Mr Schiff’s voicing choices are always special and great to hear. I played this for my graduation recital a few months back and am hearing new things in this performance that I will definitely try out !
Aha!- the term "voicing", used in a different context than I'm used to - but I think it's a good use- I've just never actually heard the term used this particular way. I'm familiar with the *voicing of the hammers* - changing their hardness by changing the density of their felt weave, in order to change their attack hardness (I'm a retired piano tech). But in this case, you're referring to the soft/loud expressiveness of the performance, correct?
@@catkeys6911 I thought it was clear that OP was referring to the voicing choices in the performance, not about the piano or hammers specifically. That said, the piano sounded wonderful! Hats off to the tech who prepared it.
@@catkeys6911 from a different language, the voicing of the "music" is how you decide to highlight the various "phrases" in the music, bringing out some notes, or group of notes, compared to others... it can be from balancing left and right hand, to individual notes in the same hand... like doing octaves and deciding to bring the "pinky" out compared to the "thumb" instead of letting them be the same volume. Being able to "voice" is one of the things that makes the difference between someone trying to play the piano and playing it.
Schiff gives an extraordinary account of one of Beethoven's greatest works. The first movement's relentless raindrops give way to a deluge of sound that sculpts its phrases like the very hand of God. The second movement draws a brief curtain over the proceedings, allowing the listener a moment of contemplative anticipation before the light slowly dawns on the final but never quite finished masterpiece. Its brief allusion to the Fidelio Prisoners' Chorus, followed by the eerie, seductive magic of the subsequent phrases hint at Beethoven's lifelong quest to comprehend the mysteries of the universe and of his place in it. I believe this piece places Beethoven alongside the foremost minds of the Enlightenment even as it opens the door on one of the greatest periods of artistic achievement the world has ever seen. Bravo to Schiff for his interpretive brilliance.
I think you mean “romanticism,” not “romantism.” I’ve never _not_ heard it that way….are you complimenting Beethoven, or Schiff?? If the former, yes! I applaud it! If the latter, I say, “So do all of the major pianists who have played this piece.”
@@voraciousreader3341 Of course Beethoven, most importantly, if one has to pinpoint the moment of begging of romantic era. I believe personally it is that note
That’s a wonderful thought and out of all the sonatas that note is certainly special. I often start listening to the “Waldstein” with the very brief second movement. Third third is a marvel and achingly beautiful.
BRAAAAVOOO, BRAVÍSSSSSSSIMOOOO, MR. SHIFF!!!! This sonata is a monster, and you have accomplished it wonderfully! What a treat!! I hope you feel very proud of yourself!
@@joelmacinnes2391 Check this video out. Legendary Japanese Pianist, Hayato Sumino AKA Cateen, performed Waldstein on 03/09/2021. ua-cam.com/video/cKLl_brp4aY/v-deo.html
Beethoven hatte einmal gesagt dass diese Sonate dem Pianisten zu schaffen machen würde! Auch Clara Schumann hatte die Aufführung vermieden - wegen der damals schlechten Qualitäten der Flügel. Jetzt auch noch einer der Größten Pianisten des 21. Jahrhunderts Jahrhunderts - Beethoven hätte seine Freude gehabt! ❤❤❤
Bravo Maestro! fresh, joyful (not too serious) interpretation, enhancing a lot of different musical "caratteri" in the text. your mastery of Bach polyphonic piano music, allows the multiple "counter-melodies" (inner voices) to emerge clearly.
Wonderful performance. Only one slight critique - between the 1st & 2nd movement, I noticed Schiff didn't pause *quite* long enough for the audience to cough and completely clear their throats 😉.
