best pianist ever! More Colorful Beautiful Piano Sound than Argerich=Wilhelm Kempff Emil Gilels Radu Lupu Artur Rubinstein Vladimir Ashkenazy! MORE POWERFUL Louder than Argerich=Mikhail Pletnev The Most Powerful Loudest Pianist Ever!! Pletnev The Supernova Explosion Power! Pletnev The Nuclear BOMB POWER! NO-ONE IS CLOSE PLETNEV HIS POWER! The Second Loudest Hardest Hitter Of The Keyboard was Lazar Berman! More Genius than Argerich=Sviatoslav Richter Solomon Cutner Grigory Sokolov Maurizio Pollini Alexei Lubimov Stanislav Igolinsky!!!!!!
this is a very YOUNG performance.....like young pianists with gobs of technique...they gotta "show it off" Having said that ...she has grown tremendously thru the years..she's become the great musician now.
Le tempérament volcanique de Martha Argerich convient à merveille à cette sonate . D’autre part les tempi qu’elle prend ( elle est une femme qui n’aime pas traîner , caractère impatient , bouillonnant ??!! Tout à fait correspondant à Beethoven , du feu 🔥 , une passionnée ardente ) sont sûrement dans la " Vérité " de Beethoven .
Yes, it is different...yes, it is fast...but it works!....I was on the edge of my seat from beginning to end.....exactly what I like when listening to LVB...the "nervousness" is definitely there, as are a lot of "funny moments" and - I think - very nice transitions...
Nelson Freire and Martha, long time partners... his performance at Waldstein here on youtube.... man, the technique in 1st movement... sometimes you can´t follow his hands with your eyes... Nelson Freire, tiny hands, created a way to play... a true master...
AMAZING!........nobody can play like this and get away with it only she can......in the leagues of Horowitz and Jorge Bolet........I AM SURE BEETHOVEN WOULD HAVE LOVED IT!!.......many would like to emulate her but don¨t play like this because they can¨t......SHE IS LIKE A NATURAL FORCE, A STORM OR A HURRICANE.......and this is what Beethoven requires.
Come on!The best Waldstein sonata players are Really=Emil Gilels Radu Lupu Mikhail Pletnev! More beautiful colorful piano Sound than Argerich=Wilhelm Kempff Emil Gilels Artur Rubinstein Radu Lupu Vladimir Ashkenazy! More Powerful Louder than Argerich=Mikhail Pletnev Supernova Explosion Power!( Prokofiev piano concerto no 1 by Pletnev!) The Second Loudest was Lazar Berman! More Genius than Argerich=Sviatoslav Richter Solomon Cutner Grigory Sokolov Maurizio Pollini Alexei Lubimov Stanislav Igolinsky!
Beethoven's own performances were not characterized by technical brilliance, and apparently he had little time for technical practice. He was, however, an excellent teacher, and could forgive any number of wrong notes, but not a lack of feeling. He was also, as everybody knows, a consummate symphonist, and symphonies demand rhythmic discipline and recognition of structural boundaries. Not, of course rigid beating of time, but at least a recognition of it.
Well Beethoven was not a piano virtuoso, so yes he would’ve had trouble. Not every great composer is necessarily capable of playing everything they compose.
@@wardropper this is interesting re: Beethoven's playing. I've read a couple Beethoven biographies and haven't come across anyone saying anything like that about his technical brilliance. Not saying you're wrong--just curious where you read that. I do know that he was famous for extended improvisations on the piano in his earlier concerts. And of course, he premiered the first 4 piano concertos himself. But of course that doesn't mean he was the best virtuoso of his age.. just means he was capable of playing his concertos. I think he would have probably premiered the Emperor concerto, too, if not for his hearing loss.
Velocity is not a problem any more to many active pianists nowadays. Lang Lang, Yundi Lio or Kissin can surely play at the same speed. Argerich is special because she can play fast and be musical at the same time. Lang Lang, for example, sometimes failed to do so.
This is wonderful Beethoven playing .Gulda's genius would certainly play a parrt in this ! Why has it never been commercially released it's as thoughtful and well played as could be hoped for-strange.Her A major sonata is even more suited to her remarkable gifts.
Glenn Gould could have played it this fast, but if he had people would have said "Oh no, that's much too fast, this a travesty." In many of his fast performances (Mozart's D major Sonata opus 311, for example) Gould reinvented a work we thought we knew and made us realise we'd been missing the point all our lives ( as Argerich does here).
