Arrau... what can i say... such a romantic pianist! No hurdles for him when it comes to perform exactly what the composer meant...the art of piano in just a word?... ARRAU!
Schubert's sonatas are the equivalent in music of the great nineteenth-century novels. They expand through a whole range of ideas and emotions, making, not so much a story - that was what I get from Beethoven and Verdi - as a landscape of the mind, where possibilities are realized one by one.
OMG that Andante will haunt me forever..............what a great pianist Arrau was but then who can compare to Schubert? I am so deeply affected by the Andante Sostenuto with its quirky mood changes bound up in that repeated triplet that I am most times in tears every time I listen to it.
This is one of my favorite sonatas of all time, and this is the best interpretation of it I've ever heard. Definitely breathes new life into something I've heard hundreds of times.
Such depth of precision and feeling. Arrau has a deep penetrating tone that resonates through the music. I prefer this to most other performances, some are too quick in tempo some too slow but this for me is the perfect tempo.
Es ist so großartig die großen verschiedenen Interpretationen hier zu hören und vergleichen zu können. Jede verdient eine hervorragende Kritik, diese Zeit der Interpreten des Anfang des 20.Jahrhunderts war einfach mit die beste, wenn man da Artur Schnabel, Artur Rubinstein, hier Claudio Arrau oder Edwin Fischer, Wilhelm Kempff, Wilhelm Backhaus und Walter Gieseking, um nur ein paar zu nennen, aufzählt. Sie alle haben eben noch den Geist des 19. Jahrhunderts hinübergeholt, der mit den nachfolgenden Interpreten mehr und mehr verloren geht, wobei ich nicht sagen will, dass die neuen Interpreten schlechter sind, aber ihnen fehlt die Wärme der Natürlichkeit, was wohl mit der Zeit zusammenhängt in der sie aufgewachsen sind.
Both pianists are great, great pianists. We, as human beings, always DO interpret. Fortunately there are not absolutes. I like both. It is a real pleasure to hear both of them as well as other excellent pianists around the world. However Arrau and Richter are giants. SC Mexico
I saw Arrau perform the Brahms First Piano Concerto in Philadelphia at an outdoor concert in 1972. It made a great impression. Also on the program was the Beethoven 7th.
It is always, I feel, a matter of interpretation, i.e. how we listeners interpret our hearing of the music being performed. It is also a matter of, in this case, the pianist's expression and interpretation of the musical piece he (or she) performs. It is very well that we all are indiviuals. Even musicians (myself included) are individuals and we interpret the music we play in our personal ways. If I(!) were to 'choose' between Richter and Arrau, I would, personally, 'choose' Arrau. Why? My impression and personal interpretation of what my listening tells me, is yet again to my(!) personal preferance Arrau's deep, yet fluent, playing.
superbe ,, arrau ne nous déçoit jamais ,,il ressentait comme personne la justesse du tempo ,, il se cantonna aux grands classiques , on peut le regretter ,, laissons nous emporter
I luv Schubert, but I felt sheepish, because I could not appreciate this sonata, no matter what...until I heard the magnificient version by the Norwegian pianist...forgot his name. Here is another great version. Arrau doesn't try to dig too deep here. He brings out the beauty & drama without one clashing with the other. Now I could luv & appreciate this masterpiece, everytime. Luv Mr. Arrau's trills in the 1st Movement! Luv to follow the sheet music to this one
whenever I listen this arrau´s record water comes into my eyes for things that will never come to my life and then I feel close to Schubert.Not recomended for melodies collectors
That is also where I first took note of Schubert. Now I cry every time I think of how young he was when he died at 31 but he was very prolific fortunately for us. The producer or music director of The Hunger chose wisely when you think of it.
I just once again listened to RIchter playing the same piano sonata - D.960 - and I am still quite adamant in my views on who might be 'better - (or 'worse?). To my preferance Richter's interpretation is far too slow. Almost standing still...
apparently not. any further ideas of your own? does it still 'break'? have you listened quite a few more times? it's certainly a massive work. Arrau is my favorite classical pianist at the moment. this interpretation sounds good to me, but i really like his interpretations of LIszt's slower introspective pieces. hope all is well. muchas gracias y saludos desde Tokio.
