Comparaison n'est pas raison... et Samson François fut parmi tous l'incomparable, il le reste aujourd'hui, on a tout dit à son sujet, le vrai et le faux, reste l'indicible car son génie musical et son génie humain relèvent de l'indicible, j'en conserve un souvenir vivant et indélébile pour avoir eu la chance de l'entendre salle Pleyel à l'occasion de l'un de ses derniers concerts, son ensorcelant Gaspard de la nuit figurait au programme, l'auditoire était dans un état second, phénomène collectif et émotionnel palpable même pour la gamine et mélomane en herbe, autant dire ignare, que j'étais alors, ne comprenant rien mais percevant que quelque chose d'extraordinaire se passait. J'aime beaucoup le commentaire de l'un des visiteurs ici : "Ravel l'a écrit pour lui" : c'est faux mais c'est vrai..., c'est simple, subtil et poétique, joli hommage à un immense artiste.
Moi aussi😢 Et j'ajoute Christian Ferras pour les violonistes.😢 Et Michail Pletnëv pour les pianistes d'aujourd'hui😢 Des âmesqui touchent nos âmes, l'essence de l'art musical, chose si rare, si rare aujourd'hui...@@axeoptique1639
Fast außerirdische Interpretation dieses anspruchsvollen Meisterwerks im idealen Tempo mit dämonisch hoher Technik und echt angeborener Lyrik. Einfach genial!
Samson François n'était pas alcoolique, il avait une santé fragile dont il ne se préoccupait pas dédiant sa vie au plaisir de la vie tant pis s'il a fallu en payer le prix
The Pogorelich version on Deutsche Grammaphon from the mid-1980s has always been my reference version, and I saw him perform it twice live, but this one is every bit its equal if not greater, although the sound quality is a bit tinny. Incredible precision and delicacy, combined with sheer power when needed as in the great cascade a 4:30. Astonishing!!
Wonderful that we can hear different interpretations from great artists. I saw Francois in the 50s in Los Angeles/Wilsh. Ebell. He mesmerized the audience, I felt like I was seeing a real concert pianist, a great experience for me
@@anestablished I kept that printed program & am looking at it now. His stage appearance was very unaffected professional, the "real thing." He played a Baldwin. He played several smaller pieces & ended with Prokofieff Son 7. His French appearance & mannerisms transfixed & delighted the audience. Superb playing, relaxed. Date was 11-21-59. Debussy(3 Etudes) Liszt (4 pieces), Chopin(4 pieces), & the prokofieff Son. All were major & familiar works. I saw them all, Ashkenazy approx 30 or 40 times, Francois has always been up there in my wonderful memories. A dynamic person. He had no problem with the piano
saintansele Thank you for replying to my message and sharing your experience. It means a lot to me! I liked him, if not love, ever since I was a teenager, before I can speak this language. There was one day I saw “ the great pianists of 20th” CD recordings, and I thought he was someone else as introduced in “ The Art of the Piano”. Then his playing overturned my perception of Chopin. Then I collected his full recordings of Chopin, and then Ravel. I also had his recording for Mozart “ Little Star Variation”, and small pieces of Mendelssohn. He’s just like you said “ effortlessly “. It was not until that I grew much up that I saw his videos, listening him talking about his playing. ( I saw one piece in a documentary of his teacher Yvonne Lefebure. He talked about Debussy.) He really played as he talked, or vice versa. I mean, today we hear a lot of pianists talk about their playing, and their thoughts. But somehow, their performances really does not reflect what they say and I would consider such as “ insincere”. Too bad we don’t have many pianists like him today as we did before. I also like Dinu Lipatti. Speaking of so, I think Cortot must be a very good teacher!!!
@@EmptyVee00000 I listened to the recording which you included in a reply to my comment which I cannot see now. This music is alive in Francois' hands, dead in Ashkenazy's. He was an accurate pianist, but not an important one.
