ความคิดเห็นที่ 1 ไม่นานมานี้เขาเพิ่งเล่น 32 โซนาตาของเบโธเฟนในเบอร์ลิน และทำออกมาเป็น DVD ผมซื้อมาเก็บสะสม ประทับใจมาก ใครชอบเบโธเฟน แนะนำว่าน่าซื้อเป็นอย่างยิ่งครับ จากคุณ : BlueWhiteRed - [ 16 ก.พ. 51 14:25:50 ]

ความคิดเห็นที่ 2 ชอบบทความนี้ของ Martin Kettle เขียนได้ถูกใจมาก (คงเป็นเพราะผมไม่ชอบ cultural relativism เหมือน Kettle) ลองอ่านดูครับ Elitist? Yes. But some things are simply better than others Barenboim's cycle of 32 Beethoven sonatas is a reminder that the best art is uniquely ennobling. It should be available to all Martin Kettle The Guardian, Saturday February 16 2008 We are Danny's boys - and Danny's girls - and according to the Times yesterday, there are 633 of us. Somewhere back in 2007 we were the lucky ones who got our act together to buy tickets for the whole of Daniel Barenboim's eight-concert cycle of the complete Beethoven piano sonatas at the Festival Hall. Over the past three weeks, tickets to each concert have become some of the hottest must-haves in town. The hall has been turning hopeful buyers away in droves. Already the cycle is being lauded as London's musical event of the year - and even, according to the Evening Standard, of the decade. And now there is just one final concert and four more sonatas before it is all over. For years, it was at the back of my mind to listen to a complete cycle of the 32 Beethoven sonatas. Somehow it never happened. But when the Barenboim cycle was announced - and all to be played in an unusually concentrated timetable of less than three weeks - I needed no second invitation. These weeks have been ringfenced in my diary for months. Right now, all my waking hours are dominated by Beethoven. Before each concert I have studied the sonatas hard. My iPod is crammed with recorded performances from Artur Schnabel to Mitsuko Uchida (I like Claudio Arrau best). Not everything in life lives up to expectation - but these concerts have exceeded my dreams. When the last recital finishes tomorrow afternoon, I will be bereft. I will find it hard not to cry as Barenboim begins the final movement of opus 111, the one piece I cannot bring myself to study in advance. Part of the rich emotional reward of these concerts has of course been to do with Barenboim himself. London and Barenboim go back a very long way. There has always been a special affection for him here. Nowadays there is massive respect too, piling up from every direction for all his varied cultural and political achievements. These recitals have therefore been special affirmations. Each time Barenboim has stepped on to the platform he has been greeted with some of the warmest receptions I have heard. If he doesn't get a standing ovation even before he plays a note tomorrow, I will be amazed. Actually, the real hero of these three weeks is not Barenboim. It is Beethoven himself. I am painfully aware that anything I try to write about the 32 sonatas is bound to be banal, because no one's words can do justice to the imaginative range of the music that Beethoven conjured for the keyboard over his lifetime. So I will take refuge in something that the pianist Louis Kentner once wrote. The Beethoven piano sonatas, said Kentner, should be presented to the first Martian visitor to our planet as proof of what human civilisation is capable of. Here, friend, we should say to the little green men. This is the best of us. Kentner belonged to a generation of Europeans who had no difficulty thinking about Beethoven in such respectful, even worshipful, terms. Beethoven stood at the summit of musical culture until well into the second half of the 20th century. Everything in music was to some extent conditioned by him. But is that still true? Our age is suspicious of cultural hierarchy. It celebrates cultural relativism. Beethoven is certainly not in eclipse, but his music has become one choice among others. On an iPod his sonatas are just another set of songs. Listening to Barenboim play Beethoven throws down a challenge to that modern eclecticism. The quality and intensity of these eight recitals insist on the uniqueness of Beethoven's vision. Of course, creative art cannot be entirely reduced to an absolute hierarchy. But is there any greater musical achievement than these sonatas? If so, do tell me. Music of this quality calls on us to be worthy of our inheritance - and pass it on, Alan Bennett-style, to others. Years ago, when I was a history boy at Bennett's own school, our teacher was challenged by a pupil who assured him that some rock star of the moment was better than his beloved opera, and that it was only the teacher's opinion that opera was better. "I will not allow you to say that all opinions are as good as one another," the teacher reprimanded him. "If someone tells me The Chocolate Soldier is better than Don Giovanni, that's not an opinion. That's wrong." It is just not possible to disagree with that statement. Some things are just better than others. full stop. In music, few things are better than the Beethoven piano sonatas. Is that an elitist view? Yes it is. But is there anything wrong with it? Not at all. It's not the audience that is an elite for liking the music. It is Beethoven for writing it in the first place. Barenboim has been performing these sonatas in a week when the culture secretary, Andy Burnham, has ordained that young people at school must get five hours of high-quality artistic and cultural activity a week. This is an admirable decision in principle, as long as it can be sustained in practice for all. But it will be sustainable only if we believe in it, and if it is not subverted by the insidious and widespread belief that Shakespeare or Beethoven or Cezanne are somehow too difficult or, even worse, not "relevant" enough for today. The best art is not the only art, but it can be uniquely ennobling and it ought to be available to everyone. If that smacks of a belief in educational "improvement", I plead guilty as charged. I think musical taste and public values need improving. This would be a lot easier if the BBC was willing to put classical music or theatre on its main channels, as it once did. But those days are gone, sadly. Better reverence than irreverence. Lenin once explained that he could not listen to the Appassionata sonata too often because, wonderful and immortal though it was, the sonata might make him falter in his task of smashing his enemies' heads without mercy. Doesn't that sum up why the world is so much better off with Beethoven than with bolshevism? There are few things I know with any confidence. One is that, in these piano sonatas, Beethoven went further towards expressing the vast scope of the human spirit in sound than anyone before or since. The last movement of the final sonata takes that process as far as even he was able. Both it and the edifice of 32 sonatas on which it rests are Beethoven's imperishable achievement. And yet, in an immensely significant way, the achievement belongs to us all. http://www.guardian.co.uk/commentisfree/2008/feb/16/classicalmusic.guardiancolumnists จากคุณ : BlueWhiteRed - [ 16 ก.พ. 51 14:26:25 ]