OTRO DE MIS PREFERIDOS, SIEMPRE RESPETA A LA PERFECCIÓN LAS PARTITURAS, NUCA ESTA APURADO COMO OTROS, LA MUSICALIDAD LE BROTA EN CADA RESPIRACIÓN, EN CADA PARPADEO DE SUS OJOS...
El maestro Arrau era un enciclopedista del piano. Estudiaba toda la obra del autor que interpretaba y el contexto histórico en que el autor vivió. Consideraba que, en su tiempo, las sonatas de Schubert era el ultimo desafío de un gran pianista. La discusión sobre el tempo puede ser un tanto superflúa. Richter, en su lentitud, nos aporta una interpretación que toca más a la emotividad del autor que escribe con la muerte moviendo la guadaña sobre su cabeza.
Richter, Arrau, or... Brendel? De Gustibus non est disputandum, said Brillat Savarin. But there are no meaningful comparisons and certainly no competition. Sviatoslav Richter was Russian, belonging to this enormous pleïade of greatest Russian musicians. Arrau was Richter's near contemporary, he was born in Chile but his training was essentially German, he belonged to the same school of those monsters of the piano like Schnabel or Kempff. Alfred Brendel is much younger, he is perhaps less romantic and he has a more scientific approach to piano music that some may find dry or overly intellectual. However, Brendel approaches Schubert with respect, solemnity and beauty. The music comes alive, less sentimental perhaps, but Schubert may have been romantic but most certainly he was not a sentimental. Brendel shows all the angst, the pain, the proximity of death that pervades this D960 sonata. His renderings are not romanticized but are full of feeling and the music comes through intact, as Schubert felt it. No one is best, it is a privilege of modern technology to be able to hear the transcendent renderings of the three geniuses, one after the other, in a single session at home, surviving the quarantine of our confused pandemic times. Thanks aplenty for allowing us to hear and ponder these samples of Heaven.
@@Piflaser You are quite right. I especially liked Paul Badura-Skoda when I was younger. And more recently I have added Tatiana Nikolayeva, Emil Gilels, Glenn Gould, Mitsuko Uchida, Martha Argerich, Yuan Sheng, Rosalyn Tureck, and so very many stupendous pianists. Sadly, we will never hear Mozart, Beethoven, Bach, Liszt, Chopin.
Tatiana Nikolaieva made live recordings witch are pure shit and recordings witch are pure gold. Much better than Glenn Gould, with the same precision but with much more life in it.
Ich konnte mir, vor allem bei der doch etwas statischen Interpretation von Richter, diese Sonate nie orchestral vorstellen, sie blieb immer ein Klavierwerk. Bei Arrau öffnet sich ein Kosmos der Orchestrierung und man vernimmt plötzlich verschiedene Orchesterstimmen. Ein ungeheurer Vorgang einer polyphonen Hernangehensweise, bei diesem großen Pianisten ist selbst ein Akkord noch 'eingefrorene Polyphonie'. Einmal mehr verschlägt es einem die Sprache beim Anhören dieses einzigartigen Musikers!
Thank you for posting this. I do have a question for all people reading this. Arrau played this piece as far as i know in 1965 in Paris, London, Buenos Aires and New York. Does anyone know any details about this and does anyone possibly have a copy of a radio broadcast of the Schubert D 960 live by maestro Arrau? Kind wishes Ewout
I love just about anything Mr. Arrau does. However I have to admit my favorite Liszt Sonata in b-minor now is Khatia Buniatishvilli. Breathtaking power..
Thanks for the recommendation (I've been listening to recordings by Clifford Curzon, Artur Schnabel, and Sviatoslav Richter - found the first two mentioned to be the most convincing), as others here have commented, Arrau never lets you down!
