From listening to different orchestras play this piece, I've always had the impression that this Pavane was loaded, solemn, and beautiful in a haunting way. This version gives me a different feeling, however -- the rhythm lilts and the phrase sounds more uplifting. The music just sweeps, rather than moving in a heavy, tearful way.... if you know what I mean. It shows a charming side of Faure, and I love it. Simply beautiful!
That is a great comment, and I've found this to be generally the case for compositions that are loaded and heavy in feeling, the posterity tends to overfocus and the interprets overdo the melodramatic aspect when the composer original recording is much lighter hearted. Examples of this are Ravel Pavane pour une infante defunte, Ravel le Gibet. Others like Chopin we obviously do not have Chopin's playing but many written accounts that he found interpretation of his pieces by others to deviate to much from a more reserved style that he favored. This is written down. Also he once stopped a student's playing that was too indulging in the melancholy by saying "Please sit down [your emotions] !". Also Liszt was a great witness of Chopin's playing, he used the word "poetic" which is an expressive word not a emotional word. I am quite sure Chopin would be scandalized and probably uncomfortable with how his pieces are played with full blown dramatic effects these days with the ton of volume modern piano are capable of. I'm sure his playing must have made them sound more poetic and expressive than tragic and having played a 1845 Pleyel myself, i have an idea how it would have sounded. Generally speaking composers would play the piano in much more poetic and expressive way that has been lost. While today's interprets play without reserve and do not dare to shade to much lest they feel they would be accused of underplaying the musical content. Only the composer has no worry for that and will play the piece as intended.
@@ericastier1646 Chopin and Rachmaninov are lucky that the sentimental playing style of today "works" for their music. There's many great composers - Grieg, Scriabin, Mendelssohn, Ravel, etc. - where the modern, sentimental style of playing simply doesn't work for their pieces at all. What's worse, is that many write them off as 'bad composers' after hearing such attempts. I think modern pianists need to sit down their emotions, study the 19th century performance practice, so we can get to the true sentiment of classical music.
@@TheLifeisgood72 great comment ! society has changed (i first wrote evolved) and not for the better in the loss of morality, good manners, courtesy and the loss of appreciation for virtue, instead replaced by self righteousness and self entitlement much of it caused by a degenerated media class of people and a fraudulent currency economy system that made people give up on meritocracy. Upside down meaning of words and so on. All of this does not give young performer the expressive and poetic background for art. Instead contemporary art punishes today's society. Each era gets the art it deserves. The good pianists come from preserved family sometimes poor who were less exposed to commercialism, consumerism and degenerated media ideas. It's why the interpretation of fine romantic composers such as the one you listed like Scriabin notably is perturbated and makes no sense.
The conductor Sir Adrian Boult had more to say about this piece's mood and tempo. When he was young he heard Fauré play the piece several times, and reported that it was 'never slower than quarter-note = 100' (the Welte roll supports that), with no slowing at all at the end. Boult also noted what the words were about (something of a spoof) and that the piece is a dance. You'll find more detail in various Peters editions of the Pavane, and in a book of mine, 'The Art of French piano music: Debussy, Ravel, Fauré, Chabrier' (Yale UP, 2009).
The picture of G. Faure in this video is him seated at likely his Erard French grand piano. Erard pianos are some of the greatest pianos ever built in history. In some cases exceeding the quality and craftsmanship of Steinway, Bosendorfer, Bechstein, and Bluthner. Each Erard grand piano was painstakingly made by hand, expertly crafted.
If any of you are interested - fun fact: that is G. Faure seated at his very own Erard concert grand piano, which is the piano this was composed on. Arguably the greatest influencer and builder of fine pianos 🎹.
it impresses me every time I hear this kind of thing. The master interpreting his own work. I can't help but imagine how wonderful it would have been to meet these musicians, handshake, hug, thank: / Sublime;;
we are so fortunate there is such a thing as the invention as the Piano rolls, Percy Grainger often recored his compositions as well as arrangements on piano rolls - luckily we have them today to here how the composers interpreted them best
Thanks much for stating that opinion, timothyj1966. Sadly and still, some take PRIDE in Reproducing Record-Roll prejudice (essentially a prideful bigotry) but, their numbers are thankfully receding into 'correct' silence, as these note-roll records' inimitable value and capacity to - "... bring 'em back ALIVE!" - become more self-evident such as here, with this lovely Fauré item now before us. As musically-fine and communicative at it is tho, there are yet LAYERS of subtlety not-yet-realized within this interpretation of the master Faurés. (Best believe it.) . : .
Plato, reading the Republic, soon on UA-cam. (see Playlist, which includes Moses receiving the 10 Commandments directly from God, Krishna speaking to Arjuna, and Jesus giving the Sermon on the Mount!
There is actually a "recording" of a Haydn. It's a programmed organ clock, but witnesses say Haydn was in the room while it was programmed, and made sure the tempo and everything was the way he wanted. So, a little time machine
I am also curious exactly whose piano was recorded for this, what year, who were the piano technicians, what record label is it on, etc. It sounds like they got everything exactly right in this recording.
They know better than anyboby else how their music must sound and if they don't feel,capable of a good rendition they usually step down, if they are honest and intelligent and great composers have to. Much have been said of Stravinsky shortcomings as a conductor however I didn´t really love his music until I heard it played by himself.It was an awakening!
