Wunderschöne Interpretation dieser impressionistischen Suite im verschiedenen Tempo mit gut artikuliertem Anschlag und perfekt kontrollierter Dynamik. Bestimmt eine der zehn besten Aufführungen dieses Werks im 20. Jahrhundert!
My favourite recording of Suite Bergamasque. For all the comments regarding technical aspects I would paraphrase an eminent critic: 'If this performance is 'imperfect', I would gladly exchange it for 100 'perfect' performances...'
Any magnificent details and mysteriousness of the Prelude gets lost in the attempt to rush it. Absolutely the worst interpretation of the Prelude on UA-cam
Yes, it is the version recorded in the BBS studios. Not as accurate as earlier version, but still the colours are magnificent, I'm fascinated by the textures he achieves to obtain. The harmony cannot be any clearer and enough details are underlined.
interpretazione assolutamente convincente. Soprattutto il Menuet, sobrio controllato espressivo . Il clair de lune pezzo clou della suite non cade nel trivio sentimentalismo ma si dipana tra figurative e visionarie impressioni. Fraseggio essenziale dai toni notturni. il Passepied rievoca il passato e Gieseking plasma la materia musicale impressionistica di Debussy con tocchi clavicenbalistici che ricordano Bach. Elegante e piacevole
Perhaps technically not as good as his earlier performance, as some below claim, but the musicality of this performance is undeniable. Simply magnificent, defying all possible technical deficiencies!
I suppose this is from the BBC Legends CD? Not as accurate and subtle as some of his earlier versions I've heard, but still most enjoyable! Clair de lune was enchanting.
The real shame in Gieseking's recordings of French music is that EMI couldn't split for the kind of engineering that they gave Walter Legge and his wife.
Someone below mentions a mistake at 9:53! I count 4 similar mistakes in the first 35 seconds. Not that mistakes mean anything much, it's a lovely performance, but I would recommend Richter at Salzburg, 1977. I haven't heard the other apparently better recording people are mentioning, but Gieseking seems to play with a kind of soporific filter that sightly limits the range of magic in these pieces. You can rely on Richter for a perfect balance of dreaming and energy where neither inhibits the other.
Lovely to listen to, but also sloppy and rhythmically unstable. It's surprising to see that this was recorded in the same period as his recordings for Angel, which are wonderful.
Health may well have had something to do with it. He only had about three weeks to live when this broadcast was made. By all means, remember him for his Angel recordings--or especially his Columbia recordings from the 1930's--they established his reputation, after all.
It's actually not too fast in any way. Most interpretations take the tempo to the extreme low of Moderato. He takes it more to the faster end, which I personally like more, but it's within the tempo range nevertheless.
His playing is so marvelous! Light and completely stylish. I was inspired by him as a youth to play like that.
Wunderschöne Interpretation dieser impressionistischen Suite im verschiedenen Tempo mit gut artikuliertem Anschlag und perfekt kontrollierter Dynamik. Bestimmt eine der zehn besten Aufführungen dieses Werks im 20. Jahrhundert!
My favourite recording of Suite Bergamasque.
For all the comments regarding technical aspects I would paraphrase an eminent critic:
'If this performance is 'imperfect', I would gladly exchange it for 100 'perfect' performances...'
Perhaps the best interpreter of Claude Debussy. My brother took piano lessons from one of his students.
Any magnificent details and mysteriousness of the Prelude gets lost in the attempt to rush it. Absolutely the worst interpretation of the Prelude on UA-cam
Yes, it is the version recorded in the BBS studios. Not as accurate as earlier version, but still the colours are magnificent, I'm fascinated by the textures he achieves to obtain. The harmony cannot be any clearer and enough details are underlined.
F
Great!
¡Gracias, pasaron años antes de volver a esta maravilla!...
Merci , tank you so beautiful interpretation
interpretazione assolutamente convincente. Soprattutto il Menuet, sobrio controllato espressivo . Il clair de lune pezzo clou della suite non cade nel trivio sentimentalismo ma si dipana tra figurative e visionarie impressioni. Fraseggio essenziale dai toni notturni. il Passepied rievoca il passato e Gieseking plasma la materia musicale impressionistica di Debussy con tocchi clavicenbalistici che ricordano Bach. Elegante e piacevole
素晴らしい・・・！
「完璧」の一言しか出てこない演奏。
Perhaps technically not as good as his earlier performance, as some below claim, but the musicality of this performance is undeniable. Simply magnificent, defying all possible technical deficiencies!
Gieseking insuperable interprete de Debussy....
et de Ravel aussi
Horacio Parenti K)/
最喜欢的曲子的最好的演奏版本。
Si vous n'avez jamais entendu la suite bergamasque par Geiseking, vous n'avez jamais entendu la suite bergamasque...
Gieseking died on October 26th 1956 in London.
This recording must have been made shortly before his death.
The comfort of his performance is beyond compare
wooooooooow
Geiseking made me love this music. I sometimes suspect that he composed it, since something so engaging could not be a French creation.
Since I was born with the Angel Records version I'll stick with that one, but this one confirms that he is a human being!!
I suppose this is from the BBC Legends CD? Not as accurate and subtle as some of his earlier versions I've heard, but still most enjoyable! Clair de lune was enchanting.
The Zoltan Kocsis version on the Philips label is superb, maybe the best recording ever, of this music.
The real shame in Gieseking's recordings of French music is that EMI couldn't split for the kind of engineering that they gave Walter Legge and his wife.
I'm sorry. Walter Gieseking is the best pianist in his interpretation of Claude Debussy
No need to apologise for speaking the truth.
9:53 y'a une faute :p
Mais sinon c'est une pure merveille :D
ドビュッシーは生前ピアニストの演奏に関して個性は全くもって必要ないと断言している。
いやこんな演奏じゃ個性というよりむしろアレンジだ。
The age of the recording not withstanding, this is difficult to beat, or even match.
Someone below mentions a mistake at 9:53! I count 4 similar mistakes in the first 35 seconds. Not that mistakes mean anything much, it's a lovely performance, but I would recommend Richter at Salzburg, 1977. I haven't heard the other apparently better recording people are mentioning, but Gieseking seems to play with a kind of soporific filter that sightly limits the range of magic in these pieces. You can rely on Richter for a perfect balance of dreaming and energy where neither inhibits the other.
My personal opinion only--Richter was the finest interpreter of Debussy (and Ravel!) after Gieseking. And of those coming after Richter, Kocsis maybe.
アレクシス ワイセンベルクの方が総合的に上回ってます🎵
でもギーセキングの影響は何処かしら受けてますね🎵
What's with the rush?
いろんなドビュッシーを聴くんだけど結局フランソワとギーゼキングに帰ってきてしまう。
Joseph Jongen
excellent taste...
Lovely to listen to, but also sloppy and rhythmically unstable. It's surprising to see that this was recorded in the same period as his recordings for Angel, which are wonderful.
Health may well have had something to do with it. He only had about three weeks to live when this broadcast was made. By all means, remember him for his Angel recordings--or especially his Columbia recordings from the 1930's--they established his reputation, after all.
jesus this is way too fast. Is he trying to kill somebody?
It's actually not too fast in any way. Most interpretations take the tempo to the extreme low of Moderato. He takes it more to the faster end, which I personally like more, but it's within the tempo range nevertheless.