Van Cliburn - Franz Liszt Hungarian Rhapsody No.12
Вставка
- Опубліковано 26 тра 2013
- Franz Liszt
Hungarian Rhapsody No12 in Moscow
Piano - Van Cliburn
Recorded in 1962
Tribute to the great Van Cliburn who passed away on 27 Feb 2013.
Biography
Harvey Lavan "Van" Cliburn, Jr., (July 12, 1934 -- February 27, 2013) has been called an American hero, hailed as one of the most persuasive ambassadors of American culture as well as one of the greatest pianists in the history of music. With his historic 1958 victory in the first Tchaikovsky International Piano Competition in Moscow at the height of the Cold War, Van Cliburn tore down cultural barriers years ahead of glasnost and perestroika, reaching out across political frontiers with a universal message all could greet with joy: the message of beautiful music.
Cliburn was the first musician ever honored with a ticker-tape parade in New York City, a true hero's welcome and a show of gratitude for an American victory on the heels of the Soviet Union's launching of Sputnik. Again reaching across cultural borders, Cliburn invited the Russian conductor Kirill Kondrashin to come to New York and reprise the performances that had earned the young American the gold medal in Moscow. Cliburn's recording of the Tchaikovsky Piano Concerto No. 1 with Kondrashin became the first classical album to reach platinum status and has gone on to sell more than three million copies
The legendary Emil Gilels, one of the judges who awarded Cliburn the top prize in Moscow in 1958, said at the time "his inborn artistry and subtle musicianship ennoble all that he plays. His victory at such a difficult contest may be truly termed brilliant.'' A few years later, in his classic study of the world's great pianists, Harold C. Schoenberg noted that "of all the Americans of his generation, Cliburn was able to produce the most sensuous of sounds ... rich, never percussive, a real piano sound that reminded old-timers of the great romantic pianists of the past.''
Van Cliburn was born in Louisiana on July 12, 1934, the son of Harvey Lavan Cliburn and Rildia Bee O'Bryan Cliburn. The family moved to Texas when the boy was only six, and by 12 the prodigy had won every major local piano competition. His Carnegie Hall debut in 1954, playing the Tchaikovsky Piano Concerto No. 1 under Dmitri Mitropolous' baton, offered the music world a preview of what would become his signature piece and the occasion of his Moscow victory four years later.
Cliburn's ties to the grand romantic school of piano were close from the start of his career: His only teacher for the first 17 years of his life was his indomitable mother, herself a pupil of Arthur Friedheim, who was a pupil of Franz Liszt. Later, at the Juilliard School, the young pianist studied at his mother's urging with the acclaimed Russian pedagogue Rosina Lhevinne. "Van was so teachable,'' recalled a proud Mrs. Cliburn in 1958, "and always so respectful and quick to learn.''
He learned fast, and his love and respect for great music only grew. Tours all over the world followed his Tchaikovsky Competition triumph, a growing series of definitive recordings added to his popularity, and even a decade-long sabbatical from public performances only increased the disarming directness of his romantic touch when he returned to the concert circuit in 1987. In honor of Cliburn's return to the concert stage, the eight-disc Van Cliburn Collection was released on the RCA Victor label, containing many of Cliburn's classic concerto recordings: Tchaikovsky Concerto No. 1; Rachmaninoff Concertos Nos. 2 and 3; Prokofiev Concerto No. 3; Brahms' Concerto No. 2; and Rachmaninoff's "Variations on a Theme of Paganini." His current touring schedule includes performances across the country from Tanglewood to Thousand Oaks, California.
Cliburn has performed for royalty, heads of state in Europe, Asia, and South America and for every President of the United States since Harry Truman.
Cliburn's selfless devotion to music has been expressed in other ways as well. At the height of his early career, Cliburn made time to encourage and nourish young talent with the first Van Cliburn International Piano Competition. First held in 1962, this competition is held in Fort Worth every four years. It is an integral part of Cliburn's living legacy, a bright and hopeful signpost for the future of American music.
( from www.kennedy-center.org/explore...)
![What's My Line? - Sargent Shriver; Van Cliburn; Tony Randall [panel] (Mar 11, 1962)](http://i.ytimg.com/vi/K_ByZ-fIuOU/mqdefault.jpg)
Brilliant is not adequate enough. Van makes the piano sing!
What a pianist and, as important, what a fantastic person !
He certainly was. I knew him for over 40 years and he never forgot that "Widmung" was my favorite encore piece. No one played that piece as beautifully as Van.
This performance is a gem and is by far the best recording of the 12th Hungarian Rhapsody of Liszt. The integrity and the virtusoty of the playing can be view as one of the most perfect model of "Liztian" style of interpretation.
I read that when Van first played this piece for his Juilliard colleagues, several rolled their eyes thinking that he was grandstanding. However, as he played, their jaws dropped because he played this incredibly difficult piece so flawlessly. Van was sort of "an odd duck" at Juilliard... but his talent won them over -- and he quickly became Rosina Lhevinne's favorite student. 😉
Cziffra does it so much better in his 1958 recording. Van Cliburn is a real basher and makes a ton of mistakes in the final section, just far too many. This is supposed to be a Hungarian Rhapsody, not an American one and you can't really beat the man who has it in his blood.
Fue un pianista incomparable tan joven. Y tan feliz 💗 con padres maravillosos.
Amezing beauty meraviglioso pianista bravissimo RIP
El genio del siglo 19. generoso ,compartió su conocimiento con la academia Kliburn ,un legado inmenso. ✴️🥉🙏🎼😘✴️✴️✴️✴️✴️✴️✴️✴️
This is a beautiful performance, as beautiful as one could wish, beautiful in its musicality. As recounted in Franz Mohr's "My Life with the Great Pianists", Horowitz told Mohr, "Rubinstein and I combined could not create a tone as beautiful as Cliburn!" Horowitz and Rubinstein were both giants of 20th Century piano. Both of them respected Cliburn, and Horowitz was a friend.