I don't. Virtuosity is a thing, technical skills, that´s training, music is not a sport is an art, it is about communicating emotions, feelings and beauty. The lack of training as a conductor in Stravinsky case only meant that they had to rehearse harder. He also lacked the qualities that make a great conductor, the musicians of the orchestra didn´t respect him, they had being playing his works under Toscanini or Ormandy but at he end they had to do it as Stravinsky wanted it. An orchestra is an instrument, you have to make it sound in an specific way, you have to know what you want and if you don't it's of no use to be a virtuoso.
How heartbreaking and yet dreamy is this , what is it about France in early 1900 ? Debussy, Faure... All going against the tide and giving us beautiful music that escalates so much above just an auditory experience... I can see this music, I can feel it on me and I can breathe it in as well ❤️❤️❤️ also, this version is a little faster and chaotic and so much more passionate !!
And it's not only France at that time. German and Austrian music from the same time is also great. I love Schoenberg, and I find his music equally as beautiful and passionate as French Impressionism.
Il faut vraiment observer la manière d'articuler et de "rouler" les accords : aujourd'hui on "tape" directement, alors on arpégeait et de cette façon on pouvait avoir un accent personnel. Aujourd'hui c'est la technique et la seule vitesse qui compte. Une autre pianiste de la même époque, élève de Liszt, Théresa Carrègno a laissé des enregistrements de Liszt qui laissent pantois…
@@jrk9357 Le RESPECT ... là est tout le problème! le génie et l'art n'existeraient pas s'il n'y avait que le respect : dans sa 1ère fugue du 1er livre du clavier bien tempéré, alors QU'IL SAVAIT QUE L'ON RÉSERVE LES STRETTES POUR LA FIN DE LA FUGUE, se met, dès la fin de l'exposition, à ne faire QUE des strettes .... on aurait du certainement le faire quitter les cours de contrepoint pour cette incartade!
Ciao David Hardy , I agree with you 100% on what you've said about this beautiful piece , but as an Italian I'd like to correct you on a small detail " Bravo " Is for men " Brava " Is for women So you should say : " Bravo Maestro " and in case Faure was a woman, (which I highly doubt 😝) : " Brava Maestra " Keep listening to wonderful music and have a nice day 😉
It is, isn't it? And just think, David, if not for the agency of The Welte-Mignon - NO experiential per se Faure!!! Just common silence as say with Joseffy, who committed tangibly NOTHING of his own to preservation for posterity, save for his tantalizing image and old written/witnessed accounts of what his Art is proposed to have been like. Not good enough! Just with this present case of Faure's, hearing is at least semi-believing/experiencing; mere words obviously failing as insufficient, in the important regard. . : .
Faure died in 1924, and the fidelity of this recording is far above anything that could have been recorded in 1913. This video is not an actual audio recording of Faure himself playing live. Rather, Faure made a few piano rolls for the Welte Mignon reproducing piano (aka player piano); what we are hearing here is a relatively recent modern recording of the reproducing piano.
What the composer thought, what the composer wrote, offered to artists for interpretation then the composer renders is a trip through the meaning of existence. T.M. Shorewick
Oh, wow! It's so beautiful when it's coming from his hands. I usually hear slowed down, more lilting versions of it (something I often prefer) but I really like it better at this pace.
Dear Rebecca, not "hands" but rather, felt-tipped wooden fingers as set to the service of recrystallized Art. I ask: who could have thought that intellect might produce ('reproduce' rigorously) Living Art from otherwise dead materials??? Your musical observations are both perceptive and useful. Thank you. . : .
While I hear that, to me it sounds more like a 1980s new age or "new romantic" piece with a rock influence. I am not putting it down at all because I think those genres have also brought us some great music. I just think it's absolutely wild that it sounds 100 years ahead of its time!
Yo llevo con ella un año y aun no la domino, pero sigo con mucha moral 😜, me parece una pieza maravillosa y aunque tarde mil años la tocaré 🤯🤓. Gracias Faure.
is there anyone who owns some copy of the original piano solo sheet music composed by Fauré himself? I don't mean any transcriptions that are available
How often does it happen nowadays that you go to a classical music recital to hear a composer play his own music? A performer performing his or her own compositions? Doesn’t Hamelin compose his own music himself? Because I think most people don’t give much of a shit and just expect him to play Liszt or Alkan or whatever else.
他で聞いていたものの方が平板で、こちらの方がややテンポが速く、変化に富んでいて弾いている人の感情が見えるように思える。こちらの方が生きている感じがして、他の方がまるでロボット演奏のように思えてくる。I think this playing is a little faster, and richer in variety than other playings. I feel the composer-player's emotion more vividly, while other playings seem as if played by a robot.
