Richter loved early Beethoven, and here you can actually see that affection in action. The early sonatas, while containing sparks of heroism and drama, are jocular at heart. Richter - a Russian personality if ever there was one - reveled in Beethoven’s youthful rambunctiousness. As for early LvB, it is a myth that his early opuses are somehow dispensable compared to his middle and late period works, and Richter is a very effective advocate. And in terms of pure enjoyment, these early sonatas may have an advantage over LvB’s later masterpieces, being as fun to play as they are to hear. Another myth is that these early opuses are somehow derivative of Mozart or Haydn. I don’t hear that - Beethoven’s unique voice is clear from the opening bars of opus 2. Beethoven’s catalogue doesn’t contain juvenalia, and while he was certainly a prodigy as a performer, he was very careful and deliberate with what he published as a composer. The “WoOs” are hit or miss, but once you get into the main catalogue there is very little chaff - especially in this idiom. Lovely sounding Steinway, by the way. Thanks for posting!
Early and middle period Beethoven are better than late stage Beethoven. Early Beethoven feels like such a fertile ground for creativity, with many little gems such as this sonata. Middle Beethoven is the climax of that fertility, with a full grown tree, culminating in Appasionata sonata. Late stage Beethoven is the declining of the tree, we still get glimpses of the middle stage Beethoven, but nothing quite as impactful, and certainly without the same fertile creativity of early LVB. It starts to feel too cliche, or unnecessarily deep/mysterious, as if lacking clear direction. Just roaming, to see what it stumbles upon.
@@juanramonsilva1067Yes, exactly. However, I don't think Apassionata is the culmination of His middle period. It is, of course, the Ingenious Eroica Symphony. But indeed, early and middle Beethoven is such a satisfaction to listen.
Opus 14 stay forever in my mind while as child I had Richter recording on Philips of 60teen, never reissued, whath a loss. Second mouvement was very slow. More as this. Technique was spectacular.
Interesting and worth listening as always what Sviatoslav Richter does! But also a bit strange.... The second movement is actually Allegretto, but he makes a slow movement of it! The third movement is Allegro commodo, but he seems to compensate the slow tempo of the preceeding movement and plays sort of Presto 🤨 Listen to Sokolov's recording also available on UA-cam - he is much closer to Beethoven's score!
Richter and Artur Rubinstein drank too much one evening after Richter had played this sonata. Rubinstein thought Richter performance of the middle movement was too slow, and told him so. Both were too drunk to care, and had a great time!
Eine stilistisch in sich geschlossene Darbietung dieser früheren Beethovensonate. Einmalig ist die Umhüllung des langsamen Satzes mit einem dunklen ("russischen"?) Stimmungsvorhang.
Richter loved early Beethoven, and here you can actually see that affection in action. The early sonatas, while containing sparks of heroism and drama, are jocular at heart. Richter - a Russian personality if ever there was one - reveled in Beethoven’s youthful rambunctiousness.
As for early LvB, it is a myth that his early opuses are somehow dispensable compared to his middle and late period works, and Richter is a very effective advocate.
And in terms of pure enjoyment, these early sonatas may have an advantage over LvB’s later masterpieces, being as fun to play as they are to hear.
Another myth is that these early opuses are somehow derivative of Mozart or Haydn. I don’t hear that - Beethoven’s unique voice is clear from the opening bars of opus 2. Beethoven’s catalogue doesn’t contain juvenalia, and while he was certainly a prodigy as a performer, he was very careful and deliberate with what he published as a composer. The “WoOs” are hit or miss, but once you get into the main catalogue there is very little chaff - especially in this idiom.
Lovely sounding Steinway, by the way.
Thanks for posting!
Early and middle period Beethoven are better than late stage Beethoven.
Early Beethoven feels like such a fertile ground for creativity, with many little gems such as this sonata. Middle Beethoven is the climax of that fertility, with a full grown tree, culminating in Appasionata sonata.
Late stage Beethoven is the declining of the tree, we still get glimpses of the middle stage Beethoven, but nothing quite as impactful, and certainly without the same fertile creativity of early LVB. It starts to feel too cliche, or unnecessarily deep/mysterious, as if lacking clear direction. Just roaming, to see what it stumbles upon.
@@juanramonsilva1067Yes, exactly. However, I don't think Apassionata is the culmination of His middle period. It is, of course, the Ingenious Eroica Symphony. But indeed, early and middle Beethoven is such a satisfaction to listen.
@Hotspur77 You have a typo in your comment. «Beethoven's unique voice is clear from the opening bars of *opus 1* », not opus 2.
💖💖 Восхитительно! Великий пианист в Истории Музыки. Абсолютно поразительно приятный, горячий звук. Спасибо, ADGO, за видео!
Святослав Рихтер - мой любимый пианист
Рихтер, безусловно, гений, звук БОЖЕСТВЕННЫЙ, и отношение к произведению так хорошо передаётся, БРАВО, фантастика!!!! 💖🥰👍👏🌸🙏💐🌺🌷🌹🔴🔵⚪
Рихтер - величайший пианист.
Поддерживаю полностью!
Sviatoslav Richter, fantastic pianist! Thanks for the video. 👍👍👏👏
何と抒情的な何と美しい何と甘美なソナタであろうか！聴き浸る ただただ聴き浸る
Opus 14 stay forever in my mind while as child I had Richter recording on Philips of 60teen, never reissued, whath a loss. Second mouvement was very slow. More as this. Technique was spectacular.
13:00 Best Version! Superb!
Absolutely correct
Interesting and worth listening as always what Sviatoslav Richter does! But also a bit strange.... The second movement is actually Allegretto, but he makes a slow movement of it! The third movement is Allegro commodo, but he seems to compensate the slow tempo of the preceeding movement and plays sort of Presto 🤨 Listen to Sokolov's recording also available on UA-cam - he is much closer to Beethoven's score!
Awesome!!!
Hi Adgo - I have worked out what that symbol S T R at the bottom right means - it stands for Sviatoslav Teofilovic Richter.
There will never be another Richter (sadly)
Richter and Artur Rubinstein drank too much one evening after Richter had played this sonata. Rubinstein thought Richter performance of the middle movement was too slow, and told him so. Both were too drunk to care, and had a great time!
did that really happen？
Obviously, no
that cough at 10:01 is *SACRILEGIOUS*
Ling ling wannabes unite!
13:01
14:42
15:14
4:00-4:28 best partever
Yes ! Absolutely ! Best part Ever !
👍👍👍
ドストエフスキー的な重みの魂がある。
👍👍👍💓🌹💕
14:10
This dude Beethoven was really something ...huh?!!
4:52 oops.
Lmfao
Gratulation, Sie haben den Zuhörtest bestanden.
The only oops in this performance.
s...uper
Great! How do I repeat in the second movement?
what do you mean?
a-b-b-a--coda
A-B-B-C-coda- A-Coda.
コメント氏は第２楽章に聴き浸るのですね
同じことを わたしは第１楽章でします
@@thinkitsimpossible8718 What do you mean ?
「どういう意味ですか？」ということですか？第２楽章を繰り返し聴く とはどういう意味ですか？という意味合いでしょうか？
Eine stilistisch in sich geschlossene Darbietung dieser früheren Beethovensonate. Einmalig ist die Umhüllung des langsamen Satzes mit einem dunklen ("russischen"?) Stimmungsvorhang.
Das Tempo des 2. Satzes - welche Größe !!
Bei aller Anerkennung für MAESTRO - den 2. Satz hat der Komponist mit ALLEGRETTO, nicht mit Andante überschrieben!
Little too slow for my taste.
15:30
Legend
15:35
why???????