Saw him play this program that year at Carnegie Hall in NY- sat on stage right next to the keyboard! Waldstein sonata, Chopin, then Pictures at an Exhibition with a Chopin waltz for the encore. Absolute magic.
I knew before he struck them, that Ashkenazy's opening octaves would sound deep and powerful. I love his command of the instrument. It's one of a kind. No one has as much intention in their playing as Ashkenazy, period. He is always clearly expressing the melodies and has meaning. Even the repetition in this sounds completely different and yet more agitated. I love it and the repeat has never made sense to me before.
@@alainspiteri502 Yes, high fidelity recording became the industry standard by the late 1950's. Those gorgeous Nat King Cole albums of that period are proof of that.
ah ahAha aha h a A you know what.... i can't believe this was 1840... this is the true birth of Jazz and Rock 'n Roll ...only 100 years ahead of it's time. This, has the status of true revelation to me right now ! I just found and listened to this piece for the first time in my music life....tonight.
ive never heard such a deep and profound and rich sound accentuating each and every note -- other than from horowitz the force with which ashkenazy attacks the keys is undeniably electric and incredibly powerful and moving!
I agree with Cool JL . This performance is so exiting, so full of passion and intensity, while the studio recording some 8-9 years later is a little academic in my opinion. This 1972 live performance have also been published on a Decca LP back in 1972 “Ashkenazy in concert “. I bought it when it was quite new.
@@ulfwernernielsen6708 j'm opposite against your taste : no comparison this 1972 with the recording Decca 1979 ( published 82 ) the record London 1979 is the best sonata op35-2 with S Rachmaninov , we are very different
@@alainspiteri502 Thank you. It is always interesting to hear an opinion different from my own. It would be interesting for me to hear your opinion about the two Horowitz recordings RCA1950 and Columbia 1962 . I dislike the RCA and I love the Columbia. The Rachmaninov recording is very different from Ashkenazy but my favorite historical recordings is the Cortot 1928 and 1933 . Without any doubt he was too old when he recorded it again in 1953 . Have a nice day . Ulf Werner Nielsen .
Always real quality performances, this pianist... The issue of tempo is a difficult one, as aeonic conditions might infuence. Artifacts or relics of that aeon, it's hard for me to think any as valuable or unique as such Chopin works! The best tempo for all four movements- M.M. 60- the numerlogical meaning of this number appears to be meaningful- Material Success, in the Book of Tarot; also, in other numerology, Boldness, Yenh (or yearning), Hampering (perhaps the gentle constraint against violence, which musicians-elect can have none of). Juno, a crown deity of that aeon; Venus and Aphrodite in Beauty (both former); an aeon of Rigour and Severity archetypically... The final movement, the Llalassu or Phantom Band of Awareness, evoked I'm sure! It's hard for me to want this music to stop playing...
Spellbinding. That scherzo shouldn't even be playable. I always said that if I could play like any pianist, I would choose Mr. Ashkenazy. A perfect combination of muscularity and musicality.
Why such a crazy, overly fast tempo in the beginning (exposition), when the tempo of the next section (development) doesn't match with it, as it should? And the 2nd movement (that's as far as I could go) is tossed off in such a mindlessly rapid pace that I found it hard to believe that this was the highly respected Vladimir Ashkenazy I was listening to. As I've opined many times elsewhere, excessively fast tempos, rather than increasing the dramatic effect in works such as this, do the opposite, making the music sound trivial, playful, and plain silly. The physical tension felt by the player as he thrashes through at high speed gives him the impression that he's generating so much passion and heated emotion, but he's fooling himself. It just doesn't work that way. Listen to Horowitz, Rubinstein, Arrau (but avoid Pogorelich like death) to get an idea of what the composer probably intended.