Some of that has to do with how well-restored and well-regulated the reproducing piano system is. If the expression system is either not functioning, is functioning poorly, ir somehow the roll is at the wrong paper speed, the expression will not sound realistic and sound "off". The Welte-Mignon system, introduced in 1904, uses a very simple expression system with a suction regulator for each half of the piano (bass and treble), so each half can be separately subdued to ideally separate accompaniment and melody as much as possible. The level of each regulator is set by going up or down in fixed speed fast or slow crescendos or decrescendos. There is also a device called a "mezzo-forte hook" which can be engaged to restrict the regulator to either the softer or louder end of the dynamics, as desired. The roll arrangers (musicians) who translated the artists' captured dynamics into coding for the system, quickly discovered "tricks" in coding like turning on a slow crescendo or decrescendo, and pulsing the fast crescendo or decrescendo in controlled/timed bursts to correspond with the intended result, until the right general dynamic levels are heard at the right time in the music. I can only imagine the trial and error they had to use to arrive at these various styles of coding. Since each crescendo/descrescendo (slow and fast) has a fixed rate at which it occurs, the roll paper speed must be perfect, and the technician has to make sure these speeds are correct by timing them with a test roll and a stopwatch. If the roll is played at the wrong paper speed, not only will the tempo not be what the artist originally played, but also the expression will be wrong too! (since the fixed speed crescendos etc will be starting and ending at the wrong places in the music). So the original Welte-Mignon system, the German version and also the earlier American version (installed only in Steinway, Mason & Hamlin, and Krakuer pianos here, I think until around 1916) have a FIXED roll paper speed, to ensure no monkey business about tempo or expression! However when a USA version called the "Welte-Licensee" was introduced later, it plays a roll compatible with the standard 88-note format, so they had to include a tempo lever etc to set proper tempos when playing regular 88-note piano rolls on them. But when playing a Welte roll, one always must set it at the tempo indicated on the roll for best results!
Esta pieza me conmueve hasta las lágrimas. Es tan expresiva, tan extasiante. Y escucharla con su autor es otra experiencia. El tempo en grabaciones de piano y orquesta es mucho más lento. Aquí suena más vivaz, aunque no pierde su carácter melancólico.
I will pretend to be one of the 13 people who thumb downed this video. "Who wants to hear a man born in 1845, playing one of his own compositions on the piano? NOT ME!"
@@LOBonnevie I was being facetious. . .I said I was going to PRETEND to be someone who gave this video a thumbs down, because UN facetiously, I can't imagine ANY REASON to give Gabriel Faure a thumbs down, so I had to imagine myself inside the twisted mind of a person who would. .
con tutta la valanga di versioni che ne son venute dopo questa fa capire finalmente cosa voleva comunicare! (cioè questa è top le altre sono un passo indietro, non è banale questa cosa, soprattutto nella musica moderna , visto l'ignoranza musicale, ci sono molti pezzi in seguito migliorati di molto nelle versioni seguenti)
This is certainly NOT from 1913 as the audio quality is way too good. Slap a vinyl crackle plugin and there you have it. Don't believe everything you hear on the internet folks
This is a modern high fidelity recording of a reproducing player piano playing back a roll which is basically a very good copy of a roll recorded by Mr Faure about 1912. The dynamics are encoded in the margins of the roll and played back via the expression system that is part of the player system. Actually, the expression system regulates the playing levels of the stack which actually does the playing. Besides the Welte-Mignon, which was the first full reproducing piano system, other reproducing systems (in the pneumatic era) include the Ampico, Duo-Art, Artrio-Angelus, Solo-Art-Apollo and Art Echo in the USA; and the DEA, Triphonola, Duca, Stella and Beethophon in Europe (and probably several even more obscure systems). "Expression piano" systems, which are considered partial reproducing (not full reproducing) include the Themodist, Melodant, Art-Apollo (Apollo X), Solo-Apollo, Krell Auto-Grand, Krell Solo-Grand, Solo Carola, Solo-Elle, Hallet & Davis Virtuolo, and various types of "Recordo" system in the USA; and the Phonoliszt; Empeco; and various other systems in Europe. Expression and reproducing piano sales made up approx. 5% of all player piano sales during the years the systems were built. So only about 1 in 20 player pianos is some kind of expression or reproducing piano using special rolls (and even rarer, only about 1% or 1 in 100 is an original era coin piano, orchestrion or photoplayer). The most popular and common expression and reproducing piano systems in the USA are the Ampico, Duo-Art, Welte-Licensee, and Recordo. The other systems range from rare to very rare to extinct. In Europe, the most popular expression and reproducing piano systems were the Welte-Mignon, the Hupfeld Triphonola, Hupfeld Phonoliszt, Hupfeld DEA, and Philipps Duca, and then *maybe* the Empeco, judging from number of survivors. The other systems mentioned are again rare to very rare to extinct. Hope this helps!
Of course we still have reproducing pianos today, they now use computers / electronics and either play MIDI files, their own proprietary files, or both. The first electronic reproducing piano systems I know about are the AMICO system introduced by G. W. MacKinnon in about 1974; and the Marantz PianoCorder system. Each used a magnetic tape to encode the playback information. I don't know how the Amico system worked, since very few seem to have been built, but it seems to have been an early retrofit for preexisting Ampico pianos. The Pianocorder uses cassette tapes (although there is a MIDI adapter available for old Pianocorder systems) and splits the keyboard into bass and treble like the old pneumatic systems. Later, Yamaha bought Pianocorder basically to put them out of business, and came out with the Disklavier system shortly afterwards (1987? 1990?). This system uses 3.5 inch floppy disks and encodes individual dynamics for each key, for the first time (for this to be possible on a roll, the roll would have to be either impossibly wide or have impossibly small / narrow holes). The Disklavier is still made today and has been revised in design at least three more times to keep up with current technology. The PianoDisc system, using a CD-ROM for the storage medium, also came out in the 1990s. I don't know nearly enough about it, but think it's still made (again with revisions). QRS (the venerable music roll maker) introduced their "Pianomation" system around that time, and they are also on the cutting edge of development. There is another system called "Pianoforce". I don't know anything about it, nor who makes it. Finally, the agreed-upon (by many pundits) best current computer reproducing piano system is the LX system designed by the great Wayne Stahnke who has made a lifetime study of pneumatic reproducing piano systems, and who also helped design pioneering computer reproducing systems like the Bosendorfer SE in the 1980s (oops, I forgot that one!). The LX system not only has many shades of expression on each note, but also on the sustain pedaling. It remains the most realistic player system I have ever heard in person as a musician (with the Wilcox & White Artrio-Angelus system being second). For a while, one could buy an LX system and custom-install it in their preferred piano; however, later Steinway bought the rights etc to the system and have brought a version of it out as their exclusive- the Steinway "Spirio". One advantage the old pneumatic reproducing pianos (and even the Pianocorder) have over most other more recent reproducing systems, is that they can be rebuilt by people on a workbencch instead of just wholesale "replaced".
