Beethoven: Complete Violin Sonatas

[@archiejones5879]

I think Kristof and Klara are a wonderful duo together. They sound as though they are having the time of their lives making beautiful music together. Bravo!!!

[@marazulization]

The music of Beethoven is my soundtrack for sad days, happy days, everything in between my life and death, this is specially an amazing performance ! Makes me happy to be alive, thank you so much.

[@edwardlobb931]

This is an extraordinary contribution to the world of Beethoven, thanks to your amazing combined artistry.

[@d7ario]

De acuerdo muchisimas gracias por este aporte

[@davidtuggy1617]

Stellar performance by both players. I could listen to them all day. (And Beethoven all day, of course!)

[@SabineRizvi]

00:00:00 Violin Sonata No. 1 in D, Op. 12 No. 1: I. Allegro con brio 00:08:01 Violin Sonata No. 1 in D, Op. 12 No. 1: II. Tema con variazioni 00:14:45 Violin Sonata No. 1 in D, Op. 12 No. 1: III. Rondo: Allegro 00:19:01 Violin Sonata No. 2 in A, Op. 12 No. 2: I. Allegro vivace 00:25:02 Violin Sonata No. 2 in A, Op. 12 No. 2: II. Andante, più tosto allegretto 00:30:02 Violin Sonata No. 2 in A, Op. 12 No. 2: III. Allegro piacevole 00:34:45 Violin Sonata No. 3 in E-Flat, Op. 12 No. 3: I. Allegro con spirito 00:42:49 Violin Sonata No. 3 in E-Flat, Op. 12 No. 3: II. Adagio con molt’espressione 00:48:15 Violin Sonata No. 3 in E-Flat, Op. 12 No. 3: III. Rondo: Allegro molto 00:52:12 Violin Sonata No. 4 in A Minor, Op. 23: I. Presto 00:59:08 Violin Sonata No. 4 in A Minor, Op. 23: II. Andante scherzoso, più allegretto 01:06:08 Violin Sonata No. 4 in A Minor, Op. 23: III. Allegro molto 01:10:57 Violin Sonata No. 5 in F, Op. 24 ‘Spring’: I. Allegro 01:20:03 Violin Sonata No. 5 in F, Op. 24 ‘Spring’: II. Adagio molto espressivo 01:25:35 Violin Sonata No. 5 in F, Op. 24 ‘Spring’: III. Scherzo: Allegro molto 01:26:36 Violin Sonata No. 5 in F, Op. 24 ‘Spring’: IV. Rondo: Allegro ma non troppo 01:32:46 Violin Sonata No. 6 in A, Op. 30 No. 1: I. Allegro 01:39:37 Violin Sonata No. 6 in A, Op. 30 No. 1: II. Adagio molto espressivo 01:46:31 Violin Sonata No. 6 in A, Op. 30 No. 1: III. Allegretto con variazioni 01:54:02 Violin Sonata No. 7 in C Minor, Op. 30 No. 2: I. Allegro con brio 02:01:09 Violin Sonata No. 7 in C Minor, Op. 30 No. 2: II. Adagio cantabile 02:09:48 Violin Sonata No. 7 in C Minor, Op. 30 No. 2: III. Scherzo, allegro 02:13:01 Violin Sonata No. 7 in C Minor, Op. 30 No. 2: IV. Finale: Allegro 02:17:39 Violin Sonata No. 8 in G, Op. 30 No. 3: I. Allegro assai 02:23:23 Violin Sonata No. 8 in G, Op. 30 No. 3: II. Tempo di menuetto 02:30:56 Violin Sonata No. 8 in G, Op. 30 No. 3: III. Allegro vivace 02:34:08 Violin Sonata No. 9 in A, Op. 47 ‘Kreutzer’: I. Adagio sostenuto - Presto 02:47:01 Violin Sonata No. 9 in A, Op. 47 ‘Kreutzer’: II. Andante con variazioni 03:01:23 Violin Sonata No. 9 in A, Op. 47 ‘Kreutzer’: III. Finale: Presto 03:09:42 Violin Sonata No. 10 in G, Op. 96: I. Allegro moderato 03:19:48 Violin Sonata No. 10 in G, Op. 96: II. Adagio espressivo 03:25:05 Violin Sonata No. 10 in G, Op. 96: III. Scherzo: Allegro 03:26:54 Violin Sonata No. 10 in G, Op. 96: IV. Poco allegretto

[@michaelcappette6072]

Simply Magnificent!