ความคิดเห็นที่ 3 Barenboim Does Beethoven in London [Review] Royal Festival Hall concert series not to be missed In the 30 or so years that I have been going to London's Royal Festival Hall to hear the best of the world's musicians play, I cannot recall another occasion where an audience burst into lengthy, spontaneous applause as the pianist stepped onto the stage, before he had even played a note. But so it was for Daniel Barenboim on Saturday as he came out to play four of Beethoven's piano sonatas in one of a series of Royal Festival Hall concerts in which he will perform all 32 sonatas. The concert re-introduced me to two old friends from my youth: Sonata No. 13 in E flat (Op.27, No. 1) and Sonata No. 27 in E minor (Op. 90). Then there was Sonata No. 7 in D (Op. 10, No. 3). But the best was saved until last -- the mighty Sonata No. 21 in C (Op. 53), the Waldstein. It is worth mentioning at this point that, although Beethoven could play other instruments (he began his professional musical life as a viola player when he was 12), the piano provided his personal and most intimate means of expression and the sonatas map for us his lifelong artistic journey. Barenboim's description of the 32 sonatas as Beethoven's diary is therefore a particularly apt one, and in many respects they are Beethoven's own artistic diary, too. Only a great pianist like Beethoven, who understood his medium so perfectly, could have composed a work such as the Waldstein; and only a great pianist like Barenboim is able to play it as it needs to be played. Many an accomplished amateur may be able to play the notes of the Waldstein, but what Barenboim brought us was the music. He made it sound as fresh as if the ink had hardly had time to dry on the page before he committed Beethoven's music to memory and brought it hotfoot to the Festival Hall for the audience to hear. "Just wait till you hear this!" he seemed to be saying to us. Barenboim may have played this wonderful piece hundreds of times before and we in the audience may have heard it, or played it hundreds of times ourselves, but the way he performed this towering work on Saturday brought us all the excitement and all the passion that Beethoven must have felt at the first moments of inspiration. It was something new and thoroughly contemporary. What a composer Beethoven was! What a pianist Barenboim is! As the last notes of the sonata disappeared, the whole audience at the Royal Festival Hall leapt to its feet to applaud and cheer this master musician who made Beethoven speak to us through his playing. Barenboim has often posed the question, "What is sound?" and talked about its ephemeral nature, of how it disappears the moment it is made. Ephemeral it may be, but surely, everyone who was present in the Royal Festival Hall on Saturday night will nevertheless have the sound of Daniel Barenboim playing the Waldstein sonata inscribed indelibly on his or her memory. จากคุณ : BlueWhiteRed - [ 16 ก.พ. 51 14:26:38 ]

