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작성자지구수비대 조회 17회 작성일 2022-07-31 15:21:59 댓글 0

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Evgeny Kissin: Schumann - Sonata No 1 in F# minor, Op. 11

Live recording from the Chorégies d'Orange - Frankreich, 2002
Evgeny Kissin - piano

Robert Schumann - Sonata No 1 in F# minor, Op. 11

0:13 First movement: un poco adagio, Allegro vivace
11:27 Second movement: Aria (Senza passione ma espressivo)
14:51 Third movement: Scherzo e Intermezzo: Allegrissimo - Lento alla burla ma pomposo - Tempo primo
19:16 Fourth movement: Allegro un poco maestoso

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Click here for Evgeny Kissin playing the Bach Cantata BWV 564:

Oudtshoornify : Very deep into the keys, a great Russian style of playing, and I loved it. Kissin amazes me because he is always simply himself, deep into the music without showmanship.
Jack Curley : One of the most underrated sonatas from the romantic period!!
Su-Chen Beckett : So in love with this Sonata, especially when listening to Kissin's performance ! Cannot stop playing this video repeatedly. Su, Scotland, 2021-07-10-Saturday 01:50 AM
Roxanne Cheatham : Beautifully executed, brilliant pianist. Moving and emotional dynamics throughout.
Carlos Lima : Kissin dispensa comentários. Ele é o cara há mais de vinte anos. Virtuosismo supremo.

Schumann: Sonata No.1 in F-sharp minor, Op.11 (Perahia)

A sonata which illustrates beautifully Schumann’s narrative approach to the form, featuring typically vivid flights of fantasy bound together by the device of a falling perfect 5th. The falling 5th is first heard in the LH in the introduction [and is highlighted at 1:17 and 1:23], before it opens the main body of 1st movement [2:37] (with constant recurrences - 2:56, 3:00 etc). The 2nd movement unfolds over a sustained 5th in the bass, while the melody is punctuated by falling 5ths in the LH [12:56, 13:03, 14:29 etc], still with the same insistent dotted rhythm. In the 3rd movement the falling 5th appears in the LH at 16:04, and in the 4th movement the dotted falling 5th features prominently in the second theme: 19:56.

00:00 -- Mvt 1. Featuring an extraordinary introduction, with a melody fully formed enough to be considered a self-contained entity. Even when the introductory theme returns at the centre of the ensuing Allegro [9:15!], its reappearance seems to be an interruption, a sudden space opening in the midst of profound violence. In reality, of course, the introduction is a startlingly original bit of long-range anticipation, since its falling 5ths bind the whole work together. Note also the rapid harmonic turns of the allegro, and the way the falling 5th is absorbed into the ornamentation.
12:37 -- Mvt 2, Aria. Based on a song Schumann wrote when he was 18. It is significant that the falling 5ths were not in the original. Liszt singled out this movement for special praise, calling it ‘a song of great passion, expressed with fullness and calm’.
15:22 -- Mvt 3. A scherzo with two trios. The first quasi-trio's opening bars are underpinned by the 1st movement’s ‘rocking’ fifths motif, played pianissimo leggierissimo. The second trio ('Intermezzo') is a lovely parody of a polonaise, and Schumann marks it, appropriately enough, Alla burla, ma pomposo. There is a further surprise in store before the scherzo returns: a recitative, with a lone oboe rudely silenced by the whole orchestra, before the scherzo returns *at the wrong pitch* —a typically Schumannesque touch.
19:33 -- Mvt 3, Finale. A sonata-rondo featuring some pretty cool textures: tremolos mimicking a crescendo over a drum roll; a staccato passage near the close, marked quasi pizzicato; tutti chords punched out at top speed [22:17]. Notice how Schumann, with wicked inventiveness, pushes a duple-metre theme into the strait-jacket of three beats to the bar: rhythmic playfulness was one of the hallmarks of his style. The dramatic differences between this movement's two themes mirror the characters which Schumann quasi-allegorically adopted when composing: Florestan and Eusebius (representing the more turbulent and reflective sides of his character respectively).

Perahia handles the interpretative challenges of this difficult work extremely well: the rhythms are vital and intense, the knotty passages clear, the contrasts sharply (but not schizophrenically) outlined, and there is a clear sense of a coherent whole (often difficult to achieve in Schumann).
rick holt : This is one of the most under-rated sonatas in the romantic repertoire . Its sumptuous texturally yet relatively simple structurally. Very intimate and understated. And the 2.5 minute introduction is the epitome of profound melancholy and yearning,
Javier Garcia : Finally I started to enjoy Schumann's music. It took me a while! Thanks for sharing his works!
Can Hacıoğlu : 2:37 Mvt 1: Allegro vivace
9:00 Tema tekrarı
12:37 Mvt 2: Aria
15:22 Mvt 3. Scherzo
17:15 Intermezzo
19:33 Finale
Seth Jeppson : 21:41 to 22:09 is just awesome
Thomas Blair : Nothing like it before or after Schumann. Incredible musical "screenplay."

Schumann - Piano Sonata No. 1 (Maurizio Pollini)

Robert Schumann - Piano Sonata No. 1 in F-sharp minor, Op. 11, "Grosse Sonate"
Piano: Maurizio Pollini

0:00 - Introduzione: Un poco Adagio - Allegro vivace
12:04 - Aria
15:13 - Scherzo: Allegrissimo - intermezzo: Lento
20:25 - Finale: Allegro, un poco maestoso
feng li : It was performed at the peak of Pollini's piano performing career and is also the best version of the piece.
Liam Dugelay : Incredible performance, best of all
H dR : After the first 9 notes you know this will be majestic
Gérard Begni : This sonata is in itself a great masterwork. This is obvious from the very first measures of the introduction, which are more than promising. Pollini shows us that he will meet this challenge as soon as these first measures. This is a masterly interpretation of this great sonata.
Pierre Henri Pontac : Fabulous ..the best sonata by the best pianist

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