[@seasamesea]

Sa Ri wow

[@lydiahuang7115]

thank you so much

[@liskjr5011]

Violinsonate nr 1

[@liskjr5011]

Violinsonate no 1

[@guillermomiranda9703]

This couple of young virtuosos have made a truly wonderful interpretation of these Sonatas in a way that seems like a magic teleportation to Beethoven"s lifetime and perhaps listening in that cloud-like reality to Ludwig himself playing the violin and to a piano advanced lady student of the Msster.....it has been exhilarating !!!..

[@shibamusique]

Timeline No.1 in D Major(0:00) No.2 in A Major(19:01) No.3 in Eb Major(34:45) No.4 in a minor(52:12) No.5 in F major(1:10:57) No.6 in A Major(1:32:46) No.7 in c minor(1:54:02) No.8 in G Major(2:17:39) No.9 in A Major(2:34:08) No.10 in G Major(3:09:42) It's Just based on the first movement!!😮

[@ACELog]

Bought this in 2018 via Amazon. A really lively performance! And that's what Beethoven intended!

[@daviddouglass]

My compliments to our two performers! Although they aren't big names and are on a budget label, I find the music going beyond technical excellence (which is common these days) to being heartfelt, alive, and musical.

[@SirZafiro]

Baráti at least is quite a big name I'd say, specially in Hungary.

[@attilacsutaklva4175]

Würtz Klára as well. She is quite a "big name", not only in Hungary.

[@andorsagi]

My heart is full of gratitude for this awesome, free music ❤

[@brigittestewartkaufman673]

What an amazing cooperation, in sound, atmosphere, so equal and mutually understanding. Love it! Kudos to these artists.

[@fionmcordeliomarmol1871]

-in a single, undeviating, irresistible outpouring of all the forces of my life

[@renaudpontier]

Toutes ces sonates sont merveilleuses mais la dixième dans son dernier mouvement est vraiment extraordinaire. Il commence de façon assez vive puis il y a un ralentissement, une sorte d'alanguissement extrêmement poétique avant une conclusion qui retourne à la vivacité initiale. Le dernier Beethoven était d'une totale liberté, d'un génie magnétique vraiment très en avance sur son temps.

[@Rx-mn5fv]

So good! So good! A marvelous companion for the human spirit!

[@tiborweil4033]

Excelente interpretacao, ambos artistas de grande valor. Parabéns ! Gostaria de convida-los para o Brasil.

[@2Hot2]

I was going to listen to the version by Oistrakh and Oborin for the millionth time but I'm glad I changed for once because your interpretation is fantastic!

[@stonefireice6058]

I would stay with Oistrakh/ Oborin, but we need to discover new voices, new takes on too familiar compositions. I love Klara Würtz, love her takes on Schubert, Mendelssohn, Schumann, she is one very talented young lady! I have to find more of Barati’s performances though, but he sounds very promising.

[@IvanGreindl]

Interprétation et prise de son exceptionnelles ! On peut s'interroger sur le fait que le piano semble nettement dominer le violon, rappelant l'éternel dilemme : sonates pour piano et violon ou pour violon et piano ?? C'est un privilège de découvrir ici, le talent de Madame Würtz. *Son interprétation ne semble avoir rien à envier à celle, intemporelle de Mme Clara Haskil* . Merci aux deux artistes pour ces merveilleux moments ! 👏

[@maitan98]

From 02:50:01 to 02:52:00, it is upmost refined, touching, elegant, beautiful.

[@Traylortrio]

U know I didn’t really think I’d enjoy classical music . Even though I can pretty much listen to anything but here we are few hours in . And I’m vibing

[@jeanlecomte5131]

Nous touchons ici au meilleur de Ludwig, au plus parfait de ses compositions, quel génie ce Beethoven ! Grâce aussi aux deux artistes parmi les meilleurs que sont Kristof Barati et Klara Wurtz, quelle subtilité dans leur jeu, quels accords parfaits entre eux, Magnifique ! On ne se lasse pas de les écouter et de les écouter encore ! Félicitation à tous les trois, Beethoven puisse-t-il m'entendre ... Un régal, mille Mercis à vous les interprètes !

