It is just amazing... this, the most profound of Beethoven sonatas, could offer even more through the interpretation of Artur Schnable than through anyone else whom I have ever heard, including Brendel, Pollini, and Arrau.I listen to this Opus 111 and question whether anyone could go further with music. Everything after this work is simply a postscript -- even Chopin, Brahms, Puccini, and Mahler.
For me, this has to be the definitive reading of this sonata. I don't find quite the same level of spirituality in other versions. Listen to it sometime while reviewing the philosophical description of this sonata in Mann's novel Dr. Faustus.
Laurence Goldman Goodness! After 10 years! How did you know I wasn’t dead? 😏 Anyway, it’s a whole chapter- VIII, starting on p 49 of the Modern Library edition.
@@paradiddleday Thanks. Glad to find you apparently still breathing (Me too). God bless ePdf.pub . Just read the Chapter 8. Great reference. I think I’ll now have to check out the fugues (“bad” and “good”) as well. This was my first listen to Op. 32, so I’m fortunate to have stumbled upon this recording, your reference, and this station, in general. Thanks again.
This is a very powerful and confident version. Just a year later, in 1933 the Nazis took power in Germany. Schnabel, who was Jewish, left Berlin, where he was an eminent teacher in the State Academy, and emigrated, first to the UK, then to the USA. In 1942, his mother, at the age of 83, was deported from her home in Vienna to Theresianstadt. She died there two months later. After the end of the War, Schnabel returned to Europe. He never returned to Germany or Austria.
Thanks for that. We Jews weren't being defined by your vile Holocaust boasting enough. In fuct I hardly meet people who think Jew/Holocaust like you do. Your shitty little survivor guilt is useless in the world. Take six million years of silence. Please.
In our troubled times I am not comforted by seeing (above) that 9 people gave this recording a thumbs-down. They must like Trayfenough's tortured rendering or the slow-motion performance by Hamelin. Most other performances rob Beethoven of his "uncomfortable-ness" or else attempt to impose their own "profundities" on the music. It's much more difficult work to approach Beethoven on his own terms, which is what Schnabel, and to a slightly lesser extent his great American student, Leonard Shure, and Rudolf Serkin did.
Unmatched . Completely unmatched , and from far , as usual with Schnabel . The history of Beethoven's interpretative possibilities and perspectives ended with him . Time just stopped . Finito . Aus .
Da möchte ich doch entschieden widersprechen. Besonders Claudio Arrau und Solomon Cutner, aber auch Alfred Brendel und gegenwärtig der genialische Daniil Trifonov haben die späten Sonaten Beethovens, auch die 111., ebenso tiefgründig und gleichsam originell zu deuten verstanden. Die Maestoso-Einleitung gelingt Solomon und Trifonov deutlich spannungsvoller und mystischer, die Arietta Arrau, besonders im zweiten Teil nach der ausgelassenen "Boogie-Woogie" Variation, transzendenter als Schnabel. Wo Arrau hier dramatische Entwicklungen von zweifelndem Zwielicht hin zu ätherischer Fragilität fortzuspinnen weiß, und dabei unerhörte Ausdrucksnuancen zu Tage fördert, geht Schnabel- in seinen all zu raschen Tempi- darüber oftmals hinweg, vieles klingt vergleichsweise weniger ausdifferenziert. Anders als bei Wilhelm Furtwängler, dessen Interpretationen der beethoven'schen Symphonien in puncto Spiritualität und Ausdruckskraft weiterhin unerreicht sind, würde ich die Einstufung Schnabels als den singulären Interpreten Beethovens sehr kritisch sehen- er mag der Erste gewesen sein, der Letzte war er in meinen Augen aber nicht.
This portrait as v. 1937 . . . he's been through hell - but what music - maybe the best reading of op. 111 despite rough edges - compressed files? Heartfelt, what rugged momentum!
19:56 hello ? .... hello ? ......... is here someone .... ? ...... ? ..... ...... hello ....... hee .... yes ? hello .... what .. ? hello .... ? ... ................ Beethoven and Schnabel, hand in hand, calling from the utter cosmos, or calling the cosmos itself, in an incredible way, full of hope and tenderness ......... (in reality, the listener talking with himself, in his granitic solitude) and the answer ................. 20:58 coming in this hesitating doubting notes, quite desperate, like some hieroglyphs ....... Rosette's Stone .............. but 21:59 AND SUDDENLY, and not more possible ever, some hope .................. hope ....................... I listen to this since 50 years. And everytime, everytime, I am shaking, tears, I shout in my room
réponse à tonycosworth: Backhaus aussi ne respecte pas à la lettre les indications de Beethoven... mais si l'esprit y est ? êtes vous sûr que quand Beethoven jouait ses propres oeuvres, il aurait respecté à la lettre ses propres indications? n'aurait y t il pas réinventé à chaque instant un jeu vivant pour sa propre musique?
