The left hand is so crazy the way G.plays it. Noone ever sounded so mad.And his way withthe right hand at 1:03! This is really different from many others.Wonderfully involved and at the very end of his life.I'd like to hear him in this earlier!This is the greatestmusic of the first half of the 19th centuryYakov Flier taught BellaDavidovich so check him out ! There is really too much pedal in 2mov.! Though he is exciting and full of gusto . Those big chords should be broken I thought.I've got to see the score !Geisekings beautiful daughters must have been actresses . This photo is almost stupid this guy who plays great dead composers he played Prokofiev and Stravinsky too I think and Hindemith .Gieseking had such a great memory ! Pic of daughters at table with Dean and goodlooking black haired guy might be real. Is there a bio or letters from Geiseking publ.I'd love to know where in America he played and what the conditions were like .I wonder if he liked or noticed Jazz.I can't tell from his Debussy.He didn't record Milhaud or jazzy Hindemith scores ? The 3rd movement is wonderfulfeels slower than it is - he has a very diff conception than most pianists ! Dreamy the touch of the ascending line is really unforgettable -but is it marked pp as he plays it ?. The 3rd movement fails it does not payoff in minute 23 .This is why Clara loved him.I love him even more than Chopin !
As with several of the great names of yesteryear, this is a bit of a curate's egg - good in parts. A phenomenally fast first movement, but well balanced by giving breadth in the slower sections. This was by far his best movement, and I liked the An die ferne Geliebte quote at a proper Adagio. There was an unacceptable number of mistakes early in the second movement by today's standards - like many, he struggles with the huge chords and stretches. Every giant of the piano manages to bring out something that no one else does, and here it's in that section beginning at bar 141, where he really distinguishes between the very broken up first part and the much longer-lined phrases from bar 149. I disagree with many of his musical judgments, such as speeding up into the Coda, where Schumann actually marks rit.. The Coda itself is extremely well-managed, about as fast as Horowitz's and with fewer wrong notes. We're used to the third movement less dragging in the first couple of pages than this, but it is as Schumann directed. In this movement, Gieseking has numerous little memory lapses over actual notes and rhythms, unless he uses a very odd edition. Something I cannot abide is his molto rubato within the bar, nearly every bar, in the section from around bar 52 through to the crashing chords at bar 68 (and where all this repeats, from bar 103). He seems to be in two minds as to whether to urge the tempo along, and the effect is of being in a beer barrel south of Cape Horn in a storm. I'm afraid the final Coda is about as unmoving as any version I've heard, which is now over forty. Yet, his legato lines in this movement are unmatched by just about anyone, and no one manages those 5s against 6s in bars 73 and 77 quite as precisely - an absolute wonder ! So, a real mixed bag, but rewarding to hear the magical moments. Thank you for the upload.
Too much missing the forest for the trees in this critique, harping on bars such-and-such or relatively minor inaccuracies in what was probably an unedited recording. How about the overall scheme, approach, tonal quality, effect of the whole?
Still considered one of the great interpreters of Debussy the misinterpretation of sloppiness is, emotion over technicality which is often shown in this piece.
It's prob faked. Then again i know nothing about Gieseking in the U.S.A. except that his white, Nazi Ass wasn't aloud back after the conclusion of WWII. Good . he and Cortot Shameful ! Cortot's piano playing almost everybody says is heaven -I like Rachmaninoff said don't hear it !
Where and why this photo . Why would Geiseking be at a piano with herr Dean. Was dean a pianomusic or music lover. Someone explain . Wikipedia might help. How couldChopin be as stupid as he was? He liked almost nithing bySchumann. Played hummel colorless sheets and livedMoscheles but noone else. Read any bios on h8m and u see Lisz5, Berlioz, Paganini even the crazed Schumann had better sense. He didnt like anyJews except the geniusesGutmann Filtsch he taught. How could he live missaSolemnis but not get the middle or late quartets and Sonatas . Enigma of all enigmas ??? Gis good in the Schu Fantasy!!! Serkin Virdsaladse is a gawdess!!! If u never heard that crazy MariaYudina in Schubert Bbsonata . OMG!!!! I would have run to hear her like Horowitz. Epiphany after Epiphany!
Great! The first picture is with James Dean...
