Ashkenazy’s sensibility in his playing is so clear….as clear as _his_ voice when he plays. He said he wanted to be a [clean!] window to the composer’s intent when playing, and for me he succeeds so beautifully. I just love the way he plays….intellect so seamlessly blended with emotion.
Both amazing...Idil Biret is the lady pianist with huge huge huge repertoir...I am not sure I know some other pianist beside her and Richter perhaps with such a huge recorded repertoir...It is only to admire with huge respect...
Both performers are old school pianists from the same era (Ashkenazy is four years older than Mrs. Biret) and both performances are fantastic. it's hard to choose one, but i prefer Biret as in many other Chopin's works. Thanks for upload.
Both interpretations give a strong emphasis to the main theme, with a clear, even robust, cantabile. I like that much better than the delicate toying of some other interpretations. Biret tends to give the first note of many measures an extended rubato accent; it's an interesting effect. I think many interpretations would benefit from an ending that emphasizes the forte in the second-to-last line; these measures deserve a rubato emphasis as the thematic climax, contrasting with the last line.
La verdad es que es un antiguo tema folclorico italiano, pero Paganini lo tocaba en la mayoría de sus presentaciones. Cuando fué a Polonia y la interpretó Chopin era un espectador en la sala de concierto y mientras Paganini la tocaba Chopin hizo una variación para piano y se la mostró a Paganini después de la función, entonces Paganini le puso una dedicatoria ya que le gustó la atención del entonces joven Chopin. Ese arreglo para piano es el que escuchamos hoy en día con el nombre de Souvenir de Paganini.
Proposition de traduction de l'excellent commentaire de Karl Vasquez ci-dessous : La vérité est qu'il s'agit d'un vieux thème folklorique italien, que Paganini jouait dans la plupart de ses représentations. Lorsqu'il voyagea en Pologne et l'y interpréta, Chopin était un spectateur dans la salle de concert et pendant que Paganini jouait [ce thème], Chopin écrivit une variation pour piano et la montra à Paganini après la représentation. Paganini lui signa une dédicace car l'attention de Chopin alors jeune lui avait plu. Cet arrangement pour piano est ce que nous entendons aujourd'hui sous le nom de "Souvenir de Paganini".
Actually, Paganini didn't write the original melody or Theme. Rossini had used it before Paganini - and before that, it was an old Italian "folk" melody...NOBODY seems to know who wrote this Theme: "Carnival Of Venice". I had heard a piano solo in Clef Music Perth Australia on the P.A. and on enquiry was offered the sheet music Title: CARNIVAL of VENICE Concert Transcription written by JOHN W. SCHAUM. Published by Belwin Mills Publishing Corp Melville, N.Y. 11746 for AUD$1.85 Copyright 1952 (4page score). Paganini did improvise with his own variations at his concert, and Chopin complimented Paganini's variations with his own Chopanic style of chromatic scale variations using polyphonic notes. Many Instrumentalists have had a go at variations on instruments such as Trumpet etc. and Tuba also. Just try search for UA-cams with Carnival of Venice variations, you get them.
I had never heard of Idil Biret before but to put this poor lady up against the great Ashknenazy is like Heather Watson playing tennis against Roger Federer
She is in so many ways a greater pianist than Ashkenazy I don't know how you have never heard of her if you are a serious listener. if you want to know how great she is, go and listen to her Brahms recordings. Poor is yourself.
actually the poor thing here is your comment. I guess you dont know about her magnificient career, her huge repertoire, her recordings from 1950s up to now. Do yo know how she completed her education in paris conservatoire at age 15 (1st degree), how Rubinstein presented her in his tv programme in 1955, how Gilels invited her to give concerts in russia in 1960, how she give a concert with Kempff in 1953 (mozart's concerto for 2 pianos), how she played all Beethoven-Liszt transcriptions within 3 days in montpellier festival 1985, etc... She also sold 3 million records worldwide. Respect, please..
I love it when Chopin plays with thirds...no other composer could do with thirds what Chopin did so well
So true!
True man 💫💫💫💫💫💫
Chopin's creativity is mind blowing
It was, and so was Paganini's who wrote the original for violin and other pieces that took that instrument to previously unimaginable heights.
@@GATTAPADRE The original melody is a Neapolitan folk tune, not by Paganini.
Ashkenazy’s sensibility in his playing is so clear….as clear as _his_ voice when he plays. He said he wanted to be a [clean!] window to the composer’s intent when playing, and for me he succeeds so beautifully. I just love the way he plays….intellect so seamlessly blended with emotion.
This is beautiful. It's like Chopin took one simple melody and totaly went rogue with it. And the result is absolutely amazing!
Both amazing...Idil Biret is the lady pianist with huge huge huge repertoir...I am not sure I know some other pianist beside her and Richter perhaps with such a huge recorded repertoir...It is only to admire with huge respect...
