Just gorgeous. One of the best Kreisleriana's ever recorded. One of the things I so love about this piece is that it plays differently in the hands of all great pianists. Mysterious, quirky, extremely beautiful -- each pianist has his take. But Cortot manages all those elements with exceeding clarity and subtlety. That he leaves you wondering what the piece is, and is about, is his ultimate triumph!
That Cortot's Kreisleriana should have so few viewings, compared to many modern interpretations, is truly disheartening. It is also indicative of how this extra, magical element which turns an excellent pianist to a great master eludes the vast majority of people who listen to classical music. To my mind, a great master creates a multi-dimensional universe, so rich and full of detail, versatility, with as many different colours, emotions, eloquent and convincing ideas and suggestions, as we could not have imagined beforehand. This universe is primarily deferent to the composer and also characteristic of the interpreter's unique musical personality but in a way so natural and unpretentious, which comes out as inescapable (as opposed to mannerisms aimed at sounding ''different'' or ''original'' in a fabricated way). In this sense, Cortot, Haskil, Grinberg, Godowsky, Backhaus stand in a realm of their own. It's just sad to me that so many people prefer a video featuring a high-end, audio-visual production, live or not, to a however old recording with a crackly sound, yet tantamount to a glimpse from heaven.
What a brilliant comment! Your ideas match mine. A transcendental interpretation opens up an unknown dimension and takes us there for an indescribable experience where we are momentarily detached from our reality and forget even our own existence.
To quote Cortot on his own playing 'more wrong notes than anyone else...and more right notes than anyone else'. YES, on both counts...a superb account of this music and thanks to incontrario motu for sharing this with us all. We should start a great CORTOT ON THE NET fanclub.
00:00 - Äußerst bewegt (Extremely animated), D minor 01:59 - Sehr innig und nicht zu rasch (Very inwardly and not too quickly), Bb major 08:20 - Sehr aufgeregt (Very agitated), G minor 11:45 - Sehr langsam (Very slowly), Bb major/G minor 15:27 - Sehr lebhaft (Very lively), G minor 18:16 - Sehr langsam (Very slowly), Bb major 21:49 - Sehr rasch (Very fast), C minor/Eb major 24:01 - Schnell und spielend (Fast and playful), G minor
Really fabulous, wide range of dynamics and characterized by lyrical approach. Alfred Cortot..I admire him very much! Wonderful sensitive piano playing with great raffinement and creative imagination.
This is my favorite performance of this piece. The meno mosso section in the third mvt. (Sehr aufgeregt) is one of the greatest moments in recorded classical pianism.
Cortot’s Kreisleriana has always been a touchstone for me-so poetic and full of humanity. I didn’t think I’d hear another performance on this level until I listened to Karolinka de Bree’s interpretation. She brings an extraordinary clarity and a melodic quality that truly sings, while capturing the same emotional breadth. For anyone interested, her Kreisleriana is also on TH-cam, and it’s worth hearing alongside this one. Two extraordinary voices for this masterpiece.
Klare und gut artikulierte Interpretation dieses fein komponierten Meisterwerks im idealen Tempo mit durchsichtigen Klänge aller Tasten. Bestimmt die beste Kombination der höchsten Technik und der angeborenen Lyrik. Die Tonqualität ist auch unglaublich hoch als eine Aufnahme von mehr als achtzig Jahre vor. Echt unvergleichlicher Pianist in den Vorkriegsjahre!
Impeccable musicianship with all the mature refinement of sound and sensitive balance between expression and reserve that Schumann demands. Beautiful. Bravo!
"impeccable" does not makes sense, there is not one unique direction of distinguished musicianship; musicianship and impeccable are separate and unmixable worlds.
Florestan ve Eusebius’u en iyi yansıtan yorum; ve diyeceğim ki onları her parçada birleştirebilen de. Çünkü çoğu yorumcu bu parçanın farklı kısımlarının Schumann’ın farklı kişiliklerini yansıttığını söyler lakin tüm parçalarda sıra sıra Florestan güçlü rol alır, sıra sıra Eusebius dominantlaşır. Yani tüm kısımlara kişiliklerini, heveslerini ve ısrarlarını eşit bir şekilde yığmıştır Schumann. En basitinden ilk kısımın son röprizinde dahi öbür röprizlerde yapmadığı bas notaları güçlendirme şeklinde bir yorumu var ve bunun gibi tonla kişisel yorumla dolu. En güzel kısmıysa, bu kişisel yorumlar Schumann’ı daha önce duymadığım gibi duymamı sağlıyor. İnatçı bir çocuk gibi istediği şeyi şehvetle elde etmek istese de başarılı olamayışının öfkesi, bazen üzüntüsü bazen de başarılı olmaya yaklaştığının neşesi bize Schumann’ı herhangi bir insanı tanıdığımızdan çok daha fazla tanıtmaya yetiyor da artıyor.
