All four of these etudes are fabulous, but the first -- the "Harp Etude" in A Flat Major is breathtakingly beautiful, a performance for the ages. Rubinstein's pacing of each phrase is a miracle, too, with perfect handling of the rubato. And his singing tone!!!! Simply gorgeous.
only when you are a pianist yourself you will truly appreciate how absolutely incredible all his dynamics, pauses, rubato, tone production, interpretation is.
He is in a different league. Reminds me of that famous anecdote where Fats Waller is playing at a club, and Art Tatum walks in. Fats says: "I only play the piano, but tonight God is in the house." I wonder how many classical pianists, if any, felt similarly intimidated by Rubinstein.
@@dhirenfernando8159 Słuchałem Sokołowa i bardziej mi się podoba wykonanie Rubinsteina. I listened to Sokolov and I like Rubinstein's performance more.
I have never Rubenstein play Chopin studies. The performances are superb. He maintains his technique and beautiful tone. He makes each study a different poem Rubenstein was unique
The finale of op 10 no 4 is the most ferocious I have yet heard, only matched by a young and electrifying Martha Argerich in the Chopin competition in the 50s. Considering Rubinstein's age at this time, I am impressed at how "simply" he demonstrates such massive energy.
This is the best performance of op 10 no 4 I've ever heard. Many blur the notes and it really destroys the piece for me. This performance includes every note sounding the best it could.
Deze etude is in mijn hart gesmeed en Arthur speelt dat met zoveel liefde en begrip. Alle pianisten moeten dit horen. Dit is mooi wat deze grootmeester doet en vele etudes zijn er geschreven door Chopin en dit is een schitterende bloemlezing van een oprecht Musicus. Alle lof voor Arhtur Rubinstein die mij vandaag ook weer tot troost en bemoediging is. Wat een lief man. Kracht tederheid en doorzettingsvermogen deze man kan niet genoeg geprezen worden
❤ i believe this was at the time of his last world tour. I heard him play at the new Seattle Opera House in 1964. I shall never forget the thrill of having been there.😊
Ich kannte bisher nur die langweiligen Aufnahmen mit der deutschen Grammophon und war nie sonderlich begeistert von Rubinstein, aber was er hier live zeigt ist atemberaubend! Jetzt verstehe ich warum er als großer Pianist gilt!
Magic. What a wizard! Wonderful how Rubinstein uncovers the deeper architecture underpinning a piece. Didn't realize that the genius had such small (but muscular) hands, though never a problem getting hold of those tenths...Thank you Mr/Mrs Prokofieff for sharing this treasure with us.
As a matter of fact, Rubinstein had immense hands. He could easily take a twelfth (C to G) on the keyboard. His little finger was nearly as long as the middle finger. He called this a "handicap"!
Rubinstein actually had very large hands, with a little finger almost as long as the middle. He could grasp a twelfth with ease. (See Harold C. Schonberg's book "The Great Pianists") There is also a well known photo of his hands. Huge!
Ik denk dat ge dat in zijn tijd moet zien. Arthur was uiteraard een ENORM BEGAAFD pianist, dat vind ik tenminste! Toch doet hij hier en daar mooie dingen, zoals plotse rubato's, diminuendo's en tempowisselingen. Ik ben niet zo negatief over Rubinstein als gij. Maar ik houd in 't alg. niet van zijn klank, hetgeen ook voor o.a. de buitengewoon begaafde pianist Brendel opgaat. Groetje, Geert.
I have been listening to Youchan Lim. When he got to Op25 no1, I lost it. So wrong. I came here and asked Artur to play it please please please. He did. I ran the video three times, just to scrape away the awful echo of Lim. He's a giant talent, but he doesn't have the subtlety, taste, and pride of Artur Rubenstein.
TO THINK THAT RUBINSTEIN DIDN'T RECORD THE ETUDES, BECAUSE HE DIDN'T THINK HE WAS GOOD ENOUGH. I'VE NEVER HEARD ANYONE PLAY THE WRONG NOTE ETUDE AS WELL AS THIS, & ONLY HOROWITZ COULD PLAY THE OTHERS AS WELL AS HE PLAYED THEM.