The left hand is so crazy the way G.plays it. Noone ever sounded so mad.And his way withthe right hand at 1:03! This is really different from many others.Wonderfully involved and at the very end of his life.I'd like to hear him in this earlier!This is the greatestmusic of the first half of the 19th centuryYakov Flier taught BellaDavidovich so check him out ! There is really too much pedal in 2mov.! Though he is exciting and full of gusto . Those big chords should be broken I thought.I've got to see the score !Geisekings beautiful daughters must have been actresses . This photo is almost stupid this guy who plays great dead composers he played Prokofiev and Stravinsky too I think and Hindemith .Gieseking had such a great memory ! Pic of daughters at table with Dean and goodlooking black haired guy might be real. Is there a bio or letters from Geiseking publ.I'd love to know where in America he played and what the conditions were like .I wonder if he liked or noticed Jazz.I can't tell from his Debussy.He didn't record Milhaud or jazzy Hindemith scores ? The 3rd movement is wonderfulfeels slower than it is - he has a very diff conception than most pianists ! Dreamy the touch of the ascending line is really unforgettable -but is it marked pp as he plays it ?. The 3rd movement fails it does not payoff in minute 23 .This is why Clara loved him.I love him even more than Chopin !
gizo kaci xar))
As with several of the great names of yesteryear, this is a bit of a curate's egg - good in parts. A phenomenally fast first movement, but well balanced by giving breadth in the slower sections. This was by far his best movement, and I liked the An die ferne Geliebte quote at a proper Adagio. There was an unacceptable number of mistakes early in the second movement by today's standards - like many, he struggles with the huge chords and stretches. Every giant of the piano manages to bring out something that no one else does, and here it's in that section beginning at bar 141, where he really distinguishes between the very broken up first part and the much longer-lined phrases from bar 149. I disagree with many of his musical judgments, such as speeding up into the Coda, where Schumann actually marks rit.. The Coda itself is extremely well-managed, about as fast as Horowitz's and with fewer wrong notes. We're used to the third movement less dragging in the first couple of pages than this, but it is as Schumann directed. In this movement, Gieseking has numerous little memory lapses over actual notes and rhythms, unless he uses a very odd edition. Something I cannot abide is his molto rubato within the bar, nearly every bar, in the section from around bar 52 through to the crashing chords at bar 68 (and where all this repeats, from bar 103). He seems to be in two minds as to whether to urge the tempo along, and the effect is of being in a beer barrel south of Cape Horn in a storm. I'm afraid the final Coda is about as unmoving as any version I've heard, which is now over forty. Yet, his legato lines in this movement are unmatched by just about anyone, and no one manages those 5s against 6s in bars 73 and 77 quite as precisely - an absolute wonder ! So, a real mixed bag, but rewarding to hear the magical moments. Thank you for the upload.
Too much missing the forest for the trees in this critique, harping on bars such-and-such or relatively minor inaccuracies in what was probably an unedited recording. How about the overall scheme, approach, tonal quality, effect of the whole?
Gieseking survived Dean by a year.
The performance seems sloppy at times. More interesting would be to learn why James Dean is there!
Still considered one of the great interpreters of Debussy the misinterpretation of sloppiness is, emotion over technicality which is often shown in this piece.
It's prob faked. Then again i know nothing about Gieseking in the U.S.A. except that his white, Nazi Ass wasn't aloud back after the conclusion of WWII. Good . he and Cortot Shameful ! Cortot's piano playing almost everybody says is heaven -I like Rachmaninoff said don't hear it !
Where and why this photo . Why would Geiseking be at a piano with herr Dean. Was dean a pianomusic or music lover. Someone explain . Wikipedia might help. How couldChopin be as stupid as he was? He liked almost nithing bySchumann. Played hummel colorless sheets and livedMoscheles but noone else. Read any bios on h8m and u see Lisz5, Berlioz, Paganini even the crazed Schumann had better sense. He didnt like anyJews except the geniusesGutmann Filtsch he taught. How could he live missaSolemnis but not get the middle or late quartets and Sonatas . Enigma of all enigmas ??? Gis good in the Schu Fantasy!!! Serkin Virdsaladse is a gawdess!!! If u never heard that crazy MariaYudina in Schubert Bbsonata . OMG!!!! I would have run to hear her like Horowitz. Epiphany after Epiphany!
NO ROOM, SORRY.