❤ Join us on our WhatsApps fanpage (our latest album preview): bit.ly/3Mraw1r Ludwig Van Beethoven (1770-1827) - Piano Concertos Nos.1,2,3,4,5 & Variations. 🎧 Find this recording in our Spotify playlist : spoti.fi/2ZDZHAo *Click to activate the English subtitles for the presentation* (00:00-05:56) Piano Variations in C minor on an Original Theme WoO 80 (00:00) Piano Variations in A on a Russian Dance WoO 71 (10:47) from Paul Wranitzky’s Ballet ‘Das Waldmädchen’ Piano Variations in D on a Original Theme Op.76 (22:54) Turkish March from ‘Die Ruinen Von Athen -- Piano Concerto No.1 in C, Op.15 I.Allegro con brio (30:03) II.Largo (44:30) III.Rondo - Allegro Scherzando (57:00) -- Piano Concerto No.2 in B flat, Op.19 I.Allegro con brio (1:05:48) II.Adagio (1:20:05) III.Rondo - Molto Allegro (1:29:08) -- Piano Concerto No.3 in C minor, Op.37 I.Allegro con brio (1:35:34) II.Largo (1:52:13) III.Rondo - Allegro (2:02:39) -- Piano Concerto No.4 in G, Op.58 I.Allegro Moderato (2:11:30) II.Andante con moto (2:30:21) III.Rondo vivace (2:36:08) -- Piano Concerto No.5 in E-flat, Op.73 ‘Emperor’ I.Allegro (2:46:09) II.Adagio un poco mosso (3:06:24) III.Rondo - Allegro ma non troppo (3:15:20) ----- Piano : Emil Gilels The Cleveland Orchestra Conductor : George Szell Recorded in 1968-70, at Cleveland Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr ----- LE 4 mai 1968, George Szell offrit son portrait à Emil Gilels « en témoignage d'admiration, de gratitude et de sincère amitié après [leur] semaine inoubliable d'enregistrements d'œuvres de Beethoven à Cleveland ». En vérité, quatre jours avaient suffi à la mise en boîte des concertos et de trois compléments pour piano : Variations en ut mineur, Variations sur la marche des Ruines d'Athènes, et sur une danse russe de Paul Wranitzky. Les 29 et 30 avril, les 1er et 4 mai, le producteur Paul Myers - qui avait œuvré chez CBS pour le Quatuor Juilliard et Glenn Gould - s'était chargé de la direction artistique dans l'écrin de Severance Hall, à la tête d'une équipe formée des ingénieurs Frank Bruno, Edwin Michalski et Edward Thomas Graham. Myers supervisait depuis 1963 la réalisation de tous les pressages que l'Orchestre de Cleveland diffusait sous étiquette Columbia (majoritairement, d'ailleurs, sous celle de sa filiale Epic Records en stereorama). - L'affiche Szell-Gilels n'était alors ni sensationnelle ni politiquement signifiante. Plusieurs délégations de musiciens soviétiques avaient été envoyées à l'étranger, et nombre d'entre eux étaient désormais bien connus du public occidental. L'époque n'était plus même celle de Khrouchtchev. Au reste, Emil Gilels avait rencontré George Szell en 1966, huit jours après son cinquantième anniversaire, alors qu'il effectuait sa sixième tournée aux États-Unis. Son itinéraire passait par Boston (solo), New York (avec Eugene Ormandy et Lorin Maazel), Chicago (Jean Martinon), Philadelphie (Ormandy), mais Cleveland en marquait I 'étape initiale, et la première collaboration du pianiste et du maestro avait été placée d'emblée sous le signe de Beethoven, dont ils proposèrent les Concertos no 3 et no 4. - Au cours de sa carrière, Gilels se rendit à douze reprises aux États-Unis. Reportés à cause du conflit mondial, puis de la guerre froide - ils avaient été originellement programmés au pavillon de l'URSS pendant l'édition 1939 de la Foire internationale de New York -, ses débuts sur le sol américain eurent lieu le 3 octobre 1955 à Philadelphie (Premier Concerto de Tchaïkovski). Cinq ans avant la venue de Sviatoslav Richter, son aîné et condisciple dans la classe de Heinrich Neuhaus au Conservatoire de Moscou, Gilels, Artiste du Peuple, Prix Staline, Héros du travail socialiste, avait été le premier musicien officiel d'Union soviétique autorisé à voyager outreAtlantique depuis le retour en Europe de Sergueï Prokofiev. En jouant sous la férule de Konstantin Ivanov, qui dirigea à New York l'Orchestre symphonique d'État de Moscou, émanation directe du Kremlin, Gilels fut également le soliste du premier orchestre soviétique jamais invité à se faire entendre en Amérique. C'est à Carnegie Hall, près d'un quart de siècle plus tard, que le virtuose ferait son ultime