Again out of the bed of flowers emerges the statuesque goddess with more enchanting music. Of course, it is ably assisted by the impeccable accompaniment. Beethoven, the supreme, continues to demonstrate he is infinitely capable of writing hit music, this time in ten superb sonatas. Thank you Ludwig, Anne-Sophie and Lambert for your priceless gifts to humanity.
It is not an accompaniment. This is a sonata for violin and piano. Both parts are equal. Relegating the piano to mere accompaniment is wrong and somewhat uneducated of you.
@@bartwatts1921 Yeah, but isn't everyone eyes on Mutter! That sensuous violinistic mermaid. The Ork is mere accompaniment, no matter how competently he slides over the keys. OK, just joking. Beethoven was a virtuoso pianist. Of course, they're equal partners.
She is an artist. Music is left up to interpretation. She can do whatever she wants. And yes, she can get away with it. Ivry Gitlis is also an over-the-top interpreter who I happen to love.
From Wikipedia, the free encyclopedia The Violin Sonata No. 6 of Ludwig van Beethoven in A major, the first of his Opus 30 set, was composed between 1801 and 1802, published in May 1803, and dedicated to Tsar Alexander I of Russia. It has three movements: Allegro Adagio molto espressivo Allegretto con variazioni
Beautiful duo, but I wondered why they decided to do so many slowdowns, especially noticeable in the first movement. It disturbed the forward motion, the high simplicity, and in some places impoverished the dynamic contrasts written by Beethoven. It was as if they kept slowing down, getting tired, but then finding some strength to keep going. Quite annoying. Nevertheless, thank you for this recording, which allows not only to listen, but also to observe both musicians if you wish.
For me Anne-Sophie Mutter and Lambert Orkis give the most mannered, self-indulgent, and downright irritating performances of Beethoven's violin sonatas that I have ever heard. For an antidote, try the great Arthur Grumiaux and Clara Haskil in the same piece. That's more like it!
Yeah, I liked Grumiaux until I heard him with Haskil in the Beethoven violin sonatas. I wished the recording engineers toned down Grumiaux, who was giving me a headache, and ampified Haskil.
I completely agree. Their "interpretation" is completely egocentric.Consistency of rhythmic pulse is thrown out the window and the playing lurches from one idiosyncratic, myopic self-indulgent moment to the next.What arrogance! To imagine that they can get away with this sort of unmusical desecration of greatness which is Beethoven.Do they do this to shock or just for the sake of being "different" from "lesser" artists like Oistrahk, Grumiaux, Heifitz, etc.Depressingly,no audience booing.
Grumiaux assaults the ears! Too obnoxiously penetrating, I feel my ear drums bleeding. Haskill is the only relieve to such obnoxious violinistic projection!
Self indulgent crap! This is far too romantic. The adagio loses all pulse and is treated as a musical whimsy to be tossed around as if no importance is paid. Depressingly bad.
Let me see. Trying to find your name in the list of Great Composers of music. Did you train under Haydn or Mozart perhaps? I would love to compare your oeuvre to Herr Beethoven's sometime.
The adagio is divine. It can receive no harm no matter how "self-indulgently" played. You seem to be oblivious of the fact that Beethoven lived in the age of "sentiment." (with French pronunciation.) He was indulgent to love, eccentricity, and sentiment. His letters reveal it. His lost beloved. This is ultimately intimate music that harmonizes the vagaries of romantic hearts. It's rigidly structured but sentimentally conceived. Beethoven was usually in passionate love.
![Beethoven.Violin.Sonata.No.10.Op.96.[Anne-Sophie.Mutter.-.Lambert.Orkis]](http://i.ytimg.com/vi/hca8kQjB6no/mqdefault.jpg)
![Beethoven.Violin.Sonata.No.10.Op.96.[Anne-Sophie.Mutter.-.Lambert.Orkis]](/img/tr.png)
![Beethoven.Violin.Sonata.No.4.Op.23.[Anne-Sophie.Mutter.-.Lambert.Orkis]](http://i.ytimg.com/vi/hQMpxHET-gs/mqdefault.jpg)
![Beethoven.Violin.Sonata.No.7.op.30.No.2.[Anne-Sophie.Mutter.-.Lambert.Orkis]](/img/n.gif)
Wow I never knew that the 2nd movement was so beautiful... Thank you to both great masters!
Again out of the bed of flowers emerges the statuesque goddess with more enchanting music. Of course, it is ably assisted by the impeccable accompaniment.
Beethoven, the supreme, continues to demonstrate he is infinitely capable of writing hit music, this time in ten superb sonatas.
Thank you Ludwig, Anne-Sophie and Lambert for your priceless gifts to humanity.
It is not an accompaniment. This is a sonata for violin and piano. Both parts are equal. Relegating the piano to mere accompaniment is wrong and somewhat uneducated of you.