22:41 here, .... History , ......... we know that, all of us, Beethoven and Schnabel, hand in hand, talking from unknown lands, about unbearable things ........... but, stupid question, how is this possible in a just a londoner studio, only facing a piano ... ?
La dynamique écrasée dessert évidemment l'enregistrement dans les ff. Cela dit, il a oublié des sf et ff, et ce dès le début du Maestoso; On note de curieuses irrégularités de tempo dans la 3° variation (rubati ?) et à 23'35; sa vision de l'Arietta reste très intéressante, très belle, même; Mais globalement, ce n'est pas -et de loin-la version que j'ai le plus de plaisir à auditionner.
Rubati : oui, bien sûr ! Pourquoi réserver cela à Chopin ? Schnabel est TOUJOURS ponctuel lorsque Beethoven est actuel ! Maintenant, rubato et ponctualité...C'est leur niveau à EUX !!! Nous, on écoute... et... Chuuuut...
+innocenzo barrera , de acuerdo , coincido con usted, es excepcional, lo escuche muchas veces de niña, pasaron los años, me dediqué a otras versiones, pero hoy reconozco que otra igual no hay, está tan identificado con el carácter del compositor, esas dulzuras, esos enojos, esos miedos, esa alegría, ese Beethoven único Grande "Hombre,y compositor" Más pasan los años y más lo comprendo !! Ema Knoch
Much of this interpretation is amazing but it's a little too fast for me. Some areas seem rushed to an extreme in the 1st movement. The Adagio was sublime.
Beethoven was deaf when he composed this sonata, hence he needed more intensity in the sound. This version of Schnabel, still being legendarily Beethoven's "reconstructor", in my modest opinion is lacking in resources, both in terms of sound power and technique (including in phrasing), leaving many unresolved passages and going through them with great effort -passing the rope around the neck-, dirty notes, failures in the balance of rhythmic values, trills and imperfect biting, it is true that he seeks the tremendous virtuosity that the sonata requires but cannot achieve it, because in the moments that it requires great manifestation of technical power, it barely manages - if at all - to outline them. At the same time Beethoven was nicknamed "the Spaniard" due to his great temperament that even broke the delicate fortepianos at that time. Here is my version: First movmnt. ua-cam.com/video/3XolgMhOYjU/v-deo.html Second movmnt. ua-cam.com/video/dC9p6KY_rMs/v-deo.html
I am sure that Beethoven is smiling satisfied from Heaven for this incredible performance.
0:00 I. Maestoso - Allegro con brio ed appassionato
8:17 II. Arietta: Adagio molto semplice e cantabile
魁偉 瑰麗 雄奇 壯美
I have listened to many interpretations of this sonata and find this interpretation has the most nuances and is very touching.Thanks
At around 15:00 it almost goes into jazz improvisation-amazing. And the finish-what a surprise-the fluttering of a butterfly.
It is just amazing... this, the most profound of Beethoven sonatas, could offer even more through the interpretation of Artur Schnable than through anyone else whom I have ever heard, including Brendel, Pollini, and Arrau.I listen to this Opus 111 and question whether anyone could go further with music.
Everything after this work is simply a postscript -- even Chopin, Brahms, Puccini, and Mahler.
What you say is just terryfying. But true.
I'm back... best pianist for Beethoven!! Thanks again!!!!
Bravo, Maestro!!
For me, this has to be the definitive reading of this sonata. I don't find quite the same level of spirituality in other versions. Listen to it sometime while reviewing the philosophical description of this sonata in Mann's novel Dr. Faustus.
That's right. Schnabel's playing of the second half of movement two has a spiritual dimension that I have not heard in anyone else's playing.
@@raymondtogtman1047 Not even his own. He did another recording in 1942 that is not as good as this one, though of course the sound is better.
I’m lazy. How bout posting the quote? Please. (Or at least page reference for the Mann)
Laurence Goldman Goodness! After 10 years! How did you know I wasn’t dead? 😏 Anyway, it’s a whole chapter- VIII, starting on p 49 of the Modern Library edition.
@@paradiddleday Thanks. Glad to find you apparently still breathing (Me too). God bless ePdf.pub . Just read the Chapter 8. Great reference. I think I’ll now have to check out the fugues (“bad” and “good”) as well. This was my first listen to Op. 32, so I’m fortunate to have stumbled upon this recording, your reference, and this station, in general. Thanks again.
This is a very powerful and confident version. Just a year later, in 1933 the Nazis took power in Germany. Schnabel, who was Jewish, left Berlin, where he was an eminent teacher in the State Academy, and emigrated, first to the UK, then to the USA. In 1942, his mother, at the age of 83, was deported from her home in Vienna to Theresianstadt. She died there two months later. After the end of the War, Schnabel returned to Europe. He never returned to Germany or Austria.
