Marta Agerich's musical capacities are beyond belief. Her Scarbo is just the most thrilling of all time. And you have no choice but to love her musical personality. She - like may artists - teaches us to love a person we have never met.
Martha Argerich's performance has such clarity and precision. She's such a consummate artist to her very fingertips that she opens new vistas to the listener, through her dynamics and technical control over the material here. Ravel's Gaspard de la Nuit, after Bertrand's poems, is certainly one of the most difficult and demanding pieces ever written for piano. Ms. Argerich's performance here transcends the material and gives me great joy, when I listen to it.
Oh yes, it was probably a bad idea to listen to K.B. Let me guess: too fast, too confused, too must virtuoso allure, bad taste. But I suppose you will not do the same mistake again
i do have to disagree, martha's version is exquisit and yes it does not compare to any other interpretation. but kathia's rendition wasn't bad at all if that's what you're implying
@@dzordzszs He went completely off the rails. I few years after the Gaspard concert I heard him again - the pieces were unrecognizable because of ridiculous tempos (3 times faster or slower than they should be). The music was literally distorted beyond recognition and was almost impossible to listen too. About half the audience left in the intermission.
Martha Argerich is stronger than her piano. And Ravel is stronger than his sensibility. Something needs we are stronger as ourself to hear that masterpiece,
I had always considered Argerich's performances of Gaspard to be unrivaled until I heard her great friend Nelson Freire. There are at least two performances on TH-cam by him of this work, and they are no less fabulous than hers. My only regret is that one of his recordings suffers some audio distortion, but the fire and virtuosity come blazing through.
@@789armstrongGrosvenor is surprisingly good, all three are top tier; although I sometimes wish he had that same intensity as pogorelich in Scarbo especially
This is simply magical; and for a live recording, the sound is even better than her famous version on DG. And I prefer this to even that outstanding performance.
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@@davidsheriff9274 they never said dominant in their comment, and "7th" does not imply a dominant 7th, which is just one kind of seventh chord. A half diminished chord is another kind of seventh chord, so it's by no means incorrect to say "half diminished 7th chord".
From 03:15 onwards. Her build up of the Ondine is orgasmic. So so satisfying. I'll have what she's having, but then again I can't play the Gaspard... damn
I have a question for all you musos out there: How many piano players in the world actually manage to play all three movements of this masterpiece? How many hours a day do you practice to play like this?
Depends on what you mean by play it? Some folks audition with it to get into music school, its painful to see, but again if you mean recordings of it? MANY.......as to decent recordings, I can think of about 6 that are NICE to listen to I believe Richter did a version I liked ALOT, Lisitsa, etc etc BUT again, its not the speed its the atmosphere, you invoke
It really depends on your skill level and whether or not you're ready for the piece technically and emotionally. Valentina Lisitsa took 3 days to learn the entire Gaspard. As an amateur I took over a year just for Ondine without touching le gibet and scarbo, nowhere near a pro's level of course (but then I just play for fun in my free time, I practiced about 1-2 hours a day. Lisitsa has said that she practices up to 12 hours a day!) . And even if you can play the notes themselves, you also need the emotional maturity and time to understand what you're playing, and to figure out a good interpretation of the piece that delivers the expression you want. Really difficult but not impossible to conquer one bar at a time.
She also played Schumann's second piano sonata in this recital. It used to be on TH-cam but I can't find it anywhere. Do you happen to have it? Thank you~
Probably not available. But, you can buy her famous recording by Deutsche Grammophone, it is really an important reference recording, even if she was very unhappy about; she told in a documentary that she was then pregnant and played not the way she used to, and afterwards heard the master tape and was crying and found that I sounded like a pregnant housewife. In my opinion, she was then the most talented pregnant housewife of all times! LOL
@@vladibaby79You are right. That quote is from her daughter’s documentary on her entitled Bloody Daughter. Excellent film about Martha and her fame, family and her life.
Deep, dark mysterious music, appropriate to the dark mysterious writing of the inventor (always arguable no doubt) of the prose poem: Aloysius Bertrand (1807-1841-another poete maudit who died too young)) author of the strange collection of prose poems Gaspard de ls Nuit (published posthumously in 1842). The prose poems are available for free from the usual suspects.
