@@tibetatakan of course, just don’t thank Liszt and only Liszt. It bothers me that people don’t even know who Bellini is much less have heard of an opera called Norma. Not to mention, if you were familiar with Norma then you’d know that Liszt only incorporated a very small amount of moments and themes in this transcription. He definitely did not “condense a 2.5 hour opera” into a piano piece. It’s just a fantasy based on a few themes (and they’re not even presented in chronological order). Just a few reasons I consider Liszts opera fantasies to be some of his least impressive works.
Obviously this is thanks to Bellini, this is way it is una reminiscencia de Norma, and that means, it is an interpretation from Liszt of that great opera. Liszt, as with other operas, just want to make- to be short- a reminiscence of Norma. That it. As he did many others, including Wagner's, his son of law. But, the interpretation of Bolet, is amazing. So, Liszt just did a reminiscence of that. And he did it as usual...great.
Interpretation of unbelievable beauty, delicacy and profound expression. I hear Bellini and Liszt at the same time, perfectly balanced. Clearly Bolet knew well and loved Bellini's Norma. My favourite version of Liszt's magnificent work by my favourite pianist.
There is something that both Tozer and Bolet did that gained my respect for them in terms of their performance of Reminiscences de Norma, which is their decisions to play the ending part of the piece where the theme from the Allegro Deciso and the theme from the arpeggio section after the Piu Lento are combined together at a moderate but appropriate tempo. Most pianists rush that section and it makes me extremely frustrated for them to trample the beauty of the two themes in unity and treat this beautiful piece like a race and as a way to flaunt their techniques. Bolet's performance is much slower than what most pianist would play it at, but it provides not only a romantic, but also dreamy atmosphere, especially in the Piu Lento.
The part after Guerra Guerra sounds much more beautiful at bolet’s tempo than others (not that Tozer plays it bad by any means, I actually think his recording is the best)
Easily one of the top five pianists in the world at the time of this performance, and could have played this any tempo he wanted. It's a magnificent performance and exceptional pianism. Today I can't think of anyone who would come close.
I'm glad you drew attention to Geoffrey Tozer's excellent recording, which to my hearing is ideally attuned to the drama of Bellini's masterpiece. Thank you.
Every knowledgable pianist knows about Bolet and Barere in Liszt . It's the stuff of legends noone forgets esp. when there are records and many films of Arrau and Bolet and Michelangeli and Cziffra etc. !
@@denizuz4840 Yes, thankfully he made many recordings and a good number of filmed performances, such as this one exist. His masterclasses on Rachmaninov 2 and 3 are also superb.
He only made four records before the age of forty, and those in his late thirties It was another six years before he made his fifth. In our age of mediocre talent making millions of dollars before the age of twenty, it's difficult to fathom how one of the greatest musical talents of the 20th century had to wait so long to receive appropriate recognition.
Incredible. Most performances of this today are around 15 to 16 minutes. Since Jorge Bolet was a student of a student of Liszt, I'd like to think this is the actual optimal length.
Grandisima interpretacion de esta pieza, sin duda, probablentente uno de los pianistas mas grades del siglo 20 y gran musico, gran profesor, y poco dado a grabar, pero sus poca grabaciones de Liszt, Chopin, Rajmáninov, y sus interpretaciones en directo y las grabaciones que hizo en la radio alemana. Han dejado mas que suficiente muestra de su tecnica, musicalidad, su conocimiento de musica, y el grandisimo pianista que fue. Gracias por poner esto y rendir homenaje al Sr. Bolet porque ademas era un Señor de impecable cultura.
He was, without any doubt, the best pianist of the western hemisphere. On top of these, he was absolutely on of the greatest pianist of the 20th century. He didn't give a fuck about this, but he indeed was absolutely amazing and a great musician.
I have to say that, only when you know so much about music a such incredible technique, can do this on a piano, when you hear this sang by Callas or Caballé and this man can make the piano sing in that way, you can only say... bravisimo Bolet.