I've played this piece; listening to this performance I have to set aside some envy :) I like how she gets those strings to rattle using her steel fingers
Wie Recht Sie haben! Ihre Worte in das Poesiealbum vieler Pianisten! Wir haben zwar eine Fülle an russischen und chinesischen Tastenwundern, aber leider einen erschreckenden Mangel an Musikern. Ich befürchte, es besteht eine gewisse Kausalität zwischen der Geschicklichkeit und Schnelligkeit der Finger und dem musikalischen Vakuum im Gehirn... Also sollten die Tastenraser die Finger von Bach, Beethoven, Mozart, Brahms, Schubert..... lassen. Richtige und schnelle Töne reichen hier leider nicht!
Hi Tom. Sorry it's taking me awhile to respond, I've been busy. This recording has never been commercially released; however, I can give you the mp3 files if you gave me your email. (The last chords would be included. Sorry that got cut off!)
Hello, thank you so much for uploading this. It's the most stunning performance I've heard of the Waldstein.sonate. I'd be very grateful if you could share the mp3, my email is.w.Lalouschek@thetree.at. best wishes, Wolfgang from Vienna
May I bother you for the mp3 files as well? I haven't found this recording anywhere else and I would love to get it. Thanks in advance. My email is bauliesmarcos@gmail.com
This is so outstanding ,I am speachless!!!If I could kindly ask also this MP3 performance on my e mail It would give me great joy: alen.abdagic@gmail.com, tanti carissimi saluti dall'Italia-))))))))
I‘d be really happy if you could send me the mp3 too. My email is diskofokks@googlemail.com It‘s a pity that she didnt record more beethoven piano sonatas, she‘s an amazing beethoven player.
Come on Bruce! The Truth= Argerich Not the Best Ever!! Marta not has the greatest.piano Sound! Argerich Not the Genius! Argerich not the Most Powerful Loudest ever! Better more Colorful Beautiful Piano Sound than Argerich=Wilhelm Kempff Emil Gilels Radu Lupu Artur Rubinstein Vladimir Ashkenazy!! MORE POWERFUL Louder than Argerich=Milhail Pletnev The Most Powerful Loudest Pianist Ever! Pletnev the Supernova Explosion Power! Pletnev the Nuclear BOMB POWER! The Second Loudest Hardest Hitter of the Keyboard was Lazar Berman! More Genius than Argerich=Sviatoslav Richter Solomon Cutner Grigory Sokolov Maurizio Pollini Alexei Lubimov Stanislav Igolinsky!!!!!!
Sounds like she's trying to outdo Schnabel, since she can't keep up with her own tempo in the first movement. Still, Beethoven was so creative, each generation can reinvent him as their own, and it's awfully difficult to resist Argerich's quirky, lovely, slightly punk-rock attitude; she's the Patti Smith of the classical world, after all. It's hard not to adore the hushed beginning of the development. There's a lot of humor here - it might be necessary for a female in the 20th century to approach LVB with a bit of humor - and I wouldn't call what she's doing rubato, exactly, because it's not structural. It's somewhat closer to _noodling,_ borrowed from the great jazz pianists who lived between Beethoven and herself. (Not superficially, like those who try to "swing" op 111, the single biggest pet peeve in my life.) For example, passages that fit within the hand are played differently than those that require moving the arm - so it's inconsistent, but Beethoven can withstand it. It's full of vitality, which is more than I can say for the Arrau I just listened to - and I love Arrau, but, wow. This is Queen at Wembley after that.
more than outdoing schnabel maybe she's following gulda... btw, how would you not "swing" op. 111? i mean the "swing" is... written =D actually it bothers me when they can't play the "swing" in time (kempff comes to mind, and brendel) -i mean, when they get jammed with the syncopations and the arpeggios get uneven, it could pass off as rubato but it feels just clunky to me
Amazing technique, breathtaking interpration...everything is five but...the tempo. If this recording was a little slower especially in the first movement this would be the best of all by far!
I'm trying in vain to find a comment that is not one of the following: "this is too fast!! It's terrible!!" or "who are these fools trying to criticize Martha??!! Let's hear THEM play the 'Waldstein' before they start criticizing."
Let's put it this way: If I could play the same as she does, I would not want to. It's perfectly in order to judge when musical crimes are committed. Here, a great deal is truly marvellous, but the weird skittish moments - particularly in the 1st Movement, when she suddenly jumps onto the musical equivalent of a supersonic jet - are not justifiable. As I hinted above, I think she would disapprove herself if she heard anybody else allowing themselves that sort of liberty.
So she has to play this faster than anybody else? This is not a race, and personally, I like time to savor every musical phrase and statement from the incredible genius of Beethoven.
tpiskor, «show off» is part of human nature and should not be criticized. Many visited Beethoven, and several wrote letters about the visits. Some describe Beethoven’s playing as virtuoso. Beethoven also liked to show off.
