Opinions of Cortot vary greatly. Rubinstein, according to Daniel Barenboim, always spoke quite negatively about Cortot, and Rachmaninoff often poked fun at Cortot's technique, or lack of it. If you want to read about Cortot by one of his students, read Ruth Slenczynska's Forbidden Childhood, which contains a wealth of anecdotes about Cortot and Rachmaninoff, both of whom she was studying with at the same time, and neither of whom realized that the other was teaching her.
My teacher was a student of Cortot. Wonderful to see and hear this here. I adore his playing. What a sound! His tone was so beautiful and the thought behind everything he did was so refined. Very very beautiful! Cheers... Phillip Wilcher
+John K I'm definitely not a classical music "expert" by any means but what is the basis for your statement? Don't you concur at least that this man Cordot was a solid innovator and a most accomplished musician. If not please tell the vast world-wide audience why you dis-concur? Thanks.
I should point out that the book Forbidden Childhood by Ruth Slenczynska is out of print and can be extremely hard to find, but if you can get hold of it from a library, you will be fascinated by the stories she tells about some of the greatest pianists in history.
Wow!! That performance of Chopin's Waltz.. As soon as he touched the piano, I really felt all that emotion he expressed through the piano. I can't believe it! :o I've never felt something like that with today's pianists.
Direct lineage to Chopin ....student of Emile Descombe ..something must have rubbed off. Just pure joy to have the privilege to watch it nearly 80 years later. Only youtubers worry about the wrong notes.
Cortot's recording of the Chopin preludes is incredible. And his virtuosity is amazing in the B flat minor prelude. Alfred Brendel said that Cortot's playing in one of the Brandenburg concertos was the finest playing he had ever heard.
that's damn true. and this video proves it! he enters the keys like butter and the sound that comes out is amazing. you can learn so much just by watching him.
I herd this recently by another pianist and I said to myself where and why did it sound familiar, and then it dawned on me. I feel in love the with way Mr. Cortot played it... no one plays like him
See also my own contribution on Cortot from two distictive phases in his development: 1927 when still relatively young (50!) and 1954 (77!). I'm preparing a second one with his very last 1957 recording with an étude inside at the age of 80. So there was nothing wrong with his technique, he just focussed more on expression. And taught many pupils of his the same. Nowadays it's all about technique though, we should recapture his spirit instead
Thanks for your concern. The other half of the video was cut into another part. Unluckily, the quality is what we can have from the DVD which a lot of people have now. Looking back, this video was put more than 2 years ago and there were virtually no other Cortot music files. Now things have changed, people still can appreciate old masters.
nowardays paper worshippers have taken over the classical scene, nobody's anymore playing this music like the old guys did to please the ears of a layman like me, who really dont understand music at all.
@nickthegreat998 Thank you, Nick, for stating the truth: Cortot had tons of technique. Cortot also had a noble tone, and among the boldly original interpretations of Chopin every recorded. And I really don't care very much about occasional inaccurate notes when listening to great artists.
You haven't heard one of his trainwrecks yet. He had them semi-frequently but nobody really cares because his playing is phenomenal. It's all there mind, body and spirit.
A smile trying to hide tears, was the burden of (one of) Cortot's remarks about this piece. If anybody on this page hasn't seen it, I recommend Thomas Manshardt's book Aspects of Cortot.
thanks for replying.I agree with you.But,it's the only document left about him in which we can see him playing.There is also a Debussy performance,but that's more a movie
Perfectly agree with you.Cortot had one of the very best techniques of all time,which is fairly evident or by his early recordings or through his "editions de travail".When he gave recitals in the early 20s' in New York,the critical NY press said he was one of the best,"some egal,but no one better".In terms of stly,he is so personal and noble,caracterised by his incomparable timbre and phrasing.
Barenboim was after something that he could not quite express satisfactorily. He might simply have said that Cortot seeks out the musical aspects that make any particular piece distinctive.
There has been a misunderstanding. When Clara died at the age of 60,which is a tragic loss, Cortot addressed a touching condolescence speach at the burial.