THIS, in 1838-9-40 was, the very Origin of JAZZ and the True Birth of Rock n' Roll. Disgress all you want. I know i'm right. and HOW do i know ? simply....because i have 66-7 years ( out of 70 ) of musical history in me...YET i had never heard this Sonata 2 in it's entirety. Here, i heard TONS of Modern lines and patterns, escalations and intricacies, mouvements and liede, parts of phrases... that, as i hear it, reappeared a hundred years later. Never too late to find out, where it is, the music that rocked you all your life actually came from !
The first and second movements are too fast and too loud... The last movement , however, is played better than Horowitz... But Horowitz is the one to hear play the entire sonata the way I like hearing it played.....
@@bezuglich I first heard Mr. Ashkenazy play when I bought the Russian LP recording of the Chopin etudes....He was about 18 years old and I was amazed by his playing.....And when I heard him play the Chopin ballads I was even more amazed by his virtuosity .....His playing has changed over the years ever since he started conducting......But he is still my favorite pianist when it comes to Chopin....with the exception of Vladimir Horowitz who has no equal, except Sergei Rachmaninoff.
@@MoebiusTripper To me, here, it sounds like he's playing Prokofiev. He also sounds like he's double-parked outside. And where is the rubato?But, for the masses - and the competition judges - the more you pound, the better you sound, right? Much more fun (and insightful) for me is to poke around the score on the bass (especially the last movement), drawing out the lines, playing them backwards, pilfering hot licks, etc.
@@bezuglich Well the Russian school of piano playing believes in "pounding" or playing loud....What do you think of Rachmaninoff playing this sonata? The last movement he plays like no one else I've heard....He has breath taking crescendos which few pianists even realize that is what is needed in this last movement in order to give the effect of the wind blowing over the grave yard....Only Andre Watts comes close to what Rachmaninoff did in this last movement.....You Tube has the recording of Rachmaninoff playing this sonata.....
@@MoebiusTripper The version I want to hear, MT, is Victor Borge's. To be honest, each of the interpreters has their little bag of tricks and performative insights, but . . . so what? The score itself (excepting the last movement) is a bore - stiff rhythmically, with predictable binary routines . . . like a silent-movie soundtrack. I.e. Romanticism, yes? And re: Rach's crescendos, they're out of place, contrived, even - it's a graveyard of pianos, not artistes, after all, isn't it? This is a piece to be played at home - no metronome, no fraidy-cat critics around, lingering over, improvising on the lines and leaving the bombast for the plumbers in the concert hall.
I always try to find the positive quality in what I am hearing. Certainly this isn't Chopin, but it's definitely Ashkenazy. I can't see any logical reason to play this piece so quickly. Not the most convincing performance but definitely the most convinced.
JP Smith His approach is probably founded more upon the "idealist" approach of Schumann who termed the 4 movements of this sonata as Chopin's 4 "colossal children" bound together... I suppose the choice of tempo is suppose to envoke the tenacity and uproar of the first movement, but it doesn't make much profite at the expense of the score itself. I agree with you on that.
Yes it sounds more Listzian than Chopin but who knows how Chopin would have played it. I suspect he would have shown off his pianistic skills in his day. I frankly prefer Chopin with 'balls'. I was at this concert and it changed my view of Chopin forever; instead of the scmaltzty approach fashionable at the time, Ashkenazy's approach was a relevation.
This is pure Chopin. I fail to understand the need for intellectualizing; that should be left to the limited world of the musicologist, who contributes nothing to the performing arts.