7:48 In the RH runs, the sixteenth notes that follow the eigths sounded rushed and out of place in other recordings, but this is the first I've seen where they sounds just right!
Truly one of the very greatest of pianists. I discovered him in 1982 doing a master class of the Rach 3 in Scotland entitled "Bolet meets Rachmaninoff". It's so good. Check it out. It may still be here on UA-cam. I learned so much from it.
Easily the finest "Norma" for me. All others sound rushed and crude by comparison. Bolet's tempo and phrasing are matchless; the music breathes and comes to life as in no other performance known to me.
I couldn't agree with you more. I'm reminded of the footage of his masterclass on Liszt's Dante sonata, and the Benediction of God in Solitude after it. He explains to the performer so many nuanced touches to make the most of egogic points and changes in dynamics, in just three phrases (or so) of the middle slow section of that piece. You hear so many pianists these days who play through the quieter bits to get to the 'exciting' development later, whereas he sees this universe of beauty and detail. I'd have loved to hear him play the sonatas of Rachmaninov, Scriabin or Barber to see what he would have done with them.
I believe this is in the late 80's. Bolet's health was in decline. He is one of my very favorite pianists. Bolet and Arrau are two of the greatest Lisztian performers.
This is the recording of the Musicales program of September 17, 1988 on the FR3 channel on French television doc.rero.ch/record/110533/files/1988-09-17.pdf
@@andream.464no he really wasn’t. He was in declining health and had started to curb his tempos. Which I think he did very musically. But he definitely slowed them down. I met a favorite student of his, Annie, in Marin, not too far Mountain View, where he died. She had inherited his Baldwin from his home. I sat in the room while she recorded one of the Liszt Hungarian rhapsodies. I discussed with her this very piece(the Norma). In ~2002. She said he slowed everything down, particularly in the last five years. Unfortunately she died of breast cancer before, I believe, she ever finished her album. She didn’t use the Baldwin for the recording. It needed too much refinishing.
Nope, sorry Zoltan Kocsis and but both of Marc-Andre Hamelin’s play far more technically solid interpretations on Audiophile (16’51”) then more recently on Hyperion leave this in the dust. Yet another example of comment section groupthink turning to hagiography, why do people do this? The old man Bolet has to take a practice tempo to barely cross the finish huffing and wheezing at 21’ Speed isn’t everything in most endeavors but it is a big part of bravura and playing the immortal masterpieces of Franz Liszt.
I've never seen this . So lucky to have some older tv of Bolet .I saw him talking about Godowsky on one American show and another teaching Rach concerto to a student . Wonderful that we have him in Liszt . A lot of pianists say his technique was more complete than Horowitz but he didn't have that electricity .You can't doubt that; I've heard dozens of non-musicians compare Rubinstein to Horowitz and the wild electric aura catches most though my grandmother felt Rubinstein was authentic and more musicianly .Cortot wasn't too impressed with Horowitz study of a Beethoven Sonata says my old teacher .
This must be 1987. He used to play Bechstein, but when the company was bought from Baldwin by a German piano builder in 1986, he went back to play Baldwins, even in Europe. Heard him with Bechstein concert grand some time late 1985 in Cologne and after that twice with a Baldwin, Hannover 1987 and Leverkusen in 1989. He played the 'Norma' in Hannover in 1987, so I'd date this around that time since he already played a Baldwin then.
You have better info Peter! I wish I heard him live. I got my 1st Bolet LP in 1985, but I dont think he came to Scotland when I was at Uni in Edinburgh otherwise I would have definitely gone to see him. This is 1988 too: ua-cam.com/video/cFOaKg1agtQ/v-deo.html&ab_channel=JorgeBolet-Topic .
I can't believe these opera fantasies are 20 minute long rather fluffy pot smorgasbords 19th century people in the street lovred these operas and the pianist interested them the most in the flashy stuff whenthey heard their familiar songs instead of a Beethoven Sonata .