apparition publique aux USA, le 16 avril 1983. Pour sa part, l'orchestre de Szell, soutenu par le Département d'État, avait été porté en triomphe au printemps 1965 à Moscou - vingt rappels au Bolchoï ! -, Leningrad, Tbilissi, Prague et Bratislava, la Pan Am opérant là son premier vol commercial pour l'URSS depuis le voyage du vice-président Nixon en 1959. - À y regarder de près, le projet Szell-Gilels n'allait pourtant pas de soi. Indépendamment d'éventuelles considérations technologiques, chacun des interprètes léguait déjà une intégrale des concertos de Beethoven : Szell, avec son cher Leon Fleisher (1959-1961) ; Gilels, avec André Vandernoot, André Cluytens, Leopold Ludwig (1954-1957). Se posait aussi un problème de droits. Libre par choix, Szell avait enregistré pour Philips, Deutsche Grammophon et Decca quand ses musiciens demeuraient sous contrat d'exclusivité Columbia. Ayant expiré en septembre 1967, les clauses liant Cleveland à la CBS n'avaient été renouvelées que pour deux ans - à la baisse. Exaspéré par la manière dont le traitait sa maison de disques (qui lui semblait favoriser les philharmonies de New York et Philadelphie), le manager de l'orchestre, Beverly Barksdale, exigea ainsi qu'un accord permît à EMI de réunir Gilels et Szell sur vinyle. (Cet enregistrement pour EMI fut suivi de deux autres célèbres, en mai 1969, avec Mstislav Rostropovitch et David Oïstrakh dans le Double Concerto de Brahms, puis David Oïstrakh seul dans le Concerto pour violon.) - Les sessions d'enregistrement du printemps 1968 furent minutieusement préparées (« Cleveland donne sept concerts hebdomadaires, mais le public n'est admis qu'à deux », ironisait la presse admirative). En vingt ans, l'ancien protégé de Richard Strauss à l'Opéra de la cour de Berlin avait su métamorphoser une honnête formation provinciale entièrement désorganisée par la Deuxième Guerre en l'une des phalanges les plus sûres du monde. Herbert von Karajan avait lui-même affirmé à Lucerne en août 1967 que Cleveland était « indiscutablement le meilleur de tous les orchestres américains ». À son apogée, celui-ci était porté par d'extraordinaires chefs de pupitre : Rafael Druian, Abraham Skernick, Lynn Harrell, David Perlman (cordes), Myron Bloom (cor), John Mack (hautbois), Robert Marcellus (clarinette), Maurice Sharp (flûte), Cloyd Duff (timbales)... - Quant à Gilels, son ahurissante demi-saison (Belgique, Pologne, Angleterre, Scandinavie, Ukraine, Sardaigne, Hollande, pays baltes, Sibérie l) lui avait donné l'occasion de jouer tous les concertos de Beethoven aux côtés d'Evgueni Svetlanov, Eugen Jochum, Kirill Kondrachine ou Witold Rowicki. L'harmonie avec Szell fut instantanée, et fin octobre John Coveney, l'émissaire d'Angel (la filiale américaine d'EMI), vint remettre à Szell les premiers exemplaires de son coffret de cinq disques, catalogué SE-3731. - Avant de retraverser l'Atlantique (sa saison ne s'achevait que le 2 juillet 1968), Gilels profita d'une escale pour saluer Henry Z. Steinway, le directeur de la facture de pianos, et offrir à Susan, sa fille cadette, une gigantesque poupée russe. Le 3 août, la nouvelle saison s'amorçait pour lui à Lipetsk. La rentrée de Szell fut marquée par l'enregistrement de grandes pages de Wagner, de la Symphonie no 96 de Haydn et d'Une petite musique de nuit. Dès l'hiver, il accepta le poste de conseiller intérimaire auprès du Philharmonique de New York le temps qu'un directeur musical soit nommé en remplacement de Leonard Bernstein. - Emil Gilels et George Szell ne devaient plus jouer qu'une seule et dernière fois ensemble : au Festival de Salzbourg, le 24 août 1969 (Troisième Concerto de Beethoven, Philharmonique de Vienne). Le pianiste ne parut ensuite qu'une ultime fois sur la scène de Cleveland. En hommage à Szell, disparu le 30 juillet 1970 (John Barbirolli et Ionel Perlea étaient morts tous deux la veille), Gilels tint à rejouer l'intégrale des concertos de Beethoven pour le public de Severance Hall. Sa volonté fut respectée les 18 et 25 janvier 1977 sous le bâton de Lorin Maazel. FRÉDÉRIC GAUSSIN ----- Beethoven - Piano Concertos No.1,2,3,4,5 'Live Recordings' + Presentation (Cent. rec. : Emil Gilels / Sanderling) : th-cam.com/video/rcn8QvWTyx8/w-d-xo.html - Tchaikovsky - Piano Concertos Nos.1,2,3 / NEW MASTERING (Century's record.: Emil Gilels / Maazel) : th-cam.com/video/hWATWZI8Hl0/w-d-xo.html - Beethoven - Piano Concerto No.6 + Presentation (reference recording : F.-R.Duchable / Y.Menuhin) : th-cam.com/video/U5kSpougK_g/w-d-xo.html - Ludwig Van Beethoven PLAYLIST (reference recordings) : th-cam.com/video/aI0FhkCnLoc/w-d-xo.html