Actually, my great teacher Pnina Salzman, who was a student of cortot, told me that she attended a concert in which Rachmaninoff Played his third concerto, and Cortot conducted.
Is that really true because the other dude declared that Rachmaninov couldn't stand Cortot's playing(allegedly) in addition to (again allegedly) Rubinstein couldn't brook Cortot's style. I have no opinion other than I would like further elucidation by the more erudite amongst us here. Thanks.
@@JBCo2012 rachmaninoff made fun of cortot for his mistakes, but i dont know if he “despised” it. I believe rachmaninoff was present for cortot conducting the rach 3, but it was actually horowitz playing, not rach himself.
On that piano everybody play the same, i had one too, the sound is so dirty and metallic that u dont have to do much to play well. And the keys flyes guys, literally your fingers come up so quick and the height of them keys is soo light and they are even lower from botton of the keyboard. What i'd say? So much comfy from modern pianos that i would keep one of this with not asking twice
At the end 60s',Pleyel was bought by an insurance company.But since people prefered to buy a car and frigeraters and so on,no investment was put on the table to assure the continuity of workers and artisans.Pleyel was then sold to a German piano company.
I couldn't agree at all. This type of sound take a lot of perfecting. If you don't attempt to understand this style when younger then it won't magically reveal itself in later life. The attitude of 'saving things for later' is almost certainly the reason why most pianists are boring today. They never even tried to do this sort of thing.
This reminds me of something a piano teacher said to me several years ago. I'm an advanced amateur who has had the good fortune to study with excellent pianists during my adult life. The best was Sylvia Kersenbaum, a contemporary of Argerich who had the same teacher. Sylvia has some great fingerings for Chopin etudes. She also had some very interesting hand switching in the Hammerklavier fugue, in order to get better sound. Fingering was always for sound, first, and not ease of playing. She does the Winter Wind with 545454 almost all the way down. It's not easy but you get great control and even sound. Well, one day before a lesson I was playing the Bach WTCI C# minor fugue. Sylvia said, "That was so beautiful. I can tell you learned that when you were young". That was a bittersweet thing to hear. Of course she was right. She was incredibly perceptive. This anecdote supports the idea that you can't put off musical growth til later. Of all the things that happened in lessons, she was never happier than when I was able to play a cadence in the cello etude (op 25 no 7) with crescendo in the left hand and decrescendo in the right. Simple notes but great art.
Take note, yes, but do not try to imitate. Cortot, like contemporaries, represents a style and sentiment of playing rooted in the 19th century. It is an "extraordinary" style of playing: altering rhytms and tempo almost constantly, and should only be attempted after many years of study, if at all. I even wonder how much of it Chopin would approve!
Chopin wrote quite a bit about rhythmic alterations. I'm quoting from memory but I believe he thought the value of the bar should be the same, with rubato very free. Also, the left and right hands did not have to synchronize.
Since the sound is a semitone sharper than on today's piano, that means that today's A is a semitone LOWER than it was in this recording, i.e. today's A would sound like a B flat on his piano. I wonder if the sound track and video are running a bit too fast? Because from what I've read, pitches have been steadily rising over time, and this discrepancy here would indicate the opposite.
I agree with you that Cortot had a very personal playing,with is of highest taste and acristocratic,and so,"extraordinary",technically extremely demanding,which was the reason he could not play without wrong notes in his late years.Why bother anyway?
What is the chromatic scale for us dilettantes just making our musical way, here on UA-cam? Can you please explain it succinctly for us laymen? Thanks. And also is it used a lot today in classical music (or any other genre for that matter)?
@@JBCo2012 Chromatic scales consist of half steps only. But, they are definetely not the most striking aspect of the music by masters i.e. Chopin. In my opinion, the comment of this user above us is nonsense - I don't mean it to be mean here - simply because chromatic scales are most oftenly nice effects. Yes; they are still used today. But, I think that they are not that likely to find in the Baroque era. If so, then not often. But Mozart, Beethoven and Haydn, for example, used them quite often. What is way more important than a chromatic scale though is chromaticism. It determines the tonality and enables us to listen to an eternity of possibilities for wonderful harmonic progressions. If we take C-Major and we play notes which are alien to the tonality (so you use different notes than the C-Major scale gives us), then we can already call it chromaticism. In our C-Major example, the use of f sharp or c sharp etc. belong to this term. We use it to modulate and to arrive in different tonalities. My explanation might be too complex and misguiding, since English isn't my native language, but I hope that I could somehow help you. Have a good day!
