Какое фортиссимо(сфорцандо) в ацентах третьей части. Прямо представил сейчас, почему Бетховен ставил именно это, вдавлиявая своими пальцами ( по воспоминания его современников , он играл очень поджимая их , с необычайной, присущей ему экспрессией. Сейчас более прямые пальцы за клавиатурой). До экстаза нежнейшие звуки в 1 части.( если погрузиться в них) Очень созерцательно, и настолько проницательны... Этот старинный говор, гармонии в медленной части, старинность звучания эпохи начала 1800-ых годов. Звуки как бы на пол тона ниже, и это придает некое ощущение Божественного и вдохновенного, какой то более сильной впечатлительности и проникновения в душу всего от этого гениального произведения. Не передать словами... И все же удары в последней части после быстрых нот : та та( два аккорда)- феноменальны. Еще более фортиссимо( сфорцандо) показалось, чем на современных роялях. Какой то звук, напоминающий как что то падает, грохочет с стихийной мощью. (fff) Покрайней мере видится это!!!!!!!!!!!

I could watch this master interpretation over and over again! Brutal beautiful!!!

👋👋👋👋👋👋👋👋👋👋👋

Congratulations on the wonderful control in 3rd.

What tuning is this? It's magestic!

ピッチが当時の基準なので音がずっと低く全く異なって聴こえます。楽器も当時のピアノフォルテでの演奏！

I started grinning like an idiot at the third movement 😭

Excellent interpretation of Beethoven's Moonlight Sonata. One of the best I've heard. Great hearing it on the forte piano. The timbre is more revealing, clear and haunting than a modern piano. The acoustics in the church setting sound fantastic. So, rich and full sounding.

Wow!

The way Beethoven played it. Phenomenal accompllishment

We really should bring back the fortepiano as a mainstream instrument and play the works of Beethoven, Mozart and Field instead of the clunky Steinway. This was never written for a Steinway, it cannot convey the passion of Beethoven ❤️

why doesn't it (piano) have any foot pedals????

AWESOME JOB!!!!!!!

Wow, wow, wow. Again! If anybody would tell me that you were a great-great…-great-grandchild of Beethoven himself I would absolutely believe it! Never heard a more convincing performance of this sonate! I will try to attent a live performance of you. You are an amazing piano (forte!) performer!

Exceptional and beautiful performance!! Love it!

le son est abominable, on dirait un piano désaccordé de bastring américain

oMG I LOVE THIS!!!

Tenores como sopranos...mal doblaje.

Playing Beethoven on a period piano is half the battle, but the easier half, at best. Playing as Beethoven intended, if one considers such things important, requires that the performer come into agreement with the composer (when deceased, largely but not solely represented by the score) and the particular sound of the composer's instrument, forming a trinity, if you will. By (erroneously) raising and lowering the dampers, this performer has in/advertently overlooked Beethoven's explicit opening instruction, "Si deve sounare questo pezzo delicatissamente e senza sordini" / "This piece <must> be played very delicately and without mutes" i.e. without the dampers. In other words, keep the dampers raised from beginning to end throughout the first movement. (Obviously, by "piece' he means only the first movement, as raised dampers throughout the others would be wretched.) In this movement, Beethoven created a novel and mysterious effect (familiar to and carried over from the Panteleon) in which each preceding harmony is retained rather than eliminated as each new harmony (or chord) is introduced. (For this reason, this effect is impossible to recreate on modern pianos because of their significantly longer sustain (about 30 seconds) compared to pianos of Beethoven's time (max 8 seconds). Why is this revelant? Playing "very delicately" - as Beethoven directs - minimizes the amount of sound produced but still obligates the player to gauge how much of a previous harmony should remain before introducing the next harmony, to achieve Beethoven's deliciously mysteriously 'melting' effect. Played too slow, the sound dies out with no perceptible overlap; too fast means conflicting harmonies start to clash and sound muddy. In other words, by listening for the 'right' amount of overlap between old and new chords, the instrument informs the player (not the reverse!) of the limited range of appropriate 'speeds' for achieving the desired effect in the first movement. (I avoid using the word 'tempo' because "tempo" in Beethoven's day implied far more than mere metronome markings.) The first movement could only be played as quickly as performed here by damping sound, getting rid of it, instead of allowing it to diminish on its own, as Beethoven directs. Apropos, Beethoven did not use knee levers in ways synonymous with the damper pedal that, not incidentally, had not yet been invented in Haydn's time (1732-1809), according to Czerny in his Op. 500, on Performing Beethoven's piano works. Petra's playing is exceptional and exquisite. I would love to hear her interpretation of the first movement based on Beethoven's prescription.

