Pianists explain why Alfred Cortot is one of the Greatest Pianists

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Alfred Cortot is undoubtedly one of the most controversial pianists in classical music history. His erroneous notes, his outdated rubato, his approach to music that are too romantic and with different readings associated with other branches of art are quite unacceptable for today's modern academic understanding and listener. But for many famous pianists of the present and the past, the greatest pianist or one of the greatest pianists was Alfred Cortot. Many pianists had a deep admiration for him. What makes Alfred Cortot's art so special? I tried to explain this with the discourse of many important pianists. In this video, I used Cortot recordings from 1902 to 1953.
Pianists talking about or associated with Alfred Cortot in the video: Andras Schiff, Alfred Brendel, Wilhelm Kempff, Vladimir Horowitz, Claudio Arrau, Murray Perahia, Walter Gieseking, Martha Argerich, Alicia de Larrocha, Dinu Lipatti, Vlado Perlemuter, Stephen Hough, Jorge Bolet, Byron Janis, Heinrich Neuhaus, Eric Heidsieck, Philippe Entremont, Paul Badura-Skoda, Daniel Barenboim, Györg Sandor, Gina Bachauer, Yuja Wang, Magda Tagliaferro, İdil Biret, Yvonne Lefebure, Piotr Anderszewski, Angela Hewitt. And Bonus: Pablo Casals and Jed Distler.
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00:00 Bach - Cadenza of Brandenburg Concerto No. 5 (1932)
* Orchestre de l'Ecole Normale de Musique, conductor and piano Alfred Cortot.
04:00 Debussy - "La cathédrale engloutie" (1947)
08:31 Chopin - Prelude No. 4, Op. 28 (1933)
10:23 Chopin Etude No. 5 Op. 10 (1923)
11:56 Chopin Etude No. 1 Op. 25 (1934)
14:06 Chopin Sonata No. 3 Mov. III excerpt (1933)
16:44 Schumann - "Kind im Einschlummern" from Kinderszenen (1953)
18:24 Schumann - "Der Dichter spricht" from Kinderszenen (1953)
20:34 Schumann - Kreisleriana excerpt (1935)
24:00 Franck - Symphonie Variations (1934)
* London Philharmonic Orchestra, conductor Landon Ronald
28:18 Wagner - "Hojotoho!" from Die Walküre (1902)
* with Félia Litvinne
30:07 Liszt - Piano Sonata excerpt (1929)

Пікірлер: 177

  • @CriollismoPeruano
    @CriollismoPeruano Жыл бұрын

    Anyone else noticed the depth of thought in those comments? Meanwhile in 2022, you're lucky to get one coherent sentence from people.

  • @davisatdavis1

    @davisatdavis1

    Жыл бұрын

    Seriously. For my first competition, all the judges wrote for their thoughts for each guiding question for my performance, was "good," "fine," "okay" ...

  • @CriollismoPeruano

    @CriollismoPeruano

    Жыл бұрын

    @@davisatdavis1 What competition was this ?

  • @davisatdavis1

    @davisatdavis1

    Жыл бұрын

    @@CriollismoPeruano Young Artists Competition

  • @prototropo

    @prototropo

    Жыл бұрын

    That's very true--mournfully so. I often wish rhetoric, declamation, prosody and written composition were reintroduced as core expectations of primary education. I treasure my Catholic school childhood for those classes, and deeply appreciate learning Latin, not only for the homologous language elements but for its derived Greco-Roman ideas and expressive linguistic confidence. Ironically, little or no time was spent on theological blah-blah, and instead on ethical considerations of modern life.

  • @jdistler2
    @jdistler2 Жыл бұрын

    I'm so flattered to be included in your quotes, and listed as a pianist alongside so many great keyboard giants. More importantly, you've put a wonderful and well-curated group of recordings together that judiciously demonstrate Cortot's uniqueness.

  • @OzanFabienGuvener

    @OzanFabienGuvener

    Жыл бұрын

    I have been reading your reviews for a very long time and I'm happy to hear your appreciation. Thank you very much!

  • @ciararespect4296

    @ciararespect4296

    9 ай бұрын

    Who are you 😂

  • @nikitashestakov.
    @nikitashestakov. Жыл бұрын

    Great video! Finally someone understands!!!

  • @OzanFabienGuvener
    @OzanFabienGuvener Жыл бұрын

    * If the text is unreadable, please increase the quality of the video! When I opened this youtube channel 10 years ago, my goal to share the Cortot recordings that were not on KZread and I wanted to prepare such a video for my favorite pianist in honor of the 10th anniversary of my channel! In this video, I used Cortot recordings from 1902 to 1953. I scanned over 50 sources for this video, I've read most of it in the past but looked again for the video. Pianists talking about or associated with Alfred Cortot in the video: Andras Schiff, Alfred Brendel, Wilhelm Kempff, Vladimir Horowitz, Claudio Arrau, Murray Perahia, Walter Gieseking, Martha Argerich, Alicia de Larrocha, Dinu Lipatti, Vlado Perlemuter, Stephen Hough, Jorge Bolet, Byron Janis, Heinrich Neuhaus, Eric Heidsieck, Philippe Entremont, Paul Badura-Skoda, Daniel Barenboim, Györg Sandor, Gina Bachauer, Yuja Wang, Magda Tagliaferro, İdil Biret, Yvonne Lefebure, Piotr Anderszewski, Angela Hewitt. And Bonus: Pablo Casals and Jed Distler. I also added the piaist explanations in the video to my site: www.chopinzee.com/2022/08/pianists-explain-why-alfred-cortot-is.html Tagliaferro: "Cortot was such a fabulous man, with total culture. He was turly exceptional as a musician. As a teacher, he wasn't interested in technique per se and his students usually had it already. His interest was in interpretion, and the images that he conjured up for us were absolutely visonary. He was a true poet, and his playing always came from the heart. Even in the fastest and hardest passages, the sense of the music was always his first concern." Brendel also said this to describe Cortot (I forgot to add while editing): “The one pianist who equally satisfies my mind, my senses, my emotions.” This sentence describes the Brandenbug recording beautifully. Debussy had an article on how to play Bach, and that's the closest I've heard to Debussy's description! Cortot perfectly reveals the polyphonic structure, but at the same time, he played naturally, as if it was composed at that moment, not like a dusty piece of past history. The sense of integrity, dynamics, fluidity, everything in this recording is magnificent and so natural. I've always been fascinated by Cortot's sound and creativity on the piano. Check out how the right hand melody sounds like a harp in Chopin's "harp" etude It's as if the strings are drawn just like on the harp! In his Albeniz Malagueña recording (1923), the piano turns into a guitar. The Liszt sonata and Debussy Preludes contain an amazing color palette. The timpani effects in the Liszt sonata are obvious, the bells effects in the La Cathedral engloutie, and in Liszt's 11th Hungarian rhapsody recording (especially 1925), the piano sounds like Cimbalom. He was also one of the best at getting the piano to sing, for example in his Schubert Litanei adaptation recordings. Et cetera...The pure timbre that Cortot derives from the piano is also unique and individual. His tone was soft and dark, intense and velvety at the same time. Today, musical works are studied only theoretically, but in the 19th century many musical works were based on paintings, poems, novels, stories. Cortot didn't ignore them. Another feature of Cortot is his mastery of storytelling. For example, he was aware that the titles that Debussy put on the works were not random, or he knew that Schumann's Papillons was based on the Jean Paul novel, these details guided his interpretations of the works. Cortot's storytelling was unmatched. The pianists in the video seem to have already mentioned everything else. 00:00 Bach - Cadenza of Brandenburg Concerto No. 5 (1932) * Orchestre de l'Ecole Normale de Musique, conductor and piano Alfred Cortot. 04:00 Debussy - "La cathédrale engloutie" (1947) 08:31 Chopin - Prelude No. 4, Op. 28 (1933) 10:23 Chopin Etude No. 5 Op. 10 (1923) 11:56 Chopin Etude No. 1 Op. 25 (1934) 14:06 Chopin Sonata No. 3 Mov. III excerpt (1933) 16:44 Schumann - "Kind im Einschlummern" from Kinderszenen (1953) 18:24 Schumann - "Der Dichter spricht" from Kinderszenen (1953) 20:34 Schumann - Kreisleriana excerpt (1935) 24:00 Franck - Symphonie Variations (1934) * London Philharmonic Orchestra, conductor Landon Ronald 28:18 Wagner - "Hojotoho!" from Die Walküre (1902) * with Félia Litvinne 30:07 Liszt - Piano Sonata excerpt (1929)