*I may have made an error: The earlier Bosendorfer SE system (years before the Disklavier), may have been the first commercially-available reproducing piano system encoding individual dynamics of each note. I don't yet know enough about it; it was an expensive system in its day and not too many were sold, although it can be very effective.
Maybe it is! Someone could have used a Welte-Mignon "vorsetzer" (push up piano player) and pushed jt up to the keyboard of a Pleyel piano, to make this recording.
![[UA] Eternal Fire проти NAVI | EPL Season 20 Malta](http://i.ytimg.com/vi/chvlsDygrZM/mqdefault.jpg)
Who is here for The Chic Assignment? 🎵
Me! This is so beautiful! What a lovely piece! Makes me want to go brush up on my piano skills.
🙋♀️
🙋🏼♀️ lovely suggestion Jennifer , as always 😊
Me!
Me!
C’est tellement émouvant de revenir soudain 100 ans en arrière et de pouvoir écouter Fauré lui-même! Merci
From listening to different orchestras play this piece, I've always had the impression that this Pavane was loaded, solemn, and beautiful in a haunting way. This version gives me a different feeling, however -- the rhythm lilts and the phrase sounds more uplifting. The music just sweeps, rather than moving in a heavy, tearful way.... if you know what I mean. It shows a charming side of Faure, and I love it. Simply beautiful!
The piece has lyrics too. They sound big and solemn in most performances but the words are the playful banter between ballet dancers in a studio.
That is a great comment, and I've found this to be generally the case for compositions that are loaded and heavy in feeling, the posterity tends to overfocus and the interprets overdo the melodramatic aspect when the composer original recording is much lighter hearted. Examples of this are Ravel Pavane pour une infante defunte, Ravel le Gibet. Others like Chopin we obviously do not have Chopin's playing but many written accounts that he found interpretation of his pieces by others to deviate to much from a more reserved style that he favored. This is written down. Also he once stopped a student's playing that was too indulging in the melancholy by saying "Please sit down [your emotions] !". Also Liszt was a great witness of Chopin's playing, he used the word "poetic" which is an expressive word not a emotional word. I am quite sure Chopin would be scandalized and probably uncomfortable with how his pieces are played with full blown dramatic effects these days with the ton of volume modern piano are capable of. I'm sure his playing must have made them sound more poetic and expressive than tragic and having played a 1845 Pleyel myself, i have an idea how it would have sounded. Generally speaking composers would play the piano in much more poetic and expressive way that has been lost. While today's interprets play without reserve and do not dare to shade to much lest they feel they would be accused of underplaying the musical content. Only the composer has no worry for that and will play the piece as intended.
@@ericastier1646 Chopin and Rachmaninov are lucky that the sentimental playing style of today "works" for their music. There's many great composers - Grieg, Scriabin, Mendelssohn, Ravel, etc. - where the modern, sentimental style of playing simply doesn't work for their pieces at all. What's worse, is that many write them off as 'bad composers' after hearing such attempts. I think modern pianists need to sit down their emotions, study the 19th century performance practice, so we can get to the true sentiment of classical music.
@@TheLifeisgood72 great comment ! society has changed (i first wrote evolved) and not for the better in the loss of morality, good manners, courtesy and the loss of appreciation for virtue, instead replaced by self righteousness and self entitlement much of it caused by a degenerated media class of people and a fraudulent currency economy system that made people give up on meritocracy. Upside down meaning of words and so on. All of this does not give young performer the expressive and poetic background for art. Instead contemporary art punishes today's society. Each era gets the art it deserves. The good pianists come from preserved family sometimes poor who were less exposed to commercialism, consumerism and degenerated media ideas. It's why the interpretation of fine romantic composers such as the one you listed like Scriabin notably is perturbated and makes no sense.
The conductor Sir Adrian Boult had more to say about this piece's mood and tempo. When he was young he heard Fauré play the piece several times, and reported that it was 'never slower than quarter-note = 100' (the Welte roll supports that), with no slowing at all at the end. Boult also noted what the words were about (something of a spoof) and that the piece is a dance. You'll find more detail in various Peters editions of the Pavane, and in a book of mine, 'The Art of French piano music: Debussy, Ravel, Fauré, Chabrier' (Yale UP, 2009).
french music is so much connected to the landscape it´s amazing and beautiful, Debussy Ravel, Faure, messian... geniuses
The picture of G. Faure in this video is him seated at likely his Erard French grand piano. Erard pianos are some of the greatest pianos ever built in history. In some cases exceeding the quality and craftsmanship of Steinway, Bosendorfer, Bechstein, and Bluthner. Each Erard grand piano was painstakingly made by hand, expertly crafted.