You're right. Van and Horowitz were great friends. When Van was still living in NYC off W. 57th, he called Horowitz to invite him to dinner. Mrs Horowitz answered and told him, "Let me check with Horowitz." (Apparently she called her husband "Horowitz."😄) Van waited...and waited...then Wanda finally came back on the line and announced, "Horowitz says OKAY! He'll have dinner with you...but he ONLY eats Dover sole!" Van assured her, "I think we can handle that!" 😉 They all went to dinner, had a lovely time - and Mr. Horowitz got his Dover sole.
I , however, personally prefer Rubinstein's version of Polonaise heroic over Van Cliburn's.
@@cynthiagonzalez658 on which day? 😊
he's such a thumper. Horrible tone in my view. Perhaps it's just an awful quality upload.
Is there a program listed of Cliburn’s selections at his 1962 appearance? I was wondering what all was played, and in what order. I would so enjoy knowing what happened, what was played by whom, and in what order in these Russian competitions and performances. I loved the video of his complete 1958 performance beginning with Tchaikovsky Concerto No.1 and ending with the lovely folksong, Russian Nights. So special. I have watched again and again. Thank you for posting these! Much gratitude!
BRAVO! BRAVO!! BRAVO!!! Hats off gentleman...a genius!
He's a man so you say bravo. If she's a woman you say brava
@@giovic9802 Yes, I realize that. Pardon moi! 🙄
@@tiamia7139 don't worry ahaha
@@giovic9802 I'm not. 😉
Incomparable
This still gives me goosebumps
El. Gran genio del siglo. XlX.
Bravo. !!!!!!
Felicidades divino tu repertorio.
Bravo
Great pianist indeed!!
LISZTs MASTERWORK PLAYS ALSO PIANO-MASTER.
TODAY - 91 YEARSBEFORE THIS MUSICIAN WAS BORN...
Bellísima Rapsodia.
Ohhhhh, yes indeed!
Here you may look at the audience, crowded around those areas closest to the pianist or to the great musicians who look on, all of them in wonder. This was a time the human brain had developed an ability to listen to echoes of the past, of transcendental capacity.
Well said. This piece was a favorite of Van's and he wowed them at Juilliard with his playing of it. No one plays this piece as beautifully, lyrically, and whimsically as Cliburn. His playing transports you. Once you hear Van play a piece, that's it!
@@tiamia7139 no matter how many pianists I hear in my life, Van will always be my favorite, and always the one who captivates me! There will never be another like him! ❤️
Mejicanenses no son ignorantes
@@carmenreyes6222 Hello, I was just reading comments and do not understand yours. I see no sneer toward the Mexican people here. The people of Mexico are a great people. I can see how anyone of any nation, comparing themselves to the musical prowess of Van Cliburn, or in thinking someone else was comparing them to him, would feel small, or even belittled. I can see nothing of that here. As Cliburn was just playing, I myself thought that I used to think that I played the piano well … 😄😄😄. I now see that I play at it!
@@littlebrookreader949 EXACTLY!! 🤣 I still remember how he rumbled and thundered in the lower octaves of the MacDowell. Very few pianists play that piece and it was so dazzling, powerful -- magnificent! -- when Van played it. Each time I heard him play the MacDowell, there were audible gasps from the audience (mine included!). 😱 His live performances were like nothing else. I hopped on many planes over the years to hear him play in live concert - an unforgettable treat!
So good - characterization unlike any i have heard
Beautiful performance. Thank you, Satoko.
Astonishing
Best hr#12 ever!!!
Maravillosa interpretación.En las primeras filas del público aparece un señor calvo con una cámara fotográfica muy parecido al pianista ruso Sviatoslav Richter.
Bellas manos
Miraculous!
Desde niña a la fecha es lo maximo de la historia pianistica
An astounding performance. I couldn't play this piece if you gave me 100 years to study it. One of the hardest pieces to play that is also quite pretty. I love the leisurely pace he plays at during the slow sections.
Masterful.
04:49 what a power
Simply unreal. We have the same hometown, Panther City, Funkytown, Fort Worth. He was often spotted shopping for groceries at the legendary Roy Pope Grocery on the west side. My wife and I were accidentally invited to a "house concert" like....2 hours before it started. I thought...."house concert" like...."house party".....so I strapped on my jeans and t-shirt and we drove over - never really identifying exactly what the address was on the phone until we were within a few blocks. It was Westover. We showed up to a tux party that had just stood up from dinner...wearing jeans and t-shirts. I was horrified by my entire existence. But we stood fast and waltzed around to the servants entrance...to be greeted by security and the friend who invited us (who was working the party) and sure enough there was a stage in the back yard. I had a couple stiff drinks just to calm myself down - was so out of place. Like walking into a stranger's wedding ceremony. The friend came over and pointed....over there.....that's Van Cliburn. I tore the earth like I was one of them. We hugged several times, cried together, and I got to speak with him for nearly 20 minutes while a crowd of the well-dressed was gathered round waiting their turn. 2Cellos got up and performed for about an hour. They'd been flown in from Vegas - were opening for Elton John there regularly. I have pictures. He died the year following.
Asi coonoci a Van Kliburn.
Just amazing
La 12. 😍.
Einfach Spitze!
Has America ever produced a more iconic pianist?!
Meredith Foster - Scott Joplin, Fats Waller, Duke Ellington, Dave Brubeck, Bill Evans, and Monk.
NO.
@@GH-oi2jf Very good pianists but not even close to Cliburn's virtuosity and genius.
Tia Mia, Murray Periah?
No, he was the pianistic angel of music! I can go through a day without this man’s playing in my life! He is my daily inspiration, whenever I play! Love and miss you, Van! ❤️
Cansada de darle al play a este video.