  • @fredericfrancoischopin6971

    @fredericfrancoischopin6971

    Жыл бұрын

    So many thanks for sharing such a great pianist. Cortot is Beyond tremendous.

  • @alainspiteri502

    @alainspiteri502

    Жыл бұрын

    @@fredericfrancoischopin6971 Alfred Cortot is beyond the notes beyong the keyboard , j think the same thing about Clara Haskil .

  • @dostojevski5588

    @dostojevski5588

    Жыл бұрын

    thank you so much for compiling these sources

  • @adriennebeecker5000
    @adriennebeecker5000 Жыл бұрын

    What pleasure you have brought to this listener’s ears after listening to Alfred Cortot over many, many 😂 decades! Thank you for your carefully selected quotesthat provided insights into Alfred Cortot’s interpretations , especially off Chopin and Schumann, as well as photos. Cortot is the benchmark for all other pianists.

  • @fredwanger9337
    @fredwanger9337 Жыл бұрын

    What a pleasure! He marched to a different, but enchanting drummer.

  • @keybawd4023
    @keybawd4023 Жыл бұрын

    A beautifully put together collection of performances and comments. Thank you. Many of us have been persuaded to think that some steely fingered young pianist who can play fast and furious without a single missed note has 'technique'. I think my eyes were opened when, many many years ago, back in the sixties, Murray Perahia waxed lyrical about Cortot's playing - his colour and his phrasing.

  • @johnschlesinger2009
    @johnschlesinger2009 Жыл бұрын

    Cortot's sound was extraordinary, and absolutely unique. Thank you so much for your excellent selection. I haven't listened to Cortot's recordings for many years: hearing him again I am astonished at his musical imagination, intellectual grasp, and what feels like unbridled spontaneity. To those who berate Cortot for wrong notes, I would remind them that Vladimir Horowitz said that it is impossible to play the Chopin preludes better than Cortot, both musically and technically. And Artur Schnabel who, on being asked to re-record something, said "I might play it better, but it won't be as good".

  • @liliaaliciaduhaldebruz6712

    @liliaaliciaduhaldebruz6712

    Жыл бұрын

  • @CarmenReyes-em9np

    @CarmenReyes-em9np

    Ай бұрын

    No me gusta que canten.

  • @CarmenReyes-em9np

    @CarmenReyes-em9np

    Ай бұрын

    No

  • @alainspiteri502
    @alainspiteri502 Жыл бұрын

    Alfred Brendel said that " the best recording of Chopin Preludes is the recording by Alfred Cortot in 1933 " .

  • @AldenHardaway
    @AldenHardaway Жыл бұрын

    Fabulous upload. Thank you for keeping his extraordinary vision alive in 2022!

  • @alainspiteri502

    @alainspiteri502

    Жыл бұрын

    Since 1910 ! J have the firsts recording in 1910 , original not piano-rolls as S Rachmaninov mostly piano-rolls to day

  • @vova47
    @vova47 Жыл бұрын

    Cortot!!! ....The mere sound of his name evokes romantic and elegant sensations. No one played Schumann like he did.

  • @uliwidmaier5192
    @uliwidmaier5192 Жыл бұрын

    Masterfully done. Thank you. The quotes are illuminating. The recordings are extremely well selected. And many of the photos I've never seen before. A real learning and eye(and ear!)-opening experience.

  • @tomowenpianochannel
    @tomowenpianochannel Жыл бұрын

    The goal is not technical perfection. The goal is soul. Cortot has the soul.

  • @ericastier1646

    @ericastier1646

    Жыл бұрын

    No, Cortot is not about soul, his style of playing is total immersion in the poetic musical creation sense with no self indulgence or artificial dramatization. Someone who "has the soul" as you say makes music around personal perceptions and branding his "own" style. This is not what Cortot is. He lends his entire self gently to the music.

  • @tomowenpianochannel

    @tomowenpianochannel

    Жыл бұрын

    @@ericastier1646 Not necessarily the case. Everyone brings their own something to their own performance of the music. Intentional or not. Pollini being the later example (just 'the music') but it is not the case. Subtle inflections and personality are inherent. Anyway... to make such a comment you are clearly a person of culture and experience! no argument necessary about the quality of Cortot and his Chopin.

  • @ericastier1646

    @ericastier1646

    Жыл бұрын

    @@tomowenpianochannel Your are very gracious and tactful in your writing, i realize we are among cultivated gentlemen and women on these youtube pages whenever reminiscing on legendary classical musicians. Cortot's best quality was that he could hear the music's essence and recreate it for us while so many extremely talented pianists that made a career cannot hear the soul of the music that drove the composition of a piece even if they are able to play it exactly the way they want and hear it, it still is a musical misinterpretation, like speaking a language they understand but not in the best way it can be understood. That is what Cortot could do. Listening to his radio programs he was very calm and he made phrases and spoke words in a very healthy way, his intonation and intelligence were striking and that of a poet just like his piano playing.

  • @tomowenpianochannel

    @tomowenpianochannel

    Жыл бұрын

    @@ericastier1646 I agree, he had a natural understanding of the music.His playing is refined, high-class pianism from a bygone age. Cortot was far closer to Chopin in his generation and in terms of people who mixed in those circles, former pupils, teachers, etc. His recordings feel very authentic - and clearly many more recent (famous) pianists are great fans too!

  • @ciararespect4296

    @ciararespect4296

    9 ай бұрын

    ​@@ericastier1646no the soul/alma/spirit is a separate inanimate object not of man Cortot bent his stupendous mind to the piano it came from the brain

  • @tom6693
    @tom6693 Жыл бұрын

    It's heartening to find so many varied pianists who, despite having widely different keyboard personalities and approaches to music-making, nevertheless all regard Cortot as a supreme master of the piano and a great, if inimitable, artist. I especially like how they point to his unique species of poetry and fantasy, the way he uses touch and color and phrasing to re-create these classic scores in such surprising and revelatory ways. I'll never forget when I first discovered his recordings of Schumann--it was like entering territory you feel you know and then suddenly encountering it as a whole new, strange, beautiful world. A thrilling experience. And that happened with the Chopin Preludes and Etudes as well. Does anyone make the "Aeolian Harp" sing like Cortot? Simply ravishing playing.

