Living legend of the piano Murray Perahia records two benchmark sonatas by Beethoven for the first time in his career. Long renowned for his performances of this composer comes Perahia’s brand new recording that pairs together two of the most radically ground-breaking of Beethoven’s 32 piano sonatas. Sure to be a crown jewel of the Beethoven discography, Perahia supports the ...(展开全部) Living legend of the piano Murray Perahia records two benchmark sonatas by Beethoven for the first time in his career. Long renowned for his performances of this composer comes Perahia’s brand new recording that pairs together two of the most radically ground-breaking of Beethoven’s 32 piano sonatas. Sure to be a crown jewel of the Beethoven discography, Perahia supports the release with major recital tours in Asia, USA and Europe. Murray Perahia stands in the tradition of the great keyboard virtuosi as an artist armed with consummate technical skills, boundless imagination and near-mystical eloquence. Murray Perahia explored the Hammerklavier Sonata first when he was in his mid-twenties. While the work’s enormous technical and physical challenges fell within his grasp, its profound musical demands eluded him. He quietly dropped the “Hammerklavier” from his repertoire, recognising that he would need time to fathom its cosmic depths. Over four decades passed before he felt ready to programme the piece in recital. After years of studying the original manuscripts, working sketches and editions published during the composer’s lifetime, and having edited the new Henle Urtext edition of The Complete Beethoven Piano Sonatas, Perahia now presents two of Beethoven’s most famous sonatas as a revelation.
曲目
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Piano Sonata No. 29 in B flat major “Hammerklavier” op. 106
Allegro
Scherzo. Assai vivace
Adagio sostenuto
Largo – Allegro risoluto
Piano Sonata No. 14 in C sharp minor “Moonlight” op. 27/2
2 有用 馬辛貽 2023-12-27 04:34:23 荷兰
原来佩拉西亚的月光奏鸣曲弹得这么好(不只是好,是masterpiece)。好像更流行的弹法是在第一乐章那些三连音的中后部制造空隙,给尾部多情的低音和弦创造情感沉淀的空间。但我更喜欢钢琴家匀速处理那些上行的琶音,织出严密的行进,克制地抒情,不强调戏剧性。听得人静下来,想起老电影里柔焦的静态的美丽面庞。bold stroke在第二乐章第二部分结尾,既轻又巧,很少有人选择在这里制造明确的明暗对比。但很好... 原来佩拉西亚的月光奏鸣曲弹得这么好(不只是好,是masterpiece)。好像更流行的弹法是在第一乐章那些三连音的中后部制造空隙,给尾部多情的低音和弦创造情感沉淀的空间。但我更喜欢钢琴家匀速处理那些上行的琶音,织出严密的行进,克制地抒情,不强调戏剧性。听得人静下来,想起老电影里柔焦的静态的美丽面庞。bold stroke在第二乐章第二部分结尾,既轻又巧,很少有人选择在这里制造明确的明暗对比。但很好。于是那暗部(最后两小节)变成了一声叹息。 (展开)
0 有用 Sid 2018-02-16 05:36:11
无才能
0 有用 [已注销] 2018-02-12 15:27:13
perahia也到了好好弹这几个曲目的年纪了…
0 有用 Ooo 2022-07-26 22:37:32
82
0 有用 Balaenoptera 2018-04-16 23:38:26
听过一次现场版锤子键盘
0 有用 Echo 2020-12-17 18:12:29
Piano Sonata No. 29, 14
0 有用 Joshuaelen 2018-07-13 01:40:00
3.5/5 人曲皆老,匠心还在,但好几处力和巧都有些不及了,依然贯彻粉佩神,希望能弥坚
0 有用 Balaenoptera 2018-04-16 23:38:26
听过一次现场版锤子键盘
2 有用 馬辛貽 2023-12-27 04:34:23 荷兰
原来佩拉西亚的月光奏鸣曲弹得这么好(不只是好,是masterpiece)。好像更流行的弹法是在第一乐章那些三连音的中后部制造空隙,给尾部多情的低音和弦创造情感沉淀的空间。但我更喜欢钢琴家匀速处理那些上行的琶音,织出严密的行进,克制地抒情,不强调戏剧性。听得人静下来,想起老电影里柔焦的静态的美丽面庞。bold stroke在第二乐章第二部分结尾,既轻又巧,很少有人选择在这里制造明确的明暗对比。但很好... 原来佩拉西亚的月光奏鸣曲弹得这么好(不只是好,是masterpiece)。好像更流行的弹法是在第一乐章那些三连音的中后部制造空隙,给尾部多情的低音和弦创造情感沉淀的空间。但我更喜欢钢琴家匀速处理那些上行的琶音,织出严密的行进,克制地抒情,不强调戏剧性。听得人静下来,想起老电影里柔焦的静态的美丽面庞。bold stroke在第二乐章第二部分结尾,既轻又巧,很少有人选择在这里制造明确的明暗对比。但很好。于是那暗部(最后两小节)变成了一声叹息。 (展开)
0 有用 简 2020-05-22 05:53:43
牛气