ความคิดเห็นที่ 4 Daniel Barenboim: Beethoven bathed in fresh light Geoffrey Norris reviews Daniel Barenboim at the Royal Festival Hall IT is not unusual for Daniel Barenboim to be in the news, but there are combined reasons why he is centre-stage in London at the moment. For the next month, he is resident at the Festival Hall, performing the incomparable canon of Beethoven's 32 piano sonatas in a series of eight recitals. Linked to and extrapolated from that, he is the subject of the South Bank's first Artist as Leader programme, assessing from his own long experience the artist's role in society and the ways he or she can have the potential to change things. As a driving force of the West-Eastern Divan Orchestra, which acts as a beacon of harmony in Middle East discord by mingling young musicians from Israel and Palestine, Barenboim is uncommonly well-placed to observe and harness the power music has to inspire, to ameliorate and to influence actions and thought. All this, alongside his illustrious career as pianist and conductor, was recognised at the end of this first Beethoven recital with the award of the Royal Philharmonic Society's gold medal, one of the highest honours that music can bestow and which Barenboim accepted with "joy and humility". Barenboim's standing was reflected by the fact that the auditorium was packed and, more significantly, that there were a number of distinguished pianists and other musicians in the audience. There are two basic ways to organise a Beethoven sonata cycle. Either you play them chronologically, giving a broad overview to anyone who can attend the whole series but maybe in the process jeopardising balance within each concert, or you can mix them up to make each recital a conspectus of Beethoven's entire development. Barenboim has gone for the latter option, and in this first concert played the F minor Sonata Op 2 No 1, the E flat Op 31 No 3 and the great Hammerklavier Op 106. Thus, all three of Beethoven's traditional three periods were represented, early, middle and late. If there was one particular moment where Barenboim's phenomenal insight into this music was revealed in its awe-inspiring depth, it was in the sublime spiritual intensity of the Hammerklavier's slow movement. But the whole recital was one of revelations, showing Beethoven's radicalism, diversity of musical argument and breadth of ideas in subtle, telling new lights. Barenboim first played the Beethoven sonatas 47 years ago, and these performances spoke both of understanding and of his enduringly probing mind. จากคุณ : BlueWhiteRed - [ 16 ก.พ. 51 14:26:54 ]

ความคิดเห็นที่ 5 Appassionata ของเบโธเฟน ที่ 'เลนิน' ชื่นชอบ เขาบอกไว้ว่า ถ้ายังฟังเพลงนี้ต่อไปเรื่อยๆอาจทำให้การปฏิวัติรัสเซียไม่สำเร็จ จากคุณ : BlueWhiteRed - [ 16 ก.พ. 51 14:27:24 ]

ความคิดเห็นที่ 6 เปียโนโซนาตาชิ้นสุดท้ายของเบโธเฟน Op. 111 เป็นโซนาตาที่แปลกมาก มี 2 movement ไม่เพียงเท่านั้นกระบวนแรกกลับสั้นกว่ากระบวนที่สอง Milan Kundera เคยบอกว่างานดนตรีของเบโธเฟนในช่วงท้ายไม่เป็นทั้งคลาสสิค ไม่เป็นทั้งโรแมนติค เหมือนหลุดไปอีกโลกหนึ่ง เป็นงานอันลึกซึ้งที่อยู่พ้นขอบเขตของกาลเวลา << Claudio Arrau - Beethoven Sonata No. 32 - 2nd Mvmt >> จากคุณ : BlueWhiteRed - [ 16 ก.พ. 51 14:28:15 ]

