I cannot agree more. No one today comes close to being the musician that he was. More than just a great pianist, technically, he was a master musician. He could bring live to music that sound flat in the hands off most modern day pianists, despite of all their technical brilliance.
no one comes close to his sound quality... have you heard any records from Argerich? what about Sokolov? even Yuja Wang can manage excellent quality of sound, listen to her symphonic etudes (even if i don't agree with her interpretation)
I am pianist and I like Schuman's music a lot. Gilels interpretation has really colorful sound, specially the contrast between lower and upper tones. His forte is full, but soft, thanks for sharing, its marvelous!
Although I don't understand German😂 but I see you've added emil gilels and richter in the same conversation, I really do believe that gilels and Richter belong to a league of their own, the greatest ever.
Awestruck, I am. Magnificent. Don’t know how many “wrong” notes there were, but they didn’t matter. Everything about Emil Gilels’ musicianship is a joy, and I cannot believe how lucky I am to have found this waiting for me on TH-cam today. Thank you! 🙏
Emil Gilels, 9 January 1983 at Tchaikovsky Hall in Moscow. As he refers to this concert in an interview later in the 1980's, Jorge Bolet is somewhere in the audience, listening.
The Andante 17:30 is for me the crux of this collection, one of those almost secret, magic places in music. Has to be mesmeric, with the underlying semitones sounding through enough. Gilels, who I've always overlooked (I'm sure foolishly) for being too percussive, does it beautifully.
Var.Xi ? Is my favorite luscious harmonies and 2 melodies in right hand over tremolo in left with its counterweight trilling semitones . Radu Lupu creates another world in this music.
It's a ground breaking work. I've loved a Lipatti recording for decades. Gilels showed me that it is a monumental work. 27 minutes, no break. At about 13 minutes I'd have gone out for a smoke.
Great performance! And he did well not to introduce, like other pianists, the five posthumous variations in the middle of the Etudes: they distract from the gradual progression from the Theme to the last triumphant march! This is the version that Schumann wanted us to hear...
@@stefanoferlaino1895 & Carlos Perez, so something cannot be both irrelevant and called irrelevant? Not a great answer if you think about it for less than half a second.
Compare this to the Trifonov video and hear the difference (minus the sound quality, of course) between very good playing (Trifonov) and truly great musical playing. There is no one alive today who can ever compare.
@@artemsmirnov7067 Вы бы ещё сравнили Гилельса с каким-нибудь тапёром из немого кино. Или среднестатистическим консерваторским студентом-первокурсником... Поражаюсь, как можно осмеливаться просто упоминать какие-то имена типа и уровня "Lisitsa" рядом с именем Эмиля Григорьевича. Давайте, ещё сравните, например, Доминго или Паваротти с каким-нибудь Гнойным... или как его там... А что, куча народу скажет, что последний даже много круче их... You have your sovereign rights to note that you "like her interpretation the most", but, please, in god's name, do not compare apples and oranges (to avoid any ambiguity - this expression is analogous to Russian "путать божий дар с яичницей" ))))
@@unassailable6138 The Sofronitsky recording is fine but he loses me in the G# minor Variation. This variation is the touchstone of this piece for me. It reveals the essence of Schumann: a poet of passion and romance. The duet in sotto voce must remain marcato and Sofronitsky can't pull it off. Listen to the very fine recording of Radu Lupu playing this piece. He sings the melodies in a soft voice and sustains the melodic lines in relief throughout.
Una de les peces pianístiques de Schumann preferides.Potser interpretació un pèl lenta amb una mica de falta de "legato romàntic",però agradable d'escoltar.En Gilels com es demostra era home de gran temperament.J.A.Vives. 22-6-2019.
Dramatische und zugleich lyrische live Aufführung dieser romantischen Etüden im veränderlichen Tempo mit kräftigem und zugleich zartem Anschlag sowie völlig effektiver Dynamik. Echt unvergleichlicher Virtuose!