Cortot brought a wonderful interior poetry as well as exuberance to Kreisleriana. This legendary artist had a special affinity for Schumann, his wonderful story telling in Kinderszenen is another example.
Beautiful, beautiful, beautiful! The best performance of Kreisleriana that I have ever heard in my life. Bravo Alfred! I believe I read somewhere that his possible sympathy for the Germans in WWII could be a reason why his magnificent performances are not more appreciated today.
Das ist rhythmisch und nicht metrisch! Die Musik wird hier plastisch, drei dimensional, der Sound fantastisch differenziert. Großartige Interpretation. Danke fürs veröffentlichen!
Cortot is to Chopin what Schnabel was to Beethoven. We owe him a pianistic technique that influenced many stars including Haskil, Lipatti, Perlemuter, Ciani ... Like Horowitz, his music was not perfect but always creative and never boring.
Великий пианист, Великий человек заступился за юными Липати и Микеланджели в разные годы на международных конкурсах пианистов когда их незаслуженно оставили без всяких наград другие члены жюри вроде уродливого Артура Рубинштейна, которые в подмётки не годятся этим ГЕНИЯЛЬНИМ ПИАНИСТАМ, Альфред Корто был кристальной души человек и пианист!!!
Микеланджели получил свою седьмую премию на том конкурсе, где победил Эмиль Гилельс, а третье место занял Яков Флиер. Так что не надо говорить о том, что Микеланджели "засудили злые члены жюри". Кстати, там в жюри были Робер Казадезюс, Вальтер Гизекинг, Эмиль фон Зауэр. Просто АБМ тогда был не в состоянии соревноваться с другими великими. На следующем конкурсе Микеланджели уже победил без вопросов, но там у него не было достойных соперников. А говорить, что Артур Рубинштейн ничего не понимает в музыке или "урод" (это вместе с Казадезюсом, Гизекингом, фон Зауэром) - это просто недостойно культурного человека.
Cortot play Schumann , his Carnaval op-9 , Papillons op-2 , Kinderszenen etc are incomparable also Yves Nat , Clara Haskil but for one time ( j dont Like Horowitz ) j must say that Kreisleriana by V Horowitz ( recording 1975 ) are the Top of piano , this grandioso piano is perhaps not the best spirit or Schumann but piano of Horowitz is so beautiful that for me the Kreilerianas are Horowitz ( recording 1975 ' )
Horowitz studied with Cortot when he was in Paris did you know that? I think Horowitz was much influenced by Cortot although he never spoke about it. Cortot did show his interpretations of Chopin etudes at Moscou conservatory and I am sure Horowitz did listen carefully.
It is truly "disheartening " to read all this blather extolling a supposed gawd of the piano and then when one listens to hear Cortot . Like religion people confer things because they've been taught . Where is the honest criticism . Every single gawd dam.day I hear more imaginative musicianship than I quite often hear in Cortot's records . Of course this is excellent piano playing (probably one of his better recordings not like Schnabel full of mistakes and unprepaedness ;go to any competition nowadays and you will hear differences in textual readings that will boggle your mind and truly change what you think the music before you is saying . Alexander Godjiev playing of this defies belief . I think it may take exceptional training to hear many things musicians even just finger/pedal pianists are doing but the experience here is a fine one !
Cortot and his sickeningly jarring, self-indulgent rubato have always driven me up the wall and I have absolutely no idea why he gets stanned so hard. Not only was he a Nazi sympathizer, he played like one too. The man apparently *had no fucking clue* what rubato even is, it's like he thought it was just a matter of whimsically varying your tempo or something. No, god dammit, no, when you play with rubato you have to respect the piece's momentum, you can't just vary your tempo however the fuck you want as if the music doesn't have any motherfucking inertia, otherwise you're just violently jerking it back and forth like some smoothbrain alternately slamming the brake and gas pedals in stop-and-go traffic, it's fucking maddening. 2:16 I mean, are you kidding me? Who is this appallingly sloppy? Who the fuck hits a sour note in that passage of all passages?
You hit a sour note with this ridiculous critique of one of the finest interpretations of this work on record. Look around Steven; you're a minority of one in the comments section of this recording. I'd love to hear your recording of it. Only I can't find it on TH-cam.