  • @josephstef
    @josephstef Жыл бұрын

    Thanks for this wonderfully put together compilation of Cortot and these truly insightful comments and observations regarding his all encompassing musicanship!

  • @aleksandrarutyunyan5925
    @aleksandrarutyunyan5925 Жыл бұрын

    Շնորհակալություն, դաշնամուրային արվեստի գանձարանի դռները բացելու համար ։ From Armenia

  • @GilaGoldsteinPianist
    @GilaGoldsteinPianist Жыл бұрын

    a wonderful idea and document, much needed nowadays, thank you for creating it. Cortot was one of the most inspiring artists ever lived.

  • @TomD67
    @TomD67 Жыл бұрын

    Thank you for posting this -- very valuable to any pianist!

  • @ericastier1646
    @ericastier1646 Жыл бұрын

    Once Cortot was playing in a provincial town in France and more people came to the concert than they had room for so they added extra chairs around the piano. In Cortot's line of sight sat a woman wearing a hat with a long vertical feather, after some time Cortot noticed that the feather was keeping the beat while he was playing. He later said that he knew from the feather's movements that she must have been an eminent person in the musical art and he started to follow it with his playing in the concert. ;D This is a true story that i translated from the French. It always makes me smile and gives an idea of his character and the musician he was. He was also an excellent conductor.

  • @OzanFabienGuvener

    @OzanFabienGuvener

    Жыл бұрын

    Haha this is a great story, thank you for sharing!

  • @bvbwv3
    @bvbwv3 Жыл бұрын

    Bravo for this amazing uploading. A true homage to Cortot's consummate artistry!

  • @jorislejeune
    @jorislejeune Жыл бұрын

    fantastic, and completely deserved.

  • @osmancanizin4423
    @osmancanizin4423 Жыл бұрын

    What a great document!

  • @clikyou
    @clikyou Жыл бұрын

    ... music is based on breathing... Truly and right.

  • @flonzaley6092
    @flonzaley6092 Жыл бұрын

    The way this is put together shows real and profound understanding. Thank you!

  • @obelisk1516
    @obelisk1516 Жыл бұрын

    A magnificent document of great historical importance, Thank you. I was gifted recordings of Cortot's superb Chopin by my esteemed former teacher, John Lavender. In earlier years I had the great honour of being taught by Elizabeth Huban, a pupil of Cortot and one of his demonstration pianists. She was a delightful lady and a wonderful teacher. Every now and then, after a lifetime of study, I feel (fairly) certain, just for a phrase or two, that I have captured the spirit of this great genius.

  • @davidwhite2949
    @davidwhite2949 Жыл бұрын

    Learning about him for the first time. Beautiful.

  • @cortootify
    @cortootify Жыл бұрын

    I was shocked when I was listening his Chopin Etude,waltz. He influenced my music for life

  • @bonuebonue

    @bonuebonue

    Жыл бұрын

    "Chopin Etude,waltz" ?? what piece is this?

  • @Sofronichrist
    @Sofronichrist Жыл бұрын

    This video is an absolute gem - anyone interested in music in general should be familiar with it. Thank you so much for this invaluable contribution!

  • @OzanFabienGuvener

    @OzanFabienGuvener

    Жыл бұрын

    Thank you so much @sofronichrist !

  • @annamariamanfredi6624
    @annamariamanfredi6624 Жыл бұрын

    Sono capitata per caso o per magia tra grandi esperti. Io ci capisco poco, ma mi piace ascoltare musica e apprendere qualche nozione, che arricchisce il mio bagaglio del "sapere". Grazie. Vedo e sento che c'è un grande lavoro alle spalle per fare tutto ciò. Complimenti Buona giornata.

  • @carolynwheeler8475
    @carolynwheeler84755 ай бұрын

    My learning of Cortot is thru my study of Alfred Brendel whom I admire as one of there very best ever. Thank you for this review.

  • @CarmenReyes-em9np
    @CarmenReyes-em9np25 күн бұрын

    En las partituras que estudie 🎶. 20 años muestran las correcsiones de Cortot. ❤

  • @johnericsson749
    @johnericsson749 Жыл бұрын

    Absolutely wonderful video. Where are the photos from? I recognise very few of them

  • @OzanFabienGuvener

    @OzanFabienGuvener

    Жыл бұрын

    Thanks a lot... Yes, I wanted to choose the generally unknown photos. I have gathered from different sources over the years. I bought one of them in an unrelated archive or the other as a real photograph in an antique shop. I have a humble collection of concert programs, photographs, etc. of some pianists. Some are taken from books, magazines. I came across some of them unrelatedly on the Internet, for example one photo in Menuhin's daughter's photo collection. I have accessed from newspaper, library or conservatory archives. Some are available on certain sites: archive.org, akg, etc. Sometimes I can discover unknown photos by browsing non-English sites: rare photos can be found from Japan, Romanian, Polish, Turkish, Greek, Italian, German, French sites!

  • @liliaaliciaduhaldebruz6712

    @liliaaliciaduhaldebruz6712

    Жыл бұрын

    ​@@OzanFabienGuvener😮

  • @ArsentiyKharitonov
    @ArsentiyKharitonov Жыл бұрын

    in addition to the great musicianship Cortot demonstrated, there are so many technical wizardries in Cortot's performances that it is mind-boggling how one can do it! Pure magic

  • @OzanFabienGuvener

    @OzanFabienGuvener

    Жыл бұрын

    Yes, especially early recordings!

  • @christophersurnname9967
    @christophersurnname9967 Жыл бұрын

    Thank you very much for another absolutely wonderful video. Honestly, these are some great videos. Pls keep up the good work.

  • @CarmenReyes-em9np
    @CarmenReyes-em9np25 күн бұрын

    Cortot corrigio la escritura a mano con errores ,porque no se habia inventado la imprenta. Muy buen pianistaOzan ❤

  • @chopin1962
    @chopin196211 ай бұрын

    How does a human like Cortot exist? I don’t know. He is what I look for in music, the more deeper I feel the music, the more I know about music, the more impressed I become of Cortot. I simply don’t understand how he can make music so alive. The music in itself is there alive in it’s purest form at the hands of Cortot.

  • @pelegrino791
    @pelegrino791 Жыл бұрын

    When we hear his recording made before the second world war, we don't hear that much wrong notes. It's after the second world war and all his political and highly controversial "activities" with the Vichy régime that his tecnique and memory began to fail dramaticaly. In the 30 th, even Horowitz came to him to have some technical teaching !

  • @natalyamark
    @natalyamark5 ай бұрын

    Absolutely gorgeous! The best of all times…

  • @colettebibes8166
    @colettebibes8166 Жыл бұрын

    Un grand merci.

  • @pierreparraud
    @pierreparraud Жыл бұрын

    On parle souvent des fausses notes de Cortot, mais il est difficile d'y préter attention tant son interprétation reste géniale et fidèle à l'esprit de la composition. Cortot est capable de souligner des lignes musicales avec une clarté qui inspire les virtuoses des générations suivantes. Son interprétation est plus riche et plus complète, que nombre de ses ainés. Je me demande même s'il n'a pas trouvé dans la partition des lignes mélodiques que le compositeur lui-même n'aurait pas remarqué, ou que l'éditeur n'a pas su retranscrire correctement d'après le manuscrit. Je pense ici à l'étude 1 op 25 où la mélodie dominante en "grandes notes" avec un accompagnement de "petites notes", fait place à une deuxième voix mélodique légèrement décallée en mesure 15 et 16, inscrite dans les petites notes sensées constituer l'accompagnement, et que Cortot met en valeur d'une façon lumineuse. L'enchainement mélodique devient plus complet, plus logique, et plus riche. Son interprétation est brillante, et sa technique, impressionnante.

