I have taken the liberty of proposing another one of my performances that I hold very dear: Beethoven's Moonlight Sonata Op. 27 n. 2. I should preface this by saying that I have listened to many interpretations of this sonata, from Kempff to Gould (very fast 😕) to Pietro Rigacci, Barenboim, Maria Yudina, Cory Hall, Richard Clayderman and Mitsuru Nagai, but the one that struck me most of all was Pier Narciso Masi's: interpreted with great slowness in the phrasing and with the addition of a touch of rubato, so I was very inspired by his performance.
It is always pleasant to hear someone present their own interpretations. I am not familiar with Masi's. Among the thousands and thousands of professionals and amateurs, I believe it is the most played piano piece..... after "Für Elise".
Personally, I believe it is always important to find a proportion between intensity and sound duration; I think I have already said this. Now, in this light, playing not too slowly is easier. With this slowness, the legato of the cantabile part is somewhat lost, which gets "fractured" by the triplets. I do not mean to say that it sounds bad; I mean that, in the Author's intention, the extreme part, which should be highlighted, must have prominence relative to the triplets, as if two hands were playing. The "wisdom" of contrasting the dotted figure with the following sixteenth note, compared to the triplets played always with the same hand, is like a suggestion...... Everything "imposes" itself in a nocturnal and dreamy vision. Even the tempo can have some small fluctuations, but without exaggerating. I would say everything within a "sound perspective". Personally, I appreciate an interpretation that privileges regularity and finds the timbral differences between the "three" parts.
Anyway, well done. The hand is very steady. Perhaps it is also difficult to listen well due to the particular recording of the sound.
Compliments Pianoscholar, really not bad!!! You know, I am also trying to study this piece (which I love) ... it can only be positive to see someone's interpretation... played in an original way! If I can give you a piece of advice: try to lighten the low tones during the main phrasing (g# - c# - e - g# - c# - e ...)...
As soon as I have finished it too ( 😕 if I can manage it) I will put it on the site ... Bye! Francesco 1797
Ps, for Pianoexpert: it's true, it is the most played piano piece after "Für Elise" ... but it is always Beethoven!!! What a musical genius 😉 !
D
Dave
Member
Reply 4 by Dave
Posts
70
pianoexpert wrote:
It is always pleasant to hear someone submit their own interpretations. I don't know Masi's. Among the thousands and thousands of professionals and amateurs, I believe it is the most played piano piece..... after "Für Elise".
Personally, I believe it is always important to find a proportion between intensity and sound duration; I think I have already said this. Now, in this light, playing not too slowly is easier. With this slowness, the legato of the cantabile part is somewhat lost, which gets "fractured" by the triplets. I don't mean to say that it sounds bad, I mean that, in the Author's intention, the extreme part, which should be highlighted, must have prominence compared to the triplets, as if two hands were playing. The "wisdom" of contrasting the dotted figure with the following sixteenth note, compared to the triplets played always with the same hand, is like a suggestion...... Everything "imposes" itself in a nocturnal and dreamy vision. Even the tempo can have some small fluctuations, but without exaggerating. I would say everything in a "sound perspective". Personally, I appreciate an interpretation that privileges regularity and finds the timbral differences between the "three" parts.
Anyway, well done. The hand is very calm. Perhaps it is also difficult to listen well due to the particular recovery of the sound.
A big hello
Paolo
Thank you Paolo.
In fact, after listening to myself again, I noticed that perhaps it is a bit too slow and then it's true, I must take more care of the triplets in a calmer way compared to the cantabile on the pinky which must stand out
Francesco1797 wrote:
Compliments Pianoscholar, really not bad!!! You know, I am also trying to study this piece (which I love) ... it can only be positive to see someone's interpretation... played in an original way! If I can give you a piece of advice: try to lighten the low tones during the main phrasing (g# - c# - e - g# - c# - e ...)...
As soon as I have finished it too ( 😕 if I can make it) I will put it on the site ... Bye! Francesco 1797
Ps, for Pianoexpert: it's true, it is the most played piano piece after "Für Elise" ... but it's always Beethoven!!! What a musical genius 😉 !
Thank you Francesco. You are perfectly right, I must lighten the low tones.
I look forward to your performance with anticipation. 😉
Ok Pianoscholar but, I wouldn't want to disappoint you... maybe you'll have to wait a bit... lately I've been very busy (I'm in my third year of middle school ... I have exams in less than ten days 😕😉 ...) but I will do my best... as soon as I have my performance "ready" I will post it here. Bye!!! Francesco 1797
As you yourself have already said ... it is excessively slow.
I do not presume to judge those who prefer to perform the sonata slowly, but I believe that this adagio should not be played like a requiem!
I believe that a "moonlight" is an pleasant and relaxing moment. I am referring specifically to the weather conditions!
Rubato is welcome, as it gives much character to the sonata, but the tempo of execution must consider that eighth notes are being played ... and no matter how slowly one wants to perform the piece ... they are eighth notes 😆
Not only that, the slowness of the execution forces you to weigh down the bass tones so that they manage to have sufficient duration to "fill" the measure, without leaving the last triplet orphaned and lonely.
Personally, for this sonata, I take as an example Kempff's "simple" and "flowing" performance.
D
Dave
Member
Reply 7 by Dave
Posts
70
michele75 wrote:
As you yourself have already said ... it is excessively slow.
I do not presume to judge those who prefer to perform the sonata in a slow manner, but I believe that this adagio should not be played like a requiem!
I believe that a "moonlight" is a pleasant and relaxing moment. I am referring specifically to the weather conditions!
Rubato is welcome, as it gives much character to the sonata, but the tempo of execution must consider that eighth notes are being played ... and no matter how slowly one wants to perform the piece ... they are eighth notes 😆
Not only that, the slowness of the execution forces you to weigh down the bass tones so that they manage to have sufficient duration to "fill" the measure, without leaving the last triplet orphaned and lonely.
Personally, for this sonata, I take as an example Kempff's "simple" and "flowing" performance.
Thank you Michele, you have written very interesting considerations ... in fact, I am now re-studying it from the beginning as it should be played, or at least I am trying; I listened to Kempff, whose performance was actually the first time I discovered this beautiful composition, and I am trying to follow his style and tempo.