Me parece que su posición al piano y sus manos se asemejan muchísimo a Horowitz, sera acaso la misma técnica o algo parecido, al fin de cuentas fueron contemporáneos. His hands position and way he sits at the piano reminds me Horowitz's elegance. Could be the same technique? after all they were contemporaries.
Sí son técnicas diferentes. Como comenta Edgar Horowitz se sienta más abajo. Al estar Rubinstein más arriba pasaba el peso de sus brazos y cuerpo a cada uno de sus dedos. Por eso su gran sonoridad, sonido lleno. Sonido expresado desde el cuerpo.
There's no reason to doubt you, the reason I mentioned Rachmaninoff was because I remembered reading or hearing somewhere that he too had an enormous stretch. And then the the imagination ran wild, i.e. some sort of clash of the Titans (who can stretch the furthest?) and Rachmaninoff composing a piece and thinking to himself "I'll just pop in a few extra notes in this chord to give Artur a hard time...". Still in shock about that 12th, I can't even get it with my elbow!
...doubtful is there was ever - ever - a more musical interpretation of these very popular pieces. Even Horowitz emphasized the pianistic rather than the music - which is easily demonstrated by listening to Vlad and others play these - after hearing Rubinstein - a simply unequaled interpreter of Chopin, and musical storyteller supreme...
Not loving most of that middle section of the Wrong Note Etude, though maybe it sounded better live. Seemed way too straight to me. Loved the rest of that piece. Interesting how he held back on the combo RH a-g# and LH c#-b at the end of the etude. I haven't heard it done that way. Kind of liked it.
A sober-faced musician is more likely a better musician than one who's smiling...it means that they're entirely focused, in the moment, and at one with the music.
I think it's the other way around, an over exaggerated face doesn't mean a performance is good. This is a modern trend where visuals are more important than authenticity and true sound. It wasn't like it for many years.
Amazing and indeed rare performance; he almost feared playing Etudes in public, as he found them so unsuited to his hands. (One of his recital habits: He'd pick out a nice-looking lady from the audience to play to, although she wouldn't necessarily know it. At Montreal's Plateau Hall back in the '40s, that lady was my Aunt Ruby Stormont. I am indebted to her and her brother Reggie for inspiring my pianistic talents.)
Please give other great artists a second listen! My favorites: Anievas and Trifonov are masters of subtlety, poetry, passion --but definitely even Pollini, Lugansky, Novaes, Horowitz Revolutionary. They have magnificent things to say as well, and i feel that their balance between pure technical virtuosity & musicality is more convincing, satisfying than Rubinstein here, particularly the Etudes Op.10 No.5 and the Op.25 No.5.
Arthur Rubinstein was 77 years old when playing this... awesome!
Best interpreter of Chopin I ever heard !
I agree, but it was Chopin's Nocturnes that Rubinstein first impressed me with.
@@chrisprice3099 For me, it was the scherzi.
@@chrisprice3099 for me it was the polonaise
I agree.
All four of these etudes are fabulous, but the first -- the "Harp Etude" in A Flat Major is breathtakingly beautiful, a performance for the ages. Rubinstein's pacing of each phrase is a miracle, too, with perfect handling of the rubato. And his singing tone!!!! Simply gorgeous.
I thought the same
only when you are a pianist yourself you will truly appreciate how absolutely incredible all his dynamics, pauses, rubato, tone production, interpretation is.
He is in a different league. Reminds me of that famous anecdote where Fats Waller is playing at a club, and Art Tatum walks in. Fats says: "I only play the piano, but tonight God is in the house." I wonder how many classical pianists, if any, felt similarly intimidated by Rubinstein.
He's so clean with his tone. Outer notes ring true and inner voices aren't blurred. It's insane. What a weapon
Great, indeed.
It’s a great performance, but he didn’t accentuate the inner voice that well, especially around 00:42
Paul Byrnes RMT his playing is incredible
clean tone, unclean recording xd
@@ingeborghjertaker1963 which inner voice occurs around 00:42?
0:09 - Étude Op. 25, No. 1 "Aeolian Harp"
2:42 - Étude Op. 10, No. 5 "Black Keys"
4:23 - Étude Op. 25, No. 5 "Wrong Note"
7:25 - Étude Op. 10, No. 4 "Torrent"
fuck the made up names
Chopin has never given any name to his Etudes. They just sound so cheap and commercial.