Sam Betanzos François' Ondine is about as alive as a rotting tree stuck in a frozen lake. Ondine is supposed to be a seductive water (the faster notes) nymph (melodic line); I do not find an ice-block seductive. Is Ondine in your repertoire? I learned it, and I have taught it a lot, in both masterclasses and individual lessons.
@@EmptyVee00000 Ondine is in my repertoire. And while Ashkenazy’s faster notes are faster than Francois’, Francois’ nymph line is seductive and cantabile where Ashkenazy’s is inert and simple like a child’s humming. On top of that Francois has more understanding of harmony and harmonic swells (imperative to interpreting ravel), and has a poet’s sensibility for pulse and rubato where Ashkenazy either prefers his music lifeless without manipulation of time or does not comprehend the idea in the first place.
@@samuel723 Nice words, but my view differs greatly from yours, and I find Ashkenazy to be one of a very small number of pianists who live the music, and cause the listener to live it as well. Each to his own.
Сколь много сердец покорило это произведение Мориса Равеля в исполнении этого замечательного Музыканта. И моё сердце тоже покорено им. Благодарю, вас, за эту запись!
There are more pianists of absolute top class you hardly ever hear about today, like Emil Gilels and Nikolai Petrov. Petrov's recording of Prokovief's 3rd piano concerto is a must hear. I just came across Francois' recordings and I am amazed. Especially his Ravel and Debussy are top recordings.
Hardly remembered ? I'm sorry but I can't agree. Here in France you hear his name quite often, especially when it comes to Ravel or Chopin or Debussy. He remains by far my favorite.
Höchste Präzision der klanglichen Realisierung einer sehr persönlichen Auffassung, die stets höchst faszinierend ist. Ein Pianist, der jedes Stück so verschiedener Komponisten wie Chopin, Beethoven und Ravel mit unverwechselbar eigenem Ton erfüllen kann, höchste klangliche Charakterisierung als Ziel von Virtuosität auffasst, ist in jedem Fall einer der bedeutendsten Musiker. Keine aufgebauschten Klangwolken, stattdessen durchsichtige Klarheit und maximale Konzentration auf den klanglichen Ausdruck eines jeden einzelnen komponierten Tons! Wer macht es nach?
Ravel s'est inspiré de trois poèmes d'Aloysius BERTRAND, auteur français précurseur de la poésie en prose. C'est superbe et François l'interprète à merveille.
Autumn is coming in Tokyo . I am listening to this masterpiece while hearing the sings of autumn insects that chirp with transient life . From Tokyo in the dizzying Megalopolis ablaze with numerous neon lights Which national are you watching this video ?
EmptyVee00000 Ashkenazy is indeed amazing but you have no right to dislike this just because of your opinion. It is the duty of every musician to accept the fact that others have great interpretations.
@@aktasluna Because it does not evoke Ondine, the seductress water nymph. François' playing is like a frozen fountain; there is no sensuous movement. Also, it is a very slow tempo.
He captures the shimmering quality of Ondine better than just about anybody else. This recording is quite wonderful, even by today's standards, considering it comes to us from 1957. But he makes an unfortunate error at 4:18 that rather mars the performance. Le Gibet is no doubt taken much too fast, but it's still somewhat effective in the hands of a great pianist like Samson Francois. Many other pianists also take the piece too fast, but I don't know of any who take it this fast. It's probably fair to say that Ravel would have been distressed by this performance. But the performance of Scarbo is simply wonderful!
... Oui, sûrement les filiations ne sont pas uniques... Néanmoins, j' apprécie profondément celle de Ravel, marguerite Long et Samson François...( comme pour Debussy d' ailleurs !) Cette filiation tient pour le premier "couple", du sensible fraternel voir intime, et dans le second d' une maternité certaine...qui ne pouvait éclore mieux qu' en Samson François. On peut connaître ne serait-ce qu' une journée, voir le temps d' un songe... le maître fondateur, et cependant en devenir le meilleur hériter... Je l' ai souvent vécu ! Ces filiations du sensible n' appartiennent pas au temps des hommes, et encore moins à l' institution... Elles sont de l' ordre du "Mouvement infini" dont Samson François avait la conscience, la grâce absolue...elles appartiennent aux enfants qui joue au cerceau, ou au piano...et à un ciel qui avait choisi Samson pour définir ces "enfantillages".... Maximilien-Samson François en avait bien parlé par après.
