Whose recording for the Third Concerto? I’d be fascinated to know. Both the Second Concerto and the Third Concerto are based off of Saint-Saëns’s impressions of Anton Rubinstein’s pianistic wizardry, according to the Saint-Saëns biographer Brian Rees. It’s fascinating to imagine-large dynamic contrasts, quasi-bel canto pianism, virtuosic pianistic flair and intense emphasis on bass notes. Saint-Saëns perfectly assimilates Rubinstein’s style without betraying his own.
@@DemirSezer David Hurwitz would recommend Louis Lortie’s, but I prefer Jeanne Marie Darrè’s recording from the 1950s. She studied all 5 of the Saint-Saëns concerti with the composer, and her recording of the Third is a great example of lively and joyful pianism, the kind of tone that the Third needs.
![Saint-Saëns - Piano Concerto No. 3, Op. 29 [1869]](http://i.ytimg.com/vi/q9ZIosp6EBw/mqdefault.jpg)
sweet god thank you demir for this vid
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@@ingemarjansen 🛋️
Гениально
Whose recording for the Third Concerto? I’d be fascinated to know.
Both the Second Concerto and the Third Concerto are based off of Saint-Saëns’s impressions of Anton Rubinstein’s pianistic wizardry, according to the Saint-Saëns biographer Brian Rees.
It’s fascinating to imagine-large dynamic contrasts, quasi-bel canto pianism, virtuosic pianistic flair and intense emphasis on bass notes. Saint-Saëns perfectly assimilates Rubinstein’s style without betraying his own.
I'll need to research some different recordings, are there some you'd recommend?
@@DemirSezer David Hurwitz would recommend Louis Lortie’s, but I prefer Jeanne Marie Darrè’s recording from the 1950s.
She studied all 5 of the Saint-Saëns concerti with the composer, and her recording of the Third is a great example of lively and joyful pianism, the kind of tone that the Third needs.
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6:35
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