FYI. I was so happy someone uploaded this clip. A stunning performance of Waldstein by legendary Japanese pianist, Hayato Sumino AKA Cateen on 03/09/2021. ua-cam.com/video/cKLl_brp4aY/v-deo.html
I don’t understand why Schiff plays the opening movement so fast! At this speed, the little echoes in the high treble notes sound like hiccups, instead of part of the musical thought. This is my favorite recording of the Waldstein, by Vladimir Ashkenazy (no surprise!): ua-cam.com/video/63Em11vjoHg/v-deo.html
I have the same feeling about his first movement. I think of Papa Serkin or Kempf working hard on architecture / structural insights. I love Schiff so I will see what can learn from repeated listenings
Mr Schiff’s voicing choices are always special and great to hear. I played this for my graduation recital a few months back and am hearing new things in this performance that I will definitely try out !
Aha!- the term "voicing", used in a different context than I'm used to - but I think it's a good use- I've just never actually heard the term used this particular way. I'm familiar with the *voicing of the hammers* - changing their hardness by changing the density of their felt weave, in order to change their attack hardness (I'm a retired piano tech). But in this case, you're referring to the soft/loud expressiveness of the performance, correct?
@@catkeys6911 I thought it was clear that OP was referring to the voicing choices in the performance, not about the piano or hammers specifically. That said, the piano sounded wonderful! Hats off to the tech who prepared it.
@@catkeys6911 from a different language, the voicing of the "music" is how you decide to highlight the various "phrases" in the music, bringing out some notes, or group of notes, compared to others... it can be from balancing left and right hand, to individual notes in the same hand... like doing octaves and deciding to bring the "pinky" out compared to the "thumb" instead of letting them be the same volume. Being able to "voice" is one of the things that makes the difference between someone trying to play the piano and playing it.
his combination of skill and humility is unique. bravo Mr. Schiff
Schiff gives an extraordinary account of one of Beethoven's greatest works. The first movement's relentless raindrops give way to a deluge of sound that sculpts its phrases like the very hand of God. The second movement draws a brief curtain over the proceedings, allowing the listener a moment of contemplative anticipation before the light slowly dawns on the final but never quite finished masterpiece. Its brief allusion to the Fidelio Prisoners' Chorus, followed by the eerie, seductive magic of the subsequent phrases hint at Beethoven's lifelong quest to comprehend the mysteries of the universe and of his place in it. I believe this piece places Beethoven alongside the foremost minds of the Enlightenment even as it opens the door on one of the greatest periods of artistic achievement the world has ever seen.
Bravo to Schiff for his interpretive brilliance.
he's still up to it...and more. I hadn't listened to the Waldstein for a while, bu today I realised
how technically challenging this soanata is.
こんな素敵なワルトシュタイン聴いたことがない！
美しくて全ての音が言葉を語っているようです。
One can literally hear that final note of the second movement opens a whole new world of romantism
I think you mean “romanticism,” not “romantism.” I’ve never _not_ heard it that way….are you complimenting Beethoven, or Schiff?? If the former, yes! I applaud it! If the latter, I say, “So do all of the major pianists who have played this piece.”
@@voraciousreader3341 Of course Beethoven, most importantly, if one has to pinpoint the moment of begging of romantic era. I believe personally it is that note
That’s a wonderful thought and out of all the sonatas that note is certainly special. I often start listening to the “Waldstein” with the very brief second movement. Third third is a marvel and achingly beautiful.
That note seemed to ring out in expectation taking one into the amazing third movement and the ultimate of brilliance ….
Very well put. That's a keen observation.
Love the explosion of sound at 23:04 when he slams his foot down on the damper pedal, too epic ❤
That's the climax of the piece IMO.
Outstanding! Bravo maestro!
Великолепно!!! Яркий харизматичный исполнитель, с блестящей техникой и прекрасной романтической лирикой! Браво!!!
素晴らしい🎉
彼のワルトシュタインは派手さはないものの、ひとつひとつの音が言霊のように語りかけるようで、穏やかにそして爽やかに聞かせてくれます。何度聴いても飽きないです😊
BRAAAAVOOO, BRAVÍSSSSSSSIMOOOO, MR. SHIFF!!!! This sonata is a monster, and you have accomplished it wonderfully! What a treat!! I hope you feel very proud of yourself!