To be honest: I haven't listened to that many interpretations, but to me, Samson Francois is on a level of his own when he plays Ravel's music. Composer and interpreter both make the quality of the recording irrelevant.
My opinion: Michelangeli has the best Ondine. It’s straight to the point. Pogorelich’s Le Gibet is the most harmonically conveying and had that creepy vibe to it. And Samson Francois just destroys Scarbo. I’ve yet to hear a better interpretation of Scarbo. I still love other recordings though, as they always have something different to them. I am against finding the absolute best interpretations because all of them are good, but these, are geniuses
Almost as good as Pogorelich whose best versions on this platform for me are the studio recording Deutsche Grammophone 1983 and a live version from 1981. But there are others, and _all_ Pogorelich's versions are the best. But this here is a close second. I hear Lazar Berman is good, but I can't seem to find his complete Gaspard.
Samson François est excellent, mais il ne faut pas oublier que les pianistes, amis de Ravel, qui ont joué ses oeuvres depuis le début, sont Robert Casadesus et Vlado Perlemuter. Casadesus a joué en tournée avec Ravel et Perlemuter est le seul pianiste à avoir travaillé l'intégrale de ses oeuvres, chez Ravel, durant six mois en 1925.
Oui, sûrement, et les filiations ne sont pas uniques... Néanmoins, j' apprécie profondément celle de Ravel, marguerite Long et Samson François...( comme pour Debussy d' ailleurs !) Cette filiation tient pour le premier "couple", du sensible fraternel voir intime, et dans le second d' une maternité certaine...qui ne pouvait éclore mieux qu' en Samson François. On peut connaître ne serait-ce qu' une journée, voir le temps d' un songe... le maître fondateur, et cependant en devenir le meilleur hériter... Je l' ai souvent vécu ! Ces filiations du sensible n' appartiennent pas au temps des hommes, et encore moins à l' institution... Elles sont de l' ordre du "Mouvement infini" dont Samson François avait la conscience, la grâce absolue...elles appartiennent aux enfants qui joue au cerceau, ou au piano...et à un ciel qui avait choisi Samson pour définir ces enfantillages.... Maximilien en avait bien parlé par après.
Non, le Maître ne fut ni le seul, ni le premier : l'honneur en revint à sa contemporaine Henriette Faure. Par ailleurs, s'agissant des proches, pionniers, amis ou dédicataires, vous oubliez Alfred Cortot, Lazare-Lévy et Louis Aubert (ses camarades de classe au Conservatoire), Marguerite Long, Harold Bauer .... s'il s'agissait de se contenter seulement de citer ceux de ces interprètes qui sont encore célèbres aujourd'hui. Que dire de Ricardo Viñes ! Ou de Juliette Meerovitch, tôt disparue, dont Ravel reconnut lui-même que personne ne jouerait plus son Trio, après elle, avec cette sonorité irréelle qu'il attendait, qu'il exigeait dans l'Allegro, qu'aucun autre ne savait obtenir.
Pour ce qui est des filiations on est pas si loin avec Samson puisqu'il a été un élève choié de Marguerite Long que l'on surnommait "Madame Ravel". Pourtant rien de conventionnel ou hérité de quelcun se manifeste dans le jeu du pianiste. La liberté d'un maître ne se transmet pas par un esclavage.
Hello my friend...Probably a little deaf ! Ah ah ! Anyway, Samson françois would deserve to be heard from morning to evening... You should buy the entire recordings, so that you wil enjoy the most important french man of the history ! Then you will give much pleasure to your friends and relatives .... Samson François was a master before learning, and he kept freedom from childhood...the one which is close to heaven...in a somewhere that suits to angels...Best regards from France Vincenzo, and welcome to sensitive piano !
