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Ozan Fabien Guvener
Приєднався 4 сер 2011
Website: www.chopinzee.com
Twitter: chopinzeeblog
Twitter: chopinzeeblog
Відео
Jean Mitry's Visual Interpretation - Debussy Reflets Dans L'eau & Arabesque 2 (Jacques Février)
Переглядів 383Місяць тому
Some examples from French film director Jean Mitry's Debussy film, "Images pour Debussy" (1952) and recording by Jacques Février, Reflets dans l'eau (Reflections in the Water) and Arabesque No. 2. I learned about the existence of this film while reading philosopher Gilles Deleuze's cinema books. There are not many examples on the internet and archives. In all the samples I found, the sound qual...
Bela Bartok's Pupils play Bartok
Переглядів 1,5 тис.3 місяці тому
Bela Bartok and Bartok's pupils play Bartok. 00:00 Bela Bartok - Allegro Barbaro (Footage 1942, recording 1929) 00:32 Lili Kraus - Romanian Folk Dances (1961) 03:24 György Sándor - Piano Concerto No. 3, Movement 2 (1993) * Conductor: Manos Hadjidakis. The Orchestra of Colours 12:17 Ditta Pasztory-Bartok - Notturno (Mikrokosmos) 14:03 Irén Marik - Evening in Transylvania 16:24 Etelka Freund - Ba...
Chopin Edition: Singers and Pianists
Переглядів 1,8 тис.4 місяці тому
Frederic Chopin was a composer-pianist who was very influenced by the culture of singing, especially 19th-century Bel Canto. Opera was of great importance in Chopin's compositions and playing of his works. Many elements of Chopin's pianism, such as his rubato, legato, tone, phrasing, use of pedals, ornamentations, dynamics, hand-arm-shoulder movements and spontaneity, are directly related to op...
Sviatoslav Richter 's Favorite Pianists
Переглядів 39 тис.Рік тому
Sviatoslav Richter and his favorite pianists. 00:00 Dinu Lipatti - Bach, Partita No. 1 in B♭ major, BWV 825, Praeludium (1950) 01:42 Anatoly Vedernikov - Debussy, Etudes Livre II, n°1 Pour les degrés chromatiques (1957) 03:48 Heinrich Neuhaus - Chopin, Piano Concerto No. 1, Mov. II (1951) 12:40 Teodor Gutman - Chopin, Nocturne Op. 27 No. 1 17:57 Teodor Gutman - Schumann, Toccata 24:47 Andreas L...
How did musicians perform in the Romantic period?
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How was Classical Music Performed in the Romantic Era? Here you will hear recordings of classical musicians who were born before 1860, became famous in the 1800s and are familiar with many important composers of the Romantic era. 00:00 Carl Reinecke - Schumann, 'Warum' (1905 Roll) 02:37 Theodor Leschetizky - Chopin, Nocturne Op. 27 No. 2 (Roll 1906) 08:50 Jean Baptiste Faure - Donizetti, 'Jardi...
Chopin Etudes played by 19th-century born Pianists
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Frédéric Chopin Etudes (Op. 10, Op. 25 and Trois nouvelles) played by 19th-century born Pianists. Chopin Etudes Op. 10 00:00 Etude 1 - Moriz Rosenthal (1862 - 1946), 1929 02:01 Etude 2 - Wilhelm Backhaus (1884 - 1969), 1928 03:16 Etude 3 - Alfred Cortot (1877 -1962), 1952 07:24 Etude 4 - Francis Planté (1839 - 1934), 1928 09:47 Etude 5 - Édouard Risler (1873 - 1929), 1917 11:22 Etude 6 - Mark H...
Famous Pianists Play on the Composers' own Pianos
Переглядів 184 тис.Рік тому
Some famous pianists (András Schiff, Vladimir Sofronitsky, Zoltan Kocsis, Elly Ney, Raoul von Koczalski) play on composers' (Franz Liszt, Ludwig van Beethoven, Wolfgang Amadeus Mozart, Frederic Chopin, Alexander Scriabin) pianos (Liszt and his Bechstein piano, Beethoven and his Conrad Graf, Mozart and his Anton Walter Pianoforte, Chopin and his Pleyel, Scriabin and his Bechstein). There are rec...