Speaking of Pleyel,today no more Pleyels are made in France. The craftmanship, the know-how is lost forever.Reasons are quite long to explain,but just remember if you see a brand new Pleyel, it's surely made in Czech.
I don't like Barenboim, but I love his description of Cortot searching for the "opium" in the music. I also found very interesting Cortot's technique: flat, taut fingers, with wrists occasionally digging inward/downward. Much like Horowitz.
Timbre is a french word,I don't know how to describe it.You can listen to Cortot's london recordings at early 30s' to have a taste of yourself. Steinway had a very successful commercial policy at the debut of its US factory.And since pianists went to US,we all know the after.
16 років тому
These other pianos seem to have a more shallow sound whilr the steinway has much more depth, resonance and projection. On a really good one this depth can seem "bottomless", as though there is always more tone available. I hope this explains
Many stories about Chopin... Biographies say different things. Anyways, one of them says that Chopin used to choose the piano he played according to his physical condition (mental too, for sure). There was one easier to play, but if he felt strong enough, he favoured the one harder to play because of it's sound qualities. I suppose that the character of the compositions played a role too. Pleyel must have been one of these. But he could not always choose the instrument freely...
Sorry, but i don't know which Chopin Etude is played in the second part of the video. It should be the same as the one performed by Horowitz in the silent movie.
Yes, exactly Libetta. Richter after all played on a Yamaha and made it sound great (check out his live TOKYO prfmns.), so sometimes it's the player -- and playing -- that counts, not the instrument! sd goh (malaysia)
I agree with cziffra1980. If teachers today would expose young students to pianist like Friedberg, Lhevinne, Hoffman,Feinberg,ect.. Maybe we wouldn't have so many boring pianists in the future.
You mentioned TEACHER...without Cortot would we have had Lipatti or Haskil? If there was a greater interpreter of Chopin, I have yet to discover him (or her). His Chopin was the REAL Chopin (though I couldn't do without his student Lipatti's Chopin, or that of Novaes, Friedman, or Hofmann--all of them ARISTOCRATS of the keyboard).
Such suave elegance is not to be denied,nor is his intellectual prowess. However, I cannot understand how such a poetic musician could be a fascist sympathizer. I feel that a sense of humanity is so integral to such profound artistry.
Supposedly he sided them in the belief that it may have been bad for his country (towards which he felt little patriotism) but in the best interest of the musical community. Perhaps a little bit of imprudence in other aspects of life is a common price to pay for genius. Or maybe he was just crazy, something of an unexplainable sort of quasi-evil?
I am not saying this is not true... It is just the first time I have heard this. Could you explain to me where you learned this, and it would be even better if you could send me a link of where I could check this out.
Note how he plays his instrument so naturally, without excessive physical tension or unnecessary movements/facial expressions.
"He could play the right notes, too, if he needed to, but he just didn't bother too much". Love it.
Opinions of Cortot vary greatly. Rubinstein, according to Daniel Barenboim, always spoke quite negatively about Cortot, and Rachmaninoff often poked fun at Cortot's technique, or lack of it. If you want to read about Cortot by one of his students, read Ruth Slenczynska's Forbidden Childhood, which contains a wealth of anecdotes about Cortot and Rachmaninoff, both of whom she was studying with at the same time, and neither of whom realized that the other was teaching her.
I have watched a couple interviews with Ruth, I found her delightful. I didn’t know she has written a book, thanks for bringing it to my attention!
My teacher was a student of Cortot. Wonderful to see and hear this here. I adore his playing. What a sound! His tone was so beautiful and the thought behind everything he did was so refined. Very very beautiful! Cheers...
Phillip Wilcher
Cortot's recordings of Chopin's Ballades capture the soul of Chopin as no other pianist ever has.