  • @alainspiteri502

    @alainspiteri502

    Жыл бұрын

    je suis d'accord 100-100 avec le fait que Cortot fait ressortir certaines notes devenant mélodie : j'écoute depuis longtemps Cortot ce qui m'intriguera toujours c'est ce mystère qui plane au dessus de l'interprétation , une sensation personnelle qu'il y a une magie au delà , indescriptible avec des mots une sensation que l'on entends pas toujours un instrument à marteaux ; Cortot est au delà du clavier dans sa sonorité mêlée à un rubato qui n'appartient qu'à lui ; les plus grands jouent du piano , Cortot ( et aussi Walter Gieseking ) en font un autre instrument : trois pianistes indéchiffrables dans ce sens de la dématérialisation de l'instrument à marteaux qu'est le piano : Cortot Gieseking - Clara Haskil qui sont trois pianistes qui vont au delà du clavier , c'est un mystère que je ne comprendrai jamais ; les plus grands Chopin sont pour moi Samson François et Arthur Rubinstein mais leurs sonorité restent dans le clavier les trois pianistes que j'ai cités vont au delà du clavier . Il existe des records de Cortot des années 1910 il etait un grand technicien , il abandonna très tôt la conception de la technique pour avoir transformé le piano en un être qui vous parle , c'est le mystère Cortot ( en ce qui me concerne ) aucune comparison avec un autre pianiste devient possible .

  • @pierreparraud

    @pierreparraud

    Жыл бұрын

    @@alainspiteri502 J'ai depuis progressé dans le vocabulaire musical : je crois que ce que je signalais s'appelle un "contrechant". Faire apparaître ce contrechant reste pour moi une prouesse technique difficile à décrire, peut-etre faut-il donner à ces notes un peu plus de puissance ou de durée, une attaque différente, ces choses faites instinctivement par les grands pianistes ne sont pas toujours explicables.

  • @alainspiteri502

    @alainspiteri502

    Жыл бұрын

    @@pierreparraud vous pouvez retrouver l'exemple type de ce que vous decrivez dans " Tchaikovshy- Alexander Malofeev pdd Nutcraker " mon unique Playlist ou Malofeev mets nettement en relief des basses ( non voulues par le compositeur ) , cest un procédé pianistique moins ingenieux que l'alchimie de A Cortot mais qui s'ajoute â la mélodie de la main droite , les accents de la basse au debut sont sublimes ; Arthur Rubinstein se servait de ce procédé d'accents , d'insistance sur les basses â bon escient et qui donne au morceau joué une résonance en contre point qui ajoute â la beauté de la main droite ; la seule video de ma playliste de ma chaine " Tchaikovshy Malofeev pod Nutcraker est a re-écouté plusieurs fois pour apprécier l'ampleur que donne ce processus ; vous remarquerez que chez Rubinstein les basses sont primordiales , chaque fois que cest possible Rubinstein mets la basse en relief avec une sonorité douce et chaudes , les basses de Rubibstein sont splendides . Le piano est une science dans la quatrième ballade de Chopin Rubinstein accentue le crescendo plus que lindication ecrite de Chopin pour entrainer son audience â lextase et applaudissement final ( qui nest pas le point de vue initial de Rubinstein mais quand meme ) . Au depart grand technicien Cortot a délaissé ce point pour s'orienter d'avantage sur la recherche melodique , Chopin est en premier lieux une mélodie . Cortot Rubinstein sont proches mais Cortot sen détache par une magie qui va au delà de la partition . En ce sens il faut ecouter le dernier enregistrement studio de Clara Haskil de la sonate D960 de Schubert , la derniere , ou elle rejoint pratiquement Cortot dans la magie de la musique bien au delà du clavier , cette dernière sonate de Schubert est comme par haeard le Testament de Clara Haskil . On a parlé de l'amélioration de la mélodie par l'interprète qui va au dela de l'intention méme du compositeur ; nous sommes loin ici de la conception meticuleuse de la technique du clavier actuelle bien que parmis la tres jeune generation de pianistes il y a deja les futurs Grands du vingtième siecle .

  • @pierreparraud

    @pierreparraud

    Жыл бұрын

    @@alainspiteri502 Chopin s'appuie souvent sur une mélodie puissante, qui séduit à la première écoute l'auditeur. Mais on oublie vite cette mélodie, car une ambiance s'impose, évocatrice, tourmenté, pensive et passionnée, reflétant l'ame du compositeur, et peut-être même ses humeurs. Ou ne sont-ce que celles de l'auditeur ? C'est très intime. Et ce qui me frappe, c'est que toute cette forme de liberté, sans limite dans l'expression, s'appuie sur une structure de composition tellement rigoureuse, tellement régulière, comme une démonstration mathématique, avec un enchainement parfait. Il ne manque rien, tout y est, il n'y a rien a rajouter, ni à enlever, toutes les notes sont à leur place, toutes les nuances sont pertinentes. On ne peut que regretter cette vie écourtée qui nous prive de tout ce qu'il aurait pu composer.

  • @alainspiteri502

    @alainspiteri502

    Жыл бұрын

    @@pierreparraud les qq fois ou je passe par la Place Vendôme je ne manque jamais de regarder le N-12 où s'est éteint ce jeune homme ; dans la composition de Chopin il n'y a,pas de structure pré-définie rien de rigueur rien de forme mathématique pré pensé là je suis pas d'accord avec ce que vous venez d'écrire car ce que vour ecrivez sur la rigueur de l'ecriture s'applique 100-100 à Jean Sebastien Bach avec le CBT-les Inventions et Fugues etc non il n'y a aucune prédestination dans l'écriture de Chopin il écrivait très vite à l'exception de Certains monuments comme ses sonates qui sont réfléchies muries ; certains écrivent les équations mathelatiques de la même manière que lon écrive une lettre ; au Vatican on parle Latin couramment Chopin écrivait à la manière d'une improvisation , il faut écouter ' Tea for two " joué par Art Tatum pour pouvoir imaginer Chopin jouant du piano ; il avait dans les neurones de son cerveaux des interconnexions de mélodies qui sentremelaient sans cesse et il lui arrivait d'en transcrire sur du papier une nappe un mouchoir et ce dans toutes les circonstances ; Bach c'est la ' rigueur robotic " de la composition Chopin une liberté non recherchée mais innée; on recherche le pourquoi de notre existence le fonctionneront intime du cerveau il n'y aura jamais une réponse , c'est cela la composition de Chopin il ne faut pas y chercher une quelconque logique ou des références à ses prédécesseur compositeurs pour lui même il n'y en a pas , Chopin s'est une perpétuelle improvisation spontanée ou travaillée c'est pour moi la definitiin de la musique de Chopin

  • @susank4878
    @susank487811 ай бұрын

    I bought this Brandenburg with Cortot on 78's, just so I could make a recording of this part of it.