When did Argerich record any of the Beeth sonatas , I know she was recorded in performance in the op.101 A M sonata (it so fits her personality way back in the late 60's and 70's ) when was this made and what rec company did it with her.Deutsche Gram. ???
There is a Recording of B's Sonata 7 by her on DG compilation album of Martha's early recordings . Search Martha Argerich Beethoven Sonata 7 topic on UA-cam
@@alanleoneldavid1787 Thankyou . I must own her op.10 DMajor. I played it in highschool along with the aflat op.23 and op.31no.3 .Need to study all the easy midle period ones.Must find more of her earlier stuff!
I forgot how radical Beethoven's ending was, here. It just cuts off before the cadence, like the first side of _Abbey Road._ Wow! Was Beethoven influenced by the Beatles?
In all seriosity, _Abbey Road_ is based on the retrograde of the Moonlight Sonata. Lennon awoke one morning to hear Yoko playing Beethoven, and he said - I'll bet that would sound interesting backwards. So that's where all the arpeggia come from, and the rhythmic layer is the "Hungarian" 3+3+2 - those are in every song in some permutation. Except maybe the Ringo one. Poor Ringo. lol
mikejr41387 Final Playboy interview: "Yoko was playing Moonlight Sonata on the piano. She was classically trained. I said, "Can you play those chords backwards?" and wrote "Because" around them."
mikejr41387 That's why "Because" is in c# minor. Unsurprisingly it's not a strict retrograde though; the progression is i - ii7 - V - VI - i - V/N[♭II] (dominant of Neapolitan).
If Beethoven would hear this he would finally give up on Elise.
Too late, “Elise” (actually Therese) already rejected him
definitely given that much brio
Agreed
@@wilh3lmmusic A Therese is my favorite (1st mvmnt)
Unfortunately he's deaf
Argerich takes no prisoners. Beethoven's nervous energy is so well understood here. I like this performance.
Well she certainly made Beethoven her prisoner here...
@@wardropper The abusive partner seems to be her musical persona. She'll beat the hell out of Chopin one moment, then caress him the next, as if to say, "you know I didn't mean what I did or said before . . ."
Even at such high velocity, she does not sacrifice any musicality! It is an understatement to say I am blown away!
I grew up on Emil Gilels' version of Waldstein sonata which my parents played nearly every Sunday at our home. I always thought that his performance defined the standard with which this sonata should be played. Yet I have to admit that Martha Argerich's performance is just breath-taking. She plays it with so much energy, passion and brilliant technique. I can see why she is considered one of the greatest and most innovative pianists of our era.
I too grew up with Gilels' version. I like them BOTH for different reasons (I didn't even know Martha recorded this).
Gilels' version still is the standard! His and Pletnev's are the best recordings IMO but it's always interesting to hear a fresh and unique take like Argerich here.
The Best Waldstein Sonata players are Really=Emil Gilels!!! Radu Lupu!! Maria Grinberg!!!!. Mikhail Pletnev!!
@@RaineriHakkarainen radu lupu is amazing. martha is really too fast although she did manage to control under this speed.
Whatever one might say about the performance as a whole (and I love it, as a matter of fact), Argerich is one of the few pianists (even among the greats) who "gets it" concerning the transition between the 2nd and 3rd movements. It's one of the most sublime passages in all music, and simply can't be rushed. Forget the time signature: it goes beyond music; it almost goes beyond art. It's as though the whole world were slowly, silently winding down...and then the music falls into the joyous rondo... Most pianists miss that moment...which is such a pity...
Great comment. Thanks.
Martha Argerich is a blessing. She does certain things with her touch and power that just set her apart from other outstanding musicians. She can sense and conjure the colors and shading which give us listeners something unexpectantly fresh each time we hear her play. Brava Martha, brava
Steven Haff
Wow really I agree with You!
Come on Steven and Strawberry!! NOT TRUE! Argerich not the Most Powerful Loudest Pianist Ever! Argerich not the most Colorful Beautiful piano Sound! Marta Argerich not The Big Genius! Better More Colorful Beautiful piano Sound than Argerich=Wilhelm Kempff Emil Gilels Radu Lupu Artur Rubinstein Vladimir Ashkenazy! MORE POWERFUL Louder than Argerich=Mikhail Pletnev The Most Powerful Loudest Pianist Ever=( Prokofiev Piano Concerto no 1 by Pletnev!!) Pletnev The Supernova Explosion Power! Pletnev The Nuclear BOMB POWER! NO-ONE IS CLOSE PLETNEV HIS POWER! The Second Loudest Hardest Hitter Of The Keyboard was Lazar Berman! More Genius than Argerich=Sviatoslav Richter Solomon Cutner Grigory Sokolov. Maurizio Pollini Alexei Lubimov Stanislav Igolinsky!!!!!