Nur von GINZBURG übertroffen...
@@coachtigre5913 Winter Wind is a cool name though
@@coachtigre5913 Yes, but nicknames are a good way to distinguish/remember them
Thank you for this. ❤
Best recording I have ever found for all four of these etudes, especially the "Wrong-Note." Bravo, Rubinstein.
Try Sokolov - these are amazing- those are legendary
@@dhirenfernando8159 Słuchałem Sokołowa i bardziej mi się podoba wykonanie Rubinsteina.
I listened to Sokolov and I like Rubinstein's performance more.
shame the recording could be much better though, the playing is so amazing though
lol thats the only interpretation i didnt like out of the four
I have never Rubenstein play Chopin studies. The performances are superb. He maintains his technique and beautiful tone. He makes each study a different poem Rubenstein was unique
The finale of op 10 no 4 is the most ferocious I have yet heard, only matched by a young and electrifying Martha Argerich in the Chopin competition in the 50s. Considering Rubinstein's age at this time, I am impressed at how "simply" he demonstrates such massive energy.
That competition you refer to was on 1965 my friend
This is the best performance of op 10 no 4 I've ever heard. Many blur the notes and it really destroys the piece for me. This performance includes every note sounding the best it could.
So effortless! Beautiful playing, beautiful spirit.
Deze etude is in mijn hart gesmeed en Arthur speelt dat met zoveel liefde en begrip. Alle pianisten moeten dit horen. Dit is mooi wat deze grootmeester doet en vele etudes zijn er geschreven door Chopin en dit is een schitterende bloemlezing van een oprecht Musicus. Alle lof voor Arhtur Rubinstein die mij vandaag ook weer tot troost en bemoediging is. Wat een lief man. Kracht tederheid en doorzettingsvermogen deze man kan niet genoeg geprezen worden
Een lieve man ?
Deze Etude op. 25 nr. 1 (die nu afgedraaid wordt) vertolkt hij inderdaad SUBLIEM!
ik heb het over Liefde. een woord waarvan jij de betekenis nog niet kent
Grandioso. Il mio pianista preferitp da sempre.
Rubenstein has so much power and control.. what a thundering and brilliant finish to all these etudes..
❤ i believe this was at the time of his last world tour. I heard him play at the new Seattle Opera House in 1964. I shall never forget the thrill of having been there.😊
The ultimate Chopin interpreter IMO
That singing line! I love the sparkle in the treble at the end. And the way he shaped his phrases. Just amazing.
heard these live in NYC in 1966-1967 great then and great to have these posted! thanks
8:12 " You can hear an example of Corona Virus in 1964..."
so inspiring
let's remember music is a medium .......that transcends times and History.....so listen to it ,and let your mind be at peace!
+Kyle Gillespie
That is so true. I will remember your quote
Loved it! He certainly was one of the greatest piano player! Thank you
Piękno muzyki Fryderyka Chopina to fenomen graniczący z cudem.
With 77 years Rubinstein still managed to play Op.10,4 in the prescripted speed of 176 Mälzel. Bravo!
Maestro de los maestros,como decimos en Andalucia.🌷
Sensational. I especially like the "Black Key" etude.
Bravo indeed!
The piano is very sharp#
all of these are a challenge. fantastic footage of a genius in action.
This is out of my league.
I'm here via Darren Beattie.
This dude is a wizard..
Ich kannte bisher nur die langweiligen Aufnahmen mit der deutschen Grammophon und war nie sonderlich begeistert von Rubinstein, aber was er hier live zeigt ist atemberaubend! Jetzt verstehe ich warum er als großer Pianist gilt!
8:12 " You can hear an example of Corona Virus in 1964..."
This Torrent performance prbbly best ever played.
8:12 " You can hear an example of Corona Virus in 1964..."
I really think that modern pianists play better this etude than him.
@@rothschildianum ou hell no
@@rothschildianum nahh
@@Smortnt Not everybody has the ear to hear the difference.
Such incredible artistry.
