@@dwacheopus Nah. La Clochette is not even the hardest Liszt piece (that's Beethoven-Liszt 9th Symphony Transcription). Le Preux is not even the hardest Alkan piece (that's Alkan Concerto for Solo Piano). Hardest piano piece is possibly "For Clive Barker." It's more than 1000 pages.
"I think this is the best version of Scarbo ever." I will agree, with the possible exception of Pogorelich's outstanding rendition. He hardly uses (any damper) pedal! And he 'colors' a bit more than Argerich (less pedal can 'do the trick' in THIS piece!). But her 'coloration' of "touches" in the repeated-note sections is near-impossible to bring off.
I would agree, but I have heard two live performances of hers that I feel are more riveting than this (though this is still way better than her studio recording for deutch grammophon). Michellangeli also has a very great live performance worth hearing.
Wow!!!! Breathtaking!!! I have listened to many, many pianists play this Masterpiece but nobody throws down like Martha on the keys!!! This is truly the BEST AND MOST SCARY interpretation that I’ve ever heard!!! She really has a God given gift and talent and I am grateful to be alive during this time of discovering such gems like this video!!! This is the most scary and hauntingly beautiful interpretation ever!!!!! 👾👻👹😵💫😴❤️💯💯💯🙏🙏🙏
Good God. I can't compete with any of the clever people in the comments who compare this to that, but I think this extraordinary. Both composition and performance. I'm amazed that even one or two of of us lot are able to achieve this. Absolutely inspiring, and thank you Igor for posting.
very few of us had the opputunity to ask Mr.Ravel himself, about interpretetion details. This performing is very convincing, and filled up with very much beauty.
One of the best interpretations, passionate and full of confidence, with beautiful technique, very emotional and expressive - is perfection itself. . .❤❤❤
Marta creates such drama with this performance. Gieseking was quoted as saying,'It takes a certain amount of luck to play this pice successfully'. This is one of the most treacherous pieces in 20th century repertoir.
Argerich plays this scarbo as well as Pogorelich. Please don't argue between the two. They are two great interpretations. NOT VALENTINA LISITA. please.
Why do people corral their minds so?? I’ll never understand why you have to argue about THE BEST, which is sheer egoism bc what you’re really saying is a pianist is _YOUR FAVORITE!!_ Music isn’t a horse race, there is no winner, it’s all _COMPLETELY SUBJECTIVE._ Thank God my mind is broad enough to be able to fully admire what each pianist contributes to whatever it is that they play, without having to arrange them in little boxes or-worse yet-to declare only 1 or 2 are worth your time and the rest are trash....what horribly colorless worlds you must live in!!
pogorelich misses the mark on impressionism in general--he plays it like it's prokofiev. and while ravel is an incredibly percussive composer, he is NOT prokofiev--argerich finds colors pogorelich never could.
Getting ready to interview a pianist whose played this. It's based on a poem about a conversation with the devil. The mystical departure at the end captures the last stanzas of the poem "But soon his body becomes blue, translucent like the wax of a candle, his face pales like the wax of a candle end - and suddenly he is extinguished."
Errors found, bla, bla, bla! Bethoven also did many errors in his compositions. But he is still Beethoven. Argerich play everything she want, has a perfect career, played in the most important places of this world, is one that will be remembered for centuries. My ERROR was to read comments like yours, sure an amateur, frustrated pianist. Argerich went from South America to learn in Europe, millions of Europeans never got her playing, even living beside the best piano professors of the world.
That would be HIGHLY doubtful. Again, Ravel writes this piece in 1908 through 1909, he is acquanted and knows Debussy, how do you arrive at this conclussion??? He did argue about the PLAYING by Vines, because VINES could NOT play the piece as Ravel had written it, he was angry about his interpretation of the piece. Hence, ipso facto, the piece requires interpretation. Additionally Vines himself made a career from premiering pieces, I very much doubt his technique to be in doubt
@AmatoPiano Is it all what you find to criticize Argerich's Scarbo? This bad upload (both video and sound) does not give a true idea of argerich's fine tonal shading. Try her DG recording with a good Hi-Fi system, and you will see that she is one of the most faithful performer to Ravel's dynamic markings. She is also one to convey perfectly the spirit of this work. This is not dramatic but frightful !
merveilleux ! ce fou de Scarbo est bien là , une source d'inspiration pour Aloysius Bertrand ; l'interprétation de Martha.... la nuit est douce et mystérieuse ...