I love Argerich's version - all three movements. But if you haven't heard Ivo Pogorelich's recording, you have not yet heard Scarbo! I'm a big Argerich fan and will usually go with her in just about anything (she plays), but I think she, herself, would say that Pogo OWNS Scarbo! If I remember correctly (I haven't listened to it in years), he uses NO (damper) PEDAL - which seems to aid greatly in delineating the score, and in 'pictorializing' the Imp in lucid, vivid coloration. [Not many - if any - pianists would try Scarbo without an 'active right foot.']
What do you find so exceptional in Pogorelich's Scarbo? At the very beginning the repeated notes must be "très fondu en trémolo". This is not the case with Pogorelich: they crackle like a submachine gun. And on the following pages many notes are not bonded enough according to the score. Of course this gives a greater clarity but was it Ravel's will ? It does not help for a mysterious and unreal atmosphere, a kind of hallucination. Also the big arpeggios which go from top to bottom of the keyboard crescendo and then go up to the top vanishing are not vanishing at all with Pogorelich. And I could point out other details where Pogorelich does not respect what Ravel wrote, even if his dynamique control his remarkable (his pianissimo trills!). The target in Scarbo is not to play as fast as possible, but to give an atmosphere of anguish and fear. Of course Pogorelich does that, but also many others (Gieseking, Michelangeli, Argerich, Grosvenor, Debargue, ...)
I like Pogorelich's playing. Really amazing pianist, but Argerich is also superb. I think one of the world's best pianists ever. Each pianist brings something special to a piece of music. Makes one see it and experience it in a different shade
Genius!! But I've listened to michaelangeli's live performance and I say that the statement of Argerich to Michaelangeli is true By the way Michaelangeli is one of her teachers
th-cam.com/video/IAR8bpvBnFk/w-d-xo.html In questo video parliamo di questo gioiellino di Ravel ispirato all’omonimo Gaspard de la Nuit di Aloysius Bertrand. Vedremo come Bertrand ha rubato questa raccolta di poemi al Diavolo in persona👹, di come la critica lo abbia sempre snobbato e come Ravel con questo capolavoro abbia contribuito alla sua rivalutazione alla faccia dei critici d’arte ❤️
+Christine Horand-Haberecht I think I prefer Argerich's version to the Benedetti. She makes every note sing, and few others accomplish that. This is especially startling because -- until I heard this performance -- I'd always assumed that Argerich didn't much care for Ravel's music. There's a really dreadful performance on youtube of one of her performance's of Jeux D'eau. (To be fair, there are other performances by her of the same piece that are really splendid.)
Like many interpreters often MA plays Ondine a bit too fast. So the irregular tremolo played by the right hand which at the right speed call to mind the light sound of some water falling down from a fountain remains an ordinary filling tremolo according to me. To understand what I mean the better is to listen the outstanding rendition of Gaspard de la nuit by Samson Francois also on You Tube..
She plays it far better than most and her playing of the third movement Scarbo is pretty much the standard...As to the too fast, I cant see it, you could see the score online, the tempo is a ball breaker yes, but the piece is incredible fr its interpretation. I was a bit let down by Lisitsas performance, there are a few others out there, There isa GOOD recording of Argerich playing this on Deutsche Grammaphon
whitbywv Perlemuter was one of Ravels students and he learned Gaspard (as well as all his works) directly from Ravel. He doesn't play it as fast and as a result you can hear more colors coming from his interpretation. Perlemuter has the best interpretation hands down as close to what the composer wanted.
I'm so glad Ravel let you know this firsthand, what luck we have to be surrounded by so many knowledgeable people, who seem to have always been 'there'...
![Ravel-Gaspard de la Nuit-[Seong-jin Cho]✨](http://i.ytimg.com/vi/F61Zb9zIP-4/mqdefault.jpg)
![Ravel-Gaspard de la Nuit-[Seong-jin Cho]✨](/img/tr.png)
No one plays Maurice Ravel's Gaspard de la Nuit better than Martha Argerich. This version in particular is outstanding.
Have you heard Pascal Roge? He's pretty darn good.
