I adore the opening evocation of countryside, birdsong, simple joy but tinged with melancholy as well. I think this performance is *phenomenal*, both Mutter and Orkis take this piece to its limits, which some commenters obviously dislike, but I think Beethoven is a take it to the limit kind of guy.... I found myself almost hypnotized by her bowing arm - not a single tremor of nerves! . Someone remarked on its "strangeness" - I think that reaction is justified - it IS a strange piece. It is very "inward", it shifts and slides into remote keys and has abrupt transitions of mood... there is a dream-like aspect to it, or like he was feeling his way into his late style. And it is in a pastoral mode, unlike his "heroic" voice that is more familiar... It's the kind of piece that makes non-musical types remark, "it's so lovely and relaxing", which always makes me want to throw a chair. Beethoven may be many things, but "relaxing" is not one of them...!
I love this sonata! Beethoven is so often shown as scowling and this sonata shows that he obviously had a gentler side. Very nice music .All 4 movements are good.
Anne Sophie Mutter is the greatest living female violinplayer. That´s not my opinion but that of Composers like John Williams, Wolfgang Rihm, Andre Previn and artists like Karajan, Barenboim ... (Just saw it in a documentary about her) Together with her long term pianopartner she serves us reference recordings like this one.
For me, BEETHOVEN’s enlightenment starts 23:48. He found eternal tones that is so peaceful. We are experiencing heaven then he brings us back to earth when the theme comes back. I am terribly moved by this great music. I think I get it now why he had such a difficult life and why this can be such a refuge for him. What a blessing to hear such work in this lifetime!
I see again in the comments, this is Beethovens best or that is the best. What you are saying is, which is your own favorite and that's OK too, but who knows what IS the best, what makes one piece better than another, except that one prefers it
Very unfair comment, brilliant interpretation, and Beethoven intended it as a showpiece for his great friend Schupanzigger (excuse my spelling on the name) This was made plain in the notes of Schlindler, the m,asters secratery
JACK FLETCHER: The historical documents regarding Beethoven's "intentions" is only partially relevant. We are left, as always in such cases, with the art-work at hand. To simplify a complex issue, it might be said that "in spite of himself" Beethoven created a work of varied sublime spiritual content that pianists and violinists through decades and centuries have attempted to convey. None, including Mutter and Orkis, has likely "intended" to present it AS a showpiece.
I love the sonata too but this performance is arbitrary, self-indulgent, and uses the music as a kind of toy to demonstrate the great technical abilities of the violinist, but this sonata is not about a great bow-arm and an accurate left hand. To learn the soul of this sonata, check out the Szigeti/Schnabel performance.
I'm puzzled a little by your comment. This piece isn't really a showcase of technique - this is demanding music, but not in an obvious, audience-thrilling, virtuosic way like the Kreutzer is, for example. I don't think the typical audience member is thinking of bowing arms etc, nor do I think Ms Mutter needs to demonstrate anything, what with her 40-year international career. I listened to it for about the 10th time just now and I hear - well, Beethoven Op 96. It's superb. I will seek out the performance you recommend and look forward to hearing it. But I never want to be so wedded to one interpretation that I can never hear another.
***** To recommend a single exemplary performance is not to imply that one is "wedded" to it. In that respect, my tastes are polygamous. To your other points, my critique of the Mutter/Orkis performance ASSUMES that the work is musically demanding and not about technique--in other words, Beethoven. My point is that Mutter/Orkis have not met those demands head-on as do--to mention another performance--Menuhin and Gould. Or, say, Kremer and Argerich. Both of these, along with Sigeti/Schnabel, differ greatly from one another, but share a sense of probing and adventure in the quest that I find lacking in the performance under discussion.
Beautiful playing, but I believe the interpretation is too romantic in style for Beethoven, even in a late period sonata like this one. Too many liberties are taken with the score.
With all the respect due to the levels of talent and work needed in order to tackle such a piece of music, I do not enjoy this interpretation at all. It's too infused with sentimental pathos, to an extent that IMO distorts its identity entirely. IMO the authentic way to play this is the short and dry approach, more Classical than (as here) Late Romantic.
![Beethoven.Violin.Sonata.No.6.Op. 30.[Anne-Sophie Mutter.-.Lambert Orkis]](http://i.ytimg.com/vi/ecQrcoANwck/mqdefault.jpg)
![Beethoven.Violin.Sonata.No.6.Op. 30.[Anne-Sophie Mutter.-.Lambert Orkis]](/img/tr.png)
![Beethoven.Violin.Sonata.No.7.op.30.No.2.[Anne-Sophie.Mutter.-.Lambert.Orkis]](http://i.ytimg.com/vi/EQVixrP7Sxs/mqdefault.jpg)
![Beethoven.Violin.Sonata.No.1.Op.12.[Anne-Sophie.Mutter.-.Lambert.Orkis]](http://i.ytimg.com/vi/ll-L81zBEIc/mqdefault.jpg)
#10 is my favourite sonata, especially mov 2 and 4 very touching to listen to
I adore the opening evocation of countryside, birdsong, simple joy but tinged with melancholy as well. I think this performance is *phenomenal*, both Mutter and Orkis take this piece to its limits, which some commenters obviously dislike, but I think Beethoven is a take it to the limit kind of guy.... I found myself almost hypnotized by her bowing arm - not a single tremor of nerves! .