@AmatoPiano The repeated notes at the start are marked "très fondu en trémolo" : they should not sound like the machine-gun we hear so often ! Argerich's shivering sound is more in the line with Ravel's intention. Listen also to those great arpeggios which go from the top of the keyboard ppp to the low f and then back to the top vanishing. Argerich plays them exactly as Ravel wanted. Sorry but you are completely off topic with your quibbles.
She executes the single-note tremolo perfectly. It is done with one finger alone, not the repeated note technique of the next section. This is exactly how I prefer to play it and hear it done!
@AmatoPiano Totally incorrect. Ravel was indeed a perfectionist, but the whole idea of this piece was to induce an interpretation. This is a freak difficult piece on any level. The hands while playing must contort much as the creature Scarbo. The rest does not happen at around 32, you are 3 seconds slow, and its not a true rest as you must observe the left hand. I think its the only time Ravel almost felt sympathy for the player. AGAIN, Ravel wrote this to be intentionally difficult.
Brava, Martha Argerich!!! I wonder if you heard Alicia de Larrocha playing "Gaspard de la nuit" (live recording). Here is an audio of a performance from 1980 of the completed piece: ua-cam.com/video/FFZ5X-3znfw/v-deo.html It's not better nor worse than Martha's, just different! AdL played this work more than 100 times and one of her best performance of "Scarbo" was this at Carnegie Hall in 1968: ua-cam.com/video/6tzG_XYLw1g/v-deo.html. (Sorry for the poor sound quality. It was recorded from the audience)
"at 0:28-0:35 a tremendous and potentially very effective crescendo from pp to ff is played without nuance at one dynamic level" this is not quite true (there is dynamic nuance), but I would like to point out it is also a problem with the youtube video, there is quite heavy dynamic compression in the sound track of this video, which is not awfully representative of the original recording. I would invite you to listen to this recording from the original media, if you can.
@@Bulbophile That's exactly the mindset of people of around 200 years ago. The most famous (and obvious) example would be Paganini, who was accused of trading his soul with the devil just because he played the violin extremely well.
You cant have it noth ways. Here you say she is an automaton, no feeling and yet you also state that the piece was meant to NOT be interpreted. So, a robot would be perfect, yes? I would say that Ravel would be the best Judge os his own music. He is gone, we must let music eveolve and yes, respect the artistry in it
Does anyone know what the painting is at 5:37, who painted it, title? I love how it visually accompanies the creepy nature of the music during this section.
I think you're missing the point of music in general. Sm of the world's best composers/pianists have been known to make minor (& major) changes to certain pieces to fit their individual styles/ideas. In experiencing music that was written 100+ years ago & has been played thousands of times, I'd be very disappointed to find that every account sounds exactly the same. Some artists might choose to deliver the same story in their own language. Paradise to one person might be hell to another.
Yes it is better not to make mistake. But, the difference is very certain between mistake of good player and an amatuer. And if it is not played exactly in the scores, but it's another way that an art is. Even if the score of same piece has differences. And I think this performance is wealthy to adobt a new way.
YES, you are correct. At Peabody there were instructors who lamented the treatment of Chopin past the 1960's some of the knowledge of interpretation did not get passed on.
@AmatoPiano Out of eight minutes and forty-nine seconds you have found three minor changes to the score. Even if you want to call these interpretive gestures flaws, 3 mistakes in a performance is pretty cheap on any budget. Now with that nonsense aside, it is very true that most impressionistic composers were very precise in their notation; that would be an indication of the gradual movement into modernism, but when on God's green earth did we ever start performing music 'precisely' as written.
Just for mentioning boring pianists, you're arguments is invalid. This is great version and Argerich is a great pianist. I MEAN, valentina lisitsa? you really have no idea of what you're talking about.
Valentina is an AMAZING pianist sir, but this is my opinion. What I'm trying to say is that you don't have to be mean to one pianist to make another one seem good.
In an interview, Martha said she hates to practice and doesn’t like to do so for more than 2 hours. I’m assuming her gifts are such that she masters these difficult pieces much faster than lesser artists.