Gilels in my opinion really is one of the finest pianists I have ever heard. His complete recordings of the Beethoven Piano Sonatas are sublime. It is difficult to choose between him and Richter. In their era though there were many other first-rate pianists, so ranking is not quite fair. I was born in 1964, so was a little too young to have seen most of those wonderful pianists from the mid 20th century. No modern pianist captivates me and indeed too many I think are ridiculous showmen (and women) - they may have technical brilliance, but they lack sensitivity or insight. I do admire Mitsuko Uchida - her complete Mozart Piano Sonatas remain a treasure
"Right now, there are people all over the world who are just like you. They're either lonely, they're missing somebody, they're depressed, they're hurt, they're scarred from the past, they're having personal issues no one knows about, they have secrets you wouldn't believe. They wish, they dream and they hope. And right now, they are sitting here reading these words, and I'm writing this for you so you don't feel alone anymore. Always remember, don't be depressed about the past, don't worry about the future, and just focus on today. If today's not so great don't worry! Tomorrow's a new chance. If you are reading this, be sure to share this around to make others feel better. Have a nice day!"💕🙏💗
Praise Worship Music,. what a beautiful statement .🤗🤗🤗🥰🥰🥰 The following are not my words(can't recall who said them): YESTERDAY IS HISTORY. TOMORROW IS A MYSTERY. THAT'S WHY IT'S CALLED THE PRESENT.✌✌✌✌
"Emil Gilels stands out as a giant among giants," wrote Gramophone when the Odessa-born pianist died in 1985. "In terms of virtuosity he was second to none, yet his leonine power was tempered by a delicacy and poetry that few have matched and none has surpassed." Beethoven was at the heart of Gilels's repertoire and in 1968 he recorded this complete cycle of the composer's piano concertos with the Cleveland Orchestra and its long-standing maestro, another musical titan of the era, George Szell. - Beethoven - Piano Concertos No.1,2,3,4,5 'Live Recordings' + Presentation (Cent. rec. : Emil Gilels / Sanderling) : th-cam.com/video/rcn8QvWTyx8/w-d-xo.html - Tchaikovsky - Piano Concertos Nos.1,2,3 / NEW MASTERING (Century's record.: Emil Gilels / Maazel) : th-cam.com/video/hWATWZI8Hl0/w-d-xo.html 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr
A real miracle of modern technology, to hear this perfect recording made more than 50 years ago in Cleveland. Of course the musicians who created this recording in the first place were real giants. George Szell was a miracle who took an orchestra from the US Midwest to legendary heights, creating a perfect giant instrument at the height of the Vienna or Berlin orchestras of the time. Emil Gilels, on the other hand, one of the top pianists of the USSR (a land renowned for its myriad outstanding pianists). This superb recording starts with the 32 variations, a work without opus, unjustly displaced by the Diabelli set, and variations of turkish march and on a Russian dance, works less popular perhaps. And then the five monsters, the piano concertos, works of revolutionary technique, of romantic sensitivity, works complex, difficult for the pianists of the day, works opening horizons of musical explorations, opening the doors to Schubert, Brahms, Schumann. From the concerto 1 with its Mozartian enchantment and its melancholic adagio, reminding of Mozart's 20th, creating a new language altogether. Beethoven respected in general the Mozart structure of the concerto, but each one of the five is a new, separate universe of music never heard before, beautiful, solemn, valiant, deep, enormous, elegiac, dreamy, a gift from the Gods.