ความคิดเห็นที่ 7 ไม่กี่วันก่อนผมได้เห็นบาเรนบอย์มออกรายการสนทนาทางช่อง BBC คุยประเด็นเกี่ยวกับดนตรี, ปาเลสไตน์ และอิสราเอล ภาพสมัยหนุ่มกับภรรยายอดนักเชลโล Jacqueline du Pre แก้ไขเมื่อ 16 ก.พ. 51 14:56:17 จากคุณ : BlueWhiteRed - [ 16 ก.พ. 51 14:28:41 ]

ความคิดเห็นที่ 8 เขาเป็นเพื่อนกับ Edward Said ด้วย Said เป็นอาจารย์วรรณคดีที่มีความรู้เรื่องดนตรี จากคุณ : BlueWhiteRed - [ 16 ก.พ. 51 14:29:38 ]

ความคิดเห็นที่ 9 ตอนที่บาเรนบอย์มสอน masterclass เบโธเฟนให้กับ Lang Lang จากคุณ : BlueWhiteRed - [ 16 ก.พ. 51 14:30:07 ]

ความคิดเห็นที่ 10 The whole world in his hands The peerless activist-artist Daniel Barenboim is back - and at the peak of his musical powers Anthony Holden The Observer Daniel Barenboim/Beethoven Sonata Cycle Royal Festival Hall, London SE1, until 17 February Last night, in London's Royal Festival Hall, he led the first of three debates in the Southbank Centre's new series, 'The Artist as Leader', exploring the quasi-political power of the arts to help solve global problems. Today, he will take part in another, after giving the second of eight recitals comprising a complete cycle of Beethoven's sonatas, the so-called 'New Testament' of the solo piano repertoire. There is no artist alive capable of performing both roles as authoritatively, originally and effectively as pianist-conductor Daniel Barenboim. This is no mere chart-topper offering idle political endorsements or droning on about climate change. This is a performer who uses his eminence as a musician to give politicians master-classes in how society can and should work. One Barenboim travels the world working towards resolution of conflict between countries he loves; the other is treating London to a series of concerts amounting to an awe-inspiring musical meditation from a supreme player at the height of his powers. Le tout Londres, including many distinguished fellow musicians, was on parade for Monday's thrilling first recital, which ended with a standing ovation. As it unfolds over the next fortnight, this historic cycle is clearly going to be one of the major musical events of the year, offering a rare glimpse of an activist artist baring his musical soul. An Argentinian-born, Berlin-based Israeli who has recently taken honorary Palestinian citizenship, Barenboim gives concerts far more conducive to Middle East peace than any American President beating Arab and Israeli heads together. In 2001, he became the first musician to perform Wagner in Israel, dispelling a half-century taboo emblematic of what he called 'the diaspora mentality'. With his late friend Edward Said, the Palestinian-American writer, he had just founded the East-Western Divan, an orchestra of young Arab and Israeli musicians performing side by side, sharing desks, alternating leadership. Under Barenboim's baton (and heavily armed guard), the orchestra has since performed on the West Bank, in Ramallah. An orchestra, he argues, is the perfect forum to illustrate that self-expression is best achieved by listening to others. 'There is no way Israel will deal with the Palestinians,' he has said, 'if the Palestinians do not understand the suffering of the Jewish people. Now, 50 years on, we have to accept co-responsibility for Palestinian suffering. Until an Israeli leader is able to utter those words, there will be no peace.' Barenboim puts his money where his mouth is. His foundation has established a conservatoire for Palestinians living in Israel and finances music teachers to work in the occupied territories. He has donated large financial prizes to musical research on both sides of disputed borders. 