@@capemaxi She has a perfect pitch and started copying music by ear since she was only 3 years old or so. That has to help a good amount. Cziffra for example was already improvising his own variations by age 5 because his family was poor and he had no access to sheet music, so he had no choice but to improvise after hearing some performance only once.
@crypto14 There all sorts of pros and cons with both of them. I've heard several renditions that can compete with those two, Naida Cole gives a terrific performance for instance (Even faster than Pog). I just thought perfection was the wrong choice of word mainly because Pogorelich takes many liberties with the tempo, but I do get your point.
Since you're no authority on what performers can/can't do (or on what a legitimate performance of this work should sound like), you'll just have to accept that some performers (Horowitz, Gould, Rach) are more creative when it comes to interpretation. Many people are fond of this. Let us enjoy this unorthodox/thrilling reading of Ravel. You'll find hundreds of more conservative performances on youtube and elsewhere.
She's great. But one should also look at Yuja Wang's live performance, which is, frankly, flawless, and most pianists would agree that playing Scarbo flawlessly lifts one to a superhuman level...
I too prefer Pogorelich for Gaspard de la Nuit. Scarbo has a harsh, alienating quality that suits modern sensibilities and Argerich brings that out, but when I listen to Pogorelich I hear an equal and opposite softer liquid quality too that he brings out without sacrificing the piece's harsh grating quality. Ravel was able to have it both ways, and Pogorelich plays it just right.
Amato means amateur. Stupid when a composer marks every nuance of a piece. So for what we need an interpret. A score can't be consider a "Digital CD", every time you play, you'll hear the same thing forever. But we have interprets to dig the score, find new ways to go, giving our ears something different each playing. I got a score that the composer marked that should be a "Grosse Caisse" beside the "Timpanos" and the French Horn should be beside that Trombone, to sound better, OH FU-kc!
Berliozini Ravel wrote the piece with nuances because that’s how he wanted it played. It’s his music. How would a band feel if their record label edited the audio for each copy? Tweaking volume, speed, and special effects? That would not be the artists design.
I think Ravel should have stopped and cut his losses with Ondine, a truly beautiful work of art. True art is rare for a reason. While there is things that has musical merit in Scarbo, It is still a form of chaos. And you cannot improve chaos with chaos. Chaos is still chaos. The only good thing about Scarbo is the excellence of showmanship of the pianist it affords. Martha plays it best.
Chaos can be art, art is not meant to be beautiful it can be a way to express your pain, to describe your fears and your nightmares. Ravel wrote the Gaspard de La Nuit suite based on three poems Ondine, Le Gibet and Scarbo. Scarbo Is about a gnome haunting the poet in the night so about that Ravel wrote some kind of horrific chaos piece that gives us the best idea of it.
@@nicolaspachecoarango We are all capable of either building up or destroying. Unfortunately Ravel joins the poor composers such as prokofiev and Bartok and the worst of the composers of chaos in doing this. Most people try to forget the pain they have in life. Liking any form of chaos is like wallowing in the dustbin of things in you that you discard, - if that wer possible! We are meant to immerse ourselves in the joys, successes and attainments of giving love to others. Outright blatent dissonances, weird chord chages and melodies that go nowhere do not belong in your consicousness or higher ego as well as a hurricane or tornado doesn't belong in your living room! Good luck to you in enjoying the more trashy works of music!
@@robertcentobene4375 Music and art are not just a form of entertainment they need to express what we can't with our own words. What's the point of making just joyful music in a world full of misery and death, why do we have to hide things, yeah joyfull music is a good place to hide yourself in I do it most of the time, but we can't just hide we need to scream to purge what we have inside.
@@robertcentobene4375 god you're fvcking obnoxious lmao art can convey whatever you want it to convey and cutting off certain vibes from ever being composed is one of the most childish perspectives when it comes to music
Martha Argerich is a great virtuoso, no doubt. Her virtuosism, though, sometimes skips the music's soul, as seems to be the case here. I like much better Collard's CD. French pianists are unbeatable when playing Ravel. He was obsessed with death, demons and the underworld, as a French Orpheus.
Who should comment about "Nojima", only someone who lives in orient. Noboby comments about oriental pianists but their selfs. Their are learnig, and learning with our ocidental music. maybe tired to play to Koto. Their are forgetting their own wonderful culture. I'm afraid that one day the oriental culture simply die. Their as fast, love to show quick jugglery barbarianism on piano, music is not formula 1, remember that "W. Ashkenazi" played fast and lost both hands, the music goes out.