There are amazing recordings dating back to the 50s. The record companies didn't want to introduce stereo and only did so for marketing reasons (everyone had to buy new gear, new recordings etc.) Its worth knowing that taking records out of Russia is stealing their culture and punishable by 5 years in prison if you get caught however, if you transfer the record to digital you can do what you want with it. The reddest of red tape no?! :o)
2863 likes and not a single dislike. Given the fact that you can ALWAYS find someone to dislike even the greatest and most beloved music, this is pretty remarkable.
Of late, whenever I want to listen to Beethoven's piano concertos, these are the recordings I listen to. The works that precede the concertos I wasn't familiar with, but, now,I am. I have a CD with Van Cliburn playing Beethoven's Piano Concertos #4 and #5,(Eugene Ormandy conducting),but, at least for me, his playing of all five IS SUPERB. I,also, have a CD of Szell conducting the Columbia Orchestra and Rudolph Serkin playing Mozart's Piano Concerto #20(played during the closing credits of AMADEUS). I first heard this on the vinyl LP back in the 80's with Szell conducting the Cleveland Orchestra (hard to find this one via TH-cam; same pianist ). A MAGNIFICENT TOUR DE FORCE BY ALL!!
Amid the many wonders of this truly phenomenal set, please do not overlook the absolutely magisterial clarinet of Robert Marcellus in the slow movement of 1! No words - fantastic.
Never heard so much perfection [yes, just like "bigly"] in tone etc. - I absolutely adore this performance. Thank you so much, Mr. Szell and Mr. Gilels. Can't imagine a much better performance. If there ever was a Piano God, this is my epiphany.
This is an amazing performance by Gilels, and I would compare his virtuosity and soul playing Beethoven only to Claudio Arrau, which I was lucky to listen twice in Chile in the 1960 s. I thought then that nobody would match Maestro Arrau on Beethoven, but Gilels did....Thanks for this great recording.
That’s wonderful that you like other pianists, besides Arrau. There were 2 other Russian piano giants: Horowitz and Sviatoslav Richter and now Grigory Sokolov, whose musical career was blessed by Gilels. So, beyond Arrau you can discover quite a few masters, each unique in his interpretation of great composers. Good journey!
I've loved Gilels' playing since '74, when I was 15. His Beethoven is, for me, on a level with that of Backhaus, Arrau, and Schnabel. Rubinstein's was wonderful, and so was Novaes', though they played not the entire repertoire. If you have not heard Eisenzopf play Beethoven, you are missing something spellbinding. Hoomeyow!!
Thanks indeed for posting this beautiful, fantastic performance of Beethoven. Emil Gilels is simply brilliant on the piano. We have listened to this over and over and over again. The more we listen, the more we love it. Thank God for Ludwig.
This music by Beethoven and Emil’s rendition of it is in my humble opinion, so utterly brilliant that I can not really find words to express it well. Thanks for posting and with no adverts, even better!
