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GrumpyOldPianistplus
Registrace 4. 05. 2022
Piano Sonata (Complete) (Liszt) (whom the world recognises) Please read commentary at the bottom.
Liszt noted on his sonata's manuscript that it was completed on 2 February 1853, but he had composed an earlier version by 1849. At this point in his life, Liszt's career as a travelling virtuoso had almost entirely subsided, as he had been influenced towards leading the life of a composer rather than a performer by Carolyne zu Sayn-Wittgenstein almost five years earlier. Liszt's life was established in Weimar and he was living a comfortable lifestyle, composing, and occasionally performing, entirely by choice rather than necessity.
The dedication to Robert Schumann in return for Schumann's dedication of his Fantasie in C major, Op. 17 (published 1839) to Liszt, one which Clara Schumann spitefully expunged in her edition of her late husband’s works!! Clara did not perform the Sonata despite her marriage to Robert Schumann and, according to scholar Alan Walker, she found it "merely a blind noise".
A copy of the work arrived at the Schumann's house in May 1854 after Schumann had entered Endenich sanatorium, the dedication being to Robert.
The Sonata was published by Breitkopf & Härtel in 1854 and first performed on 27 January 1857 in Berlin by Hans von Bülow. It was attacked by Eduard Hanslick who said "anyone who has heard it and finds it beautiful is beyond help". Johannes Brahms reputedly fell asleep when Liszt performed the work in 1853, and it was also criticised by the pianist and composer Anton Rubinstein!!
It took a long time for the Sonata to become commonplace in concert repertoire because of its technical difficulty and negative initial reception due to its status as "new" music. However by the early stages of the twentieth century, the piece had become established as a pinnacle of Liszt's repertoire and has been a popularly performed and extensively analysed piece ever since.
It was influenced by Schubert’s ‘Wanderer’ Fantasy in the shape of the piece and is autobiographical or self-revelatory in style, evoking passionale moments and regretful points in his life up until then.
(This is most definitely autobiographical, turning the emotional ecstasies and disappointments that Liszt went through in his lifetime into music, upto this point in composition.
A most wonderful adaptation of this music is a ballet, danced to an orchestral arrangement of the sonata, named 'Marguerite and Armand'. It was created in 1963 by the British choreographer Sir Frederick Ashton specifically for Nureyev and Fonteyn. The ballet takes its inspiration from the 1848 novel La Dame aux Camélias by Alexandre Dumas, and other adaptations of the same story such as Verdi's 1853 opera La traviata).
(I regard this sonata as being very personal to Liszt. It tells the story of two sides of life, up and down: the up-side was when he was the pianist who everyone wanted to see and hear play; the down-side is when he was simply an entertainer, tolerated in society but not alllowed to get above his Hungarian, earthy roots! He was slim and lithe, and attracted a great number of female admirers, some with whom he had affairs, but there must have been one who caught his attention over all the others and to whom he embodied one of the themes in this sonata. Her name was Carolyne zu Sayn-Wittgenstein).
(MEDDLING BODIES OF 'AUTHORITY' :-
After arriving in Weimar, Princess Carolyne lived apart from Liszt, in order to avoid suspicions of impropriety. She wished eventually to marry Liszt, but since her husband was still alive, she had to convince the Roman Catholic authorities that her marriage to him had been invalid. Her appeal to the Archbishop of St Petersburg for an annulment was ultimately unsuccessful, and the couple abandoned pretence and began to live together in the autumn of 1848. After a visit to Rome and an audience with Pope Pius IX in 1860, Carolyne finally secured an annulment. It was planned that she and Liszt would marry in Rome, on 22 October 1861, Liszt's 50th birthday. Liszt arrived in Rome on 21 October, but a Vatican official had arrived the previous day in order to stop the marriage. This was a result of the machinations of Cardinal Hohenlohe (WHO'S HE?) who wanted to protect a complex inheritance agreement brokered by Tsar Alexander II (WHO'S HE?)