Magisterial approach, although the second variation sounds more than a little ponderous, and the triplet chords in the accompaniment are so heavy and domineering they obscure the melodic counterpoint. Gilels always missed notes here and here whenever I heard him in New York, and like Horowitz some of has passagework could come out so smeared and frantic sounding it was almost almost embarrassing. Even so his playing almost never failed to stimulate greater interest in whatever pieces he chose to perform. All the really great pianists were often imperfect in their live performances. With them the MEANNG and DRAMA of the MUSC took precedence over perfection, which often can strike an audience as rather dull, unless that's ALL they care about. The Presto Possible here threw all caution to winds. I can't imagine how any mortal could even DREAM of playing it that fast. This is not Gilels' best work. doubt if he practiced much for the occasion, but it's still inspring all the same.
+Hyramess Hiramess Bangy, sometimes ponderous, a bit too overstated in places, perhaps, but a vital, fully engaged, fully alive rendition that obviously pleased the audience greatly -- and in the final analysis isn't that what it's supposed to be all about? If you play all the notes perfectly at great speed with immaculate, perfectly even articulation but project no special feeling for the work that does more of a disservice to the composer than a bit of sloppy passagework here and here. As Claude Frank used to ell me, "Do all your suffering in the practice room. When you're onstage SHOW THEM the PIECE, and LET the CHIPS FALL WHERE THEY MAY.
Great accompanying comments for this video. I can appreciate the truth in your writting as someone who has been through the very demanding study of higher instution piano performance. The corollary of that analysis is that when someone who does not perceive the deeper intensities and nuances of musical expression but who is otherwise a great human machine and especially a virtuoso (yes one does not imply the other) learns the piano and dashes the public with their fingerwork and extreme virtusosic skills , they change the pieces so that they can be performed like an inform and bland piece of virtuoso playing, destroying the musical intention. Painting is the best analogy. If those people were painters they would draw a grid on the canvas where each cell can only receive one precisely fitted color. Overlapping between cells would be a 'wrong note', they would practice their brush stroke so that they would be very adept at making dots perfectly centered on the grid as fast as they can and some people would be amazed by that mechanic. They are copyists not original composers of music , as painters they repaint a 'tidy' and 'cleaned' copy of the original with their grid destroying much of the deeper meanings in the paint. Now, the true painter would paint artfully with expression using all their senses together and "let the chips fall where they may".
Mi dispiace, (grande tecnico) ma durezza di suono, eccessivo uso di pedale, fraseggio poco respirato...mi dispiace proprio, ma è quello che mi arriva. Consiglio vivamente di ascoltare quelli di Fausto Zadra che certo non ha avuto la sua fama, ma non l'ha neanche cercata.
![Yuja Wang plays Schumann : Symphonic Etudes, Opus 13 [HD]](http://i.ytimg.com/vi/fFvbfmBvV24/mqdefault.jpg)
![[LIVE] : ONE ลุมพินี 66 วันนี้!! คู่เอก "ก้องชัย vs อัคราม"](http://i.ytimg.com/vi/j4uI5Uy8mWQ/mqdefault.jpg)
00:06 Theme - Andante [C♯ minor]
02:03 Etude I (Variation 1) - Un poco più vivo [C♯ minor]
03:14 Etude II (Variation 2) - Andante [C♯ minor]
07:31 Etude III - Vivace [E Major]
08:44 Etude IV (Variation 3) - Allegro marcato [C♯ minor]
09:32 Etude V (Variation 4) - Scherzando [C♯ minor]
10:45 Etude VI (Variation 5) - Agitato [C♯ minor]
11:35 Etude VII (Variation 6) - Allegro molto [E Major]
12:49 Etude VIII (Variation 7) - Sempre marcatissimo [C♯ minor]
15:38 Etude IX - Presto possibile [C♯ minor]
16:13 Etude X (Variation 8) - Allegro con energia [C♯ minor]
17:30 Etude XI (Variation 9) - Andante espressivo [G♯ minor]
20:44 Etude XII (Finale) - Allegro brillante (based on Marschner's theme) [D♭ Major]
What fabulous playing. Mistakes are irrelevant when music is performed at such an elevated level.
