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Samson François plays Chopin Etudes Op.10
Вставка
- Опубліковано 10 тра 2011
- no copyright infringement intended
00:00 - No.1
02:20 - No.2
03:49 - No.3
07:48 - No.4
09:56 - No.5
11:44 - No.6
14:46 - No.7
16:22 - No.8
18:48 - No.9
21:13 - No.10
23:19 - No.11
26:01 - No.12
/ newfranzferencliszt
フランソワの演奏には、心地よい揺らぎがあることに気づいた。これが、彼の演奏が今日まで好まれている理由であろう。リズムの自在さがとても自然で、まるで大海の波のようだ。
C'est le jeu de Frédéric Chopin rien à dire de plus bravo maestro
Autentico! Un artista con una concezione artistica unica. Chopin avrebbe aprezzato l'interpretazione musicale e virtuasistica di suoi grandiosi ed eterni studi!
Absolutely unique interpretations ! How could I have overlooked this pianist for so long ?
amazing energy and clear sound, fantastic. one of the greatest pianists of all times
The Op. 10, No. 11 has great depth and high artistry. Taken at slower pace, it reminds of the recording by the great Hungarian pianist Geza Anda. In this rendition there is style and spontaneity. Superb!
Samson François. Jamais un nom ne fut approprié. La force expressive d'un colosse biblique. Le style français porté au plus haut.
his physic contact with the piano must have been extraordinary. not many pianists have such a perfect harmony body and piano. Ciffra had these abilities too. But Francois has the better taste, His orchestral play comes equal to horowitz way of orchestral play. his legato is perfect and reflects the great tradition of paris Cortot and Marguerite Long Yvonne Lefebure etc . compared to Svatoslav Richter this is miles better. Even Cortot did not come to this high level of interpretation. A lot of freedom of breathing in his interpretation but absolutely in the good taste of Chopin. Each voice is clearly interpreted and has its own colour. He really was a master of sound.
Thank you for a very good explanation
I also love france pianism that comes from cortot.
@Bedeurog When I studied the piano, one of my teachers highly recommended to study very attentively Cortot's method "Principes rationnels de la technique pianistique". Further, I read another great book by the same author: "Principes rationnels de la leçon pianistique". Two excellent treasures!
Soon, I will receive one exemplar of his album with the complete recording of Ravel's piano works. I got from an auction that was made last weekend in my birthplace, Rio de Janeiro. I am very anxious to listen to his playing: today, although with another performer, I listened to Ravel's four fugues: very beautiful compositions that, if possible, I intend to play them on the organ. Thanks a lot for posting this!
I have never before heard Chopin played with such a dose of eccentricity.
Fantastic ! N1 is a treasure !!!!!! The best I heard !@!
wow, his tone is incredible! And he makes so much music!!
I like this interpretation. Bright and passionate. Thanks for sharing
La perfection, c'est la perfection, mais mieux que la perfection, cela a un nom : Samson François.
Merci
derauch john uaiiiiiiii
@derauch john Je suis d'accord, j'ajouterai même que c'est au délà de la perfection.
I think I just found the gods of these études after searching for about three years.
This record is a treasure trove of infinite inspiration.
Unforgettable!
Deep impression was reaching my soul which is in the cherry blossoms in full bloom . 🍎
Merci infiniment!
Je retrouve ici grâce à vous les célèbres enregistrements de Samson... Celui-ci de1959, je crois.
No 11 ... Just omg ....
Perfection at its finest!
Unglaublich inspieriert. Dankee!
No 3 simply amazing. Usually, pianists play No 3 too slow and blurry. Not in this rendition.
He has definitely his own, original vision of the etudes.
I want to like this video once for each etude~
프랑스 피아니스트 상송 프랑수아(1924-1970)는 알콜 중독으로 46살에 요절했다. 알프레드 코르토 계보를 잇는 피아니스트로 칭송 받은 쇼팽 스페셜리스트이자 라벨, 드뷔시 등 프랑스 근대음악에도 특출났다.
음반재킷 사진을 보면 알 수 있듯 그는 자유로운 영혼을 지녔다. 허나 외로웠고 고독했다. 그래서 늘 술을 끼고 살았다. 그의 연주에는 자유로운 시정과 불안한 정서가 동시에 담겨 있어 쇼팽음악과 잘 맞는다. 친절하고 섬세한 루빈슈타인, 교과서적인 폴리니, 완벽하고 화려한 치메르만과는 분위기가 사뭇 다르다.
프랑수아가 연주하는 쇼팽의 발라드, 빗방울을 뿌리는 우중충한 가을하늘과 닮았다. 영화배우로 나서도 될 미남에 천부적인 음악재능을 소유했지만 어쩌지 못하는 지독한 고독에 시달려야만 하는 불행도 같이 타고 났다.
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hongsung kim 🚃
올려주신글 유익하게 잘 읽었읍니다
윤찬군 덕분에 Cortot를 듣다가 여기까지 왔어요
감사합니다
Superb!
26:02👌🏾
フランソワの演奏にはリリシズムと言うか、耽美と言うか、完璧の演奏のポリーニ盤より好きです。ショパンコンクールみたいな演奏じや面白くないじゃないですか。
全く完璧に遠いコルトーのエチュードを、ポリーニは最高の演奏と評価していた節がある。楽譜上の最高音最低音に、一音足していたり、付点リズムが複付点に弾いていたり、表現主義的傾向と、ロマン主義的傾向の重ならない物を、重ねようと矛盾に挑戦していたようにも思える。面白かろうが、面白くなかろうが、この道を進まなければ、シュトックハウゼンやブーレーズ、またバルトークのコンチェルト１，２を裸にして演奏会場で鳴らす事はなかった。そう感じるが、ポリーニの生涯も最晩年に来つつあるんだ。
uahuuuuuu ....... a lot !
Renversant
Number 9!
J’écoute un tas de nouveaux pianistes. Il n’y a rien de comparable en beauté avec celles-là. Les autres interprétations sont fades.
How does he play the code of No.5 Black Key im Tempo ??!!
Rapidissimo thunder like Octave !
23:19
Monsieur Derauch, prenez la 3me étude, et comparez celle de Samson Francois avec celle d'Alfred de Cortot. ma préférence, sans dire que c'est la perfection, va a Cortot.
No. 6 is *_FINALLY_* played remotely close to the tempo marking.
Try to see my channel... op 10 n 6
69
So nobody has noticed that he plays the basses one octave lower in the first Etude?
not all of them
Op10 n4 .. WHAOU WHAOU !!!!!
Je me demande si ce qu’il faisait passerait au concours Chopin où on entend toujours la même façon ennuyeuse de jouer.
what a power in the "revolutionary" (12) : no heroÏsm, just power, and this touch, as if the klavier-keyboard was a place for landing. Difficult to describe, of course.
Indeed, great contol and a wonderful soundscape and -shape. Very much his own man in this piece. Rapidly becoming a reference version for me-inspiring to have a go at it myself.
which CD is this from please?
Ops 9 and 12 were burchered a bit especially 9 it's almost as though he didn't even read the music.
no2 , no8 and no10 are incredible clear, no3 and no6 have strange rubati....
Strange, I was just thinking how heavy no1 is. But the notes are all clear! why do people play no 3 and 6 so SLOWLY and over sentimentalised? Half speed, according to the metronome markings! I like 10, light and expressive. 11 has too much rubato! 12 is a bit over-done...?
half speed metronome is the "correct" way to read the metronome. Its called double time and was the way metronomes were used in Chopin's time
@@dennisjardine4089 False!