+Farah Beal you Cortot jockeys are quite a cult aren't you
+John K I'm definitely not a classical music "expert" by any means but what is the basis for your statement? Don't you concur at least that this man Cordot was a solid innovator and a most accomplished musician. If not please tell the vast world-wide audience why you dis-concur? Thanks.
I like rubinstein's the best
@@John-thinks You are right, dear, de are :)
@@John-thinks You are right, dear, we are:)
I should point out that the book Forbidden Childhood by Ruth Slenczynska is out of print and can be extremely hard to find, but if you can get hold of it from a library, you will be fascinated by the stories she tells about some of the greatest pianists in history.
Thanks for sharing this vid.
My friend's piano instructor was apparently the last student of Cortot's, so this was nice to see and listen.
Ruth Slenczynska?
listening to cortot is a truly unique experience, imho he plays like no others
he was simply a genius!! he lived in an other world
Wow!! That performance of Chopin's Waltz.. As soon as he touched the piano, I really felt all that emotion he expressed through the piano. I can't believe it! :o
I've never felt something like that with today's pianists.
And you won't feel It...
Direct lineage to Chopin ....student of Emile Descombe ..something must have rubbed off. Just pure joy to have the privilege to watch it nearly 80 years later. Only youtubers worry about the wrong notes.
Emile was just a teenager when Chopin gave lessons in Paris.
Nonetheless he took lessons
@@MullahSteinberg yes
Cortot's recording of the Chopin preludes is incredible. And his virtuosity is amazing in the B flat minor prelude. Alfred Brendel said that Cortot's playing in one of the Brandenburg concertos was the finest playing he had ever heard.
that's damn true. and this video proves it! he enters the keys like butter and the sound that comes out is amazing. you can learn so much just by watching him.
I herd this recently by another pianist and I said to myself where and why did it sound familiar, and then it dawned on me. I feel in love the with way Mr. Cortot played it... no one plays like him
what a fantastic musician. thank you for posting such a great thing
"He looked for the opium in music." And, oh, he shared it with us. Exquisite.
Opium.
what a delight... one wants to keep listening and listening
Un beau document d'archive d'un grand artiste.
He combined passion with poetry, elegant.
L'anima di Chopin, in lui come in nessun altro... almeno, per come io lo avverto.
by far my favorite performance of this piece by anyone.(the chopin waltz)Probably one of the most beautiful tones ever .wrong notes or not
Hihi, funny last sentence from Barenboim there. I adore that waltz in Cortot´s hands. He really touches the core of it.
It's a Pleyel. Chopin used to prefer them for their sensitivity to touch. They are still produced today, but one must have them imported from Paris.
See also my own contribution on Cortot from two distictive phases in his development: 1927 when still relatively young (50!) and 1954 (77!). I'm preparing a second one with his very last 1957 recording with an étude inside at the age of 80. So there was nothing wrong with his technique, he just focussed more on expression. And taught many pupils of his the same. Nowadays it's all about technique though, we should recapture his spirit instead
12 people dislike......God, forgive them
chacun a son gout.....
Right, but as someone who has attempted this piece, I think they "dislike" his interpretation of it. It is a bit unusual.
They are beyond forgiveness.
I think it’s the fact that Cortot was a nazi collaborator
@@34jared
It’s VERY unusual, but I still liked it.
Lovely touch, great control of a Master.
Thanks for your concern. The other half of the video was cut into another part. Unluckily, the quality is what we can have from the DVD which a lot of people have now. Looking back, this video was put more than 2 years ago and there were virtually no other Cortot music files. Now things have changed, people still can appreciate old masters.
Chopin Waltz No.9 in A flat major, Op.69 No.1
I could read what he was playing just seeing the keys he played.
nowardays paper worshippers have taken over the classical scene, nobody's anymore playing this music like the old guys did to please the ears of a layman like me, who really dont understand music at all.
@nickthegreat998 Thank you, Nick, for stating the truth: Cortot had tons of technique. Cortot also had a noble tone, and among the boldly original interpretations of Chopin every recorded. And I really don't care very much about occasional inaccurate notes when listening to great artists.
