The grand manner intact however much this twilit performance may be regretted, even by Rosenthal’s pupil Charles Rosen, and immensely moving. As with all of Rosenthal’s recordings we get a stronger sense than anywhere else - even from Pachmann - of Chopin’s sound, often described as silvery though with subtle depth, each supple finger possessing its own voice. The legato, with little or no pedal, is seamless. We’re hearing a man who studied with Mikuli, Joseffy and Liszt. While lineage and five dollars no longer gets you a cup of coffee , really, I know of no one quite like Rosenthal, whom Paderewski called the supreme Chopin player. Thank goodness he eventually sat for early electrical microphones. The youthful power may have ebbed but poetry and charm remained in abundance. Thanks for sharing.
I love this performance. It's my favorite performance of this sonata. This is big, exciting romantic, 19th century playing and that introspective slow movement is so beautiful.
A lovely listen. Very idiosyncratic ,of course, but not especially surprising considering the lineage here; a pupil of Liszt and a bridge to the late romantic era. Thank you !
The fourth movement is played with many of the same quirks Gould was criticized for in his performance of the same piece. Ironic - and a welcomed discovery!
I have always considered Dinu Lipatti's recording the gold standard for this sonata, but it is interesting to hear how an earlier generation, one with close links to Chopin, interpreted it. Most notable here is the rhythmic freedom, the 'dis-synchronicities'. some notes just lightly sketched in. And yet somehow it all hangs together. Quite remarkable, a reverie. I don't think any modern pianist could get away with it, but Rosenthal does.
what strikes me is how teachers DO NOT TEACH US about this! it is a possible aesthetic resource, it SHOULD NOT BE LEFT OUT! that`s why nowadays performances are so flat and meaningless. and I have to do all the work by myself, listening and extracting what was previously done.
You are so right :don t pay expemsive price fo teachers and masters that Will Just Beat the tempo like a metronome...Better listen to great masters like Rosenthal and try by yourself
Incredibly clear and even beautiful sound for 1939. Rosenthal's late Chopin recordings are incomparably expressive and individual without being in the least eccentric. He always seems to find the "song" in the texture, making most other interpreters of this work sound merely prosaic and dutiful. The instrument here sounds like a Steinway rather than the Bechstein but I could be mistaken. He does lose some technical control in the last movement.
MR was supposed to have been a marvellous technician in his prime. if he had been, then his powers were sadly decayed by 1939. Here he sounds like a stumble-fingered old man (sorry!). Josef hofmann's recording of the 1st movement (made when JH was about 60) is enthralling, stupendous, colourful, singing, technically incredible. They used to spray "Clapton is God" on walls in the 60s. I want to spritz "Hofmann is God" under my railway bridge. Lipatti is very good, but JH is a miracle, supernatural. If you compare Lipatti vs Hofmann apples to apples (Chopin waltz to Chopin waltz) you can hear that JH's playing has an extra sheen, singing quality, lilt, glowing rich tonal beauty and illusion of spontaneity (as if JH were improvising it on the spot). What a sad thing that JH never recorded the complete sonata. Being a polish gentile, JH was well and truly hitting the turps by the late 30s and alas it went to his fingers. Nevertheless, his recordings of Beethoven concertos 4 and 5 from early 40s are amazing. Off-air recordings of the Chopin concertos from the 1930s make the neck hairs prickle and the eyes water. His "mad scientist' recordings of Chopin Ballades 1 and 4 from the late 30s have an orgiastic quality that makes Horowitz sound neat and restrained.
Interpretacion de acuerdo a sus conceptos adquiridos de su maestro... No puedo ni debo opinar sobre su expresion....Notable... Solo Chopin puede analizar......
The grand manner intact however much this twilit performance may be regretted, even by Rosenthal’s pupil Charles Rosen, and immensely moving. As with all of Rosenthal’s recordings we get a stronger sense than anywhere else - even from Pachmann - of Chopin’s sound, often described as silvery though with subtle depth, each supple finger possessing its own voice. The legato, with little or no pedal, is seamless. We’re hearing a man who studied with Mikuli, Joseffy and Liszt. While lineage and five dollars no longer gets you a cup of coffee , really, I know of no one quite like Rosenthal, whom Paderewski called the supreme Chopin player. Thank goodness he eventually sat for early electrical microphones. The youthful power may have ebbed but poetry and charm remained in abundance. Thanks for sharing.
