Beethoven: Sonata Op. 90 in E minor (No. 27) - 1st movement

[electrafingers]

Hi everyone!

Here is a recent recording of the first movement from Beethoven's sonata Op. 90 in E minor - Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck

Please feel free to share your thoughts about it

Ishay

[imbetter]

Hello Ishay

I've played this piece too and I must say your rendition of this fantastic Beethoven sonata is quite excellent. I really don't have any complaints other that in the main theme I might make a slightly bigger distinction between the forte "question" and the piano "answer". I posted a recording of this piece in the audition room a while ago but it wasn't learned well enough so I removed it your recording has inspired me to maybe post a recording of this piece. Do you play the second movement?

[furtwaengler]

Oh, this is just great! Very well judged in tempo and dynamics, if not a bit reserved in the fortissimos (could that be the recording?). I wonder if the right hand eighths could be shorter at 47 and at 190, just as long as rests between them come through (compare to the opening measures as well as measures 28 through 36, in which you achieve his marking) - Isn’t it a lovely contrast Beethoven makes when using and not using these rests (crisp eighths, vs. long quarters)? Your left hand starting at 55 and 198 is amazingly proficient. To me it is quite a technical feat (large hands?). Why the sudden rush at measure 66? The figure comes off much better at 209. That section from 84 to 108 (and indeed the preceding descent into it)  is just great writing isn’t it? I *adore* this sonata.

Give me the last movement and I’m happy. You are a great pianist among us. 

[rachfan]

Hi Ishay,

This is a wonderful rendition of Op. 90. It is thoughtful, convincing, and played with artistry throughout.  Bravo!

I've played this piece myself.  This first movement supposedly represents the "struggle between heart and mind", and you bring out that inner conflict and tension very well. 

I like the way you always keep the sforzados within the context of the piece, treating them more like accents as may be necessary.  You make much of the contrasts too.  (I swear Beethoven liked to play pranks on pianists--just as our nervous systems become lulled and comfortable in playing passage work, the composer very abruptly changes dynamic or figuration to test if we're asleep at the switch.  You react to those demands flawlessly.)  Your melodic lines are always lyrical, including playing the cantabile octaves legato.  You play some beautiful nuances too, which is appropriate, as Op. 90 borders on the late sonatas.  And, of course, Beethoven, as a transitional composer, stood astride the Viennese Classical and the Early Romantic periods.  You also contrast non-legato passages, keeping them crisp.  Likewise you voice the chords and double notes clearly.  I've always been impressed with the clarity of your playing, and now I include this piece in that assessment.  You always etch what is most important for the listener.  Finally, I would commend the pedaling--it could not be more judicious in my opinion.

You've done a fine job, Ishay, in performing this piece.  You'll probably be doing the second movement shortly?  I just wish I liked the second movement as well as this first, but... it's so darned repetitious!  And trying to play those repetitions differently somehow each time to maintain interest is a creative challenge.

Thanks for posting this fine recording!

[electrafingers]

Thank you all for your comments!

Why the sudden rush at measure 66? The figure comes off much better at 209.

Furtwaengler, thanks for noticing! Apparently there was some problem when transferring the file to my computer, which caused this little jump and made the impression that I was rushing. I have now transferred it again and I think it is ok now. Hopefully there are no other problems of this kind which I haven't noticed...

[furtwaengler]

^Haha, that's great. I listened to the spot three or four times trying to figure out what happened to the notes. That makes perfect sense!

I'm going to look for more of your recordings because of the great playing here. 

[goldentone]

Thanks for sharing this, Ishay.  This sonata is one of my favorites.  That is an amazing effect you achieved in the LH starting in bar 55.  I've never heard anything like it.  Throughout, your playing is pregnant with artistry and technical excellence.  The turbulence I feel you captured well.  Your playing is always top notch.