A first-rate artist playing on a fairly beautiful piano.
You haven't heard one of his trainwrecks yet. He had them semi-frequently but nobody really cares because his playing is phenomenal. It's all there mind, body and spirit.
Semi-frequently? Wow.... Interesting phraseology? Lol
Any synonyms for that word, off the top of your head? I reckon intermittently would suffice.
@@JBCo2012bro wtf 😂
Nadie como Cortot 🌟 se pasó su vida corrigiendo Chopin lo que llegaba equivocado ,esto es legado muchas gracias 🙂🌟🌟🌟🌟
ALFRED CORTOT IS GENIUS !!!!!
2:52 - the silent movie of Cortot playing is Chopin op 10 no 1
He was vivian florian's teacher. Check her out as a current octogenarian pianist.
My piano hero.
A smile trying to hide tears, was the burden of (one of) Cortot's remarks about this piece. If anybody on this page hasn't seen it, I recommend Thomas Manshardt's book Aspects of Cortot.
thanks for replying.I agree with you.But,it's the only document left about him in which we can see him playing.There is also a Debussy performance,but that's more a movie
Perfectly agree with you.Cortot had one of the very best techniques of all time,which is fairly evident or by his early recordings or through his "editions de travail".When he gave recitals in the early 20s' in New York,the critical NY press said he was one of the best,"some egal,but no one better".In terms of stly,he is so personal and noble,caracterised by his incomparable timbre and phrasing.
Barenboim was after something that he could not quite express satisfactorily. He might simply have said that Cortot seeks out the musical aspects that make any particular piece distinctive.
No, there is a certain grotesquerie, which is sometimes accurate in the music and sometimes a perversion of it; but always delicious.
There has been a misunderstanding. When Clara died at the age of 60,which is a tragic loss, Cortot addressed a touching condolescence speach at the burial.
Un grand poète du piano et de la musique
Thats a good piano. I wish they make them like that now
Grazie dei fiori... 🙂☀️
Actually, my great teacher Pnina Salzman, who was a student of cortot, told me that she attended a concert in which Rachmaninoff Played his third concerto, and Cortot conducted.
Is that really true because the other dude declared that Rachmaninov couldn't stand Cortot's playing(allegedly) in addition to (again allegedly) Rubinstein couldn't brook Cortot's style. I have no opinion other than I would like further elucidation by the more erudite amongst us here. Thanks.
@@JBCo2012 rachmaninoff made fun of cortot for his mistakes, but i dont know if he “despised” it. I believe rachmaninoff was present for cortot conducting the rach 3, but it was actually horowitz playing, not rach himself.
An aristocrat of piano playing.a giant!chapeau!
On that piano everybody play the same, i had one too, the sound is so dirty and metallic that u dont have to do much to play well. And the keys flyes guys, literally your fingers come up so quick and the height of them keys is soo light and they are even lower from botton of the keyboard. What i'd say? So much comfy from modern pianos that i would keep one of this with not asking twice
Love it so much!
At the end 60s',Pleyel was bought by an insurance company.But since people prefered to buy a car and frigeraters and so on,no investment was put on the table to assure the continuity of workers and artisans.Pleyel was then sold to a German piano company.
“But everybody KNOWS that the written notes are mere SUGGESTIONS of the composer intentions.”
I couldn't agree at all. This type of sound take a lot of perfecting. If you don't attempt to understand this style when younger then it won't magically reveal itself in later life. The attitude of 'saving things for later' is almost certainly the reason why most pianists are boring today. They never even tried to do this sort of thing.