Carolyne subsequently gave up all attempts to marry Liszt, even after her husband's death in 1864. She became a recluse, working for the rest of her life on a long work critical of the Catholic Church).
The sonata has recurring themes, or motifs. In order of presentation, they are:
1. demonic, sometimes forthright beleaguering.
2. Lisztian energy.
3. Carolyne's noble stature.
4. Carolyne's tender theme.
GlynGlynn, realiser.
Feel free to leave any comments, be they good, bad, or indifferent as to whether the piece or the performance moved you in any way!
(Since music is an aural art, and not a visual one, it is best to listen to these pieces, and other artists performances, with eyes closed, so as to be able to listen intently as to how the music is portrayed).
The dedication to Robert Schumann in return for Schumann's dedication of his Fantasie in C major, Op. 17 (published 1839) to Liszt, one which Clara Schumann spitefully expunged in her edition of her late husband’s works!! Clara did not perform the Sonata despite her marriage to Robert Schumann and, according to scholar Alan Walker, she found it "merely a blind noise".
A copy of the work arrived at the Schumann's house in May 1854 after Schumann had entered Endenich sanatorium, the dedication being to Robert.
The Sonata was published by Breitkopf & Härtel in 1854 and first performed on 27 January 1857 in Berlin by Hans von Bülow. It was attacked by Eduard Hanslick who said "anyone who has heard it and finds it beautiful is beyond help". Johannes Brahms reputedly fell asleep when Liszt performed the work in 1853, and it was also criticised by the pianist and composer Anton Rubinstein!!
It took a long time for the Sonata to become commonplace in concert repertoire because of its technical difficulty and negative initial reception due to its status as "new" music. However by the early stages of the twentieth century, the piece had become established as a pinnacle of Liszt's repertoire and has been a popularly performed and extensively analysed piece ever since.
It was influenced by Schubert’s ‘Wanderer’ Fantasy in the shape of the piece and is autobiographical or self-revelatory in style, evoking passionale moments and regretful points in his life up until then.
(This is most definitely autobiographical, turning the emotional ecstasies and disappointments that Liszt went through in his lifetime into music, upto this point in composition.
A most wonderful adaptation of this music is a ballet, danced to an orchestral arrangement of the sonata, named 'Marguerite and Armand'. It was created in 1963 by the British choreographer Sir Frederick Ashton specifically for Nureyev and Fonteyn. The ballet takes its inspiration from the 1848 novel La Dame aux Camélias by Alexandre Dumas, and other adaptations of the same story such as Verdi's 1853 opera La traviata).
(I regard this sonata as being very personal to Liszt. It tells the story of two sides of life, up and down: the up-side was when he was the pianist who everyone wanted to see and hear play; the down-side is when he was simply an entertainer, tolerated in society but not alllowed to get above his Hungarian, earthy roots! He was slim and lithe, and attracted a great number of female admirers, some with whom he had affairs, but there must have been one who caught his attention over all the others and to whom he embodied one of the themes in this sonata. Her name was Carolyne zu Sayn-Wittgenstein).
(MEDDLING BODIES OF 'AUTHORITY' :-
After arriving in Weimar, Princess Carolyne lived apart from Liszt, in order to avoid suspicions of impropriety. She wished eventually to marry Liszt, but since her husband was still alive, she had to convince the Roman Catholic authorities that her marriage to him had been invalid. Her appeal to the Archbishop of St Petersburg for an annulment was ultimately unsuccessful, and the couple abandoned pretence and began to live together in the autumn of 1848. After a visit to Rome and an audience with Pope Pius IX in 1860, Carolyne finally secured an annulment. It was planned that she and Liszt would marry in Rome, on 22 October 1861, Liszt's 50th birthday. Liszt arrived in Rome on 21 October, but a Vatican official had arrived the previous day in order to stop the marriage. This was a result of the machinations of Cardinal Hohenlohe (WHO'S HE?) who wanted to protect a complex inheritance agreement brokered by Tsar Alexander II (WHO'S HE?)