Don't blame him
Bandidos, canallas nazis
Thanks for that. We Jews weren't being defined by your vile Holocaust boasting enough. In fuct I hardly meet people who think Jew/Holocaust like you do. Your shitty little survivor guilt is useless in the world. Take six million years of silence. Please.
Minunat interpret pentru Schubert
Quien critica esta interpretacion no entiende nada de Beethoven... Es la mejor interpretacion jamàs hecha dela ùltima sonata para piano de Beethoven.
de acuerdo
Good Grief! Awesome and terrifying.Stunning and sublime. Incomparable 🙆
The triple trills were perfectly even. A feat few can pull off!
In our troubled times I am not comforted by seeing (above) that 9 people gave this recording a thumbs-down. They must like Trayfenough's tortured rendering or the slow-motion performance by Hamelin. Most other performances rob Beethoven of his "uncomfortable-ness" or else attempt to impose their own "profundities" on the music. It's much more difficult work to approach Beethoven on his own terms, which is what Schnabel, and to a slightly lesser extent his great American student, Leonard Shure, and Rudolf Serkin did.
Beautiful! Thanks for sharing :)
Unmatched . Completely unmatched , and from far , as usual with Schnabel . The history of Beethoven's interpretative possibilities and perspectives ended with him . Time just stopped . Finito . Aus .
Well, I wouldn't say that (perspectives of interpretation stopped with him). But Schnabel was sure as hell damn impressive.
Fritz Maisenbacher 6
@@ingridtorp3502 6 what .. ?
Do you own an original copy of this?
Da möchte ich doch entschieden widersprechen. Besonders Claudio Arrau und Solomon Cutner, aber auch Alfred Brendel und gegenwärtig der genialische Daniil Trifonov haben die späten Sonaten Beethovens, auch die 111., ebenso tiefgründig und gleichsam originell zu deuten verstanden.
Die Maestoso-Einleitung gelingt Solomon und Trifonov deutlich spannungsvoller und mystischer, die Arietta Arrau, besonders im zweiten Teil nach der ausgelassenen "Boogie-Woogie" Variation, transzendenter als Schnabel.
Wo Arrau hier dramatische Entwicklungen von zweifelndem Zwielicht hin zu ätherischer Fragilität fortzuspinnen weiß, und dabei unerhörte Ausdrucksnuancen zu Tage fördert, geht Schnabel- in seinen all zu raschen Tempi- darüber oftmals hinweg, vieles klingt vergleichsweise weniger ausdifferenziert.
Anders als bei Wilhelm Furtwängler, dessen Interpretationen der beethoven'schen Symphonien in puncto Spiritualität und Ausdruckskraft weiterhin unerreicht sind, würde ich die Einstufung Schnabels als den singulären Interpreten Beethovens sehr kritisch sehen- er mag der Erste gewesen sein, der Letzte war er in meinen Augen aber nicht.
永远昂扬的贝多芬，虽然历尽苦难，但……不知道怎么说，喜欢这个演绎，庄重朴实，在艰辛沉重之后平淡中的思索和不坚实地希望。播放完之后觉得留下了很多东西，这就是音乐的样子吧，难以言喻，感觉一切都变得更清晰了
This portrait as v. 1937 . . . he's been through hell - but what music - maybe the best reading of op. 111 despite rough edges - compressed files? Heartfelt, what rugged momentum!
Schnabel had small hands. When he was rejected for military service in WW1, a fellow pianist quipped “Of course he was rejected. No fingers!”
Fantastica interpretazione
19:56 hello ? .... hello ? ......... is here someone .... ? ...... ? ..... ...... hello ....... hee .... yes ? hello .... what .. ? hello .... ? ... ................ Beethoven and Schnabel, hand in hand, calling from the utter cosmos, or calling the cosmos itself, in an incredible way, full of hope and tenderness .........
(in reality, the listener talking with himself, in his granitic solitude)
and the answer ................. 20:58 coming in this hesitating doubting notes, quite desperate, like some hieroglyphs ....... Rosette's Stone ..............
but 21:59 AND SUDDENLY, and not more possible ever, some hope .................. hope .......................
I listen to this since 50 years.
And everytime, everytime, I am shaking, tears, I shout in my room
réponse à tonycosworth: Backhaus aussi ne respecte pas à la lettre les indications de Beethoven... mais si l'esprit y est ? êtes vous sûr que quand Beethoven jouait ses propres oeuvres, il aurait respecté à la lettre ses propres indications? n'aurait y t il pas réinventé à chaque instant un jeu vivant pour sa propre musique?
Schnabel, 멋진 사람
22'00" Back of the theme OMG !
thank you.