Once again the remastering of a notable recording by CMRR brings memorable performances to life. This collaboration of conductor, orchestra and soloist resulted in one of the finest and richest interpretations of Beethoven's great cycle of concertos made in the last century. Wonderful audio detail is displayed ... for which many thanks.
It is fabulous! Gilel seemed to specialize in elevating the more infrequently played Beethoven pieces. I watched a video of him playing Sonata #12 in A-flat and it became my new favorite sonata! Revelation is the correct term for what he does.
Les Variations quelles merveilles absolu pour l’oreille est un plaisir unique pour l’oreille et les sence musical c’est la Perfection! C’est presque pas Possible.Mon respect et admiration merci
Beethoven always makes me cry but with hope and joy, deep inner longing is stired up like a remembrance of a long forgotten home. The work especially the 5th can be likened to Moses having journeyed to the mountain brings back wonder for his mankind. Good Lord. Such wonders Thank you
Such a wonderful and brilliant rendition and very good interpretation as well as very beautiful tone colour! I love these piano works too and I love performances from the past too including old historical recordings! Thanks for the upload anyway!! Thanks for remastering it and it is amazing to be remastered to such a very refine recording which seems like modern recordings recorded in nowadays!!
What a wonderful concert this was. I much prefer Beethoven's piano and orchestral works to several of his symphonies. Thank you to all concerned for performing/recording and also curating this gem.
Likewise - my mother , a pianist , also introduced me to Gilels , and I preferred his sublime and poetic renditions of Beethoven to those of Kempf , Backhaus , and Schnabel ….
These recordings are gems, Nice lead-in with the solo piano work(s), The concertos are magnificent: I've known them for decades. Great music to cue up while working (or relaxing0. Thank you for posring.
1.51.10-1.52.03 A boy has decided to ask the woman he loves out. He is waiting for her to come out of the workplace. His anxiety builds up... and then THERE SHE IS, looking more beautiful than he even remembered.
The Beethoven concertos cycle systematic paradigm....Alfred Brendel with Bernard Haitink, James Levine, Simon Rattle... Claudio Arrau with Haitink, Sir Colin Davis... Ashekenazy with Siolti, Zubin Mehta, Haitink... Stephen Bishop Kovacevic with Sir Colin Davis... Daniel Barenboim with Otto Klemperer...Maurizio Pollini with Bohm, Abbado... Krystian Zimmerman with Bernstein, Rattle...
I was a relatively poor graduate student when the album came out but I rushed to buy it. I cannot describe the magical tones of piano and orchestra on those vinyl recordings. I replaced the set with the CDs when they came out and was immediately disappointed in the dimunition of the tonal qualities. I am now listening to this streaming version and, although the brilliance of the performances by both Gilels and the Cleveland are obvious, it in no way matches the quality of the original vinyl. We are lucky to have TH-cam introduce these magical performances to a new generation of listeners, but so much has been lost in the transfer.
Tienes razón, se perdió la calidez del sonido analógico y los armónicos casi naturales de los instrumentos; pienso como músico y pianista que en estas grabaciones digitales queda la transparencia de las articulaciones y el fraseo se resalta. Gracias por pulir estás joyas que corren el riesgo de perderse.
Think the 4th and 5th Beethoven Piano Concerts Gilels recorded with Ludwig are better renditions of these works than the ones he recorded with Szell. Although these ones are good ones, also. Gilels often bordered perfection, and he had that incredibly powerful piano sound that made relevant and unique, everything he did. His Beethoven Sonatas are a Masterwork. 🎶🎵❤️🆗👍🤗
Thanks for the upload. Szell might have been a tyrant to work for but he knew how to conduct Beethoven. Makes many of today’s wanna-be’s sound amateur and disengaged by comparison.
I don't think Szell is a 'tyrant'. He manage to guide a kind amaturish Cleveland Orchestra to become one of the leading orchestra in the world in parallel with the Berlin Philharmonic.
Wunderschöne und spannende Interpretation dieser fünf perfekt komponierten Konzerte mit gut artikuliertem doch anmutigem Klang des unvergleichlichen Soloklaviers sowie gut harmonisierten und perfekt synchronisierten Tönen anderer Instrumente. Der intelligente Maestro dirigiert das ausgezeichnete Orchester in inspirierenden und gut phrasierten Tempi sowie mit perfekt kontrollierter und möglichst effektiver Dynamik. Wunderbar und atemberaubend zugleich!