Super
@Farazissimo: First, my apologies for not responding to you sooner. And, much thanks to your recommendation of Mr. Maria Sanroma. The kind of pianist so naturally gifted, audiences ( probably in private circles or even larger) just stood around watching him play; alla Chico Marx. Or, Jose Iturbi for instance. In the concerto, the Macdowell. You're correct about his speed, facilness. Everything sounds almost glissando. The orchestra hardly able to keep up with him. As for Macdowell's writing. I wonder if he spent time listening to Richard Wagner. His writing has that overall sweeping blanket of sound you hear in Wagners Operas. As for Mr. Sanroma, he seems to have covered a very large spectrum of the repertoire; Including Paul Hindemith. One of my favorite composers. I'm searching to see if he played the 3rd sonata ( Hindemith) in b flat. Though no signature is given in the score. I'd be interested to see how he plays a fugue.
Phenomenal performance. My favorite Liszt HR. But, being there’s an orchestra, what piano concerto was performed in that concert? Thank you posting
This was something of a warhorse for Cliburn, but, strangely enough, he never recorded it for RCA.
Великий!
@Charmaine Morley: If you're in posession of at least two CD'S with Kapell performing. You're very fortunate. For me, I learned of him via my high school choir teacher; the Rachmaninoof 2nd. Concerto. He'd ( kapell ) died by then, 1953. I was an aspiring singer, Opera. It, the piano stole me away from voice. Pretty much cancelled my career as a singer. You and my girlfriend are correct about Cliburn's sound. Unmistakable. But the same was true of Willy,( Kapell ) once you've listened to him frequently. If you don't have it already. Kapell's recording of Chopin's 3rd. Sonata in minor will convince you of his tremendous sound and mastery. A power pianist to boot. As for Julius Katchen. His recording of Brahm's, Variations and Fugue on a theme by Handel is certainly one to have in your library.
@Charmaine Morley: Thanks, for your loving response. The instrument is difficult as heck. And anyone putting down these guys and ladies is sorely mistaken. I used to think they were geniuses who just looked at a score, read through it, and were ready for a performance the next day. My teacher corrected me instantly. They, some took months in preparing a recital and concert ( with orchestra). They missed notes even after much practice during a performance. Kapell was very nervous prior to coming on stage, and had to be reassured of his gifts; in one instance right before a performance of Rachmaninov's " Rhapsody on a Theme by Paganini ". Check out his pressing of this piece with Fritz Reiner ( I believe it was Mr. Reiner ) some consider it the ultimate recording of this work. You'll see. As for Rachmaninov's 2nd concerto? He treats It like a classical work; observe his virtual treatment of the ending in the finale. Other pianist fly through it virtuosically like race horses, forgetting the continuity of the work.
Taken time to listen to Paganini Rhapsody. Kapell, electric,
Cliburn, lyrical, Rachmaninov, brilliant, and Moiseiwitsch
love him. Need to listen again. Yes, as non pianist I took it
all for granted. Not any longer. Seeing Van’s fingers on
Dvd and hearing Kapell’s on disc, I am amazed at these
pianists and their technical powers while remaining poetic.
Thank you for your kind observations.
@@charmainemorley2197 Van's Rachmaninoff is like no other. Someone said - was it Richter? - that "Van played Rachmaninoff better than Rachmaninoff!" I have the recording of Rachmaninoff playing The Rach 3 and it doesn't move me nearly as much as Van's playing of it. There's something so soulful and transporting in Van's playing. Cliburn's Debussy is another example. It's shimmering and ethereal. He played "The Girl with the Flaxen Hair" and "Reflections in the Water" as encores once and drew gasps from the audience. When I turned around to look at the audience, many were sitting transfixed or crying, wiping away tears. I've never seen another pianist's playing effect his audience like Van's did. It was like listening to an angel play. During "Reflections", Van made those notes sound like plummy raindrops dropping one-by-one onto a pond. It didn't even sound like piano notes, I also love how he plays "La Terrasse des Audiences de Clair de Lune." You can feel the moonlight. His playing of it is so incredibly ethereal and other worldly. At the end, where it sounds like church bells ringing in the cold night air, it literally gives me chills. Van's playing of this piece is pure sorcery!
Overall I find No 12 one of the more memorable Hungarian Rhapsodies
@GH1618: One more name in this group had he lived up to this time in history, William Kapell. Who might have been the one appearing in Russia instead of Mr. Cliburn. But he died in a plane crash after leaving Australia in 1953. He, not Cilburn was considered the foremost American pianist on the concert platform. Arguably the absolute best confirmed by his peers.
@ArthurHogan Van's Juilliard teacher, Rosina Lhevinne only considered sending Van to the 1958 Tchaikovsky Competition in Moscow from her class of exceptionally brilliant pianists at Juilliard (John Browning, Jeanine Dowis and many others). She picked Van because, not only was he a brilliant technician but he played with a golden warmth, a singing lyricism and sensitivity like the Russian Masters of old. Mrs. Lhevinne's late husband Josef had been one of these master pianists, and Van's playing reminded her of his. Van "had it all", plus the fiery passion, needed to win in Moscow. She knew that his heartfelt lyricism would "speak" to the Russian people like no other - and it DID! Van played The Rach 3 at a deliberately slower pace to draw out its exquisite lyricism. Rachmaninoff intended it as his folk song - love song - to Russia, invoking beautiful winter scapes, snow flurries, church bells and sleigh bells ringing in the cold night air. Van "got it", he felt this piece to his BONES. He closed his eyes and "went into the ether", as he once described it to me, lost in the beauty and wonder of it all. His transcendent playing of the Rach 3 captured all of that - like no other! When Van first arrived in Moscow, before he did anything else, he asked the driver to stop in front of the Church of Saint Basil. It had been his childhood dream to see it someday. It's snow covered onion domes, and the glistening street lights moved him to tears. He returned to Moscow many times over the decades and called Moscow "his second home." When Van played for the Russians, they FELT that love, it touched their souls. The whole thing with Van was COMMUNICATION, communicating the beauty of classical music to his listeners. There was no artistic ego with Van. Of course, he was confident in his ability, but he saw himself more as a musical servant... "Let me play this piece for you and, hopefully, you will love it as much as I do." Van Cliburn was a beautiful, incredibly warm and kind person. He loved classical music so deeply. He would be moved to tears just talking about a piece. When he plays the Rach 3 (and many other pieces), there's a purity, a spirituality, that touches your soul. It comes from deep within, you can't manufacture that.
