chi non conosce la berceuse di chopin, si potrebbe dire...ma, il diteggio interpretativo di cortot è pura realizzazione dell'anima romantica, evocativa e nostalgica di un compositore unico nel suo genere... bellissima esecuzione! carlo lamberti
un poeta, sensibilità, un' anima che fa rivivere chopin con un grande sentimento, quasi fosse stato lui la reincarnazione del compositore polacco ! carlo lamberti
Incredible that at an age where Cortot is close to meeting Chopin in heaven (when it exists), he makes us share the sentiment we should all experience when coming close to eternal truths
Thank you for posting this. Not on any CD that I know of. Even at the end of his career when his control had unraveled to a great extent, he was still capable of great beauty and insight. Ditto for his 1954 Chopin Tarantelle, the '52 Fantaisie Op.49,............can make other pianists sound like they are in a Nyquil fog.
Je découvre Cortot.je ne joue pas du piano ni d'aucun instrument.le coté technique ne m'intéresse pas;seuls la beauté et le ressenti comptent.Quel choc ! quel délicatesse ! que de bébés heureux à écouter cette interprétation ! l' émotion vous prend l'ame.Mercid'avoir posté cette vidéo.
Agree. At all stages of his career but especially after World War II, Cortot's dexterity (though never his "command") could be highly erratic, even from day to day. This recording and some other short works made in the mid-1950's captures him at his miraculous best in every regard. His three recordings of this work ('26, '49, and '57) are in order increasingly subtle and improvisatory, this one somehow sounding as though he were making the piece up as he goes along. And his touch on the instrument and pedaling make it seem as though he were playing some Platonic "eidos"--or ideal--of the piano rather than a particular instrument of manufacture. Cortot, at least in Chopin, had something no other pianist even came close to.
@@theohyxe5237 ich bin erstens eine Frau und kein Kerl und zweitens ist das Alles nicht lustig, sondern teilweise sehr ernst. Aber das scheinen Sie nicht verstehen zu können. Im Übrigen bin ich eine Konzertpianistin und weiss sehr wohl über das Bescheid, was ich da schreibe.
Alfred Cortot unterscheidet sich von fast allem seinen auch grossen Kollegen, indem er das, was er da spielend "sagt", einfach ist, direkt empfindet. Es ist wahr und echt erlebt. Er "macht" nicht Etwas. - Das, obschon er von den Werken sehr genaue Vorstellungen hatte und nichts dem Zufall überliess. - Eine einmalige Gabe.
Je connais beaucoup de pianistes qui aimeraient avoir les prétendues "difficultés digitales" de Cortot!.. Quant à son âge, bien peu d'artistes prennent leur "retraite" à cinquante-cinq ans, et c'est tant mieux... (Horowitz, Rubinstein, Kempff, Arrau, pour ne citer que quelques pianistes et non des moindres, ont joué à un âge avancé et avec une vigueur que bien des jeunes peuvent leur envier.)
Piano players get better as they get older, as long as they don't have physical or mental problems which can happen with aging. I agree with you, muzicaltel, that interpreters like Horowitz, Claudio Arrau, Rubinstein, and (for me) Arturo Benedetti Michelangeli among others they offer the best of their "savoir faire" as they get older.
Cortot said once speaking about Arturo Benedetti Michelangeli that "a new Liszt has born". When I listen the Benedetti Michelangeli Chopin Berceuse performance I can hear some of the Cortot Berceuse interpretation. Am I wrong?
@@Palestrina-us8sv The difference between modern pianism and Romantic pianism is the difference between an Old Master work of art and a slavish imitation.
Ewald Steyn : j'm stupid what j say but Valentina Lisista play " la berceuse " de Chopin in 3 minutes 47" ! J repeat and forget this please it's very stupid j say !
MariaMaria-oo3kj. Chopin did not give the piece the title “lullaby”. He called it theme and variations. It was the publisher who gave it the name berceuse.
@@Ariadne-cg4cq but he wrote it for a little girl visiting Nohant that summer with an idea of it being a lullaby , whatever he named it musically. A Sharp rendition means that pianists sometimes don't know about a life of the composer.
