Thank you so much for showing these recordings. Landowska was the first lady of the harpsichord, and one of the main reasons that we hear harpsichords played today. I studied THE WELL TEMPERED CLAVIER with her RCA recordings in college, and I found a treasured copy of her RCA album, A TREASURY OF GREAT HARPSICHORD MUSIC. I am a fan.
I am glad this snippet was posted on UA-cam, but it is spoiled by the lengthy printed intertitles. Since we have so little film of her playing, why obscure major portions of it with printed text? This performance was part of a filmed interview with Landowska conducted by her producer, John Pfeiffer. (This clip was the opening of the film; towards the end of it, you can see Mr. Pfeiffer approaching the harpsichord to begin the conversation.) I had the opportunity to see the entire interview on film at one of the harpsichord festivals mounted by the wonderful harpsichordist Frances Cole at Westminster Choir College in the early 1970s. One would think a copy of that film must still exist somewhere.
I hope so. I think we can find only the film made by Barbara Attie (Uncommon Visionary). I had the chance to meet Denise Restout during summer 2003 before her sudden death in 2004. It was so wonderful and she was so happy to meet a younger French person who was interested in Wanda Landowska and in playing the pleyel harpsichord!
Amazing! What pieces did she play during the interview? because I only know only know of four pieces she played. ua-cam.com/video/YijWOtUfB8E/v-deo.html
1:27 Wanda Landowska always filled the room with the magnificent sound of her famous Pleyel harpsichord, too bad the film is interrupted by the title cards. But still a wonderful performance. Thank you, tehee, for this Reupload, it was sadly removed last year but now its back!
Her interpretation of Bach has inspired me since I was a kid, so happy to see footage of her actually playing :D She is my favorite musician to listen to play Bach
Extraordinary woman. Did she really say "You play Bach your way; I'll play him his way."? It certainly sounds the sort of thing that she would have said.
No one compares to Gould. He was like Callas --- eccentric, non-traditional, anathema to a few, but so brilliant that it is hard to listen to anyone else after hearing them.
I feel that there is something paradoxical in cutting off some of the video (multiple times) to inform us that this is the only Landowska's footage and some other stuff. But maybe it's just my impression.
When I was a young boy I spent years not learning how to play the piano because Thompson's Method and Anchors away my boys did not motivate me. Might I have felt differently had instead my childrerers tempted me with Ms. Landowska's music as a goal to which to aspire? I surely would never have got to the goal but I might have tried? I was 7 years old in 1953. Too young, I guess they figured, for anything above my age level (when other boys enjoyed pummeling each other with their still growing little fists). Tenebae mentium tenebra orbis.
Now there seem to be several more clips of Wanda Landowska, on YT, including one i thought i remembered (yes indeed it happened) of her playing italian Concerto. Yes isn't it ridiculous to cover much of the "only remaining clips" with text cards??? I remember seeing her on TV, in the 1960's (probably an old film), I think being interviewed by a pretty young, yet still obnoxious and snide William F. Buckley, who if I remember was a great champion of Landowska, harpsichord, and Baroque music, and also (founder?) of WQXR radio, and also I believe it or not a frequent contributor/partisan on debates broadcast on WBAI, Pacifica radio in NYC.
It is wonderful to see this, but it is a shame to have her interrupted by lengthy text messages, which could have been put in all at the beginning or the end, no?
No one knows how Bach was spirited. since he has been dead as a door nail for a few centuries. From the things we do know about him it kinda seems as if he was an ill tempered bittered hot-head. But no one knows for sure since he is as dead as can be. Yes I agree. Landowska her performance is very joyous. But that doesnt take away that it is 100% inauthentic and that it has very little to do with baroque music. What landowska is offering is an empty canvas. It is just the bald plain notes. It lacks the picture/painting and especially the highlights and details ... both of which are essential and very important. Not to mention the grotesque sound of her so called "harpsichord". I do not blame her though..... in her day and age that is all people had and she had to deal with. They didnt knew better in the 50s I like listening to her sometimes.... as a curiosity. And i do have a lot of respect for her for being a pioneer. She was of huge importance.