@@tiamia7139 : First off, Tia Mia. I prefer to reference the ( Rachmaninov 3rd concerto ) as that, only. And your analysis of it is totally incorrect. If a comparison to church bells, and falling snow in the winter. Folk songs etc. I would chose his 2nd concerto. Certainly more dreamy in its statement: which brings me back to the third concerto. Both of these works mirror the mind of this composer. Who traveled mostly by trains. And when unable to get to a piano ( of course ). He took a dummy keyboard with him to practice on. The running passages: The 3rd C. Are like the wheels of the trains over the tracks. The rapid running Bach like feature in the introduction. Only a brief moment appears for the introduction of the main theme. And then, the ensueing drive towards the monumental big chorded development. Afterward only slowing for another moment of peace and eventual return to the main theme. As though a passenger train slows for an upcoming station, and stops. Then, off once more. The second movement is the love song, so powerfully spoken. It can bring the listener to tears. My preference? The one by Vladimir Horowitz and Fritz Reiner on RCA. Actually, no one else in this work. Of which Rachmaninov GAVE to Horowitz as his own to play. After hearing him play his own music. The running passage is featured again. Actually before the third concerto. Is the, bell like intro of the second concerto. Then comes the left hand traveling rapidly over the rails, so to speak. This concerto fits more of your description, ' thinking, as it applies to Mr. Cliburn. As for the 3rd concerto. The finale, like the first movement is exactly what Rachmaninov intended it to be. A display of percussive might. And the piano is just that. A mighty percussive instrument. Not a Harp. .
@@arthurhogan3047 Arthur, I based my interpretation on an article I read about the Rach 3. It said that it was Rachmaninoff's love song to Russia, and he wanted it to sound like a Russian folk song. I don't know where I read this article. It was many years ago, but I do remember it said it was intended as his love song to Russia. You hear trains, I envision snow-covered forests and sleigh bells - to each his own! 😄
The Rach 3 is my favorite concerto. I never get tired of listening to it, especially its beautiful recurrent theme. It was Cliburn's favorite concerto also. I also love the Rach 2, but Van said he was "never that crazy about it." 😄 His recording of the Rach 3 with Kyril Kondrashin is considered the greatest interpretation/recording of it by many music critics, concert pianists and conductors. That said, music IS very subjective and everyone envisions a piece of music differently. To be honest, I have never been a fan of Horowitz's playing of the Rach 3. He plays it way too fast and much of its beautiful lyricism is lost. He also bangs the keys and I find his tone very harsh especially when compared to Cliburn's golden tone. My piano teacher in Los Angeles couldn't stand Horowitz. She was a phenomenal pianist herself, a child prodigy who debuted at Carnegie Hall at 12. She was a wonderful piano teacher. One of her students was Peter Nero. Van Cliburn was her favorite pianist. She said he had the most incredible technique she had ever seen, and the most gorgeous tone. The first time I met Van Cliburn was at her piano studio in LA. He was playing at the Hollywood Bowl and had stopped by to say hello. She and his mother had gone to music school together (I think it was Curtis). Anyway, my mother and I knocked on her penthouse door for my usual Saturday lesson - and none other than Van Cliburn opened the door and greeted us! My mother nearly fainted. I was 11 at the time and remember an extremely tall, skinny man with humongous hands and a deep voice opening the door and warmly greeting us, "Come in! Come in!" He had this glow about him and was the most handsome, charismatic man I had ever seen - in my 11 years. 😄 It was something I would notice and feel every time I met him in future years. Van had this energy that took your breath away, made your knees weak. When he walked into a room, people flocked to him like moths to a flame. He was so fun, warm and engaging, you just wanted to stand close to him and soak it all in. I've met a lot of famous people in my lifetime, but Van was #1 on my list. Anyway...he chatted with my mom in the kitchen while I had my piano lesson. My teacher had two huge Steinways facing each other which filled her living room. We often played duets together. I was so self-conscious that afternoon, afraid I would hit a wrong note and Mr. Cliburn would hear it from the kitchen.😄 If he did, he never mentioned it to me. My mother said he was SO charming and SUCH a gentleman. She was on cloud nine for days afterward. My father would just roll his eyes and ask, "How long do I have to listen to this, Therese?" 🤣 After my lesson was over, we chatted for a few minutes with Mr Cliburn and said our goodbyes. He opened the door for us and waved goodbye standing in the doorway. I still can't get over how tall he was and how gigantic his hands were. It was an unforgettable moment. We moved from LA to Virginia the following year, and I didn't see Mr. Cliburn again until my 21st birthday. My parents and I sat front row at one of his concerts at the Hampton Roads Coliseum. The tickets were my 21st birthday present. I got to talk to Mr. Cliburn backstage and reminded him of our first meeting in LA. He said "THAT was YOU?!" He couldn't have been sweeter. I told him, "Today is my 21st birthday - and YOU'RE my present!" 😉 Even though we were told by his manager not to shake his hand when meeting him backstage, Mr. Cliburn took my hand in both of his and told me he noticed me "sitting in front row with my eyes shut." I said "I can hear the music better with my eyes closed." He leaned down closer to my face and whispered, "I know." Oh my goodness, he was so handsome. For once I was speechless and I just stared at him with my mouth open. He grinned, put his arms around me and thanked me for coming to his concert. He also wished me a very happy birthday. I have so many memories of him like that. He was just the sweetest, most genuine person, and most humble artist I ever met. And his warmth, humility and kindness was reflected in his playing. I'll always be his #1 fan.
