From the piano in the middle of the Boulez-hall of thunder sounds. Daniel Barenboim is storming through Beethoven’s “Hammerklavier Sonata”. In the middle of the fourth set, it increases to a full Fortissimo. Very many sounds to be made at this point. Quickly it goes. Barenboim pushes on the Pedal. In the wide sound of the lid-less instrument, the most blurred. Such uncertainties can hide. Then suddenly, the music is reduced. Only a few delicate sounds forms an intimate melody. As gently Barenboim strikes the keys, such as soft and he swept his Instrument sing. It compresses the atmosphere, let the audience after the spare sounds of searching.
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Barenboim Beethoven plays all The time and of the moment
Eleonore Büning
the contrast: Barenboim’s internalized musicality, and his broadcasting of peace is a switch with a pedal-dominated sound, the results with increasing speed and number of notes to finger aquaplaning on the keyboard. It is the second night of a four-part series, in which Barenboim is a section of the sonatas of Beethoven. This time, he spans a wide arc over the total of 32 works, from the first, Op. 2, No. 1, on the 18. up to 29., the “Hammerklavier Sonata”. Barenboim works on all three. The fast passages are often free of cumbersome, rarely really. Rumbling bass runs sound like distant thunder-Storm, whose thunder it’s hard to tell. The security of Intonation, the music never really comes into the Flow. With the exception of the slow movement of the 29. Sonata. Barenboim stretches the time with the few tones that are set by Beethoven. All temporal points of reference seem to be lost. And also in the rattling second set of 18. he plays like a different person with different sound colors, remains rhythmically stable and virtuosity flash.