If any of you are interested - fun fact: that is G. Faure seated at his very own Erard concert grand piano, which is the piano this was composed on. Arguably the greatest influencer and builder of fine pianos 🎹.
it impresses me every time I hear this kind of thing. The master interpreting his own work.
I can't help but imagine how wonderful it would have been to meet these musicians, handshake, hug, thank: /
Sublime;;
Always listen to this when I need some strength....
we are so fortunate there is such a thing as the invention as the Piano rolls, Percy Grainger often recored his compositions as well as arrangements on piano rolls - luckily we have them today to here how the composers interpreted them best
Thanks much for stating that opinion, timothyj1966. Sadly and still, some take PRIDE in Reproducing Record-Roll prejudice (essentially a prideful bigotry) but, their numbers are thankfully receding into 'correct' silence, as these note-roll records' inimitable value and capacity to - "... bring 'em back ALIVE!" - become more self-evident such as here, with this lovely Fauré item now before us. As musically-fine and communicative at it is tho, there are yet LAYERS of subtlety not-yet-realized within this interpretation of the master Faurés. (Best believe it.)
. : .
Bach plays Bach. Soon on youtube.
If only the reproducing piano had been around at the time!
Plato, reading the Republic, soon on UA-cam. (see Playlist, which includes Moses receiving the 10 Commandments directly from God, Krishna speaking to Arjuna, and Jesus giving the Sermon on the Mount!
Yuri Gagarin 😂😂😂😂😂😂
We could finally know how to play his pieces with correct intonation lol
There is actually a "recording" of a Haydn. It's a programmed organ clock, but witnesses say Haydn was in the room while it was programmed, and made sure the tempo and everything was the way he wanted. So, a little time machine
My tears for my lost love and youth . 😢😢
write the story of your lost love and i will read it...
Fermer les yeux et se laisser porter par la musique. Bouleversant !
Love this piece of music!
フォーレの曲も、ともすると地味に聴こえてしまいがちなのですが、こんなに味わい深い、奥の深いものだったのですね。
フォーレ自身の人生の年輪を経た眼差しが浮かんでくるようです。
Astonishingly Beautifully! Perfect!
Un capolavoro immortale
Magique....
Never realised how it sounds very oriental-ish until right now
ガブリエル・フォーレって名前からすでにかっちょいい
Love this.
I'm here, beautiful.
An absolutely delightful work played equally beautifully by the master himself. Would anyone know what work it is as I would like to learn it myself.
"Pavane"
Pavane opus 50 in F# minor.
I am! Beautiful ❤️❤️❤️
sólo el artista creador puede hacer sentir a los demás su creación con tanta perfección
this record is far better natural reproducing sound than other channers'！!
I would like you tell me what source is used...
The source is a player piano roll for a welte reproducing piano, a genius instrument which should reproduce exaclty what the player had played.
I am also curious exactly whose piano was recorded for this, what year, who were the piano technicians, what record label is it on, etc. It sounds like they got everything exactly right in this recording.
Ling Ling plays Ling Ling
so he played himself?
Yes
@@gabrielfaure9091 oh the composer himself is here!
Piano roll
Great composers need not to be great performers :)
But they usually are.
Well not quite, and it's understandable, they spend most of their time composing great music rather than practicing!
They know better than anyboby else how their music must sound and if they don't feel,capable of a good rendition they usually step down, if they are honest and intelligent and great composers have to. Much have been said of Stravinsky shortcomings as a conductor however I didn´t really love his music until I heard it played by himself.It was an awakening!
Cristino Bermudez Salcines I think conducting is a bit different from performing on an instrument
I don't. Virtuosity is a thing, technical skills, that´s training, music is not a sport is an art, it is about communicating emotions, feelings and beauty. The lack of training as a conductor in Stravinsky case only meant that they had to rehearse harder. He also lacked the qualities that make a great conductor, the musicians of the orchestra didn´t respect him, they had being playing his works under Toscanini or Ormandy but at he end they had to do it as Stravinsky wanted it. An orchestra is an instrument, you have to make it sound in an specific way, you have to know what you want and if you don't it's of no use to be a virtuoso.
Well ok, pretend yes, my english is not that good, I´m a little too slow.
Asucaaaa
Composers aren't always the best musically at performing their own compositions! Faure certainly wasn't!
I don't get what you mean. I think this is a wonderful performance.
Lol...Mozart plays Mozart...
Fascinating to hear the maestro him self play his composition.
And he played it too fast. Just goes to show, the composer doesn't always know best.
Man I love this tempo. This is how I first heard it.
At the age of 68 ... "the subtility and charm of softness" ...
What a way of phrasing ...
How heartbreaking and yet dreamy is this , what is it about France in early 1900 ? Debussy, Faure... All going against the tide and giving us beautiful music that escalates so much above just an auditory experience... I can see this music, I can feel it on me and I can breathe it in as well ❤️❤️❤️ also, this version is a little faster and chaotic and so much more passionate !!
And it's not only France at that time. German and Austrian music from the same time is also great. I love Schoenberg, and I find his music equally as beautiful and passionate as French Impressionism.