I am sure that Argerich would hate your comment because she also knew the nervousness and difficulties in her professions, love to respect the other pianists and one of her best friends is Japanese. Argerich has held the music festival on her name every year in Japan.
+Edward L I think she's often quite aggressive in her playing. She's technically brilliant, no doubt, and she holds nothing back when it comes to showcasing that. It works for some pieces (such as the Danzas Argentinas) but when it comes to Ravel, with the nuances and intricacies of the music, she does sound a bit rushed and hurried resulting in an almost cold, mechanical performance.
I don't hear 'rushed' at all. I hear 'frantic and violent' which is something I expect from a piece like this. I would really like to hear her play Messiaen's Vingt regards sur l'enfant-Jésus. As far I know she's never performed it.
She´s playing like a beast! Scarbo is really the most crazy piece ever!
MadAngelFromHell My jaw drops at anyone who can play this monstrous piece. Scarbo is the hardest thing on the piano I can ever imagine
@@springnuance7048 George harliono 14 years old and also another 12 year old girl who learned this is two weeks!!! Unimaginable
Nah. La clochette is the hardest piece ever written (after le preux)
@@dwacheopus Nah. La Clochette is not even the hardest Liszt piece (that's Beethoven-Liszt 9th Symphony Transcription). Le Preux is not even the hardest Alkan piece (that's Alkan Concerto for Solo Piano).
Hardest piano piece is possibly "For Clive Barker." It's more than 1000 pages.
something Argerich shows really well here is her understanding that the piano is a percussive instrument
I think this is the best version of Scarbo ever. She puts so much emotion in this.. So much, that the piece become really scary.
"I think this is the best version of Scarbo ever."
I will agree, with the possible exception of Pogorelich's outstanding rendition. He hardly uses (any damper) pedal! And he 'colors' a bit more than Argerich (less pedal can 'do the trick' in THIS piece!). But her 'coloration' of "touches" in the repeated-note sections is near-impossible to bring off.
@@janicezany I love Ashkenazy's renditions.
@@EmptyVee00000 Anna Federova also does a fantastic interpretation of this piece
@@yashbspianoandcompositions1042 Anna Fedorova is not too bad. ua-cam.com/video/Qol1dlEemJk/v-deo.html
Louis Lortie is my favorite.
While Scarbo eats pianists’ souls alive, Argerich eats Scarbo…
You just can't play ravel any other way than it's written. Ravel was such a perfectionist, and painstakingly wrote every note and indicated exact
She does not play the way it is written. Ravel would dislike that.
Those D at 1:05 are scary afff
absolutely perfect performance, the best ever.
+Ramunė Sadaunykienė Ivo Pogorelich really does it best, Martha just seems to rush thru it, no feeling. Ivo makes it scary lol
I would agree, but I have heard two live performances of hers that I feel are more riveting than this (though this is still way better than her studio recording for deutch grammophon). Michellangeli also has a very great live performance worth hearing.
No feeling ?? lol you kidding ?
Edward L pogorelich’s interpretation consist of too much rubato. Something one should avoid with Ravel.
This is artistry at it's finest. It's absolutely sublime.
Wow!!!! Breathtaking!!! I have listened to many, many pianists play this Masterpiece but nobody throws down like Martha on the keys!!! This is truly the BEST AND MOST SCARY interpretation that I’ve ever heard!!! She really has a God given gift and talent and I am grateful to be alive during this time of discovering such gems like this video!!! This is the most scary and hauntingly beautiful interpretation ever!!!!! 👾👻👹😵💫😴❤️💯💯💯🙏🙏🙏
this is like the most cathartic thing ever
Strangely true.
Good God. I can't compete with any of the clever people in the comments who compare this to that, but I think this extraordinary. Both composition and performance. I'm amazed that even one or two of of us lot are able to achieve this. Absolutely inspiring, and thank you Igor for posting.
The dynamics in the score are not a problem for me. I love this performance, and I guess that's what matters.
very few of us had the opputunity to ask Mr.Ravel himself, about interpretetion details. This performing is very convincing, and filled up with very much beauty.