Comparaison n'est pas raison... et Samson François fut parmi tous l'incomparable, il le reste aujourd'hui, on a tout dit à son sujet, le vrai et le faux, reste l'indicible car son génie musical et son génie humain relèvent de l'indicible, j'en conserve un souvenir vivant et indélébile pour avoir eu la chance de l'entendre salle Pleyel à l'occasion de l'un de ses derniers concerts, son ensorcelant Gaspard de la nuit figurait au programme, l'auditoire était dans un état second, phénomène collectif et émotionnel palpable même pour la gamine et mélomane en herbe, autant dire ignare, que j'étais alors, ne comprenant rien mais percevant que quelque chose d'extraordinaire se passait.
J'aime beaucoup le commentaire de l'un des visiteurs ici : "Ravel l'a écrit pour lui" : c'est faux mais c'est vrai..., c'est simple, subtil et poétique, joli hommage à un immense artiste.
P
Très beau commentaire.
Comme je vous envie..!
Il est le seul pianiste qui me donne envie de pleurer, on sent une tristesse infinie
Moi aussi😢
Et j'ajoute Christian Ferras pour les violonistes.😢
Et Michail Pletnëv pour les pianistes d'aujourd'hui😢
Des âmesqui touchent nos âmes, l'essence de l'art musical, chose si rare, si rare aujourd'hui...@@axeoptique1639
Fast außerirdische Interpretation dieses anspruchsvollen Meisterwerks im idealen Tempo mit dämonisch hoher Technik und echt angeborener Lyrik. Einfach genial!
La meilleure interprétation.
La meilleure
Avec perlemuter sur le film à la fin de sa vie
フランソワさんの真骨頂を聴いているようで、涙がでます。本当に素晴らしい😥😢🎶有り難うございます。🎶👌❤️
はい、彼は真の天才でした。 彼の先生のナディア・ブーランジェは、ほとんどの時間酔っていたので、いつも彼に腹を立てていました。 彼が心臓発作のためにステージで亡くなったのはとても悲しいがクールな最後の瞬間です!
@@aktasluna 返信ありがとうございます。彼がステージでの緊張になやみアルコール依存になり、心臓発作で亡くなったのは、音楽誌で読んだ記憶がありますが、ステージでなくなったこと初めて知り、涙が止まりません。今でも昔買った彼のショパンのCDを時々聴いています。
@@kanekokazuko7034 また、サムソン・フランソワと同じ教師の生徒であるイディル・ビレット(idil biret)にも耳を傾ける必要があります。 ちなみに、日本語はごめんなさい、初心者で、今のところ主にグーグル翻訳に頼っています😔。
@@aktasluna I'm sorry😞🙏Thank you very much🎶🎵❤️🍀
Samson François n'était pas alcoolique, il avait une santé fragile dont il ne se préoccupait pas dédiant sa vie au plaisir de la vie tant pis s'il a fallu en payer le prix
I've been crazy about this piece for 3 years already, and I still like it like the first time...
Instinctive. Haunted. Alive every second. As if written on the spot. And what a left hand!
🙏
The Pogorelich version on Deutsche Grammaphon from the mid-1980s has always been my reference version, and I saw him perform it twice live, but this one is every bit its equal if not greater, although the sound quality is a bit tinny. Incredible precision and delicacy, combined with sheer power when needed as in the great cascade a 4:30. Astonishing!!
I largely agree, but still I would vote for Pogorelich, his versions are unsurpassable. Also listen to the live version 1981 that is on here.
truly a crime how obsessed i've been with this piece, only to find this interpretation now...
Wonderful that we can hear different interpretations from great artists. I saw Francois in the 50s in Los Angeles/Wilsh. Ebell. He mesmerized the audience, I felt like I was seeing a real concert pianist, a great experience for me
saintansele For real? You saw him live??!! What his performance was like? What was he like on the stage?
