0:00 Waterfall 2:01 Chromatic 3:24 Tristesse (Farewell) 7:18 Torrent 9:20 Black Keys 10:56 10 6 13:45 Toccata 15:15 Sunshine 17:38 10 9 19:44 10 10 21:37 Arpeggio 23:23 Revolutionary Now that I timestamped this, I would like to say that my suspicion was confirmed about the tempo of the op 10 no 6 etude which I really enjoy it played that way. This recording also highlights the melodies and uses some hands out of time technique. One thing to note is that most of the etudes are played slower than today, and usually pieces were played faster. This isn't completely unexpected since people push their technique to the top to play these. The chromatic etude sounds a lot better at this tempo in my opinion.
I was wondering how all those pianists could play all those etudes with no one single mistakes! I'm talking here about a finger hitting a "wrong" note. Until I recorded myself in a studio. I realised that the method of recording evolved so much that it allows the perfect rendition of a piece. Even with a video. Cortot had no choice but record the entire piece. Plus they were looking at the "opium" in music (Barenboim talking about Cortot and 19th century musicians) the accuracy wasn't their top priority. The interpretation was a lot more important. Like Beethoven used to say "playing a wrong note is insignificant. Playing without passion is unforgivable!" I think that was their research in music. Such an inspiration...
Well Daniel meant specifically that Cortot looked for the opium in music, above all in his Chopin playing. He didn’t think Edwin Fischer or Artur Schnabel were looking for the opium in music. Opium here is something specifically sickly, and not an expression of depth in general.
@@VladVexler Cortot is beyong the keyboard but in musique , he dont think technic but he was beyong technic it's for this his Chopin studies of 1933 are listened in 2022
I think a lot of people confuse playing the wrong note with hitting the wrong key on a piano. A wrong note is a sound that simply makes no sense and has zero value even though it might be the correct pitch. A wrong key might simply be the wrong pitch (which inevitably will occasionally happen if you strive for musical perfection) that might still contain all the musical qualities required in any given moment. In other words, you could hit every correct key and end up playing a whole bunch of very wrong notes. The results of some recent piano competitions being the case in point:D Anyhow, I'm pretty sure this is what Beethoven meant when he said his famous quote.
Sorry to disappoint you all, but Sokolov _regularly_ churns out absolutely perfectly played renditions without a single mistake _live_ and, mind you, without any loss of musicality. Cortot was historically important, great _as a musician_ but _as a pianist_ I I think he wouldn't be able to compete today. Rachmaninov would !
When the 6-CD set of Chopin/Cortot came out in 1991, the editors made a specific point of releasing the '42 Études alongside the better known and earlier set from 1933, in addition to a few acoustic recordings from 1923. While - generally speaking - Cortot never had the technique to manage things like op. 10/1, as well as a few others, the emotional impact of his 1942 recording of op. 10/6 - at 10:56 - has - to my ears - yet to find a better. This piece is an étude; then it is about loss. Whatever loss is yours. The playing is heart-wrenching, as it should be.
Never heard this 2nd account before . I see now where some of Perlemuter 's phrasing in no. 3 comesfrom.No.3 is revelatory in this 1942 .No.1 sounds so different here .No.2 is so interesting in what he does. Samson Francois is certainly his own man ! Many have something unique to say in these ! Serkin's Chopin is also highly refined worth hearing .
I sometimes wonder at what age Cortot started experiencing the symptoms of the Parkinson's disease he had that is definitely noticeable in the recordings from the late 40's and onwards? It seems to me the dropped notes steadily increase from the 20's to the 30's to the 40's and so on. And in the 30's he was already over 50.
I had never heard that he had Parkinson's... I'm curious where you saw that information. There is a real shift from the 20s particularly, that is certain...
@@ThePianoFiles some liner notes from CD:s with Cortot from Appian. I also recall seeing it in liner notes from Naxos but can't find it now. I'm interested if it's mentioned in the biography by Gavoty? I'd have to learn French first though, haha. You can see his hands trembling in the Der Dichter Spricht masterclass video, which seems to support this. I've also heard he suffered from poor eyesight towards the end of his life
I don’t know his health history in detail, but this particular recording already is a touch desolate - Cortot is showing us his conception of the etudes, rather than expressing it. A shadow of the world changing 33/34 version. Still, I’m immensely grateful to be able to hear this.
It's not his loss of accuracy over time that bothers me, it's his lack of command. As he lost physical control he became less bold, and Cortot at his finest is both bold and audacious. For prime examples, listen to his 20's/30's Chopin Ballades vs the 1950's, the Chopin 2nd Sonata in the 30's vs the 50's, or the 20's/30's Schumann vs the 50's. It's not the notes, it's the swagger.
Cortot did not record in London in 1944 - the wartime Etudes were recorded in France. What is this 1910 recording you speak of? Cortot made no solo piano recordings until 1919.
@@ThePianoFiles Never mind they are so deaf..they Will never understand...i d like to condamn them to listen only pianists Born before 1880 for a couple of years at least....
0:00 Waterfall
2:01 Chromatic
3:24 Tristesse (Farewell)
7:18 Torrent
9:20 Black Keys
10:56 10 6
13:45 Toccata
15:15 Sunshine
17:38 10 9
19:44 10 10
21:37 Arpeggio
23:23 Revolutionary
Now that I timestamped this, I would like to say that my suspicion was confirmed about the tempo of the op 10 no 6 etude which I really enjoy it played that way. This recording also highlights the melodies and uses some hands out of time technique. One thing to note is that most of the etudes are played slower than today, and usually pieces were played faster. This isn't completely unexpected since people push their technique to the top to play these. The chromatic etude sounds a lot better at this tempo in my opinion.