He is smiling!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
One of the best interpretations, passionate and full of confidence, with beautiful technique, very emotional and expressive - is perfection itself. . .❤❤❤
Marta creates such drama with this performance. Gieseking was quoted as saying,'It takes a certain amount of luck to play this pice successfully'. This is one of the most treacherous pieces in 20th century repertoir.
Still fascinating after all these years....
Incredible stacatto!!!
Argerich plays this scarbo as well as Pogorelich. Please don't argue between the two. They are two great interpretations. NOT VALENTINA LISITA. please.
Both are the best interpretations, I couldn't decide between the two.
❤️❤️❤️❤️❤️
Just curious, but why not Lisitsa's?
@Michael Karezin Definitely agree with your last point, there are some controversies around her beliefs.
Why do people corral their minds so?? I’ll never understand why you have to argue about THE BEST, which is sheer egoism bc what you’re really saying is a pianist is _YOUR FAVORITE!!_ Music isn’t a horse race, there is no winner, it’s all _COMPLETELY SUBJECTIVE._ Thank God my mind is broad enough to be able to fully admire what each pianist contributes to whatever it is that they play, without having to arrange them in little boxes or-worse yet-to declare only 1 or 2 are worth your time and the rest are trash....what horribly colorless worlds you must live in!!
I've never doubted her plays. And so do now.
pogorelich misses the mark on impressionism in general--he plays it like it's prokofiev. and while ravel is an incredibly percussive composer, he is NOT prokofiev--argerich finds colors pogorelich never could.
Agreed.
I like how he plays Ondine though.
Getting ready to interview a pianist whose played this. It's based on a poem about a conversation with the devil. The mystical departure at the end captures the last stanzas of the poem "But soon his body becomes blue, translucent like the wax of a candle, his face pales like the wax of a candle end - and suddenly he is extinguished."
+Vienna Virtuoso It's not really about a conversation with the devil..?
+Gabriel Maisonet teach me, then, what is it about?
Vienna Virtuoso Just read the poem, it's about the Dwarf Scarbo invading a man's home and causing general mischief
Errors found, bla, bla, bla! Bethoven also did many errors in his compositions. But he is still Beethoven. Argerich play everything she want, has a perfect career, played in the most important places of this world, is one that will be remembered for centuries.
My ERROR was to read comments like yours, sure an amateur, frustrated pianist. Argerich went from South America to learn in Europe, millions of Europeans never got her playing, even living beside the best piano professors of the world.
Yuja doesnt make any mistakes on scarbo
Fantastic!
Climat fantastique incomparable!
I'm just glad to hear flaws. Reminds me that it is a human playing.
Meilleure pianiste du monde
SO WHAT!?? She's Argerich!!!!!!!!
That would be HIGHLY doubtful. Again, Ravel writes this piece in 1908 through 1909, he is acquanted and knows Debussy, how do you arrive at this conclussion??? He did argue about the PLAYING by Vines, because VINES could NOT play the piece as Ravel had written it, he was angry about his interpretation of the piece. Hence, ipso facto, the piece requires interpretation. Additionally Vines himself made a career from premiering pieces, I very much doubt his technique to be in doubt
Je ne connais rien de plus follement génial- avec Martha tout est possible
@AmatoPiano Is it all what you find to criticize Argerich's Scarbo? This bad upload (both video and sound) does not give a true idea of argerich's fine tonal shading. Try her DG recording with a good Hi-Fi system, and you will see that she is one of the most faithful performer to Ravel's dynamic markings. She is also one to convey perfectly the spirit of this work. This is not dramatic but frightful !
True artistry.
Da läuft mir ein Schauer den Rücken runter, als erwache das Wesen zum Leben. Really scary. Grandios.
Impressive, most impressive!!!
merveilleux ! ce fou de Scarbo est bien là , une source d'inspiration pour Aloysius Bertrand ; l'interprétation de Martha.... la nuit est douce et mystérieuse ...
Martha es la mejor de todos!
Impressive cover! I like this interpretation!!
It's not a cover... She's preforming the piece lol
quite difficult for me to apreciate, but it is a great piece
Giving me repetitive strain injury just by watching it.
@AmatoPiano The repeated notes at the start are marked "très fondu en trémolo" : they should not sound like the machine-gun we hear so often ! Argerich's shivering sound is more in the line with Ravel's intention.