Carolyne subsequently gave up all attempts to marry Liszt, even after her husband's death in 1864. She became a recluse, working for the rest of her life on a long work critical of the Catholic Church).
The sonata has recurring themes, or motifs. In order of presentation, they are:
1. demonic, sometimes forthright beleaguering.
2. Lisztian energy.
3. Carolyne's noble stature.
4. Carolyne's tender theme.
GlynGlynn, realiser.
Feel free to leave any comments, be they good, bad, or indifferent as to whether the piece or the performance moved you in any way!
(Since music is an aural art, and not a visual one, it is best to listen to these pieces, and other artists performances, with eyes closed, so as to be able to listen intently as to how the music is portrayed).
zhlédnutí: 103
Video
Prelude in E flat major Op.23 No.6 (Rachmaninoff).
zhlédnutí 1,4KPřed 19 hodinami
In May 1902 Rachmaninoff married his cousin, Natalia Satin. His marriage, as so often with artists, led to a great burst of creativity, including the Ten Preludes for piano which comprise his Opus 23. The Moscow recital on 10 February 1903 in which Rachmaninov premiered the Variations also saw the first performance of three of the Op 23 set, Nos 1, 2 and 5. The remaining seven were written in M...
7 Fantasien, Op. 116 (Complete)( Brahms).
zhlédnutí 64Před 21 hodinou
Fantasias, Op 116, is a curious title for a collection of pieces consisting of three capriccios and four intermezzos. Brahms had used the same labels of ‘capriccio’ and ‘intermezzo’ to indicate a division between agitated and more serene pieces for the individual numbers of a similar collection he had composed some fourteen years before; these earlier pieces had appeared under a more neutral ba...
Sonata in E minor, Op.7 (Grieg)
zhlédnutí 268Před 14 dny
Early on in his career, before discovering his talents for miniatures, songs, and incidental music, Edvard Grieg tried his hand at more traditional concert music in its then-rigidly codified styles and forms. Indeed, the list of Grieg's almost entirely unplayed early compositions reads like a text of essential concert music varieties: a symphony, some chamber sonatas, an abandoned string quarte...
Suite: Pour le piano (Complete)(Debussy)(in effect, a 3-movement sonata)
zhlédnutí 234Před 14 dny
Debussy composed the three pieces forming the suite at different times: The prelude was dedicated to Debussy's student Mlle Worms de Romilly, who noted that this movement "tellingly evokes the gongs and music of Java". The second movement, a sarabande, was written several years before the other movements, dated to the winter of 1894, when it belonged to the series of Images oubliées, dedicated ...
L'Isle joyeuse (The Joyful Island) (Debussy). (Please read the possible narrative at the bottom).
zhlédnutí 201Před 21 dnem
Explaining a composer’s music by means of his life can be a dangerous business. In the case of L’isle joyeuse, for example, it has often been assumed that the ‘happy isle’ of the piece’s title was Jersey where, in July 1904, Debussy had eloped with Emma Bardac, after packing his wife off to her parents in Normandy. In fact, L’isle joyeuse seems to have been complete in some form or other as ear...
Sonata in Ab major, Op.110 (Complete) (Beethoven). (Please read the narrative at the bottom)
zhlédnutí 279Před 21 dnem
In the summer of 1819, Adolf Martin Schlesinger, from the Schlesinger firm of music publishers based in Berlin, offered to purchase three piano sonatas at 90 ducats (30 ducats each) directly from Beethoven in April 1820, though Beethoven had originally asked for 120 ducats. In May 1820, Beethoven agreed, and he undertook to deliver the sonatas within three months. These three sonatas are the on...
Prelude in D major Op.23 No.4 ( Rachmaninoff)
zhlédnutí 3,5KPřed 28 dny
In May 1902 Rachmaninoff married his cousin, Natalia Satin. His marriage, as so often with artists, led to a great burst of creativity, including the Ten Preludes for piano which comprise his Opus 23. The Moscow recital on 10 February 1903 in which Rachmaninov premiered the Variations also saw the first performance of three of the Op 23 set, Nos 1, 2 and 5. The remaining seven were written in M...