Mr. Bolet did not look like that in the 50's. I knew him in the early 70's and he shows more age in this telecast than when I knew him. Also, to be frank, he is playing very "carefully" at this stage, as anybody who knows his playing through his career would understand. Also, the Baldwin logo is in keeping with the time listed at the top. In the 50's, Baldwin's logo was Old English style. His performances in this repertoire bear the stamp of phenomenal authenticity. Mr. Bolet was an extraordinary musician, and brought all the respect to this repertoire that Schnabel brought to Bach and Beethoven. Music lovers are fortunate that a peerless technician such as Bolet lavished his love and dedication on this music. This is greatest Liszt playing you can find, and is a priceless treasure!
Sergei Prokofiev most of people finish this piece in 18 minutes, so it’s obvious that he plays much slowlier than others, but I think he puts more effort on the interpretation, so I could say his performance still better than most of people. I like Tozer’s version as well, he does the same effort on this piece but plays it not too “slowly.” BUT the comment like yours which only ask others to “upload your version” is really meaningless
Bolet was a great pianist. But I have to say he hasnt understood this piece. This sounds like a bad parody only. Check out the thrilling and unbelievable recording of Zoltan Kocsis, here on youtube
The 3 hands technique is just magical.
This is one of the most beautiful works ever written.
I agree
Thank Bellini for that, not Liszt
@@DynastieArtistique What's your point? You are talking as if turning a 2.5 hours long opera into a 15 minute masterpiece is not thankworthy.
@@tibetatakan of course, just don’t thank Liszt and only Liszt. It bothers me that people don’t even know who Bellini is much less have heard of an opera called Norma. Not to mention, if you were familiar with Norma then you’d know that Liszt only incorporated a very small amount of moments and themes in this transcription. He definitely did not “condense a 2.5 hour opera” into a piano piece. It’s just a fantasy based on a few themes (and they’re not even presented in chronological order). Just a few reasons I consider Liszts opera fantasies to be some of his least impressive works.
Obviously this is thanks to Bellini, this is way it is una reminiscencia de Norma, and that means, it is an interpretation from Liszt of that great opera. Liszt, as with other operas, just want to make- to be short- a reminiscence of Norma. That it. As he did many others, including Wagner's, his son of law. But, the interpretation of Bolet, is amazing. So, Liszt just did a reminiscence of that. And he did it as usual...great.
15:50 - 16:55 best interpretation ever! The intonation of the baseline, wow!
This part is INCREDIBLE.
Nobody played that part better!
Interpretation of unbelievable beauty, delicacy and profound expression. I hear Bellini and Liszt at the same time, perfectly balanced. Clearly Bolet knew well and loved Bellini's Norma. My favourite version of Liszt's magnificent work by my favourite pianist.
Listen to Raymond Lewenthal's version.
One of mine too - cannot understand why he was so underrated
Che meraviglia ascoltare ,suono perfetto una vera chicca! Grazie Signor Luca.
There is something that both Tozer and Bolet did that gained my respect for them in terms of their performance of Reminiscences de Norma, which is their decisions to play the ending part of the piece where the theme from the Allegro Deciso and the theme from the arpeggio section after the Piu Lento are combined together at a moderate but appropriate tempo. Most pianists rush that section and it makes me extremely frustrated for them to trample the beauty of the two themes in unity and treat this beautiful piece like a race and as a way to flaunt their techniques.
Bolet's performance is much slower than what most pianist would play it at, but it provides not only a romantic, but also dreamy atmosphere, especially in the Piu Lento.
The part after Guerra Guerra sounds much more beautiful at bolet’s tempo than others (not that Tozer plays it bad by any means, I actually think his recording is the best)
You're damn right. I'm glad I found someone who thinks the same, you have good tastes ! 😁
Easily one of the top five pianists in the world at the time of this performance, and could have played this any tempo he wanted. It's a magnificent performance and exceptional pianism. Today I can't think of anyone who would come close.