The difference in tempo in my observation isn't due to technical differences, but the fact that pianos were much lighter action.
No 9 is storm
I was wondering how all those pianists could play all those etudes with no one single mistakes! I'm talking here about a finger hitting a "wrong" note.
Until I recorded myself in a studio. I realised that the method of recording evolved so much that it allows the perfect rendition of a piece. Even with a video.
Cortot had no choice but record the entire piece.
Plus they were looking at the "opium" in music (Barenboim talking about Cortot and 19th century musicians) the accuracy wasn't their top priority.
The interpretation was a lot more important. Like Beethoven used to say "playing a wrong note is insignificant. Playing without passion is unforgivable!"
I think that was their research in music.
Such an inspiration...
Well Daniel meant specifically that Cortot looked for the opium in music, above all in his Chopin playing. He didn’t think Edwin Fischer or Artur Schnabel were looking for the opium in music. Opium here is something specifically sickly, and not an expression of depth in general.
Cortot was known to be the champion of faulse notes.
@@VladVexler Cortot is beyong the keyboard but in musique , he dont think technic but he was beyong technic it's for this his Chopin studies of 1933 are listened in 2022
I think a lot of people confuse playing the wrong note with hitting the wrong key on a piano. A wrong note is a sound that simply makes no sense and has zero value even though it might be the correct pitch. A wrong key might simply be the wrong pitch (which inevitably will occasionally happen if you strive for musical perfection) that might still contain all the musical qualities required in any given moment.
In other words, you could hit every correct key and end up playing a whole bunch of very wrong notes. The results of some recent piano competitions being the case in point:D
Anyhow, I'm pretty sure this is what Beethoven meant when he said his famous quote.
Sorry to disappoint you all, but Sokolov _regularly_ churns out absolutely perfectly played renditions without a single mistake _live_ and, mind you, without any loss of musicality. Cortot was historically important, great _as a musician_ but _as a pianist_ I I think he wouldn't be able to compete today. Rachmaninov would !
An execution that will remain in the history of the piano!
So many unique harmonies he is emphasizing
When the 6-CD set of Chopin/Cortot came out in 1991, the editors made a specific point of releasing the '42 Études alongside the better known and earlier set from 1933, in addition to a few acoustic recordings from 1923. While - generally speaking - Cortot never had the technique to manage things like op. 10/1, as well as a few others, the emotional impact of his 1942 recording of op. 10/6 - at 10:56 - has - to my ears - yet to find a better. This piece is an étude; then it is about loss. Whatever loss is yours. The playing is heart-wrenching, as it should be.
Never heard this 2nd account before . I see now where some of Perlemuter 's phrasing in no. 3 comesfrom.No.3 is revelatory in this 1942 .No.1 sounds so different here .No.2 is so interesting in what he does. Samson Francois is certainly his own man ! Many have something unique to say in these ! Serkin's Chopin is also highly refined worth hearing .
Thank you very much for this … He is 75 here … His Chopin matured .. as a good vine …
Actually, 65... still, wonderful maturity!
The Piano Files I added 42 to 23 and got 75, sometimes you can surprise yourself 🌹🐝🍷
Oh my God the n4! So powerful! So expressive!
Sorry, that comments is good for the etudes here!
this recording should be remastered to remove the hissing sound
I sometimes wonder at what age Cortot started experiencing the symptoms of the Parkinson's disease he had that is definitely noticeable in the recordings from the late 40's and onwards? It seems to me the dropped notes steadily increase from the 20's to the 30's to the 40's and so on. And in the 30's he was already over 50.
I had never heard that he had Parkinson's... I'm curious where you saw that information. There is a real shift from the 20s particularly, that is certain...
@@ThePianoFiles some liner notes from CD:s with Cortot from Appian. I also recall seeing it in liner notes from Naxos but can't find it now. I'm interested if it's mentioned in the biography by Gavoty? I'd have to learn French first though, haha. You can see his hands trembling in the Der Dichter Spricht masterclass video, which seems to support this. I've also heard he suffered from poor eyesight towards the end of his life
I don’t know his health history in detail, but this particular recording already is a touch desolate - Cortot is showing us his conception of the etudes, rather than expressing it. A shadow of the world changing 33/34 version. Still, I’m immensely grateful to be able to hear this.
It's not his loss of accuracy over time that bothers me, it's his lack of command. As he lost physical control he became less bold, and Cortot at his finest is both bold and audacious. For prime examples, listen to his 20's/30's Chopin Ballades vs the 1950's, the Chopin 2nd Sonata in the 30's vs the 50's, or the 20's/30's Schumann vs the 50's. It's not the notes, it's the swagger.
First recording 1933 , second London November 1944 ; first " keys " 1910 original not piano-roll
Cortot did not record in London in 1944 - the wartime Etudes were recorded in France. What is this 1910 recording you speak of? Cortot made no solo piano recordings until 1919.
@@ThePianoFiles Never mind they are so deaf..they Will never understand...i d like to condamn them to listen only pianists Born before 1880 for a couple of years at least....
Polonaises and scherzi!!!!
Tempting to say the least, eh...?
When Cortot made his famous Chopin recordings in the thirties the Polonaises, scherzos, mazurkas and Nocturnes were recorded by Artur Rubinstein.