@@MariaMaria-oo3kj Erm... Alfred Cortot was a student of Karol Mikuli, who was again a student of Chopin. Cortot could literally ask Mikuli how Chopin himself played this piece and what instructions the master had given him because Cortots teacher actually had been sitting with Frédéric Chopin himself side by side at the piano!! I think I prefer Cortots interpretations, it's the closest we get to hearing Chopin himself play.
Majestic playing. Fantastic ability to give the melody just enough freedom to sing sing sing.
Man, when I listen to Cortot I always rerealize what free and spontaneous and soft and natural and original playing sounds like ♥️
For me CORTOT stands alone in artistry and sensitivity and selfless immersion into the composer's intention. A marvelous gift to music and to us.
Wow… the immaculate balance among the several voices in this piece. Magical.
chi non conosce la berceuse di chopin, si potrebbe dire...ma, il diteggio interpretativo di cortot è pura realizzazione dell'anima romantica, evocativa e nostalgica di un compositore unico nel suo genere...
bellissima esecuzione!
carlo lamberti
So many excellent pianists and yet none like Cortot. He dares the impossible and the result is impossible to match.
❤❤❤❤❤❤Always remember ❤❤❤
un poeta, sensibilità, un' anima che fa rivivere chopin con un grande sentimento, quasi fosse stato lui la reincarnazione del compositore polacco !
carlo lamberti
Siempre fue importante ,en las biografiás de los grandes autores del tiempo de Lizst y Chopin. ❤
Wonderful playing! Holding the opening Db bass note with sostenuto pedal is a great idea.
Incredible that at an age where Cortot is close to meeting Chopin in heaven (when it exists), he makes us share the sentiment we should all experience when coming close to eternal truths
It exists now
Thank you for posting this. Not on any CD that I know of. Even at the end of his career when his control had unraveled to a great extent, he was still capable of great beauty and insight. Ditto for his 1954 Chopin Tarantelle, the '52 Fantaisie Op.49,............can make other pianists sound like they are in a Nyquil fog.
Love it: a NyQuil fog…yes!
musicista straordinario immenso. chopin lo avrebbe ammirato credo...
Digo que es pura expresión de la musica,, maravillosa expresión.......
c'est incroyable, un génie..!!
Je découvre Cortot.je ne joue pas du piano ni d'aucun instrument.le coté technique ne m'intéresse pas;seuls la beauté et le ressenti comptent.Quel choc ! quel délicatesse ! que de bébés heureux à écouter cette interprétation ! l' émotion vous prend l'ame.Mercid'avoir posté cette vidéo.
c'est un vieux piano qui parle , chante avec douceur une berceuse à un bébé qui s'endort , un piano qui parle
A true POET ..... BRAVO !
CORTOT IS GENIUS !!!!!!!!!!!!!!!!!!!!!!!
Superbe.
Perfect ❤
Il n'y a que lui-même qui peut jouer mieux. Moins de brillance, or, la présence poétique ici est énorme.
Chopin is alive through Cortot...this one surpassed his other recordings...
Agree. At all stages of his career but especially after World War II, Cortot's dexterity (though never his "command") could be highly erratic, even from day to day. This recording and some other short works made in the mid-1950's captures him at his miraculous best in every regard. His three recordings of this work ('26, '49, and '57) are in order increasingly subtle and improvisatory, this one somehow sounding as though he were making the piece up as he goes along. And his touch on the instrument and pedaling make it seem as though he were playing some Platonic "eidos"--or ideal--of the piano rather than a particular instrument of manufacture. Cortot, at least in Chopin, had something no other pianist even came close to.
I like Rubinstein and others... but there's something about Cortot's playing of Chopin that the others don't seem to grasp.
Es sind seine echten Empfindungen. Das ist ganz einfach.
You're a funny guy
@@theohyxe5237 ich bin erstens eine Frau und kein Kerl und zweitens ist das Alles nicht lustig, sondern teilweise sehr ernst. Aber das scheinen Sie nicht verstehen zu können.
Im Übrigen bin ich eine Konzertpianistin und weiss sehr wohl über das Bescheid, was ich da schreibe.