@@anestablished I kept that printed program & am looking at it now. His stage appearance was very unaffected professional, the "real thing." He played a Baldwin. He played several smaller pieces & ended with Prokofieff Son 7. His French appearance & mannerisms transfixed & delighted the audience. Superb playing, relaxed. Date was 11-21-59.
Debussy(3 Etudes) Liszt (4 pieces), Chopin(4 pieces), & the prokofieff Son. All were major & familiar works. I saw them all, Ashkenazy approx 30 or 40 times, Francois has always been up there in my wonderful memories. A dynamic person. He had no problem with the piano
saintansele Thank you for replying to my message and sharing your experience. It means a lot to me! I liked him, if not love, ever since I was a teenager, before I can speak this language. There was one day I saw “ the great pianists of 20th” CD recordings, and I thought he was someone else as introduced in “ The Art of the Piano”. Then his playing overturned my perception of Chopin. Then I collected his full recordings of Chopin, and then Ravel. I also had his recording for Mozart “ Little Star Variation”, and small pieces of Mendelssohn. He’s just like you said “ effortlessly “. It was not until that I grew much up that I saw his videos, listening him talking about his playing. ( I saw one piece in a documentary of his teacher Yvonne Lefebure. He talked about Debussy.) He really played as he talked, or vice versa. I mean, today we hear a lot of pianists talk about their playing, and their thoughts. But somehow, their performances really does not reflect what they say and I would consider such as “ insincere”. Too bad we don’t have many pianists like him today as we did before. I also like Dinu Lipatti. Speaking of so, I think Cortot must be a very good teacher!!!
@@saintansele -- So good of you to share...
Ascoltare, venerare e..tenere la bocca chiusa!
What fantastic playing, so ethereal!
Best Ondine I have ever listened to ! I thought François was only gifted for Chopin, but it is nothing compared to his Ravel.
@@EmptyVee00000 well I don’t know what we expected to hear from you - your channel is dedicated to uploads of ashkenazy
@@EmptyVee00000 I listened to the recording which you included in a reply to my comment which I cannot see now. This music is alive in Francois' hands, dead in Ashkenazy's. He was an accurate pianist, but not an important one.
Sam Betanzos François' Ondine is about as alive as a rotting tree stuck in a frozen lake. Ondine is supposed to be a seductive water (the faster notes) nymph (melodic line); I do not find an ice-block seductive. Is Ondine in your repertoire? I learned it, and I have taught it a lot, in both masterclasses and individual lessons.
@@EmptyVee00000 Ondine is in my repertoire. And while Ashkenazy’s faster notes are faster than Francois’, Francois’ nymph line is seductive and cantabile where Ashkenazy’s is inert and simple like a child’s humming. On top of that Francois has more understanding of harmony and harmonic swells (imperative to interpreting ravel), and has a poet’s sensibility for pulse and rubato where Ashkenazy either prefers his music lifeless without manipulation of time or does not comprehend the idea in the first place.
@@samuel723 Nice words, but my view differs greatly from yours, and I find Ashkenazy to be one of a very small number of pianists who live the music, and cause the listener to live it as well. Each to his own.
. . . Venant de sortir de l'écoute des virtuoses actuels rivalisant de vitesse avec l'ordinateur. . . Faisant de l'œuvre une œuvre secondaire..
Сколь много сердец покорило это произведение Мориса
Равеля в исполнении
этого замечательного Музыканта.
И моё сердце тоже
покорено им.
Благодарю, вас, за эту запись!
Marveilleux! Merci beaucoup!
hypnotique, envoûtant, ma référence absolue!
This late great French pianist is hardly remembered now but who today can make it sound like it just happened ?
There are more pianists of absolute top class you hardly ever hear about today, like Emil Gilels and Nikolai Petrov. Petrov's recording of Prokovief's 3rd piano concerto is a must hear.
I just came across Francois' recordings and I am amazed. Especially his Ravel and Debussy are top recordings.