[@_sanmaul]

The chords are just magnificent!

[@corneliahalapciuc9462]

Amazing how much I liked to listen this brilliant of classical music!

[@shin-i-chikozima]

These music have a healing s effect, and a panacea for the soul

[@alvarogarciabarbosa3199]

My most beloved is number tenth and you, guys, play it great. I had to repeat 1st movement 3 times.

[@clintjones9848]

Really digging the chamber music. The solo piano performances were pissing me off to all hell with their constant time and inflection changes. An ensemble has to actually keep time.

[@astrojoey44]

Beethoven, beautiful and relaxing. He makes one conducive to learning.

[@oliviermoulin1178]

Superbe interprétation, pleine de sensibilité. En particulier, l'adagio de la sonate "le printemps" est une splendeur. On ne peut que regretter que les imbéciles de KZbin entrecoupent certains morceaux de réclames détestables. Le mauvais goût des Américains dans toute sa splendeur ! Il devrait être interdit à ces gens de s'occuper de musique !

[@konradnibler5024]

Grazie per la presentatione. Che bella musica, questa musica e un tesoro eterno. Bellissima Interpretazione, grazie maestra e maestro, grazie. Un miracolo

[@musicanovas6]

🙏🏽🧡 .I am praying for everyone who needs a Miracle. Only God can do the impossible, He can make a way when there seems to be no way. Today I pray God touches your health, your home, your family, your faith, and your finances. God bless you Amen!

[@boedisusetyo303]

I love ❤ Beethoven...

[@josecastillopastor67]

7:28 7:29 🎉

[@GalinaMartinova-dx7xt]

I adore Beethoven!!!

[@stephanebelizaire3627]

Wonderful Music Forever !

[@GalinaMartinova-dx7xt]

Bravo! Wonderful performance!

[@coralreef909]

Sonatas for piano and violin I’m off to Vienna to rehearse four programmes of Mozart’s music which violinist Erich Höbarth and I are playing this season in Perth Concert Hall, Scotland’s newest concert hall (our first concert is on November 11). We’re tackling twelve of Mozart’s sonatas for piano and violin. Piano and violin, I hear you say? Isn’t it ‘violin and piano’? Well, not according to Mozart who called them ‘sonatas for piano and violin’. In his letters, he mentions playing the piano parts himself ‘with the accompaniment of a violin’. That was how they were perceived until the nineteenth century and the age of the celebrity violinist, when things flipped around. These works, and many others like them, started to be listed as ‘violin sonatas’, and the piano part was suddenly ‘the accompaniment’. Even today the violinist is often the one with their photo on the record cover, the one whose name is in bigger font in the programme, or the only one whose name is mentioned at the end of the radio broadcast. Why does this matter? It matters because the re-labelling tricks people into perceiving things falsely. They expect the violin part to be the leading voice, when in fact the meat of the musical narrative is in the piano part. If you approach these works expecting the violin part to be pre-eminent, you experience a kind of cognitive dissonance as you listen: often the violin is doing something quite modest, and you sense that the piano part is full of interest and information, but you don’t understand why such prominent material should be relegated to ‘the accompaniment’. The answer is that it isn’t an accompaniment. If you switch to hearing the music as piano with violin, everything falls into place. Of course you still need an excellent violinist, and perhaps even more importantly, an excellent musician, both of which I’m fortunate to have. With more historical awareness, and with the intervention of a few strong-minded pianists, things are beginning to move back to Mozart’s original concept of ‘sonatas for piano with violin’. If you look up all the available recordings on Spotify, you’ll find about half of the duo sonatas advertised with the pianist’s name first, the other half with the violinist’s name first. This shows the confusion around the topic. It’s clearly a situation in transition, but at least there is movement. Liked this post? Subscribe to the RSS feed for more of the same!

[@jjjjjjjj7n]

Thank you for the clarification, I came here after listening to Vivaldi's Violin concertos and was a little puzzled expecting the violin to take more of the lead role. It's very interesting how perceptions of something like this can alter music through time.

[@tbarrelier]

Wouldn't all of this be rectified by calling them "sonata for violin AND piano"?