Baroque Music played by 19th-century born Pianists
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Here we see the Baroque repertoire of some important pianists born in the 19th century. It would not be right to refer to a few pianists here as "romantic", but my main intention here is to emphasize that they were born in the Romantic era. I didn't include Bach because historical pianists often played Bach. But here are composers that historical pianists played less frequently, I wanted to com...
Pianists explain why Alfred Cortot is one of the Greatest Pianists
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Pianists explain why Alfred Cortot is one of the Greatest Pianists
Rachmaninoff and his Favorite Pianists, Friends, Pupils plays Sergei Rachmaninoff
Переглядів 40 тис.Рік тому
Rachmaninoff and his Favorite Pianists, Friends, Pupils plays Sergei Rachmaninoff
When 10 Great Violinists were under age of 18
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When 10 Great Violinists were under age of 18
When 10 Pianists were under age of 18
Переглядів 101 тис.Рік тому
When 10 Pianists were under age of 18
Footage: Liszt's Pupil Arthur de Greef plays his own Piano Concerto (1934)
Переглядів 12 тис.2 роки тому
Footage: Liszt's Pupil Arthur de Greef plays his own Piano Concerto (1934)
Claudio Arrau and his Favorite Pianists!
Переглядів 32 тис.2 роки тому
Claudio Arrau and his Favorite Pianists!
Improvisations by Great Pianists and Composers
Переглядів 84 тис.2 роки тому
Improvisations by Great Pianists and Composers
Los pianistas exitosos. tocan las correcciones de Cortot. 🎼🎶🎶🎶😂 🇲🇽 🫶. 🖐️🥇🥇🥇🥇🥇🥇🥇🥇🥇👍👍
Porque Corrtot corrigio las copias a mano ,no habia impreenta.
Ño se compara con ninñgun. Piánista Famoso.
Çortot dedico su vida. a correjir. las copias de lamusica de Chopin. ❤
México. 🇲🇽🎶🎶. 20--------24.
La seule version moderne à lui tenir tête est celle de Pollini en 1975 en studio chez DGG
Wrong - there is in fact one that is MORE difficult than Mozart.. Me. See for instance my new Scherzo:ua-cam.com/video/y7B78GGCDGc/v-deo.html. You see - writing the texts accompanying the music video is also hard. For instance, there is a spelling mistake around 4:47
Thank you but also this depresses me. We are only here for so long and our youthful energy is limited
The thrills would have been better played very timidily, with rubato and not loud. Bach in the cello is similar in that difficulty
If I need to add a detail: Camille Saint-Saëns describes Chopin's rubato as "the most difficult thing" because certain sections in the left hand move metronomically while other parts move freely, two opposing understandings coexist. Not a simple right hand timing shift, Except for the bass line, the accompanying left hand is entirely in strict time but right hand moving in free time and phrasing like the singer. Saint-Saëns said that most pianists cheat on rubato and notes that real Chopin rubato is very very difficult, which I agree with. In fact, the basis of Chopin's rubato comes from Mozart (Chopin probably saw it from Mozart's pupil Hummel), there are very similar expressions in Mozart's letters. Most pianists play Chopin and Mozart in a simplified manner. Whereas, things get even more complicated when we acknowledge the operatic influence from all angles (dramatic structure/variability, singer's phrasing/timing/rubato) and try to play it as Mozart had it in mind. In order to create a singer effect in right hand melodies, they should be played with more legato and the pedal should be used infrequently. And as Mozart said, everything should sound natural. I remember in one of his letters he reacted to the person who exaggerated the trills and played them without emotion.
Alles relativ! Von solch einem russisch-titanischen Geblüt Mozart zu verlangen, ist offenbar ein schwieriges Unterfangen. Richter hatte so ein merkwürdiges Bedürfnis, texttreu zu sein. Mag sein, dass das bei Liszt und Rachmaninoff möglich ist, aber wenn er das auf Mozart überträgt, so wird man diesem Komponisten keinesfalls gerecht. Man hat das Gefühl, als träfe der Pianist den mozartschen Geist nicht, als sage ihm der Komponist nichts. Er spielt ja eigentlich nichts falsch, technisch und musikalisch, jedoch fatal uninspiriert, als wolle er keinen Fehler machen und warten bis alles vorbei ist. Man nimmt einen Fremdkörper wahr, der zwischen Mozart und dem Pianisten steht. Unbehagen macht sich breit. Aber als Trost sei gesagt, dass man nicht alles geichgut spielen kann, dann wäre auch Richter göttlich. Und eins hat er mit Mozart gemein: beide sind dem göttlichen Prinzip verdammt nahe. Mozart vielleicht ein bisschen näher als Richter. Im gleichen Verhältnis sind beide Künstler Genies. Danke!