  • @CarmenReyes-em9np
    @CarmenReyes-em9np25 күн бұрын

    Es una belleza Ozen ❤

  • @micheldurand8716
    @micheldurand8716 Жыл бұрын

    Merci beaucoup. C'était le temps de l'école française de piano, que l'espèce d'esprit américain finit par détruire.

  • @ericastier1646

    @ericastier1646

    Жыл бұрын

    Oui, les banquiers états-uniens ont financé la révolution bolchevique dont on connait l'appartenance démographique de 80% des dirigeants (trotsky, lénine, etc) puis ont martyrisé l’Allemagne avec le prêt à usure et causé l’exaspération du peuple allemand qui a conduit au soutien d'un tyran pourvu qu'il les délivrasse des parasites financiers à l'internationale. Puis la guerre à ruiné Pleyel et c'est l'américain Steinway qui a pris toutes les parts de marché et fabrique de bien mauvais instruments depuis.

  • @Blue-beautifulLife-sv2oh
    @Blue-beautifulLife-sv2oh4 ай бұрын

    Alfred Cortot was a great figure in the music world of the 20th century. His mistakes are many, but they are inevitable in the style of his era (expressionism). Sounds musical to me. In France at the same time, Debussy was the only one worthy of comparison. No one can imitate the moment when he brings out artistic acoustics from a piano. When Horowitz escaped from the Soviet Union and came to Paris, he said later that it was Schnabel and him. Who thought he could not defeat these men. In Pollini's practice room (who passed away in 2024), his writings and version of Chopin's scores were stacked under the piano. I once saw a photo of the room in a Japanese music magazine. his influence can be seen in the recording of famous etudes. Currently, it is not possible to make mistouches in recordings, but the note value of a 3:1 dotted note can be emphasized to about 4:1 (easy to understand with Winter wind), or a note one octave apart can be added to the highest and lowest notes ( notable in revolutions). He was not only a pianist and conductor (Wagner's Paris premiere), but also a composer (he created many independent etudes for the fingers), the Paris premiere of Rachmaninoff's Concerto No. 3, and an educator (Lipatti,François,Perlemuter,Haskil,Kempff,Michelangeli,Demus,Skoda,Toyama,Heidsiec,etc. He was able to turn his weaknesses into strengths without fitting into a mold), and even had the talent of a practical person (running a music conservatory). He didn't have time to practice the piano, and there were days when he couldn't even touch the piano for a month. When he was asked to perform in America, he took a month and completed five Beethoven concertos in that time. His reading of musical scores is not arbitrary. It's definitely not a sentimental thing. It's easy to understand if you think about it mathematically. However, it may be the opposite for people who are not good at mathematics... He asks us to think of a musical score as a set of points in an N-dimensional space, or as a determinant. It feels like it was converted by multiplying by a certain determinant. A straight line on a plane becomes curved, but its length remains unchanged. There are some principles. It's a secret technique. This is not a world of romantic, self-centered satisfaction, nor is it an easy omission due to technical weakness. Through the listeners' ears, their hearts are filled with poetic emotions.

  • @lotoffortune
    @lotoffortune10 ай бұрын

    I played Cortot's famous rendition of the op. 28 Chopin Preludes for pianist Bennet Lerner. His first response after listening was "he has so many ides!"

  • @ronwalker4849
    @ronwalker4849 Жыл бұрын

    YES, MSSR CORTOT HAS GREAT FINESS WHEN PLAYING THE CONTRAPUNCTAL PASSAGES OF THIS BACH CONCERTO. HEHAS GREAT ABILITY TO DISTINGUISH THE VOCAL LINES AND KEEP ALL OF THEM SEERATE AND CLEAN. I DIDN´T THINK I WOULD LIKE THIS VIDEO,, BUT I AM MUCH SURPRISED BY THE ELEGANCE OF IT ALL.

  • @Sayeedur123
    @Sayeedur123 Жыл бұрын

    Hey that Debussy piece was talked about in the last University Challenge. This is my first time listening to it

  • @hostlangr
    @hostlangr Жыл бұрын

    Wer die Wiedergabe technisch weiter verbessern will, kann ja den Vorschlag ausprobieren, der hier beschrieben ist: *Mein 'Vorschlag' einer* EQUALIZER-Einstellung -13,5dB (60Hz) -13,5dB (230Hz) -13,5dB (910Hz) -15,0dB (4kHz) +15,0dB (14kHz) Zur Modulation durch 'Bass Booster' Apps. Die Klangfarbe der Instrumente wird nicht verändert. Da jedoch vor allem die mMn. *eigentlich kaum wahrnehmbaren* Obertöne jenseits des "Notenfrequenz-Spektrums" zunehmend verstärkt sind, gewinnt die Wiedergabe merklich an Brillianz bzw. "Plastizität". (An der Tonquelle sind zunächst die Obertöne maßgeblich und stark mit-verantwortlich für die Tonqualität des Klanges. Je *weiter entfernt* ein Hörer, umso deutlicher lässt die sehr hochfrequente Signalintensität nach; *schneller* als die tiefere... Für ältere Aufnahmen bereits relevant beim Input in die unterschiedlich im Raum postierten Mikrofone. Dem wird mit neuester Aufnahmetechnik natürlich Rechnung getragen. Bei früheren Produktionen wirkt hier mAn. eine moderate Verstärkung der in einer Aufnahme abgeschwächt *original* vorhandenen höchsten Frequenzen *der Aufzeichnung* > 2 kHz diesem Hochton"defizit" leicht entgegen. - - Hören Sie selbst.. Erstaunlich.) *Vergleiche* die Wiedergaben mit/ohne o.a. Equalizer-Einstellung.... Hier wird die 'klarere Übertragung' recht deutlich hörbar; wie ein leicht 'verschwommenes' Foto plötzlich scharf wird. *Warum* das so ist, kann man an dem *Graph* der Funktion, die sich aus dieser Einstellung ergibt, verstehen. *(Leider* wurden die Bemerkungen von einigen als Negativkritik *missverstanden;* das sollten sie *NICHT:* Nur Vorschläge zum Anhören *ALTER* Aufnahmen.) Der Vorschlag wurde etwas ergänzt, weil es unterschiedliche Equalizer gibt! Die Profis brauchen den Hinweis nicht. Er bezieht sich allgemein nur auf 'Bass Booster' Apps, ohne Zuschalten des BASS BOOST. Die meisten können damit ja richtig umgehen; viel Hörvergnügen!

  • @richardresseguier1
    @richardresseguier1 Жыл бұрын

    The best

  • @Ashun1970
    @Ashun1970 Жыл бұрын

    I agree. He is definitely one of THE greatest!!!

  • @colettebibes8166
    @colettebibes8166 Жыл бұрын

    Trop beau

  • @alombredeslava2468
    @alombredeslava2468 Жыл бұрын

    On peut être un “inconditionnel” de Richter et admirer en Cortot une autre face du “génie”, celle de la poésie et du chant.

  • @marksmith3947
    @marksmith3947 Жыл бұрын

    I adore Cortot but I have to wonder how much difference the piano made. He played a Pleyel rather than a Steinway

  • @OzanFabienGuvener

    @OzanFabienGuvener

    Жыл бұрын

    Yes, Cortot usually used Pleyel, but in some of his recordings he used Steinway or Erard, the sound was still excellent and individual. His student İdil Biret explains: "Cortot would sometimes sit at the piano to show details, and the sound of the piano would sound completely different! A velvet dark tone would rise from the piano. To provide his own tone, his hands would be completely placed on the keyboard and he would transfer it to his hands, using his whole body, especially his shoulder." In addition, other students said similar things, and using the pedals differently contributed to this. Again, I had read from a few pianists that some notes were struck not by one finger but by two fingers. Many such details changed the sound of the piano. Toscanini said the same thing about Busoni, Busoni once sat on a bad out of tune piano, which sounded bad if anyone played it, but Busoni got a perfect sound from this bad piano.