Sonata in A major Op. posth.120, D.664 (Complete)(Schubert).
zhlédnutí 194Před měsícem
On one occasion, after he had given a performance of the variation slow movement from his big A minor sonata, D845, Schubert proudly reported to his parents: 'Several people assured me that under my hands the keys become singing voices, which, if it is true, pleases me very much, because I cannot abide the accursed hacking which is a characteristic even of first-class pianists, as it pleases ne...
Norwegian Dance, Op.35 No.2 (Grieg).
zhlédnutí 144Před měsícem
The decisive role that Norwegian folk music played for Edvard Grieg can be felt in almost all of his works. For his Norwegian Dances op. 35, Grieg took old folk tunes from a collection published by the musician and researcher Ludvig Mathias Lindeman and arranged them for piano four hands in 1880. A few years later, Grieg also made the two-hand version. The speed indication is Allegretto tranqui...
4 Mazurkas, Op.41 (Chopin)
zhlédnutí 94Před měsícem
This set of mazurkas was composed and published between 1838 and 1839. They were dedicated to Chopin's friend Stefan Witwicki, a minor poet, ten of whose poems Chopin set to music as songs. In 1839 Chopin wrote to a friend “I have four new mazurka: they seem good to me, as younger children do to parents growing old.” The composer was all of 29 years old at the time and had already written 25 pi...
3 Mazurkas Op.50 (Chopin).
zhlédnutí 61Před měsícem
Both the traditional mazurka and Chopin's versions contain a great deal of repetition: this can mean repetition of a single bar or small group of bars, repetition of a theme, or even repetition of an entire section. This repetition makes sense in the traditional dance for the repeat of a certain section of the actual dance; even though Chopin DID NOT compose his mazurkas so they could be danced...
15 Variations and Fugue in E flat major (Eroica Variations) Op. 35 (Beethoven).
zhlédnutí 201Před měsícem
This is the best of Beethoven's variations, and possibly the most inventive of every other composer's works in this genre, as far as I am concerned. They were written in 1802 and published the following year in Leipzig. Beethoven stressed to his publishers, Breitkopf and Hartel, the originality of the two sets of variations, Opus 34 and Opus 35, the first not least in its varieties of key for e...
Sonata in G minor Op.22 (Complete)(Schumann).
zhlédnutí 130Před měsícem
(To get the full effect of this portrayal of the slow movement, which is very quiet, it may be necessary to listen on any device other than the type incorporated in your laptop/computer). During the first blissful weeks of their marriage, the Schumanns studied together all of Book I of Bach’s Well-Tempered Clavier. Robert wanted to enlarge Clara’s knowledge of the piano repertoire, which, under...
5 Mazurkas Op.7 (Chopin).
zhlédnutí 60Před 2 měsíci
These mazurkas were mostly written in 1830-1831 and were published in 1832. This is the only set of Chopin's mazurkas that contains 5 pieces; all the composer's other published sets consist of either 3 or 4 mazurkas each. This set is dedicated to Paul Emile Johns. Chopin often gave manuscripts of mazurkas as gifts: the early version of the 2nd mazurka was preserved because Chopin wrote it down ...
Andante Spianato and Grande Polonaise Brillante, Op 22 (Chopin).
zhlédnutí 547Před 2 měsíci
Andante Spianato and Grande Polonaise Brillante, Op 22 (Chopin).
Ballade No. 2 in F major, Op.38 (Chopin)(Please read narrative at the bottom to understand context).
zhlédnutí 27Před 2 měsíci
Ballade No. 2 in F major, Op.38 (Chopin)(Please read narrative at the bottom to understand context).
Fantaisie in F minor, Op. 49 (Chopin).
zhlédnutí 265Před 2 měsíci
Fantaisie in F minor, Op. 49 (Chopin).