[@ihaveacoolnickname]

You are correct about violinists being celebrated more but you are perpetuating a different kind of misunderstanding and in fact, both perspectives are incorrect. Beethoven's works in particular are wonderfully balanced with neither instrument being dominant. I would know as my brother and I have played several of them. I think you are perhaps a bit misguided in your approach to Mozart as well. As a duo, we should attempt to communicate together as a whole, not two competitors.

[@jorgecolomo5363]

I appreciate your clarification.- Thank you very much.-

[@remuspierre]

These songs sounds good on the piano

[@HL-qi7rh]

1. 4:53 2. 22:09 3. 39:10 4. 54:11 5. 1:15:38 6. 1:36:09 7. 1:56:04

[@jackelinemedinayauri4685]

Magnífico mi instrumento favorito y mi compositor que siempre me saca lágrimas de emoción como

[@centrodeapoyoalamujeryalan825]

La sonata primavera, se escucha genial, alucinante, increiblemente hermosa. Gran, gran Beethoven, excelentes ejecutantes!! Que más se puede pedir en la vida, sí puedo escuchar esta maravilla musical.....!!!

[@silviarichards6600]

Estas sonatas están interpretadas con mucho sentimiento y por eso extasían..Gracias a los interpretes y a Brillant Classics

[@milonguyen1616]

Bravo! Excellently played!

[@richardcleveland8549]

Ah, now at the "Kreutzer," which is wonderfully dramatic! A wonderful trip through Beethoven listening to these.

[@richardcleveland8549]

Ah, dear CM . . . another exquisite ad seriatim performance! I love these sonatas, the interplay of the instruments, the cheerfulness of many of these. These young people are excellent. This popped up right after the LvB quartets . . . I didn't have to think about it at all! Merci beaucoup!

[@Zamal512]

This is so beautiful, Thank you! I just can't stop listening.

[@fareedshah4417]

Beautiful, refreshing and spontaneous .The violin has quite a mellow tone-I wonder what make it is?

[@BrilliantClassics]

Kristóf Baráti plays on the 1703 ‘Lady Harmsworth’ Stradivari, kindly loaned by the Stradivari Society of Chicago.

[@rsjmd]

Thanks for that info BC. FWIW, some blind tests of various respected listeners from all areas of music listening to Strads vs modern instruments indicated listeners actually "preferred" modern instruments. I know...I didn't see the testing, but it was reported somewhere.

[@coralreef909]

The Sonata for piano with the accompaniment of a violin or cello. Piano sonata with violin obbligato. The violin in a subordinate role of the dominant piano. Pascoe spent rather more time worrying about today’s balance between violin and piano in music of the classical era than he did explaining that the violin sonatas of Mozart and early sonatas of Beethoven were written at a time when the roles of the two instruments were genuinely the opposite of what they are today. Witness Mozart writing to his father in April 1781 about a concert that included three new works: “A rondo for a concerto for Brunetti; a sonata with violin accompaniment for myself, which I composed last night between eleven and twelve (but in order to be able to finish it, I only wrote out the accompaniment for Brunetti and retained my own part in my head); and then a rondo for Ceccarelli”. And George Bridgetower, who gave the first performance of Beethoven’s concerto-like Kreutzer Sonata, referred to himself as having “accompanied” Beethoven at the piano, rather than the other way around. Brahms revisited the old style when he came to write his sonatas for violin and piano. Only in his late clarinet sonatas does the piano get second billing. The composer’s clear distinctions, however, are rarely heeded by performers today. So why do modern players typically treat the violin as being more important than the piano in works that Mozart and his contemporaries viewed the other way around? Well, the late 18th-century was awash with music that no one pays any attention to today, written for keyboard with dispensable accompaniments for other instruments. The unequal division of labour that made these works so attractive to the amateur players of the time is the very feature that renders them of little interest to professional performers today. The accompaniments, written to be graspable by players of limited ability, are often bland and inconspicuous. Contemporary accounts suggest that the more demanding keyboard parts were intended for the daughters of well-heeled families, for whom music was expected to help in finding a husband, the accompaniments for the sons, for whom music was less important.

