Chopin Nocturne No 13 C Minor Myra Hess Rec 1948
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- Опубліковано 21 січ 2009
- This is a transcendental performance. Transcribed from a live 1948 radio recital,, I know of no other recorded interpretation that surpasses, or perhaps, even equals, Myra Hess's conception of this work
When I first heard Myra Hess perform, I was a youth who mainly appreciated her encores, which included Brahms' C major Intermezzo and her own Bach - Jesu arrangement. Now listening to her immortal performances, such as Beethoven opus 109 or 126 #3, or this recording, becomes a privileged inspiration, allowing one to go deep within, to a place where
we may feel prompted to reinvent our own courageousness in life.
This is the only version I can listen to now.
The grief she conjures up is annihilating.
What a way to put it, yeah.
I think this is a sublime performance. She might go against some markings in the manuscripts but it makes perfect musical sense. And what a sound, what polyphonic playing. I remember her proms performances from the Radio when I was a child. A truly great musician.
I can't believe she did this in a live performance.
i can't imagine how much genius it takes to compose masterpieces like these, and the talent it it takes to perform them to its full potential.
Monumental, larger than life performance!
Priceless!
It is difficult for me to type this because of the tears in my eyes. Recordings of her playing Chopin are extremely rare, and I had no idea this one existed. This now superscedes my prior favorite by Hofmann.
Dame Myra has been, for the past half-century, and remains my very favorite pianist.
Thank you so much, Beckmesser2.
snaaptaker j. Af
I always love hearing the live performance recordings, It shows, imo, the true performers art! This is one of the best I have heard..
1948？It's so precious
I was so tired practising this piece for 4 hours. I feel so lucky watching this video. My soul is healed.
with this , and hearing MH at Carnegie Hall in a performance of Chopin's Sonata OPus 35, performances of depth and nobility hardly -heard today.!
I agree!
it's hard to play Chopin Nocturnes slow! so many people play them too fast these days that the right tempo comes out as "too slow" to some, whose only way of understanding music is by "peer ranks". thumbs up!
This is truly a fascinating and commanding performance...Myra Hess was known for disliking the recording studio, having been quoted as complaining about "that little red light"...there must be more live recordings of this great artist, in concert or from radio broadcasts still floating around...let's hope more of them resurface!
What an inspiration! What a grief! Heartbreaking...
Thank you so much. This is beyond the beyond!
The sound of the celestial night raining stars.
Thank you, this is incredibly beautiful.
STUNNING is the word!
Surely one of the darkest, most profoundly pessimistic performances of any Chopin work I know. Every Chopinist must come to terms with this interpretation. D.T.R.
beautiful
I've commented on this a few times. This performance is astonishing. Truly transcendental like the uploader said.
One of the greatest musical Events ever recorded. Astounding.
Astonishing!
It was great...
On page 99 of Marian McKennas, Myra Hess, a Portrait, she writes, Of all of the magnificent executants of the golden age of pianists produced it was Paderewski Myra idolized above all the rest.
Best performance I've ever heard! Not too much(g Hoffmann) or too little(eg Rubenstein). Incredible.
The Josef Hofmann performance was done after he was headlong into an alcoholic world, so I would not use that for comparison.
One of those rare performances in which the musician seems to be improvising..
Yet Paderewski was Myra's favorite pianist! She adored his playing. She played a fair amount of Chopin, including the b flat minor Sonata, several shorter pieces and a couple of scherzos. She loved the f minor Ballade but was terrified of the last 3 pages and so never played it in public.
wOW. this is the best Chopin Nocturne interpretation ever. I have listen to all the other interpretation played by other well-known Pianist and past Chopin competition winners. no other interpretation comes close to this. As for the Nocturne 48-1, I only listen to this one and one played by Maria Joao Pires. I think woman Pianist play this piece better than male pianist for some reason. when I listen to other interpretation, I just cannot feel this melancholy conveyed in Ms. Hess and Pires' interpretation.
聆聽Hess演奏此曲，彷彿經過淬鍊一般！
有時候速度一慢會令人失去耐性，
但Hess的演奏卻釋放更深沉、更耐人尋味的訊息。
聽音樂不停思索深沉的意義，混亂的思緒不停翻擾，
隨後「似乎」找到妥協的可能般，文思泉湧後的答案，
又是另一翻值得深思的道路,,,
That's the damndest thing I've ever heard!!!
Magnificent! To my knowledge, Dame Myra didn't play a lot of Chopin, but she was such a consummate musician that one wishes she had played and recorded more. At first I thought her tempo too slow, but now I see the logic and integrity in this performance. The chorale-like "B" section is wonderful; she maintains the line through all the octaves, and doesn't abuse rubato, unlike the vapid and mannered approach of some old-timey pianists like Paderewski. 5 stars--I'd give it 6 if I could!!!