This reminds me of something a piano teacher said to me several years ago. I'm an advanced amateur who has had the good fortune to study with excellent pianists during my adult life. The best was Sylvia Kersenbaum, a contemporary of Argerich who had the same teacher. Sylvia has some great fingerings for Chopin etudes. She also had some very interesting hand switching in the Hammerklavier fugue, in order to get better sound. Fingering was always for sound, first, and not ease of playing. She does the Winter Wind with 545454 almost all the way down. It's not easy but you get great control and even sound. Well, one day before a lesson I was playing the Bach WTCI C# minor fugue. Sylvia said, "That was so beautiful. I can tell you learned that when you were young". That was a bittersweet thing to hear. Of course she was right. She was incredibly perceptive. This anecdote supports the idea that you can't put off musical growth til later. Of all the things that happened in lessons, she was never happier than when I was able to play a cadence in the cello etude (op 25 no 7) with crescendo in the left hand and decrescendo in the right. Simple notes but great art.
Take note, yes, but do not try to imitate. Cortot, like contemporaries, represents a style and sentiment of playing rooted in the 19th century. It is an "extraordinary" style of playing: altering rhytms and tempo almost constantly, and should only be attempted after many years of study, if at all. I even wonder how much of it Chopin would approve!
Chopin wrote quite a bit about rhythmic alterations. I'm quoting from memory but I believe he thought the value of the bar should be the same, with rubato very free. Also, the left and right hands did not have to synchronize.
Tears........................
Wow
Since the sound is a semitone sharper than on today's piano, that means that today's A is a semitone LOWER than it was in this recording, i.e. today's A would sound like a B flat on his piano. I wonder if the sound track and video are running a bit too fast? Because from what I've read, pitches have been steadily rising over time, and this discrepancy here would indicate the opposite.
Too technical for me +Geffner but I'll take your word.
I agree with you that Cortot had a very personal playing,with is of highest taste and acristocratic,and so,"extraordinary",technically extremely demanding,which was the reason he could not play without wrong notes in his late years.Why bother anyway?
This is the truth. I second that.
@forgottenbooks He's Piotr Anderzewski, concert pianist.
I love how often Chopin used the chromatic scale
What is the chromatic scale for us dilettantes just making our musical way, here on UA-cam? Can you please explain it succinctly for us laymen? Thanks. And also is it used a lot today in classical music (or any other genre for that matter)?
@@JBCo2012 Chromatic scales consist of half steps only. But, they are definetely not the most striking aspect of the music by masters i.e. Chopin. In my opinion, the comment of this user above us is nonsense - I don't mean it to be mean here - simply because chromatic scales are most oftenly nice effects.
Yes; they are still used today. But, I think that they are not that likely to find in the Baroque era. If so, then not often. But Mozart, Beethoven and Haydn, for example, used them quite often.
What is way more important than a chromatic scale though is chromaticism. It determines the tonality and enables us to listen to an eternity of possibilities for wonderful harmonic progressions. If we take C-Major and we play notes which are alien to the tonality (so you use different notes than the C-Major scale gives us), then we can already call it chromaticism. In our C-Major example, the use of f sharp or c sharp etc. belong to this term. We use it to modulate and to arrive in different tonalities.
My explanation might be too complex and misguiding, since English isn't my native language, but I hope that I could somehow help you.
Have a good day!
Speaking of Pleyel,today no more Pleyels are made in France. The craftmanship, the know-how is lost forever.Reasons are quite long to explain,but just remember if you see a brand new Pleyel, it's surely made in Czech.
"if i were to juxtapose his technique and cziffras i think their virtually the same"
HAHAHAHAHAHAHAHAHAHAHAH CLAZZIC TUBE
The video is a semitone too high. This waltz is written in A flat but the playback is in A major. Thus the speed of Cortot's hands is accelerated.
Such an unusual looking man - but what an artist!
I don't like Barenboim, but I love his description of Cortot searching for the "opium" in the music. I also found very interesting Cortot's technique: flat, taut fingers, with wrists occasionally digging inward/downward. Much like Horowitz.
Timbre is a french word,I don't know how to describe it.You can listen to Cortot's london recordings at early 30s' to have a taste of yourself. Steinway had a very successful commercial policy at the debut of its US factory.And since pianists went to US,we all know the after.
These other pianos seem to have a more shallow sound whilr the steinway has much more depth, resonance and projection. On a really good one this depth can seem "bottomless", as though there is always more tone available. I hope this explains
I don't think you understand what Barenboim is trying to say. He understands, as he too is a great musician.