Svjatoslav Richter
Ivo Pogorelic
@@gsherlock There are a lot of good things in Pogorelich's version, but he still takes a little too much liberty with Ravel's score.
@@NHO12209 To my knowledge Richter only played Le Gibet. Not Ondine or Scarbo.
Marta Agerich's musical capacities are beyond belief. Her Scarbo is just the most thrilling of all time. And you have no choice but to love her musical personality. She - like may artists - teaches us to love a person we have never met.
I. Ondine 0:00
II. Le gibet 6:35
III. Scarbo 13:06
The best Scarbo I've ever listened
es la interpretación más linda que hay, no hay con que darle. que grande que sos, marta!! gracias por tanto
Martha Argerich's performance has such clarity and precision. She's such a consummate artist to her very fingertips that she opens new vistas to the listener, through her dynamics and technical control over the material here. Ravel's Gaspard de la Nuit, after Bertrand's poems, is certainly one of the most difficult and demanding pieces ever written for piano. Ms. Argerich's performance here
transcends the material and gives me great joy, when I listen to it.
...clarity and precision and grace...wonderfully expressive...every note has meaning...
Just heard Khatia B. play this live and it was a travesty. I had to come back home and play this to re-affirm the genius of Ravel!
Oh yes, it was probably a bad idea to listen to K.B. Let me guess: too fast, too confused, too must virtuoso allure, bad taste. But I suppose you will not do the same mistake again
vladibaby79 I can only laugh at your comment because you summed her up! LMBO! I once heard her Prokofiev War Sonata (7th) and was appauled!
i do have to disagree, martha's version is exquisit and yes it does not compare to any other interpretation. but kathia's rendition wasn't bad at all if that's what you're implying
I heard Pogorelich play this once, years ago before he went mad. It was miraculous.
@@dzordzszs He went completely off the rails. I few years after the Gaspard concert I heard him again - the pieces were unrecognizable because of ridiculous tempos (3 times faster or slower than they should be). The music was literally distorted beyond recognition and was almost impossible to listen too. About half the audience left in the intermission.
My favorite performance~
Martha Argerich is stronger than her piano. And Ravel is stronger than his sensibility. Something needs we are stronger as ourself to hear that masterpiece,
3:53 I’ve never heard a piano in so much sorrow and pain. I’ve heard no one yet who plays the ondine this way
La letra mata, mas el espíritu vivifica. Que interpretación!!!. Gracias por compartir este registro de la divina Marta!!!
Martha, as usual, is in a class by herself.
I had always considered Argerich's performances of Gaspard to be unrivaled until I heard her great friend Nelson Freire. There are at least two performances on TH-cam by him of this work, and they are no less fabulous than hers. My only regret is that one of his recordings suffers some audio distortion, but the fire and virtuosity come blazing through.
@@karlakor Yes you are referring to Pogorelich who is superb, but do hear Michelangeli and especially Benjamin Grosvenor
@@789armstrongGrosvenor is surprisingly good, all three are top tier; although I sometimes wish he had that same intensity as pogorelich in Scarbo especially
@@Ace-dv5ce Yes, Grosvenor is excellent and comparable to Michelangeli who owns this piece.
@@789armstrongMichelangelo was one of Argerich’s teachers
This is simply magical; and for a live recording, the sound is even better than her famous version on DG. And I prefer this to even that outstanding performance.
I like the DG better in some ways, particularly the beginning of Scarbo, which strikes me as far too loud here.
Her Ondine is the best!
Maravilla total, dedos de hada. Esplendor.
The recent recording by Benjamin Grosvenor is one of the most extraordinary things I have ever heard.
He is one of the best performers of our generation. I prefer to hear him over many more better-known pianists.
Yes the Grovsner performance is a miracle
An actual musician....
...definitive. With a capital DEFINITIVE!...
There are other great performances of this work : Benjamin Grosvenor is spectacular as only one example.
Benedetti Michelangeli…
Die Kommentare führen zu einem sprichwörtlichen Schluss, weil schier jede Person eine(n) Lieblingsaufführung bzw Aufnahme und
Künstler/in hat:
*Über den Geschmack lässt sich nicht streiten.*
The half diminished seventh chord pervades this work. Gives it a special flavor.