[@coralreef909]

Mitsuko Uchida and Radu Lupu have recorded the complete Mozart Sonatas for Pianoforte with accompaniment of a violin and Alfred Brendel and Glen Gould have recorded all the Beethoven Sonatas and variations for Pianoforte with the accompaniment of a Obligatory violoncello. Mitsuku Uchida has given a firm explanation of Mozart’s intentions for his accompanied Keyboard sonatas saying that modern performers mistakenly try to present them as violin pieces when in fact they are predominantly keyboard compositions with obligatory violin and in some cases an ossia violoncello part. Most of the virtuosic writing is heavily concentrated in the piano part leaving little doubt that these are in fact display pieces for the Pianoforte with an accompaniment for a stringed instrument. Sometimes a transverse flute could be substituted for the violin. Even Japanese violinist Midori herself has tried to explain the violins role in Beethoven’s duo sonatas with regard to the fact that these compositions are very much keyboard driven in texture and layer of sound. They were first presented by the 20 year old Beethoven when he first made his debut in Vienna as display pieces to showcase his own virtuosity. His opus 12 sonatas are very evident of this.

[@apece70]

Ante tanta belleza solo se puede decir ¡gracias!

[@ghostsofbeauty.9346]

1:54:02. wonderful. i love ur piano playing sweetheart..

[@janetmackinnon3411]

Such a good performance! Thank you.

[@gerardbegni2806]

It is quite interesting to have the complete set of these sonatas, which range from the so-called 'first manner" to the period when the 'third manner' was maturating.

[@gerardbegni2806]

@Cringe Commander Why do you say that? It is a fact that most of these sonatas are quite underrated, except of coiursethe Numbers 5 'Spring' (with its quite mozartian style) and 9 (quite typiicak of powerful 'second manner' compositions). The three sonatas op. 12 arequite underrated, while some compositions of the so-called 'first' period are loves by litsners. The 4th sonata as quite intersting characters of its own, and it wuld be quite interesting to ompare the vilolin/piano sonatas of op. 30 to the much more famous piano sonatas of op. 31,. The last sonata in G is a rather Strange comppsition for its date, which in may mind present an original trabsition v between the stles of the so-called 'second' and 'third' manners.

[@militaryandemergencyservic3286]

I thought you were going to write a completely different word at the end there...

[@juandiegofigari7010]

None of his violin Sonatas are from his 3th period

[@gerardbegni2806]

@@juandiegofigari7010 First of all, the boundaries between the so-called "periods" are always fuzzy. Second, read carefully what I wrote.: "original transition v between the styles of the so-called 'second' and 'third' manners". The G ajor last sonata is quite different from , let us say the so-called Kreuzer sonata". Read carefully the score; the style is lighter, the tonal , rhythmic and stylistic transitions are much sharper. You can say the sale about the cello sonatas 4 & 5 op; 101, which bring in addition the 'fugato' style, which does not exist in the 10th Violin sonata in G. Also the 'Archduke' trio is quite typical of this transition period. The third manner is - among other features - marked by such a sharp style, Consider for instance the o ORIDINAL version of quartet XIII in B. The scherzo-like sections are quite simple, in a quasi-popular style, which is more or less anticipated in the 10th violin sonata in G, while the finale is the "grosse fugue", a very dense and harmonically complex movement, which was not at all understood in all the XIXth Century and also a part of the XXth century. But for instance, Bartok's harmonic language (read Lendvaï analyses) are quite similar to tonal architecture in that "fugue". Think also about the alternances between recitative cavatina and fugal (rectus / inversus) sections in the Ab major sonata/ Look also how in the Diabelli Variations op. 120, some contrapuntal finesses like mirroring voices are expressed through a very simple language - basically major chords. The third manner is a quite complex mix between simplicity and top-level modern writing. The is does b not come from nowhere. There were a lot of (unconsciously) preparatory works like that violin sonata or the Archduke trio. But even more surprisingly, you can find in the so-called first manner some writings which ss eem to prepare the third manner (see sonatas op. 6 and op. 27 n°1) which was masked for at least two decades by the quite different "second manner" style. . But I agree with you: "stricto sensu", the 10th violin sonata in G is definitely not a "third style" sonata. Like my many works by Beethoven, it is a quite surprising work, which cannot be firmly stored in a box. Another strange example is the op. 57 "Waldstein" sonata. Beethoven replaced the very classical splendid 'favorite andante' by a sort of wandering in unknown musical landscapes which clearly anticipates the introduction to the final double fugue of op. 106. A typical anticipation of the'third style' into a work which can be quoted as an emblem of the 'second style' . Cheers !

