FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W246346323> ?p ?o ?g. }

• W246346323 startingPage "46" @default.
• W246346323 abstract "Piano Sonatas Vol. I. Fortepiano Sonata in C Minor, Opus 10, no. 1 [lo:50]; Fortepiano Sonata in B-flat Major, Opus 22 [23:40]; Fortepiano Sonata in ?-flat Major (Funeral March), Opus 26 [17:44]; Fortepiano Sonata in ?-flat Major (Les Adieux), Opus 81a [15:36], Jonathan Biss, Steinway & Sons piano. Notes by Jonathan Biss in English, German, and French. Recorded May 201 1 at Purchase College, State University of New York. © 201 1 . Onyx 4082. $21 .98. Rating:***Diese Sonate hat sich gewaschen, wrote Beethoven of his Sonata in B-flat Major, Opus 22, which Donald Tovey translates as sonata takes the cake. Beethoven was very fond of this sonata, which, as Jonathan Biss writes in the liner notes to his CD, may be considered to be a point of transition, a summation of his work in the genre up to that point. In this sonata, composed in 1800, the forms of each movement are clear and relatively orthodox, the content charming and full of youthful brio. In all of the ensuing sonatas, Beethoven experiments markedly, until he enters his middle period in earnest with the Waldstein. These experiments begin with the next Sonata, Opus 26 in ?-flat Major, which opens wirii a theme and variations and has no movement in sonata form.Biss is a prominent young American pianist who studied with Leon Fleisher at the Curtis Institute of Music. He has embarked on a recording of the complete Beethoven sonatas. This first disc, released early this year, contains the two Sonatas Opuses 22 and 26, as well as two others: the ^ewohl Sonaxa, Opus 81a, composed in 1 809-10, and the early Sonata in C Minor, Opus 10, no. 1, composed in the mid- 1790s. The rest will follow over the course of nine years. Biss has also released a lengthy essay to accompany the project, tided Beethoven's Shadow (available online in Amazon's Kindle Single format).One can discern Biss' perspective on Beethoven from his writing as well as from his playing, and it is worth examining a few of me ideas in his essay. He speaks of discomfort with die notion of technical or musical in a performance, and a nagging - and highly personal - feeling that the quest for perfection in music may not only be of secondary importance, but die very enemy of curiosity, love, humor, imagination, open-heartedness - the qualities . . . that make music music. He discusses Artur Schnabel, a man venerated for his musicianship but whose performances were often marred by smaller mistakes and shortcomings. Biss essentially asks if, in demanding higher standards in the details and in seeking to create perfect recordings for posterity, we have not lost something Schnabel had that was more important.At least if we are to state the dilemma so simply, the basic answer is no: on the face of it, high technical standards and musical depth should not be mutually exclusive. For one thing, Biss characterizes this search for perfection as a modern phenomenon, but there are echoes of his sentiment in the following words: Here I must touch on a dangerous and difficult question for any artist, whether a great virtuoso or a simple debutant. The complex problem posed by mechanical music (radio and recordings) confronts the executant with demands which may sometimes lead him away from the true purpose of his art. The result is that today we witness a tendency towards absolute technical perfection devoid of any sensitivity or elan.This is from a review of the elder pianist Emil Sauer written in 1 939 by Dinu Lipatti, then twenty-two ( Dragos Tanasescu and Grigore Bargauanu, trans. Carola Gindea and Anne Goosens, Lipatti). But Lipatti s own recordings provide a shining example of the deepest musical feeling served by what might fairly be described as technical perfection. …" @default.
• W246346323 created "2016-06-24" @default.
• W246346323 creator A5038572451 @default.
• W246346323 date "2012-07-01" @default.
• W246346323 modified "2023-09-26" @default.
• W246346323 title "Beethoven Piano Sonatas Vol. I. Fortepiano Sonata in C Minor, Opus 10, No. 1 [16:50]; Fortepiano Sonata in B-Flat Major, Opus 22 [23:40]; Fortepiano Sonata in A-Flat Major (Funeral March), Opus 26 [17:44]; Fortepiano Sonata in E-Flat Major (Les Adieux), Opus 81a [15:36]" @default.
• W246346323 hasPublicationYear "2012" @default.
• W246346323 type Work @default.
• W246346323 sameAs 246346323 @default.
• W246346323 citedByCount "0" @default.
• W246346323 crossrefType "journal-article" @default.
• W246346323 hasAuthorship W246346323A5038572451 @default.
• W246346323 hasConcept C124086623 @default.
• W246346323 hasConcept C124952713 @default.
• W246346323 hasConcept C142362112 @default.
• W246346323 hasConcept C194171767 @default.
• W246346323 hasConcept C2778950570 @default.
• W246346323 hasConcept C41189190 @default.
• W246346323 hasConcept C46272592 @default.
• W246346323 hasConcept C52119013 @default.
• W246346323 hasConcept C91375011 @default.
• W246346323 hasConceptScore W246346323C124086623 @default.
• W246346323 hasConceptScore W246346323C124952713 @default.
• W246346323 hasConceptScore W246346323C142362112 @default.
• W246346323 hasConceptScore W246346323C194171767 @default.
• W246346323 hasConceptScore W246346323C2778950570 @default.
• W246346323 hasConceptScore W246346323C41189190 @default.
• W246346323 hasConceptScore W246346323C46272592 @default.
• W246346323 hasConceptScore W246346323C52119013 @default.
• W246346323 hasConceptScore W246346323C91375011 @default.
• W246346323 hasIssue "1" @default.
• W246346323 hasLocation W2463463231 @default.
• W246346323 hasOpenAccess W246346323 @default.
• W246346323 hasPrimaryLocation W2463463231 @default.
• W246346323 hasRelatedWork W135653298 @default.
• W246346323 hasRelatedWork W178242943 @default.
• W246346323 hasRelatedWork W183145081 @default.
• W246346323 hasRelatedWork W202005678 @default.
• W246346323 hasRelatedWork W20222084 @default.
• W246346323 hasRelatedWork W2043588387 @default.
• W246346323 hasRelatedWork W2092591627 @default.
• W246346323 hasRelatedWork W2186037974 @default.
• W246346323 hasRelatedWork W2187967137 @default.
• W246346323 hasRelatedWork W219927267 @default.
• W246346323 hasRelatedWork W224235952 @default.
• W246346323 hasRelatedWork W235184166 @default.
• W246346323 hasRelatedWork W257836090 @default.
• W246346323 hasRelatedWork W293038224 @default.
• W246346323 hasRelatedWork W3178885033 @default.
• W246346323 hasRelatedWork W320207813 @default.
• W246346323 hasRelatedWork W754023657 @default.
• W246346323 hasRelatedWork W91744876 @default.
• W246346323 hasRelatedWork W2775774802 @default.
• W246346323 hasRelatedWork W310933100 @default.
• W246346323 hasVolume "27" @default.
• W246346323 isParatext "false" @default.
• W246346323 isRetracted "false" @default.
• W246346323 magId "246346323" @default.
• W246346323 workType "article" @default.