Listen also to those great arpeggios which go from the top of the keyboard ppp to the low f and then back to the top vanishing. Argerich plays them exactly as Ravel wanted.
Sorry but you are completely off topic with your quibbles.
She executes the single-note tremolo perfectly. It is done with one finger alone, not the repeated note technique of the next section. This is exactly how I prefer to play it and hear it done!
Maurice Ravel : Ciboure,Francia .07/03/1875 inspirado en el poema homónimo de Aloysius Bertrand que vale la pena leer ,si es posible en francés.
The performance is great, these comments below are sucks as hell.
Why don't they keep the camera focused on Argerich? Who wants to look at dumb pictures from someone's European vacation?
I finally purchased a opy of her performing this on Deutsche Grammaphon, IN credible
@AmatoPiano Totally incorrect. Ravel was indeed a perfectionist, but the whole idea of this piece was to induce an interpretation. This is a freak difficult piece on any level. The hands while playing must contort much as the creature Scarbo. The rest does not happen at around 32, you are 3 seconds slow, and its not a true rest as you must observe the left hand. I think its the only time Ravel almost felt sympathy for the player. AGAIN, Ravel wrote this to be intentionally difficult.
Yeah, it was too hard for even him to play!
Brava, Martha Argerich!!! I wonder if you heard Alicia de Larrocha playing "Gaspard de la nuit" (live recording). Here is an audio of a performance from 1980 of the completed piece: ua-cam.com/video/FFZ5X-3znfw/v-deo.html It's not better nor worse than Martha's, just different! AdL played this work more than 100 times and one of her best performance of "Scarbo" was this at Carnegie Hall in 1968: ua-cam.com/video/6tzG_XYLw1g/v-deo.html. (Sorry for the poor sound quality. It was recorded from the audience)
"at 0:28-0:35 a tremendous and potentially very effective crescendo from pp to ff is played without nuance at one dynamic level"
this is not quite true (there is dynamic nuance), but I would like to point out it is also a problem with the youtube video, there is quite heavy dynamic compression in the sound track of this video, which is not awfully representative of the original recording. I would invite you to listen to this recording from the original media, if you can.
Thanks! I was wondering where that crescendo had gone.
It is (somewhat appropriately) La Nuit by Georges Braque
if God could play the piano it would sound like this.
sure, if it wasn't so obviously sinful to posses this kind of skill
@@Bulbophile That's exactly the mindset of people of around 200 years ago. The most famous (and obvious) example would be Paganini, who was accused of trading his soul with the devil just because he played the violin extremely well.
You cant have it noth ways. Here you say she is an automaton, no feeling and yet you also state that the piece was meant to NOT be interpreted. So, a robot would be perfect, yes? I would say that Ravel would be the best Judge os his own music. He is gone, we must let music eveolve and yes, respect the artistry in it
Does anyone know what the painting is at 5:37, who painted it, title? I love how it visually accompanies the creepy nature of the music during this section.
"Night" by Georges Braque, 1951
た〜り〜ら、トコトコトコトコトコトコトコトコトコトコトコトコトコトコトコトコトコトコトコトコトコトコトコトコトコトコトコトコから来た奴ｗｗｗｗｗｗｗｗｗｗｗｗｗｗｗｗｗ
俺やん
Which pixel are her hands in??
I think you're missing the point of music in general. Sm of the world's best composers/pianists have been known to make minor (& major) changes to certain pieces to fit their individual styles/ideas.
In experiencing music that was written 100+ years ago & has been played thousands of times, I'd be very disappointed to find that every account sounds exactly the same. Some artists might choose to deliver the same story in their own language.
Paradise to one person might be hell to another.
Did you note that the video is delayed and that the sound capture lags behind how the hands move???? I did. Its 3 seconds off at best
Yes it is better not to make mistake. But, the difference is very certain between mistake of good player and an amatuer. And if it is not played exactly in the scores, but it's another way that an art is. Even if the score of same piece has differences.
And I think this performance is wealthy to adobt a new way.
Kissin, Lugansky and others do make mistakes...
YES, you are correct. At Peabody there were instructors who lamented the treatment of Chopin past the 1960's some of the knowledge of interpretation did not get passed on.