Legend says that as Martha was playing the third movement, the stage hands pushed the piano slowly towards the exit. Upon arriving at the foyer, Martha skipped the last two chords and jumps into a carriage and the horses took her away to airport.
🤣 excellent.
I'm laughing too hard at this right now
This is fantastic. One of the most exciting and speedy performances I have heard on the piano. For me it is perfection. Bravo Martha!!!! 😊
Never have I ever heard the Walstein at this speed!!! She has always been brilliant, but THIS blew my mind 👏🏾👏🏾👏🏾
Second movement: 10:15. Third movement: 14:50
the incredible octave glissandos are at 23:09
Martha Argerich... the most beautiful woman of Classical Music and her awesome interpretation of Beethoven...
she blacked out on this one. best version i've heard ever - usually cant even sit through the entire piece. didnt even think about it when listening to this recording
For me Martha’s speed does not always work in the composer’s favor. Sample for instance an early Mozart K.467 with I suspect a harried Peter Maag. But here both young Argerich and Beethoven joyously take flight in the first movement (as her teacher Gulda was wont to do) then she peers as deeply inward as Schnabel did in the mysterious second movement, only to see the sun rise slowly and then gloriously as it did for Arrau. Martha only half-jokingly spoke of how intimidated she was by the Chilean. Sad if it kept her from giving us more Beethoven like this. Thanks so much for sharing.
the first time ive heard Beethoven performed with authentic emotionality
I love her, imo one of the goats.You should listen to Claudio Arrau. Maybe a slower tempo but his pedigree says it all
Emil Gilels Radu Lupu Wilhelm Kempff More colorful beautiful piano sound for Waldstein than Arrau or Argerich!
GRACIAS!!!!! Lo que Ud hace con el piano es magia pura; esta sonata es mi preferida, en ella están expresados todos los sentimientos!, Logra que uno se maraville, sonría, llore y AME la vida!!!! GRACIAS!!!!!
Glad you like them. Took me forever to find!
I'm sorry, how did you find this? It should be a recording of a recital she gave on the 4th of february, 1970, in Tokyo (Kosei Nenkin Kaikan). Is there a tape somewhere? I don't seem to find anything!
Why doesn't she play appasionata
Beethoven would have said, "That's how it should go! Can you please play my Hammerklavier
Sonata, too, pleeeease!! Every poor composer like myself wants to find the unbelievable
brilliant performer like Martha!
@@clementreid5396 “was a
Theres one of op10 Nr. 3 great also....
This is absolutely b-e-a-utiful! :O Long live the Queen of Pianists!
Come on Rhys! The Truth is Argerich ONE of the Queens of the piano! The Queens=Marta Argerich Lubov Timofeeva Maria Grinberg Natalia Trull Irina Zaritskaya Tatiana.Nikolaeva Laura Mikkola( the Best Mozart piano.concerto no 22 by Mikkola!!) Viktoria Postnikova( her Tchaikovsky piano concerto playing in 1970 in the Tchaikovsky Competition Was the Best.Better than the Boring John Lill and Krainev and Gutierrez!) Anna Vinnitskaya!!
Adding that I also appreciate Argerich's free and seemingly spontaneous delivery.
Every time I hear a work by Beethoven I just think, how does someone conjure up this magic from thin air as it were, I will never know.
He heard this in his dreams
Fuerza, agilidad y melodía, orgullo Argentino!!!
Wow, I thought I didn't like the real fast tempi on this, until I heard the great Argerich! Standing ovation!
if this is a bad performance...i wish i could play this bad
I don't even really like this sonata, and I just sat and listened to the whole thing. She is just the best.
If you don't like this sonata, you are in no condition to judge who plays it the best.
@@Ernesto7608 I never said she plays it the best. Also, think about what you're saying -- in order to be able to judge something, you have to like it first. OK, buddy.
@@danlo5 took me sooo long to finally enjoy this piece (thought it was shit at first), but then I tried playing it and it felt so good. hope you'll get there too
The rigors of practice, discipline and concentration underlie the exultant freedom and emotion of this performance. The amazing thing is that everyone can share some inkling of what that must feel like to the performer. Thank you Martha and thank you Beethoven. Boy she really rumbles the low register going back to the recap in the first movement, doesn't she?
The Queen of the piano taking no prisoners. Love this!
P.S. How is it that everybody has an opinion and can criticize someone like her?! I mean, If one doesn't like it, their own problem. But, who on Earth can really criticize Martha Argerich on her choices regarding Beethoven? Are we nuts here? She is a top-level, world-class-defining super artist, and she makes her choices, and if you don't like it, fine. But actually schooling HER of all people on how to play Beethoven?! That is completely and utterly ridiculous! And shows an ego beyond bounds from people that most likely aren't worthy to shine her shoes at their best.
