I revisited Beethoven's Piano Sonata No. 21 "Waldstein". When I first sequenced it, my musical advisor described it as having high fidelity. And yes, I did feel that it lacked a certain "human warmth." This time, relying on my advisor's strict feedback, I made a series of detailed adjustments, such as to the chord balances, tempo, pedaling, and so on. How does it sound now? I feel like it has gained much more character.
Incidentally, it's said that No. 21 was composed on an Erard piano gifted by Count Waldstein, who gave the piece its common name. Thanks to this piano, the range expanded considerably, likely sparking many new ideas. However, the octave E in bar 18 of the second movement is in the same range as the octave F in the preceding bar 17—meaning it's lowered by an octave. Additionally, I've added the octave below the left-hand notes in the third movement, measures 181-183: ”D♭, C, B♭, A♭, G, F, E♭, A♭.” Even the Erard piano couldn't produce these low notes, so I'm playing them as an interpretation of Beethoven's intent.
Still, that pp octave glissando starting at measure 465 in the third movement must be quite a technical challenge on an acoustic piano. You'd probably slide it with fingers 1 and 5, but it's pp!
Song Title:
Title:.
Piano Sonata No. 21 in C major, Op. 53
Sound source:
Sound Library:
Synchron Concert D-274
Audio file format: mp3
For streaming on a PC, please see this page.
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For streaming on a PC, please see
this page.