Beethoven Sonata op.27/2 "Moonlight Sonata" .
+ my photo for the profile.

Sandro "Sarrasani" Bisotti

(photo is on pianists's page)

Beethoven - Sonata in C sharp minor Op.27 No.2 ("Moonlight") - 1: Adagio sostenuto
Beethoven - Sonata in C sharp minor Op.27 No.2 ("Moonlight") - 2: Allegretto
Beethoven - Sonata in C sharp minor Op.27 No.2 ("Moonlight") - 3: Presto agitato

Alas someone is brave enough to complete the entire opus! I like your style, but the only minor thing I dislike is a few moments of over-using the pedal in the last movement....but this only occured twice, I think. Other than that, you play very well.

Nice to see you, Sandro.

The sonata went very well with the red wine I'm drinking as I listened to it. So...this was really good. On the first movement, I heard some strong accents on a few left hand notes that I've never heard before. (2:37 and 2:41). I think it's interesting how people interpret accents. The only 'niggle' I can say is that I wish you left the final chord ring out a bit more. The second movement sounded perfect. On the third movement, I think your right hand sounded a tiny bit muffled on the opening run (and also when it occurred later on). It seemed to be buried under the left hand and maybe a slightly more detached playing would help? But over all, wow! Very good job!

I haven't had a chance to listen, yet. I'm looking forward to this!

> I like your style, but the only minor thing I dislike is a few moments of over-using the pedal in the last movement....but this only occured twice, I think.

I think that is a "rustic" III movement. With a pedalling particullary rustic
An old, staggering country house. Not for all, but I hope liked by someone of strong tastes
I'm the fist to admit the pedalling is embarassing; more as a cyclist than as a pianist
With this "Scriabin style" pedal (the pedal....one must rarely take off it, not to take it in certain moments) the effect is a little chaotic, but I hope this is not only a fault.


Thank you for the very kind (more than mine) words,
Sandro.

>

>The sonata went very well with the red wine

Not sufficient information (wine is an important affair). Which wine was?


> On the first movement, I heard some strong accents on a few left hand notes that I've never heard before. (2:37 and 2:41).

Only an intensification of the atmosphere with the "menace" of two basses a little louder than others.

> On the third movement, I think your right hand sounded a tiny bit muffled on the opening run (and also when it occurred later on). It seemed to be buried under the left hand and maybe a slightly more detached playing would help?

Probably you have reason at 100%. I like to think that one part is a fault and another part
is an interpretative choice ( I wanted this "impending" of the LH over the RH, and
the RH which seem to try an escape).

> Very good job!

Very kind, really.

All best,
Sandro.

Ok.

Merlot

As always from you, a very accomplished and unusual performance. I am not sure if your interpretation is that of a strong-willed individual or of someone trying to combine the best of past master's interpretations. I guess some of both, given your preoccupation with comparing performances. Either way, it is very good and even though I do not agree with everything you do, I respect this performance a lot. Some points of critique - though I am sure erverything is done for a well-deliberated reason :

- At times unsteady tempo and some over-use of pedal in mvt.1
- Funny tempo fluctuations in mvt.2
- Some strange happenings in the LH at the start of mvt.3

Overall I find your romantic tempo and rhythm liberties too much of a good thing. But the stormy 3rd movement is well captured and tremendously effective. Share about the closing chord being cut off too soon (we noticed that in an earlier recording too, or was that someone else ?)

I am just putting these up the site. Should be there in half an hour or so. The photo is in your page too.

[quote="techneut"]I am not sure if your interpretation is that of a strong-willed individual or of someone trying to combine the best of past master's interpretations.

Believe me, Chris: it's not a collage of past master's interpretations (nobody of them plays so bad).
My favourite versions of this Sonata: Friedman and Nat. Apart the fact they are 100 times better,
there are not affinities (possible a few things of Nat, but I played so this piece before knowing Nat's
version).
But your observation is true for some passagges of other my recordings.


>Some points of critique - though I am sure erverything is done for a well-deliberated reason :

"Deliberate" OK, "well" is a your kindness...


> - At times unsteady tempo and some over-use of pedal in mvt.1
But I use the Scriabin edition...
The idea was to create a sound colour more magmatic and dense than clear and linear.
But with a near-classic purposing of the melody.

> - Funny tempo fluctuations in mvt.2

One of the pages that make we see the humorous side of LvB.
I tend to give emphasis, to try to "explain", using also these means.


- Some strange happenings in the LH at the start of mvt.3

The idea was to capture and render a sense of menace (LH) and fear and escaping (RH).



> . But the stormy 3rd movement is well captured and tremendously effective.

Thank you, really. Said from one who don't love this kind of pianism has double value.

> Share about the closing chord being cut off too soon (we noticed that in an earlier recording too, or was that someone else ?)

I record playing with a bad amplification, and these are the results.
No problem: next version with acoustic piano...

All best,
Sandro

Not a collage of course, I did not mean it that way. Just that perhaps you might have gotten different ideas from different pianists and try to apply them in your own playing. WHich is probably not a bad thing as long as it does not stand in the way of one's own idea of the music.

BTW I think it would be easy to find past masters who play far less accurately than you. Yves Nat for one had a bit of a reputation didn't he ?


Let's say I am less inclined to impose romantic devices on the music of the classics...

OK. But I think this is a very complex question.
For example 1) where is the border-line between one style and another? or 2) can the acting of making music avoid or limit the importance of historical classifications (baroque, classic, romantic, etc.)?

All best,
Sandro.

P.S. Excuse for the repetition but: congratulations, I'm really happy to know and partecipate to
this wonderful site (both idea and realization).

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No problem, we never get tired of hearing this
And it is great to have an enthousiastic guy like you on board. Even if we sometimes don't quite understand all that you are writing

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Sorry, it was only a reflection/answer to your question (LvB played as a romantic).
I asked myself if the border-lines between classicism, romanticism, etc, are so defined.
And if one can play ignoring these classifications.

Sorry, bad english, bad conclusive chords, bad Db and pedalling.
The problem is that you have reason. It's a sad world

All best,
Sandro.

That may be so... but you have PS

Ah, finally someone recorded the entire Opus which was really missing on the site . Thanks Sandro!

Really well played too and if I should add something, it would be your romatic way of playing which perhaps does not fit the more classical Beethoven. Also, I would really make use of the dynamics in the 3:rd movement which I am sure the dramatic Beethoven himself did.

But overall a very pleasant performance and again, thanks for finally (after almost 3 years) completing the second most famous Beethoven work.