Відео

Amazing.

I studied with Pavel from the 1978 until the mid 1980s in Cologne just after he emigrated from the Soviet Union. I so cherish this recording. My brother used to say about this piece: this is "you." Little did I know that many years later I would write an article in which I could show how Robert didn't just work Beethoven's song cycle "An die ferne Geliebte" into the first movement, but also (unrecognized at the time) used the theme of Clara Wieck's "Romance Variée" op. 3 in the "Im Legendenton" section in the middle of the movement (it was entitled "Romanza" in an earlier version, go figure). The main theme of the movement was inspired by the last song from "An die ferne Geliebte" (Schumann initially wrote that movement as part of a Monument for Beethoven that Liszt was going to have erected in Bonn; it still stands today on the city's Münsterplatz). Schumann literally composes out his longing for his distant beloved in the first movement (he was separated from Clara at the time). The line "And you sing what I have sung" ("Und du singst was ich gesungen") plays out between the main two keys of the movement. A portion of the theme is first stated in C major ("C" for Clara) and its most moving version from the second group, first appearing in F during the exposition, returns in Eb ("Es" or "S" for Schumann) in the recapitulation (m 253ff). In a letter to Robert, Clara wrote that "I like the most" this version of the theme. The "C" - "S" symbolism is sealed by a voice exchange (Eb x C) in the Coda, amid the final statements of the Beethoven quotation-literally as letters en-ciphered into the music. When Clara played the movement she was truly singing what he had sung.

Klasse!!

The complexity of these pieces makes one grateful they are not much longer.

Vox LP sets were less-expensive and had very good distribution. So their artists were widely heard, if less famous.

My teacher, Dr. Dylan Savage, studied with Michel Block at Indiana University in the '80s when he was doing his master's and doctoral degrees.

💐💐💐🌹🥀🥀🥀🙏🙏

Nunca, había escuchado está interpretación por Brailowsky, y me regusto !!!, la había escuchado por S,Richter, pero me gustó más está versión, fue un excelente intérprete este hombre, ya que interpretar y saber transmitir las obras de Chopin no es para cualquiera, hay que tener un espíritu especial.😑😑😑

Interpretação insuperável. Um dos seus concertos favoritos dominio total ela gravou duas vezes e o interpretou centenas de vezes mundo a fora. é algo muito identificado com essa grande artista

Ho i dischi in vinile, a volte ho paura a riprodurre per evitare che si righino con la puntina. Meraviglia assoluta

My mother married a man in 1989 who sang this in college at Pepperdine. He died in 2002 and my mom died in 2023...

Bravissimo!!!!

These preludes, intended to be part of a collection of five, were written in 1919 near the end of Griffes's life. They anticipate some of Ives's works. (Ives's Concord Sonata was first published in 1920). They were not publicly performed until 1949 and only published in 1967. The printed score contains no dynamic or tempo marks, so every performer is free to interpret as he or she sees fit. I am playing it this year in a piano class at Juilliard. My own mental interpretation, which is purely fanciful, is the composer's anticipation of his impending death from influenza at age 35. The first prelude is a turbulent struggle against death, the second is acknowledgment of defeat, and the third is acceptance, ending as it does tranquilly with an astonishing A-Major chord.

I tend to think this recording is adjusted -5%~15% on tempo(intentionally or unintentionally) , just like many other roll recordings

The formidable technical challenges of the B flat don’t seem to trouble him at all. Notice the alacrity of his playing in the last movement. The pace is fast, as I think it should be; Horowitz and Richter would have to have been envious of the speed at which Sándor dispatches the double-third runs and octave playing that punctuate the last movement. Impossibly difficult even super human at the pace he takes the music. Don’t know how he does it.

Very nice

Eine unschlagbare Interpretation, R.I.P Maestro Fischer-Dieskau

What a wonderful rendition!

Dr. Stewart was my favorite piano teacher. He was not only an excellent pianist and teacher, but a gracious, kind person who made every lesson enjoyable. I had the good fortune to study with him during my high school years, privately during the year and then at the Music Academy in the summers. It's lovely to hear this recording of his Chopin. Thank you so much for posting it!

Great!😀👌

Que Linda Canción me hace llorar

Of course someone had to come along and ruin this wonderful performance with ads.

I learned much from Lita. She personifies class and radiates intelligence and beauty. For whatever reason, my fondest musical musical memories from those early studies with her are the Beethoven Sonata Op. 10 number 2 and the Strauss Burlesque. At that time, I was only 18 and 19 years old, never having known the Strauss existed. She made the suggestion and I ran with it! Rich and clean are the feelings I have for those years with Lita.

Happy to listen to Rosario Marciano. Being able to get the best possible sound out of an antique piano is no little challenge.

Supongo que esta ejecución se hizo con un piano de la época. Maravillosa joya de mi país, Rosario Marciano.

This is a message. I am speecless. That Chopin op. 25 and Lizst are a party of the century. Idk Busoni is a profet of symbolism in music.

Both had remarkable and beautiful voices with great technique, but without any expression in Forza, Don Carlo and Otello. However, Merrill could reach a great expressive voice in Verdi´s operas. See Merrill with Richard Tucker in a 1972 Met video singing the duet ¡Invano Alvaro!. No one has surpassed this most dramatic performance in voices power, brilliance and expression, nor Tucker-Warren or del Monaco-Bastianini and anyone. Greetings.

divinities bow.

0:03:55 var.2

Ciao zio Ferruccio ❤

Jussi the best ever tenor EVER am crying thinking of my dad and me two friends FOR EVER SEE YOU SOON

Com Victoria a vitoria do canto lirico brasileito!

Musica eterna. Wonderfull

4:05 D major section starts

I was obsessed with Moura Lympany's rendition of Winter Wind when I was a 15 year old boy in 1989. I had to give up learning this piece at the time because I was not up to the required technical capabilities. Piano playing was sidetracked by studies and jobs between 1995 and 2020, but a pandemic had brought back interest in piano like an old flame. So, here I'm, my rendition of Winter Wind, inspired by Moura's rendition. ua-cam.com/video/6Kx1QGAooL0/v-deo.htmlsi=DqscJ2mkVmIrbI05

ua-cam.com/video/6Kx1QGAooL0/v-deo.htmlsi=m1UVzr8Is3a3A6Ex

I like Moura Lympany's rendition of Winter Wind ❤

Bravo ❤

I studied with Nina for several years in the mid 1990s and early 2000s. Great pianist, dedicated teacher, and friend. R.I.P. Nina.

She despised her Blackness😢😢😢😢😢😢😢😢😢😢😢😢😢😢😢😢😊

12:36 Scarbo

Brillant

An aristocrat

So beautiful. He is in no hurry at all. I love his playing. Always have. A man with a big soul. And Polish at its best!

Fascinating! This is Volume 1 of Marvin's edition of Soler Sonatas published 11th June 1957 (Mills Music Ptd, 20 Denmark Street, London W.C.2), which I've had for about 50 years, and I never new he had recorded it!

Someone needs to redo this documentary and make it really tell of her greatness,!

Excellent reading! I had forgotten about Natalie Hinderas.

So bl__dy beatiful!

Wonderfull

These preludes are magical! What wonderful music toils in obscurity for no good reason. I am eternally thankful for this upload.