I'm sorry, but I agree with others that the emotionality in this piece is lacking. Ashkenazy was a technical genius, but he totally misses the expression in this piece. 4:52 is reputed to be one of the most angst-ridden passages in classical music. He plows through it like he's on amphetamines. Chopin was an emotional guy and he interspersed sections of romantic stress into his pieces. If you are wondering what I'm talking about, check out Zimerman's performance starting at measure 137. In other words, Ashkenazy is A+ with speed and agility, but zero in expression. Sorry.
ruth talley : for me op35-2 is phenomenal great grandioso with all saoul we can imagine , the first Sonata of piano . J have listen many recordings and j agree Aschkenazy here in live is not for me the first recording of this monumental Sonata is Aschkenazy with Decca-studio for many reasons also exceptional Rachmaninov ; live is often very different of studio record : l like very well "Gaspard " by Argerich with DG 1970 so j have listened in 80' Argerich in live playing this piece : a " Gaspard " disappointed j have no recognized Argerich ; j think really that a pianist is a human no a robot and sometimes he is genious others days less good , j think this really listening Aschkenazy with two different records of thi sonata ; j'm a fan of Aschkenazy since 1958 ( chopin--studies ) but no after 1980 where it seems he played more money than music : Aschkenazy beetwen 1980-1985 recorded all the composers mozart Schumann etc before to play less for Marstro-Orchestrat here is j think about this sonata in fact here j agree with you
@@ruthtalley242 we can find in little price 5he best Aschkenasy- Tchaikovsky cto ( Decca-1963 ) Beethoven cto 5 ( Decca 70' ) and sound wonderful-vinyl . For me Aschkznazy don't understand Chopin so he becomes meticulous his piano is too reflexive j don't like ballades etc .. only studies-Chopin ( 1958 ) and op35-2 studio record ; Great pianist
ruth talley j said here that j 'dont like Chopin by Aschkenasy it's the same thing for Zimmerman who is too meticulous Aschkenasy also very meticulous playing Chopin.
Chewing gum actually helps you concentrate and be calm . Many people chew gum when playing piano. People also chew gum when playing cricket, football and basketball.
@@shah144 maybe that some people use it, but mine was a joke that seems he is chewing a gum, of course he is not, but it seems that way and is a bit annoying.
Saw him play this program that year at Carnegie Hall in NY- sat on stage right next to the keyboard! Waldstein sonata, Chopin, then Pictures at an Exhibition with a Chopin waltz for the encore. Absolute magic.
Lucky you!
OMG lucky
@@aknightofcamelot Yup.
Wow 🥰
Dear Lord, what a concert!
I knew before he struck them, that Ashkenazy's opening octaves would sound deep and powerful. I love his command of the instrument. It's one of a kind. No one has as much intention in their playing as Ashkenazy, period. He is always clearly expressing the melodies and has meaning. Even the repetition in this sounds completely different and yet more agitated. I love it and the repeat has never made sense to me before.
full of musical energy. best version i have ever heard
Best performance of this piece I've ever heard (watched). Incredible sound quality for a 1972 viedeo.
Recording technology was pretty advanced in 1972. Just because it's 48 years ago doesn't mean it's tinny and primitive.
@@tomfurgas2844 erea 60'-75 is the Golden age of recordings , the Top of recordings
@@alainspiteri502 Yes, high fidelity recording became the industry standard by the late 1950's. Those gorgeous Nat King Cole albums of that period are proof of that.
Meravigliosa Musica e Meravigliosa Esecuzione.
Bravo è dir poco.
Grazie ❤ Un abbraccio grande. ❤
So exciting. I feel like I'm being swept up into a raging current of emotions. Cant believe this was 48 years ago.
ah ahAha aha h a A you know what.... i can't believe this was 1840... this is the true birth of Jazz and Rock 'n Roll ...only 100 years ahead of it's time. This, has the status of true revelation to me right now ! I just found and listened to this piece for the first time in my music life....tonight.
May God reward you for posting this marvel!
I think I watched this video at least a hundred times now! Absolutely fantastic!
ive never heard such a deep and profound and rich sound accentuating each and every note -- other than from horowitz
the force with which ashkenazy attacks the keys is undeniably electric and incredibly powerful and moving!
Wonderfully poetic Chopin playing - Ashkenazy captures each facet of the music with the greatest commitment and the audience seem enthralled. Bravo!
Heart and soul poured. Magnifico.