@Jemand Anderes I think this guy's fantastic. His sense of meter is impeccable--and surely, Schumann demands such a faculty, with his comically-specific tempo markings. Trushechkin here strikes an ideal balance between organic fluidity and steady pulse. He's also got the Schumann locks, those help too. Thanks for sharing.
Just gorgeous. One of the best Kreisleriana's ever recorded. One of the things I so love about this piece is that it plays differently in the hands of all great pianists. Mysterious, quirky, extremely beautiful -- each pianist has his take. But Cortot manages all those elements with exceeding clarity and subtlety. That he leaves you wondering what the piece is, and is about, is his ultimate triumph!
That Cortot's Kreisleriana should have so few viewings, compared to many modern interpretations, is truly disheartening. It is also indicative of how this extra, magical element which turns an excellent pianist to a great master eludes the vast majority of people who listen to classical music. To my mind, a great master creates a multi-dimensional universe, so rich and full of detail, versatility, with as many different colours, emotions, eloquent and convincing ideas and suggestions, as we could not have imagined beforehand. This universe is primarily deferent to the composer and also characteristic of the interpreter's unique musical personality but in a way so natural and unpretentious, which comes out as inescapable (as opposed to mannerisms aimed at sounding ''different'' or ''original'' in a fabricated way). In this sense, Cortot, Haskil, Grinberg, Godowsky, Backhaus stand in a realm of their own. It's just sad to me that so many people prefer a video featuring a high-end, audio-visual production, live or not, to a however old recording with a crackly sound, yet tantamount to a glimpse from heaven.
WHERE CAN WE HEAR A MIDLE SECTION OF THE FIRST PIECE SO WONDERFULLY PLAYED NOWADAYS?
This is a brilliant and beautiful comment. I would also like to add Friedman, Hofmann, Moiseiwitsch and Hess to your list of masters.
And what Gieseking and Solomon????
Μπράβο!
What a brilliant comment! Your ideas match mine. A transcendental interpretation opens up an unknown dimension and takes us there for an indescribable experience where we are momentarily detached from our reality and forget even our own existence.
In the hands of an artist such as Cortot, the music itself becomes a living thing.
To quote Cortot on his own playing 'more wrong notes than anyone else...and more right notes than anyone else'. YES, on both counts...a superb account of this music and thanks to incontrario motu for sharing this with us all. We should start a great CORTOT ON THE NET fanclub.
Exactly ilke Horowitz (who should have respected Cortot throughout his life even after Cortot's rejection on him)! Thank you for this anecdote.
So j'm the first , j wait
Very personal and fine view of this great work of art.
13:33 Jesus, I've never heard this section played so beautifully by anyone, and I've been listening to this piece for half my life
00:00 - Äußerst bewegt (Extremely animated), D minor
01:59 - Sehr innig und nicht zu rasch (Very inwardly and not too quickly), Bb major
08:20 - Sehr aufgeregt (Very agitated), G minor
11:45 - Sehr langsam (Very slowly), Bb major/G minor
15:27 - Sehr lebhaft (Very lively), G minor
18:16 - Sehr langsam (Very slowly), Bb major
21:49 - Sehr rasch (Very fast), C minor/Eb major
24:01 - Schnell und spielend (Fast and playful), G minor
Thank you, @meistersyncer. Most helpful.
Really fabulous, wide range of dynamics and characterized by lyrical approach. Alfred Cortot..I admire him very much!
Wonderful sensitive piano playing with great raffinement and creative imagination.
+berlinzerberus* beautifully said and so true...
This is my favorite performance of this piece.
The meno mosso section in the third mvt. (Sehr aufgeregt) is one of the greatest moments in recorded classical pianism.
Yes I was particularly struck by that section as well. It's beyond piano playing, the undulating motion of the lines is unreal.
Cortot’s Kreisleriana has always been a touchstone for me-so poetic and full of humanity. I didn’t think I’d hear another performance on this level until I listened to Karolinka de Bree’s interpretation. She brings an extraordinary clarity and a melodic quality that truly sings, while capturing the same emotional breadth. For anyone interested, her Kreisleriana is also on TH-cam, and it’s worth hearing alongside this one. Two extraordinary voices for this masterpiece.
Ah..... Cortot... an interpretation that shines a gentle light on a magical world hidden in the notes on the pages of the masters.
jede schumann-aufnahme von cortot ist die beste einspielung des betreffenden stueckes - es ist unfassbar!
A fountain of revelations, whatever music he played.