Emil Gilels was a supreme pianist/musician. Even today there is no one who comes even close to his sound quality and interpreting genius!
I cannot agree more. No one today comes close to being the musician that he was. More than just a great pianist, technically, he was a master musician. He could bring live to music that sound flat in the hands off most modern day pianists, despite of all their technical brilliance.
How many pianists these days produce this sort of sound? Not many! Gilels ranks with Arrau , Michaelangeli to name a few.
@@dmsilkoff What are you saying??? How can you "rank him with Arrau..." Emil Grigorievich is hundred miles above them. He is from another planet.
Ever heard Kissin play??
no one comes close to his sound quality... have you heard any records from Argerich? what about Sokolov? even Yuja Wang can manage excellent quality of sound, listen to her symphonic etudes (even if i don't agree with her interpretation)
This is quite unique. Gilels really tells us a story with his interpretation. Great music, great atmosphere - thank you 👍👍👍!!
I am pianist and I like Schuman's music a lot. Gilels interpretation has really colorful sound, specially the contrast between lower and upper tones. His forte is full, but soft, thanks for sharing, its marvelous!
You are discribing Gilels golden touch: a mixture of Organ-like and colorful melodical emanations, unique so far in history
Emil Gilels und Sviatoslav Richter ganz verschiedenartig, aber Beiden endlos fabelhaft und wunderbar im zuhören ! Immer wieder ein Fest !
Although I don't understand German😂 but I see you've added emil gilels and richter in the same conversation, I really do believe that gilels and Richter belong to a league of their own, the greatest ever.
Awestruck, I am. Magnificent. Don’t know how many “wrong” notes there were, but they didn’t matter. Everything about Emil Gilels’ musicianship is a joy, and I cannot believe how lucky I am to have found this waiting for me on TH-cam today. Thank you! 🙏
An excellent performance. Emil has been a long-time favorite of mine. I'm thrilled that I can see rather than just hear him playing. It's a treat.
Emil? You've been his collegue?
@@stefanlovin4998 🤦🏻♀️
Emil Gilels, 9 January 1983 at Tchaikovsky Hall in Moscow. As he refers to this concert in an interview later in the 1980's, Jorge Bolet is somewhere in the audience, listening.
As was Eisenzopf. Hoomeyow!!
The Andante 17:30 is for me the crux of this collection, one of those almost secret, magic places in music. Has to be mesmeric, with the underlying semitones sounding through enough. Gilels, who I've always overlooked (I'm sure foolishly) for being too percussive, does it beautifully.
You're right! Etude XI has always been my favourite among the XII...
Var.Xi ? Is my favorite luscious harmonies and 2 melodies in right hand over tremolo in left with its counterweight trilling semitones . Radu Lupu creates another world in this music.
Великолепно! Слушаю и не могу оторваться!
Happy birthday Maestro. С днём рождения, маэстро! 🎉
Such a demanding masterpiece! I'm going to play it for a recital in a few months. God help me!🙏
***** It's been a worthwhile experience. It went well and I'm pretty satisfied. Good luck!😉
17:31 the most haunting melody known to man
John Pringle idk Shostakovich was best at writing melodies from hell, I think he takes the cake th-cam.com/video/8hEy0BIr8Ks/w-d-xo.html
Even more so when you think about Schumann's psyche.
Really wonderful - and moving.
I can listen to this on a Day long.
Leandro Suzano b
Haven't found a better version and I don't think I ever will!!!
Try Buchbinder, Brendel, Schiff ...
@@edhanslick5630 I did...
Richter is amazing. Great possession and pasion. Giles goes together with his great authority .
