hammerklavier

• wilhelm kempff usta bakin 29 kasim 1964 yilinda radio canada'da yaptigi hammerklavier kaydindan once, bu sonatla ilgili olarak yapilan kucuk roportaj ya da sohbette neler demis:
  {(+: sunucu(francois bernier), - kempff}
  
  +: you are about to play beethoven's great opus 106 sonata, probably his most important piano work. this sonata is usually referred to as the hammerklavier. could you explain why?
  -: this title does not refer to the work's character. but it does indicate that for the first time, beethoven refrains from using italian term. with his usual humor, beethoven suggests various german indications to his editors. thus did pianoforte become hammerklavier. but with his next sonata, the opus 109, the italian term was to resurface, marking a victory of tradition over innovation.
  
  + do you think that beethoven was aware of this sonata's importance in the history of music?
  - i believe so. in his lifetime, his most advanced works were often misunderstood. such was the case with this sonata, and with his last string quartets. beethoven once wrote to his viennese editor that his major works would not be understood for another 50 years. it was a true prophecy, for it took a half century for pianists like franz liszt, clara schumann, and hans von bulow to tackle this gigantic sonata.
  
  + you are talking of gigantic proportions, and yet this work, like most of beethoven's sonatas, is comprised of four movements: allegro, scherzo, adagio and largo. which movements do you consider most significant and characteristic?(burada sunucu klasik beethoven sonatlarinin 4 parcadan olusup icinde bir de fugue oldugunu soylediginde-ki dogru degil- kempff, turgay seren modunda bir mimik yapmis(yok ali sami), sonra bir sey eklemeden soruyu cevaplamistir. )
  - probably the great adagio and the largo, fugue.
  
  + and why these two movements?
  - such an ambitious and monumental adagio had never yet been written. in this adagio sostenuto, beethoven explores the deepest confines of the human soul, which he could not have reached without the help of a divine impulsion.
  
  + and the fugue?
  - yes, the great fugue, a prodigious composition that should be read instead of played. it's the art of fugue for piano solo. the whole art of counterpoint is synthesized with a spectacular audacity. moreover, beethoven adds a few words that almost constitue an apology: fuga con alcune licenze `fugue with a few liberties-, and in these liberties lie the fugue's originality. thus beethoven confers a new spirit to this venerable form. but he doesn't destroy it. he respects the ancient laws of the fugue. the various voices evolve freely and yet they obey the superior force of harmony. there is no anarchy here, but instead a deep respect for the eternal laws which have always governed the movements of stars and planets. for me, this music is truly cosmic.
  
  +wilhelm kempff, i thank you.