What stops you from giving her 6? Giving it 6 stars would break the silent rule of your made up reviewing system? Or you're only left with 5 stars after having wasted all the others on some random shit?
@samhtliu
That's so nice to hear your agreement with me.
Her playing is full of thoughts that build up the possibility to make us review and rethink.
The soud contains deep,light,heavy,storial...all kinds of expressions of piano playing.
I believe she's a great teacher,musician and artist.
She also play an important role in British's piano playing.
Anyway,Hess is so amazing.
That's pitty that tthe amount of her playing on youtube is too few to know her.
Incredible! Thanks for posting this.
Now if somebody could restore those damned skips/overloads...
One of my favorite chopin nocturnes, 5 stars
Incredible, very moving, Thanks Chopin, Dame Myra @ Beckmesser2
great piece
you might want to include in the title of your video: Op. 48 No. 1...cuz i was looking for the Hess version of this nocturne and didn't think it was this. clicked on it anyway and well, it's the one i was looking for!
Myra Hess has many qualities in common with Vladimir Horowitz.
The sound , the legato, the phrasing which gives another dimension to this piece of music.
It must have been great to hear here live, as this recording was not able to capture her powerful play as it should have.
So dark. Three years after the war. And, all that happened to Poland. I wonder.
Is she even a Jew? lol
@@MrFartyman44
Such an interesting reply. Assuming you know of the unbelievable horrors that occurred in Poland during the war, would not anyone respond to them with some element of darkness, whether she was Jewish or not. Not exactly an lol matter either way. Myra Hess was Jewish, should that be of interest to you. Anyway, great and profound Chopin it is.
Yes, she played it for me. Told me I played [just] one small phrase on the first page that showed talent - was only a young teenager (however she did let me play a movement of the Rachmaninoff 3rd (herself accompanying) some months later in her yearly recitals. Doubt that she recorded this nocturne, but do not know.
I have added the opus and number to the tags. Thank you.
I have placed the Hess recording on my channel
@Beckmesser2 i wouldn't say surpass but among with hess i would say gilels recording from 1949 which is on a video here on you tube and of yakov flier, unfortunately not avaliable.
I might add...just listen to some of Paderewski's recordings and contrast them with those of Myra Hess--you can immediately see that each held very different musical values, including attitudes towards fidelity to the score. Is that wanting to see the same in art?
🏵️🎶
it is a very great performance but I find it a little too slow .... I heard Artur Rubenstein play this once in recital and I think I cried.
You can hear the pain of WW2 (I know it was composed before the war)
Perhaps--but through very different angles!
Myra Hess' monumental largesse is similar to Ethel Leginska's in this piece. Perhaps except for the chorale section, which Leginska said Anton Rubinstein could make hearers weep from his prayerful tone, rolling the broken chords with quiet majesty. Both Hess and Leginska occasionally pulled back grand climactic points to an instant inverted dynamic of piano. Makes me think of sobbing amidst unsettled hysteria. And visions of Pere Lachaise.
To me it is an amazing performance .May be , as so named Johaness Brahms says in his comments ( 6 months ago ) : " she might as well have put her name on the piece and ignored that Chopin had anything to do with it " , is right , but I say so what , because Myra Hess certainly upgraded the meaning of this wondeful piece .
I wonder what period it was of her life that Hess is supposed to have "idolized" Paderewski. Dame Myra would have been a young girl when the Paderewski craze was still on--I wonder if she would have felt the same way about him in her maturity--certainly no two artists could have been more different!
Ironic, to say the least! Paderewski was widely admired by some of his colleagues who admired his tone, among other things. Yet some professions had open scorn, even contempt for his playing, citing rhythmic inaccuracy and technical limitations. Rosina Lhevinne thought him "overrated", and my own teacher Gyorgy Sandor called him "an amateur". He did have tremendous charisma in his youth, however, having something of the effect of a matinee idol on women.
Very interesting. But abstract painting is another subject altogether.
hi I was chadmaster but cos of google am now chad414
She definitely takes a lot of liberties here. Some of them are very interesting, especially how she opens the doppio movimento section not with pianissimo as the score says but in a very stormy fashion (though the sudden switch to pianissimo afterwards is hard to understand). In general I don't find this to be a very convincing/natural performance, and the tone on the right hand bothers me, though it could just be the recording quality. My vote still goes to Gilels and Ashkenazy for this piece!
Mais non, je ne suis pas d'accord ! Il n'y a aucune tension, ni aucune vision dans cette interprétation qui avance à la vitesse d'un escargot !