@@antoinepetrov Schoenberg and beauty are two words that don't mix.
@@Terpsichorean-oj8vc don't agree. Check out Glenn Gould's Schoenberg if you want to change your mind
But I'm the only who find this piece so "contemporary"..?
does it make it better or worse if it sounds "contemporary"?
@@GreenTeaViewer knowing how to look forward is extremely worthy
But it is contemporary. There are still people alive, older than this record
Because it is contemporary.
good music often to not appreciated in its time... maybe future
Il faut vraiment observer la manière d'articuler et de "rouler" les accords : aujourd'hui on "tape" directement, alors on arpégeait et de cette façon on pouvait avoir un accent personnel. Aujourd'hui c'est la technique et la seule vitesse qui compte. Une autre pianiste de la même époque, élève de Liszt, Théresa Carrègno a laissé des enregistrements de Liszt qui laissent pantois…
Oui Anna Thérèsa caregno a enregistré aussi des chopins avec notes inégales cf première ballade très éloquent
Je vais essayer de trouver ces enregistrements de Liszt. Merci dr l info
Si je joue comme ça à ma prof de piano je me fais renvoyer immédiatement pour non respect du texte.
@@jrk9357 Le RESPECT ... là est tout le problème! le génie et l'art n'existeraient pas s'il n'y avait que le respect : dans sa 1ère fugue du 1er livre du clavier bien tempéré, alors QU'IL SAVAIT QUE L'ON RÉSERVE LES STRETTES POUR LA FIN DE LA FUGUE, se met, dès la fin de l'exposition, à ne faire QUE des strettes .... on aurait du certainement le faire quitter les cours de contrepoint pour cette incartade!
One of my absolute favorite composers.
hes a hidden gem. ive missed him until now. what a beautiful soul
Glorious piece, fascinating to hear it performed by the master himself.
A so high moment of the civilisation, french art, poetry and music at the turn of the century
Et beaucoup d'inventions......
Well Said !!!! However, it is spelled "civilization." (Désolé. Je plaisante un peu.)
@@aldridgeg You can also spell it "civilisation", which is the correct form in British English. Greetings
Wait you mean WAP isn’t a higher moment!? 😑🙄
In seriousness I wish music today was like classical.
@@pe-peron8441 Sorry I am french.
Great! Thanks all those who invented, created, recorded and shared this masterpiece!
What a beautiful piece of music. Haunting melody combined with the refined and gentle Faure touch.
Thank you Jennifer. Never would have heard this beautiful music without the chic assignment!
How interesting to hear this interpretation of Fauré by Fauré himself. Thank you so much!
ua-cam.com/video/IHFicAvGvDI/v-deo.html
We are sooooo blessed to have this. Thanks, Louiu.
What sensitive , thoughtful and EMOTIONAL playing this is !! Brava Maestro !
Ciao David Hardy , I agree with you 100% on what you've said about this beautiful piece , but as an Italian I'd like to correct you on a small detail
" Bravo " Is for men
" Brava " Is for women
So you should say :
" Bravo Maestro "
and in case Faure was a woman, (which I highly doubt 😝) :
" Brava Maestra "
Keep listening to wonderful music and have a nice day 😉
It is, isn't it? And just think, David, if not for the agency of The Welte-Mignon - NO experiential per se Faure!!! Just common silence as say with Joseffy, who committed tangibly NOTHING of his own to preservation for posterity, save for his tantalizing image and old written/witnessed accounts of what his Art is proposed to have been like. Not good enough! Just with this present case of Faure's, hearing is at least semi-believing/experiencing; mere words obviously failing as insufficient, in the important regard.
. : .
oh Lord, bless and crown Faure again, if you will...
What a lovely sentiment, Melinda.
¡ Qué maravilla poder escuchar a Gabriel Fauré interpretando su música al piano !
Faure died in 1924, and the fidelity of this recording is far above anything that could have been recorded in 1913. This video is not an actual audio recording of Faure himself playing live. Rather, Faure made a few piano rolls for the Welte Mignon reproducing piano (aka player piano); what we are hearing here is a relatively recent modern recording of the reproducing piano.
Faure plays Faure には世のフォーレ弾きのイメージからすると、何かしらの違和感を感じていました。今夜またこの演奏を聴いて、作曲家自身は「豪気」だと感じました。
What the composer thought, what the composer wrote, offered to artists for interpretation then the composer renders is a trip through the meaning of existence. T.M. Shorewick
I'd like to see the dance that goes with it...
Oh, wow! It's so beautiful when it's coming from his hands. I usually hear slowed down, more lilting versions of it (something I often prefer) but I really like it better at this pace.
Dear Rebecca, not "hands" but rather, felt-tipped wooden fingers as set to the service of recrystallized Art. I ask: who could have thought that intellect might produce ('reproduce' rigorously) Living Art from otherwise dead materials??? Your musical observations are both perceptive and useful. Thank you.
. : .
Faurè has the same sort of private sweetness as Chopin
He has a french aesthetic but in many ways his music can be compared to Chopin's
I'm sure many people have noticed near the ending ,the composition sounds like minor key Jazz of the fifties (especially played on a flute)
While I hear that, to me it sounds more like a 1980s new age or "new romantic" piece with a rock influence. I am not putting it down at all because I think those genres have also brought us some great music. I just think it's absolutely wild that it sounds 100 years ahead of its time!
