András Schiff plays Haydn Variations in F minor

Рет қаралды 37,444

Күн бұрын

Пікірлер: 37

@quaver1239 2 жыл бұрын

He truly loves Haydn. Can hear this in every beautiful note and phrase. Many thanks, SW.

@petermerelis 2 жыл бұрын

how could one not love Haydn?

@quaver1239 2 жыл бұрын

@@petermerelis : Sadly, there are many who don’t. András Schiff could tell you about this.

@elaineblackhurst1509 Жыл бұрын

@@quaver1239 Music is rather like food, some you like and some you don’t, and some people have rather more sophisticated and grown-up tastes than others. Many would rate MacDonalds above a Michelin-starred French or Italian meal and that’s cool, but like with music, it’s no measure of quality.

@kirisame-shizuku 2 жыл бұрын

テーマ第1主題 0:28 テーマ第2主題 2:49 変奏①第1主題 4:29 変奏①第2主題 6:32 変奏②第1主題 7:45 変奏②第2主題 9:54 再現部 11:24 コーダ 12:25

@pianolessonsboulder1894 2 ай бұрын

Thank you for this analysis

@davidnawarauckas9155 Жыл бұрын

Masterful playing. Remarkable musicianship. Wonderful range of colours kept within strict timing giving energy, excitement, and just the right tension making this rendition so beautiful to listen to.

@BH-2 2 жыл бұрын

The sound of a Bosenderfer is so beautiful and Schiff's playing too of course ❤❤❤

@theUrbanJoe Жыл бұрын

The Bosen def fits this style very well

@giuseppegenovese4655 Жыл бұрын

Haydn sublime, Schiff immenso

@rapparoo 6 ай бұрын

i heard this from a remote ticket to bendigo chamber music festival with daniel de borah playing it earlier this year and often come here to listen to different interpretations

@Quim1441 Жыл бұрын

Imagine being such a masterful composer and ALSO the teacher of one of the titans of western music.

@salarvsi 9 ай бұрын

Haydn or Schiff? And who did he teach?

@elijim3764 8 ай бұрын

@@salarvsihaydn took Beethoven as a student

@elaineblackhurst1509 6 ай бұрын

@@elijim3764 The importance of the 14 months of counterpoint lessons between Beethoven’s arrival in Vienna in November 1792 and Haydn’s departure for his second visit to England in January 1794 is usually hugely overstated. Beethoven was clear that he ‘…learned nothing’ from these lessons, indeed on Haydn’s return from England in 1795, he played the Opus 2 piano sonatas to Haydn which the following year he dedicated to him, but pointedly refused to add ‘Pupil of Haydn’ to the dedication after being requested so to do by Haydn. Salieri with his Italian vocal lessons similarly cannot really be labelled ‘Beethoven’s teacher,’ and the third one we need to add to this list of so-called ‘teachers’ is Albrechtsberger who took on the counterpoint lessons after Haydn left for England. Whilst all three can to a small and very specific degree be labelled ‘teacher of Beethoven’, all must be qualified as explained above; the only person really entitled to be called Beethoven’s teacher in the generally accepted sense of the word is his Bonn teacher Christian Gottlob Neefe (1748-1798), though even with him, there were clearly areas where the 22 year-old Beethoven was still deficient on his arrival in Vienna.

@helenheslop4677 11 ай бұрын

best trills ever! fabulous and tasteful

@petercrosland5502 2 жыл бұрын

Best if the right hand never knows what the left is doing. Amazing tribute to a lost friend.

@LRPMQLRPC Жыл бұрын

Verdaderamente hermoso, Schiff tocó esto anoche en el teatro Colón y fue una maravilla.

@jubeltr Жыл бұрын

Argentina?

@gyorgy836 7 ай бұрын

That was in 2005. Hungarian television broadcasted his Haydn-series.

@nicola84palm 2 жыл бұрын

Bravissimo! Perfection!

@tastenfee123 2 жыл бұрын

So wunderschön

@irynayerkes1943 2 жыл бұрын

"Fine - Laus Deo" (''The end -- praise be to God")

@ПавелГабдрахманов Жыл бұрын

Галантное исполнение! Какое и должно быть!

@pianolessonsboulder1894 2 ай бұрын

A masterly and serene performance

@elaineblackhurst1509 6 ай бұрын

This work which is one of the greatest keyboard works of the 18th century Classical period is correctly entitled: *Andante con variazioni* (Hob. XVII:6) Haydn himself also called the work ‘Sonata’ (did he ever intend adding additional movements ?), and also in the composer’s own hand elsewhere, ‘Un piccolo divertimento’; the word ‘Variations’ (French) is not by Haydn, and this word first appears in ‘Variations pour le Clavecin ou Pianoforte…’ in the Artaria first edition published in Vienna in 1799. Wiener Urtext in their edition get the title right, but the normally reputable Henle-Verlag’s Urtext edition removes the Italian title completely, and in a very un-international expropriation, replaces it with the German ‘Variationen f - moll’ with the word ‘Sonate’ (not Sonata) in brackets underneath. (Henle also messes up the English version in smaller print below the German heading). As noted in the Wiener Urtext Edition, the correct Italian title best describes the work; un piccolo divertimento reflects the intimate character of the piece; whilst the French/German title is simply too general to be meaningful.