Neil Fisher
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He is the musical phenomenon who has filled the Royal Festival Hall eight times, sold more than 20,000 tickets and prompted enormous demand. He has been acclaimed as a “cultural messiah” by London’s music critics, who have greeted his performance of the complete Beethoven sonatas with near-ecstatic rapture, and every concert he has given in the series has ended with a 15-minute standing ovation.
But all of Daniel Barenboim’s performances of the 32 sonatas, which he is playing from memory, will remain unrecorded for posterity.
The Israeli pianist has refused to allow the BBC either to broadcast or televise the current series of concerts, each featuring four sonatas. After Sunday afternoon’s final leg in this musical marathon these legendary concerts will live on only in the memories of those lucky enough to have had tickets.
A spokesman for the BBC said: “We were very keen for Radio 3 to record the concerts. Regrettably, Daniel Barenboim declined the opportunity. We tried very hard.” Barenboim, 65, has also refused to allow any live pictures of his performances.
Not a single ticket remains on sale for the two final instalments in the series, tonight and Sunday, which will finish with Beethoven’s last sonata, No 32, Op 111.
The Festival Hall has sold 22,500 tickets for the eight concerts, resorting to adding extra seats on the recital platform, to accommodate as many people as possible.
For the most recent recital, on Monday, a screen was installed in the foyer so that disappointed fans could at least watch a live relay from the auditorium. On every morning before a recital a lengthy queue has formed of people seeking last-minute returns.
Meanwhile, 633 avid Beethovenians have booked for all eight concerts, while more than 1,500 have attended Barenboim’s series of talks and discussions taking place alongside the performances.
A spokeswoman for the Festival Hall said: “It has been an extraordinary event. As soon as Daniel steps on to the platform the first two or three minutes are simply taken up with applause. Every concert comes with a huge sense of expectation.
“To have him here for just two weeks, when we could have the concerts stretched out over a year, is really special, and it is why people want to come back.”
The series has also attracted legions of famous admirers. Those attending the concerts, which last up to 90 minutes, have included the actors Joseph Fiennes and Sir Ian McKellen, the comedienne Sandi Toksvig and the news broadcasters Jeremy Paxman and Sir Trevor McDonald.
Reviewing the second concert, the Times music critic Hilary Finch commented: “He is playing these works with an extraordinary depth of focus, and with the insights of a lifetime. Cancel everything for a ticket.” It is not the first time that Barenboim has played all the sonatas live. He first undertook the feat at the age of 17 in Tel Aviv — also from memory — and has made two commercial recordings, for EMI and Deutsche Grammophon.

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You are quite wrong: these eight extraordinary concerts have been RECORDED and FILMED when Barenboim gave them in Berlin (I was there). It's an EMI DVD set, that everyone can - and should- buy. Barenboim is obviously one of the greatest musicians of this time, especially at the piano in Beethoven.
LIENSOL, Paris, France
I agree. Barenboim's playing has lost it's heart.
It is obvious why he doesn't want these concerts recorded. He knows his playing is not of a standard worth recording. This is about money for him and he will be well paid for this cycle.
The reviewers' near-ecstatic rapture of these performances simply reflects how little music critics know today. Have any of the critics studied with Neuhaus or one of his students such as Bakst. Have they read Neuhaus' book? Have they bothered to look on YouTube lately and watch Gilels playing the Appassionata in the 1950s? Do they even play an instrument? They should! How many reviewers have examined Barenboims tone production, his use of rubato, his tempi, his touch, his phrasing, his structuring of the work, his rhythm?And that is just a start.
James, London,
I attended the last concert on Sunday; It seemed that Barenboim himself had matured during the series and his playing was at its reflective best - For the Opus 111, it was as if Beethoven was playing for us - he spoke through Barenboim but the power was Beethoven. Like being with the angels!
Lesley Hodsdon, London,
Those attending the concerts, which last up to 90 minutes, have included the actors Joseph Fiennes and Sir Ian McKellen, the comedienne Sandi Toksvig and the news broadcasters Jeremy Paxman and Sir Trevor McDonald.
But surely Paxo interviewing him on Newsnight would constitute a few freebie tickets ??
Jeanette Eccles, NW London,
Barenboim plays without a heart. It's cold.
the fact that 'celebrities' attended the concerts just proves that it's a media thing which has nithing to do with music.
craig, London,
In addition to his interpretative genius, and his great stature as a human being, the memory processes of this phenomenal genius Daniel Barenboim would seem to be total, as does his capacity to differentiate pitch, rhythm, and instrumentation after a single reading - even in a modern score of terrifying complexity - and immediately to combine all these elements in practice: nothing appears to be overlooked or forgotten â ever. Pierre Boulez and Sir Harrison Birtwistle presented a tribute programme to Maestro Barenboim for the BBC in which they produced abundant evidence of such seemingly superhuman feats â and let us not forget that the performing talents of Boulez himself also seem to approach the superhuman.
David Wilde, Bathgate, EH48 4HL, UK