What do you mean by "half diminished seventh chord"? A half diminished chord is not a dominant seventh chord.
@@davidsheriff9274 they never said dominant in their comment, and "7th" does not imply a dominant 7th, which is just one kind of seventh chord. A half diminished chord is another kind of seventh chord, so it's by no means incorrect to say "half diminished 7th chord".
Chef d'œuvre! Mercì Maurice!
From 03:15 onwards. Her build up of the Ondine is orgasmic. So so satisfying.
I'll have what she's having, but then again I can't play the Gaspard... damn
Lol. Do you mean eargasmic? And I agree.
@@davisatdavis1 remsan03 probably means both
I have a question for all you musos out there: How many piano players in the world actually manage to play all three movements of this masterpiece? How many hours a day do you practice to play like this?
Depends on what you mean by play it? Some folks audition with it to get into music school, its painful to see, but again if you mean recordings of it? MANY.......as to decent recordings, I can think of about 6 that are NICE to listen to I believe Richter did a version I liked ALOT, Lisitsa, etc etc BUT again, its not the speed its the atmosphere, you invoke
Thanks. How long does it take to figure out what notes to hit? I play the guitar and can read music but the sheet music fot gaspard is sick!
oh, you mean transcribing it??? Well, you do have the rest of your life...BUT if you are serious, get a copy of the score...NOT easy
No I mean reading the sheet music and then figuring out the notes to play.
It really depends on your skill level and whether or not you're ready for the piece technically and emotionally. Valentina Lisitsa took 3 days to learn the entire Gaspard. As an amateur I took over a year just for Ondine without touching le gibet and scarbo, nowhere near a pro's level of course (but then I just play for fun in my free time, I practiced about 1-2 hours a day. Lisitsa has said that she practices up to 12 hours a day!) . And even if you can play the notes themselves, you also need the emotional maturity and time to understand what you're playing, and to figure out a good interpretation of the piece that delivers the expression you want. Really difficult but not impossible to conquer one bar at a time.
The BEST.
Շատ լավ է նվագում
😍😍😍😍😍
I will soon be uploading this, just for you. I'm making the video right now.
She also played Schumann's second piano sonata in this recital. It used to be on TH-cam but I can't find it anywhere. Do you happen to have it? Thank you~
May this recording be purchased on CD ? Can't find the live in Saarbrücken 1972 on any plateforme.
Probably not available. But, you can buy her famous recording by Deutsche Grammophone, it is really an important reference recording, even if she was very unhappy about; she told in a documentary that she was then pregnant and played not the way she used to, and afterwards heard the master tape and was crying and found that I sounded like a pregnant housewife. In my opinion, she was then the most talented pregnant housewife of all times! LOL
@@vladibaby79You are right. That quote is from her daughter’s documentary on her entitled Bloody Daughter. Excellent film about Martha and her fame, family and her life.
I’m going to attempt to learn this. Can anyone tell me where middle C is?
I believe most pianos are provided with one. Any helpful piano dealer would help you to find it. It's more or less opposite the piano-stool.
The best version of this piece is by Vlado Perlemuter recorded in 1955 it's mind blowing.
Why would this even have even 6 dislikes
Pogorelich and Perlemuter fans
Deep, dark mysterious music, appropriate to the dark mysterious writing of the inventor (always arguable no doubt) of the prose poem: Aloysius Bertrand (1807-1841-another poete maudit who died too young)) author of the strange collection of prose poems Gaspard de ls Nuit (published posthumously in 1842).
The prose poems are available for free from the usual suspects.
I love Argerich's version - all three movements. But if you haven't heard Ivo Pogorelich's recording, you have not yet heard Scarbo! I'm a big Argerich fan and will usually go with her in just about anything (she plays), but I think she, herself, would say that Pogo OWNS Scarbo! If I remember correctly (I haven't listened to it in years), he uses NO (damper) PEDAL - which seems to aid greatly in delineating the score, and in 'pictorializing' the Imp in lucid, vivid coloration. [Not many - if any - pianists would try Scarbo without an 'active right foot.']
