The Op. 10, No. 11 at Etude at 23:19 here is an amazing experience! Mr. Anda takes this Etude at a slower pace and allows for the all-important top melody line to ring out beautifully. The rubato and minute pauses here are profound artistry. I was moved by this performance. Bravo Geza Anda!
i fully agree. The poignancy is palpable. I heard Richter play this live, but this is otherworldly. One of Chopin's most beautiful works. The opus 10 set are his finest compositions for me, except the Black key etude which I would be happy never to listen to again!
@@jeremyd1021 Extraordinary. I have never previously appreciated this etude. It is usually played as a throwaway, less familiar piece unworthy of introspection such as Anda has rendered.
there is no recorded pianist on Earth who could play 11th of this op.10 etudes. most often the top is mushed with the harmonic middle so even the greats just quickly bang through it without any breathing stops and we, the listeners, are once reminded that even the Chopin etude is an exercise, take it or leave it. for these Chopin pieces - a basketball player's hand is best, only with much thinner fingers, plus a sensibility of a ...
Very nervous, with beautiful inspired moments... I think I prefer his studio recording... But I have the utmost respect for pianists who dare to play all 12 (or even all 24) in one recital!
Louis Lortie performed BOTH sets of etudes at a recital ion D.C. 10 years ago. This is like playing al the Schubert impromptus in an evening: too much of a good thing...
@markarama23 Yes, you are right, there is no studio recording of opus 10. I have the Testament CD of the Etudes op. 25, Ballade no. 1 and First Concerto, recorded in 1956, and I loved it!
Playing on the Richter scale indeed, in the two ways we understand the unit of force. But let’s never forget Backhaus’ miracle in that first ever recording of the Études.
I do not think that with these no. 1 and no 2 he would pass the first round of the Warsaw Chopin competition. The jury would not accept the pedal drowned chromatic lines of no. 2. No 11 in e flat major among others is open to criticism, too. In German we call it „geschmäcklerisch“. Exaggerated sweetness, just the opposite of Pollinis interpretation who exaggerates in the other direction. Listen to Trifonow or some young people from the Far East.
Vor allem war er der beste Mozart-Interpret aller Zeiten. Niemals ist er dabei ins Romantische oder Psychologisierende abgeglitten, niemals hat er sich und seine technische Überperfektion in den Vordergrund gestellt, sondern immer nur erzählt, wiedergegeben, sein Interpretationsstil war der größte, weil zurückhaltendste. So schuf er das tiefste Erlebnis des Werks, nicht das des Pianisten.
@@hans-dietrichsahr9813 100% agree with you. Haebler's approach to Mozart is very similar to that of Anda, but I prefer her magnificent recordings of the Mozart concertos above those off Anda (although by a slight margin only)
@@hans-dietrichsahr9813 Although for the Mozart piano sonatas by favorite complete set without any doubt is the magnificent 1950's recordings of Carl Seemann.
The Op. 10, No. 11 at Etude at 23:19 here is an amazing experience! Mr. Anda takes this Etude at a slower pace and allows for the all-important top melody line to ring out beautifully. The rubato and minute pauses here are profound artistry. I was moved by this performance. Bravo Geza Anda!
Sounds like Joseph Lhéviínne. Try him !!!
Superb both technically and musically. Neither suffers at the expense of the other.
Really amazing no.2, - what a rendition...!
The evenness of the runs is mind blowing.
E-flat Minor Etude 11:11. One of the most haunting versions I've heard. The timing, clarity and delivery of the chromatic shifts are incredible.
i fully agree. The poignancy is palpable. I heard Richter play this live, but this is otherworldly. One of Chopin's most beautiful works. The opus 10 set are his finest compositions for me, except the Black key etude which I would be happy never to listen to again!
@@jeremyd1021 Extraordinary. I have never previously appreciated this etude. It is usually played as a throwaway, less familiar piece unworthy of introspection such as Anda has rendered.
there is no recorded pianist on Earth who could play 11th of this op.10 etudes. most often the top is mushed with the harmonic middle so even the greats just quickly bang through it without any breathing stops and we, the listeners, are once reminded that even the Chopin etude is an exercise, take it or leave it. for these Chopin pieces - a basketball player's hand is best, only with much thinner fingers, plus a sensibility of a ...
This was breathtaking!
I really enjoyed this performance of Geza Anda, and I feel Chopin's presence like no one has revived before!
the tone is gorgeous. Very musical.
es estupendo
Great collection. No. 4 is interestingly played rough like a study and I have yet to hear a more beautiful no. 8.
Yes....!!!
Very nervous, with beautiful inspired moments... I think I prefer his studio recording... But I have the utmost respect for pianists who dare to play all 12 (or even all 24) in one recital!
Louis Lortie performed BOTH sets of etudes at a recital ion D.C. 10 years ago. This is like playing al the Schubert impromptus in an evening: too much of a good thing...
great!
@markarama23 many great moments..yes, I think does not exist a studio recording of op. 10..
what I can I say about this version? combination of technique and musical insight
@markarama23 Yes, you are right, there is no studio recording of opus 10. I have the Testament CD of the Etudes op. 25, Ballade no. 1 and First Concerto, recorded in 1956, and I loved it!
@pianopera I believe he only recorded Op.25 in the studio... He was never my favourite Chopin-ist, though there are great moments of course...
Playing on the Richter scale indeed, in the two ways we understand the unit of force. But let’s never forget Backhaus’ miracle in that first ever recording of the Études.
7:39
23:20
I do not think that with these no. 1 and no 2 he would pass the first round of the Warsaw Chopin competition. The jury would not accept the pedal drowned chromatic lines of no. 2. No 11 in e flat major among others is open to criticism, too. In German we call it „geschmäcklerisch“. Exaggerated sweetness, just the opposite of Pollinis interpretation who exaggerates in the other direction. Listen to Trifonow or some young people from the Far East.
Anda was so off the Richter Scale................. Nonpareil.
Vor allem war er der beste Mozart-Interpret aller Zeiten. Niemals ist er dabei ins Romantische oder Psychologisierende abgeglitten, niemals hat er sich und seine technische Überperfektion in den Vordergrund gestellt, sondern immer nur erzählt, wiedergegeben, sein Interpretationsstil war der größte, weil zurückhaltendste. So schuf er das tiefste Erlebnis des Werks, nicht das des Pianisten.
@@hans-dietrichsahr9813 100% agree with you. Haebler's approach to Mozart is very similar to that of Anda, but I prefer her magnificent recordings of the Mozart concertos above those off Anda (although by a slight margin only)
@@hans-dietrichsahr9813 Although for the Mozart piano sonatas by favorite complete set without any doubt is the magnificent 1950's recordings of Carl Seemann.