I for one, must strongly disagree with your statement that Landowska offers only an "empty canvas." Of course her instrument is absolutely inauthentic from the standpoint of baroque instruments, however, it was still a fascinating sounding and, I would say, beautiful instrument in its own right, which she used in a very imaginative and daring way. Also, I think her understanding of Baroque style was very deep as well. She was one of the very first to take the trouble to go back to original sources and treatises, and to try to realize the music of the past in a living, breathing way according to how it was probably played at the time. Her approach to improvisation and ornamentation within the music was striking, and far ahead of its time. I think people tend to get distracted by her inauthentic harpsichord, and just throw out her playing as well, without really hearing what she does in the music. Without considering "authenticity" at all, she was also a thrilling and stimulating musician, with an infectious control of rhythm, and an endless imagination for color and expression. I treasure her recorded legacy very much, as an example of what a great musical mind can accomplish in one lifetime.
I find much value in her playing and interpretations. Let us not argue who Bach was or what his preferred sound was then or now, if he had the opportunity. The value of any artist is their courage to create and ultimately understand their own work will be perceived within a subjective space. Landowska’s interpretations hold weight because she was a pioneer and ferocious player and advocator for Bach, Couperin, Polish music, etc. I love listening to her playing and love reading her writings. She is iconic.
You sound like the opening to a Christmas Carol by Dickens: "Old Marley was dead of that we can be certain.." or something like that.. Actually of all people who have ever lived, we probably have a better idea of Bach's spirit , than all but the most published ( in 1st Hand accounts or autograph), famous personages in history,.. why???... because he left us about 1100 extremely revealing pieces of powerfully evocative music. Empty CANVAS???/ Bahh HUMBUG !!! Each generation finds something new & old in this wonderful work, .. and after the passage of some more time, i thing Landowska's contribution will be as valid, and valuable as almost anyones. It may not be authentic, in terms of the current criteria, but her old giant behemoth Pleyel, is still wonderful in it's own way. Most of the modern reproductions of Harpsichords, tend to be the "best guess" interpretation of what is left of small old harpsichords. How many of the giant ones depicted in old period paintings remain to be copied? We know very little about the metallurgy of the original strings, so far as I have read, but maybe there is newer scholarship,.. attempts to reproduce old strings with the same percentages of metals, result in strings that snap,...etc. Bach himself said it's easy to play a klavier,... hit the right notes at the right time, and the instrument play's itself. I wouldn't call those millions of notes on thousands of manuscript paper "plain notes" without highlights and details. Long Live Johann Sebastian BACH , long live Wanda Landowska.
Thank you so much for showing these recordings. Landowska was the first lady of the harpsichord, and one of the main reasons that we hear harpsichords played today. I studied THE WELL TEMPERED CLAVIER with her RCA recordings in college, and I found a treasured copy of her RCA album, A TREASURY OF GREAT HARPSICHORD MUSIC. I am a fan.
I am glad this snippet was posted on UA-cam, but it is spoiled by the lengthy printed intertitles. Since we have so little film of her playing, why obscure major portions of it with printed text? This performance was part of a filmed interview with Landowska conducted by her producer, John Pfeiffer. (This clip was the opening of the film; towards the end of it, you can see Mr. Pfeiffer approaching the harpsichord to begin the conversation.) I had the opportunity to see the entire interview on film at one of the harpsichord festivals mounted by the wonderful harpsichordist Frances Cole at Westminster Choir College in the early 1970s. One would think a copy of that film must still exist somewhere.
I hope so. I think we can find only the film made by Barbara Attie (Uncommon Visionary). I had the chance to meet Denise Restout during summer 2003 before her sudden death in 2004. It was so wonderful and she was so happy to meet a younger French person who was interested in Wanda Landowska and in playing the pleyel harpsichord!