Arrau era muy respetuoso de la partitura y de las indicaciones del autor y un estudioso del contexto de cada obra que interpretaba. No obstante, creo que la versión lenta de Sviatoslav Richter cuadra mejor con las circunstancias en que Schubert escrbió esta sonata, y el quinteto con dos cellos, es decir, con la muerte moviendo la guadaña sobre su cabeza.
I am starting to think this is the first musical piece break out of a narrative/sonto and creates a musical juxtaposition for an emotion affect. But it breaks, badly... maybe I need to listen quite a few more times. Any comments?
It's a bit confusing since the headline says that Arrau is playing this piece, but the listing underneath says that Leif Ove Andsnes is playing it. That should cause a lot of these bloggers to re-examine their opinions of what they are listening to.
well the copyright law refers to the ability to make money on one's work. Since this person is not making money, it is not infringing on the copyright.
This performance is excellent but I prefer Richter's version from 1977. And it is probably due to Enigma movie and its indescribable impression it has made on me.
for my taste too fast which eludes the emotion of the piece. Richter's interpretation is the definitive in my view. No disrespect to Arrau who is a legend in his own right especially with mozart.
Pedal im 1. Teil des 2. Satzes ist zu kompliziert. Man spürt die Absicht und ist verstimmt. Dadurch geht auch das Andante verloren. Es bleibt nur das sostenuto.
"No copyright infringement is intended"? Well, that's fine then. Makes about as much sense as firing a machine gun at someone's head from point blank range while stating that no murder is intended.
cziffra1980 are you familiar with the fair use clause that pertains to copyrighted material? if one is using copyrighted material for non-commercial purposes, they must say that they don't own the material (a copyright disclaimer), and they recognise that some other party may own the copyright. the statement, 'no copyright infringement intended' implies that information, i.e. that some party may own the copyright of this recording, and the person who uploaded this video does not own the copyright but is using the recording for non-commerical purposes. the video is still up, the uploader still has an account, so there is no problem with using this recording in such a way. besides, el Maestro Arrau doesn't mind because he's been dead for nearly 24 years, may he rest in peace, and is now strolling the Halls of Valhalla with Bruckner and the other musical geniuses of days gone by. and sharing this music via this video is the only way that most people would ever learn about the greatness of those musical giants of the past.
Ahem, fair use does not allow for making copyrighted materials freely available to the world without permission. I'm not judging the morals of copyright issues- but commenting on the fact that saying no breach of copyright is intended (while making the most explicit breach of copyright possible) is a pretty pointless statement to make.
I'll leave the technicalities to others. I can only say "Thank God for CZcams and those who post such wonderful musical performances so others can familiarize themselves with them".
This is nonsense. Downloading things illegally isn't commercial either. Broadcasting copyrighted material to the whole world through a public video is always breach of copyright. Anyone who thinks a few words absolves them of legal responsibility is having a laugh.
Richter and Brendel sound brighter than Arrau. The base of Arrau's playing this piece sounds like an old man crippling. In some sections, Arrau sounds more sentimental than others.
Arrau , Richter , amateurs compared to Brendel , almost like they are site reading the piece , Arrau very choppy, clunky , arrhythmic , Richter's version , far too slow, loses all forward motion from the start , and certain accent's out of place .... hard to listen to either one very long especially when we have a Brendel to give us an interpretation without all these affectations and misunderstanding and poor feeling of the flow and direction of the piece, to communicate the true spirit of this music ... and Brendel is absolutely correct in leaving out the incrogruency of the Schubert's repeat , which was more meant for the the day and age this piece was written as people didn't hear this often or had other entertainments
I heard Brendel a number of times in my youth, growing up in Chicago, and Arrau as well on a number of occasions. I can't comment on the interpretation of this particular sonata comparing the two. OK that you are a fan of Brendel, I never appreciated him in the recitals that I heard in Orchestra Hall in Chicago. But then again, he was in comparison with Rubinstein, Gina Bachauer, Andre Watts and Arrau ...