I'm glad you drew attention to Geoffrey Tozer's excellent recording, which to my hearing is ideally attuned to the drama of Bellini's masterpiece. Thank you.
I also agree that it sound better if you start it slower and gradually get faster a bit
it's a pity this has almost no recognition, it's fantastic !!
Every knowledgable pianist knows about Bolet and Barere in Liszt . It's the stuff of legends noone forgets esp. when there are records and many films of Arrau and Bolet and Michelangeli and Cziffra etc. !
I have said this several times elsewhere on UA-cam but, for me, Bolet was a desperately underrated musician
Couldn’t agree more. It’s a shame that he was sitting on the sidelines for most of his prime. Thankful for what we do have, though.
@@denizuz4840 Yes, thankfully he made many recordings and a good number of filmed performances, such as this one exist. His masterclasses on Rachmaninov 2 and 3 are also superb.
He only made four records before the age of forty, and those in his late thirties It was another six years before he made his fifth. In our age of mediocre talent making millions of dollars before the age of twenty, it's difficult to fathom how one of the greatest musical talents of the 20th century had to wait so long to receive appropriate recognition.
@@ly776 I couldn’t agree more
@@ly776 good to hear him on an instrument superior to the bleak colorless Baldwin
Incredible. Most performances of this today are around 15 to 16 minutes. Since Jorge Bolet was a student of a student of Liszt, I'd like to think this is the actual optimal length.
Un grande signore della tastiera con una tecnica trascendentale e una “contabilità” fuori dal comune. Scoperto troppo tardi dalle case discografiche.
Grandisima interpretacion de esta pieza, sin duda, probablentente uno de los pianistas mas grades del siglo 20 y gran musico, gran profesor, y poco dado a grabar, pero sus poca grabaciones de Liszt, Chopin, Rajmáninov, y sus interpretaciones en directo y las grabaciones que hizo en la radio alemana. Han dejado mas que suficiente muestra de su tecnica, musicalidad, su conocimiento de musica, y el grandisimo pianista que fue. Gracias por poner esto y rendir homenaje al Sr. Bolet porque ademas era un Señor de impecable cultura.
A statement form Liszt and Bolet of the highest beauty and with the greatest emotional impact.
Love this version! Love how clear all the lines are starting at 19:57 and I can really hear the left and right hand lines coming together 💖💖
Agree, other pianist usually rush and most Audience would probably have no idea that it was 2 themes
He was, without any doubt, the best pianist of the western hemisphere. On top of these, he was absolutely on of the greatest pianist of the 20th century. He didn't give a fuck about this, but he indeed was absolutely amazing and a great musician.
What an absolute G
Bitlogic my dude Bolet representin’ Bellini spittin’ straight fire
This will be the mark... the standard for this piece, nobody imho plays this more convincingly
Jorge Bolet con Lizst. Es la exelencia 🙏💞🇮🇷
Beautiful playing and beautiful stache.
Che spettacolo! Che meraviglia!
14:05 and onwards is incredibly beautiful...
This is best ever for this piece!
Grande interpretazione piena di amore e passione. Mi ha commosso.
Thanks for uploading! What a great recording!
I have to say that, only when you know so much about music a such incredible technique, can do this on a piano, when you hear this sang by Callas or Caballé and this man can make the piano sing in that way, you can only say... bravisimo Bolet.
Bolet, un génie-poète.
Thank you for posting!!
loved it, gosh.
7:48 In the RH runs, the sixteenth notes that follow the eigths sounded rushed and out of place in other recordings, but this is the first I've seen where they sounds just right!
Truly one of the very greatest of pianists. I discovered him in 1982 doing a master class of the Rach 3 in Scotland entitled "Bolet meets Rachmaninoff". It's so good. Check it out. It may still be here on UA-cam. I learned so much from it.