Hardly remembered ? I'm sorry but I can't agree. Here in France you hear his name quite often, especially when it comes to Ravel or Chopin or Debussy. He remains by far my favorite.
Today?
Mikhail Pletnëv.
Today?
Beatrice Rana.
Demoniac!! I've never listened such performance of this piece.
Höchste Präzision der klanglichen Realisierung einer sehr persönlichen Auffassung, die stets höchst faszinierend ist. Ein Pianist, der jedes Stück so verschiedener Komponisten wie Chopin, Beethoven und Ravel mit unverwechselbar eigenem Ton erfüllen kann, höchste klangliche Charakterisierung als Ziel von Virtuosität auffasst, ist in jedem Fall einer der bedeutendsten Musiker. Keine aufgebauschten Klangwolken, stattdessen durchsichtige Klarheit und maximale Konzentration auf den klanglichen Ausdruck eines jeden einzelnen komponierten Tons! Wer macht es nach?
Ravel s'est inspiré de trois poèmes d'Aloysius BERTRAND, auteur français précurseur de la poésie en prose. C'est superbe et François l'interprète à merveille.
Autumn is coming in Tokyo .
I am listening to this masterpiece while hearing the sings of autumn insects that chirp with transient life .
From Tokyo in the dizzying Megalopolis ablaze with numerous neon lights
Which national are you watching this video ?
C'est vraiment fou!
...who the hell dislikes this?
EmptyVee00000 Ashkenazy is indeed amazing but you have no right to dislike this just because of your opinion. It is the duty of every musician to accept the fact that others have great interpretations.
Terrible playing.
@@EmptyVee00000 why do you think that way?
@@aktasluna Because it does not evoke Ondine, the seductress water nymph. François' playing is like a frozen fountain; there is no sensuous movement. Also, it is a very slow tempo.
@@EmptyVee00000 I think Samson Franceoise is one the finest pianists ever..are you hard of hearing..or just don;t know muic?
He captures the shimmering quality of Ondine better than just about anybody else. This recording is quite wonderful, even by today's standards, considering it comes to us from 1957. But he makes an unfortunate error at 4:18 that rather mars the performance.
Le Gibet is no doubt taken much too fast, but it's still somewhat effective in the hands of a great pianist like Samson Francois. Many other pianists also take the piece too fast, but I don't know of any who take it this fast. It's probably fair to say that Ravel would have been distressed by this performance.
But the performance of Scarbo is simply wonderful!
jolie playlistes
+Asme Feila Bon partage kis!
Marvelous.
... Oui, sûrement les filiations ne sont pas uniques... Néanmoins, j' apprécie profondément celle de Ravel, marguerite Long et Samson François...( comme pour Debussy d' ailleurs !) Cette filiation tient pour le premier "couple", du sensible fraternel voir intime, et dans le second d' une maternité certaine...qui ne pouvait éclore mieux qu' en Samson François. On peut connaître ne serait-ce qu' une journée, voir le temps d' un songe... le maître fondateur, et cependant en devenir le meilleur hériter... Je l' ai souvent vécu !
Ces filiations du sensible n' appartiennent pas au temps des hommes, et encore moins à l' institution...
Elles sont de l' ordre du "Mouvement infini" dont Samson François avait la conscience, la grâce absolue...elles appartiennent aux enfants qui joue au cerceau, ou au piano...et à un ciel qui avait choisi Samson pour définir ces "enfantillages".... Maximilien-Samson François en avait bien parlé par après.
Magnifique commentaire.
Merci.
Master.
éblouissant!!!
Amazing. His 1947 Scarbo is nowhere near as petulant and nasty as this. Simon must have been in a bad mood! Truly remarkable...
To be honest: I haven't listened to that many interpretations, but to me, Samson Francois is on a level of his own when he plays Ravel's music. Composer and interpreter both make the quality of the recording irrelevant.
oh beurk les publicités qui pourissent votre musique vous font détester le produit
My opinion: Michelangeli has the best Ondine. It’s straight to the point. Pogorelich’s Le Gibet is the most harmonically conveying and had that creepy vibe to it. And Samson Francois just destroys Scarbo. I’ve yet to hear a better interpretation of Scarbo.