I think Pollini and (surprisingly) Lisitsa are superior
Guiomar is great
Splendida esecuzione impreziosita da numerose imprecisioni.
Authority. Thanks for putting this out.
grandioso e poetico!
It's a ground breaking work. I've loved a Lipatti recording for decades. Gilels showed me that it is a monumental work. 27 minutes, no break. At about 13 minutes I'd have gone out for a smoke.
Don't smoke. Remember Anton Webern!
There is a Lipatti recording of the Symphonic Etudes?
@@Starblade176S only a variation recorded in Bucharest. Bad sound quality.
No@@Starblade176S
Bravo!
Thanks a lot!
grandiose poignant sublime et si delicat
chef-d'œuvre
Una version maravillosa de una obra emblematica de Schumann por Giles, uno de los mas grandes pianistas del siglo XX
12:48 LEGEND!!!!!
magnifique, lorsque je pourrez joué comme cela je serai au paradis, Béatrice
lorsque je pourrai
...stratosferico
Great performance! And he did well not to introduce, like other pianists, the five posthumous variations in the middle of the Etudes: they distract from the gradual progression from the Theme to the last triumphant march! This is the version that Schumann wanted us to hear...
Brilliant interpretation. The mistakes are irrelevant!
Mi piace il suo commento. Un saluto.
If are irrelevant why you comment them?
Carlos perez great answer
@@stefanoferlaino1895 & Carlos Perez, so something cannot be both irrelevant and called irrelevant? Not a great answer if you think about it for less than half a second.
By bringing it up you put focus on something that you call irrelevant
Compare this to the Trifonov video and hear the difference (minus the sound quality, of course) between very good playing (Trifonov) and truly great musical playing. There is no one alive today who can ever compare.
Johannes Brahms I think Lisitsa can. She plays so much differently, but I like her interpretation the most
@@artemsmirnov7067 She's absolutely flat and superficial, she's a great technician but that's all
@@artemsmirnov7067 Вы бы ещё сравнили Гилельса с каким-нибудь тапёром из немого кино. Или среднестатистическим консерваторским студентом-первокурсником... Поражаюсь, как можно осмеливаться просто упоминать какие-то имена типа и уровня "Lisitsa" рядом с именем Эмиля Григорьевича. Давайте, ещё сравните, например, Доминго или Паваротти с каким-нибудь Гнойным... или как его там... А что, куча народу скажет, что последний даже много круче их...
You have your sovereign rights to note that you "like her interpretation the most", but, please, in god's name, do not compare apples and oranges (to avoid any ambiguity - this expression is analogous to Russian "путать божий дар с яичницей" ))))
Gilels learned this rendition with Sofronitsky, listen to it, they sound similar, both the greatest pianists ever to grace this world.
@@unassailable6138 The Sofronitsky recording is fine but he loses me in the G# minor Variation. This variation is the touchstone of this piece for me. It reveals the essence of Schumann: a poet of passion and romance. The duet in sotto voce must remain marcato and Sofronitsky can't pull it off. Listen to the very fine recording of Radu Lupu playing this piece. He sings the melodies in a soft voice and sustains the melodic lines in relief throughout.
A rousing interpretation that is often messy but always exciting.
Beste version in Geschichte ❤
Эмиль Гилельс, 9 января 1983 года в Зале имени Чайковского в Москве.
14'04... bouleversant
at twenty one twenty,the beatles sample is heard on revolution number 9.
21:20
и почему наши современные пианисты не учатся на таких записях,это истинное искусство,а столько ремесла кругом,слушать нечего...
Современные пианисты носятся по Москве и стоят в пробках по пять часов. Им некогда подготовиться вообще к концерту.
17:30
Gilels=Sshumann ❤
Gilels is a divinity.
Quanti anni aveva? Non sembra troppo vecchio...
66?
Perhaps the best pianist ever?
Carlos Bas you’re wild
more or less, yes. there have been greater pianists, Michelangeli and Richter in certain pieces , but overall Gilels is beyond compare.