Prelude in E major Op.32 No.3 (Rachmaninoff).
zhlédnutí 118Před 2 měsíci
Prelude in E major Op.32 No.3 (Rachmaninoff).
Ballade No.1 in G minor, Op. 23 (Chopin).
zhlédnutí 226Před 2 měsíci
Ballade No.1 in G minor, Op. 23 (Chopin).
Nocturne in D flat major Op.27 No.2 (Chopin).
zhlédnutí 190Před 3 měsíci
Nocturne in D flat major Op.27 No.2 (Chopin).
Nocturne Op.9 No.1 in Bb minor (Chopin).
zhlédnutí 39Před 3 měsíci
Nocturne Op.9 No.1 in Bb minor (Chopin).
Sonata in Eb major Op.122 / D.568 (Complete)(Schubert)
zhlédnutí 111Před 3 měsíci
Sonata in Eb major Op.122 / D.568 (Complete)(Schubert)
Rhapsody in Eb minor Op.11 No.4 (Dies Irei: the Day of Wrath - Gothic pugatory)(Dohnanyi).
zhlédnutí 14Před 3 měsíci
Rhapsody in Eb minor Op.11 No.4 (Dies Irei: the Day of Wrath - Gothic pugatory)(Dohnanyi).
Sonata in B flat major KV 281 (Complete)(Mozart).
zhlédnutí 142Před 3 měsíci
Sonata in B flat major KV 281 (Complete)(Mozart).
Nocturne Op.9 No.3 in B Major (Chopin)
zhlédnutí 341Před 3 měsíci
Nocturne Op.9 No.3 in B Major (Chopin)
Nocturne in E flat major Op.9 No.2 (Chopin).
zhlédnutí 67Před 3 měsíci
Nocturne in E flat major Op.9 No.2 (Chopin).
69 lol
Qui joue ?? Rachmaninov lui même ?? Merci pour votre réponse
The photo of Rachmaninoff is to remind everybody that, if it was not for the composer, there would be very little, if any, music of quality to play. Give tribute to the instigator for creating art which improves the quality of life for all of us on this pitiful planet!!
Amo la música clásica porque es una joya única. Poesía en notas musicales. ❤❤❤
D'accord!!
Chaotic and beautiful at the same time, love that
In what ways do you consider that the music has opposing ideas?
I loved this interpretation! It was certainly different from any I've ever listened to, specially in terms of tempo (the beginning was slower and full of rubato) and articulation (the sparse use of the pedal). Although it feels more like a romantic piece than a classical one with these decisions (especially the tempo), it certainly feels justified and consistent with the period being that of a transition and it was so refreshing to hear sections like the arpeggios and the "bell" chords in the 3rd movement with every note heard clearly because of the restrained use of pedal (or lack thereof). Indeed, the interpretation itself prizes clarity above all and it was a monumental achievement in its accomplishment. Overall, a very eccentric interpretation, but in a consistent and justified way. The ending was marvelous as well. Bravo!!
The text wasn't bad either!
Thank you very much for your very discerning ear! Yes, I do lean towards less pedal as a reaction against a great many pianists who over-pedal, causing a muddy sound as would be more appropriate with composers such as Debussy. Since this is Op.110, the penultimate piano sonata composed in 1821 I would imagine that Beethoven would have kept abreast of the times and read through some of the compositions of other composers' works of the time. This would have made him veer towards greater personal expression in his own compositions, such as the sadness of his plight in the aria of the third movement. It is such a wonderful end, suggesting that Beethoven has managed to break out of his gloom with a feeling of triumphant exultation!!
Lindo
💫💫
💫💫 Beautiful. Super like 🙂🌷🌷
Thank you for having the ability to see beyond the printed page!.
This performance is quite honestly fantastic. Very passionate
Thank you: I am glad you enjoyed it.
Beautiful playing 👏
Thank you: most kind!
Thank you for the detailed description!
Hope it was informative!
