How did musicians perform in the Romantic period?
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- เผยแพร่เมื่อ 28 พ.ค. 2024
- How was Classical Music Performed in the Romantic Era? Here you will hear recordings of classical musicians who were born before 1860, became famous in the 1800s and are familiar with many important composers of the Romantic era.
00:00 Carl Reinecke - Schumann, 'Warum' (1905 Roll)
02:37 Theodor Leschetizky - Chopin, Nocturne Op. 27 No. 2 (Roll 1906)
08:50 Jean Baptiste Faure - Donizetti, 'Jardins de l'Alcazar' (1900?)
09:57 Joseph Joachim - Bach, Adagio BWV 1001 (1903)
13:31 Antonio Cotogni & Francesco Marconi - Masini, 'I Mulattieri' (1908)
16:29 Charles Santley - Mozart, 'Non piu andrai' (1903)
19:46 Camille Saint-Saëns - Piano Concerto 2, Opening (1904)
23:37 Edouard Colonne - Berlioz, 'Hungarian March' (1906)
26:10 Françis Plante - Berlioz, 'Serenade of Mephistopheles' (1928)
28:34 Giovanni Sgambati - Dvorak, Piano Quintet Op. 81 (1908)
31:59 Josef Labor - Beethoven, Piano Sonata No. 7, Largo e mesto (1921)
37:22 Marianne Brandt - Schumann, 'Frühlingsnacht' (1905)
38:44 Louis Diemer - 'Grande Valse de Concert' (1906)
41:30 Edvard Grieg - Piano Sonata, Final (1903)
44:11 Adelina Patti - Mozart, 'Voi che Sapete' (1905)
47:22 Pablo de Sarasate - 'Zigeunerweisen' (1904)
53:04 Hugo Heermann - Bach, Preludio BWV 1006 (1909)
56:14 Charles Marie Widor - Toccata from Organ Symphony 5 (1932)
1:02:48 Leopold Auer - Brahms, Hungarian Dance No. 1 (1920)
1:05:33 August Wilhelmj - Paganini, 'Le Streghe' (1900)
1:08:41 Emma Albani - Handel, 'Ombra mai fu' (1904)
1:11:29 Vladimir de Pachman, - Chopin Nocturne Op. 32 No. 1 (1925)
1:15:36 Victor Maurel - Verdi, 'Quand'ero Paggio' (1907)
1:17:54 Lilli Lehmann - Wagner, 'Liebestod' (1907)
1:23:24 Hermann Winkelmann - Wagner, 'Weilten die Sterne' (1905)
1:25:56 Aleksandr Verzhbilovich - Davydov, 'Romance sans paroles' (1904)
1:28:28 George Henschel - Schubert, 'Der Liermann' (1928)
1:30:57 Francesco Tamagno - Verdi, 'Niun mi tema' (1903)
1:35:05 Xaver Scharwenka - Weber, 'Aufforderung zum Tanze' (1913)
1:39:43 Alexander Michalowski - Chopin, 'Meine Freuden' (1905)
1:42:31 Marie Baumayer - Schumann, 'Studien für den Pedal-Flügel' (1910)
1:46:33 Anna Yesipova - Godard, Gavotte (1898)
1:48:37 Vincent d'Indy - 'Départ Matina' (1923)
1:52:03 Alfred Grünfeld - Strauss II/Grunfeld, 'Soiree de Vienne' (1910)
1:57:36 Raoul Pugno - Chabrier, Scherzo-valse (1903)
2:01:06 Pol Plancon - Flotow, 'Lasst mich euch fragen' (1907)
2:03:49 Joseph Hollman - Saint-Saens, 'The Swan' (1906)
2:06:25 Frederic Hymen Cowen - 'Yellow Jasmine' (1916)
2:10:18 André Messager - Rimsky-Korsakov, 'Capriccio Espagnol' (1918)
2:14:43 Edouard de Reszke - Ernani, 'Infelice' (1903)
2:17:18 Pavel Pabst - Tchaikovsky / Pabst, 'Paraphrase on Sleeping Beauty' (1895)
2:20:26 Georges Gillet - Pillevestre, 'Idylle Bretonne' (1905)
2:22:53 Heinrich Grünfeld - Boccherini, Menuett (1915)
2:25:48 Arthur Nikisch - Beethoven, Symphony No. 5 Allegro con brio (1913)
2:32:42 Mattia Battistini - Tosti, 'Ancora' (1902)
2:35:53 Natalia Janotha - Mendelssohn, 'Spinning Song' (1904)
2:37:40 Sergei Taneyev - Mozart, Fantasy K. 396 (1891)
2:40:24 Robert Kajanus - Sibelius, 'Karelia Suite' Alla marcia (1932)
2:44:34 Edward Elgar - 'Salut d'Amour' (1914)
2:48:20 Cécile Chaminade - Air de ballet, Op. 30 (1901)
2:51:09 Paul Viardot - Wieniawski, Mazurka (?)