[@aspis6397]

I look forward to many more performances from these two.

[@josefranciscosilva2560]

BEETHOVEN, o melhor, o maior de todos os compositores de música erudita de todos os tempos. Todas as suas composições estão num patamar inalcançável por quaisquer outros compositores.

[@bryanryan4504]

True. Verdad.

[@ivopicco5922]

con queste meravigliose melodie penso a voi con infinita malinconia,adorati nipoti,Riki Martina,Carola

[@ArthurSmoot]

Very nice, extraordinarily clear and well-articulated performances from both musicians. Balances between the violin and piano are fairly natural (as opposed to the norm of having the violin too closely miked.) A "bravo" goes to the recording engineer, too. Both musicians have exemplary technique and musicianship. Some of the passages, like the violin's 8th notes near the end of the last movement of the 4th violin sonata, are played more cleanly than I have heard them in any other recording. I'm going to buy the set. It'll will supplant the Francescatti/Casadesus set that I grew up with as my favorite. I'd love to know what Mr. Barati is performing on. It sounds like an early Strad or another classic Cremonese instrument. (PS: Did a search: He plays the 1703 “Lady Harmsworth” Stradivarius.)

[@zvezdinki7998]

Arthur Dent or, you are violins master?

[@ArthurSmoot]

I wouldn't call myself a master, but I do a lot of performing of classical music.

[@zvezdinki7998]

What is it!??? You are not player and not master of creating violin... performance is not professional as I suppose!

[@djw6430]

Arthur Dent. Since you appreciate the balance between violin and piano, may I suggest you listen to a Nathan Milstein - Georges Pludermacher recording. Especially, but not exclusively, their "Spring" and "Kreutzer."

[@craigswinstead9166]

Perfectly gorgeous ❤. Thank you.

[@류순열-h6i]

아름다운 연주곡 잘 들었읍니다~감사합니다~🎵🎻🎹🌿🍀☘🌹🌹☘🍀🌿❤❤

[@shell1951]

Beautiful interpretations! Thank you

[@dasilvaaraopereira]

Wonderful. Thank you for sharing.

[@jesuspereira2366]

Un verdadero placer escucharlas.

[@HelenaWilliams8696]

MORE than three hours of ETERNAL BLISS... ETHEREAL

[@mechanicaldidgeridoo5741]

Such beautiful music - such wonderful playing! Thank you so much!

[@alvarito45]

Sehr gutt Klára und Kristóf.

[@tyla8759]

2:34:08 is my favorite song out of all of these. I want to play it some day but I’m not at that level 😂

[@sanijansen8070]

piece*

[@kmc7239]

ufff!!! belleza! musicalidad, arte, talento...

[@VMOjeda1]

Estas maravillosas 10 sonatas las puede uno escuchar una y otra vez, desde la primera a la última son muy completas, la Kreutzer es el Everest , pero cada una tiene algo que te atrapa y tienes que escucharlas todas. Por momentos esta interpretación me parece algo rápida, pero en general me gusta

[@henrylopez9292]

THE MUSIC CLASSIC IS UNIVERSAL, RELAJA, ARMONICE.

[@anazitti550]

solo amor gracias en estos tiempos de pandemia

[@tgunersel]

Thank you both so much. Thank you three so much -including Beethoven :)

[@kawachinnivardo]

¡Brillantes y prodigiosos artistas jóvenes! "Kreutzer" excepcional ejecución.

[@moimeyo2804]

No.5 in F major(1:10:57)

[@ベーゼジェノ]

I Read the Explanation for the Artist of the Violin Kristof Barati as the British Top-3 Prize Winner of the Elizabeth Competition when He was 18 Years Old and the Very Thing of Moscow ♪♪♪ Indeed His Playing the Violin is Beautiful Right and Elegant and Sometimes Kindly Simple ！！！ They are Brilliant Nice and Charming♪♪♪ By The Way This Complete Violin Sonatas Has the Various Kinds of the Beautiful Notes As the Violin Playings for Me ！！！ Of Course It Is Beautiful Nice ♪♪♪ Then The Violinist Kristof Barati and The Pianist Lady Klara Have Their Beautiful Right and Elegant and Sometimes Kindly Simple Playings of It ！！！ This Is the Beautiful Nice Collection for Me ♪♪♪How Charming Beautiful Nice The Violin Sonatas Also Is ！！！

[@ベーゼジェノ]

Thank You for Your Kindness and Charming Heart Mark ♪♪♪

[@luisalfonsodiaz156]

EXCELENTE INTERPRETACIÓN. NO TIENEN NADA que ENVIDIAR a los LEONES del PODIO. SON MARAVILLOSAMENTE MUSICALES y ESO ES EL FACTOR que LLEGA al CORAZÓN.