Klare und gut artikulierte Interpretation dieses fein komponierten Meisterwerks im idealen Tempo mit durchsichtigen Klänge aller Tasten. Bestimmt die beste Kombination der höchsten Technik und der angeborenen Lyrik. Die Tonqualität ist auch unglaublich hoch als eine Aufnahme von mehr als achtzig Jahre vor. Echt unvergleichlicher Pianist in den Vorkriegsjahre!
Quelle merveille... Merci de partager cela.
Juste Ciel ! Quel talent incomparable. Qui peut oser toucher un piano après ça - même avec les fausses notes !
Impeccable musicianship with all the mature refinement of sound and sensitive balance between expression and reserve that Schumann demands. Beautiful. Bravo!
"impeccable" does not makes sense, there is not one unique direction of distinguished musicianship; musicianship and impeccable are separate and unmixable worlds.
Admirable. Quel sens de la phrase !
Florestan ve Eusebius’u en iyi yansıtan yorum; ve diyeceğim ki onları her parçada birleştirebilen de. Çünkü çoğu yorumcu bu parçanın farklı kısımlarının Schumann’ın farklı kişiliklerini yansıttığını söyler lakin tüm parçalarda sıra sıra Florestan güçlü rol alır, sıra sıra Eusebius dominantlaşır. Yani tüm kısımlara kişiliklerini, heveslerini ve ısrarlarını eşit bir şekilde yığmıştır Schumann. En basitinden ilk kısımın son röprizinde dahi öbür röprizlerde yapmadığı bas notaları güçlendirme şeklinde bir yorumu var ve bunun gibi tonla kişisel yorumla dolu. En güzel kısmıysa, bu kişisel yorumlar Schumann’ı daha önce duymadığım gibi duymamı sağlıyor. İnatçı bir çocuk gibi istediği şeyi şehvetle elde etmek istese de başarılı olamayışının öfkesi, bazen üzüntüsü bazen de başarılı olmaya yaklaştığının neşesi bize Schumann’ı herhangi bir insanı tanıdığımızdan çok daha fazla tanıtmaya yetiyor da artıyor.
La mejor Kreisleriana. Vivan Schumann y Cortot.
Beautiful playing.
Incredibly beautiful and imaginative.
Ah Cortot. Non gli saremo mai grati abbastanza per il magistero inestimabile che ha trasmesso a noi tutti
Verissimo .. non eccelso pianista ma eccelso musicista!!!! Tutto ciò che suona e' coinvolgente!@
Cortot brought a wonderful interior poetry as well as exuberance to Kreisleriana. This legendary artist had a special affinity for Schumann, his wonderful story telling in Kinderszenen is another example.
Horowitz was very much interested in Cortot and did learn a lot from Cortot when young and did copy his exuberance.
Cortot simply loved the music he was playing
Jaw dropping. Awesome. Impropable. Sacred.
Beautiful, beautiful, beautiful! The best performance of Kreisleriana that I have ever heard in my life. Bravo Alfred! I believe I read somewhere that his possible sympathy for the Germans in WWII could be a reason why his magnificent performances are not more appreciated today.
Cortot remains simply the greatest in every aspect...
Das ist rhythmisch und nicht metrisch! Die Musik wird hier plastisch, drei dimensional, der Sound fantastisch differenziert. Großartige Interpretation. Danke fürs veröffentlichen!
Beautiful! Thank you for posting!
Stupendo, meravihlioso😊💟💟💟💟💟
phenomenal
He really makes the music speak.
21:56 i love this extra bass
Ceci n'est pas du piano, c'est de la musique ! Cortot était unique !
21:50
7th
I agree with you. That piece was a highlight
コルトーの芸術は素晴らしい。
Wonderful
One of the best interpretations of this work.
22:02 22:59
Cortot is to Chopin what Schnabel was to Beethoven. We owe him a pianistic technique that influenced many stars including Haskil, Lipatti, Perlemuter, Ciani ... Like Horowitz, his music was not perfect but always creative and never boring.
Interprétation unique de cette oeuvre difficile !
Великий пианист, Великий человек заступился за юными
Липати и Микеланджели в разные
годы на международных конкурсах пианистов когда их
незаслуженно оставили без
всяких наград другие члены
жюри вроде уродливого Артура
Рубинштейна, которые в подмётки не годятся этим
ГЕНИЯЛЬНИМ ПИАНИСТАМ,
Альфред Корто был кристальной
души человек и пианист!!!