@@bartwatts1921 Yeah, but isn't everyone eyes on Mutter! That sensuous violinistic mermaid. The Ork is mere accompaniment, no matter how competently he slides over the keys. OK, just joking. Beethoven was a virtuoso pianist. Of course, they're equal partners.
She is an artist. Music is left up to interpretation. She can do whatever she wants. And yes, she can get away with it. Ivry Gitlis is also an over-the-top interpreter who I happen to love.
Yes, and Beethoven would have wooed her and approved. He was a desperate horndog for women after all.
Quel plaisir ! Vive Beethoven !
dieser Ton....
dieser unglaublich einzigartige Ton.....
From Wikipedia, the free encyclopedia
The Violin Sonata No. 6 of Ludwig van Beethoven in A major, the first of his Opus 30 set, was composed between 1801 and 1802, published in May 1803, and dedicated to Tsar Alexander I of Russia. It has three movements:
Allegro
Adagio molto espressivo
Allegretto con variazioni
She plays Beethoven like Mozart’s.
Well beethoven took a lot of inspiration from mozart for this sonata, search sonata no. 35 for violin and piano by mozart, it's super similar
First mov: 0:49
Second mov: 9:21
Third mov: 16:56
Compares well with the oistrakh Richter rendering....adding the grace of Anne Sophie
Hübsch formuliert
Beautiful duo, but I wondered why they decided to do so many slowdowns, especially noticeable in the first movement. It disturbed the forward motion, the high simplicity, and in some places impoverished the dynamic contrasts written by Beethoven. It was as if they kept slowing down, getting tired, but then finding some strength to keep going. Quite annoying.
Nevertheless, thank you for this recording, which allows not only to listen, but also to observe both musicians if you wish.
Best I've heard yet!
Great! What do you think?
Браво!!!
I guess that's Russian for "bravo." But, of course, it's the shapely contours of Mutter's strad :) that sells the music.
The actual starting time is 0:49
2:52
For me Anne-Sophie Mutter and Lambert Orkis give the most mannered, self-indulgent, and downright irritating performances of Beethoven's violin sonatas that I have ever heard.
For an antidote, try the great Arthur Grumiaux and Clara Haskil in the same piece. That's more like it!
But you see, the x milliion dollar violin plays the players. Blame it on Stradivari!
Yeah, I liked Grumiaux until I heard him with Haskil in the Beethoven violin sonatas. I wished the recording engineers toned down Grumiaux, who was giving me a headache, and ampified Haskil.
amplified Haskil (sorry, too much plonk).
Dear sir you are one of the few understanding person writing on these comments
How does the Kavakos-Pace version compare? Available elsewhere here on YT?
both are more classically interpreted & accurate,more convincing than this
reminds me of the time, as a teenager, when i went to a party and met a girl that looked just like my mother and was strangely attracted to her.
wow u must know about freud
@@SaloniS Most of us don't know about Freud, so it's to his credit.
Why are they stopping the pulse all the time? Quite annoying, honestly.
Clearly you know shit about classical music
I completely agree. Their "interpretation" is completely egocentric.Consistency of rhythmic pulse is thrown out the window and the playing lurches from one idiosyncratic, myopic self-indulgent moment to the next.What arrogance! To imagine that they can get away with this sort of unmusical desecration of greatness which is Beethoven.Do they do this to shock or just for the sake of being "different" from "lesser" artists like Oistrahk, Grumiaux, Heifitz, etc.Depressingly,no audience booing.
Oh, you victim of sterile objectivism. Don't you realize that a fine violin plays the musician! Blame Stradivari!
Grumiaux assaults the ears! Too obnoxiously penetrating, I feel my ear drums bleeding. Haskill is the only relieve to such obnoxious violinistic projection!
Self indulgent crap! This is far too romantic. The adagio loses all pulse and is treated as a musical whimsy to be tossed around as if no importance is paid. Depressingly bad.
Let me see. Trying to find your name in the list of Great Composers of music. Did you train under Haydn or Mozart perhaps? I would love to compare your oeuvre to Herr Beethoven's sometime.
beethoven didn't train under Mozart, he died before ludwig could learn from him. He is talking about the performance.
The adagio is divine. It can receive no harm no matter how "self-indulgently" played. You seem to be oblivious of the fact that Beethoven lived in the age of "sentiment." (with French pronunciation.) He was indulgent to love, eccentricity, and sentiment. His letters reveal it. His lost beloved. This is ultimately intimate music that harmonizes the vagaries of romantic hearts. It's rigidly structured but sentimentally conceived. Beethoven was usually in passionate love.
@@LachlanTyrrell2003 He trained under Haydn, ostensibly, but he ultimately learned his craft from a virtually unknown teacher of counterpoint.