Legendary Pianist JORGE BOLET plays Chopin-Godowsky study Op. 25/1 in A flat
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- Опубліковано 5 тра 2019
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Playing in Findhorn, Morayshire, Scotland in the late 1980s not long before his death. Nothing can replace the Chopin original but it must be remembered that Godowsky's intention was never to improve Chopin, but to develop his ideas, make further interesting technical exercises, and pay tribute to the original. As Bolet himself has said, when you play these pieces and study them and then go back to the originals, you have increased admiration for them. I find this a very beautiful piece in its own right, never more movingly played than here and believe me ...I’ve heard many versions and can even play it haltingly myself.
Beautiful performance from Bolet. His playing was so unlike what we hear now. He was not interested in being the fastest or most bombastic player. No theatrics. Just concentration on wonderful tone and drawing out the beauty from a piece of music. In these live performances he is more relaxed sounding than in many of his recordings - particularly in his last years with Decca.
Anybody else here obsessed with this arabesque performance? This video is part of my daily diet recently.
First class…a giant of the piano🤩👏👏👏
34 years ago today. I was privileged to hear Bolet a few times in the 70's and 80's and even have a bit of conversation with him.
Best Liszt interpreter in my opinion
O.k., I have my own roster of favorite Liszt performances stretching back a century.
Beautiful. This is the only recording of this piece that doesn't sound like a note salad exercise
Check out the Chopin-Godowsky recordings by his teacher, David Saperton.@@jonathanlee5364
This is truly gorgeous playing. It has more poetry than I associate with the virtuoso Bolet. My bad...
One of my favourite pianists ever. His playing had a unique nobility and reverence. His tone was liquid gold and his pedalling impeccable.
20----23
On Sunday afternoon, 4.20pm, 22 January 1989 there was a television broadcast in the UK on BBC2 entitled MASTER CRAFTSMEN - JORGE BOLET AND LEOPOLD GODOWSKY. ‘The music of Chopin reworked by Godowsky and played by Bolet. Bolet talks to Michael Oliver about Godowsky's technical skills and how his transcriptions shed new light on the music. As part of a recital given at Findhorn in Morayshire, Bolet performs a number of Chopin études in Godowsky's versions.’ There is a nice anecdote, unverified, that when Bolet came to play in Dundee, he asked specifically to be taken to the Angus Hotel in Dundee (now demolished) because he claimed it provided 'the best cup of coffee outside the Americas'.
Best version in the world 🥰🥰🥰🧡🧡🧡
Is there such a thing a making a work sound too beautiful? Bolet is guilty of playing too beautifully. That is my verdict!
Incroyable de beauté ❤❤❤❤
Fantastique
Siempre lo he escuchado 😅hace años.
Thank you for posting this! Wonderful to see Bolet playing Chopin/Godowsky. Do you have the rest of the recital?
If you type "Jorge Bolet Chopin-Godowsky 1988" into a UA-cam search or go to Mark Hood's channel, you'll get the full programme. It is such a wonderful memento of Jorge Bolet.
Thank you, Douglas!
Bolet. 🇮🇷🌹🥇🖐️🤩
Nice tempo
I agree! Every time I hear this piece with other pianists, it’s a little too fast. Perhaps it’s just that I grew up knowing the Bolet version, but he finds such poetry in it.
@@saltcots8985 Godowsky did suggest a slightly slower tempo (1/4=80-92) compared to the other versions but Bolet seems to be well below that, around 1/4=55. I still think this is one of the better interpretations, what's the point of playing it fast and ignore alot of voicings? I think Hamelin nails it really good too but at a brisker tempo
Magnificent interpretation. Gorgeous full tone and poetic phrasing, magical..
Is the piano Baldwin? Sounds amazing ♥️♥️♥️
I can never be quite sure about what happened about the pianos. Bolet always chose a Bechstein and most of the DECCA recordings used that piano. At some stage London couldn't provide a Bechstein in top-grade condition so a piano had to be sent from Antwerp! He seems to have used Baldwin in the USA. “He was a Baldwin artist who had 2 Baldwin grands installed in a studio (courtesy of Baldwin) in an all-Steinway school [= Curtis Institute, Philadelphia]. Many feathers were ruffled. He played [his] last recital on a Baldwin concert grand which is very slightly larger than a Steinway model D and it did not fit on the stage elevator. He paid for the installation and tuning himself and we blocked the hall for 2 days ...so that Jorge could practise and work with the Baldwin technician on tuning and voicing the instrument. (Robert Fitzpatrick)
I'd be grateful for anyone who has more information.
@@saltcots8985 Jorge was a Scorpio Cuban American who left Cuba as he was a rainbow 🌈 individual. His introverted personality and aura of mystery earned him a lot of discrimination as He was Different from the Standard Concert Pianist. He possibly loved Baldwin Pianos (like I Do) because they made him feel at home in one. The ease of touch and bright sound allows endless Colours & Nuances. Liberace was another Fan of Baldwin pianos for the same reason. We all 🌈 men feel at home with Baldwin. Bechstein owned Baldwin during that Golden era when Jorge lived in California. He lived Life to the Full (am sure) and would not settle down for anything that was outside his world.
I hope you can understand a bit of my instinctive comment. I am feeling all of the above rather than knowing it through an accurate source.
Thanks a million for your comments above. Very Informative indeed!!!
It is an interesting piece but truly pales in comparison to the gorgeous original...
Admittedly Godowsky never intended to supplant the original. But what he did hope - in addition to the technical challenge he offered a pianist - was to highlight beauties in the original version; as Jorge Bolet has himself said, when you return to the Chopin, new things, inner subtleties have been revealed.
@@saltcots8985beautifully put. Thank you
Bolet's skill as a performer allowed him to get beauty out of a woefully slow performance of this study. The end result isn't that interesting however, and the piece doesn't sound at all as its supposed to.
His studio recording of this study is much faster and clearer.
He was dying
Godovski is a great pianist but that adding feet to a snake
The snake's boots were of gold and jewels, like those of an Emperor. Not just Chopin but J.Strauss Jr. and other composers too.