Great masterclass. Didn't realize was in Scotland
Absolutely Romantic
One of the greatest videos ever.
Easily the finest "Norma" for me. All others sound rushed and crude by comparison. Bolet's tempo and phrasing are matchless; the music breathes and comes to life as in no other performance known to me.
I couldn't agree with you more. I'm reminded of the footage of his masterclass on Liszt's Dante sonata, and the Benediction of God in Solitude after it. He explains to the performer so many nuanced touches to make the most of egogic points and changes in dynamics, in just three phrases (or so) of the middle slow section of that piece. You hear so many pianists these days who play through the quieter bits to get to the 'exciting' development later, whereas he sees this universe of beauty and detail. I'd have loved to hear him play the sonatas of Rachmaninov, Scriabin or Barber to see what he would have done with them.
This doesnt get enough attention
Indeed; Bolet was even greater than Horowitz
@@vnwa7390 yeahh, horowitz overoverrated pianist
agree
I believe this is in the late 80's. Bolet's health was in decline. He is one of my very favorite pianists. Bolet and Arrau are two of the greatest Lisztian performers.
Hey hey, don't forget the mighty Czirffa
This is the recording of the Musicales program of September 17, 1988 on the FR3 channel on French television
doc.rero.ch/record/110533/files/1988-09-17.pdf
He was actually still very healthy! I met him backstage exactly in these years! He was touring around the world as if a young boy!
@@andream.464no he really wasn’t. He was in declining health and had started to curb his tempos. Which I think he did very musically. But he definitely slowed them down.
I met a favorite student of his, Annie, in Marin, not too far Mountain View, where he died.
She had inherited his Baldwin from his home.
I sat in the room while she recorded one of the Liszt Hungarian rhapsodies.
I discussed with her this very piece(the Norma). In ~2002.
She said he slowed everything down, particularly in the last five years.
Unfortunately she died of breast cancer before, I believe, she ever finished her album.
She didn’t use the Baldwin for the recording. It needed too much refinishing.
Minute 9 is so beautiful
those hands...! Bravo
Superbo.
A magisterial performance from the very opening bars. As an imaginative interpretation it is only exceeded by Busoni.
This is an utterly precious document which is the gold standard for interpreting this piece.
Nope, sorry Zoltan Kocsis and but both of Marc-Andre Hamelin’s play far more technically solid interpretations on Audiophile (16’51”) then more recently on Hyperion leave this in the dust. Yet another example of comment section groupthink turning to hagiography, why do people do this? The old man Bolet has to take a practice tempo to barely cross the finish huffing and wheezing at 21’ Speed isn’t everything in most endeavors but it is a big part of bravura and playing the immortal masterpieces of Franz Liszt.
Es Lizst NO otro. 🇮🇷
@@RozarSmacco , you are excused.
@@RozarSmacco It's not a horserace, it's a performance.
Great pianist !
Bellini + Liszt... Le résultat ne peut qu'être excellent !!!
I've never seen this . So lucky to have some older tv of Bolet .I saw him talking about Godowsky on one American show and another teaching Rach concerto to a student . Wonderful that we have him in Liszt . A lot of pianists say his technique was more complete than Horowitz but he didn't have that electricity .You can't doubt that; I've heard dozens of non-musicians compare Rubinstein to Horowitz and the wild electric aura catches most though my grandmother felt Rubinstein was authentic and more musicianly .Cortot wasn't too impressed with Horowitz study of a Beethoven Sonata says my old teacher .
Gran Señor. 🇮🇷🤩
ill say this: his technique is simply exquisite
Im sorry, Hamlin, but this is the best recording
15:43
This must be 1987. He used to play Bechstein, but when the company was bought from Baldwin by a German piano builder in 1986, he went back to play Baldwins, even in Europe. Heard him with Bechstein concert grand some time late 1985 in Cologne and after that twice with a Baldwin, Hannover 1987 and Leverkusen in 1989.