Btw. has anyone of the critics heard Josef Hofman?
What can I say, Einstein was right about the bounds of the Universe and human stupidity...
Would Martha Argerich be beyond critique by anyone on this planet then Sami?
Oh jewel among pianists, oh gem of Argentina…sparkle for us!
We are aware of Martha’s ability / recognise her choices, yet she isn’t flawness…and some critiques / opinions are reasoned and have validity…since she is merely an interpreter of the original composer.
Beginning to think that the deifying / pandering of the female (by certain men) is tied into the defence of her...I don't think citing the 'universe' is necessary.
Ok, I have come strong, but I hope you have read the comments. If we didn't know who we are talking about, it would seem that for some it is the God of piano (commenter) passing judgement on a novice (M.A.).
One thing is to have an opinion, which everyone is entitled to have (but of course it is not necessarily correct!), and another thing is to school this particular individual. It has nothing to do with the female as you mentioned. but It very much has to do with the super-legend status in this particular case. Disagreeing with a super legend is of course fine. However, SCHOOLING the super-legend is not. Except of course if the one to school the super-legend is of similar or higher calibre, in which case she might actually have the opportunity to benefit from it. Otherwise it is vanity of the worst kind - everyone and his/her grandma can suddenly feel that they know better than her and instruct her on how to do her job. And that part I do find ridiculous and vain to the max - except of course
I don't believe for a second that an artist of her level is not informed of the correct historical practices and all that. But in the end she made her choices, and her choices throughout history led her to super-legend status. So schooling is out of the question. Disagreeing is ok if properly conducted and supported, but that is another ballgame from schooling. And to be honest: and I am speaking for the ones that are not at her level but try to school her, I would really like to see what they are doing, play the particular piece. No words, but actions. Money where the mouth is and all that.
I am entitled to my opinion too, right?
Esta obra y la interpretación única de Martha son un suave sopapo orgásmico.
Marthadoniana hasta la médula🥰
heard from many pianists, Martha Argerich definitely standing applause takes on this interpretation.
Wow! Different than I am used to hearing it, but still so wonderful. She interpreted it--i don't think everyone who plays it, even very well, actually "interprets" the piece. I wonder if anyone has ever been able to play so fast as Argerich--what a force of nature she is!
Gulda is pretty fast too
@Lon Weaver Come on Lon!! NOT TRUE!! The Truth is Argerich not the best pianist ever! More Colorful Beautiful Piano Sound than Argerich=Wilhelm Kempff Emil Gilels Radu Lupu Artur Rubinstein Vladimir Ashkenazy! MORE POWERFUL Louder than Argerich=Mikhail Pletnev The Most Powerful Loudest Pianist Ever!! Pletnev The Supernova Explosion Power! Pletnev The Nuclear BOMB POWER! NO-ONE IS CLOSE PLETNEV HIS POWER! The Second Loudest Hardest Hitter Of The Keyboard was Lazar Berman! More Genius than Argerich=Sviatoslav Richter Solomon Cutner Grigory Sokolov Maurizio Pollini Alexei Lubimov Stanislav Igolinsky!!!!!!
Excellent reply !
@@RaineriHakkarainen YOU FORGOT KISSEN
@@RaineriHakkarainen Are you going to post this on every Argerich videi?
Hahahaha Excellent Martha make these fools talk.
you grow custom to the speed , then you go to other versions and think : do these people even know Beethoven at all??? :P
Or vice versa...
Excellent all the way through to the second to last note.
this is a very YOUNG performance.....like young pianists with gobs of technique...they gotta "show it off" Having said that ...she has grown tremendously thru the years..she's become the great musician now.
Le tempérament volcanique de Martha Argerich convient à merveille à cette sonate . D’autre part les tempi qu’elle prend ( elle est une femme qui n’aime pas traîner , caractère impatient , bouillonnant ??!! Tout à fait correspondant à Beethoven , du feu 🔥 , une passionnée ardente ) sont sûrement dans la " Vérité " de Beethoven .
La interpretación ideal de esta sonata. Estoy seguro k LvB la habría aprobado con entusiasmo!
I, for one, love the tempo Exciting and still feels musical. Argerich is one of my true faves---Especially her 1980 Gaspard de la Nuit.
Marty Nemko Pollini's '74 recording is pretty epic too.
I understand now why she is #2 after Rachmaninoff in best pianist of all time.
I doubt she's even top 100.
Yes, it is different...yes, it is fast...but it works!....I was on the edge of my seat from beginning to end.....exactly what I like when listening to LVB...the "nervousness" is definitely there, as are a lot of "funny moments" and - I think - very nice transitions...
exactly! so passionate. also on the edge of my seat. argerich isn't scared of taking risks.