'Either we all kill each other,' he told the audience after the Ramallah concert, 'or we share what there is to share.' The West-Eastern Divan has been called 'an orchestra for peace'; he prefers to call it 'an orchestra against ignorance'. Barenboim's world view has been forged through an eventful life of achievement and pain. Now 65, he gave his first concert in Buenos Aires as a seven-year-old; after moving to Israel with his family when he was 10, he played his first Beethoven cycle there at 17. Celebrated conductor Wilhelm Furtwängler dubbed the teenager a 'phenomenon' and invited him to play with his Berlin Philharmonic, but Barenboim's musician father (and teacher) intervened, saying it was too soon after the Holocaust for a Jew to perform in Germany. In 1967, beside the Wailing Wall in Jerusalem, Barenboim married the luminous young cellist Jacqueline du Pré, 15 years before her career was cruelly cut short by the multiple sclerosis that would lead to her premature death. In his 30s, having established himself as one of the foremost pianists of the day, Barenboim developed a parallel career as a conductor, eventually leading cycles of Wagner's Ring at Bayreuth amid appointments from Chicago to Milan. For two decades now, he has lived in Berlin, where he is chief conductor for life of the State Opera. All this living now inevitably informs his music-making. A lifelong champion of contemporary work, Barenboim has also performed and recorded all the core piano repertoire, but finds himself constantly drawn back to the profound humanity of Beethoven. And he seems to be pouring his whole, hard-thinking self into this latest cycle, his third in London; in 1967, he opened the Queen Elizabeth Hall with all 32 sonatas, which he played again at the Festival Hall 10 years later. Thirty years on, he brings to them a seasoned authority, making a few rough edges an imperceptible price to pay for the fearless attack of his reading, the visionary sweep of his sense of the music's architecture, his profound fellow-feeling with another dedicated humanitarian. The cycle began with Beethoven's first sonata, and will end with his last, but Barenboim has otherwise grouped the 32 thematically rather than chronologically. 'There is hardly another output from any composer,' he has said, 'that gives such a clear picture of his development.' So he has designed each concert to contain a late sonata alongside early and mid-period ones. The benefit was clear in the opening recital, which contrasted the raw, youthful spirit of the first sonata with the calmer, more meditative No 18. But the red meat came with No 29 in B flat, the Hammerklavier, to which he brought an operatic richness, especially fine in the expressive lyricism of the adagio, a stark contrast to the thundering grandeur of the opening movement and the infectious energy of the intricate finale. The cumulative effect was to leave the audience elated but shattered as the music, and its performer, seemed reborn. After the concert, Barenboim was presented with the Royal Philharmonic Society's gold medal as 'a passionate advocate that music plays a vital role in a healthy society'. He has received numerous other international awards, for his political courage as much as his consummate musicianship. Daniel Barenboim is not merely one of the greatest all-round musicians alive - he is one of the few great men of our time. Soon, by rights, he should be named a worthy winner of the Nobel Peace Prize. In the meantime, his magisterial Beethoven is not to be missed. จากคุณ : BlueWhiteRed - [ 16 ก.พ. 51 14:32:07 ]

ความคิดเห็นที่ 11 ผมเห็นด้วยว่า ..''The Beethoven piano sonatas, said Kentner, should be presented to the first Martian visitor to our planet as proof of what human civilisation is capable of. Here, friend, we should say to the little green men. This is the best of us.'' คืนนี้ผมกะว่าจะหยิบแผ่นบาเรนบอย์มเล่น Hammerklavier มาฟังอีกครั้ง ^o^ ส่วนเพื่อนๆชอบเปียโนโซนาตาชิ้นไหนเป็นพิเศษครับ จากคุณ : BlueWhiteRed - [ 16 ก.พ. 51 14:35:46 ]

ความคิดเห็นที่ 12 ชอบ pathetic sonata ค่ะ ฟังแล้วเพราะมาก อยากฟังแสดงสดค่ะ จากคุณ : Yui - [ 16 ก.พ. 51 18:08:04 A:124.120.190.26 X: TicketID:096869 ]

ความคิดเห็นที่ 13 ผมชอบเบอร์20มากครับ ดีใจที่มีในยูทูบด้วย จากคุณ : Rarm41 - [ 16 ก.พ. 51 21:16:28 ]