Puissance, lyrisme, quel bonheur …
彼に勝る演奏は無い！🤗🎹✨✨✨🎵🎵🎵
I like Ashkenazy's playing & its raw, unsoftened energy.
perfect mastery of full musicality of this great pianism miracle of Chopin.
Que maravilla. Muchas gracias Sr.Askenazy !!!
G E N I A L - BRAVO MAESTRO ASHKENAZY !!!
Magnífica interpretación de el gran pianista Vladimir Ashkenasy a la música de Chopin .
23:21 incredible voicing - indescribable feelings like in 14th prelude
Incredible!
Wonderful and beautiful playing !!
Look at an old photo of Chopin and Ashkenazy in 1972...brothers from a different mother
Bravo Monsieur tres belle interprétation
4th movement is breathtaking
thanks for sharing it will motivate my dad
Que maravilla!! Muchas gracias.
Maravilloso Askenazi en esta gran sonata N 2 de Chopin. Maestría pianistica.
Bestial!!!
He can play my body like that piano, thr passion..... intoxicating
Sublime ❤️
Impresionante maravilloso!! Gracias
This live performance is so much better than the studio recording.
Sorry, but you're just wrong. Recording is so much more musical and not rushed.
@@PlayBetterJazz This isn't rushed at all
I agree with Cool JL . This performance is so exiting, so full of passion and intensity, while the studio recording some 8-9 years later is a little academic in my opinion. This 1972 live performance have also been published on a Decca LP back in 1972 “Ashkenazy in concert “. I bought it when it was quite new.
@@ulfwernernielsen6708 j'm opposite against your taste : no comparison this 1972 with the recording Decca 1979 ( published 82 ) the record London 1979 is the best sonata op35-2 with S Rachmaninov , we are very different
@@alainspiteri502 Thank you. It is always interesting to hear an opinion different from my own. It would be interesting for me to hear your opinion about the two Horowitz recordings RCA1950 and Columbia 1962 . I dislike the RCA and I love the Columbia. The Rachmaninov recording is very different from Ashkenazy but my favorite historical recordings is the Cortot 1928 and 1933 . Without any doubt he was too old when he recorded it again in 1953 . Have a nice day . Ulf Werner Nielsen .
Why did UA-cam deleted the posting date? This performance is simply marvellous.
Always real quality performances, this pianist... The issue of tempo is a difficult one, as aeonic conditions might infuence. Artifacts or relics of that aeon, it's hard for me to think any as valuable or unique as such Chopin works! The best tempo for all four movements- M.M. 60- the numerlogical meaning of this number appears to be meaningful- Material Success, in the Book of Tarot; also, in other numerology, Boldness, Yenh (or yearning), Hampering (perhaps the gentle constraint against violence, which musicians-elect can have none of). Juno, a crown deity of that aeon; Venus and Aphrodite in Beauty (both former); an aeon of Rigour and Severity archetypically... The final movement, the Llalassu or Phantom Band of Awareness, evoked I'm sure! It's hard for me to want this music to stop playing...
Qué barbaridad. Es una interpretación increíble.
Es un monstruo Ashkenasy, qué manera de interpretar a Chopin.y Rachmaninoff. Es el equivalente de Arrau con Schumann y Beethoven.
What date was this performance? Simply outstanding quality for ‘72!
Spellbinding. That scherzo shouldn't even be playable. I always said that if I could play like any pianist, I would choose Mr. Ashkenazy. A perfect combination of muscularity and musicality.
❤️🙏❤️
와 이거 개좋다 미친
앨범은 걍 소소였는데
Wow
good
Rosyjska szkoła Chopina, do mnie przemawia najbardziej, choć Chopin nie lubił podobno głośnej gry.
Krystian Zimerman is wonderful too.
And Dinu Lipatti was legendary...
