Brahms - Emil Gilels, Ballade Op.10 No 4 in B major
Вставка
- Опубліковано 5 жов 2024
- (Moscow, 27 december 1977)
Emil Grigoryevich Gilels (Ukrainian: Емі́ль Григо́рович Гі́лельс, Russian: Эми́ль Григо́рьевич Ги́лельс, Emi'li Grego'rievič Gi'lelis; October 19, 1916 October 14, 1985) was a Soviet pianist, widely considered to be one of the greatest pianists of the 20th century. His last name is sometimes transliterated Hilels.
Gilels was born in Odessa (now part of Ukraine). He began studying the piano at the age of five[3] under Yakov Tkach, who was a student of the French pianists Raoul Pugno[4] and Alexander Villoing[3] Thus, through Tkach, Gilels had a pedagogical genealogy stretching back to Chopin, via Pugno, and to Muzio Clementi, via Villoing. Tkach was a stern disciplinarian who emphasized scales and studies. Gilels later credited this strict training for establishing the foundation of his technique.[3]
Gilels made his public debut at the age of 12 in June 1929 with a well-received program of Beethoven, Scarlatti, Chopin, and Schumann.[3] In 1930, Gilels entered the Odessa Conservatory where he was coached by Berta Reingbald, whom Gilels credited as a formative influence.
After graduating from the Odessa Conservatory (Ukraine) in 1935 , he moved to Moscow where he studied under the famous piano teacher Heinrich Neuhaus until 1937.
A year later he was awarded first prize at the 1938 Ysaÿe International Festival in Brussels by a distinguished jury whose members included Arthur Rubinstein, Samuil Feinberg, Emil von Sauer, Ignaz Friedman, Walter Gieseking, Robert Casadesus, and Arthur Bliss.[5] His winning performances were of both volumes of the Brahms-Paganini variations, and the Liszt-Busoni Fantasie on Two Motives from Mozart's "Marriage of Figaro". The other competitors included Moura Lympany in second place, and Arturo Benedetti Michelangeli in seventh place.[6]
Following his triumph at Brussels, a scheduled American debut at the 1939 New York World's Fair was aborted due to the outbreak of the Second World War.
During the War, Gilels entertained Soviet troops with morale-boosting open-air recitals on the frontline, of which film archive footage exists.[7]
In 1945, he formed a chamber music trio with his brother-in-law, the violinist Leonid Kogan and the cellist Mstislav Rostropovich.
After the war, he toured the Soviet Bloc countries of Eastern Europe as a soloist. He also gave two-piano recitals with Yakov Flier, as well as concerts with his violinist sister, Elizaveta.
Gilels was one of the first Soviet artists, along with David Oistrakh, allowed to travel and concertize in the West. His delayed American debut in 1955 playing Tchaikovsky's Piano Concerto No. 1 in Philadelphia with Eugene Ormandy was a great success. His British debut in 1959 met with similar acclaim.
In 1952, he became a professor at the Moscow Conservatory, where his students included Valery Afanassiev[1] and Felix Gottlieb[2]. He presided over the International Tchaikovsky Competition for many years, and as chair of the jury awarded first prize to Van Cliburn at the sensational inaugural event in 1958.
He made his Salzburg Festival debut in 1969 with a piano recital of Weber, Prokofiev and Beethoven at the Mozarteum, followed by a performance of Beethoven's Third Piano Concerto with George Szell and the Vienna Philharmonic Orchestra.
In 1981, he suffered a heart attack after a recital at the Concertgebouw in Amsterdam,[8] and suffered declining health thereafter. He died unexpectedly during a medical checkup in Moscow, only a few days before his 69th birthday. Sviatoslav Richter, who knew Gilels well and was a fellow-student of Neuhaus at the Moscow Conservatory, believed that he was killed accidentally when an incompetent doctor at the Kremlin hospital gave him the wrong injection during a routine checkup.
Gilels is universally admired for his superb technical control and burnished tone.[10]
He had an extensive repertoire, from Baroque to Late Romantic and 20th Century Classical composers. His interpretations of the central German-Austrian classics formed the core of his repertoire, in particular Beethoven, Brahms, and Schumann; but he was equally illuminative with Scarlatti, Bach, as well as with twentieth-century music like Debussy, Bartók, and Prokofiev. His Liszt was also first-class, and his recordings of the Hungarian Rhapsody nº 6 and the Sonata in B minor have acquired classic status in some circles.[11]
Gilels premiered Sergei Prokofiev's Piano Sonata No. 8, dedicated to Mira Mendelssohn, on December 30, 1944, in the Great Hall of the Moscow Conservatory.[12]
He was in the midst of completing a recording cycle of Beethoven's piano sonatas for the German record company Deutsche Grammophon when he died. His recording of the "Hammerklavier" sonata received a Gramophone Award in 1984.
(Wikipedia)
He plays always with beautiful interpretation whether it is Beethoven or Schuman, He is a joy to listen it touches ones soul.
It's wonderful to appreciate the stark contrast between the performances of Michelangeli, Gould and Gilels.
Omg.....this is just perfect. His voicing and sound..absolutely out of this world.
Emil's playing shows once more, that piano sound can never be deep enough for such feelings. The return of the minor theme...it just hurts! Something special about his interpretation of this Ballade as well as piece itself. This is a gem.
This is one of the most deeply personal pieces written for the piano. Give the Michelangeli version a reflective listen. It's slower and allows you to really meditate and absorb what's going on.
I love to watch this wonderful man play as the music courses through him. He really inspires me to cultivate more involvement with the music in my own playing (meaning less preoccupation with technical and memory issues ...). As I watch and hear this sublime artist, I feel the spirit of Brahms is truly with us--we are SO fortunate to have these performances forever preserved. Thank you again for posting!