I have listened to Horowitz's performance of the Rach 3 and it's probably my least favorite recording of it. He races through it losing most of its lyricism, and his tone is so harsh with all that banging! It's like having a bucket of ice water thrown on you. Horowitz was known for his huge ego and it was reflected in his bombastic style of playing. I will take Cliburn's beautiful lyricism, golden tone and subtle shadings over Horowitz any day of the week.
@@tiamia7139 : There is one more point I would like to address here, in regards to Cliburn's appeal to audiences. The Russians in particular. He burst on the scene during the ' cold war '. And as you've said, Rosina Lhevinne's choice for this honor. She could have chosen John Browning. And I think the effect would have been just as successful. As for Jeanine Dowis? I've never heard of her. Browning's career took off markedly, thanks to his win of the Levintrit competion. And he had something Van didn't possess. A full repertoire. My teacher at Roosevelt university said. Cliburn after his return from Russia. Had to scramble to catch up. Because his repertoire was limited. Browning had no problem at that time. My reference of pianist, William Kapell, is due to hearing him first playing Rachmaninov's 2nd concerto. For me, a classic. The finale in particular. He was a student at Julliard as well. And studied with Olga Samaroff. He died five years before Cliburn's trip to Moscow. But according to the Chicago Tribune's music and art/ theater critic, Claudia Cassidy. Would have soon become the foremost pianist in America. If not the world over. If you've never heard this guy. Then you wouldn't understand the why of this accolade. Especially with the likes of Horowitz and Serkin. Artur Rubinstein and Byron Janis on the scene. I have heard literally one or two recordings of Josep Lhevinne's playing. And it came closest to the power, speed and style of Horowitz. Certainly not anything like Van's style and execution. I'm sure for Mrs. Lhevinne, her comparison was due to him playing nicely in their moments of privacy. Otherwise, I would have compared him to the likes of say, Simon Barere. Or Josep Hoffman. Leopold Godowsky. The ' Bhudda of the keyboard '. If you would like to discuss this further. I would welcome your input. But then, the music, selection of works and repertoire must take place. Of which is why Cliburn was the subject of being a so called, Top pianist in the Derby of virtuosity. Of which is a lie of course. There is another reason. But, but, discuss....
@@tiamia7139 : Humm, Tia. I KNEW it had to be something sentimental with Van. And certainly personal. I'll not knock his warmth as I tried to discuss with Charmaine Morley. Who became insulted when I referenced the music itself. But obviously, this isn't a problem with you. You've studied, despite your opinion of the Rachmaninov third. But as I said. Discuss, scores. If you like???
No puse anuncio. 🤙🤙🤙🤙
His fingers are so LONG !
Sometimes the most incredible thing about UA-cam is the dislikes. What's there to dislike about this performance???? What great playing!
LAS DE VAN CLIBURM EN UN UN SOLO MIX
@Charmaine Morley: Hey, Charmaine!! ' glad to hear from you again, though as you said, temporarily. I thought I had offended you with my take on Mr. Bjourlings' voice quality. Among other things. You didn't give me a chance to respond to your praise of Vladimir Ashkenazy. And.... I agree whole heartedly. My fellow schoolmate and really a fine pianist himself; well, over the years we covered so many keyboardist. Askenazy almost went without mentioning. Because of his immense gift. A SUPER VIRTUOSO!!! And the word, Super, stands. He won the Tschaikowsky Competition along with Brittish super pianist and composer, John ogdon. They shared the honor. And if you've heard Mr. Ogdon play, say for instance, the Busoni piano concerto. You'll understand why. As for Ruth Slencynska. I've listen to her as well. And that other Ruth, Laredo over time. There is Evelyn Crochet, recently recorded, her Bach, prelude and fugue in F sharp minor ( I believe ). It's on UA-cam. There is an old recording of Prokofiev's 2nd concerto in g minor. There are a number of pianist who've recorded it. But, Vladimir Ashkenazy's is by far the swiftest. Find the score and follow it along with his playing. Then listen to other pianist play it as well. A piece most of them avoided because of its difficultly. Now, many are performing it, and regularly.
Many thanks. No! You have not offended me but was a bit surprised
re Gordon MacRae. I thought Ashkenazy message had got hidden
in replies so I did again as did not want you to miss it or
that I was being ill mannered. Thank you for recommendations.
I know re John Ogden and competition but not familiar with
his playing that I can comment. Not heard of Ruth Laredo or
Evelyn Crochet. You must be on You tube as much as I am!
I even found Ashkenazy criticised in I think The Great Pianists
but book not beside me! It does make me wonder re critics as
you say. Seen him many times on tv, playing and documentaries.
Was great with Previn, another of my favourites and they
used to be on BBC TV when I was young. Previn had a popular
series here. I could wax lyrical on Andre. Please remember I am
not a pianist or trained musician. I have compiled memory books
on all these favourite people, Cliburn, Ashkenazy and others
and singers etc. So yes, I am great enthusiast! I may email
you again! I am struggling to get time to listen to my
own records as well. Thank you Arthur. Ps. Previn and LSO
Rachmaninov Symphony 2. Had LP in 70s and CD now.
Definitive recording for me. I have Ashkenazy book.
Insightful into life in Soviet Union. Love Rach 2 piano with
Previn and Ashkenazy. They seem to play as one.
Is symbiotic the right word?
Arthur, I sent you a much more detailed reply re Ashkenazy
but it seems to be chopped off or edited. Is this because
was too long or Cliburn site? I told you re my love for
Previn and Ashkenazy on tv and record and that Ashkenazy’
book was insightful on Soviet Russia and a lot more.
No puse anuncio.
@GH1618: You've named pianist in the wrong category. Of course jazz pianist, even Joplin could play this music. But, did they want to. Let's choose American classical pianist. And there were ( are many ). John Browning. Julius Katchen and Eugene Istomin. Byron Janis and Gary Graffman. All these guys were performing at the same time as Van's getting the adoration from the Russians. He just happened to be at the right time and place. His temperament certainly played a big part in his success. A truly nice man. Not smug or full of himself. Unlike some other famous performers during the same period.
