Lugansky - Beethoven Piano Sonata No. 32, Op. 111

Ludwig van Beethoven (1770-1827)
Piano Sonata No. 32 in C minor, Op. 111 (1821-1822)
Nikolai Lugansky, 2020
From St. Petersburg Philharmonia
I.
[0:00] Intro. (Maestoso)
[1:37] Expos. - Theme 1 (Allegro con brio ed appassionato)
[2:44] Expos. - Theme 2 ( - meno allegro - adagio - Tempo I)
[3:34] Expos. - Repeat
[5:26] Dev. (fugato)
[6:10] Recap. - Theme 1
[7:01] Recap. - Theme 2
[8:21] Coda
II.
[9:06] Arietta. (Adagio molto semplice e cantabile. 9/16)
[11:52] Var. I
[14:06] Var. II (L’istesso tempo. 6/16)
[16:00] Var. III (L’istesso tempo. 12/32)
[17:54] Var. IV (9/16)
[22:58] Var. V
[25:11] Coda
“[…] The first movement’s defiance and steely-eyed anger begin with the urgent dramatics of a brief introduction that rumbles its way into the movement proper. Here, the performing directive Allegro con brio ed appassionato tells everything about the kind of bravura Beethoven has in mind. (The composer had by now abandoned the German musical directives and reverted to the prevailing Italian.) And he doesn’t make accomplishing the bravura an easy matter, for the textures are very lean, often constructed in polyphonic, two- or three-part invention style, and in general looking back to the manner of the last movement of the Appassionata Sonata of 1805. Unlike that movement, this one breathes an air of calm in its final measures, a benign C-major calm that prepares for the serene nobility of the opening of the Sonata’s finale.
Having wrestled with tempests, Beethoven turns to an otherworldly sphere for his very last sonata movement. Titling it Arietta, he presents an adagio theme of exalted (though not, as the name implies, diminutive) simplicity, on which he constructs - no, divines - four variations and a fantasy-like coda. A description can be given of the un-folding of the variations as a progressive doubling of the number of notes in each beat. And of the chains of double trills that seem to emerge, not from the keyboard but from some mysterious and enchanted source. But no commentary is sufficient to describe the effect of music that goes far beyond aural perception, that reaches to rarefied heights of sublimity.”
-- Orrin Howard

[@florentdelage7892]

The most intense part of this interpretation is when Maestro Lugansky kept 10 seconds his hands in the air at the end of the sonata. Silence in Beethoven music is the most difficult part to play. Maestro Lugansky knows it and for this reason he deserves the title "Maestro".

[@pianistegolfeur]

Le chef d'oeuvre des sonates pour piano de Beethoven interprété ici par un pianiste de génie !

[@Professor694]

Великий пианист, великая музыка! Поклон в ноги!

[@cleusafaria9026]

I love you, Lugansky. You're the best. (Brasil)

[@restonnova6745]

What a stunning rendition!!

[@user-cc2qo7hy6v]

Гений! Запись этого альбома с тремя последними сонатами Бетховена для меня событие года!! Николай Львович 👏👏👏🌹🌹🌹❤️

[@user-yg5qd8lz7q]

У меня другие сонаты Бетховена особенно любимые. Но я очень, очень люблю слушать и смотреть, как играет Николай Луганский. До безумия (простите, не найду другого слова) люблю Концерт Бетховена №3 в исполнении Маэстро Луганского и оркестра под управлением В. Спивакова. Божественная музыка и Божественное исполнение.

[@user-yg5qd8lz7q]

Думаю, что только счастливые люди могут посещать Храмы Музыки, где играют гениальные музыканты. А я, простите, отношусь к разряду несчастных, которые об этом и мечтать не могут. 😢 Спасибо что нам предоставили возможность видеть и слышать через интернет! Соната № 32~потрясающая!

[@asterius4271]

Thank you so much for this. In such good quality as well.

[@surkova_a]

Perfect sonata & Lugansky🔥

[@laspiano765]

Sonatas simplesmente maravilhosas. grato por postar tão ricas músicas para piano solo,. Carapicuíba-São Paulop, Brasil em 01-10-2022-Sabado, as 16:30hs. estou falando também dos outros vídeos do Nikolai Lugansky que a Enchanted Wanderer postou, maravilhoso.-

[@user-pu3zp5hv6e]

Thank you for uploading!!!

[@jungwirthmartin]

Great as always, Nikolai!!

[@AnaPaula-np5rq]

Wonderful ♥️👏

[@felixmladenov5428]

One of the pianists who truely deserves playing this work. Still, not programming it into the end of the concert is a dissonance with its historical context.

[@etcetc5592]

I would like to know why pls

[@felixmladenov5428]

@@etcetc5592 well, it is some kind of unspoken rule under pianists that the Opus 111 is the "end" of music and that there is nothing that could follow. I read this in one of Alfred Brendel's books. He thinks that a pianist who doesn't follow that rule still didn't truely understand what the Opus 111 is about. Anyhow, I don't want to claim that this is the case with Maestro Lugansky as he has clearly lived with the work for a long time and decided to present the product of that now. It is understandable that his "art form", the recital which is closed with Rachmaninov miniatures, is something more valuable and comfortable to him which lets him also perform even better.

[@user-if3yb5oe6n]

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[@hughlazarus7806]

The Fist movement is profound and the second i believe is Beethoven swan song Lugansky is on of the great great interrupters of Rachmaninoff but I also think Beethoven many warm greetings Hugh Hugh

[@ronl7131]

Nice!!!

[@porcinet1968]

WOW!!!!

[@rafanifischer3152]

Who's the man in the photo?

[@claudioparrella183]

altro che sokolov

[@billyboyblue1539]

You Get this or you dont

[@nobunaga30415]

16:00 Sounds like Beethoven’s Jazz music

[@andredelacerdasantos4439]

Wow, that crowd sucks

[@ahdyabdelatif]

Why

[@ershenlin1774]

A Russian hater.

[@user-mk8kw4eg2s]

Это ты представитель лживой и лицемерной своры.Только презрение..

[@gennadymerkulov1911]

Пианист точно великий,но не Бетховен.в его исполнении.