[@arnoldchang9246]

6o7o7o7⁷ioioioi6ioooio7i7ioi777ooo7⁷oi7ooo76iooo7o77o7ooi6o>⁷i⁷io7>i676i7pi66oi6i⁷7o77676o76777777777ii7>o67o676o7o67ìķm*.bngbg;bbhhh

[@akira1509able]

Thank you for posting this.

[@davi2012rj]

Obrigado, muito obrigado! ❤️

[@violinistaamorim520]

🎹🎻gratidâo neste solo Brasileiro 🇧🇷...no anoitecer...as estrelas me acompãnhao mais intenças🎶 igual um passe de magica liguei o celular e ao ouvilos meu ser renovou forças esperanças que apezar desta pandemia)2021)temos nosso canto para ter um refúgio e a oportunidade de ouvilos 🎶gratidão eterna por vosso nivel estrumental e por todos estes anos de estudos

[@alijoueizadeh8477]

Thank you for sharing.

[@Ss-hi4pi]

Brilliant traumhaft schön 🌷🌷

[@bugatti103]

thanks for posting. bravo!

[@ozgurcelik7164]

❤️❤️❤️❤️❤️❤️

[@waterdragon2012]

Magnifique!

[@steph2890]

wonderful performance~ 🎻 thank u :)

[@marioescudero7103]

Gracias nuevamente !!!!

[@richardrickford3028]

Apparently if someone is deaf there is a one in three chance they will consider suicide at least once - this is of course significantly higher than for most other people. Apparently while in the early stages of deafness Beethoven considered suicide but then decided he was going to stay true to his art and do justice to all the musical ideas he had in his head. I cannot get over how lucky we are that he had the fundamental courage to make this decision.

[@MrSamuelneves]

belissimo para bens aos músicos gratizie che como tocare ao cielo~

[@steveegallo3384]

BRAVI TUTTI è DUE....from México!

[@Fran071259]

Excelente, gracias

[@racteixeira]

Bravo

[@zvezdinki7998]

Да, превосходная музыка и прекрасное исполнение!

[@beetoven8193]

Awesome.

[@Cayres18]

Thankss

[@laspiano765]

Maravilha de Album, 10-06-2018-Dm-17:29hs.-LAS, obrigado por postar.-

[@guillermorochabrun3456]

As an amateur violinist I can say that in most renditions of piano and violin sonatas, be in studio or in performance, it is not easy to appreciate the complexity and importance of the piano part (specially for the left hand). This recording is an exception, but at many moments it falls in the opposite error. A more careful edition could have accomplished a unique balance. Anyway we can listen here a whole world of details that cannot be perceived in near no other recording.

[@dougr.2245]

balance is difficult to achieve in life & just as certainly in a music recording

[@omidyazdani2321]

well play

[@jueoin8470]

0:01 🥀🥀 3:34:04

[@김철호-x2m]

5번 spring 역동감있고 생기있고 최고입니다

[@giuseppesiciliano69]

I just happened to listen to the 2nd mov of No.3, by mistake, at 0.25x the speed, without realizing it. It sounds awesome.

[@amirfaiz4040]

My favourite, the Kreutzer.

[@PP1969GR]

ΑΝD No 8.

[@ruperttmls7985]

My favorite: Spring

[@garfreed]

Kreutzer Sonata 02:34:08

[@류순열-p3w]

아름다운 피아노 연주곡 감사합니다~🎵🎹

[@insoonlee43]

Aren't they violin sonatas?

[@huyhoang8265]

chào buổi sáng an lành

[@konstantinSE]

🌞🤓🔥👍🌹

[@bentewindelboe1806]

Mange tak