2:53:11 Eugène Ysaÿe - Vieuxtemps, Rondino (1912)
2:58:21 Stanisław Barcewicz - Tchaikovsky, Violin Concerto Canzonetta (1905)
3:01:31 Jenő Hubay - Bach, Air BWV 1068 (1929)
3:05:26 Arnold Dolmetsch - Bach, Prelude and Fugue No. 1, WTC I (1933)
3:08:34 Alessandro Moreschi & Sistine Chapel Choir - Mozart, 'Ave Verum' (1902)
3:11:23 Emma Calve - Bizet, 'Habanera' from Carmen (1907)
3:14:22 Marcella Sembrich - Bellini, 'Casta Diva' (1907)
3:16:51 Tobias Matthay - Prelude and Arpeggio (1933)
3:19:03 Julius Klengel - Bach, Cello Suite No. 6 Sarabande (1927)
3:22:14 Max Fiedler - Brahms, Symphony No. 4 Mov. I (1930)
3:34:45 Karl Muck - Wagner, 'Siegfried´s Journey down the Rhine' (1927)
3:39:10 Arthur Friedheim - Liszt, Hungarian Rhapsody No. 2 (1916)
3:43:33 Leon Escalais - Meyerbeer, 'Sicilienne' (1905)
3:46:52 Fernando De Lucia - Donizetti, 'Una Furtiva Lagrima' (1917)
3:50:36 Ignacy Jan Paderewski - Minuet in G (1911)
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what i love about these old recordings is that you can hear the preformer as much as the composer, a really personal approach of playing
That indeed is often the problem . Cleverness or cheap schmaltzy instead of genius. Busonis preludes astonish the first time u hear them. They are not Chopins anymore and his vision is so strong and valuable we don't mind.
These collections are an invaluable historic resource. Thank you for what I assume is a formidable editing task assembling each of these videos.
Thank you very much!
I just remember a funny episode from the time when I was a substitute teacher at a music school in Holland in 1998. There was "open day", which means everybody who's interested can come and have a free lesson etc.
A very old man in a very old suit, who came from Hungary, if I remember it well, asked me if he could play something for me and asked me very timitely if I could help him to make some progress. He was amazingly modest.
So he played something, a very fast etude by Chopin. He said he never had lessons and didn't read notes.
I was quite overwhelmed.
Only years later it occurred to me that he had been making a practical joke.
It felt like he came from the 19th century.
My first to your channel leaves me speachless. What a wealth of of old recordings. Thanks for sharing this with the music loving world.
I've yet to listen to all but just had to stop to exclaim what total delight at: 1:15:36 Victor Maurel - Verdi, 'Quand'ero Paggio' (1907)! What deliciously wicked display of the Falstaff character!! It makes me want to know him (Falstaff, that is) all the more!
Maurel was the original Falstaff - Verdi's choice. He made 2 recordings of the Pages aria - an earlier G&T and this one for Phonotipia.
Indeed, Maurel gives a wonderful portrayal of Falstaff's evil, selfish, deceitful, flirtatious character. Thank you, this is one of the recordings that impressed me the most from the old opera singers.
Teodoro 🌟👏👏👏🇮🇷🤩🌟🌟 gracias no lo conocía ,gran pianista.
È un documento di eccezionale valore culturale, oltre agli aspetti squisitamente musicali, dai quali c'è ancora molto da imparare.
Grazie!
Grazie mille per questo commento!