I was not going to comment anymore, but I have two cds of William
Kapell I have yet to play amongst others. I have heard him but need to
refresh. I am no expert or musician but I think Van’s luscious sound
made him special, especially in Rachmaninov 3 and his charisma.
He seems to have been very likeable gentleman. I will play Katchen
record too.
@Farazissimo: Unfortunately, I can't disagree with you on this point. I've only seen the score probably once. I do like Cliburn's pressing over Watts. Due only to watt's tackling the piece so many years afterward. As for Macdowell's echoing the Saint Saen's 2nd? ' never noticed this comparison. The S.S. being my least loved works by him. Of the five concerto's. My preference is the fourth, ' Robert Casadesus' rendition. The 2nd in my opinion is overplayed; A favorite of no less than, Artur Rubinstein. I will look up the recording by Sanroma, and listen to your critique on the cadenza.
@Charmaine Morley: First off, Charmaine. 1. You've never referenced Andre Previn; perhaps my mention of, Andre Watts got mixed up with his first name: And while we're on Mr. Previn. What have you heard him perform ( the piano, that is ) because he's spent his last career as a conductor. As for Mr. Ashkenazy, you said you've heard him talk; never mentioning his book. Same for Mitsuko Uchida. ' great as she is, and her, ( talking?? ) she specifies in the music of Schubert and Mozart. Have you heard any one of her recordings of Schubert's sonatas ? What about the one in A major op. Posthumous; ...like, compared to Mr. Radu Lupu's pressing of the same piece. And two: I've given you works of music you should listen to; like ( since we're on Mr. Ashkenazy), the Chopin Etudes, op. 10, and 25. Also, have you found the recording of him playing Prokofiev's 2nd concerto?? Lastly, when it comes to music, very little gets lost for me, especially if it is good music. I've given you works of music to listen to ( " if you'll accept it, Phelps " ) Alla " mission impossible ". And you in return come back with ' name dropping '. Artur Rubinstein's book is in my library, but except for a few anecdotes. I have no need to mention them. Why? Because it's the music most people are interested in. Not how well they speak. Finally, I'll leave you with another work by, Paul Hindemith . Tell me what you think of it. And please, do find the time to listen to it. It's a sonata for the piano. Hint, hint...
I can only answer in that my circumstances I would have found it
impossible to listen to all the recordings you mentioned by now.
As for name dropping, I have only mentioned the artists I am
interested in so far because their personalities fascinated me
as well as their abilities to perform. We do get to hear artists
talking on radio in the U.K., particularly the BBC, as well as
a performance, and that is appreciated here. Ashkenazy’s
book is Beyond Frontiers but you will know that with
your knowledge. We must be different ‘over here’!
Some of your wording, alas, is slightly incomprehensible
and I think you are expecting too much in a very short
time. The Proms start tonight and we are used to having
conductors and performers being interviewed. It gives
a bigger picture. I am afraid I will finally have to leave
it there altogether.
Ps. This website is devoted to Mr Cliburn playing Liszt. I feel
it is totally inappropriate to be posting at length re other
pieces by different performers. That is my view and my
absolute final word.
20. -------24 ....lo sigo escuchando . .😂
@Farazissimo: The Cliburn collaboration with conductor, Walter Hendle is well known; I had it on LP for years, losing it amongst other treasured recordings. A dreamy and mysterious work. Somber, but delightful writing. I love the finale with its finale chord by the piano preceding the last word, so to speak( chord ) by the orchestra. Andre Watts plays the work as well. But plays the final chord as a staccato. Leaving off the sound of the piano with the orchestra. My only dislike of his performance.
Am I the only one that has difficulty differentiating #12 with #6?
@Charmaine Morley: The Chopin B minor sonata that is. More on Mr. Cliburn?? A friend of mine like so many others were reticent about his playing, mastery, If you will. This was due to jealousy and of course, Vladimir Horowitz and his dominance of Rachmaninov's third concerto. Many wanted to place Cliburn right up there with Horowitz. It was a mistake of course. No one compared to him. Even so today. Cliburn COULD PLAY!!! No doubt about it. He was a student of a student of no less than Franz Liszt. Check out his ( Cliburn's) playing of Robert Macdowell's concerto in D minor. And, it was the Lush performance of Prokofiev's 3rd concerto that my girl liked by him over Kapell's playing, same piece. There is a recording of Kapell with Stokowsky that is better than the one he did with Antol Dorati. The latter is too percussive in the 3rd movement. Enjoy!!!
Thank you so much, Mr Hogan, for your two kind replies and suggestions
for listening to Kapell and others. Have only just read as been watching
Van on dvd and was checking for comments. I have been searching
my collection for Rachmaninov 2 with Kapell and I have yet to
listen to Van in the McDowell. I take note of what you suggest
and will try and find to listen. Your comments very interesting.
Many thanks. Yes, I suspect some were jealous of Van. He had
the charisma too and stage presence.
Su llegada a E U.
@Charmaine Morley: Regarding his appearance in London. I had never heard of a negative critique of Van's this horrible. Music critics, many are the worst. They'll attack the Artist's performances, without knowing how to play the instrument themselves. There was nothing shabby about Van Cliburn's playing or interpretations of the works he performed. Artur Rubinstrin got a similar reaction when he performed in, Germany. I believe it was there. He was furious. And vowed to never return again. He kept his promise. Much to their loss.
I agree re Van and the great Artur Rubinstein too. It must be terribly
crushing after the practice, preparation and for those with nerves.
When young I relied on reviews from Gramophone magazine here
but would not do that again, that was for choosing records.
Might have been responsible for my missing Van and a few
others. Things are different now. I feel sorry for the rejected
artists. Thank you for reply. I can tell you are really
interested in the subject.
extraterrestrial !