What do you find so exceptional in Pogorelich's Scarbo? At the very beginning the repeated notes must be "très fondu en trémolo". This is not the case with Pogorelich: they crackle like a submachine gun. And on the following pages many notes are not bonded enough according to the score. Of course this gives a greater clarity but was it Ravel's will ? It does not help for a mysterious and unreal atmosphere, a kind of hallucination. Also the big arpeggios which go from top to bottom of the keyboard crescendo and then go up to the top vanishing are not vanishing at all with Pogorelich. And I could point out other details where Pogorelich does not respect what Ravel wrote, even if his dynamique control his remarkable (his pianissimo trills!). The target in Scarbo is not to play as fast as possible, but to give an atmosphere of anguish and fear. Of course Pogorelich does that, but also many others (Gieseking, Michelangeli, Argerich, Grosvenor, Debargue, ...)
I like Pogorelich's playing. Really amazing pianist, but Argerich is also superb. I think one of the world's best pianists ever. Each pianist brings something special to a piece of music. Makes one see it and experience it in a different shade
I agree--Argerich--for the Ondine, Pogo for Gibet and Scarbo
It's here: 6gCqByCNKSw
Still processing, but should work in just a bit.
Genius!! But I've listened to michaelangeli's live performance and I say that the statement of Argerich to Michaelangeli is true
By the way Michaelangeli is one of her teachers
th-cam.com/video/IAR8bpvBnFk/w-d-xo.html
In questo video parliamo di questo gioiellino di Ravel ispirato all’omonimo Gaspard de la Nuit di Aloysius Bertrand.
Vedremo come Bertrand ha rubato questa raccolta di poemi al Diavolo in persona👹, di come la critica lo abbia sempre snobbato e come Ravel con questo capolavoro abbia contribuito alla sua rivalutazione alla faccia dei critici d’arte ❤️
22:42 click this to get rid of the ads.
The dynamics here seem a bit compressed. Her other (DG?) version is better in that regard.
I admire Martha Argerich a lot and she plays this piece very,very well, but Arturo Benedetti Michelangelis version is still the best.
Kennst du "Bloody daughter", den FIlm über MA von einer ihrer 3 Töchter? Ich hab ihn auf Dvd, falls es dich interessiert!
Aber natürlich besitze ich dieses Video schon längst, aber trotzdem vielen Dank für das Angebot ,liebe Nora.
+Christine Horand-Haberecht I think I prefer Argerich's version to the Benedetti. She makes every note sing, and few others accomplish that. This is especially startling because -- until I heard this performance -- I'd always assumed that Argerich didn't much care for Ravel's music. There's a really dreadful performance on youtube of one of her performance's of Jeux D'eau. (To be fair, there are other performances by her of the same piece that are really splendid.)
Arturo was one of Martha’s teachers
13:07
interrupted by ads about chocolate
My videos are not monetized, so blame belongs to youtube.
Like many interpreters often MA plays Ondine a bit too fast. So the irregular tremolo played by the right hand which at the right speed call to mind the light sound of some water falling down from a fountain remains an ordinary filling tremolo according to me. To understand what I mean the better is to listen the outstanding rendition of Gaspard de la nuit by Samson Francois also on You Tube..
She plays it far better than most and her playing of the third movement Scarbo is pretty much the standard...As to the too fast, I cant see it, you could see the score online, the tempo is a ball breaker yes, but the piece is incredible fr its interpretation. I was a bit let down by Lisitsas performance, there are a few others out there, There isa GOOD recording of Argerich playing this on Deutsche Grammaphon
whitbywv Perlemuter was one of Ravels students and he learned Gaspard (as well as all his works) directly from Ravel. He doesn't play it as fast and as a result you can hear more colors coming from his interpretation. Perlemuter has the best interpretation hands down as close to what the composer wanted.
I'm so glad Ravel let you know this firsthand, what luck we have to be surrounded by so many knowledgeable people, who seem to have always been 'there'...
personally I dislike the rubato, self-indulgent versions of Ondine. Argerich's tempo is spot on, allowing the phrases to spin out without mannerism.
Or Deszo Ranki, which plays the ideal Gaspard in my opinion.
b
Go listen to Werner Haas.