Why such a crazy, overly fast tempo in the beginning (exposition), when the tempo of the next section (development) doesn't match with it, as it should? And the 2nd movement (that's as far as I could go) is tossed off in such a mindlessly rapid pace that I found it hard to believe that this was the highly respected Vladimir Ashkenazy I was listening to. As I've opined many times elsewhere, excessively fast tempos, rather than increasing the dramatic effect in works such as this, do the opposite, making the music sound trivial, playful, and plain silly. The physical tension felt by the player as he thrashes through at high speed gives him the impression that he's generating so much passion and heated emotion, but he's fooling himself. It just doesn't work that way. Listen to Horowitz, Rubinstein, Arrau (but avoid Pogorelich like death) to get an idea of what the composer probably intended.
What rubbish you talk
Yes I
13:53
Everyone is a critic
!
Recording Decca is better in first for me with By Rachmaninov also , it's the live but Aschkenazy is less good in op35,-2 here
THIS, in 1838-9-40 was, the very Origin of JAZZ and the True Birth of Rock n' Roll. Disgress all you want. I know i'm right. and HOW do i know ? simply....because i have 66-7 years ( out of 70 ) of musical history in me...YET i had never heard this Sonata 2 in it's entirety. Here, i heard TONS of Modern lines and patterns, escalations and intricacies, mouvements and liede, parts of phrases... that, as i hear it, reappeared a hundred years later. Never too late to find out, where it is, the music that rocked you all your life actually came from !
The first and second movements are too fast and too loud... The last movement , however, is played better than Horowitz... But Horowitz is the one to hear play the entire sonata the way I like hearing it played.....
I just skip the first two movements & go straight to the Marche.
@@bezuglich I first heard Mr. Ashkenazy play when I bought the Russian LP recording of the Chopin etudes....He was about 18 years old and I was amazed by his playing.....And when I heard him play the Chopin ballads I was even more amazed by his virtuosity .....His playing has changed over the years ever since he started conducting......But he is still my favorite pianist when it comes to Chopin....with the exception of Vladimir Horowitz who has no equal, except Sergei Rachmaninoff.
@@MoebiusTripper To me, here, it sounds like he's playing Prokofiev. He also sounds like he's double-parked outside. And where is the rubato?But, for the masses - and the competition judges - the more you pound, the better you sound, right? Much more fun (and insightful) for me is to poke around the score on the bass (especially the last movement), drawing out the lines, playing them backwards, pilfering hot licks, etc.
@@bezuglich Well the Russian school of piano playing believes in "pounding" or playing loud....What do you think of Rachmaninoff playing this sonata? The last movement he plays like no one else I've heard....He has breath taking crescendos which few pianists even realize that is what is needed in this last movement in order to give the effect of the wind blowing over the grave yard....Only Andre Watts comes close to what Rachmaninoff did in this last movement.....You Tube has the recording of Rachmaninoff playing this sonata.....
@@MoebiusTripper The version I want to hear, MT, is Victor Borge's. To be honest, each of the interpreters has their little bag of tricks and performative insights, but . . . so what? The score itself (excepting the last movement) is a bore - stiff rhythmically, with predictable binary routines . . . like a silent-movie soundtrack. I.e. Romanticism, yes? And re: Rach's crescendos, they're out of place, contrived, even - it's a graveyard of pianos, not artistes, after all, isn't it?
This is a piece to be played at home - no metronome, no fraidy-cat critics around, lingering over, improvising on the lines and leaving the bombast for the plumbers in the concert hall.
4:15
Un poco rápido para mi gusto.
I always try to find the positive quality in what I am hearing. Certainly this isn't Chopin, but it's definitely Ashkenazy. I can't see any logical reason to play this piece so quickly. Not the most convincing performance but definitely the most convinced.
JP Smith His approach is probably founded more upon the "idealist" approach of Schumann who termed the 4 movements of this sonata as Chopin's 4 "colossal children" bound together... I suppose the choice of tempo is suppose to envoke the tenacity and uproar of the first movement, but it doesn't make much profite at the expense of the score itself. I agree with you on that.