1:11:29 Vladimir de Pachman, - Chopin Nocturne Op. 32 No. 1 (1925) This is beyond exquisite to me, the Bel Canto tone and continuation are to die for. I'm studying and trying to play some of Chopin's works and it's recordings like these that I feel get me the closest I ever can be to hearing Chopin play himself. All the things that I have read about Chopin's Rubato and tone come to life in this recording, it sounds incredibly alive, open and deeply musical to my ears. Very humbling too for someone who is trying hard to play Chopin and do him justice, I feel like I have just been put very firmly in my place! Thanks to Ozan for these pieces of pure gold. PS 1:39:43 Alexander Michalowski - Chopin, 'Meine Freuden' (1905) I always had a feeling that Szpilman had a strong connection to Chopin, hearing his teacher play this piece really brings this home to me and is a great piece in my jigsaw - Spzilman uses a few little ornaments and embelishments that I haven't heard from other pianists, I wonder if they came from Michalowski or even Chopin himself?
Pachmann's bel canto is really great, for nocturnes I think it's very close to Chopin too, . Mikuli's pupils (Michalowski, Koczalski, Rosenthal) often did ornamentation, I think they are original ornaments in Chopin's style. So it's not a direct copy from Chopin, but their teachers must have told us how Chopin improvised and did embelishments; probably adhering to this tradition, they made original and spontaneous embelishments.
We know that Chopin made little spontaneous embellishments that weren't exaggerated, this approach is present in both Mikuli students and some of Pachmann's recordings.
@@OzanFabienGuvener Original ornaments in Chopin's style makes a lot of sense and feels right to me. Are you familiar with Spzilman's 1980's recording at his home of Chopin's Nocturne 20? He inserts an E natural just before the first trill (and in bars where the figure is repeated) Menahem Pressler is the only other one that I have heard to do the same. I like to use it too and feel that it changes the character of the trill, maybe more fitting for the mood of that Nocturne, shortening the trill's duration a little - taking the edge off of it and also the E reinforcing the Minor aspect. Pressler's sheet music edition sounds like a third version of the piece as well, I wish I knew which editions to choose - I am without a teacher! Thanks very much for your inspiring replies and content, it's all very informative and heaven to listen to.
I'm always warmed by your uploads. I've always enjoyed reading up on composers and what their lives were like and their influences, basically everything that goes through their minds and know everything that went on in the era that they lived. It always warms me when I hear other people having these conversations and show passion for interest in the lives of these composers. On this channel it's all here. And I feel more need to take interest in these topics, too. If someone with no idea on the classical way of playing and had heard Paderewski play Chopin, they'd think he was drunk (can't say if he was or was not in any of his recordings but regardless-). That was just the normal way of playing in the day which has been lost. We in the modern day performing are just conditioned pieces of machinery walking on stages like Carnegie Hall. Hardly a single element of knowledge of true musicality.
Thank you for your nice comment! If Chopin had participated in the Chopin Piano Competition today, he would not have passed the first round :). Classical music unfortunately became too academic and museum music.
@Ozan Fabien Guvener
I agree and it makes me sad. I'm very much in favor of Chopin's view on the instrument with intimacy and such, but I'm also a big Lisztian loving big audiences to share music with. But unfortunately none of those "norms" really apply in the now.
Truly a monumental collection, thank you for your work! This must have taken some time to do.
Thank you so much. I was already doing the listing for myself in the past, but yes, when I did it as a video, it took a long time, especially the texts. After a point, I got tired and sometimes I had to copy and paste the texts directly.
@@OzanFabienGuvener You are a treasure: I hope you know that!
@@saltburner2 Thank you so much! :)
1:57:36 I love early recordings because you get exposed to forgotten standards like this Chabrier one!
I think the best way to understand the interpretation culture of the Romantic era is to listen to musicians who became famous in the 19th century and were familiar with Romantic composers. In this context, I have compiled important musicians who were born before 1860 and whose records we have. I set a criterion for the list that musicians must have been born before 1860. If I were to include musicians born after 1860, the duration of the video would be 10 hours :).
It should be noted that some of the musicians in these recordings were far from their prime. Even if they are old, their rubato, ornaments, phrases, tempos, timbres, interpretation concepts, and techniques give a good idea of what classical music was like in the 19th century. I did not include the recordings of names such as Brahms, Jean de Reszke, Massenet because the sound quality is very poor. I removed some names because copyright blocked the video, like conductor Camille Chevillard and pianist Marie Roger-Miclos, Miclos's recording date is 1905 but it is copyrighted :). Some names I did not include due to various problems in their recording, for example Victor Capoul, born in 1839, was deaf when recording. I could include good musicians like Mario Ancona and Lillian Nordica, but I think their techniques are closer to the technical understanding of the early 20th century. I eliminated musicians like Auguste van Biene, Edward Lloyd, Giovanni Battista De Negri, because there are other musicians in the same style on the list. I didn't take musicians like Sophie Menter because I didn't want to include too much of the piano roll. Maybe I've forgotten some important people or I'm unaware of their recordings.