J'adore ! Le 2eme mouvement du 5eme concerto est pour moi, peut être, le plus beau morceau jamais entendu. Gould et Zimmermann l'interprétent à la perfection, mais je dois dire que cette version est peut être même au dessus !
Glenn Gould not The Best Beethoven piano concerto no 5! Krystian Zimerman not The greatest Beethoven piano concerto no 5 player! Krystian Zimerman so over-rated pianist! Krystian Zimerman his Brahms piano concerto no 1 with Bernstein The first movement coda is The most Mechanical stiff Boring dull dullard machine playing ever! The Best greatest Beethoven piano concerto no 5 players Are really=1: Vladimir Ashkenazy ( The most colorful volcanic piano sound Ever for Beethoven concerto no 5!!) 2: Wilhelm Kempff ( The most beautiful piano sound Ever for Beethoven concerto no 5!!) 3: Grigory Sokolov ( Sokolov The Best rhythmic vital beat! Unbeatable vitalness! Sokolov The most TITANIC EVER!) 4: Solomon Cutner ( The Best perfect structure of music! Solomon Cutner The highest IQ points Ever) 5: Mikhail Pletnev ( The most POWERFUL EVER! Pletnev The Best Crystal Bright sharp clear perfect Beethoven piano concerto no 5!) 6: Maurizio Pollini ( The Genius playing Beethoven piano concerto no 5!) 7: Van Cliburn! Why Van Cliburn? Because Van Cliburn better than The stiff Claudio Arrau! Van Cliburn better than The Mechanical Boring dull stiff machine player Ever Krystian Zimerman) 8: Emil Gilels ( The King of All pianists! Gilels The perfect piano sound for Beethoven concerto no 5! Beethoven sonatas Gilels even better than concertos!)
Elsa Nickol- Escucho la música de este fántastico y maravilloso compositor desde los cinco años mi padre me enseño todo lo que se de el ahora tengo 82 y es mi compañia para todas las horas del día ..-
He couldn’t. Impoverished and utterly deaf, he had a shabby and out of tune instrument, not suited to be played on. But the sounds of his compositions were in his head and all he needed was the keyboard.
In Beethoven's time, they played fortepiano, not todays concert grand made by Steinway and Sons. The sound would be very different. The question is: what would Beethoven think if he "could hear" today's concert piano.
@@stonefireice6058 I have been trying to understand Gilels' unique ouch, which is neither legato nor staccato, but it resists any of my efforts to capture it verbally. Your comment leads me to ask whether it is intended to echo and perpetuate the sound of the fortepiano.
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Ludwig Van Beethoven (1770-1827) - Piano Concertos Nos.1,2,3,4,5 & Variations.
🎧 Find this recording in our Spotify playlist : spoti.fi/2ZDZHAo
*Click to activate the English subtitles for the presentation* (00:00-05:56)
Piano Variations in C minor on an Original Theme WoO 80 (00:00)
Piano Variations in A on a Russian Dance WoO 71 (10:47)
from Paul Wranitzky’s Ballet ‘Das Waldmädchen’
Piano Variations in D on a Original Theme Op.76 (22:54)
Turkish March from ‘Die Ruinen Von Athen
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Piano Concerto No.1 in C, Op.15
I.Allegro con brio (30:03) II.Largo (44:30)
III.Rondo - Allegro Scherzando (57:00)
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Piano Concerto No.2 in B flat, Op.19
I.Allegro con brio (1:05:48) II.Adagio (1:20:05)
III.Rondo - Molto Allegro (1:29:08)
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Piano Concerto No.3 in C minor, Op.37
I.Allegro con brio (1:35:34) II.Largo (1:52:13)
III.Rondo - Allegro (2:02:39)
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Piano Concerto No.4 in G, Op.58
I.Allegro Moderato (2:11:30) II.Andante con moto (2:30:21)
III.Rondo vivace (2:36:08)
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Piano Concerto No.5 in E-flat, Op.73 ‘Emperor’
I.Allegro (2:46:09)
II.Adagio un poco mosso (3:06:24)
III.Rondo - Allegro ma non troppo (3:15:20)
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Piano : Emil Gilels