Amazing! What pieces did she play during the interview? because I only know only know of four pieces she played.
ua-cam.com/video/YijWOtUfB8E/v-deo.html
Seriously, what an idiot who did that.
Regarding the intertitles- I know, it's almost like a Monte python joke...
Good grief. Can't we just be grateful for the clip? It's wonderful!
1:27 Wanda Landowska always filled the room with the magnificent sound of her famous Pleyel harpsichord, too bad the film is interrupted by the title cards. But still a wonderful performance. Thank you, tehee, for this Reupload, it was sadly removed last year but now its back!
Coitus interruptus.
Agreed, that could have been on the beginning before the video starts
Her interpretation of Bach has inspired me since I was a kid, so happy to see footage of her actually playing :D She is my favorite musician to listen to play Bach
Tremende tutte le interruzioni!!
Extraordinary woman. Did she really say "You play Bach your way; I'll play him his way."? It certainly sounds the sort of thing that she would have said.
One of the best Bach performers along with Helmut Walcha and Ralph Kirkpatrick.
Don't for get the maestro Richter!
Albert Schweitzer, Wanda Landowska, Maria Yudina, and Glenn Gould can't be compared to other Bach performers.
No one compares to Gould. He was like Callas --- eccentric, non-traditional, anathema to a few, but so brilliant that it is hard to listen to anyone else after hearing them.
@@Gowerd-r4cScott Ross and Trevor Pinnock are better than them all
Stupendo video ! Grazie !
Excepcional Wanda.❤❤❤❤❤❤👏👏👏👏👏👏👏👏👏👏
boykissing bach lovers, where are you at in my life?
La genio. Incomparable. Gracias. ❤️.
I believe that Wand Landowska appears in the 1939 version of Wuthering Heights, playing Mozart’s Rondo alla Turca on a harpsichord.
No, it's not-Alice Ehlers, playing Turkish Rondo at top speed-said to be on a Pleyel
Funny to compare her hand position to that of Horowitz.
😂😂😂
I feel that there is something paradoxical in cutting off some of the video (multiple times) to inform us that this is the only Landowska's footage and some other stuff. But maybe it's just my impression.
When I was a young boy I spent years not learning how to play the piano because Thompson's Method and Anchors away my boys did not motivate me. Might I have felt differently had instead my childrerers tempted me with Ms. Landowska's music as a goal to which to aspire? I surely would never have got to the goal but I might have tried? I was 7 years old in 1953. Too young, I guess they figured, for anything above my age level (when other boys enjoyed pummeling each other with their still growing little fists). Tenebae mentium tenebra orbis.
“ThE 0nlÿ Kn0Wn f00tAge of WAnda PLAYING MUST WATCH!!”
75% of the video: a black screen with text
Now there seem to be several more clips of Wanda Landowska, on YT, including one i thought i remembered (yes indeed it happened) of her playing italian Concerto. Yes isn't it ridiculous to cover much of the "only remaining clips" with text cards??? I remember seeing her on TV, in the 1960's (probably an old film), I think being interviewed by a pretty young, yet still obnoxious and snide William F. Buckley, who if I remember was a great champion of Landowska, harpsichord, and Baroque music, and also (founder?) of WQXR radio, and also I believe it or not a frequent contributor/partisan on debates broadcast on WBAI, Pacifica radio in NYC.
William Buckley if I recall correctly, studied with Rosalyn Turreck who is the anti Landowska imho 😂❤
And what did Buckley do that was snide and obnoxious in the interview? Nothing.
You obviously have a political ax to grind.
It is wonderful to see this, but it is a shame to have her interrupted by lengthy text messages, which could have been put in all at the beginning or the end, no?
Wonderful
Необычная у неё техника игры
This is an important observation. She is quoted as responding to her critics: "You play Bach your way, I will play him his way."
нет. я не против и не критикую. просто это необычно.@@BabyHoolighan
И такая постановка руки! 😊😊😊
grazie
Creo que es primera que interprto en clavecin en público. 💐
I was delighted to see this but extremely annoyed with the written highlights interrupting her performance. Same the commentary for the end.