Cortot didn't give a flying rats ass about making mistakes, he was all about the tone. This is something most modern pianists don't get either.
No wonder. He studied under george mathias and emile decombes, both Chopin' pupils
I loved this performance. Late Cortot can be pretty messy but not this. Absolutely indredible.
Imperfections make it perfect
Very delightful.
Alfred Cortot unterscheidet sich von fast allem seinen auch grossen Kollegen, indem er das, was er da spielend "sagt", einfach ist, direkt empfindet.
Es ist wahr und echt erlebt. Er "macht" nicht Etwas. - Das, obschon er von den Werken sehr genaue Vorstellungen hatte und nichts dem Zufall überliess. - Eine einmalige Gabe.
Cortot' physiognomy spells out genius.
Je connais beaucoup de pianistes qui aimeraient avoir les prétendues "difficultés digitales" de Cortot!..
Quant à son âge, bien peu d'artistes prennent leur "retraite" à cinquante-cinq ans, et c'est tant mieux... (Horowitz, Rubinstein, Kempff, Arrau, pour ne citer que quelques pianistes et non des moindres, ont joué à un âge avancé et avec une vigueur que bien des jeunes peuvent leur envier.)
Piano players get better as they get older, as long as they don't have physical or mental problems which can happen with aging. I agree with you, muzicaltel, that interpreters like Horowitz, Claudio Arrau, Rubinstein, and (for me) Arturo Benedetti Michelangeli among others they offer the best of their "savoir faire" as they get older.
Muy cercano a Chopin y Lizst. 🎶🎶🎶🎶👆
Cortot said once speaking about Arturo Benedetti Michelangeli that "a new Liszt has born". When I listen the Benedetti Michelangeli Chopin Berceuse performance I can hear some of the Cortot Berceuse interpretation. Am I wrong?
Exactly what i think
Oh my
god I wish I had a Steinway D. Very sensitive playing like we are used from Cortot btw :)
!wrong note (melody) at about 0:33/0:34! hah, don't get me wrong--this is a fantastic recording! Everybody makes mistakes, even Cortot.
John Scoville older era pianists used to make lots of mistakes and did not particularly bother about it. And still I prefer them to today's pianists.
Modern pianists practice to the point where a mistake in the music becomes impossible, as does life.
Cortot was famous, even beloved, for his mistakes,
@@Palestrina-us8sv The difference between modern pianism and Romantic pianism is the difference between an Old Master work of art and a slavish imitation.
80 years in this recording...
Le puso la dijitacion a Chopin y Lizs
fulvio zanoni...
A berceuse is a lullaby, but Cortot is playing it like he is waking up someone, instead of putting them to bed.
The publisher gave it the title "Berceuse". I believe Chopin called it something like 'Theme & Variations'...
Anyone from Tea Time video ?
"Malgré son âge et ses difficultés digitales" ??? Répugnant !
Horowitz cant even come close to this
Have you heard him in this piece?
Sorry, but I don't agree with this interpretation. Just too fast.
Just a piano who speaks no more since 60 years and since 85 Y with his recording Études op10 and 25 .
Ewald Steyn : j'm stupid what j say but Valentina Lisista play " la berceuse " de Chopin in 3 minutes 47" ! J repeat and forget this please it's very stupid j say !
Too sharp and shrilly! Chaotic. Its lullaby!!! Pease listen to E Kissin and Kate Liu!!!!
Shut up
MariaMaria-oo3kj. Chopin did not give the piece the title “lullaby”. He called it theme and variations. It was the publisher who gave it the name berceuse.
@@Ariadne-cg4cq but he wrote it for a little girl visiting Nohant that summer with an idea of it being a lullaby ,
whatever he named it musically. A Sharp rendition means that pianists sometimes don't know about a life of the composer.
@@MariaMaria-oo3kj Erm... Alfred Cortot was a student of Karol Mikuli, who was again a student of Chopin. Cortot could literally ask Mikuli how Chopin himself played this piece and what instructions the master had given him because Cortots teacher actually had been sitting with Frédéric Chopin himself side by side at the piano!! I think I prefer Cortots interpretations, it's the closest we get to hearing Chopin himself play.