Микеланджели получил свою седьмую премию на том конкурсе, где победил Эмиль Гилельс, а третье место занял Яков Флиер. Так что не надо говорить о том, что Микеланджели "засудили злые члены жюри". Кстати, там в жюри были Робер Казадезюс, Вальтер Гизекинг, Эмиль фон Зауэр. Просто АБМ тогда был не в состоянии соревноваться с другими великими. На следующем конкурсе Микеланджели уже победил без вопросов, но там у него не было достойных соперников. А говорить, что Артур Рубинштейн ничего не понимает в музыке или "урод" (это вместе с Казадезюсом, Гизекингом, фон Зауэром) - это просто недостойно культурного человека.
Чем-же Рубинштейн так уродлив? Тем что черты лица еврейские?
Я люблю Cortot..
wow its amazing rare zems!
Cortot's capricious style is good for Chopin, but when it comes to this Kreisleriana by Schumann, I recommend Brendel and Koroliov.
UNICO!!!!!!!!
Everything for Clara
Alfred Cortot : le Maître de : Charles Lilamand : mon Maître. "L'O"
Do you have recording or publishing dates?
Daniel N. Baker Mid 1935 recorded in London
,,,,,, Mejico. ,🇮🇷🎶🎶🎶🎶❤❤
Cortot play Schumann , his Carnaval op-9 , Papillons op-2 , Kinderszenen etc are incomparable also Yves Nat , Clara Haskil but for one time ( j dont Like Horowitz ) j must say that Kreisleriana by V Horowitz ( recording 1975 ) are the Top of piano , this grandioso piano is perhaps not the best spirit or Schumann but piano of Horowitz is so beautiful that for me the Kreilerianas are Horowitz ( recording 1975 ' )
Horowitz studied with Cortot when he was in Paris did you know that? I think Horowitz was much influenced by Cortot although he never spoke about it. Cortot did show his interpretations of Chopin etudes at Moscou conservatory and I am sure Horowitz did listen carefully.
Nubes de colores...
So what the hell is a "Kreisleriana" anyway?
This Schumann guy seems like a real jerk
Kreisler is the main character of a novel from E.T.A Hoffman, which inspired Schumann to compose these pieces.
The Voe how so?
@@raymondgood6555 It's a Norm Macdonald joke
The Voe had to look up norm Macdonald- he seems like a real jerk.
임윤찬 기대해 봅니다
🥰💘💘💘💘💘💘💘💘❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤
Как будто читаешь Гофмана
It is truly "disheartening " to read all this blather extolling a supposed gawd of the piano and then when one listens to hear Cortot . Like religion people confer things because they've been taught . Where is the honest criticism . Every single gawd dam.day I hear more imaginative musicianship than I quite often hear in Cortot's records . Of course this is excellent piano playing (probably one of his better recordings not like Schnabel full of mistakes and unprepaedness ;go to any competition nowadays and you will hear differences in textual readings that will boggle your mind and truly change what you think the music before you is saying . Alexander Godjiev playing of this defies belief . I think it may take exceptional training to hear many things musicians even just finger/pedal pianists are doing but the experience here is a fine one !
El que puso la digitación de Chopin pues llegaban con errores. Gracia. Cortot.
Non, désolé, trop de fausses notes pour moi.
Very disjointed phrasing.
Makes one want to vomit.
Cortot and his sickeningly jarring, self-indulgent rubato have always driven me up the wall and I have absolutely no idea why he gets stanned so hard. Not only was he a Nazi sympathizer, he played like one too. The man apparently *had no fucking clue* what rubato even is, it's like he thought it was just a matter of whimsically varying your tempo or something. No, god dammit, no, when you play with rubato you have to respect the piece's momentum, you can't just vary your tempo however the fuck you want as if the music doesn't have any motherfucking inertia, otherwise you're just violently jerking it back and forth like some smoothbrain alternately slamming the brake and gas pedals in stop-and-go traffic, it's fucking maddening.
2:16 I mean, are you kidding me? Who is this appallingly sloppy? Who the fuck hits a sour note in that passage of all passages?
You hit a sour note with this ridiculous critique of one of the finest interpretations of this work on record. Look around Steven; you're a minority of one in the comments section of this recording. I'd love to hear your recording of it. Only I can't find it on TH-cam.
@Jemand Anderes I think this guy's fantastic. His sense of meter is impeccable--and surely, Schumann demands such a faculty, with his comically-specific tempo markings. Trushechkin here strikes an ideal balance between organic fluidity and steady pulse. He's also got the Schumann locks, those help too. Thanks for sharing.
I am sorry you are so short-sided.. Cortot for me far surpasses almost al the others.
Cortot rubato was used to separate melodic lines, for Schumann this was necessary. Have you ever listened to Clara Schumann's students?