András Schiff - Sonata No.32 in C minor, Op.111 - Beethoven Lecture-Recitals

[@TRRyan]

The final movements of this sonata and of opus 109 seem to come from heaven, so perfect and spiritual are they.

[@carlosbashuertas]

I feel supremely grateful for being able to hear these András Schiff lectures on the 32 Beethoven sonatas. Thank you Mr. Schiff, you make us love Beethoven still more and understand his self and his language, which returns a deeper enjoyment of his piano sonatas.

[@johnboger6]

When Schiff finishes the final movement he says nothing. There is nothing more to say. There are no words to describe this music. It's beyond language.

[@akikoyanagisawa3916]

This final sonata of Beetoven is equivalent of final symphony of the composer. Both embody the chaos and beauty of the universe and celebration of humanity.

[@theantonioexperience]

Gratitude and forgiveness, man that got me

[@clarissefauconstephan6989]

Gratitude

[@davisatdavis1]

He couldn't have ended this lecture any better. Made me really emotional, in fact. Nothing more needed to be said. The music alone speaks for the entire universe.

[@takinghavimi1834]

These lecture/recitals are an absolute treasure. Very thankful for it.

[@constantijnblondel7672]

My warmest thanks for making this available. It's been quite a journey and I'm grateful for each moment. Thanks!

[@Alexagrigorieff]

In 1821, Josephine von Brunswick died at the age 42. 1821-22 is when Beethoven wrote the op 111. I think, through the Arietta, Beethoven talks to Josephine. The theme opens by calling her name twice.

[@sirdicaudore]

Nice thought!

[@neshawoodhouse2310]

This Sonata is so moving. It is so emotionally complex. Great lecture!

[@ching-chenghsu1423]

when I was young, early 20s or so, I always listened to Beethoven sonata from the beginning. I sometimes got stuck (keep listening) on opus 22, sometimes op 26, sometimes tempest and others. However, I could always finalize the full 32 sonata listening cycle within a few months. Now I am in my middle 40s, I always start from opus 111, the last one. This time, I never go beyond this piece. And I haven't finishing my Beethoven sonata listening cycle already for years..

[@Edgard1315]

Thank you very much!!! Thank you!!!! I have dearly missed them!!!!!!!!!!!

[@franciscocarba]

Thank you very much for giving us the possibility to enjoy this journey!!

[@ulfwernernielsen6708]

At 21:20 I hear the most beautiful playing by Schiff . Many thanks to mr. Arrau and mr. Barenboim for their wonderful interpretations of the op. 111.

[@igorcavalheiro2323]

Check richter and schnabel. Baremboim is no match for the real masters

[@ulfwernernielsen6708]

@@igorcavalheiro2323yes, Schnabel is wonderful too. You should listen to the Barenboim 1967 EMI recording. He was a genius at 25 .

[@gabriellepeacock2709]

As much as I totally revere Sir Andras Schiff, jazz forms and other later forms of music are not banalities. I think any music can have a spiritual depth and there can be good and bad music within any genre. Sure, Beethoven definitely wasn't writing jazz and it definitely is just a coincidence that the music has a similar sound to Boogie-Woogie unless Beethoven was psychic, but even Bach's music uses R7, R9 and R11 chords (eg Prelude no 1 from Well-tempered Klavier) which we would think of as belonging to the language of jazz forms today. It's probably more helpful to see musical boundaries as totally blurred.

[@IbrahimHoldsForth]

yea he sounds boorish when he made that comment

[@acrobaticfish]

I don’t think he’s dissing jazz, his comment is more about the banality of a superficial comparison at the cost of masking what is really happening.

[@ceticobr]

​@@acrobaticfishexactly. The comparison to jazz that is usually made only takes away from the greatness of Beethoven and from the jazz masters.

[@DungeonCrawlDave]

i have to agree with the original comment here - this is definitely some of the most spiritual music ever composed, but what does it SOUND like - doesn't it remind you of a joyful dance in this third variation (leaving aside comparisons to boogie-woogie)? And doesn't this show us that Beethoven knew that the most spiritual music included not just heavenly but also earthly elements? Modern research has shown us that Beethoven could be greedy, cruel and unpleasant. But when writing music, he seems to put us in touch with God. I don't think this is contradictory - i think this example from Op.111 shows us that contradiction is inherent to true genius

[@jeanvanderstegen]

Jésus, THANK YOU SO MUCH

[@georgesmelki1]

Yesterday, Sir Andras was playing this live at Wigmore Hall, and many chats referred to jazz or proto-jazz wrt this sonata...I wish they only listened to this lecture before making similar statements!(26:00)

[@michaelgoutman681]

I personally think Sir Andras goes a little too far on a dogmatical side when he resents the boogie-woogie similarity in one of the variations. I can appreciate that he feels it almost being sacrilegious to suggest that, but music is never only one thing.

[@abresler]

@@michaelgoutman681 i couldn't agree more. Also calling jazz a "banality" was a little unnecesary

[@zvezdinki7998]

0:57 очень хорошая соната спору нет! Однако 31 все-таки лучше! 1:31

[@Umurhan999]

He didn't have to call jazz a banality, damn. Very informative, still.

[@Orlando-t6w]

2:38 It's Bach Orchetral suite h-moll 1st mvt Ouverture. kzbin.info/www/bejne/h4uyZZJmd8aakKc

[@pascalwilli6163]

An excellent demonstration and moderation with insight which Mr. Schiff here delivers - it is that indeed -- with one grave shortcoming: When analysing the Arietta Mr.Schiff makes a passing comment on the fact that it should be by no means be compared with a Boogie-Woogie --- as if the musical genre of Boogie-Woogie, which came to the surface historically speaking as a shoot-off of rhythmically based music such as Ragtime which was danced to at the time of its invention around 1900. Beethoven, having been a visionary, someone who - because of their alliance to the universe, to creation itself - can sense what is to occur in times ahead as a logical consequence of what took place in he past - but, for whatever reason Mr. Schiff fails to make that connection, instead looking down on Boogie-woogie and even Jazz putting such genres down as lesser forms of music, even referring to them as "banalities" - in my opinion not only unwise but also arrogant - thank you.

[@minabozanic]

The sense we get from the mentioned section (i.e. Variation nr. 3) as of Boogie-Woggie is the result of our current knowledge and experience with Jazz music. It has nothing to do with the structure and the logic of the music itself, nor Beethoven was that much of a visionary. The sound of Variation nr. 3 is the result of composer manipulating the rhythmical component, i.e. diminishing the rhythm from the Variation nr. 1-3. We could say that the sound created that way is a mere coincidence and, as said above, an association that comes from our current perspective. I don't believe that people from 19th century who listened or performed this Sonata have thought of it as a predicament of the future Jazz. It might sounded odd but as do the Ninth Symphony with the chorus in the 4th movement (odd in the sense of "nothing heard or thought of before").

[@flagerpiano]

batu mikakakaka

[@ketyshe]

meufrobatu

[@maxgregorycompositions6216]

Oof, doesn't value Jazz, does he.

[@anthonybates8670]

That was disapointing