(note: I've linked above to the entire album that this recording is on...the Beethoven begins on track 24, but you should take some other time to listen to more of Korsantia's recordings!)
The bass theme is played very strictly, with more separation, which I do like. Much like a Baroque style bass. I really admire how consistent he keeps this articulation in the following duets.
Oh-I love the cadences in the B section: I never thought of treating these so freely, or like a cadenza! What a fascinating mix of classical and baroque styles.
His a quattrois a masterclass in itself in style contrast.
I love his shaping of the repeated LH chords in the theme, there’s so much music and character in this subtle voice.
Variation 1-Great shading and subtle phrasing to differentiate constant 16thnotes. Variations with a single variation!
Variation 2- the variety in the first variation makes the perpetual motion of this one so exciting and energetic, not at all dull.
Variation 3- he really nails the style I was after in this variation, showing off the change in register
Variation 4-His LH articulation sounds like it should get annoying fast for its machine-gun like precision, but he has such long shaping in mind that it’s never dull
Variation 5-Again, he’s so subtle in his voicing, that you don’t realize he’s bringing out the polyphony until it’s happened, and you realized that although he began with a very narrow focus on the upper melody, he’s opened up the tapestry of texture.
Variation 6- I am so glad to hear a great artist be so flexible with the tempo…It’s not free, he’s just allowing himself to make music.
Variation 7- And again, he follows it up with a variation played very straight. I haven’t commented on all the cadenzas, but it’s worth mentioning here how impressed I am that he finds ways of extending nearly every single cadence in the style of the variation he’s in. Not to mention how he seamlessly works back into Beethoven’s text.
Variation 8- I spoke how I was aiming for a 3rdmovement of Waldstein color here, and he has that…There’s some smearing of the pedal but it’s very tasteful.
Variation 9- Props to focusing so much on the left hand where the melody obviously is…instead of the very difficult right hand. It may be easier that way!
Variation 10- this kind of near rhythmic dislocation is exactly what I’m after! Also, one of the most fun cadenzas, it sounded like we were headed to some modernism.
Variation 11- So here he’s rewriting the rhythm; the last eighth note of the first measure (and subsequent ones), is supposed to be two thirty-second notes, and a sixteenth rest, but he shifts the first 32ndnote to the end of the third eighth note of the measure…I love it though. It’s completely in line with the puckish character.
Variation 12- again, like variation 9, a master technician at work, this time particularly for how little pedal he uses. I do like a wash of pedal for the whole harmony.
Variation 13 I’m relieved that his tempo isn’t any faster here, but again, he makes so much music: the moving line, especially in the left hand is so well shaped. And props that he still chose to do a cadenza in such a difficult variation.
Variation 14- I love the voicing here.
Variation 15- in this and the previous variation, he a little more held back, just letting Beethoven’s notes do the work. That’s not a bad thing, nor is it bad that we get a greater dose of “Korsantia” in the preceding variations. I think it’s a true mark of artistry to show both sides in a performance: the performer’s own personality as well as the composer’s.
Fugue-relieved again that his tempo isn’t too fast. I’m probably a little slower, but in the ball park. I like how he lets little motives sneak into the fore, the spotlight is never in one place.
Post-Variations- I love the terraced build here, so when the 32ndnotes come the last couple pages, it really builds to a climax. That’s one apparent flaw of Beethoven’s in the piece…You get this crazy difficult fugue which ends in these climactic chords…but it’s not the end of the piece. These post variations can almost seem like a let down, but Korsantia does a remarkable job making this a true ending.
All in all, I’m astounded by this performance. So much individuality from the performer; it sounds so much like Beethoven, but I cannot imagine anyone else reproducing this performance. No amount of textual study to determine the composer’s intentions will create such a thrilling variety of musical moments. None of the variations feel like the one before, and the rather dull bass theme nor the repetitive form gets old, no matter how many times the same structure gets repeated.
I’m inspired by this kind of playing, not to reproduce it, but to find the depths of a piece so that I can put so much of myself into this piece as Korsantia did.
"Modern performers seem to regard their performances as texts rather than acts, and to prepare for them with the same goal as present-day textual editors: to clear away accretions. Not that this is not a laudable and necessary step; but what is an ultimate step for an editor should be only a first step for a performer, as the very temporal relationship between the functions of editing and performing already suggests." -Richard Taruskin, Text and Act