Someone remarked on its "strangeness" - I think that reaction is justified - it IS a strange piece. It is very "inward", it shifts and slides into remote keys and has abrupt transitions of mood... there is a dream-like aspect to it, or like he was feeling his way into his late style. And it is in a pastoral mode, unlike his "heroic" voice that is more familiar... It's the kind of piece that makes non-musical types remark, "it's so lovely and relaxing", which always makes me want to throw a chair. Beethoven may be many things, but "relaxing" is not one of them...!
bro so well said !!
Marvellous performers! The intricacy of Mütter & Lambert performing Beethoven Violin Sonata No. 10 is simply brilliant.
I love this sonata! Beethoven is so often shown as scowling and this sonata shows that he obviously had a gentler side. Very nice music .All 4 movements are good.
Orkis is a superb pianist!!!
Anne Sophie Mutter is the greatest living female violinplayer. That´s not my opinion but that of Composers like John Williams, Wolfgang Rihm, Andre Previn and artists like Karajan, Barenboim ... (Just saw it in a documentary about her) Together with her long term pianopartner she serves us reference recordings like this one.
This is a great performance by top artists of a brilliant work by the Master.
For me, BEETHOVEN’s enlightenment starts 23:48. He found eternal tones that is so peaceful. We are experiencing heaven then he brings us back to earth when the theme comes back. I am terribly moved by this great music. I think I get it now why he had such a difficult life and why this can be such a refuge for him. What a blessing to hear such work in this lifetime!
I see again in the comments, this is Beethovens best or that is the best. What you are saying is, which is your own favorite and that's OK too, but who knows what IS the best, what makes one piece better than another, except that one prefers it
I Allegro moderato
II Adagio espressivo
III Scherzo: Allegro
IV Poco allegretto
thanks bro, could u maybe add time stamps aswell?
Orkis is fantastic!
Very unfair comment, brilliant interpretation, and Beethoven intended it as a showpiece for his great friend Schupanzigger (excuse my spelling on the name) This was made plain in the notes of Schlindler, the m,asters secratery
JACK FLETCHER: The historical documents regarding Beethoven's "intentions" is only partially relevant. We are left, as always in such cases, with the art-work at hand. To simplify a complex issue, it might be said that "in spite of himself" Beethoven created a work of varied sublime spiritual content that pianists and violinists through decades and centuries have attempted to convey. None, including Mutter and Orkis, has likely "intended" to present it AS a showpiece.
Fabulous!
Thumbs up
The actual start is 0:14
Pon música de Beethoven interpretada por DanielBarenboin
+Delia Ochoa claudio arrau vieja, su interpretacion es superior incluso, mucho mas musical
I love the sonata too but this performance is arbitrary, self-indulgent, and uses the music as a kind of toy to demonstrate the great technical abilities of the violinist, but this sonata is not about a great bow-arm and an accurate left hand. To learn the soul of this sonata, check out the Szigeti/Schnabel performance.
+MrKlemps Utter rubbish!
+Reto Hofmann . The performance I recommend you have not addressed. Hard to discuss ad hominem attackss
I'm puzzled a little by your comment. This piece isn't really a showcase of technique - this is demanding music, but not in an obvious, audience-thrilling, virtuosic way like the Kreutzer is, for example. I don't think the typical audience member is thinking of bowing arms etc, nor do I think Ms Mutter needs to demonstrate anything, what with her 40-year international career. I listened to it for about the 10th time just now and I hear - well, Beethoven Op 96. It's superb. I will seek out the performance you recommend and look forward to hearing it. But I never want to be so wedded to one interpretation that I can never hear another.
Who are you calling the performance of Anne-Sophie Mutter & Lambert Orkis arbitrary, self-indulgent etcetc.? Who needs to discuss with you?
*****
To recommend a single exemplary performance is not to imply that one is "wedded" to it. In that respect, my tastes are polygamous. To your other points, my critique of the Mutter/Orkis performance ASSUMES that the work is musically demanding and not about technique--in other words, Beethoven. My point is that Mutter/Orkis have not met those demands head-on as do--to mention another performance--Menuhin and Gould. Or, say, Kremer and Argerich. Both of these, along with Sigeti/Schnabel, differ greatly from one another, but share a sense of probing and adventure in the quest that I find lacking in the performance under discussion.
MINHA AMIGA VERA COMPARATO, SEMPRE CONTINUARÁ AMIGA, MESMO SÓ QUE POR RECORDAÇÃO, POR MINHA MEMÓRIA, LHE LEMBRAR.
❤❤❤
20:35
beautifulness
is not a word
Beautiful playing, but I believe the interpretation is too romantic in style for Beethoven, even in a late period sonata like this one. Too many liberties are taken with the score.
With all the respect due to the levels of talent and work needed in order to tackle such a piece of music, I do not enjoy this interpretation at all. It's too infused with sentimental pathos, to an extent that IMO distorts its identity entirely. IMO the authentic way to play this is the short and dry approach, more Classical than (as here) Late Romantic.
I find this one Beethovens most beautiful violin sonata. But she is screwing up Beethoven with her own interpretion. Terrrible!!