Magic. What a wizard! Wonderful how Rubinstein uncovers the deeper architecture underpinning a piece. Didn't realize that the genius had such small (but muscular) hands, though never a problem getting hold of those tenths...Thank you Mr/Mrs Prokofieff for sharing this treasure with us.
As a matter of fact, Rubinstein had immense hands. He could easily take a twelfth (C to G) on the keyboard. His little finger was nearly as long as the middle finger. He called this a "handicap"!
Rubinstein actually had very large hands, with a little finger almost as long as the middle. He could grasp a twelfth with ease. (See Harold C. Schonberg's book "The Great Pianists") There is also a well known photo of his hands. Huge!
Un vero interprete, tra i primissimi di sempre
Fantastico. Grazie!!
Wow he is so cool especially the finishing part is amazing 👏 👏 👏👏👏
8:55 that’s literally the best left-hand I’ve ever heard.
What a talent!
Such a wonderful performance.
You can keep those who preceded as well as those who have come since This man was blessed!
It appears the the pitch for the audio from the reel is one pitch higher than it should be… but awesome playing. What a legend
wonderful, rare footage. He plays more with honesty than shallow virtuosity.
I have heard so many performances of the Op.25 No.5. Rubinstein’s is the first one I’ve actually liked.
Ik denk dat ge dat in zijn tijd moet zien.
Arthur was uiteraard een ENORM BEGAAFD pianist, dat vind ik tenminste!
Toch doet hij hier en daar mooie dingen, zoals plotse rubato's, diminuendo's en tempowisselingen.
Ik ben niet zo negatief over Rubinstein als gij.
Maar ik houd in 't alg. niet van zijn klank, hetgeen ook voor o.a. de buitengewoon begaafde pianist Brendel opgaat.
Groetje,
Geert.
That last etude was riveting
Wonderful! Chopin is my favorite and most of my posts are on his pieces :)
The first time I actually enjoyed the Black Key etude
I have been listening to Youchan Lim. When he got to Op25 no1, I lost it. So wrong.
I came here and asked Artur to play it please please please.
He did.
I ran the video three times, just to scrape away the awful echo of Lim. He's a giant talent, but he doesn't have the subtlety, taste, and pride of Artur Rubenstein.
He really saved his power for that coda at the end. Wowowowwowo.
Very very good music, I really really like Rubinstein.
8:12 " You can hear an example of Corona Virus in 1964..."
Das ist unglaublich......
And unlike the pianists of today he lets his hands show all the emotion - doesn't need to roll his head about at all.
Огромное спасибо!
Thank you for sharing.
Bravo,Bravo..........
Unico sensazionale, la perfezione
8:12 " You can hear an example of Corona Virus in 1964..."
Wonderful.
❤❤❤
Rubi has such great control and poise and color! Great. Thank you very much for sharing with us!
Thanks for posting !
Pure heaven.
8:12 " You can hear an example of Corona Virus in 1964..."
Incredible 👏👏👏
8:12 " You can hear an example of Corona Virus in 1964..."
5:15 Im addicted to this section currently
Etude no.4 was great
7:27 nunca havia visto algo assim wow
He was best player
Wow thank you!!
TO THINK THAT RUBINSTEIN DIDN'T RECORD THE ETUDES, BECAUSE HE DIDN'T THINK HE WAS GOOD ENOUGH. I'VE NEVER HEARD ANYONE PLAY THE WRONG NOTE ETUDE AS WELL AS THIS, & ONLY HOROWITZ COULD PLAY THE OTHERS AS WELL AS HE PLAYED THEM.
❤️
bravo.....Arthur...
It is... priceless!!
how can one dislike this video?
8:12 " You can hear an example of Corona Virus in 1964..."
ВЕличайший пианист!!!!
Me parece que su posición al piano y sus manos se asemejan muchísimo a Horowitz, sera acaso la misma técnica o algo parecido, al fin de cuentas fueron contemporáneos.
His hands position and way he sits at the piano reminds me Horowitz's elegance. Could be the same technique? after all they were contemporaries.
Sí son técnicas diferentes. Como comenta Edgar Horowitz se sienta más abajo. Al estar Rubinstein más arriba pasaba el peso de sus brazos y cuerpo a cada uno de sus dedos. Por eso su gran sonoridad, sonido lleno. Sonido expresado desde el cuerpo.