  • @marksmith3947

    @marksmith3947

    Жыл бұрын

    ​​@@OzanFabienGuvener'm an amateur but I've studied with some fine pianists as an adult. I was fortunate enough to take lessons from Sylvia Kersenbaum for a while. She gave very detailed explanations of weight transfer with an emphasis on how much the shoulder moved according to the needs. Demonstrating octaves in the Tchaikovsky concerto the shoulders made huge circles. All of this appeared effortless.

  • @CarmenReyes-em9np
    @CarmenReyes-em9npАй бұрын

    Ño se compara con ninñgun. Piánista Famoso.

  • @CarmenReyes-em9np
    @CarmenReyes-em9npАй бұрын

    Çortot dedico su vida. a correjir. las copias de lamusica de Chopin. ❤

  • @dee_dee_place
    @dee_dee_place Жыл бұрын

    I would imagine that Cortot & Sviatoslav Richter (my favorite pianist) didn't see eye to eye. Richter was a devout purist; only playing pieces the way the composer wrote them.

  • @OzanFabienGuvener

    @OzanFabienGuvener

    Жыл бұрын

    I think Richter was some kind of chameleon! He assumed the character of the composer. This is very special. Richter has been able to play all kinds of different composers satisfactorily, and in this regard, Richter is perhaps the only one in the pianist realm. He played everything from Bach to Mozart, from Beethoven to Prokofiev, from Debussy to Webern and was successful in all of them. On the other hand, Cortot's style was probably closer to what the romantic composers wanted than Richter's. Because romantics did not see the notes they wrote as the final result. Actually, Cortot was like Richter, but with different perspectives. Cortot also wanted to play as the composers wanted, but according to romantic composers, music could not be written into notes, the notes only led the way. While composers such as Chopin, Schumann, Liszt, Debussy played their own works, they did not play the scores as they were. Cortot researched the sources of inspiration for the compositions, how the composers played the works, etc.For example, he took Liszt's manuscripts from Liszt's daughter and paid attention to all the signs that Liszt wrote (For example, he plays Liszt's 11th Rhapsody like a cimbalom at Liszt's request). Was Schumann inspired by poetry in one of his works? Cortot explored this, and it became an important element in the interpretation of the work. He met Chopin's students and tried to learn how Chopin played. So so...

  • @dee_dee_place

    @dee_dee_place

    Жыл бұрын

    ​@@OzanFabienGuvener Thank You for all the information. I never studied music so I don't know much about the nuances of performing a musical piece. From what I've read, Richter was very clinical in his approach... sort of like: read/play only the lines, don't read/play in between the lines... no emotions or interpretations. I read once that he was livid after finding out the sheet music for one of his recordings was wrong, so he had played the piece incorrectly. He made the record company re-record the whole album. I definitely can HEAR the difference in Richter & Cortot's playing. Richter is very precise, almost mechanical while Cortot is ethereal, very emotional. I've never heard of or listened to a cimbalom. I just pulled up Liszt's 2nd Rhapsody, I can't find the 11th with a cimbalom. I once heard someone playing an instrument somewhat similar but it was more like a harpsichord- it moved while she played it & she used foot pedals while playing the keyboard. It might have been a Pedal Clavichord. Again, Thank you for the information. If you can find a KZread of Liszt's 11th with a cimbalom, please send me the link.

  • @OzanFabienGuvener

    @OzanFabienGuvener

    Жыл бұрын

    @@dee_dee_place Yes, there is definitely a difference between the two. I just mean that they both saw what the composer wanted differently. Actually, Richter also has emotion, for example, he takes Bach as spiritual, but definitely different compared to Cortot. Richter was more faithful to the score. Liszt did not want the 11th Hungarian Rhapsody to be played on the Cimbalom, but wanted a cimbalom effect while playing the piano. See, for example, Cortot's recording of The Hungarian Rhapsody of 1925 or 1926, sounds and sentences are like cimbalom.

  • @dee_dee_place

    @dee_dee_place

    Жыл бұрын

    @@OzanFabienGuvener Ooooh, I understand about the cimbalom now, play the piano with the same sound. I just listened to Cortot's 1925 recording & I can definitely hear 'the influence' of the cimbalom. How cool is that? Can all pianos be made to sound like a cimbalom? If I may ask, what nationality are you- French?

  • @alainspiteri502
    @alainspiteri502 Жыл бұрын

    Chopin is one melody ( Samson François said ) so without rubato there is not a melody but a robotic music Cortot understood

  • @OzanFabienGuvener

    @OzanFabienGuvener

    Жыл бұрын

    To play Chopin without rubato is to read a poem as if it were prose!

  • @alainspiteri502

    @alainspiteri502

    Жыл бұрын

    @@OzanFabienGuvener and Cortot was a Poet .

  • @alainspiteri502
    @alainspiteri502 Жыл бұрын

    cest avec le carnaval op-9 de Schulann enregistré en 1928 que Cortot délaissé la méticulosité de la tecchnique pianistique pour aller au delà rejoindre l'ame réelle de la musique , avant les records de 1900-1910 prouvent quil etait le commun des mortels : un pianiste doté dune grande technique

  • @CarmenReyes-em9np
    @CarmenReyes-em9np19 күн бұрын

    Ozen es. Exelente!!!! No hay educación. Para que nombrar a otros difuntos?

  • @Schubertd960
    @Schubertd960 Жыл бұрын

    This is fantastic scholarship, thank you

  • @OzanFabienGuvener

    @OzanFabienGuvener

    Жыл бұрын

    It’s my pleasure :)

  • @CarmenReyes-em9np
    @CarmenReyes-em9np25 күн бұрын

    Mexico 🇲🇽. ❤🎶🎶🎶

  • @CarmenReyes-em9np
    @CarmenReyes-em9npАй бұрын

    Porque Corrtot corrigio las copias a mano ,no habia impreenta.

  • @CarmenReyes-em9np
    @CarmenReyes-em9npАй бұрын

    Los pianistas exitosos. tocan las correcciones de Cortot. 🎼🎶🎶🎶😂 🇲🇽 🫶. 🖐️🥇🥇🥇🥇🥇🥇🥇🥇🥇👍👍

  • @michaelreich2306
    @michaelreich2306 Жыл бұрын

    Schöne Aufstellung, danke! Schade, daß man die Kommentare der Pianisten nicht für eine word Datei kopieren kann. Haben Sie dazu einen link?

  • @OzanFabienGuvener

    @OzanFabienGuvener

    Жыл бұрын

    I will do that and send you..

  • @gavalas.pianist

    @gavalas.pianist

    Жыл бұрын

    Oh I would like to see that too, would you be so kind to forward it to me as well? Many thanks!

  • @michaelreich2306

    @michaelreich2306

    Жыл бұрын

    @@OzanFabienGuvener thank you!