Again, reliving my memories of Brendel in response to your comment. Brendel looked like a dead fish and played like a cold fish. Maybe he is more convincing on the recordings. And by the way, it's "sight reading", not "site reading".
Listen to the interpretation of Artur Schnabel, from whom Brendel took much advices. But the more modern interpreters lack the warmth of sound that still had something of the 19th century spirit.
I would say Arrau never lets you down.
Arrau... what can i say... such a romantic pianist! No hurdles for him when it comes to perform exactly what the composer meant...the art of piano in just a word?... ARRAU!
Schubert's sonatas are the equivalent in music of the great nineteenth-century novels. They expand through a whole range of ideas and emotions, making, not so much a story - that was what I get from Beethoven and Verdi - as a landscape of the mind, where possibilities are realized one by one.
A wonderfully expansive and reflective piece of art. I sometimes feel that everything of significance and meaning is there.
OMG that Andante will haunt me forever..............what a great pianist Arrau was but then who can compare to Schubert? I am so deeply affected by the Andante Sostenuto with its quirky mood changes bound up in that repeated triplet that I am most times in tears every time I listen to it.
This is one of my favorite sonatas of all time, and this is the best interpretation of it I've ever heard. Definitely breathes new life into something I've heard hundreds of times.
Best interpretation of this piece I have ever heard. Arrau's touch is like no other
There is a lifetime's worth of music here
If too slow, then the phrases fail to connect (sorry Richter) - if too fast it sounds trivial Arrau finds the perfect tempo.
Arrau was the most complete pianist I´ve ever heard.
But over all, I humbly thank God for giving us Schubert.
Fernando Gonzalez Camus Samson Delia last bickers beret
Grandísimo pianista Arrau. Impresionante
Filologicamente perfetto
Wonderful performance of this sublime piano sonata,GRANDE ARRAU!!!!! :)
Sublime. There is nothing like hearing this master.
This is as good as it gets, folks.
the interpretation of the slow movement really touches my heart
Hay un flujo interior que conecta con el alma de quien escucha esta genial interpretación.
Uno straordinario poeta...
Impressionante.
I can't stop hearing this piece... Thank's a lot..
Such depth of precision and feeling. Arrau has a deep penetrating tone that resonates through the music. I prefer this to most other performances, some are too quick in tempo some too slow but this for me is the perfect tempo.
Ancora non la conoscevo. È una meraviglia, meravigliosamente eseguita.
Exactly right! Enough of the sleepy ones (Richter) or of the eager-to-end-the-chore (Fischer). Just right and no frills. Lindisimo Senor Arrau!
Beautiful!!! Thank you!
Superb!
Es ist so großartig die großen verschiedenen Interpretationen hier zu hören und vergleichen zu können. Jede verdient eine hervorragende Kritik, diese Zeit der Interpreten des Anfang des 20.Jahrhunderts war einfach mit die beste, wenn man da Artur Schnabel, Artur Rubinstein, hier Claudio Arrau oder Edwin Fischer, Wilhelm Kempff, Wilhelm Backhaus und Walter Gieseking, um nur ein paar zu nennen, aufzählt. Sie alle haben eben noch den Geist des 19. Jahrhunderts hinübergeholt, der mit den nachfolgenden Interpreten mehr und mehr verloren geht, wobei ich nicht sagen will, dass die neuen Interpreten schlechter sind, aber ihnen fehlt die Wärme der Natürlichkeit, was wohl mit der Zeit zusammenhängt in der sie aufgewachsen sind.
Out of this world.
Both pianists are great, great pianists. We, as human beings, always DO interpret. Fortunately there are not absolutes. I like both. It is a real pleasure to hear both of them as well as other excellent pianists around the world. However Arrau and Richter are giants. SC Mexico
I saw Arrau perform the Brahms First Piano Concerto in Philadelphia at an outdoor concert in 1972. It made a great impression. Also on the program was the Beethoven 7th.