Bravooo ❤
Could you please link me the name of that Massenet recording you talked about?
@@JeanDeBouche He has recordings with Georgette Leblanc. He's an accompanist on the recordings.
Thank you so much for your wonderful work !
Thank you!
Reinecke is interesting he has a depth I wish wHambourg fantasticideas &equipment but little depth!Thankyou for getting all these documents here ! ! IStunning for many reasons ! Amazing documents here .Ysaye is really impressive a spiccatto in a less scientific age when people had to figure out much for themselves. i hope there are more recordings by him -the personality brings one to it . EnthrallingI didn't know we had Yusipova and some of the conductors here .Just fascinating to come back to this like a traveling library ! wonder what today's professors think when they hear the questionable taste of former times and who thinks taste is an objective thing ? Anyone playing like this in today's competitions wouldn't get past the auditions ;a jury would never hear them ! The Leschetitzky could be compared to someone's grandmother or might some find it meaningful and insightful and at the famous climax I think his tonal gradations and charm are unforgettable .The Reinecke was revelatory. All of the performances have some ghostly about them like the facinating Hambourg true recordings of the Chopin 5 etudes he left us in 1929 . He was a genius -the freedom of imagination one hears I can't imagine how he een accomplished it !
Thanks, that's why I designed the video, I'm happy with it..I'm sure that if Chopin participated in the Chopin Piano Competition, he wouldn't even make it through the first round. Fortunately, there are many recordings of Ysaye, it is directly understandable why the great composers of the period loved him. I don't know about professors, but I know that today's popular performers generally love the old tradition. For example, Kissin talks about Mozart's letters and says that if we try to play Mozart like Mozart today, they would put us in prison. He gives Edwin Fischer as an example for Mozart. Unfortunately, academic expectations and competitions prevent performers from playing more uniquely and freely.
Oh that we could hear the gently controlled freedom these musicians give us...but, TODAY. They really were deeply moving musicians ans thank you as always, Ozan Fabien Guvener.
You're welcome Stephen. Thank you for your comments too! Unfortunately, we are deprived of the same type of freedom today...
THANK YOU
this is amazing thank you
That Henschel recording is something else-he captures something about the mystical, shade-like element of the Leiermann that is missing from so many versions. I can't think of another performance where a classical singer accompanies themselves on the piano, let alone with such success. (Which, by the way, is awesome. Drop a reply if you know anyone else who does this!)
Sembrich has a couple of Chopin songs from 1917 where it is likely that she accompanies herself at the piano. And she was the one who was a master violinist as well as pianist. Sembrich from 1858 should have been on your list. Also Nellie Melba accompanies herself on some 1910 recordings (though they might be 1916). What a great job you did on this list. Thanks!
Also that compliment was meant for O.F. Guvener.
Henschel is much faster than modern recordings, and the voice is soft. I prefer it this way. Beautiful glimpse into the past.
Marvellous. Thank you so much.
Thanks ! Brilliant work and very generous of you
Once again an amazing video.
Wonderful channel. New subscriber !
I've always adored theBaumayer and especially the Labor recordings. These are really precious gems, every serious musician should study them. I was surprised to learn that we have recordings of Sgambati... Thank you.
I discovered Sgambati's recording too late! It's really a pity that Labor and Baumayer only have these recordings. Labor especially impressed me.
An excellent compilation! I don't like the piano roll, but I understand you using it here.
I agree. Piano rolls did not give many nuances. But I wanted to put these two examples. They show the ornamental element in music. Also, some people attribute the fast tempo heard on old recordings only to the time constraints of the recording technology, which is true for some recordings, but not always. There is no time limit on piano rolls and we see that tempos can be fast in the past.
Grunfeld in the picture, but any idea of the circumstances please?
The Joachim has clear vibrato.