I just looked up this orchestra. I did not know it existed. It's in New York. This is quality on the level of the New York Philharmonic. The eighteenth century. My favorite century. As the great French diplomat Talleyrand stated, who visited earliest US by the way; "Who has not lived in this age does not know the sweetness of life" (or something like it). Which brings me to the Augustan age of 18th century, Naples in the early settecento, wiped out by the German tradition (they confessed around 1900 that they were guilty of it, lots of evidence). So we have to listen to Mozart and Beethoven. And Porpora and Leonardo Leo and Pergolesi were nixed. I don't get it. New York is full of Italian heritage. And we have to listen to Mozart and Beethoven. I am not saying that there is anything wrong with Mozart or Beethoven. But can anyone explain this?

Fantastic performance. Brilliant soloists. Also, by far the most melodically pleasing section of Mozart's Requiem, in my opinion. I must have listened to it a hundred times at least. Almost as good as the eternal and transcendental and inimitable Pergolesi, in my opinion. Which, to my mind, is saying a lot. It shows that Mozart remembers what he learned from the Italians, who gave us modern western music as we know it (I believe).

2:15 even though this piano was made in 1795 it is smart enough to operate the damper all by itself.

Polisch... Dam tu swe Nazwisko LACRIMOSA Kocham bo to jedyne autentyczne NIEPODROBIONE DZIEŁO MOZARTA w całym REQUIEM! dlatego moja święta londyńska CIOTKA EULALIA mówi mi zawsze przed Wielkanocnym Koncertem SYNEŃKU PÓJDZIEMY ALE TY BĘDZIESZ SIEDZIAŁ NA STRAPONTENIE BO W TRAKCIE RYCZYSZ... Ciociu ❤... Sygnuję Andrzej Celmer Zajączkowski 30 03 2024 🎉

❤🙏👌

Amazing! I’m so blessed to have share the blood of Antonio… I found out he is a distant ancestor of mine… so delighted to know his work is being preserved and celebrated hundreds of years later!

Хөгжмийн зохиолч АНУ д байдаг юм уу 2:34

Mournful ❣️🎶

I’m using a eudoxa low B/C string. On rare occasions i use a low E string - also a wound gut eudoxa- good for jazz- anything.

Нет педалей у этой старой модели. И это в чём-то замечательно. Потому как так великолепно играть без правой педали-это и есть высокое мастерство❤

better than the most popular version on youtube. Still Verdi's requiem is better :)

That pedal note at 4:25 rings out with a very sepulchral tone.

LOVE THIS! "We're not worthy!"

No es que esté mal la interpretación, de hecho es muy correcta, pero después de escuchar la ejecución del maestro Arrau, todas me parecen apresuradas y carentes del dramatismo que inspiró a Beethoven.

7:18 - 15:19 moonlight sonata 3rd movement

My impression is that the second movement is the one that truly shines on this instrument. 🤷‍♂️

The First movement had me confused-I have only played and heard this piece on modern piano. I found the tone and tuning alarming. But by the third movement I was convinced and hooked.

beethoven wanted no damper the whole time, that was the reason fortepiano is meant for this, the notes fade away faster on a fortepiano unlike modern piano, therefore the notes from each chord faded in and out of each other.

the depth of her perfomances is ... well done Petra this is music to me

That 3rd mvt is just too good

Wonderful talk!! Thanks!

This right here, is hands down the best version of Quasi una fantasia I have ever heard. Not only is it played on a fortepiano, but you can see that Petra FEELS the music. Her slightly slumped pose during the first movement, her melancoly, almost sad facial expression as she looks on the keys, just her whole body language throughout the entire sonate makes it so much more effektive for me. Bravo. This is a masterpiece

She plays so smoothly tho

Magnificent playing. Wonderful sonorities. Superb technique!❤️

I like your tempo in the first movement, alle breve.

How stunningly lovely! It had to be a real thrill to be doing this modern premier? Were some of these persons also involved in the research that went in to FINDING this gem of a musical piece and the digging in an old attic, so to speak, to actually get it into one's hands?

Best recording of this work on a period instrument I've heard to date. Recording is a bit soft but for that we have the volume knob (just remember to turn it down after :P)

Stunning

Yes it is - absolutely the best recording ever, of this piece, with all the emotion and technical prowess the piece deserves. This girl's version of this should stand singularly as testament of how to play this piece. Every other version - in my opinion is a 'nice-try-but-garbage' version after hearing this. Sorry. They all suck. This is the definitive version. But hey, don't take my word for it - listen to them all...

The performance on the proper piano transplants us to 1801 - as Beethoven heard, and it as he composed it. I wish for a time machine...

This has got to be hands down the best I’ve heard someone play this piece so well and full of movement and emotion such detail to every single note 🎵 it’s just perfect thank you for playing this ❤