It is always, I feel, a matter of interpretation, i.e. how we listeners interpret our hearing of the music being performed. It is also a matter of, in this case, the pianist's expression and interpretation of the musical piece he (or she) performs. It is very well that we all are indiviuals. Even musicians (myself included) are individuals and we interpret the music we play in our personal ways. If I(!) were to 'choose' between Richter and Arrau, I would, personally, 'choose' Arrau. Why? My impression and personal interpretation of what my listening tells me, is yet again to my(!) personal preferance Arrau's deep, yet fluent, playing.
I like it very much!!!
Arrau, un gran intérprete. Que orgullo que hayas sido chileno!
Que orgullo que sea latinoamericano..y el mejor pianista de la historia ..
superbe ,, arrau ne nous déçoit jamais ,,il ressentait comme personne la justesse du tempo ,, il se cantonna aux grands classiques , on peut le regretter ,, laissons nous emporter
I luv Schubert, but I felt sheepish, because I could not appreciate this sonata, no matter what...until I heard the magnificient version by the Norwegian pianist...forgot his name. Here is another great version. Arrau doesn't try to dig too deep here. He brings out the beauty & drama without one clashing with the other. Now I could luv & appreciate this masterpiece, everytime. Luv Mr. Arrau's trills in the 1st Movement! Luv to follow the sheet music to this one
❤️❤️❤️!!!
Very good!!!
whenever I listen this arrau´s record water comes into my eyes for things that will never come to my life and then I feel close to Schubert.Not recomended for melodies collectors
just speechless.
this one has more bass than I'm used to, but I like it.
Pianista Chileno Claudio Arrau. Sonatas impecables .
20:25 from The Hunger. Love it every time.
That is also where I first took note of Schubert. Now I cry every time I think of how young he was when he died at 31 but he was very prolific fortunately for us. The producer or music director of The Hunger chose wisely when you think of it.
I just once again listened to RIchter playing the same piano sonata - D.960 - and I am still quite adamant in my views on who might be 'better - (or 'worse?). To my preferance Richter's interpretation is far too slow. Almost standing still...
so's this one!
apparently not. any further ideas of your own? does it still 'break'? have you listened quite a few more times? it's certainly a massive work. Arrau is my favorite classical pianist at the moment. this interpretation sounds good to me, but i really like his interpretations of LIszt's slower introspective pieces. hope all is well. muchas gracias y saludos desde Tokio.
OTRO DE MIS PREFERIDOS, SIEMPRE RESPETA A LA PERFECCIÓN LAS PARTITURAS, NUCA ESTA APURADO COMO OTROS, LA MUSICALIDAD LE BROTA EN CADA RESPIRACIÓN, EN CADA PARPADEO DE SUS OJOS...
El maestro Arrau era un enciclopedista del piano. Estudiaba toda la obra del autor que interpretaba y el contexto histórico en que el autor vivió. Consideraba que, en su tiempo, las sonatas de Schubert era el ultimo desafío de un gran pianista. La discusión sobre el tempo puede ser un tanto superflúa. Richter, en su lentitud, nos aporta una interpretación que toca más a la emotividad del autor que escribe con la muerte moviendo la guadaña sobre su cabeza.
Humanidad.
Richter, Arrau, or... Brendel? De Gustibus non est disputandum, said Brillat Savarin. But there are no meaningful comparisons and certainly no competition. Sviatoslav Richter was Russian, belonging to this enormous pleïade of greatest Russian musicians. Arrau was Richter's near contemporary, he was born in Chile but his training was essentially German, he belonged to the same school of those monsters of the piano like Schnabel or Kempff. Alfred Brendel is much younger, he is perhaps less romantic and he has a more scientific approach to piano music that some may find dry or overly intellectual. However, Brendel approaches Schubert with respect, solemnity and beauty. The music comes alive, less sentimental perhaps, but Schubert may have been romantic but most certainly he was not a sentimental. Brendel shows all the angst, the pain, the proximity of death that pervades this D960 sonata. His renderings are not romanticized but are full of feeling and the music comes through intact, as Schubert felt it. No one is best, it is a privilege of modern technology to be able to hear the transcendent renderings of the three geniuses, one after the other, in a single session at home, surviving the quarantine of our confused pandemic times. Thanks aplenty for allowing us to hear and ponder these samples of Heaven.