The photos of her are great!
Nelson Freire and Martha, long time partners... his performance at Waldstein here on youtube.... man, the technique in 1st movement... sometimes you can´t follow his hands with your eyes... Nelson Freire, tiny hands, created a way to play... a true master...
i love this!
amaging glissand !!
AMAZING!........nobody can play like this and get away with it only she can......in the leagues of Horowitz and Jorge Bolet........I AM SURE BEETHOVEN WOULD HAVE LOVED IT!!.......many would like to emulate her but don¨t play like this because they can¨t......SHE IS LIKE A NATURAL FORCE, A STORM OR A HURRICANE.......and this is what Beethoven requires.
You are quite right , Martha is a True Female Beethoven ??!!
Come on!The best Waldstein sonata players are Really=Emil Gilels Radu Lupu Mikhail Pletnev! More beautiful colorful piano Sound than Argerich=Wilhelm Kempff Emil Gilels Artur Rubinstein Radu Lupu Vladimir Ashkenazy! More Powerful Louder than Argerich=Mikhail Pletnev Supernova Explosion Power!( Prokofiev piano concerto no 1 by Pletnev!) The Second Loudest was Lazar Berman! More Genius than Argerich=Sviatoslav Richter Solomon Cutner Grigory Sokolov Maurizio Pollini Alexei Lubimov Stanislav Igolinsky!
Wow! What a tempo: vite-vite! She can do it...a thrilling-trilling ride, it is!
Martha Argerich deserves to have a title before her name tbh
Amazing. Full of energy and freshness.
It is after all possible that even Beethoven would have had trouble at this tempo, but I am sure he would have loved the performance.
Beethoven's own performances were not characterized by technical brilliance, and apparently he had little time for technical practice. He was, however, an excellent teacher, and could forgive any number of wrong notes, but not a lack of feeling. He was also, as everybody knows, a consummate symphonist, and symphonies demand rhythmic discipline and recognition of structural boundaries. Not, of course rigid beating of time, but at least a recognition of it.
Well Beethoven was not a piano virtuoso, so yes he would’ve had trouble. Not every great composer is necessarily capable of playing everything they compose.
@@ytyt3922 Beethoven was only 5ft.4 so his hands must have been small too.Small.hands doesn't work for some of his sonatas
@@wardropper this is interesting re: Beethoven's playing. I've read a couple Beethoven biographies and haven't come across anyone saying anything like that about his technical brilliance. Not saying you're wrong--just curious where you read that. I do know that he was famous for extended improvisations on the piano in his earlier concerts. And of course, he premiered the first 4 piano concertos himself. But of course that doesn't mean he was the best virtuoso of his age.. just means he was capable of playing his concertos. I think he would have probably premiered the Emperor concerto, too, if not for his hearing loss.
@@wardropper Beethoven found teaching a chore.
odlicna interpretacija!Blagodaram!
That's the only version I know and I don't want other hands playing this music for me....
SHE IS THE DEVIL! A normal person CAN'T play that fast!
At least NO MAN with her tiny hands I can tell you that. Well, Beethoven himself was pretty small guy but I don't regard him human.
5 feet, two inches, giant of music though as if it was necessary to state that.
Just check Mikhail Pletnev execution.
Velocity is not a problem any more to many active pianists nowadays. Lang Lang, Yundi Lio or Kissin can surely play at the same speed. Argerich is special because she can play fast and be musical at the same time. Lang Lang, for example, sometimes failed to do so.
0.75x speed for extra 8.05 minutes of listening pleasure.
This is wonderful Beethoven playing .Gulda's genius would certainly play a parrt in this ! Why has it never been commercially released it's as thoughtful and well played as could be hoped for-strange.Her A major sonata is even more suited to her remarkable gifts.
super, danke
Well, of course NOBODY ELSE plays it like this because... they can't!
Glenn Gould could have played it this fast, but if he had people would have said "Oh no, that's much too fast, this a travesty." In many of his fast performances (Mozart's D major Sonata opus 311, for example) Gould reinvented a work we thought we knew and made us realise we'd been missing the point all our lives ( as Argerich does here).
Now I know what I want for Christmas!
refreshing, elegant, profoundly sentimental
Elegant ...Always the best piano perform
I've played this piece; listening to this performance I have to set aside some envy :) I like how she gets those strings to rattle using her steel fingers
Wie Recht Sie haben!
Ihre Worte in das Poesiealbum vieler Pianisten!
Wir haben zwar eine Fülle an russischen und chinesischen Tastenwundern, aber leider einen erschreckenden Mangel an Musikern.