He played the 'Norma' in Hannover in 1987, so I'd date this around that time since he already played a Baldwin then.
You have better info Peter! I wish I heard him live. I got my 1st Bolet LP in 1985, but I dont think he came to Scotland when I was at Uni in Edinburgh otherwise I would have definitely gone to see him.
This is 1988 too: ua-cam.com/video/cFOaKg1agtQ/v-deo.html&ab_channel=JorgeBolet-Topic .
E' un suo cavallo di battaglia. Posseggo una sua registrazione effettuata in Nord America e non so se definirla elettrizzante o commovente
Mi la lascia senza fiato
1980? Are you sure?
1988 is more likely I think.
@@neilford99 I'm similarly confused, as the quality would suggest much earlier. We've had color tv broadcasting since the 50s
1980-something is right. Here is Jorge in 1983: ua-cam.com/video/6vrXvNVMoHQ/v-deo.html
I have this exact broadcast in color. I have no idea why this is BW..
@@James_Bowie he programmed the work in 1988. Played it at Carnegie Hall recital.
posseggo la sua integrale di Liszt
I can't believe these opera fantasies are 20 minute long rather fluffy pot smorgasbords 19th century people in the street lovred these operas and the pianist interested them the most in the flashy stuff whenthey heard their familiar songs instead of a Beethoven Sonata .
ASCOLTARE QUELLA DI BUSONI.....
Da rulli ?
Too sloooow. He is cutting all the phrases with such a slow tempo.
This looks like it's from the mid 50's
Mr. Bolet did not look like that in the 50's. I knew him in the early 70's and he shows more age in this telecast than when I knew him. Also, to be frank, he is playing very "carefully" at this stage, as anybody who knows his playing through his career would understand. Also, the Baldwin logo is in keeping with the time listed at the top. In the 50's, Baldwin's logo was Old English style. His performances in this repertoire bear the stamp of phenomenal authenticity. Mr. Bolet was an extraordinary musician, and brought all the respect to this repertoire that Schnabel brought to Bach and Beethoven. Music lovers are fortunate that a peerless technician such as Bolet lavished his love and dedication on this music. This is greatest Liszt playing you can find, and is a priceless treasure!
Austin Johnson He didn’t play like this in the 50s !
It’s a very nice practice session. Do we have footage of the actual in-tempo performance?
Oh shush
Pathetic. The conception of it is lost on you.
It's amazing how many shallow classical experts are out there. They know everything - and know nothing.
Of course, slow it down to 0.65x so it ends up at the real tempo that Liszt intended for this piece.
🐷
Zzzzzzz🤭😴😴
Too slow
Please upload your version
@@chezbe What a silly thing to say. As if people can't critique a performance.
How fucking stupid can you be?
@@MrQwerty88 upload your version, because no one can play like him
Sergei Prokofiev most of people finish this piece in 18 minutes, so it’s obvious that he plays much slowlier than others, but I think he puts more effort on the interpretation, so I could say his performance still better than most of people. I like Tozer’s version as well, he does the same effort on this piece but plays it not too “slowly.”
BUT the comment like yours which only ask others to “upload your version” is really meaningless
@@qntwshvl429 mne pohui
Meraviglioso....
19:05
Perfecto. 🎶🇮🇷. ❤️❤️❤️❤️❤️🖐️México. 🎹😂😂😂😂. 🇮🇷.
Bolet was a great pianist. But I have to say he hasnt understood this piece. This sounds like a bad parody only.
Check out the thrilling and unbelievable recording of Zoltan Kocsis, here on youtube
Really, understood?
Kocsis is very impressive. But you are talking ass if you understood this piece more than Bolet
@@unidentifieduser5346 and you are writing as you understood the music at all.
@@DavidBallpianist how do you jump to that conclusion? Explain logically and not subjectively