Not to forget Badura-Skoda, Demus, Gieseking, and a lot of other good piano players.
@@Piflaser You are quite right. I especially liked Paul Badura-Skoda when I was younger. And more recently I have added Tatiana Nikolayeva, Emil Gilels, Glenn Gould, Mitsuko Uchida, Martha Argerich, Yuan Sheng, Rosalyn Tureck, and so very many stupendous pianists. Sadly, we will never hear Mozart, Beethoven, Bach, Liszt, Chopin.
Tatiana Nikolaieva made live recordings witch are pure shit and recordings witch are pure gold. Much better than Glenn Gould, with the same precision but with much more life in it.
@@Piflaser Agree on both counts.
Arrau, quite behind Brendel and far away Richter....
Ich konnte mir, vor allem bei der doch etwas statischen Interpretation von Richter, diese Sonate nie orchestral vorstellen, sie blieb immer ein Klavierwerk. Bei Arrau öffnet sich ein Kosmos der Orchestrierung und man vernimmt plötzlich verschiedene Orchesterstimmen. Ein ungeheurer Vorgang einer polyphonen Hernangehensweise, bei diesem großen Pianisten ist selbst ein Akkord noch 'eingefrorene Polyphonie'.
Einmal mehr verschlägt es einem die Sprache beim Anhören dieses einzigartigen Musikers!
brendel is far too serious in this especially Schubert sonata, Arrau tone is soothing to all human living!
Thank you for posting this. I do have a question for all people reading this. Arrau played this piece as far as i know in 1965 in Paris, London, Buenos Aires and New York. Does anyone know any details about this and does anyone possibly have a copy of a radio broadcast of the Schubert D 960 live by maestro Arrau?
Kind wishes
Ewout
sehr schoen gesagt. richter hat die tiefe von arrau nicht.
I love just about anything Mr. Arrau does. However I have to admit my favorite Liszt Sonata in b-minor now is Khatia Buniatishvilli. Breathtaking power..
Try to listen the one by Fleisher...on youtube you can find just the first movement. I love it :)
Very very very good !! But I still prefer Brendel.
It depends on the personal taste. I must say Arrau had a good feeling for Schuberts musik.
Very very difficult to choose between Arrau and Pires !
Thanks for the recommendation (I've been listening to recordings by Clifford Curzon, Artur Schnabel, and Sviatoslav Richter - found the first two mentioned to be the most convincing), as others here have commented, Arrau never lets you down!
The sonata's in B-flat. Opus No. (posthumous) believe is correct.
20:15
Arrau era muy respetuoso de la partitura y de las indicaciones del autor y un estudioso del contexto de cada obra que interpretaba. No obstante, creo que la versión lenta de Sviatoslav Richter cuadra mejor con las circunstancias en que Schubert escrbió esta sonata, y el quinteto con dos cellos, es decir, con la muerte moviendo la guadaña sobre su cabeza.
I am starting to think this is the first musical piece break out of a narrative/sonto and creates a musical juxtaposition for an emotion affect. But it breaks, badly... maybe I need to listen quite a few more times. Any comments?
enough also of the "ever etheral"......among many others.
Ok ok ok ok
It's a bit confusing since the headline says that Arrau is playing this piece, but the listing underneath says that Leif Ove Andsnes is playing it. That should cause a lot of these bloggers to re-examine their opinions of what they are listening to.
Cyril Price It is Arrau. I have the original lp.
From the tone production, the phrasing and the warmth it is obvious that arrau is the pianist
Arrau HUMANIDAD de acuerdo con DeadlyLoop1
23:40
well the copyright law refers to the ability to make money on one's work. Since this person is not making money, it is not infringing on the copyright.