Great performance. The way you played the C section was especially great and matched the piu lento marking. Because rubato tempo is kind of Chopin's thing, his pieces can be interpreted in many ways, but I personally feel that a slightly faster tempo suits this piece better, with more contrast in tempo between the A and B section. Something I would change about this performance is, when you play the final note of the B sections, after the chromatic run, it feels too accented when it should be followed by a decrescendo, finishing with it as the quietest note. But it's always good to experiment with pieces (especially Chopin) and find what sounds best to you.
Thank you for your critical, constructive comments. Yes, you are correct about making a diminuendo going to the top note, but, I think, only on the second time at 1' 44''before going into the Db section. The speed I chose happened to be only for this performance; on other occasions I may have played faster. I tend to play a piece differently as and when the mood takes me. The speed of a piece determines how the shape of phrases may turn out, and, therefore, give a totally different mood to the piece. Your comments show that you have listened with a discerning ear. It makes me happy when a 'real music' lover has the ability to see why he/she liked a particular performance, and how a few places could need more enhancement. Please feel free to leave any comments on other performances as you may wish.
I like the way this is played ... restraint and style
Thank you! Yes, I notice that a lot of pianists seem to want to get through the waltzes as fast as they can. I suppose they think they are beneath them since they are more concerned with going faster than other pianists in the show-off pieces and cannot reduce the onslaught in less flamboyant pieces!!!
@@grumpyoldpianistplus being a waltz people usually play it very fast so your rendition was a breath of fresh air well done
Thank you for your confirmation. As I have often said before, these are not Johann Strauss waltzes where you are whisked around the room. Chopin has simply taken the idiom and moulded them to his own creation.@@powderedwiglouis1238
@@grumpyoldpianistplus100% agree friend the only waltz i like done quick is minute waltz for obv reasons
The caption is so interesting, thanks for the information!
Glad to be of service! I am delighted that someone, such as yourself, has actually read the information!! I don't think many do, but the blurb gives insight as to why, what , where and how these compositions arise. They certainly don't come magically from the spiritual ether!!!
A suitable speed :)
Much greater chance to enjoy the subtleties of the piece!!
@@grumpyoldpianistplusAgreed. I really like this interpretation. Well done!
@@eliasabbas8450 Thank you. I am pleased you enjoyed it.
🕊💝🌸🌸🌸🕊 More,more than beautifully...
Thank you: you're too kind!!
@@grumpyoldpianistplus I really love compositions by Chopin. 🌼🌼🌼
Someone once said that you can't fail with pieces written by Chopin. However, in the hands of some pianists a piece can be ruined if played in a boring way. I am curious to know what, in this performance, caused you to love this particular piece?@@tanjanovicic2926
@@grumpyoldpianistplus Only I know what I feel when I lisen compositions by Chopin.
Very beautiful interpretation :)
I thank you for your gracious comment!
Пронзило сердце
The phrasing at the beginning is not meant to be staccato (even tho the slur ends on the first C# and the other 2 have dots). The slur over dot means to be played not legato but with pedal. You can find that writing in a lot of Chopin, hopefully this helps! You can also check out a lot of great pianists recordings to get an idea of how the phrasing is usually done, I personally love S. Neuhaus recording of this. Anyways have a great day and keep playing! Cheers.
Phrasing: legato is indicated with a curved line over 2, or more, notes; staccato by a dot above or below a note or notes; a curved line plus staccato dots is known as portamento where the notes are not meant to be released immediately but slightly held over, but still detached from the next note. My copy, by Henle-Verlag, shows the latter. The publisher has now been able to obtain the copy of the first edition made after Chopin had sold it to them. Copyright ends after 150 years, so this is the most authentiic of what actually Choin wrore before too many publishers had to alter their edition to avoid down-right copying! Notice that, in my offering, the left hand IS legato while the right hand C sharps are sightly detached. IF I had played them purely staccato there would have been too much 'air' between them. If I had used pedal, the notes would have been joined (legato) no matter how much I let the notes go. The trouble with many of the main-stream pianists is that, since their memories are so good, after 1 or 2 play-throughs they have got the music in their memory-banks and do not need to refer the music ever again! Therefore, many of their recordings have pedalling for every note or whole bar making for very boring or non-existent phrasing. If, as you suggest, one uses the pedal, the hand would appear to be detaching the notes, but the sound would be to link the notes together. This reply is very long-winded, but I hope it clarifies why I do not follow the main-stream.