Grazie
22:41 here, .... History , ......... we know that, all of us, Beethoven and Schnabel, hand in hand, talking from unknown lands, about unbearable things ........... but, stupid question, how is this possible in a just a londoner studio, only facing a piano ... ?
8:15
happy Birthday
La dynamique écrasée dessert évidemment l'enregistrement dans les ff. Cela dit, il a oublié des sf et ff, et ce dès le début du Maestoso; On note de curieuses irrégularités de tempo dans la 3° variation (rubati ?) et à 23'35; sa vision de l'Arietta reste très intéressante, très belle, même; Mais globalement, ce n'est pas -et de loin-la version que j'ai le plus de plaisir à auditionner.
Rubati : oui, bien sûr ! Pourquoi réserver cela à Chopin ? Schnabel est TOUJOURS ponctuel lorsque Beethoven est actuel ! Maintenant, rubato et ponctualité...C'est leur niveau à EUX !!! Nous, on écoute... et... Chuuuut...
Eh bien, ne l'auditionnez pas. Et foutez-nous la paix.
Vous êtes ici en territoire sacré.
Allez-vous en.
la preferisco a tutte le altre esecuzioni.
+innocenzo barrera , de acuerdo , coincido con usted, es excepcional, lo escuche muchas veces de niña, pasaron los años, me dediqué a otras versiones, pero hoy reconozco que otra igual no hay, está tan identificado con el carácter del compositor, esas dulzuras, esos enojos, esos miedos, esa alegría, ese Beethoven único Grande "Hombre,y compositor" Más pasan los años y más lo comprendo !! Ema Knoch
Perché non andare ad ascoltarle!
Much of this interpretation is amazing but it's a little too fast for me. Some areas seem rushed to an extreme in the 1st movement. The Adagio was sublime.
生で聴いてみたかったなー
grazie
21 january and 21 march 1932.
Schnabel的8CD贝多芬钢琴奏鸣曲有很多首处理不当，但仅凭这一首op 111，就足以确立其不朽的地位。
Es como si tocase el propio Beethoven.
grazie!!!!
Does anybody know when this sonata was recorded?
1932
@@JoelLeBras Then the sound has been enhanced.
I love Artur ❤ but I prefer Arturo Benedetti ❤ ❤ ❤ ❤
魁偉 瑰麗 雄奇 壯美
しかし、何でベートーヴェンは、最後に、地獄(第一楽章)と天国(第二楽章)を書いたんやろか？シュナーベルはテクニシャンではないが、ベートーヴェンのこの地獄と天国の対比を赤裸々に見せてくれる。しかしこの第二楽章の安らぎはどうや！誰にも追従できない、彼だけが到達できた高みだ。聴くたびに涙を禁じえない。トリルがうまくないとか些細なことを指摘するんは、音楽を知らん馬鹿や。ついでに言うと、わしは英HMVのいぬがカラーのSPで蓄音機で聴いとる。英HMVはチリチリいうが、シュナーベルはSPでないとだめや。東芝の紺色に灰色のレーベルの復刻版は音が恐ろしくボロやから、持っとったら即捨ててくれ。
Daniil Trifonov's rendition, which he played at Carnegie Hall last week, is the most like this one that I've heard in awhile.
DT's performance of this sonata, which I've heard on UA-cam, is about as different from Schnabel's as it is possible to get.
@@MrKlemps Adolf Drescher
prefiero las grabaciones de hoy, ya que hay interpretes aun mas interesantes.ARRAU-Kissin,Schiff,Ashkenazy o Trifonov...
Para ARRAU, Schnabel era "el mejor", pero el advenimiento de los naz*s alteró su persona y su técnica, y según el ya no fue el mismo.
I like this version, but not nearly as well as Glenn Gould's.
Beethoven was deaf when he composed this sonata, hence he needed more intensity in the sound. This version of Schnabel, still being legendarily Beethoven's "reconstructor", in my modest opinion is lacking in resources, both in terms of sound power and technique (including in phrasing), leaving many unresolved passages and going through them with great effort -passing the rope around the neck-, dirty notes, failures in the balance of rhythmic values, trills and imperfect biting, it is true that he seeks the tremendous virtuosity that the sonata requires but cannot achieve it, because in the moments that it requires great manifestation of technical power, it barely manages - if at all - to outline them. At the same time Beethoven was nicknamed "the Spaniard" due to his great temperament that even broke the delicate fortepianos at that time.
Here is my version:
First movmnt.
ua-cam.com/video/3XolgMhOYjU/v-deo.html
Second movmnt.
ua-cam.com/video/dC9p6KY_rMs/v-deo.html
Vielleicht die Arrau-Interpretation?
ua-cam.com/video/AhGAm3s4_-A/v-deo.html
grazie
grazie