Time to quit listening to critics that say Beethoven was better at writing symphonies with odd numbers. I listened many times to 3,5,7 and of course the Ninth, but 6,8 and now the Fourth are beautiful. What a fantastic performance in a great setting.
Nobody gets close to this version of this concerto. I heard it from many other pianists but there is nothing to say: Martha is Martha. Pedal, piano, virtuosism, passion, and emotion in playing.
I am sorry, but this is not an antique Steinway. Except for the fact that it has 85 keys instead of today's 88 keys, this piano is a modern Steinway in every regard.
La gestualità dentro la musica ed elegante di Klaiber.Niente di superfluo,niente di macchinoso,tutto viene filtrato da una musicalità viva esaltante,contagiosa,rigorosa ,ma gioiosa,.un gesto cosi' espressivo e poeticamente elegante, che disegna la musica non ha eguali.!!! ALTRO CHE CERTI "DIRETTORI" DI OGGI,CHE STAREBBERO BENE ALLO ZOO...!! E LE "DIRETTRICI".....?
I am fortunate to have become the owner of a Model IV built 1900. Sold by the London Bechstein dealer and has been in the US for at least several decades. Mahogany case. Restored (year unknown). I was amazed upon hearing the unique " european " sound/overtones/ resonance that I have heard from Bechstein/ Bosendorfer etc in the UK , Germany, Austria. I wrongly attributed this difference to room/ concert hall acoustics or possible tuning or voicing by EU technicians. Other makers, including Steinway now sound comparatively harsh or weak, especially in higher registers. The action is light and very responsive. It is way above my grade/level but has inspired me to, one day, deserve this masterpiece.
If the London dealer is JS then you have a factory rebuilt piano with all its innards replaced with modern material, from action, hammers, felt to polyester finish. Mine is a true restoration with all parts original including the tied action and a shellac finish.
00:00 I. Lentamente 01:15 II. Andante 02:34 III. Allegretto 03:42 IV. Animato 04:44 V. Molto giocoso 05:04 VI. Con eleganza 05:33 VII. Pittoresco (Arpa) 07:30 VIII. Comodo 09:10 IX. Allegro tranquillo 10:22 X. Ridicolosamente 11:19 XI. Con vivacita 12:14 XII. Assai moderato 13:10 XIII. Allegretto 13:57 XIV. Feroce 15:01 XV. Inquieto 15:51 XVI. Dolente 17:38 XVII. Poetico 19:13 XVIII. Con una dolce lentezza 20:38 XIX. Presto agitatissimo e molto accentuato 21:25 XX. Lento irrealmente
Thank you for posting a time-corrected version of this. Only w/ perfect synchronicity can we see the perfect incision of his pulse, and how CK would move 'ahead of the beat' from time to time. It allowed room for rubato of every sort, and music-making of a sort hardly ever seen anywhere. This was the first concert I ever saw him conduct. It changed forever my notion of what great conductors could do. I suspect it was the same for thousands of others.
She played it only once and it was right of her to do so... I don't think this heavy and overlaboured piece suits her... the First suits her much better! It was only at great insistence from Barenboim that she agreed to do this, as Strauss' Burlesque too. I remeber hearing Claudio Abado begging her for years to learn th Burlesque. So eventualy she did it only for him. And that was a great shame because the Burlesque is a wonderful concert-piece.
There’s no “greatest conductor of all time”, period. There have been, and there will be, precious Great Conductors. Kleiber was definitely one of them but he wasn’t “better” than Fürtwangler, Mahler, Mitropoulos, Walter, etc etc