@peteklat: the most authentic/di.rect way to exptess "loneliness"...disconnected to other people...
This performance is excellent but I prefer Richter's version from 1977. And it is probably due to Enigma movie and its indescribable impression it has made on me.
for my taste too fast which eludes the emotion of the piece. Richter's interpretation is the definitive in my view. No disrespect to Arrau who is a legend in his own right especially with mozart.
Pedal im 1. Teil des 2. Satzes ist zu kompliziert.
Man spürt die Absicht und ist verstimmt.
Dadurch geht auch das Andante verloren. Es bleibt nur das sostenuto.
"No copyright infringement is intended"? Well, that's fine then. Makes about as much sense as firing a machine gun at someone's head from point blank range while stating that no murder is intended.
cziffra1980 are you familiar with the fair use clause that pertains to copyrighted material? if one is using copyrighted material for non-commercial purposes, they must say that they don't own the material (a copyright disclaimer), and they recognise that some other party may own the copyright. the statement, 'no copyright infringement intended' implies that information, i.e. that some party may own the copyright of this recording, and the person who uploaded this video does not own the copyright but is using the recording for non-commerical purposes. the video is still up, the uploader still has an account, so there is no problem with using this recording in such a way. besides, el Maestro Arrau doesn't mind because he's been dead for nearly 24 years, may he rest in peace, and is now strolling the Halls of Valhalla with Bruckner and the other musical geniuses of days gone by. and sharing this music via this video is the only way that most people would ever learn about the greatness of those musical giants of the past.
Ahem, fair use does not allow for making copyrighted materials freely available to the world without permission. I'm not judging the morals of copyright issues- but commenting on the fact that saying no breach of copyright is intended (while making the most explicit breach of copyright possible) is a pretty pointless statement to make.
I'll leave the technicalities to others. I can only say "Thank God for CZcams and those who post such wonderful musical performances so others can familiarize themselves with them".
This is nonsense. Downloading things illegally isn't commercial either. Broadcasting copyrighted material to the whole world through a public video is always breach of copyright. Anyone who thinks a few words absolves them of legal responsibility is having a laugh.
I agree with you there, youtube magical, as is this lovely version of beauty.
Affected opening bar. Much too heavy in middle range of piano at opening. Not on the inside of the music.
Richter and Brendel sound brighter than Arrau. The base of Arrau's playing this piece sounds like an old man crippling. In some sections, Arrau sounds more sentimental than others.
+GoodESP Justice See you the musical score. After it, you will understand.
Tiene razon Neil Colledge, la de Richter es la mejor con diferencia.
Arrau , Richter , amateurs compared to Brendel , almost like they are site reading the piece , Arrau very choppy, clunky , arrhythmic , Richter's version , far too slow, loses all forward motion from the start , and certain accent's out of place .... hard to listen to either one very long especially when we have a Brendel to give us an interpretation without all these affectations and misunderstanding and poor feeling of the flow and direction of the piece, to communicate the true spirit of this music ... and Brendel is absolutely correct in leaving out the incrogruency of the Schubert's repeat , which was more meant for the the day and age this piece was written as people didn't hear this often or had other entertainments
Discerninator Have you ever listened to Radu Lupu's or Leon Fleisher's ?
I heard Brendel a number of times in my youth, growing up in Chicago, and Arrau as well on a number of occasions. I can't comment on the interpretation of this particular sonata comparing the two. OK that you are a fan of Brendel, I never appreciated him in the recitals that I heard in Orchestra Hall in Chicago. But then again, he was in comparison with Rubinstein, Gina Bachauer, Andre Watts and Arrau ...
Again, reliving my memories of Brendel in response to your comment. Brendel looked like a dead fish and played like a cold fish. Maybe he is more convincing on the recordings. And by the way, it's "sight reading", not "site reading".
Listen to the interpretation of Artur Schnabel, from whom Brendel took much advices. But the more modern interpreters lack the warmth of sound that still had something of the 19th century spirit.