Ich befürchte, es besteht eine gewisse Kausalität zwischen der Geschicklichkeit und Schnelligkeit der Finger und dem musikalischen Vakuum im Gehirn...
Also sollten die Tastenraser die Finger von Bach, Beethoven, Mozart, Brahms, Schubert..... lassen. Richtige und schnelle Töne reichen hier leider nicht!
Incredible, hard to find Argerich's beethoven on youtube. THANKS!
Impresionante!
Respect..
Hi Tom. Sorry it's taking me awhile to respond, I've been busy. This recording has never been commercially released; however, I can give you the mp3 files if you gave me your email. (The last chords would be included. Sorry that got cut off!)
Hello, thank you so much for uploading this. It's the most stunning performance I've heard of the Waldstein.sonate. I'd be very grateful if you could share the mp3, my email is.w.Lalouschek@thetree.at. best wishes, Wolfgang from Vienna
May I bother you for the mp3 files as well? I haven't found this recording anywhere else and I would love to get it. Thanks in advance. My email is bauliesmarcos@gmail.com
This is so outstanding ,I am speachless!!!If I could kindly ask also this MP3 performance on my e mail It would give me great joy: alen.abdagic@gmail.com, tanti carissimi saluti dall'Italia-))))))))
I‘d be really happy if you could send me the mp3 too. My email is diskofokks@googlemail.com
It‘s a pity that she didnt record more beethoven piano sonatas, she‘s an amazing beethoven player.
could you send it to me please?? my email is facuuriza123@gmail.com
Really wonderful. So much control even at such a fast tempo!!
Rudolf Serkin , Martha 😅😅😅destroys this . 😂😂❤❤ no one can compete with there tempo and balance
Emil Gilels Radu Lupu Wilhelm Kempff More colorful beautiful piano sound for Waldstein than Serkin Arrau Horowitz Argerich!
@@RaineriHakkarainen you done lost your mind
Breathtaking speed with musicality 👏🏻 👏🏻 😱
Bravo!
Martha is just the best. I'm not satisfied with the mikeing on this recording but she sure did her job!
Come on Bruce! The Truth= Argerich Not the Best Ever!! Marta not has the greatest.piano Sound! Argerich Not the Genius! Argerich not the Most Powerful Loudest ever! Better more Colorful Beautiful Piano Sound than Argerich=Wilhelm Kempff Emil Gilels Radu Lupu Artur Rubinstein Vladimir Ashkenazy!! MORE POWERFUL Louder than Argerich=Milhail Pletnev The Most Powerful Loudest Pianist Ever! Pletnev the Supernova Explosion Power! Pletnev the Nuclear BOMB POWER! The Second Loudest Hardest Hitter of the Keyboard was Lazar Berman! More Genius than Argerich=Sviatoslav Richter Solomon Cutner Grigory Sokolov Maurizio Pollini Alexei Lubimov Stanislav Igolinsky!!!!!!
@@RaineriHakkarainen and again... This must be the only thing you do: telling people other pianists are much better....
Sounds like she's trying to outdo Schnabel, since she can't keep up with her own tempo in the first movement. Still, Beethoven was so creative, each generation can reinvent him as their own, and it's awfully difficult to resist Argerich's quirky, lovely, slightly punk-rock attitude; she's the Patti Smith of the classical world, after all. It's hard not to adore the hushed beginning of the development. There's a lot of humor here - it might be necessary for a female in the 20th century to approach LVB with a bit of humor - and I wouldn't call what she's doing rubato, exactly, because it's not structural. It's somewhat closer to _noodling,_ borrowed from the great jazz pianists who lived between Beethoven and herself. (Not superficially, like those who try to "swing" op 111, the single biggest pet peeve in my life.) For example, passages that fit within the hand are played differently than those that require moving the arm - so it's inconsistent, but Beethoven can withstand it.
It's full of vitality, which is more than I can say for the Arrau I just listened to - and I love Arrau, but, wow. This is Queen at Wembley after that.
more than outdoing schnabel maybe she's following gulda...
btw, how would you not "swing" op. 111? i mean the "swing" is... written =D actually it bothers me when they can't play the "swing" in time (kempff comes to mind, and brendel) -i mean, when they get jammed with the syncopations and the arpeggios get uneven, it could pass off as rubato but it feels just clunky to me
professor de portuga do YT senhor, sim senhor! -.-
+professor de portuga do YT Your comment was pure maravilha!
Estevao Laurito Valeu manoloo! Esse povo da música clássica é cheio de frufru né??
what a bunch of idiots. i'm a musician, jerks. you _have_ that kind of conversation about the thing you DO. go patronize your fucking asses.
This is beautiful! Wish someone would remaster this version
Yes long life to her!