For me the best rendition of this sonata I have heard to date.
I love this performance. It's my favorite performance of this sonata. This is big, exciting romantic, 19th century playing and that introspective slow movement is so beautiful.
A lot of interesting details
I account that this great pianist and composer was approximately 77 years old during this recording, immensely impressive!
Horowitz was just barely starting his career!
Loved the grand manner, detailed playing, careful pedaling, use of silence, so many things. Speedy 4th movement!
Many, many, many thanks...
A lovely listen. Very idiosyncratic ,of course, but not especially surprising considering the lineage here; a pupil of Liszt and a bridge to the late romantic era.
Thank you !
Liszt? he was Mikuli's student, a pupil of Chopin
ok! I just checked and he was BOTH!
The fourth movement is played with many of the same quirks Gould was criticized for in his performance of the same piece. Ironic - and a welcomed discovery!
I have always considered Dinu Lipatti's recording the gold standard for this sonata, but it is interesting to hear how an earlier generation, one with close links to Chopin, interpreted it. Most notable here is the rhythmic freedom, the 'dis-synchronicities'. some notes just lightly sketched in. And yet somehow it all hangs together. Quite remarkable, a reverie. I don't think any modern pianist could get away with it, but Rosenthal does.
what strikes me is how teachers DO NOT TEACH US about this! it is a possible aesthetic resource, it SHOULD NOT BE LEFT OUT!
that`s why nowadays performances are so flat and meaningless. and I have to do all the work by myself, listening and extracting what was previously done.
You are so right :don t pay expemsive price fo teachers and masters that Will Just Beat the tempo like a metronome...Better listen to great masters like Rosenthal and try by yourself
Incredibly clear and even beautiful sound for 1939. Rosenthal's late Chopin recordings are incomparably expressive and individual without being in the least eccentric. He always seems to find the "song" in the texture, making most other interpreters of this work sound merely prosaic and dutiful. The instrument here sounds like a Steinway rather than the Bechstein but I could be mistaken. He does lose some technical control in the last movement.
1.28. The pedal!My God what a ear!
MR was supposed to have been a marvellous technician in his prime. if he had been, then his powers were sadly decayed by 1939. Here he sounds like a stumble-fingered old man (sorry!).
Josef hofmann's recording of the 1st movement (made when JH was about 60) is enthralling, stupendous, colourful, singing, technically incredible. They used to spray "Clapton is God" on walls in the 60s. I want to spritz "Hofmann is God" under my railway bridge.
Lipatti is very good, but JH is a miracle, supernatural. If you compare Lipatti vs Hofmann apples to apples (Chopin waltz to Chopin waltz) you can hear that JH's playing has an extra sheen, singing quality, lilt, glowing rich tonal beauty and illusion of spontaneity (as if JH were improvising it on the spot). What a sad thing that JH never recorded the complete sonata.
Being a polish gentile, JH was well and truly hitting the turps by the late 30s and alas it went to his fingers. Nevertheless, his recordings of Beethoven concertos 4 and 5 from early 40s are amazing.
Off-air recordings of the Chopin concertos from the 1930s make the neck hairs prickle and the eyes water. His "mad scientist' recordings of Chopin Ballades 1 and 4 from the late 30s have an orgiastic quality that makes Horowitz sound neat and restrained.
Interpretacion de acuerdo a sus conceptos adquiridos de su maestro...
No puedo ni debo opinar sobre su expresion....Notable...
Solo Chopin puede analizar......
A relative of my wife!!!
What a lucky man you are!!!
Ух ты, какая жена! Это не ирония.
1.20
So fluid and colourful compared to today’s boring and tasteless “pianist”…
Niente a che vedere con rachmaninov come pianista
Who cares?