Congratulations, you've played yourself....
Yo llevo con ella un año y aun no la domino, pero sigo con mucha moral 😜, me parece una pieza maravillosa y aunque tarde mil años la tocaré 🤯🤓. Gracias Faure.
is there anyone who owns some copy of the original piano solo sheet music composed by Fauré himself? I don't mean any transcriptions that are available
Tellement émouvant d'entendre G. Fauré lui-même!
How often does it happen nowadays that you go to a classical music recital to hear a composer play his own music? A performer performing his or her own compositions? Doesn’t Hamelin compose his own music himself? Because I think most people don’t give much of a shit and just expect him to play Liszt or Alkan or whatever else.
Thank you for introducing your viewers to this incredible music!
Il jouait sur un Erard
beautiful song
音楽の形がはっきり見えて、参考になりました。
This is quite a treat for everyone, Amazing. I love his Cantique DeJean Racine. It's amazing.
Thanks so much for this glimpse into the composer's music's possibilities . . . and to the commenters here.
Just because someone has produced a title does not mean its true. This is not a recording of Faure playing Faure.
Agreed
他で聞いていたものの方が平板で、こちらの方がややテンポが速く、変化に富んでいて弾いている人の感情が見えるように思える。こちらの方が生きている感じがして、他の方がまるでロボット演奏のように思えてくる。I think this playing is a little faster, and richer in variety than other playings. I feel the composer-player's emotion more vividly, while other playings seem as if played by a robot.
Some of that has to do with how well-restored and well-regulated the reproducing piano system is.
If the expression system is either not functioning, is functioning poorly, ir somehow the roll is at the wrong paper speed, the expression will not sound realistic and sound "off".
The Welte-Mignon system, introduced in 1904, uses a very simple expression system with a suction regulator for each half of the piano (bass and treble), so each half can be separately subdued to ideally separate accompaniment and melody as much as possible.
The level of each regulator is set by going up or down in fixed speed fast or slow crescendos or decrescendos. There is also a device called a "mezzo-forte hook" which can be engaged to restrict the regulator to either the softer or louder end of the dynamics, as desired.
The roll arrangers (musicians) who translated the artists' captured dynamics into coding for the system, quickly discovered "tricks" in coding like turning on a slow crescendo or decrescendo, and pulsing the fast crescendo or decrescendo in controlled/timed bursts to correspond with the intended result, until the right general dynamic levels are heard at the right time in the music. I can only imagine the trial and error they had to use to arrive at these various styles of coding.
Since each crescendo/descrescendo (slow and fast) has a fixed rate at which it occurs, the roll paper speed must be perfect, and the technician has to make sure these speeds are correct by timing them with a test roll and a stopwatch.
If the roll is played at the wrong paper speed, not only will the tempo not be what the artist originally played, but also the expression will be wrong too! (since the fixed speed crescendos etc will be starting and ending at the wrong places in the music).
So the original Welte-Mignon system, the German version and also the earlier American version (installed only in Steinway, Mason & Hamlin, and Krakuer pianos here, I think until around 1916) have a FIXED roll paper speed, to ensure no monkey business about tempo or expression!
However when a USA version called the "Welte-Licensee" was introduced later, it plays a roll compatible with the standard 88-note format, so they had to include a tempo lever etc to set proper tempos when playing regular 88-note piano rolls on them. But when playing a Welte roll, one always must set it at the tempo indicated on the roll for best results!
One of my favorite recordings
Probably fake. The sound quality is 1000 times better than in 1913.
Yup I agree
he plays it too fast! ;-) , proving the idea that once written down a text no longer belongs to its author...
Esta pieza me conmueve hasta las lágrimas. Es tan expresiva, tan extasiante. Y escucharla con su autor es otra experiencia. El tempo en grabaciones de piano y orquesta es mucho más lento. Aquí suena más vivaz, aunque no pierde su carácter melancólico.
I will pretend to be one of the 13 people who thumb downed this video. "Who wants to hear a man born in 1845, playing one of his own compositions on the piano? NOT ME!"
you could have learn couple of things....musicians do.
Maybe not you, but some of us think that its very interesting to hear what was originally intended:-)
@@LOBonnevie I was being facetious. . .I said I was going to PRETEND to be someone who gave this video a thumbs down, because UN facetiously, I can't imagine ANY REASON to give Gabriel Faure a thumbs down, so I had to imagine myself inside the twisted mind of a person who would. .
@@glennjoshua9950 I understood what you meant, Glenn. In these modern "improved" days, many are subtlety incapacitated.
. : .
@Nicolas Roques
Yes, and that too, as you say.
. : .
thank you)))) this is love and hope
Assolutamente affascinante....❤
Lovely to hear this. Thank you, Jennifer.
Mozart plays mozart
Magnificent!👍👍💯👏👏💐💐💕
Dans la série Gabi envoie du lourd, monsieur Fauré
Thank you so much for posting this 💚
So Precious!
great stuff yea
like the next "To aru kagaku no railgun U - ending " research will be full of these.
My god pls
Well, we know it's real and NOT Memorex!
Beautiful
❤❤Thank you
con tutta la valanga di versioni che ne son venute dopo questa fa capire finalmente cosa voleva comunicare! (cioè questa è top le altre sono un passo indietro, non è banale questa cosa, soprattutto nella musica moderna , visto l'ignoranza musicale, ci sono molti pezzi in seguito migliorati di molto nelle versioni seguenti)
A real rather than implied downbeat makes the piece a little un-Faure like.