Beautiful legato..Emil was d supreme artiste, Richter too!
Wow - just discovered this piece. Sublime!!!
Breathtaking. His sound is just gorgeous
Gilels was simply in a class by himself. His use of the pedal - giving profound weight to the phrase without muddying its contours - is unparalleled. Then, too, his judgment of tempo, dynamics, and his ability to reveal the polyphony of Brahms's score are just as miraculous. He was not just a virtuoso pianist but a supreme musician who happened to play piano, just Oistrakh was a musician whose medium happened to be the violin. I heard Gilels once, around 1974 or so and often wish that there had been more opportunities. What a gift he's left behind with his many recordings!
The Gilel's doing Bach B-minor prelude. ua-cam.com/video/glpnysLXWrU/v-deo.html
Hello, Pfau. Sadly, I seem to have been "stifled" from reponding 2 u from my main _Acoustic Rabbit Hole_ channel.
I was agreeing with you about the thoughtful interpretations of Gilels. If my message from there doesn't ge thru, here is a restoration of Gilels playing the Bach Prelude in Bm--from the same concert! ua-cam.com/video/Ly1MOvp2lAw/v-deo.html
Brahms is all about patience and building up a structure. Not everybody can understand or appreciate it.. I myself was assigned the Op 10 No 1 and it didn't speak to me for months and I've picked it up now again and realized that there was much more to it than I initially saw. Do you play the piano? If so, have you played any Brahms at all? You really need to play it to understand all the nuances completely.
Bellissima ballata ed esecuzione emozionante
For me this is the best interpretation I've heard yet. Eclipses Gould's somewhat surprisingly vague rendition. Rubinstein, who usually is a stellar Brahms interpreter projects a too laconic performance. Gilels seems to embody the inner most pathos of the piece. Hard pressed to think of someone else except maybe Schiff, who might have given a more subtle playing. A very personal Brahms gem, always puts one in a meditational quiet spot.
+fred houpt What about Michelangeli's?
+Carlos Rodríguez It is lovely, isn't it? However, that said, for me the performance sounds limpid, sentimental and is played a bit too slow, sounding more like a funeral march. It is overly sad and defeatist for me. I went looking for a recording of this piece by Radu Lupu and I cannot find one just now in UA-cam land. Lupu has become one of my favorite Brahmsians. I will share something with you that I just found:
etd.lsu.edu/docs/available/etd-04102014-022944/unrestricted/BrahmsThesis.pdf
Enjoy!
+Carlos Rodríguez The Michelangeli is really beautiful, but somehow he misses the contrapuntal nature of Brahms's music, which Gilels renders fabulously! The Michelangeli interpretation is mainly about the piano and.... Michelangeli! The Gilels is entirely about Brahms. I prefer the DG studio recording of Gilels even better than this live performance.
this is not the same kind of ballade as chopin, it is more profoundly teutonic, more intrinsically spare. people coming to this with expectations will be turned away, for young brahms was aiming here to tell a story of the heart and soul, not express some romantic ideals. a composer among the most misunderstood in music. gilels is such a natural here.
Yes, compared to Chopin Brahms' music sounds simpler yet more earnest. Kind of like a candle that never dissipates despite being small.
Brahms is perfection since Op.1, please, a bit of respect!
I love this!
sublime! c'est bien la conclusion de l'opus 10.
I have never seen the score, but I do know that Gilels is always very faithful. Unfortunately, I much prefer Michalengeli's recording, even though I don't know how accurate it actually is.
@newFranzFerencLiszt tss disagree.this is epic!!!...music of brahms is so specific!!! only true musicians,pianists of great age can play it so well like gilels,its sweet!
Kak zamechatel´no´prosto,yasno...
Maestro!!!
exquisite and spellbinding
this live performance knocks all others in the shade, in my opinion, including Gilels' own DG studio recording and Michelangeli and everyone else that comes to mind
It was an amazing concert. I think, 1964. I restored the audio and video to his Bach B-minor Prelude performance from this same concert. Come see!
- _The Acoustic Rabbit Hole_
grande davvero !
"...quando l'interprete ascolta il proprio strumento (da 1'35'')...con trasporto... eleva la musica ad evento... in corale unione col pubblico e segna la via..."(Silvano G. Bernasconi, pianista e compositore)
@micheldvorsky yes, and better than most other pianists too...
I don't agree. It is not humility and one should not stop performing or playing because there is someone better or someone sublime. It is like if a composer said why keep composing if I will never reach Mozart or Bach?
Great artists such as Gilels serve as true inspiration and many times as models, but that should not stop us from playing, studying and enjoying. Too much competition and pride there is in the world.
I prefer great Wilhelm Kempff recording...but this is magnificiant too..
I totally agree with the first love thing, somehow it's particularly strong with this piece. Precisely the Gilels recording was my first love, got so used to it that when i heard Glenn Gould's recording i hated it, i found it annoying and out of place... ;)
Are you for real?
@kempff95 я думаю что вы не понимаете то что говарите
God. Gilels plays these so much better than Michelangeli.
"5 minutes into this piece" ?
You do not know what you are talking about. Better to remain silent.
Zu schnell
5 minutes into this piece I don't even know what Brahm's melody is. The piece is absolutely not at the level of Chopin's ballades. The piece sounds rather hazy and without direction. No wonder it isn't well known. Even Gilels may have played it with too much feeling.
do u have a music background? your comment is quite astounding...sadly
Complexity does not mean better! This ballade is equally good to Chopin's if not better.
@@Santosificationable This is a wonderful piece. As for comparing Chopin Ballades to those of Brahms, it is not a matter of whose Ballades are better. You really can't compare them with that criteria. You are essentially comparing apples to oranges. This is my favourite Ballade of Brahms.