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Joined: Mar 2007
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Recently, a famous (well, nationally) pianist gave a concert with the following program:

- Beethoven: Hammerklavier Sonata op. 106
- intermission
- Beethoven: Diabelli variations op. 120

Is this insane, magnificent or something else confused ?

I wanted to go but it was sold out.


Robert Kenessy

.. it seems to me that the inherent nature [of the piano tone] becomes really expressive only by means of the present tendency to use the piano as a percussion instrument - Béla Bartók, early 1927.
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I know for a fact, as much as I love those pieces, I couldn't sit through both of them (even with the interval)

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i would love to go such a concert. there're not many who would put up a program like that.

a few years ago i went to Uchida's recital when she played last 3 Beethoven sonatas (109,110,111), and many people were there too.

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It's the best program I can think of (for a piano recital). Sure I could sit through it.

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Quote
Originally posted by Robert Kenessey:


Is this insane, magnificent or something else confused ?

I'd say its risky, but if he's famous then i suppose he can get away with it. Usually, audiences have to be familiar with the late Beethoven works to really appreciate them.

But if it was sold out, then i suppose it doesn't matter.


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Quote
Originally posted by Robert Kenessey:
Recently, a famous (well, nationally) pianist gave a concert with the following program:

- Beethoven: Hammerklavier Sonata op. 106
- intermission
- Beethoven: Diabelli variations op. 120

Is this insane, magnificent or something else confused ?

I wanted to go but it was sold out.
I could sit through it. Without the intermission. Several times in a row.


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For me, it depends on who the performer is. Unless it were Lupu, Claude Frank or Richard Goode playing, I would definitely skip it.

So - who is the pianist?

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It's a great program, and if the pianist could pull it off, why not? I'm sure a program like that would provoke some listeners into going just for the sheer curiosity if it really can be pulled off.
If I were going I'd make damn well sure I'm well rested and in the right frame of mind for such a healthy helping of "intellectual" (for want of a better term) music. Then again maybe that won't be so much for me since I once listened to the late quartets in one night.
And I too am curious who the pianist is. I'd kill to hear Kovacevich in that program!


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Quote
Originally posted by Brendan:
For me, it depends on who the performer is. Unless it were Lupu, Claude Frank or Richard Goode playing, I would definitely skip it.

So - who is the pianist?
The pianist was Ronald Brautigam. He is world famous in the whole country wink


Robert Kenessy

.. it seems to me that the inherent nature [of the piano tone] becomes really expressive only by means of the present tendency to use the piano as a percussion instrument - Béla Bartók, early 1927.
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On the subject of late Beethoven programmes, as part of his complete Beethoven sonata cycle in Turin in 1970[1], Dino Ciani played Opp.90, 101 and 106 in one evening. As if that weren't enough, he played the entire last movement of the Hammerklavier as an encore eek

-Michael B.
[1] All 32 in a series of concerts from 4th October to 29th November.


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Brautigam, of course, I'd say he's pretty internationally famous too! I mean, his ongoing Beethoven complete piano music on BIS is really great in my opinion (I've listened to all the volumes so far released), and has been getting rave reviews all around. Damn, I would've loved to see him perform that program! Did he use a period or modern instrument?


Die Krebs gehn zurucke,
Die Stockfisch bleiben dicke,
Die Karpfen viel fressen,
Die Predigt vergessen.

Die Predigt hat g'fallen.
Sie bleiben wie alle.
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He is not so famous or well-known in the US. His repertoire is very large. I would not sit through this program. He is not up there on the level of Lupu, Kovacevich or Goode, not yet to this pair of ears.


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