  • @OzanFabienGuvener

    @OzanFabienGuvener

    Жыл бұрын

    @@michaelreich2306 www.chopinzee.com/2022/08/pianists-explain-why-alfred-cortot-is.html

  • @OzanFabienGuvener

    @OzanFabienGuvener

    Жыл бұрын

    @@gavalas.pianist www.chopinzee.com/2022/08/pianists-explain-why-alfred-cortot-is.html

  • @selim8491
    @selim8491 Жыл бұрын

    That's incredible!

  • @chopin5981
    @chopin5981 Жыл бұрын

    He was best Chopin, Schumann and Debussy pianist i think. But Cortot's Bach also gold!

  • @cescllopis
    @cescllopis Жыл бұрын

    To LISZT: There is a sonata from him in B minor (1852-3).Is there also a sonata in h-moll,or am I wrong and this is/applies to another piano piece? Thanks in advance.

  • @richardresseguier1
    @richardresseguier13 ай бұрын

    ❤❤❤❤❤❤

  • @cescllopis
    @cescllopis Жыл бұрын

    Please, what kind of piano is he playing on? Thanks in advance.

  • @OzanFabienGuvener

    @OzanFabienGuvener

    Жыл бұрын

    The main piano brand he uses is Pleyel. But he can use other brands as well.

  • @cescllopis

    @cescllopis

    Жыл бұрын

    @@OzanFabienGuvener Very kind of You.Thanks a lot.

  • @janvanbowens
    @janvanbowens Жыл бұрын

    One learns more about the commenters than about Cortot. But very interesting. Like crumble talk about the cake.

  • @CarmenReyes-em9np
    @CarmenReyes-em9npАй бұрын

    México. 🇲🇽🎶🎶. 20--------24.

  • @CarmenReyes-em9np
    @CarmenReyes-em9np19 күн бұрын

    20----24. México

  • @Blue-beautifulLife-sv2oh
    @Blue-beautifulLife-sv2oh Жыл бұрын

    コルトーは20世紀の音楽界の傑物。ミスタッチは多いが、彼の時代様式(表現主義)では必然性がある。私には音楽的に聞こえる。同時代のフランスでは、ドビユッシーしか並ぶべき存在がない。芸術的な音響をピアノから引き出す瞬間は誰にも真似は出来ていない。ホロビッツがソビエトを脱出してパリに来た時、この男たちには勝てないと思ったのは、シュナーベルとコルトーだったと後述している。 ポリーニの練習部屋には、ピアノの下にコルトーの著作とコルトー版のショパンの楽譜が欄積みされていたという。有名な練習曲の録音には、コルトーの影響が見え隠れする。現在ミスタッチは出来ないが、3:1の付点音符の音価が4:1程度に強調されたり(木枯らしで分かりやすい)、最高音・最低音に一オクターブ離れた音を付加させる(革命で顕著)。 コルトーはピアニスト、指揮者(ワグナーのパリ初演)のみならず、作曲家(沢山の指の独立を意図した練習曲)、教育者(リッパティ、フランソワ、ハスキル、ケンプ、デムス、遠山、エドシック、等々・型にはめずに欠点が長所に生まれ変わる)、実務家(音楽院の運営)の才能すらあった。ピアノの練習など時間が取れずに一か月ピアノに触らない時間もあった。アメリカ公演を頼まれたとき、一か月時間を取りそれで、ベートーベンのコンチェルト5曲を仕上げたこともあった。 楽譜の読みは恣意的ではなく、数学的に考えると、楽譜をN次元空間の点の集合と考えた時に、ある行列式を掛け算して変換したように感じる。直線は曲線化しているが、連続性は失われない。何かの原則があるが秘術だ。ロマン的な自己中心的な満足の世界ではないし、技術的な弱さの為の安易な省略ではない。 ちなみに、最初のブランブルグ協奏曲は、第5番である。

  • @liliaaliciaduhaldebruz6712

    @liliaaliciaduhaldebruz6712

    Жыл бұрын

  • @MrInterestingthings
    @MrInterestingthings Жыл бұрын

    Do you hear that low out of tune G in the Liszt Sonate?Neuhaus heard everyone and to him Cortot had more. This amazes me??? but what do I really know.Children sleeping is a remarkable recordingThe Poet peaks has a sound each note weighted in comparison with every other ! There is true living as he plays ! The etudes are remarkable ! Rach was not impressed with Cortot and thought only he and Hofmann mattered ;wheras Busoni told a class where Rosina and many other important pianists were present -none of them added up to one Lhevinne . Rach and Lhevinne gave concerts in conservatory and later before leaving Russia . Cortot and Schnabel are pianists I don't hear and know enough to truly appreciate . Samson Francois & Yvonne Lefebure are certainly great compelling musicans. Cortot had so many that came to him from elsewhere since he taught for so many decades. His legacy will never die . Tagliaferro was a monument in Miami and her long memory was a living testament to the early years of the century .

  • @Dylonely42
    @Dylonely42 Жыл бұрын

    28:18

  • @KanjiMadeEasy
    @KanjiMadeEasy Жыл бұрын

    I think he had only 12 private students in his lifetime. One was from Kansas...

  • @CarmenReyes-em9np
    @CarmenReyes-em9np24 күн бұрын

    Mexico 🇲🇽🎶🎶🎶🎶🖐️

  • @CarmenReyes-em9np
    @CarmenReyes-em9np19 күн бұрын

    🇲🇽. 👏👏👏🤣🌺 México.

  • @pianoredux7516
    @pianoredux7516 Жыл бұрын

    I revere Cortot. But why is his tempo so fast in La cathedrale engloutie? What's the hurry? This is one of his very few recordings that leaves me musically unconvinced.

  • @OzanFabienGuvener

    @OzanFabienGuvener

    Жыл бұрын

    I understand, but this is actually close to Debussy's tempo. Cortot knew Debussy intimately. Debussy's piano roll and other Debussy-related pianists are somewhat close to this tempo. But other than that, Cortot's pace didn't bother me though. Because the sound palette and contrasts seem to come out better at this tempo.

  • @pianoredux7516

    @pianoredux7516

    Жыл бұрын

    Yes thank you for explaining this. It does seem perplexing because of the composer's tempo designation (or expressive designation in lieu of a tempo) "profondement calme". Also I feel that Cortot's performance here is even faster than the composer's piano roll. But clearly Cortot's tempo is a conscious interpretive choice and not to be lightly dismissed.

  • @OzanFabienGuvener

    @OzanFabienGuvener

    Жыл бұрын

    ​@@pianoredux7516 Yes, you're right, he's faster than Debussy, but I mean it's closer to Debussy's tempo than modern interpretations. Arthur Rubinstein's 1929 recording, who has heard Debussy's playing, is also at a high tempo. Also for George Copeland, whom Debussy liked very much. For this reason, I always thought that the choice of tempo was primarily due to Debussy. But of course that's not the only reason, if Cortot weren't convinced he would have changed the tempo anyway. Here Cortot gives the "church bell" effect to the prelude, Cortot describes how he saw it: "A Breton legend tells that in clear mornings when the sea is transparent, the Cathedral of Ys which lies slumbering and accursed under the waves, emerges sometimes slowly from the depth of the ocean and of the ages. The bells ring and the chanting of priests is heard. Then the vision disappears again under the indolent ocean." In this tempo selection, the effects is more convincing compared to other recordings. Cortot's priorities are sound effects, color contrasts, story, polyphony; tempo serves them. When the piece is played very slowly, the color contrasts are not so obvious. There are some slow-tempo recordings that I like, but Cortot makes me ignore the tempo because there's a great color palette here. But if it doesn't convince you, I totally understand. The tempo is fast for me too, but I accept it because I understand the intent. One of my favorite recordings for this piece is Cortot's pupil Gina Bachuer. She use very rich tones, gives a great cathedral splendor, and has a more convincing tempo.

