Janos Starker - Kodály Sonata For Unaccompanied Cello Op.8

[@thopham7976]

The best recording of the Kodály Sonata for Cello ever.

[@anonymousl5150]

Jakob Koranyi plays it far better and without intentionally leaving out large chunks of the piece. Kodaly even admitted privately he was dissatisfied with Starker's interpretation decisions.

[@thopham7976]

@@anonymousl5150 Fake news.

[@mineosaurus]

この演奏はこのソナタの孤峰であり、最高です！血で演奏している。

[@josee3141]

la rigueur, la puissance émotionnelle,Starker me bouleverse

[@h.7537]

Tu ose de dire ca?

[@Oooh931]

So amazing

[@Progamer242-c4d]

THE FIRST LP RECORD OF MR.STARKER，RECORDED IN 1950 IN THE USA。

[@silentrotation]

The best version, made when Starker was 26, two years after he emigrated to the US. Much more power than the live version when he was already 64.

[@thopham7976]

You're right. That's why this recording won him Grand Prix du Disque. No cellists could play this Kodaly like JS yet.

[@s.l5787]

@@thopham7976 Clearly you haven't heard Jakob Koranyi, he is much better than Starker

[@thopham7976]

@@s.l5787 Thank you for pointing out. I tried to listen to JK's rendition but his performance is way too heavy, senseless and dry.

[@s.l5787]

@@thopham7976 His performance has less reverb. He is better in every way and clearly you are deaf. No random rhythmic fluctuation from the score, mediocre intonation, or poor dynamics like Starker.

[@thopham7976]

@@s.l5787 JS had been respected & known as King of cellists all over the world. Clearly, he must have had something extra extra extraordinaries that no other cellists have had even as of this writing. P.S: Please no personal attacks when replying to keep the dialogue civilised and based on facts. Thank you.

[@majimedesuwayo]

8:37 2nd mvt 18:16 3rd mvt

[@sazanwave]

Period [ SPL 510 ]この盤は、演奏、録音において歴史的名盤。コダーイ（Zoltán Kodály )と 共にハンガリー出身であり友人のバルトーク(Béla Bartók)の息子・ピーター・バルトークによる革新的な録音です。

[@scooterdude14]

He skips an entire page in the third movement. 13 on IMSLP

[@camstilton]

There's also a half-page missing in the middle movement, which is also missing from Starker's 1948 recording (I don't know about the last movement in that recording, it doesn't seem to be on KZbin). I wonder if Kodaly revised the piece after these first recordings? If they're cuts, they seem rather odd ones.

[@samirshah3691]

@@camstilton I'm a newbie to Starker, but if you read the liner notes from the Delos CD of Starker Plays Kodaly, it says of the 1948 78 rpm recording 'in this first recorded performance Starker made certain cuts in the second and third movements, partly because the sonata was too long for the eight sides and partly because at this time Starker felt that a passage of arpeggiation in the third movement was "to plaintive and stopped the action"'.

[@s.l5787]

@Elijah Park No it's not, he said in an interview he left it out intentionally because he did not like it.

[@thopham7976]

@@s.l5787 So what ? As long as the integrity of the composition still intact as a whole. Remember the French offered him the most prestigious award, GRAND PRIX DU DISQUE, for this outstanding & unmatched recording. You seem to have a displeasure toward JS which I'm certain he wouldn't give a d... about it.

[@s.l5787]

@@thopham7976 It's a significant omission and makes the variation he skips to sound arbitrary. You keep citing the award like it's proof the performance is flawless when it's not.

[@crabbyoldman8209]

This has got to be the most egregious example of Emperor's New Clothes in the history of music. You can sit around and pontificate all you want, but this is nothing more than pointless rambling. "Look how many unrelated notes I can string together! And look how rapidly someone can play them!" Mierda.

[@h.7537]

I think some parts are definitely boring and random, but some are incredible. 13:00 for about a minute for example

[@BarbaraArmijoEntirelyHis]

I just think we're on our own. You have to bring something to it and engage with it. I am enthralled and so appreciate the opportunity to hear János Starker while drawing my sacramental abstract expressionism. I find it stunningly celestial with all the texture Heaven promises. The problem is I want to stop to dance it. Best wishes, Crabby.

[@mrmathh3680]

Youre probably a cellist that loves cello suites and repertoire that impress non musicians, all that just to fill your narcissistic heart. you probably tried to play this piece and realized you have no technique due to years of playing mediocre repertoires and this hurt your huge ego, and so youre trying to drag the piece down, when in reality this is the second most important repertoire for the instrument (behind cello suites of course) 😘✌🏻

[@problem216]

Bro you are so wrong,but it's not tour fault

[@TheYgds]

That has to be one of the worst takes I've ever heard in response to Kodaly's sonata. The extraordinary difficulty of the piece is secondary to its full engagement with the cello, and expressive range. It isn't some avante-garde mish mash, or atonal experiment, the sonata is very tonal and melodically organized. I would agree, that pieces in that genre are pretentious and unengaging for most listeners, and even musicians who understand them. This is not among those works. Very few works take advantage of the full capacity of the cello, and also manage to be musically satisfying. It somehow manages to have a cohesive melodic core, peppered with virtuosity that enhances that core. The opening chord and passage of the first movement outlines the entirety of what is to come, like the overture of some grand ballet. I can hardly understand how one can listen to it and think there are "unrelated notes" that are haphazardly strung together. The motifs are clear, precise and the structure of each movement beautifully elaborates and embellishes those motifs. Kodaly's sonata is a central part of the cellist repertoire for a reason. Few other works demand so much of the cellist and deliver in-kind once mastered. I've seen other attempts, and nothing comes close to it. If there is anything wrong here, it is Starker's choice to omit sections of the work, rather than finding ways to utilize them to a satisfying effect.