Maria João Pires - Schubert: Piano Sonata in A minor D. 845 (Op. 42)

Maria João Pires, piano
Franz Peter Schubert
Piano Sonata in A minor D. 845 (Op. 42)

[@quazart_piano]

Une interprète merveilleuse pour un chef d'oeuvre magnifique... le bonheur !

[@XavFranz]

I think, It is one of the most great piano sonatas, unreal nice, magnificent in the world!

[@sabinac.8604]

La migliore interprete, di rara e profonda sensibilità

[@user-du3we4pt8c]

❤❤❤

[@mmbmbmbmb]

Wonderful Franz Schubert. So wonderfully 'grasped' by Maria João Pires. Thank you !

[@arturozeballos1]

MAGISTRAL PIRES. UN BELLEZA DE SONIDO Y PERFECCION MUSICAL.

[@isaacwilk579]

REALMENTE MAGISTRAL!!!!...

[@williambunter3311]

Madam Pires is one of ther super elite. She has such superb touch and phrasing/

[@paolaspaccamonti166]

Amo la Piras per come suona, ovviamente, ma anche per il suo elegante modo di porsi

[@JohnnyGibson230]

Maravilhosa Maria Joao !!!

[@mars8279]

Avant j'étais capable de jouer le premier mouvement, mais j'ai fait une pause de piano car j'en avais marre. Un jour je m'y remettrai et je le réapprendrai, car savoir jouer cette œuvre c'est une de mes plus grandes fiertés

[@wendelborgesdeoliveira5161]

It is sad that we don't have a complete set of Schubert's sonatas by Mrs. Pires. Really sad.

[@ericsteph]

Absolutely!!!!!!!!!!!!!!!!

[@AdrianavonFranque]

Gracias por subir esta interpretación magnífica! ---------------------- Thanks for uploading this marvelous interpretation!

[@heonyjoo3930]

12:37 2nd movement

[@JoaoSilva-dj6jy]

Brava!!

[@judy-chan4536]

Just the way I like it. The piece wasn't played too fast, and there were no rushing at all.

[@rubenfeighelstein9218]

Mas que bueno, buenisisimo

[@Marymead2]

This sounds like the same recording that is on Andrea Romano's KZbin of Schubert 845. He has 348,000 plus hits. Everyone keeps asking who it is playing. Please check it out and let's us know. It's the most beautiful version I have heard.

[@Marymead2]

I like her recording too, and have bought her CD. But I love this piece so much, I got the music and am slowly learning it, what a treasure!

[@dannylanglois151]

Pour moi joli en plus

[@ericastier1646]

What is the reference to that painting of Schubert, when was it painted ?

[@MaxLima1]

+Eric Astier It's a painting by Josef Abel and it is usually referred to as "The young Schubert", painted in the beginning of the 19th century. Oil on canvas. It belongs to the Kunsthistorisches Museum, in Vienna.

[@ericastier1646]

Max Lima thank you for the reply, he appears to be less than 20 on this painting. Do we know exactly in what year Josef Abel painted this ? Schubert was not famous at that age and painters have commissions fees unless the painter was his friend ? otherwise i think it was not painted when the subject was that young age, but after he passed at 31.

[@MaxLima1]

+Eric Astier As far as I know, there has been some debate in the past years about the person portrayed in this painting. Many believe it is Franz Schubert. Since we will never know the truth, I myself prefer to believe that Abel did not even meet the Austrian composer. It is still a fabulous work, though (just as other Abel paintings)

[@ericastier1646]

Max Lima I have the same belief as you based on logic and rational. It adds to the painter's credit that he was able to make a possibly credible painting of reverse aged young Schubert probably from other contemporary paintings or sketches of painters like Rieder who knew or had met him. But i think this portrait is probably romanticized and not ressemblant. Schubert was 151 cm not an elegant dandy tall slender youth like the young man in this painting. His head was rather round not elongated. This i say based on sketches from August Rieder. This work is from an opportunistic painter who painted an imaginative schubert, not the real Schubert.

[@mariemarie3005]

@@ericastier1646 and Max Lima: When Josef Abel died in 1818, Schubert was only 21 years old, so the painter couldn't have known him in an older age - anyway. But I also guess that this is not Schubert or that Abel painted it only from his imagination. It is an interesting painting, thank you for sharing it.

[@augustocianfoni6954]

Dopo l'interpretazione di RICHTER tutte le altre, pur con tutto il rispetto, sembrano scolastiche...ad eccezione di quella superba di Brendel...

[@manoelmasini9204]

Se credi scolastica questa interpretazione è probabile che tu non abbia mai capito nulla di musica, di piano, né di interoretazione, e che ti convenga dedicarti al gioco della briscola

[@ProfDrislane]

Modernism and it's discontents..the absurd idea of the single tempo for the first movement. After a poetically played introduction we head straight into a confrontation with some army of metronome soldiers. Laughable! Now I know that that Schubert didn't explicitly write an accerlando into the score, but it's obvious that the pedantic tempo for the 2nd thematic group is a poor choice; it's just wrong from the perspective of musical character. Down with text-fetishism and modernist nonsense!

[@mauritsdienske6850]

Dear Michael, I want to remind you that you just give value statements and not one argument. If you call an idea absurd, it only means you don’t agree with it. If you say that a tempo is wrong from the perspective of musical character, it fails to point out where the fault lies. So what do you really want to say? Maurits

[@katherineparadis-chateaune8004]

Have you find a performance you like? If yes, please share :)

[@katherineparadis-chateaune8004]

Brendel is rushing in the section you mention, the result is not better.

[@ProfDrislane]

@@mauritsdienske6850 Try "harmonic rhythm." The march-like character of the 2nd subject sounds banal if the tempo is too slow as the cadences become over emphasized. Likewise, once Schubert begins to add variation, too slow a tempo checks the flow, and leads to loss of character. Now it's very clear that playing the first subject group in the same tempo as the 2nd subject group makes little sense. There is a "fantasy" aspect to this movement, and Schubert has even composed a transitional section which easily allows us to increase the tempo in preparation for the 2nd subject. I know that their is a school of thought applied to Beethoven and Schubert, where a "one tempo fits all" attitude is applied, but this has no basis in historical evidence. It is in fact a modernist "refuge in order" stance. Brendel's classic 1980s recording of D.845 doesn't feature "rushing;" it features "accelerandi." That's not the same thing..

[@peterbolton3970]

I would say the opening is really too slow, 60 bpm is more of an andante than of a moderato. Without this an increasing of speed would be unnecessary.

[@paulmetdebbie447]

There is nothing wrong per se with dynamic playing, on the contrary. But what I don't like in all the playing of Pires, is her exagerated use of crescendo's and decrescendo's all the time. It seems she is not able to play two single notes or chords in sequence with the same loudness. It is an artificial trick to make her playing sound interesting. But this is not musical per se and not even what the scores call for. And very tiring to listen too. Mostly I am interested at first, only to shut down after a short while because I can't stand it any more.

[@manoelmasini9204]

Msybe it is your problem, dont you think?