  • @richardresseguier1
    @richardresseguier1 Жыл бұрын

    Il fait chanter les notes comme personne

  • @Johannes_Brahms65
    @Johannes_Brahms65 Жыл бұрын

    I always think of Cortots past as a nazi. I wish I could watch or read something that explains it in his favor. I mean, how bad a person could he have been, playing like he did?

  • @arlettehellemans2117

    @arlettehellemans2117

    Жыл бұрын

    Stop mixing politics and art! Neither the Nazis, neither Putin, neither Zelenski can spoil my admiration for such perfection

  • @Johannes_Brahms65

    @Johannes_Brahms65

    Жыл бұрын

    @@arlettehellemans2117 I wasn't talking about politics. Nazi's were criminals first, politicians second. And I wasn't mixing anything either. The thought 'nazi' comes up with certain individuals. And maybe that's not always just. I'd like to know if it is in this case.

  • @arlettehellemans2117

    @arlettehellemans2117

    Жыл бұрын

    @ Rik Hendriks And what else is your "I always think of Cortots past as a nazi"???

  • @Johannes_Brahms65

    @Johannes_Brahms65

    Жыл бұрын

    @@arlettehellemans2117 Well, he was in support of the nazi's! What if an artist supported Bin Laden, or Isis, and you knew of this, wouldn't the thought of it bother you when confronted with his or her art? Why would it be different in the case of Hitler or Putin?

  • @arlettehellemans2117

    @arlettehellemans2117

    Жыл бұрын

    As to Hitler, the past us the past. As to Putin, he isn't OK. But I still can enjoy an interpretation by Gergev. And as to Zelenski, he is not OK neither, but suddenly all Ukraïnian music is praised. Why?

  • @rravvia
    @rravvia Жыл бұрын

    Some of us have things to do and you post something that simply cannot be ignored. Please stop!!

  • @OzanFabienGuvener

    @OzanFabienGuvener

    Жыл бұрын

    Unfortunately, my harassment will continue!!

  • @hartmutlindemann9735

    @hartmutlindemann9735

    Жыл бұрын

    @@OzanFabienGuvener I really hope so!

  • @alainspiteri502

    @alainspiteri502

    Жыл бұрын

    Tom Blancato : one of the best video , not for me very old , but for the young lovers-music who don't known an other erea and theirs pianists and discover them here , j 'm think above all of the young generation of pianists lovers music.

  • @steveegallo3384

    @steveegallo3384

    Жыл бұрын

    Tom Blancato -- True, but luckily, Nothing we have "to do" is as important. Cheers from Acapulco!

  • @alainspiteri502

    @alainspiteri502

    Жыл бұрын

    @@steveegallo3384 it's your business , not mine !

  • @kimsahl8555
    @kimsahl8555 Жыл бұрын

    As Bach is the total master og barock, Debussy is the same for impressionism.

  • @Dylonely42

    @Dylonely42

    Жыл бұрын

    Ravel too

  • @tomrose2086
    @tomrose20862 ай бұрын

    Nothing controversial about Cortot. He is up there with Horowitz and Sokolov as one of the all-time greats

  • @extanegautham8950
    @extanegautham89503 ай бұрын

    such a great pianist, alas, and equally great Nazi collaborator! Takes the joy out of it for me...

  • @EmptyVee00000
    @EmptyVee00000 Жыл бұрын

    What nonsense to add all those extra basses that Chopin never wrote.

  • @OzanFabienGuvener

    @OzanFabienGuvener

    Жыл бұрын

    In Chopin's time, pianos were much narrower in sonority, Chopin placed great emphasis on contrast and bass notes, one way to achieve this in modern pianos is to add bass notes. also Chopin often made ornaments and wanted his students to do it. ‘Play as you feel and you will always play well’ was a maxim of his; and ‘do put your whole soul into that’ he would cry excitedly to a pupil who was missing the spirit of the passage he was playing.” You may love Vladimir Ashkenazy, but Cortot's Chopin is much closer to Chopin. Cortot personally listened to and interviewed Chopin's students and even received training from them.

  • @EmptyVee00000

    @EmptyVee00000

    Жыл бұрын

    @@OzanFabienGuvener If anyone ever put his soul into all the music he ever performed, it was Ashkenazy; he was never able to make music sound trivial in the way Cortot and Horowitz did.

  • @alainspiteri502

    @alainspiteri502

    Жыл бұрын

    J read you like Aschkenasy : he is great in Rachmaninov- Prokoviev ; he his amazing in erea 1958-1980 because after Aschkenazy recorded all and in a few years ( all Mozart- Chopin - Schumann many composers too fast ) mainly for money before to become Principal- orchestras and a few piano ; Achkenazy it's 1958 ( phenomenal chopin studies ) 1980 with his last recordings of Chopin but not after , he became a commercial pianist . For me Aschkenazy 1960-1980 is famous .

  • @EmptyVee00000

    @EmptyVee00000

    Жыл бұрын

    @@alainspiteri502 Ashkenazy did not record for money; DECCA did not pay big royalties to its artists.

  • @alainspiteri502

    @alainspiteri502

    Жыл бұрын

    @@EmptyVee00000 Top Aschkhenaz is 1958 ( unsurpassable chopin -studies) to 1980 ; after 80 Aschkenasy recorded all Composers Schumann Mozart are more commsrcial than trues Composers , more for money than classical music : the best Aschke is 1958 80 if you like listen Schumann Carnaval op9 with Aschkhenaz not me

  • @EmptyVee00000
    @EmptyVee00000 Жыл бұрын

    Nope, absolutely not one of the greatest. Neither was Horowitz, but quite a few excellent pianists have a very high opinion of Cortot, and many others not.

  • @Ace-dv5ce

    @Ace-dv5ce

    Жыл бұрын

    Horowitz was definetly one of the greatest and all the great pianists agrees

  • @EmptyVee00000

    @EmptyVee00000

    Жыл бұрын

    @@Ace-dv5ce No, not all of the greatest pianists agree, but it is one of those strange things where political correctness seems to reign, and pianists tend to avoid saying anything truthful about Horowitz. Emperor's new clothes syndrome.

  • @Ace-dv5ce

    @Ace-dv5ce

    Жыл бұрын

    @@EmptyVee00000 I wonder why, I personally haven’t heard anyone have the control over the piano like Horowitz. That I can be sure off. Everything else could be debated but he is no doubt a legendary pianist. Who are your favorite pianists?

  • @EmptyVee00000

    @EmptyVee00000

    Жыл бұрын

    @@Ace-dv5ce My top ten are: Vladimir Ashkenazy, Alicia De Larrocha, Emil Gilels, Glenn Gould, Evgeny Kissin, Zoltan Kocsis, Dinu Lipatti, Sergei Rachmaninoff, Sviatoslav Richter, and Yuja Wang.

  • @Ace-dv5ce

    @Ace-dv5ce

    Жыл бұрын

    @@EmptyVee00000 I like your Liszt, although I never really found ashkenazy that interesting and Yuja is great but her interpretations aren’t groundbreaking but other than that the list is similar to mine

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