I still love other recordings though, as they always have something different to them. I am against finding the absolute best interpretations because all of them are good, but these, are geniuses
Try Argerich, Sergei Babayan, Alessandra Ammara, and Bertrand Chamayou
And Anna Vinnitskaya
フランソワ。おフランス感。素晴らしい
Francois OWNS Ravel!
Ravel l'a écrit pour lui.
Almost as good as Pogorelich whose best versions on this platform for me are the studio recording Deutsche Grammophone 1983 and a live version from 1981. But there are others, and _all_ Pogorelich's versions are the best. But this here is a close second. I hear Lazar Berman is good, but I can't seem to find his complete Gaspard.
éblouissant
Samson François est excellent, mais il ne faut pas oublier que les pianistes, amis de Ravel, qui ont joué ses oeuvres depuis le début, sont Robert Casadesus et Vlado Perlemuter. Casadesus a joué en tournée avec Ravel et Perlemuter est le seul pianiste à avoir travaillé l'intégrale de ses oeuvres, chez Ravel, durant six mois en 1925.
excellent, certes et vous, très (trop?) sérieux.😉
Oui, sûrement, et les filiations ne sont pas uniques... Néanmoins, j' apprécie profondément celle de Ravel, marguerite Long et Samson François...( comme pour Debussy d' ailleurs !) Cette filiation tient pour le premier "couple", du sensible fraternel voir intime, et dans le second d' une maternité certaine...qui ne pouvait éclore mieux qu' en Samson François. On peut connaître ne serait-ce qu' une journée, voir le temps d' un songe... le maître fondateur, et cependant en devenir le meilleur hériter... Je l' ai souvent vécu !
Ces filiations du sensible n' appartiennent pas au temps des hommes, et encore moins à l' institution...
Elles sont de l' ordre du "Mouvement infini" dont Samson François avait la conscience, la grâce absolue...elles appartiennent aux enfants qui joue au cerceau, ou au piano...et à un ciel qui avait choisi Samson pour définir ces enfantillages.... Maximilien en avait bien parlé par après.
Non, le Maître ne fut ni le seul, ni le premier : l'honneur en revint à sa contemporaine Henriette Faure. Par ailleurs, s'agissant des proches, pionniers, amis ou dédicataires, vous oubliez Alfred Cortot, Lazare-Lévy et Louis Aubert (ses camarades de classe au Conservatoire), Marguerite Long, Harold Bauer .... s'il s'agissait de se contenter seulement de citer ceux de ces interprètes qui sont encore célèbres aujourd'hui. Que dire de Ricardo Viñes ! Ou de Juliette Meerovitch, tôt disparue, dont Ravel reconnut lui-même que personne ne jouerait plus son Trio, après elle, avec cette sonorité irréelle qu'il attendait, qu'il exigeait dans l'Allegro, qu'aucun autre ne savait obtenir.
Merveilleux
Pour ce qui est des filiations on est pas si loin avec Samson puisqu'il a été un élève choié de Marguerite Long que l'on surnommait "Madame Ravel". Pourtant rien de conventionnel ou hérité de quelcun se manifeste dans le jeu du pianiste. La liberté d'un maître ne se transmet pas par un esclavage.
:)))
No sound. Sorry.
Hello my friend...Probably a little deaf ! Ah ah ! Anyway, Samson françois would deserve to be heard from morning to evening... You should buy the entire recordings, so that you wil enjoy the most important french man of the history ! Then you will give much pleasure to your friends and relatives .... Samson François was a master before learning, and he kept freedom from childhood...the one which is close to heaven...in a somewhere that suits to angels...Best regards from France Vincenzo, and welcome to sensitive piano !
éblouissant!!!
éblouissant
You made two comments. I like it.
I love it too.
Three times now.
Same words.
All true.@@Leptoszom