ARRAU !!!!!!!!!
Gilels,Richter,Horowitz
@@franciscoespinozagamboa6490
Cortot!!!
Somebody understood the Assignment @15:36 Schumann writes 'Presto Possibile'. Wrong notes and all, this is it!!!
Una de les peces pianístiques de Schumann preferides.Potser interpretació un pèl lenta amb una mica de falta de "legato romàntic",però agradable d'escoltar.En Gilels com es demostra era home de gran temperament.J.A.Vives. 22-6-2019.
Dramatische und zugleich lyrische live Aufführung dieser romantischen Etüden im veränderlichen Tempo mit kräftigem und zugleich zartem Anschlag sowie völlig effektiver Dynamik. Echt unvergleichlicher Virtuose!
Stimme vollkommen zu!
@@tomhagel9498 Danke für Ihre nette und positive Antwort!
Emil Gilels may be very good but I'm sorry I don't think I can get used to all that thumping ! Is it supposed to be played like that?
a few mistakes here and there, but altogether a very satisfactory rendition.
Magisterial approach, although the second variation sounds more than a little ponderous, and the triplet chords in the accompaniment are so heavy and domineering they obscure the melodic counterpoint. Gilels always missed notes here and here whenever I heard him in New York, and like Horowitz some of has passagework could come out so smeared and frantic sounding it was almost almost embarrassing. Even so his playing almost never failed to stimulate greater interest in whatever pieces he chose to perform. All the really great pianists were often imperfect in their live performances. With them the MEANNG and DRAMA of the MUSC took precedence over perfection, which often can strike an audience as rather dull, unless that's ALL they care about. The Presto Possible here threw all caution to winds. I can't imagine how any mortal could even DREAM of playing it that fast. This is not Gilels' best work. doubt if he practiced much for the occasion, but it's still inspring all the same.
+Hyramess Hiramess Bangy, sometimes ponderous, a bit too overstated in places, perhaps, but a vital, fully engaged, fully alive rendition that obviously pleased the audience greatly -- and in the final analysis isn't that what it's supposed to be all about? If you play all the notes perfectly at great speed with immaculate, perfectly even articulation but project no special feeling for the work that does more of a disservice to the composer than a bit of sloppy passagework here and here. As Claude Frank used to ell me, "Do all your suffering in the practice room. When you're onstage SHOW THEM the PIECE, and LET the CHIPS FALL WHERE THEY MAY.
Great accompanying comments for this video. I can appreciate the truth in your writting as someone who has been through the very demanding study of higher instution piano performance. The corollary of that analysis is that when someone who does not perceive the deeper intensities and nuances of musical expression but who is otherwise a great human machine and especially a virtuoso (yes one does not imply the other) learns the piano and dashes the public with their fingerwork and extreme virtusosic skills , they change the pieces so that they can be performed like an inform and bland piece of virtuoso playing, destroying the musical intention. Painting is the best analogy. If those people were painters they would draw a grid on the canvas where each cell can only receive one precisely fitted color. Overlapping between cells would be a 'wrong note', they would practice their brush stroke so that they would be very adept at making dots perfectly centered on the grid as fast as they can and some people would be amazed by that mechanic. They are copyists not original composers of music , as painters they repaint a 'tidy' and 'cleaned' copy of the original with their grid destroying much of the deeper meanings in the paint. Now, the true painter would paint artfully with expression using all their senses together and "let the chips fall where they may".
Too many missed notes to be among the best (Pollini, Richter, Lisitsa), but still very impassioned and worth a listen.
Mi dispiace, (grande tecnico) ma durezza di suono, eccessivo uso di pedale, fraseggio poco respirato...mi dispiace proprio, ma è quello che mi arriva. Consiglio vivamente di ascoltare quelli di Fausto Zadra che certo non ha avuto la sua fama, ma non l'ha neanche cercata.