It really is a crime we can't see his hands in the Op. 10 No. 4.
Op. 25 no 5 bar 129? This repetition of the right hand is in which edition of the score? 7:00
There's no reason to doubt you, the reason I mentioned Rachmaninoff was because I remembered reading or hearing somewhere that he too had an enormous stretch. And then the the imagination ran wild, i.e. some sort of clash of the Titans (who can stretch the furthest?) and Rachmaninoff composing a piece and thinking to himself "I'll just pop in a few extra notes in this chord to give Artur a hard time...". Still in shock about that 12th, I can't even get it with my elbow!
I just like it very much ！
Perfect ！
I wish i had his posture lol
An extraordinart man. It is worth reading his Wikipedia entry.
8:12 " You can hear an example of Corona Virus in 1964..."
Marcel, ondergetekende heeft ooit, in Rio de Janeiro 1985, concerten voor 2 piano's aangeboden gekregen met een dochter van Arthur!
This is the best person on the instrument .....ever; of course, I never heard Chopin or the big L.
I love 'the big L' 😂 my guy franz liszt
...doubtful is there was ever - ever - a more musical interpretation of these very popular pieces. Even Horowitz emphasized the pianistic rather than the music - which is easily demonstrated by listening to Vlad and others play these - after hearing Rubinstein - a simply unequaled interpreter of Chopin, and musical storyteller supreme...
8:12 " You can hear an example of Corona Virus in 1964..."
No entiendo cuando filman planos que no incluyen las manos y teclado como el estudio final . Cómo si a un atleta le filmen solo el rostro
8:12 " You can hear an example of Corona Virus in 1964..."
I just very much!
Not loving most of that middle section of the Wrong Note Etude, though maybe it sounded better live. Seemed way too straight to me. Loved the rest of that piece. Interesting how he held back on the combo RH a-g# and LH c#-b at the end of the etude. I haven't heard it done that way. Kind of liked it.
Black Keys Etudes
Uomo dal talento immenso
8:12 " You can hear an example of Corona Virus in 1964..."
Just want to fold him up and put him in my pocket, save him for a rainy day.
a sober face expression does not necessarily prevent a performance from being a masterpiece
A sober-faced musician is more likely a better musician than one who's smiling...it means that they're entirely focused, in the moment, and at one with the music.
@@RD3D-1 i agree
I think it's the other way around, an over exaggerated face doesn't mean a performance is good. This is a modern trend where visuals are more important than authenticity and true sound. It wasn't like it for many years.
Ja, vreemd... ik meen mij te herinneren dat ik over de Pollini ook ooit zoiets gelezen had: raar, he!
Richter, Pollini, Dehoux...
:-)
4:20
A bout of flatulence? (just an informed guess)
the best..............
Then the recording could only lose its priceless value.
4:14 crowd's reaction: "Damn we wanna clap!!! oop! but he's not done yet.."
4:14 *
godly tone
Amazing and indeed rare performance; he almost feared playing Etudes in public, as he found them so unsuited to his hands. (One of his recital habits: He'd pick out a nice-looking lady from the audience to play to, although she wouldn't necessarily know it. At Montreal's Plateau Hall back in the '40s, that lady was my Aunt Ruby Stormont. I am indebted to her and her brother Reggie for inspiring my pianistic talents.)
77歳でこの演奏できるってことは、それだけ合理的なテクニックの持ち主だったんでしょうね。
Op.10-4は身体の動き安定してますもんね。
ただちょっと楽譜と違うのがやはりこの時代らしいというか（笑）
でもまたそれが個性的で面白いというのも。
Please give other great artists a second listen! My favorites: Anievas and Trifonov are masters of subtlety, poetry, passion --but definitely even Pollini, Lugansky, Novaes, Horowitz Revolutionary. They have magnificent things to say as well, and i feel that their balance between pure technical virtuosity & musicality is more convincing, satisfying than Rubinstein here, particularly the Etudes Op.10 No.5 and the Op.25 No.5.
My favourite is trifonov for etudes
I love whomever I’m listening to, since I can’t play. But maybe you would also like Maria Grinberg.
Trifonov is a kid compared to Rubinstein or Horowitz imho.
that aeolian harp is divine!