Yes it sounds more Listzian than Chopin but who knows how Chopin would have played it. I suspect he would have shown off his pianistic skills in his day. I frankly prefer Chopin with 'balls'. I was at this concert and it changed my view of Chopin forever; instead of the scmaltzty approach fashionable at the time, Ashkenazy's approach was a relevation.
This is pure Chopin. I fail to understand the need for intellectualizing; that should be left to the limited world of the musicologist, who contributes nothing to the performing arts.
JP Smith, I suppose you prefer Michelangeli's yawn-inspiring tempi.
Nay Tro, I suppose you prefer a more discontinuous and moribund approach. Envoke? Profite?
Вдоль по питерской с гробами.. Romanische. :)
Goku le gana 😎
Por penaltis
He looks like chopin
T
I'm sorry, but I agree with others that the emotionality in this piece is lacking.
Ashkenazy was a technical genius, but he totally misses the expression in this piece.
4:52 is reputed to be one of the most angst-ridden passages in classical music.
He plows through it like he's on amphetamines.
Chopin was an emotional guy and he interspersed sections of romantic stress into his pieces.
If you are wondering what I'm talking about, check out Zimerman's performance starting at measure 137.
In other words, Ashkenazy is A+ with speed and agility, but zero in expression. Sorry.
ruth talley : for me op35-2 is phenomenal great grandioso with all saoul we can imagine , the first Sonata of piano . J have listen many recordings and j agree Aschkenazy here in live is not for me the first recording of this monumental Sonata is Aschkenazy with Decca-studio for many reasons also exceptional Rachmaninov ; live is often very different of studio record : l like very well "Gaspard " by Argerich with DG 1970 so j have listened in 80' Argerich in live playing this piece : a " Gaspard " disappointed j have no recognized Argerich ; j think really that a pianist is a human no a robot and sometimes he is genious others days less good , j think this really listening Aschkenazy with two different records of thi sonata ; j'm a fan of Aschkenazy since 1958 ( chopin--studies ) but no after 1980 where it seems he played more money than music : Aschkenazy beetwen 1980-1985 recorded all the composers mozart Schumann etc before to play less for Marstro-Orchestrat here is j think about this sonata in fact here j agree with you
Two recordings op35-2 = Aschkenazy ( Decca studio ) akso Rachmaninov , Rubinstein disappointing for me
@@alainspiteri502 You are brilliant in your interpretation ! You taught me a lot.
@@ruthtalley242 we can find in little price 5he best Aschkenasy- Tchaikovsky cto ( Decca-1963 ) Beethoven cto 5 ( Decca 70' ) and sound wonderful-vinyl . For me Aschkznazy don't understand Chopin so he becomes meticulous his piano is too reflexive j don't like ballades etc .. only studies-Chopin ( 1958 ) and op35-2 studio record ; Great pianist
ruth talley j said here that j 'dont like Chopin by Aschkenasy it's the same thing for Zimmerman who is too meticulous Aschkenasy also very meticulous playing Chopin.
Why Askenazy chews gums while playing? I think it's not a good to chew a gum while playng piano.
i don’t think he is chewing gum... it is a involutary jaw movement when some performers are tense or under pressure.
he is not chewing gum. It is involuntary move some performer do under tension or pressure.
@@nevesferreira2396 I know I was making fun of this aspect.
Chewing gum actually helps you concentrate and be calm . Many people chew gum when playing piano. People also chew gum when playing cricket, football and basketball.
@@shah144 maybe that some people use it, but mine was a joke that seems he is chewing a gum, of course he is not, but it seems that way and is a bit annoying.
in my opinion ashkenazy uses too much the pedal, but the christmas song (at 16:15) is so beautiful !!! thanks
Christmas song? The movement’s called funeral March
I prefer the great Horowitz
4:00