@@grumpyoldpianistplus Thank you for the time put into the reply! However, legato in piano is not a matter of purely finger legato, but harmonics production, which is obtained by weight playing. The armonics produced by each note then glue the phrase together, resulting into the illusion of a singing voice. I'm sorry for not having been clear in my previous comment, what i meant was pretty much the same as what you replied, the curved line (slur) over the dot is exacly what you said, to be played portato. Staccato is actually *always* what you've said about portamento, as in the note has to be released slighty before the whole duration of a note, and not as many people think, just be played very fast. So while for fast notes (as in a lot of Mozart) you could just use staccato like that, in early romantic and romantic authors its very often to find long notes with the staccato and/or portamento notations (ps: the very fast release would be called pizzicato). I hope that was clear enough, I'm not native and it could be pretty messy. Chopin here uses that same notation, and you're right in saying that the notes have to be released earlier, but the pedal has to be used here. Playing without pedal ruins the tension of the phrase completely, creating an abrupt interrruption. I'm aware that Chopin hardly ever notes pedal in this Nocturne, however that doesnt mean he wants you to play without pedal! That was simply Chopin's way of annotating a manuscript, he would only notate pedal where he wanted it to be very clear and not misinterpreted! We can analyse so many of Chopin's manuscripts to find the same things over and over, and then if we listen to the great interpreters of Chopin (Koczalski, de Pachmann...) they all play it with pedal. In fact, if we were to strictly follow the exact pedal notations of Chopin's manuscripts, his music would have to be played almost with no pedal at all! Sorry for the even longer reply xD! I think it may be very messy as I'm writing this in a hurry, but hopefully it makes some sense!
@@bartoldo5898 I thank you for your even-more detailed reply. True, applying the sustaining pedal does release the harmonies of the note or notes played giving a richer sonority. But one must avoid using the pedal when the harmony of one chord is obliterated by more notes not in keeping with that particular chord. I do use pedal when playing Chopin, but I prefer to make the notes clear rather than with a general blur. In my performances I try to make disinction between the right and left hand, the right hand being the voice and the left hand being the accompanist. To that end, sometimes a singer is taking a breath between notes or phrases while the accompaniment continues to play legato. This is the case about the C#s: the singer is 'panting' while the left hand plays legato, which is how it shows on my copy of the piece. To my mind, this makes the melody more interesting, instead of always being legato. Whether what is on my copy is Chopin's direction, or added there by the original editor (with or without consultation with Chopin), or being played legato by most pianists, all is possibly irrelevent to me: what is more of concern is that, not only does it make the phrase more interesting but it is written that way on my copy, which is the first printed version of the manuscript. It also does make it a unique interpretation if every other pianist is going to use the pedal right through the passage!
@@grumpyoldpianistplus I see! Personally I believe it's better to play that part with pedal but everyone is free to give it their own personal interpretation!
@@bartoldo5898 Interpretation is the soul of music, popular or serious!
Lovely piece..
Great! But could you say, in particular, what you found lovely about the piece?
@@grumpyoldpianistplus this reminds me of the highs and lows of a romance.
@@etiennecfourie777 I am glad that music is able to evoke emotional feelings in your psyche. Enjoy heartfelt music throughout your life!!
@@grumpyoldpianistplus I shall thank you very much!
7:08
7:56
So nice, I listened twice. Thank you.
It's SO good that some bother to reply. Thank you!!
Sonatas hermosas de Mozart me gustan mucho sus obras ❤
Yo también: su escritura es muy lógica.
Well, Grumpy... A tad slow for my taste. You can reference my own recording for my own thoughts.
👉 *promosm*
From Baby Mozart 1998
Sorry! Don't understand the reference.