:)
pity that she never made a reclording of all
beethoven sonatas
4 February 1970 , Tokyo , radio broadcast . But the very ending and the applause is missing !
simply amazing!
Очень нравится !!!!!
I am not sure Argerich and Beethoven should be in the same room together.
Ahahahahahaha!!!!!!👍👍👍
Sublime Martha
Amazing technique, breathtaking interpration...everything is five but...the tempo. If this recording was a little slower especially in the first movement this would be the best of all by far!
Darn, my 4:50 train to Paddington is leaving soon.
I'm trying in vain to find a comment that is not one of the following:
"this is too fast!! It's terrible!!"
or
"who are these fools trying to criticize Martha??!! Let's hear THEM play the 'Waldstein' before they start criticizing."
This was in the early years of Argerich (probably) so ........ don't judge , can you play the same as she does ?
Let's put it this way: If I could play the same as she does, I would not want to. It's perfectly in order to judge when musical crimes are committed. Here, a great deal is truly marvellous, but the weird skittish moments - particularly in the 1st Movement, when she suddenly jumps onto the musical equivalent of a supersonic jet - are not justifiable. As I hinted above, I think she would disapprove herself if she heard anybody else allowing themselves that sort of liberty.
@@wardropper I thought the supersonic jet was awesome!
Beautiful
HAPPY BEETHOVEN'S 250th birthday----Dec. 15, 2020
WHAT HAPPENED WITH THE ENDING!?
I think she took the speed of Presto in the first movement !
やっぱ、アルゲリッチ好きだわー
ベートーヴェン弾いてるイメージなかったけど
ギレリス抜いてNO1です
若い頃から一貫して叩きつける時の
「わたしゎアルゲリッチよ！」
第2楽章で聴けたし（笑）
いつ頃の音源かわかんないケド
CDとかなってないのかなぁ？？？
LOOOOL! ça donne du peps pour toute la journée!
Great!
What a wonderful recording. Where did you get the picture of the video?
Do you have the full recording of this? I would love to hear the ending.
Thanks for uploading!
the speeeeeeed!!!!
Love this - where did you get hold of the recording?! Any chance of including the last few chords...? Thanks :)
Argerich is amazing but on the op-53 i prefer her Friend/brother Nelson Freire :)
I am sure she don't mind about it .
Thanks
Unfortunately the last 2 chords are missing.
So she has to play this faster than anybody else? This is not a race, and personally, I like time to savor every musical phrase and statement from the incredible genius of Beethoven.
I agree. Way too damn fast. Let me show off my technique. Giles and Horowitz all day.
tpiskor, «show off» is part of human nature and should not be criticized. Many visited Beethoven, and several wrote letters about the visits. Some describe Beethoven’s playing as virtuoso. Beethoven also liked to show off.
YES!!!!
Martha Argerich muss einen YT Channel aufmachen!
Would love to know when this was recorded, pic is very early Martha, but performance seems maybe more recent?
When did Argerich record any of the Beeth sonatas , I know she was recorded in performance in the op.101 A M sonata (it so fits her personality way back in the late 60's and 70's ) when was this made and what rec company did it with her.Deutsche Gram. ???
There is a Recording of B's Sonata 7 by her on DG compilation album of Martha's early recordings . Search Martha Argerich Beethoven Sonata 7 topic on UA-cam
@@alanleoneldavid1787 Thankyou . I must own her op.10 DMajor. I played it in highschool along with the aflat op.23 and op.31no.3 .Need to study all the easy midle period ones.Must find more of her earlier stuff!
Argentinian pride, REAL Latin culture.
I forgot how radical Beethoven's ending was, here. It just cuts off before the cadence, like the first side of _Abbey Road._ Wow! Was Beethoven influenced by the Beatles?
In all seriosity, _Abbey Road_ is based on the retrograde of the Moonlight Sonata. Lennon awoke one morning to hear Yoko playing Beethoven, and he said - I'll bet that would sound interesting backwards. So that's where all the arpeggia come from, and the rhythmic layer is the "Hungarian" 3+3+2 - those are in every song in some permutation.
Except maybe the Ringo one.
Poor Ringo. lol
***** where did you come across this fascinating bit of insider info? very interesting
mikejr41387 Oh, that's pretty well-known, actually. Lemme see.
mikejr41387 Final Playboy interview: "Yoko was playing Moonlight Sonata on the piano. She was classically trained. I said, "Can you play those chords backwards?" and wrote "Because" around them."
mikejr41387 That's why "Because" is in c# minor. Unsurprisingly it's not a strict retrograde though; the progression is i - ii7 - V - VI - i - V/N[♭II] (dominant of Neapolitan).
Very similar to Gulda style, but more daring and impulsive.