Beethoven: Sonata in G op.14 no.2 inspired by Anton Schindler's account.

Описание: This recording is inspired by Anton Schindler’s remarkable account of Beethoven's performance of the movement. Although dismissed by many academics due to his notorious forgeries in Beethoven’s conversation books, others have made a case that there could be important clues in his writings that hint at genuine aspects of Beethoven’s performing style around the time Schindler knew him (1822-24). These include especially George Barth in his book 'The Pianist as Orator: Beethoven and the Transformation of Keyboard Style.'

Whilst this style of performance might seem to some pianists preposterous based on received tradition, the field of study is constantly changing and early recordings and piano rolls provide additional evidence of earlier 19th-century tastes being different to what we are used to today. I quote a leading expert and author in this field, Clive Brown: 'From practical experience I am now convinced that the essentially expressive and affective character of late eighteenth- and nineteenth-century music requires a much bolder approach to rhythmic and tempo flexibility than that to which we are currently accustomed.' https://thebeethovenproject.com/perfo...

Subtitle quotations in the video are drawn from the first edition of Schindler's 'Life of Beethoven' (1840) which later became 'Beethoven as I Knew Him' (1860). All quotations in the commentary are from this book pages 157-160 of the 1841 English translation, unless otherwise indicated (see below). This can be accessed here: https://openlibrary.org/books/OL69657...

Other quotations are from:

Czerny, Carl. 'Complete Theoretical and Practical Piano Forte School,' op.500. 3 vols (London: Cocks, 1839). See page 86 of vol. 3.
Czerny, Carl. 'On the Proper Performance of All Beethoven's Works for the Piano.' Chapters 2 and 3 of 'The Art of Playing the Ancient and Modern Piano Forte Works.' (London: Cocks, 1846). See page 45 which briefly discusses this sonata.

These two volumes can be accessed on IMSLP:
https://imslp.org/wiki/Pianoforte-Sch...)

Also included are thoughts from:

Newman, William S. ‘Beethoven on Beethoven: Playing His Piano Music His Way.’ New York: W.W. Norton, 1988. Tempo flexibility is discussed on pages 110-120.

See also:

Albrecht, Theodore. ‘Anton Schindler as Destroyer and Forger of Beethoven’s Conversation Books: A Case for Decriminalisation.’ Music's Intellectual History, RILM 2010, 168–81.
https://web.archive.org/web/201705162...