La. 12
ME ENTIENDEN ????,,,
Es MIO EL CEL
@Charmaine Morley: In response to your large list of singers, I'll start with my favorite tenor during my lifetime, Mario Lanza. An inspiration to even such greats as, Placido Domingo. And, Luciano pavarotti. I'll not go into detail as to why it was important. But, it was needed ( when considering those jealous critics we've discussed). Jussi Bjorling( spelling here )? Long regarded as one of opera's greatest tenors. I never liked the tone of his voice, though a pure tenor quality, as experts assign to tenors. I'll not name twenty or more I could come with. But for the moment, plus some Arias: " Oh! Mesa Mi, fr: " daughter of the Regiment "; Pavarotti, or Domingo. Same for " Verdi's big aria, his Requiem: " ingimisco " . Both these guys. But Domingo's earlier recording when he was very young. As for the ladies, Joan Sutherland, Maria Callas and Anna Moffo. De los angelese ( spelling ) also. But, beautiful voice. Elisabeth Schwartzkofp. Hear her Bach recordings. In movies, Jane Powell and Katherine Grayson. But back to opera. The big, big voices of Birgit Nielsen and Jesse Norman. As for your love of Gordon Macrae. Sorry, I loved the guy as a actor ( good looks ). But a very trained voice in my opinion. Howard Keel was the one. ' Could easily have done opera. The baritone with the really beautiful voice for me? Mr. Robert Merrill. Check out his rendition of " Nemico De La Patria ". From Andrea chenier. If you can find it. The Wagner guys?? Lauritz Melchior, of course and a guy named Set Svanholm's " Prize Song." Die meister singer. Ben Heppner too. True bass voices, Gottlieb Frick: Wagners' Hagen and murderer of Siegfried in' Die goterdamerung ' his last installment of The Ring Cycle. Dietrick Fischer Dises-kau plays ' Gunther ' in this work. Also killed by Hagen. Sir, George Solti conducts this version. Most of today's artist in opera I'm not very familiar with. Having left off of this venue for the piano, a long time ago. Also, Birgit Nielsen is Brunhilde on this recording.
Interesting but a lot not my favourites. Will have to agree to disagree
or rather stick to our preferences. Am not in a good place right now
so will have to leave it.
I am back temporarily. I did send you a while back I had
boxed set of Ruth Slenczynska to play and that I thought
Ashkenazy a decent humble man and fine player and
speaker and
Mitsuko Uschida great talker too. Think got hidden in
replies. I do love Schwarzkopf and Jessie Norman etc
so did agree on some things! Another dreadful
Amazon review was Cliburn was a robot and so
were other pianists of 50 s, 60s and 70s. Unbelievable!
Just thought I would say as did not want to leave
abruptly. My friends loves Robert Merrill by the way.
Hope you manage to find this.
@@charmainemorley2197: First off, music, and performers, especially professionals in this area of Artistic accomplishment, the adoration of fans will always be a matter of choices. As to whose favorite, in singers, it is so much easier; either you love a guy or womans' voice, is in your own ears when hearing them perform. With instrumentalists, there is the difficulty of the work being performed; hence the afore mentioned Prokofiev 2nd concerto. Or, Robert Schumann's " Toccata " . A piece it is said that even Vladimir Horowitz had to wrestle with because of it being so hard to play. I never wanted our communication to evolve into an agreement or disagreement competition. You mentioned Franco Corelli. And in responding, I forgot to reference him; my wife loved his voice. And so did I. I can rattle off reams of scores of works, in voice, orchestral and of course, the piano. In the end however, it is the latter I've spent most of my lifetime studying. As for Van Cliburn being a Robot?? ' never heard that one. Nor of any other classical pianist I've heard and seen on the circuit. With the exception of, Mauricio Polini. We saw him perform Bela Bartok's 2nd concerto at Symphony Center in Chicago. I though he was somewhat stilted when walking on stage. Appearing in public with this music is no easy feat. No matter how hard you've practiced a work. Andre Watts programmed a piece on his recital engagements; it was by Ravel from what I remember. He admitted to having a problem with it in practice. And said that, on the day of appearing, he might not be able to keep it on his program. A really honest performer. Considering his masterful technical ability and facility. In the end, I do think he did perform the work in question. This is what makes classical piano so wonderful. I'm discovering composers on you tube I've never heard of before. A seeing their works performed by some of these guys. Its mind boggling, the difficulties. See you, later...
@Charmaine Morley: Dear Charmaine, in this little Tete a tete, you became noticeably snide in your responses; completely ignoring virtually everything I've said. In reference to your previous comments. Now, I'll be totally Frank, and pointed. You are not a musician. And you don't read music; at least not on the level of our discussion, big forms of classical music. Mr. Ashkenazy: And, Sergei Prokofiev. Had you known him as a compatriot of Vladimir. His 2nd concerto I mentioned. You would have grabbed up the score, and listened. Also, Van's performance of Prokofiev's 3rd concerto. Did you even care? Or just didn't know about it. I referenced no more than four or five pieces for your EDIFICATION. How would you not find the time to listen to at least two of them?? Uchida: You brought her name up at the beginning. And yet afterwards, not one word about her. Oh!! I forgot, you heard her TALKING in an interview. My inappropriate mentioning of other artist on Van's ( This Website, Liszt's) DUH!!!! Social media, my dear. Everybody has the right. Unless it's your own W.S. then you might get to dictate the rules. But once you're on, it's fair game. In classical music, and Jazz ( pianist ), it is utterly ridiculous to even think you can have a discussion without referencing almost every artist who has sat down and played this instrument. That is insane!! There is no exclusivity to even one performer. Finally, you don't get to call the shots and then stride off into the sunset of your life. Particularly when you are the student, and completely out of your element. Hindemith ( Paul ) for instance: I mentioned him because you said you loved Andre Previn. The Hint, hint was re: his ( Hindemith's) wonderful sonata played by Mr. Previn. You should GET IT, and listen to it. It has a great three part fugue. Or, is it four part?? You tell me. And, Coda: the Proms/ BBC. I'm sure Elgar's Pomp and Circumstances will be played. Along with Sir, William Walton's " Crown Imperial suite." And perhaps, some Ralph Von Williams as well. I could acquaint you with hundreds of works, from Baroque, to classical. Modern and Avant Guard. And all you had to do, is listen and learn. No mention of Keys, modulation or improvisation because you wouldn't understand any of it. And why should you?? You're like the business man or woman, who finishes the work week, and attends a concert for relief. A virtual lay person. A Fan who only loves great music. But knows nothing about how it's created. So, keep on listening to them chat. And by the way. We have the same option here in America too. But, we'd rather hear them perform.