WOW. Just became my favourite performance of the No. 21, for all time. Magnificent. Thank you so much, Sand Wolf.
And mine, I've been looking for a perfect recording for months and I think this is it
@@joelmacinnes2391 Check this video out. Legendary Japanese Pianist, Hayato Sumino AKA Cateen, performed Waldstein on 03/09/2021.
ua-cam.com/video/cKLl_brp4aY/v-deo.html
A very good version but I still prefer Pletnev.
Dinamica splendida, suono pieno e gradevolissimo, grande interpretazione!
un tocco troppo veloce forse, per il mio gusto s'intende, almeno il primo movimento
00:01
10:55
15:22
It doesn't get any better than that.
I have just discovered this piece of music and I am mesmerized! And the playing, wow.
Beethoven hatte einmal gesagt dass diese Sonate dem Pianisten zu schaffen machen würde! Auch Clara Schumann hatte die Aufführung vermieden - wegen der damals schlechten Qualitäten der Flügel. Jetzt auch noch einer der Größten Pianisten des 21. Jahrhunderts Jahrhunderts - Beethoven hätte seine Freude gehabt! ❤❤❤
He nails both Waldstein and Hammerklavier for me, which are in my opinion the two greatest of Beethoven's sonatas
Sir, 30 and 31 exists
32 is the only right answer.
Bravo Maestro! fresh, joyful (not too serious) interpretation, enhancing a lot of different musical "caratteri" in the text. your mastery of Bach polyphonic piano music, allows the multiple "counter-melodies" (inner voices) to emerge clearly.
Mindblowing performance!! His performance is my favourite...
I mean this in the nicest way. This performance, and the Tempest, is some very fine banging.
Браво!Благодарю!
Wonderful!
This sonata, especially 3rd movement, is perfectly suited to Mr. Schiff. Thanks SW
Does anyone have access to the local critical reviews of that concert?
Wonderful performance. Only one slight critique - between the 1st & 2nd movement, I noticed Schiff didn't pause *quite* long enough for the audience to cough and completely clear their throats 😉.
Schiff despises the audience, somehow.
이렇게 경이로운 연주가 있을수 있는가!
BRAVO
Can't decide if I like Schiff or Fischer more here.
Hoy recién en el Teatro Colon la volvió a recrear de manera sublime
Quisiera visitarlo😢😢 pero teatro colon esta demasiado lejos de mi pais😢😢😢😢😢😢😢
I have never heard The Waldstein played like this and I don't think I like it. But it is my favorite Beethoven sonata. My favorite is Wilhelm Kempf
My favorites are Arrau (1977) and Pollini (1974).
Vom Himmel gefallen und aufgehoben….
Nice !!!
Rockmusik auf hohem Niveau
Hi anyone knows where can I buy the recording of this performance in HD
FYI. I was so happy someone uploaded this clip. A stunning performance of Waldstein by legendary Japanese pianist, Hayato Sumino AKA Cateen on 03/09/2021.
ua-cam.com/video/cKLl_brp4aY/v-deo.html
👍👏🎶💕
❤❤❤❤❤🌹🌹🌹🌹🌹🍃🍃🍃🍃🍃☘
I don’t understand why Schiff plays the opening movement so fast! At this speed, the little echoes in the high treble notes sound like hiccups, instead of part of the musical thought. This is my favorite recording of the Waldstein, by Vladimir Ashkenazy (no surprise!): ua-cam.com/video/63Em11vjoHg/v-deo.html
I have the same feeling about his first movement. I think of Papa Serkin or Kempf working hard on architecture / structural insights. I love Schiff so I will see what can learn from repeated listenings
It's not a race to clap first people. 26:00 😂
What does Waldstein mean?
The sonata is dedicated to the Count von Waldstein.
Foret stone.
@@luciasol9207 Forest stone.
rolling rocks
@@zuleicajorgensenmaltanasci5377 how does it feel, to be on your own...with no direction home?