Congratulations, he played himself.
I've always maintained that Faure should be played as if it just happened, or rather unfolded.
I have an Erard to, appr. 1903. Parallel strings. Beautiful!
Predivno,savršeno i jasno!
This is certainly NOT from 1913 as the audio quality is way too good. Slap a vinyl crackle plugin and there you have it. Don't believe everything you hear on the internet folks
This is a modern high fidelity recording of a reproducing player piano playing back a roll which is basically a very good copy of a roll recorded by Mr Faure about 1912.
The dynamics are encoded in the margins of the roll and played back via the expression system that is part of the player system. Actually, the expression system regulates the playing levels of the stack which actually does the playing.
Besides the Welte-Mignon, which was the first full reproducing piano system, other reproducing systems (in the pneumatic era) include the Ampico, Duo-Art, Artrio-Angelus, Solo-Art-Apollo and Art Echo in the USA; and the DEA, Triphonola, Duca, Stella and Beethophon in Europe (and probably several even more obscure systems).
"Expression piano" systems, which are considered partial reproducing (not full reproducing) include the Themodist, Melodant, Art-Apollo (Apollo X), Solo-Apollo, Krell Auto-Grand, Krell Solo-Grand, Solo Carola, Solo-Elle, Hallet & Davis Virtuolo, and various types of "Recordo" system in the USA; and the Phonoliszt; Empeco; and various other systems in Europe.
Expression and reproducing piano sales made up approx. 5% of all player piano sales during the years the systems were built. So only about 1 in 20 player pianos is some kind of expression or reproducing piano using special rolls (and even rarer, only about 1% or 1 in 100 is an original era coin piano, orchestrion or photoplayer).
The most popular and common expression and reproducing piano systems in the USA are the Ampico, Duo-Art, Welte-Licensee, and Recordo. The other systems range from rare to very rare to extinct.
In Europe, the most popular expression and reproducing piano systems were the Welte-Mignon, the Hupfeld Triphonola, Hupfeld Phonoliszt, Hupfeld DEA, and Philipps Duca, and then *maybe* the Empeco, judging from number of survivors. The other systems mentioned are again rare to very rare to extinct.
Hope this helps!
Of course we still have reproducing pianos today, they now use computers / electronics and either play MIDI files, their own proprietary files, or both.
The first electronic reproducing piano systems I know about are the AMICO system introduced by G. W. MacKinnon in about 1974; and the Marantz PianoCorder system. Each used a magnetic tape to encode the playback information. I don't know how the Amico system worked, since very few seem to have been built, but it seems to have been an early retrofit for preexisting Ampico pianos.
The Pianocorder uses cassette tapes (although there is a MIDI adapter available for old Pianocorder systems) and splits the keyboard into bass and treble like the old pneumatic systems.
Later, Yamaha bought Pianocorder basically to put them out of business, and came out with the Disklavier system shortly afterwards (1987? 1990?). This system uses 3.5 inch floppy disks and encodes individual dynamics for each key, for the first time (for this to be possible on a roll, the roll would have to be either impossibly wide or have impossibly small / narrow holes).
The Disklavier is still made today and has been revised in design at least three more times to keep up with current technology.
The PianoDisc system, using a CD-ROM for the storage medium, also came out in the 1990s. I don't know nearly enough about it, but think it's still made (again with revisions).
QRS (the venerable music roll maker) introduced their "Pianomation" system around that time, and they are also on the cutting edge of development.
There is another system called "Pianoforce". I don't know anything about it, nor who makes it.
Finally, the agreed-upon (by many pundits) best current computer reproducing piano system is the LX system designed by the great Wayne Stahnke who has made a lifetime study of pneumatic reproducing piano systems, and who also helped design pioneering computer reproducing systems like the Bosendorfer SE in the 1980s (oops, I forgot that one!).
The LX system not only has many shades of expression on each note, but also on the sustain pedaling. It remains the most realistic player system I have ever heard in person as a musician (with the Wilcox & White Artrio-Angelus system being second).
For a while, one could buy an LX system and custom-install it in their preferred piano; however, later Steinway bought the rights etc to the system and have brought a version of it out as their exclusive- the Steinway "Spirio".
One advantage the old pneumatic reproducing pianos (and even the Pianocorder) have over most other more recent reproducing systems, is that they can be rebuilt by people on a workbencch instead of just wholesale "replaced".
*I may have made an error: The earlier Bosendorfer SE system (years before the Disklavier), may have been the first commercially-available reproducing piano system encoding individual dynamics of each note. I don't yet know enough about it; it was an expensive system in its day and not too many were sold, although it can be very effective.
It sounds typically like a Pleyel
Maybe it is! Someone could have used a Welte-Mignon "vorsetzer" (push up piano player) and pushed jt up to the keyboard of a Pleyel piano, to make this recording.
A recording made in the 1913??
Look up the Welte-Mignon reproducing piano.
beautiful song
+Broz J how is it possible a sound like this??
Giuseppe Fochesato it is not possible!
La preuve !
I never trust piano roll recordings. You hear slight variations of tempo and dynamics that sound unnatural.
Different from the typical orchestration we now hear with added harmony.
I’m here from the Chic Assignment! Beautiful!!