Grandissimo
Great!! Where did you find the video?
@ostenrt I believe that he's playing a Pleyel.
Many stories about Chopin... Biographies say different things. Anyways, one of them says that Chopin used to choose the piano he played according to his physical condition (mental too, for sure). There was one easier to play, but if he felt strong enough, he favoured the one harder to play because of it's sound qualities. I suppose that the character of the compositions played a role too. Pleyel must have been one of these. But he could not always choose the instrument freely...
Chopin found the Erard piano "too insistent", I've read.
inst this from the art of piano?
i seem to remember him saying something like chopin is not to be played but dreamed or something like that
Sorry, but i don't know which Chopin Etude is played in the second part of the video. It should be the same as the one performed by Horowitz in the silent movie.
My dad always talked of Cortot and now I understand why…
My son is only two years old, and he knows Cortot already.😀
@ostenrt Never mind, from earlier comments I see it is a Pleyel.
Yes, exactly Libetta. Richter after all played on a Yamaha and made it sound great (check out his live TOKYO prfmns.), so sometimes it's the player -- and playing -- that counts, not the instrument! sd goh (malaysia)
Wow, PLEYEL piano!!!!!! ...qui est déjà défunte.........
Triste cette absence de Pleyel
Le piano préféré de Chopin !
I haven't really heard an old one,a part from those in Cortot's recordings.The new ones are just so so,but damn expensive.
Why is the piano tuned semi tone higher than the ones we use these days ?
Does anyone know what is the make of that Piano? The writing above the keys appears to say ---YLI or ---YRI.
Pleyel. The old, good Pleyel
@@solooverland3666 I've been waiting 10 years for an answer. Thank you... ;)
I need to know from which film/documentary is taken this fragment. Can anyone help me, please? Thanks a lot.
The art of piano - 2002
Very true!
I agree with cziffra1980. If teachers today would expose young students to pianist like Friedberg, Lhevinne, Hoffman,Feinberg,ect.. Maybe we wouldn't have so many boring pianists in the future.
Steinway has a number of series,among which D and B are really professional and are the best.The others are so so.
the best musician,,,,
oh,by the way, Pleyel was reputated for its beautiful timbre,we can find it in Cortot's London recordings.
Mozart had a Pleyel, and so did Wanda Landowska:...
The master of piano ./
I would live to see the full documentary :( Nobody can help ?
Ho !! Yes it is, thanks a lot ! Unfortunatly it's on youtube nd because of GEMA (again) I cannot watch this in germany :(
+Youstina Guirguis what is a vpn darling?
Vino a la Argentina al teatro Colón por única vez el 26 de julio de 1952, mismo día del fallecimiento de Eva Perón.
Cortot plays Etude op. 10 no.1, Horowitz plays Etude op.10 no.8
Belíssima interpretação!!!
very nice jeu perlé touch. only fingers. little arm and shoulder involvement.
You mentioned TEACHER...without Cortot would we have had Lipatti or Haskil? If there was a greater interpreter of Chopin, I have yet to discover him (or her). His Chopin was the REAL Chopin (though I couldn't do without his student Lipatti's Chopin, or that of Novaes, Friedman, or Hofmann--all of them ARISTOCRATS of the keyboard).
Such suave elegance is not to be denied,nor is his intellectual prowess. However, I cannot understand how such a poetic musician could be a fascist sympathizer. I feel that a sense of humanity is so integral to such profound artistry.
Supposedly he sided them in the belief that it may have been bad for his country (towards which he felt little patriotism) but in the best interest of the musical community. Perhaps a little bit of imprudence in other aspects of life is a common price to pay for genius. Or maybe he was just crazy, something of an unexplainable sort of quasi-evil?
I am not saying this is not true... It is just the first time I have heard this.
Could you explain to me where you learned this, and it would be even better if you could send me a link of where I could check this out.
@TheBlackbeard2 Thank you very much! :)
This I agree.
i have Arrau's performance and it's great but it sounds very different; as if the two had completely different styles. i wish i had this on cd.
Porque no habia imprenta. Las copiaba n con. Errores a mano.