There is a close connection in this work to the later Berceuse. A Both very elegant and charming works by Chopin infused with genius.
Both performers are old school pianists from the same era (Ashkenazy is four years older than Mrs. Biret) and both performances are fantastic. it's hard to choose one, but i prefer Biret as in many other Chopin's works. Thanks for upload.
Beautiful piece to a lesser known piece by the great Chopin.
Lovely. Havent heard this piece before.
Both interpretations give a strong emphasis to the main theme, with a clear, even robust, cantabile. I like that much better than the delicate toying of some other interpretations. Biret tends to give the first note of many measures an extended rubato accent; it's an interesting effect. I think many interpretations would benefit from an ending that emphasizes the forte in the second-to-last line; these measures deserve a rubato emphasis as the thematic climax, contrasting with the last line.
this planet has never been sane, but when this was written, i'd like to think it was a lot saner . . .
La verdad es que es un antiguo tema folclorico italiano, pero Paganini lo tocaba en la mayoría de sus presentaciones. Cuando fué a Polonia y la interpretó Chopin era un espectador en la sala de concierto y mientras Paganini la tocaba Chopin hizo una variación para piano y se la mostró a Paganini después de la función, entonces Paganini le puso una dedicatoria ya que le gustó la atención del entonces joven Chopin. Ese arreglo para piano es el que escuchamos hoy en día con el nombre de Souvenir de Paganini.
Gracias por su comentario. Lo propongo traducido en francés ahí arriba.
De todas formas tanto paganini como chopin lo pasaron bien, heavies de la epoca
Proposition de traduction de l'excellent commentaire de Karl Vasquez ci-dessous :
La vérité est qu'il s'agit d'un vieux thème folklorique italien, que Paganini jouait dans la plupart de ses représentations. Lorsqu'il voyagea en Pologne et l'y interpréta, Chopin était un spectateur dans la salle de concert et pendant que Paganini jouait [ce thème], Chopin écrivit une variation pour piano et la montra à Paganini après la représentation. Paganini lui signa une dédicace car l'attention de Chopin alors jeune lui avait plu. Cet arrangement pour piano est ce que nous entendons aujourd'hui sous le nom de "Souvenir de Paganini".
Actually, Paganini didn't write the original melody or Theme. Rossini had used it before Paganini - and before that, it was an old Italian "folk" melody...NOBODY seems to know who wrote this Theme: "Carnival Of Venice". I had heard a piano solo in Clef Music Perth Australia on the P.A. and on enquiry was offered the sheet music Title: CARNIVAL of VENICE Concert Transcription written by JOHN W. SCHAUM. Published by Belwin Mills Publishing Corp Melville, N.Y. 11746 for AUD$1.85 Copyright 1952 (4page score). Paganini did improvise with his own variations at his concert, and Chopin complimented Paganini's variations with his own Chopanic style of chromatic scale variations using polyphonic notes. Many Instrumentalists have had a go at variations on instruments such as Trumpet etc. and Tuba also. Just try search for UA-cams with Carnival of Venice variations, you get them.
Thanks for the information
That is very interesting. Thanks for sharing!
Magnificent Idil Biret 🙂
Ashkenazy was amazing
idil biret is amazing.
Carnival of Venice!
❤
wonderfull
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3:41
Sì. Si tratta del Carnevale di Venezia, un pezzo conosciuto anche con altri titoli.: 'O mamma, mamma cara', p. es.
Нравится.
Very suave
00:40
Both play great, but Ashkenazy is better to my taste
I don't know. To me it sounds like "Mein Hut der Hat Drei Ecken"
*******
I had never heard of Idil Biret before but to put this poor lady up against the great Ashknenazy is like Heather Watson playing tennis against Roger Federer
She is in so many ways a greater pianist than Ashkenazy I don't know how you have never heard of her if you are a serious listener. if you want to know how great she is, go and listen to her Brahms recordings. Poor is yourself.
Poor Lady??..that's such a silly and uninformed comment, and I'm not even a big fan of hers...you obviously don't listen to too much Piano
actually the poor thing here is your comment. I guess you dont know about her magnificient career, her huge repertoire, her recordings from 1950s up to now. Do yo know how she completed her education in paris conservatoire at age 15 (1st degree), how Rubinstein presented her in his tv programme in 1955, how Gilels invited her to give concerts in russia in 1960, how she give a concert with Kempff in 1953 (mozart's concerto for 2 pianos), how she played all Beethoven-Liszt transcriptions within 3 days in montpellier festival 1985, etc... She also sold 3 million records worldwide. Respect, please..
Ahhaha what a joker you are!!! But its not funny. Read about Biret before making such a condescending comment.