Thank you, great explanation! There are Mozart performers that I like more than Richter, and I think Richter's early Mozart is better (1950s), but the reason I prefer Richter in the video is that he is a pianist with a tremendously wide repertoire, he has one of the widest repertoires in the history of pianists. And it is quite valuable that he sees Mozart as the "hardest". A giant like Richter was always afraid of Mozart. One of the reasons why Richter even started reading scores at his concerts was Mozart, because he had a hard time memorizing his works, he states that he experiences this memory problem especially with Mozart.
don't fade cortot
Not sure it is very useful to scare oneself about playing Mozart. Better play it the best you can with all your soul and subtlety your able of . Of course, it never will be sufficient but if someone in the audience listening at your playing thinks even only for one second to "the little notes that love one another", that makes your day! And after? Just continue for the rest of your life - not exactly a punishment, don't you think?
And then there was Glenn Gould. What a blind spot he had!
I'm not entirely familiar with Gould's views, but I'll speak to what I know. Gould's approach to Mozart seems a bit complex. He didn't said that Mozart was a bad composer, but claims that his compositions became worse as he concentrated on opera. He states that Mozart's start to think of all his works as dramatic had a bad effect on his writing style. So he prefers Mozart's early works. Even though I don't agree with his opinion, I can understand Gould since I know that he does not like the concept of opera and non-musical elements. He also sees what Mozart can do and his capacity, but blames him for conforming to the norms of the period. Even though I disagree (Mozart has exceptional works), I don't think it's a ridiculous criticism.
@@OzanFabienGuvener ua-cam.com/video/K4n6jYKbHnc/v-deo.htmlsi=75tgjxcj3f-hg-98
Quite literally, he did. At least part of the time.
@@OzanFabienGuvener Here is one example that is quite thrilling. But he hadn't yet dared make a career away from the stage, and may have felt some obligation to conform more than later.
ua-cam.com/video/1wLMdi8R4qg/v-deo.htmlsi=swVzlPBIyqRaOD0z
Cortot played both sets of the Chopin studies during the war, in London. Truly brave!
and Richter having a great performance of Mozart. sublime!!
What a Giant he was . . . .
The Menuhin quote is my favorite. I often feel like people overemphasize the “silly” aspect of his personality to the point where Mozart becomes not a person, but a caricature of a class clown with few complicated emotions.
Feinberg is simply the greatest
Anyone can play Mozart, but the issue of playing Mozart well is very complex. The new generation of pianists and listeners do not understand this. Thanks so much for pointing this out! You prepared it very cleverly.
Well, that is true for so many composers. Chopin, Liszt, even Rachmaninoff.
@@Seleuce Of course!
@@chopin5981 Just noticed your name. :D
Isnt that incredible, It should be a joke that music that sounds so simple and plain can be so concise and difficult!! But it is! There is so much to discover in Mozart, we don't know if there is enough time...
Funnily enough I've never heard this simplicity everyone talks about when mentioning Mozart. I've always felt that, even while merely listening to one of his pieces, even if they're not fast and flashy, like the sonata Richter is playing in the background of this video, you can always understand how complex and composite they are, how they always put forward musical ideas that are intellectually very sophisticated (often beyond my understanding, unlike many other composers which appear to be quite blunt and plain in their creations) and sonically very refined
@@pe-peron8441 Composer Elliott Carter had a great seminar on this subject: Mozart has a tendency to present complex techniques in a simple, uncomplicated way. Therefore, Mozart's understanding of perfect and refined simplicity can be equated with crude and superficial simplicity. The concept of simplicity here is different from what most people understand. The motto of Ravel, who took Mozart as a role model was: "complex but not complicated". Mozart's music is not simple in any way and very detailed, refined; but he tries not to sound complicated or difficult. That's why it's misunderstood. As John Cage said, Mozart's music is implicit. I think there is a multi-layered structure and it is not so easy to see the other layers.
