Alfred Cortot: Mendelssohn Variations sérieuses, Op.54
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- เผยแพร่เมื่อ 6 ก.ย. 2024
- Felix Mendelssohn:
Variations sérieuses in D minor, Op.54 -
Alfred Cortot, piano
(1952)
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When Cortot was in Japan in 1952, he made a number of recordings which seem to be virtually unknown elsewhere. Most notable among these are his only recordings of two Chopin Scherzi.
They also include many fascinating performances of other works, often in significantly different interpretations than earlier in his career.
Although Cortot made his second recording of Mendelssohn's Variations sérieuses just two years earlier in 1950, this last recording has enormous vitality, with each variation strongly characterized and naturally leading to the next.
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Finally someone who correctly uses the pedal !
What matters with Cortot is his overall conception of every piece he plays and the grand manner in which he puts it across, including its poetic aspects. Before the days of recordings the minutest details of the score did not matter as much as they did after recordings came into existence.
Wrong notes in a Cortot are like scars ina painting by an old Master. They don't matter.
Of course not, or rather they make his recording even better. True masters can make their play greater with their mistakes. I feel a freedom in Cortot's play and that is that which matters.
Alicia de Larrocha plays Mendelssohn - Variations sérieuses, Op.54 [rec.1970] ....if you wish to check out another great pianist's performance of this great piece.
Hello,
Thank you very much !
This film is very moving !
Best wishes !
Jean-Charles Bourquin
Along with his 1949 recording, the best performances of the Variations I've ever heard.
I haven't yet heard his 1950 recording, but I'd probably feel the same about it.
Merci ! Un enregistrement précieux, à tous points de vue.
I have a CD of Perahia playing Mendelssohns Rondo Capriccioso, the variations, prelude and fugue in e minor...I bought it in the 6th grade and to this day still one of my FAVORITE cds...and I am almost 34 =) He is truly amazing for these variations
So everyone says. I just listened, and simply don't get it at all.
With my admiration and respect, I can't say I enjoyed this recording as much as I had hope to....
I agree
Me too.
OK, thanks for the info. Then that's the one I've heard , and I love it.
That's interesting - haven't heard the 2nd variation played so dry before. I like it. I usually think of it as a whirlwind (and therefore use more pedal) - I'm going to try this out!
Sorry, I didn't mean to be rude to you. I just meant that clean playing is the fetish of today, especially among younger people. Wrong notes didn't matter as much in the past because people wanted excitement and freshness in music which can only be achieved through risky playing. Playing safely in order to play cleanly deprives the music from its drive and spontaneity.
Unless you're Joseph Hofmann and playing cleanly is so easy for you that it won't take away from the capacity of your brain ;)
No saben quien fue Cortot? Mejico ,genio ,grabacion casi de 100 anos.
Asi lo recuerdo Mejico ❤️🎶🎶🎶🇮🇷
20---------24. Mi maestro de piano lo admiraba ❤️🩹 Mejico.
Some of this is wonderfully creative playing, other parts are more reminiscent of intoxicated pub performances..
Yes; but playing wrong notes does not inherently reflect the composers intent or add to beauty of the piece either. Cortot was one, wrong notes aside, who found the art in the "spaces between the notes" as Schnabel was said to have put it...and right or wrong notes, this does not disqualify younger pianists of today from the 'race' for artistic achievement.
I think Cortot IS a master, but my preferred version of this (to proselytize a bit) is De Larrocha's from 1970...articulate and sublime...
Now, I'll study it, all I can.
Es ist ein wahrer Genuss, diesem aufrichtigen, höchst individuellen Künstler zuzuhören. Das Klavierspiel in den Konzertsälen von heute ist doch zu 99 Prozent nur noch affektiertes Geklimpere oder endlos langweilige "Korrektheit".
TRUE!!
Well, I am not into such absolutes with any artist...certainly not with pianists. There are so many 'greatest' ones...all expanding our bank of musical experience and artistic possibility.
But all the greats have unique skills and approaches...so if your passion is for Cortot and his sonic and interpretive world, I will not gainsay your right to feel so about him.
But also no need to feel he was"by far" anything to enjoy his play and performances...or others as well.
Completely agree.
You mean "dispute", not "gainsay". Why is **EVERYBODY** so addicted nowadays to using ten-dollar words for 10 cents' worth of meaning...?
7:52 seems like Horowitz's interpretation
Listen to Horowitz's version! I like Cortot's and Freire's versions too. But for me Horowitz's remains unsurpassed!
You are right. But Richters Interpretation is awaresome too. But Horrowitz plays more clearly and doesn‘t need much Pedal. Only Horrowitz is able to make this sound. And his stretta is unteached forever
It's more likely that you are too young!
holly Christ, what is this?? i believe he was old..
Most people get that way, if they live long enough...(ROFL)
Die vielen Fehler sprechen für Cortot, die Klangqualität der Aufnahme entspricht aber nicht den 50er Jahren. Meines Erachtens kann das nicht stimmen.
Vermutlich eine jener digitalen Remasterungen der 90er Jahre.
Die Technik und damit auch die Qualität des Klavierspiels haben sich nun mal verändert. Rein äußerlich ist der Vergleich mit zum Beispiel Sportarten unvermeidlich. So lässt, grob ausgedrückt, sich bei aller historischen Wertschätzung dieses Pianisten absehen, wie er die konträren Aussagen Mendelssohns "Variation sérieuses" doch nur in Blöcken nebeneinander hinstellen kann und nie und nimmer das großartige Ineinander vorzugsweise eines Sviatoslav Richter schafft.
Не оч
AHAHAH what a piece of crap 8:56 !!!!
al lado de la de Richter esta version es lamentable
Richter is infinitely better
The moment when Mendelssohn became Franz Liszt