5/5 Wrapping Up ScoreVideos

Here's the last of the ScoreVideo posts...this one covers everything not previously covered in piano sonatas, symphonies (in full score and in piano reductions) and chamber works. I'm going to try and keep these ScoreVideo playlists updated as long as I can (or at least for a few more weeks..?).

As this blog is as much a project for self-education as it is anything else, I've definitely gotten better at score-reading through following these videos, so I hope this has helped my readers as well...

Rondo Op. 51, No. 1 
Jenö Jandó, piano

Piano Works:

• 12 Minuets (Jando)
• Rondo a Capriccio Op.129 "Rage over a Lost Penny" (Jando)
• Rondo in A (Jando)
• Rondo Op.51 No1, 2 (Jando)
• Andante Favori, WoO.57 (Jando)
• Symphony 7, Piano Arr by Franz Liszt (Howard)
• Bagatelle Op.33, No.1, 7 
• Fur Elise
• Diabelli Variations (Sokolov)
• Ecossaise WoO.83 (Gyorgy)
• Symphony 9, 4th Mvmt, Piano Arr by Franz Liszt (Katsaris) 
• Fantasia Op. 77(Ciani)
• Sonatina WoO.50 (Brautigam)
• Bagatelle "Lustig - Traurig" WoO.54 (Cascioli)
• Prelude WoO.55 (Cascioli)
• Minuet WoO.82
• Bagatelle Op.126, No.3 (Biss)
• Kurfürstensonaten WoO.47 M1, M2
• Bagatelle in F (Last work?)
• Piano Concerto 1, Op.15
  

11 Piano Bagatelles, Op. 119 (Brendel)
6 Piano Bagatelles Op.126 (Brendel)
Eroica Variations for Piano (Kempff) Op.35 w Manuscript

Symphony 6 Op.68 (Boult) w Manuscript

Overtures in Full Score

• Coriolan, Op.62
• Egmont, Op.84
• Leonore II, Op.72a
• Wellington's Siege, Op.91
• Choral Fantasia Op.80
• King Stephen
• Ruins of Athens

12/29 Different Keys/Different Strokes...No. 27 / Op. 27

One of the many great things about Beethoven's music is the basic integrity and beauty of his work can shine through (or withstand) many different interpretations.  Even Beethoven himself rarely played a sonata the same exact way each time, and on occasion he was known to remark something to the effect of "Well, I never imagined it being played in such a manner - but I like this even better!" (especially if it was an attractive young female interpreter....).  Factors such as tempo, dynamics, phrasing - these are all things which can be personalized by the performer, thereby making a performance a true dialogue between composer and interpreter.  Though I heartily disagree with Maria João Pires that the notated score is not even 1 percent of the music...

Last week I featured a set of unique interpretations by Fazil Say.  Here are a couple double performances to compare side by side - so to speak.


Sonata No. 27, Op 90, Mvt. 1

Wilhelm Kempff:


Emil Gilels:

It still sounds like the same piece - but the personality of the performer comes through quite clearly.

In this example, however it gets a bit more ..extreme.

Sonata No. 13, Op. 27, No.1 "Quasi una fantasia", Mvt. 1

Daniel Barenboim:


Glenn Gould: