Thanks for taking a look at it!To play all of them kind of happened without planning actually, I was having one recital a year at a chamber music society in Sweden, and it turned into being a Beethoven-only series. So, I had to play 4 new sonatas each year at a recital finally reaching the end. That took ten years. And then, we all were like..."no, this can't be over..." so we decided to make it a series in 2010, one recital a week. Then two other venues wanted the series, too so I will play each program 3 times a week for 8 weeks.I guess every pianist will have their own rhythm, but this worked out well for me. The last recitals, I always worked on 4 different sonatas at the same time for about 6 weeks before the recitals, and they really feed off each other. I would not be able to just plan to do all 32 before actually having played them first.
That is actually a good idea, Karli...to get into how to practice/learn the sonatas. I think I will add a page where I would get into that, since it's after all a huge part of playing them. Of course it's a personal process, and that's why it would be very interesting to have pianists/teachers and students comment on it, and sharing their views and methods.
Very good stuff, thanks, I hope I can quote some of this on my blog?Per
I don't have a method.....just one note at a time.....as I breathe in and breathe out....
go, if I did that, I would still be on my first piece right now. I hope you're not serious!
In the Hammerklavier I felt I really needed to listen to others, and the slow movement by Kempff opened up my understanding of that piece a lot. His recordings of the late sonatas are incredible. There are some Gilels recordings out there that helped a lot, too. Schnabel has done some great sonatas, especially the early ones. And there is a DVD with Arrau playing op. 111 which is my favorite of all piano things recorded.It might be somewhere on youtube?
Maybe it's just the whole world somehow supporting what you are doing, and giving you secret signs that seem to blare out at you in just a particular way .
That is really something that you studied with Kempff, Birba. John O'Conor is there now, and I have considered studying with him someday if I can.
the slow movement in the d major op 10. no. 3 depicts a large hall with a corpse in a coffin at one end of it - he played it for us and it was exactly that. The fourth concerto is the female ego, the emperor, the male; the "aurora" which is the italian subtitle to the Waldstein, is better suited to the sonata because the 2nd and third movements are exactly that and on and on.