I don't believe in concepts such as "most difficult", "most challenging" or "hardest"; these are relative. But today, the concept of "difficulty" is viewed from only one perspective! Flashy technique, akin to sports skills, is not the only thing that determines musical performance and difficulty in music.
Son plus beau prélude de l'opus 28, son plus intime et sombre. J'adore.
must have felt weird playing bucolic 18th century music after wwi
What a great and important document!
wtf this Elgar improvisation could easily be a seperate piece, it even has a certain structure but it's the melody that gives it away
What what whaaaaat??? A Lipatti recording I never heard before????? But it’s not an improvisation; it’s Bach-Busoni!
Yeah but opening improvisation i guess, ıt's not?
The best rendition of all.
Hofmann's interpretation was brilliant!
Not for me- wild timings, frequent inaccuracies, disorganised and self indulgent.
Very good! Please update and expand to include Yunchan Lim (16 years, e.g. ua-cam.com/video/GFjtI3ggpFc/v-deo.html ). Youngest winner ever of Van Cliburn!
❤best music
Bravo
thanks for sharing and putting this together. I also learned about this film reading Deleuze's book
Does anyone wish to comment about one of the two major alterations that Cortot makes? The one that interest me the most, is taking the low B natural at the climax down one octave. There is also the shortening of the inner voices of the penultimate and anti-penultimate chord, and the, intentional disintegration of rhythmic unity in the final bars before the Cadence, reminiscent of “left before right “playing.
In the pianos of Chopin's time, especially in the Pleyel, the bass notes were much more prominent. I think that in order to give the effect Chopin wanted, Cortot moves it down an octave on the modern piano. Cortot can often add bass notes, which I think is a reasonable intention for the "bass" line the composer had in mind. There is a similar understanding of rubato from students of pianists who have heard Chopin play the piano (such as Franz Liszt, Clara Schumann, Anton Rubinstein, Karl Mikuli, Émile Decombes, George Mathias, Antoine François Marmontel). It was not synchronized because Chopin's description of rubato seems to have been based on the singer-accompanist concept. As can be seen in recordings of 19th-century Bel Canto opera singers, accompanist and singer do not always move in the same rhythm. The singer is sometimes ahead of the accompanist in tempo, sometimes behind, and sometimes equal.
@@OzanFabienGuvener Thank you for this concise and useful answer - I especially appreciate the concept of singer and accompanist, two independent and individual personalities with wills and agendas of their own, co-existing in the mind of one pianist, adding an element of cooperative drama.
Backhaus seems to be improvising an introduction to Chopin's D flat Nocturne Op. 27. Didnt know they did that kind of thing back then!
最佳演绎！
Improv is how most classical pieces are written... its not frowned upon. THats nonsense. Even to this day you begin by improving, you might record that or notate it but thats how all composers have always done their music.
Nothing controversial about Cortot. He is up there with Horowitz and Sokolov as one of the all-time greats
Hambourg‘s tempo is close to what Chopin indicated. Not an easy task.
Barcarolle op.60 👉 fa diese "MAJEUR"
This is the closest to Chopin's playing that we'll ever get... It actually feels like a true impromptu.
Interesting that Glenn Gould’s is so homophonic and not at all Bach-like
Once again thank you for your magnificent scholarship. Your channel is one of the reasons I got interested in older schools of pianism, and the depth of your research has brought to light many undervalued treasures.
Thank you very much! My primary goal is to draw attention to the old tradition of pianism. I'm grateful to hear this.
Cortot studied with one of Chopin's pupils
fast and yet brilliant
I would give up the rest of my my life to live in that period. Pure beauty.
The period of Bach or Cortot?
@@henrykaspar3634 actually.... both 😍
Lipatti was a gift from Heaven
Horowitz is , in a certain way, the swan song of the golden era.
Thank you,such beautiful playing at every age.Time maks no differnce to geniality!
this just confirmed humannity to me
Boulez was a conductor, composer and also a music teacher. He was a very good in Schumann and Wagner music, talking about German repertoire. He conducted the whole Richard Wagner Ring cycle at the Bayreuth festival in 1976. Commemoration of the 100 year anniversary of those music events.