My Beethoven

Wonderful !! Second and third movement?

Second movement of the Appassionata. Live concerto. It is a theme with variations. From a technical point of view, the last variation must be listened to carefully, performed with the jeu perlée technique, which is the free fall of the fingers with their weight, sufficient to allow the escapement lever to launch the hammer gently against the string. With a measured touch, one achieves a truly "pearly" sound, also called "sur l'escapement"

I will also post the third tempo "Allegro ma non troppo"

I also invite you to listen to Debussy's Estampes, which I hold very dear

Thank you for listening me

Beautiful passionate! Beethoven Sonata that I like the most....

Paolo no longer answers us.

How I can't answer you anymore!!! My server was blocked! I thank you very much for the compliments. Thank you zenigata, thank you Irina85!!!! I hope you will also like the third movement that I will post shortly!!! Thank you

Bravo Paolo! We are waiting for the third movement

Thanks Marta. I am not at home. I think I will post it tonight.

Third movement of the Appassionata. Allegro "ma non troppo". Finale "presto".

what an emotion!....it had been years since I last listened to it!!! i liked it very much and even if the audio isn't exactly the best, you can hear all its harmonic fullness and its sonic power....which you render marvelously!!

also for me (like Marta) it is my favorite sonata......a very complete piece both from a technical and an interpretative point of view....thank you for sharing it!!

i listened to it several times with great pleasure....!!!

Thank you from the bottom of my heart, Nancy.

I can't find the files in these sections published a while ago.. my problem?

of course! they can still be heard....trying to see if they could be heard, I also listened to it again with great pleasure...

Thank you, the pleasure of listening is mutual.

I had missed this post and I also listened with pleasure, it is one of my favorites.

Compliments to Paolo... do you happen to remember the Piano from the concert?

An execution from several years ago? can I ask you if it is still under your fingers?

my curiosity because having interrupted for many years now I have no small difficulties resuming even Moonlight Sonata or Pathetique

bye and thanks for posting this audio

The piano was a "short" Yamaha G2 but quite new. It was well regulated and prepared before the concert (I also played Debussy's Estampes, which were also posted, requiring a well-prepared escapement), but, as you can clearly hear, it suffers a bit near the crossover and in the bass.

I have resonated and re-studied the Appassionata several times. Currently, I don't have it right at hand, but I believe I know it well enough. Lately, I have been dedicated to the Waldstein sonata, which I played twice in concert. The fact of interrupting "dedication" to the piano for years can, from person to person, cause difficulties in resuming. Remembering the sonata... that too is subjective. Technically, once the formulas are resolved, the difficulties should not return from scratch. That is to say, I am a supporter of "technique" being resolved once and for all. I remember that in a passage of the Appassionata in the third movement, when the theme chases itself by imitation between right hand and left hand, it was giving me problems. I had changed the fingering several times, as can still be seen from the erasures on the sheet music. One day I was on a bus in Rome at Piazza Venezia and a new solution came to mind. I took the ticket I had in my pocket and noted down some fingers. Arriving home, I rushed to copy them and execute them. They were undoubtedly the least orthodox... but they were the ones that worked for me!!!! Finally, the passage was resolved "once and for all," precisely because the hands, with a certain synchronicity, find themselves performing a specific and natural movement, also "mentally" accepted without effort. I always observe that solution, even when I find myself reviewing the sonata. It has been a long time since I played it. Even Pathetique and Clair de Lune, which are not easy at all, are part of my repertoire... but I haven't played all three together in concert. Perhaps I will. The third movement of Clair de Lune is not easy at all if you want to play it at a certain speed and truly "agitato." In the Pathetique, I would dedicate maximum attention specifically to the very popular second movement, which must have absolute legato in the extreme cantabile part of the right hand... even using very little pedal. In short, good studying... to us

Ah ah... I would also be a "supporter of the technique resolved once and for all" but sometimes the hands just don't want to understand it

a presto!