I reviewed Beethoven's Piano Sonata No. 21, "Waldstein".
I typed it before.When I was in the school, the teacher told me that it was high fidelity. That's right. I thought it lacked a bit of humanity. This time, relying on his strict comments, I made a lot of detailed corrections, such as the balance of chords, tempo, pedaling, and so on. What do you think? It seems to have become much more colorful.
By the way, No. 21 was created on an Erard piano, a gift from Count Waldstein, which became the common name for this piece. Thanks to this piano, the range of the sound was considerably expanded, and I think it gave birth to a lot of new ideas. However, the octave "mi" in the 18th bar of the second movement has the same range as the octave "f" in the previous 17 bars, i.e., one octave lower. Also, I added the octave "le-flat, do-flat, c-flat, la-flat, so, fa, mi-flat, la-flat" in the left hand in the third movement 181-183. Even the piano made by Erard could not produce these low notes yet. I play it with Beethoven's thoughts in mind.
But still, the pp octave glissando from bar 465 of the third movement is a very difficult technique to play on a live piano. I guess you glide along with 1,5 fingers, but it's pp!
Title: Piano Sonata No.21 in C major Op.53
Sound Source: Vienna Synchron Concert D-274
Audio file format: mp3
YouTube:. Beethoven Piano Sonata No.21