Shame there's text over some of it
Diego Ares plays with this clawed hand.
😁😊❤
Узнал о ее существовании из фильма ,,Математик и черт" экранизации новеллы Артура Порджеса .
Me quitaron el traductor 😔
Chale :(
家でこれやられたら たまらんな
Quase não mostram ela tocando!!
Não gostei
Talented player, awful instrument.
No one knows how Bach was spirited. since he has been dead as a door nail for a few centuries. From the things we do know about him it kinda seems as if he was an ill tempered bittered hot-head. But no one knows for sure since he is as dead as can be.
Yes I agree. Landowska her performance is very joyous. But that doesnt take away that it is 100% inauthentic and that it has very little to do with baroque music. What landowska is offering is an empty canvas. It is just the bald plain notes. It lacks the picture/painting and especially the highlights and details ... both of which are essential and very important.
Not to mention the grotesque sound of her so called "harpsichord".
I do not blame her though..... in her day and age that is all people had and she had to deal with. They didnt knew better in the 50s
I like listening to her sometimes.... as a curiosity. And i do have a lot of respect for her for being a pioneer. She was of huge importance.
Totally agree
I for one, must strongly disagree with your statement that Landowska offers only an "empty canvas." Of course her instrument is absolutely inauthentic from the standpoint of baroque instruments, however, it was still a fascinating sounding and, I would say, beautiful instrument in its own right, which she used in a very imaginative and daring way. Also, I think her understanding of Baroque style was very deep as well. She was one of the very first to take the trouble to go back to original sources and treatises, and to try to realize the music of the past in a living, breathing way according to how it was probably played at the time. Her approach to improvisation and ornamentation within the music was striking, and far ahead of its time. I think people tend to get distracted by her inauthentic harpsichord, and just throw out her playing as well, without really hearing what she does in the music.
Without considering "authenticity" at all, she was also a thrilling and stimulating musician, with an infectious control of rhythm, and an endless imagination for color and expression. I treasure her recorded legacy very much, as an example of what a great musical mind can accomplish in one lifetime.
I find much value in her playing and interpretations. Let us not argue who Bach was or what his preferred sound was then or now, if he had the opportunity. The value of any artist is their courage to create and ultimately understand their own work will be perceived within a subjective space. Landowska’s interpretations hold weight because she was a pioneer and ferocious player and advocator for Bach, Couperin, Polish music, etc. I love listening to her playing and love reading her writings. She is iconic.
You sound like the opening to a Christmas Carol by Dickens: "Old Marley was dead of that we can be certain.." or something like that.. Actually of all people who have ever lived, we probably have a better idea of Bach's spirit , than all but the most published ( in 1st Hand accounts or autograph), famous personages in history,.. why???... because he left us about 1100 extremely revealing pieces of powerfully evocative music. Empty CANVAS???/ Bahh HUMBUG !!!
Each generation finds something new & old in this wonderful work, .. and after the passage of some more time, i thing Landowska's contribution will be as valid, and valuable as almost anyones. It may not be authentic, in terms of the current criteria, but her old giant behemoth Pleyel, is still wonderful in it's own way. Most of the modern reproductions of Harpsichords, tend to be the "best guess" interpretation of what is left of small old harpsichords. How many of the giant ones depicted in old period paintings remain to be copied? We know very little about the metallurgy of the original strings, so far as I have read, but maybe there is newer scholarship,.. attempts to reproduce old strings with the same percentages of metals, result in strings that snap,...etc. Bach himself said it's easy to play a klavier,... hit the right notes at the right time, and the instrument play's itself. I wouldn't call those millions of notes on thousands of manuscript paper "plain notes" without highlights and details. Long Live Johann Sebastian BACH , long live Wanda Landowska.
Ok so we the people hereby defer to your expert opinion on how music no one really knows how it actually sounds should sound. Thanks!