@AmatoPiano Out of eight minutes and forty-nine seconds you have found three minor changes to the score. Even if you want to call these interpretive gestures flaws, 3 mistakes in a performance is pretty cheap on any budget. Now with that nonsense aside, it is very true that most impressionistic composers were very precise in their notation; that would be an indication of the gradual movement into modernism, but when on God's green earth did we ever start performing music 'precisely' as written.
Caleb Hathaway I f-ing love your frickin comment
Anyone knows where and when was this recorded ? Thank you!
Pogorelich changed too many. So the best performance credit should go to Martha.
I love you MAN
why didn't she ever play Prokofiev 2 concerto?
Maybe she doesn't like it that much. And maybe also because of that huge Cadenza Martha doesn't really like to be in the center.
@@nicolaspachecoarango first I heard about it.
@jiririji They're both amazing, but I prefer Argerich version.
지리긴한다
Just for mentioning boring pianists, you're arguments is invalid. This is great version and Argerich is a great pianist.
I MEAN, valentina lisitsa? you really have no idea of what you're talking about.
Valentina is an AMAZING pianist sir, but this is my opinion. What I'm trying to say is that you don't have to be mean to one pianist to make another one seem good.
Coby Kassner Valentina is no where near as masterful as the greats like Rubinstein that is certain. Martha is also in another realm.
Every pianist is a different one and it’s useless comparing them, so please stop.
@@Coby-K Valentina Lisitsa is a good pianist, but a bad musician.
Sosta, Good job replying to comments from 2 years ago. I prefer Gyorgy Cziffra nowadays.
I wonder how many hours a day she practices?!
Well she learned this and the other first two movement in a week lol
@@lczq6737 when she was 13 no less!
@@gavinfindlay3263 oh my god
In an interview, Martha said she hates to practice and doesn’t like to do so for more than 2 hours. I’m assuming her gifts are such that she masters these difficult pieces much faster than lesser artists.
@@capemaxi She has a perfect pitch and started copying music by ear since she was only 3 years old or so. That has to help a good amount. Cziffra for example was already improvising his own variations by age 5 because his family was poor and he had no access to sheet music, so he had no choice but to improvise after hearing some performance only once.
Does anyone know the painting's name at 5:49 ?
Who cares about mistakes? Only the other concert pianists who know the score and envy the performance.
Énorme!
@crypto14 There all sorts of pros and cons with both of them. I've heard several renditions that can compete with those two, Naida Cole gives a terrific performance for instance (Even faster than Pog). I just thought perfection was the wrong choice of word mainly because Pogorelich takes many liberties with the tempo, but I do get your point.
She completely skips the "long silences" in the first page, not even 1 bar !
Since you're no authority on what performers can/can't do (or on what a legitimate performance of this work should sound like), you'll just have to accept that some performers (Horowitz, Gould, Rach) are more creative when it comes to interpretation. Many people are fond of this.
Let us enjoy this unorthodox/thrilling reading of Ravel. You'll find hundreds of more conservative performances on youtube and elsewhere.
She's great. But one should also look at Yuja Wang's live performance, which is, frankly, flawless, and most pianists would agree that playing Scarbo flawlessly lifts one to a superhuman level...
@EdiEllerymissing
Agree!
Was the building on fire?
@crypto14 Perfection? I think that's the wrong choice of word. He just played it faster.
I too prefer Pogorelich for Gaspard de la Nuit. Scarbo has a harsh, alienating quality that suits modern sensibilities and Argerich brings that out, but when I listen to Pogorelich I hear an equal and opposite softer liquid quality too that he brings out without sacrificing the piece's harsh grating quality. Ravel was able to have it both ways, and Pogorelich plays it just right.
@TheAwesomeBunny1 that´s it! (8
For once they're filming the playing and not her face
omg :D
1:36
So, what's your point ?
Amato means amateur.
Stupid when a composer marks every nuance of a piece. So for what we need an interpret. A score can't be consider a "Digital CD", every time you play, you'll hear the same thing forever.
But we have interprets to dig the score, find new ways to go, giving our ears something different each playing.
I got a score that the composer marked that should be a "Grosse Caisse" beside the "Timpanos" and the French Horn should be beside that Trombone, to sound better, OH FU-kc!
