No copyright infringement is intended, if any still exists. Posted solely for the artistic exposure of . Paul Badura-Skoda playing on many of his historical pianos documentary French TV 1991.
He was my direct teacher from 2011 to 2019. I can't forget our last lessons, two weeks before he died: he could still play by heart and demonstrate all Beethoven Sonatas.
I see from some of the comments that some people just don't get it. These are historical instruments or copies of historical instruments. There's no way they are going to ever sound like modern instruments. They are to give us the idea of what the older instruments actually sounded like. And after hearing Paul play them, I am more than ever convinced that after one has learned the notes of something as great and deep as the Haydn f minor variations, that what separates one performance from another is the heart of the performer. Another lifetime ago, I was fortunate enough to get to hear Paul play in person. He played a Mozart concerto. I remembered the way he played it, as if singing it through his hands. I'm sure a lot of people who pass by this podcast are piano performers themselves. They are most likely to understand what I mean. Even through the more limited sound of the earlier keyboard instruments, Paul's heart and soul shines forth. Best
I just listened from him his recording of Beethoven and Schubert, and was enough to say that after 20 years of listening intensely classical music, Badura-Skoda is the best pianist I have ever heard (and the list is big). These instruments gives the real sound of the composers, how they perceived the sound, not with the instruments of nowadays. It's a true privilege to hear for instance Beethoven in a piano from his time. Thank you for sharing this fantastic video
More and more I realize as an instrumentalist esp. after seeing many lessons from vocalists and pianists and violinists that the personality ,vision and commitment of the performer combine to give us great music . A million people play Hadyn and like Maria Pires says the page is only the beginning ..
After hearing Levin 's lectures I realize one needs to keep in mind the instruments the music was written for .Beethoven was writing for an instrument in his head (he would have loved today's steinways ) while Mozart was writing for what he had in front of him but the "Musicke " gains with today's resources as do Mendelssohn,Weber,Schumann I can't imagine Pleyels and Erards handling Liszt and Chopin's music . Even as early as op.10 Chopin is outdoing hands and the instrument . I would luv to hear op.10 and op.25 on a pre 1860 instrument .