That is absolutely dreadful, rude and untrue. How dare you send such
a communication to a stranger you know nothing about. I don’t think
the site owner would approve of this kind of treatment. Please
never never communicate with me again.
To Fairytale of New York. I have loved been on your site and others for Van
Cliburn but have now been on the receiving end of dreadful and offensive
comments from a Mr Arthur Hogan. I have been advised to report him
which I have done today. I am really sorry to post this, and I certainly
think the late Mr Cliburn would not have approved of such behaviour.
I am totally innocent and am now dissuaded from posting anything
on line ever again.
@Charmaine Morley: ' glad to hear from you again. And for a non pianist, you're very informed; referencing Benno Moiseiwitsch is, in a word, Huge! Rachmaninov? Of course. But, Mr. Moiseiwitsch? A well loved and deserved performer some years prior to Mr. Kapell and Cliburn.allow me to insert one more name whose fame coincided with that of Van's at the time. John Browning. Certainly one of my favorite pianists. His recording of Prokofiev's 3rd concerto is worth a listen in the Derby ( if you will ) of this sometimes over played work. And let's not leave off of the masterful technician, Martha Argerich. And check out her performance of Chopin's 1st ( actually his 2nd ) concerto in E minor. The first movement development section is unbelievable. This lady is the poster child for the way most of the ladies are playing the piano today; Yuja Wang amongst so many others. But, few can really touch her. In her youth, she was dynamite. She still is. Also, check out ( if you havent heard this piece) Prokofiev's 2nd concerto in g minor. Mr. Browning is great. But for maddening speed and natural facility, Vladimir Ashkenazy is the one here. My favorite of this piece is by a guy named Malcom Frager, who died untimely many years ago. A winner of the competition in Brussels Belgium in 1960. Great performance on LP. It may be on CD now.
Found awful website that said Cliburn most overrated pianist ever.
Exited quickly. Rest was unpleasant. In sleeve notes to Vans cd
Royal Festival Hall recital 1959, reviewer said Van was remarkable
and eloquent. Critics were not enthused. It was Van’s only solo
London recital. This sounds like snooty 1950s Britain. I was only 8.
I know there are other pianists but if we discouraged Van’s return
I am sorry. I will remember him on birthday 12 th July.
@Charmaine Morley: Ah, singers!!! More, you're well informed. So...who are your favorites,...and please, don't even mention, Led Zeppelin. We're talking Class here. Lol.
I have sent you a reply on more pianists elsewhere. Singers, well
Richard Tauber, Elisabeth Grummer, Hubert Ernst Groh, Bergonzi,
at one tine Franco Corelli, Joseph Schmidt, Conchita Supervia,
are all favourites and many more. Your Frederica Von Stade etc.
For theatrical singing Gordon MacRae whom I love. Too early in
morning to relate, but you get the idea. Jussi Bjorling,
Axel Schiotz Gerard Souzay, Leontyne Price and so on.
Hope that helps! Baritones too, just so many. That’s why
I said golden oldies, but there are more recents included
and that was in my pianist comments. Hope nobody minds.
This is a Cliburn site. Van’s photo is in my living room.!
Along with Oskar Werner actor. Who cares if OTT?
Not at my age! Many thanks.
20-------_23 🇮🇷
Su llegada a EE UU.
SI ES LA 12
No todos los Mejiiquinans
No fair ...the hands...the fingers are the size of carrots!
No la 2.
Desaprede la poobre gente es la 2
Por que rdvuelven a este gra pianizta con otra musiica tan difdrente es una vercuenza Mexico
@Charmaine Morley: Actually, Charmaine, more than just interested. I've studied the instrument. So I know how difficult this music is. As I said, so many critics earn a living reading history on the instrument in question. Then, compare great Artists of the past in comparison to today's performers. It's not fair. Because there's no way they can hear or witness these guys who've passed away years ago. We do have stories about their prowess though; Josef Hoffman and Simon Barere. ( the latter not so long past ) the former, Hoffman along with Leopold Godowsy are legends. With Scores of the Budda's ( Godowsky's) music to resort to. I know of one sonata by Hoffman now on You Tube.' Difficult as heck. Godowsky's output? Virtually unplayable, except by super virtuosos. Even Mr. Hoffman was in awe of the Budda. They both however are reputed as to being able to hear a piece first time. And sit down and play it back perfectly. Figure that one out. It's Godowsky who transcribed Chopin's Etudes: the opus 10 I know of. Making them even more difficult. If you can get both versions, Chopin's and then Hoffman's work. You'll see what I mean.
So sorry I forgot you were a pianist. Your comments are way above
me but of course I have heard of Godowsky and Hoffman. but I get
the comments about critics and performers now and in past.
I do have a passion for golden oldies and that is with singers too.
Today would have been Cliburn’s birthday. Wonder if any of his
devoted admirers remembered. I respect all the hard work that
goes into performances, and tremendous difficulties. Thank
you for reply.
Postscript. Just in case you think I am besotted with one
pianist, and yes I love Cliburn, I have long been admirer of
Vladimir Ashkenazy who is a great speaker on music
and composers. A kindly humble man I would think.
Mitsuko Uchida another fascinating talker, especially on
Schubert etc. She is absorbing. Thought I would say
and there are other performers, but I am not an expert.
Still have loads to listen to. There is a Polish American
pianist first name Ruth S. whose boxed set of Chopin
I have to hear completely. Should have checked
spelling. Read her book as teenager.
Ruth Slenczynska is the name.