Berliozini Ravel wrote the piece with nuances because that’s how he wanted it played. It’s his music. How would a band feel if their record label edited the audio for each copy? Tweaking volume, speed, and special effects? That would not be the artists design.
Like really ? she literally hopped over the other hand !!!!!!!!!!!!!!!!!!!!
Look again, speficically her left hand. Its delayed
WOOOOOOW. IN A MEXICANISM: NO MAAAAA!!!
The whole clip is a horror movie, including Argerich...
You said that cause you didnt see Clara Rockmore videos... that is scary... find her.
Tobula.
Way too fast for my taste?
I think Ravel should have stopped and cut his losses with Ondine, a truly beautiful work of art. True art is rare for a reason. While there is things that has musical merit in Scarbo, It is still a form of chaos. And you cannot improve chaos with chaos. Chaos is still chaos. The only good thing about Scarbo is the excellence of showmanship of the pianist it affords. Martha plays it best.
Chaos can be art, art is not meant to be beautiful it can be a way to express your pain, to describe your fears and your nightmares.
Ravel wrote the Gaspard de La Nuit suite based on three poems Ondine, Le Gibet and Scarbo. Scarbo Is about a gnome haunting the poet in the night so about that Ravel wrote some kind of horrific chaos piece that gives us the best idea of it.
@@nicolaspachecoarango We are all capable of either building up or destroying. Unfortunately Ravel joins the poor composers such as prokofiev and Bartok and the worst of the composers of chaos in doing this. Most people try to forget the pain they have in life. Liking any form of chaos is like wallowing in the dustbin of things in you that you discard, - if that wer possible!
We are meant to immerse ourselves in the joys, successes and attainments of giving love to others. Outright blatent dissonances, weird chord chages and melodies that go nowhere do not belong in your consicousness or higher ego as well as a hurricane or tornado doesn't belong in your living room! Good luck to you in enjoying the more trashy works of music!
@@robertcentobene4375 Music and art are not just a form of entertainment they need to express what we can't with our own words. What's the point of making just joyful music in a world full of misery and death, why do we have to hide things, yeah joyfull music is a good place to hide yourself in I do it most of the time, but we can't just hide we need to scream to purge what we have inside.
@@robertcentobene4375 god you're fvcking obnoxious lmao
art can convey whatever you want it to convey and cutting off certain vibes from ever being composed is one of the most childish perspectives when it comes to music
Martha Argerich is a great virtuoso, no doubt. Her virtuosism, though, sometimes skips the music's soul, as seems to be the case here. I like much better Collard's CD. French pianists are unbeatable when playing Ravel. He was obsessed with death, demons and the underworld, as a French Orpheus.
@jiririji And, for me, Pogorelich's version is the very best.
Who should comment about "Nojima", only someone who lives in orient. Noboby comments about oriental pianists but their selfs. Their are learnig, and learning with our ocidental music. maybe tired to play to Koto. Their are forgetting their own wonderful culture. I'm afraid that one day the oriental culture simply die.
Their as fast, love to show quick jugglery barbarianism on piano, music is not formula 1, remember that "W. Ashkenazi" played fast and lost both hands, the music goes out.
I am sure that Argerich would hate your comment because she also knew the nervousness and difficulties in her professions, love to respect the other pianists and one of her best friends is Japanese. Argerich has held the music festival on her name every year in Japan.
Pogorelich Does it Best, Martha is just too fast for me!
+Edward L I think she's often quite aggressive in her playing. She's technically brilliant, no doubt, and she holds nothing back when it comes to showcasing that. It works for some pieces (such as the Danzas Argentinas) but when it comes to Ravel, with the nuances and intricacies of the music, she does sound a bit rushed and hurried resulting in an almost cold, mechanical performance.
+orangewedges thanks oranges, now i gotta listen to danzas argentinas 😀
+Edward L Yeah, it a pretty exciting group of pieces and madness to play, particularly the third one ("Danza Del Gaucho Matrero")!!
I don't hear 'rushed' at all. I hear 'frantic and violent' which is something I expect from a piece like this. I would really like to hear her play Messiaen's Vingt regards sur l'enfant-Jésus. As far I know she's never performed it.
Considering the theme of the piece, I think it's fitting it sounds this aggressive and convoluted.
It's better the mariangela vacatello's one
Why did she blast that opening accent on the repeated notes? Bye. Typical Argerich just showing off always.