That was a lot to listen to, but worthwhile. The name that haunts so much of these glimpses into the past, but just out of reach for us, is Franz Liszt - if only we could have had a recording of Liszt and Hubay playing the Kreutzer sonata.
Can we be pretty sure that the speed of the piano rolls are correct? Did they do some calibration of the equiptment or clock the performance time to be sure the roll was played at the right speed? 🤔
I'm not sure about Piano rolls. I was also undecided whether to add it to the video. But I especially had the opportunity to compare the piano rolls and acoustic recordings of the pianists (same piece, same pianist, same date); There doesn't seem to be a serious problem with the tempo. There were no obvious differences in tempo between the rolls and acoustic recordings of pianists such as Cortot, Horowitz, Hofmann, Lhevinne, Rachmaninoff, Grainger, Busoni, Rubinstein. The rolls approximate the tempo, but fail to capture many of the nuances of real recordings.
Battistini ❤
We are afraid to play today like this.
Periodo romantico
Liszt would have walked out he was to arrange piano recitals in todays world. He would have found our restricted performances hand tied. Music is all about creativity not reproducing the page as written. Computers do that better than we can anyway
Why do modern scholars insist so hard on metronomic playing when all the evidence shows rubato rubato rubato? It's also common sense too IMO according to the nature of the era.
Debussy saw this potential and was right: "It must never be shut in and become an academic art"
I think it's obvious that not only romantics, but also composers before 1800 played like this. Mozart has always criticized robotic and mechanical musical performances, "Where is the soul?" he constantly asked. "I've never heard it played with such soul before," said Clementi when he heard Mozart's playing.
The modern age has put aside emotions and spontaneity. But the classical music presented and described to us today is a kind of museum music, a cheap soulless imitation.
@@OzanFabienGuvener hahaha museum art. That will be one of my new lines. I’m against academic art highly!! I am going to play Scriabin 4 sonata first movement, BWV 850 P&F, and maybe Haydn e flat allegro for my next works!! I’m so excited to implement the stuff I learned…
I went to royal palace in Turin, and the amount of craftmanship and beauty and just such high level of art that is shown there it is so serious and beautiful and I want to make music like that, where every reason from the composer is felt, every expression…
I noticed for the scriabain sonata 4, a big thing is if you play the first measures normal the music is already beautiful in sounds good, you don’t need much rubato or anything. But, if you play it while looking up at the ceiling/stars/sky’s, you channel Scriabin tone. Scriabin occupies the stars, and it’s very hard to reach this if you’re viewing him in an academic sense.
Styles change as they've always done. People play with a lot of rubato, then others react against it and play with much less. Vibrato goes in and out of fashion. And so on. I love old recordings too (though most of the ones in this video I only find historically interesting rather than aesthetically pleasing which is probably mostly because of the age of the performers). But to say for example that someone like Sokolov is a soulless pianist is just ludicrous. There are many soulless performers today who are only concerned with technical perfection but there are still great musicians out there who have their own voice. And of course there are also those who will always live in the past and refuse to listen to modern performances with an open mind.
@@hansmahr8627 I think Sokolov had a similar philosophy and style as a lot of the great old school artists, so he plays well.
A veritable cornucopia! But no Fanny Davies, one of the last Clara Schumann pupils. Was she too young?
Winkelmann is a bit of an embarrassment - presumably well past his prime, he takes huge liberties with the score, his phrasing is choppy, and he just bellows.
Thank you! Because she was born in 1861. I set a criterion for the list that musicians must have been born before 1860. If I were to include musicians born after 1860, the duration of the video would be 10 hours :). There are several pianists on the list who have worked with Clara Schumann. I think pianists like Fanny Davies, Moriz Rosenthal, Isidor Philippp, Alexander Siloti also show the 19th century tradition, but I didn't put them because they were born after 1860.
I agree with your views on the Winkelmann, I have read that his voice is extra distorted due to some health problems. I thought not to include him on the list, but I think it is an important recording as it shows that Wagner loves Bel Canto opera singers and prefers them to his operas.
This is what music must be like. Total freedom or be an artist. Not copying what is in the printed page. That is so boring
You can say "How was music performed ih the Romantic period?", or you can say "How did musicians perform in the Romantic period?", but you can't say "How were musicians performed in the Romantic period?" Musicians perform. They are not performed..
You are right, I fixed it. Thank you.
OMG! Edouard de Reszke sings worse than the worst amateur!
??????