The Cleveland Orchestra
Conductor : George Szell
Recorded in 1968-70, at Cleveland
Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr
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LE 4 mai 1968, George Szell offrit son portrait à Emil Gilels « en témoignage d'admiration, de gratitude et de sincère amitié après [leur] semaine inoubliable d'enregistrements d'œuvres de Beethoven à Cleveland ». En vérité, quatre jours avaient suffi à la mise en boîte des concertos et de trois compléments pour piano : Variations en ut mineur, Variations sur la marche des Ruines d'Athènes, et sur une danse russe de Paul Wranitzky. Les 29 et 30 avril, les 1er et 4 mai, le producteur Paul Myers - qui avait œuvré chez CBS pour le Quatuor Juilliard et Glenn Gould - s'était chargé de la direction artistique dans l'écrin de Severance Hall, à la tête d'une équipe formée des ingénieurs Frank Bruno, Edwin Michalski et Edward Thomas Graham. Myers supervisait depuis 1963 la réalisation de tous les pressages que l'Orchestre de Cleveland diffusait sous étiquette Columbia (majoritairement, d'ailleurs, sous celle de sa filiale Epic Records en stereorama).
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L'affiche Szell-Gilels n'était alors ni sensationnelle ni politiquement signifiante. Plusieurs délégations de musiciens soviétiques avaient été envoyées à l'étranger, et nombre d'entre eux étaient désormais bien connus du public occidental. L'époque n'était plus même celle de Khrouchtchev. Au reste, Emil Gilels avait rencontré George Szell en 1966, huit jours après son cinquantième anniversaire, alors qu'il effectuait sa sixième tournée aux États-Unis. Son itinéraire passait par Boston (solo), New York (avec Eugene Ormandy et Lorin Maazel), Chicago (Jean Martinon), Philadelphie (Ormandy), mais Cleveland en marquait I 'étape initiale, et la première collaboration du pianiste et du maestro avait été placée d'emblée sous le signe de Beethoven, dont ils proposèrent les Concertos no 3 et no 4.
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Au cours de sa carrière, Gilels se rendit à douze reprises aux États-Unis. Reportés à cause du conflit mondial, puis de la guerre froide - ils avaient été originellement programmés au pavillon de l'URSS pendant l'édition 1939 de la Foire internationale de New York -, ses débuts sur le sol américain eurent lieu le 3 octobre 1955 à Philadelphie (Premier Concerto de Tchaïkovski). Cinq ans avant la venue de Sviatoslav Richter, son aîné et condisciple dans la classe de Heinrich Neuhaus au Conservatoire de Moscou, Gilels, Artiste du Peuple, Prix Staline, Héros du travail socialiste, avait été le premier musicien officiel d'Union soviétique autorisé à voyager outreAtlantique depuis le retour en Europe de Sergueï Prokofiev. En jouant sous la férule de Konstantin Ivanov, qui dirigea à New York l'Orchestre symphonique d'État de Moscou, émanation directe du Kremlin, Gilels fut également le soliste du premier orchestre soviétique jamais invité à se faire entendre en Amérique. C'est à Carnegie Hall, près d'un quart de siècle plus tard, que le virtuose ferait son ultime apparition publique aux USA, le 16 avril 1983. Pour sa part, l'orchestre de Szell, soutenu par le Département d'État, avait été porté en triomphe au printemps 1965 à Moscou - vingt rappels au Bolchoï ! -, Leningrad, Tbilissi, Prague et Bratislava, la Pan Am opérant là son premier vol commercial pour l'URSS depuis le voyage du vice-président Nixon en 1959.
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À y regarder de près, le projet Szell-Gilels n'allait pourtant pas de soi. Indépendamment d'éventuelles considérations technologiques, chacun des interprètes léguait déjà une intégrale des concertos de Beethoven : Szell, avec son cher Leon Fleisher (1959-1961) ; Gilels, avec André Vandernoot, André Cluytens, Leopold Ludwig (1954-1957). Se posait aussi un problème de droits. Libre par choix, Szell avait enregistré pour Philips, Deutsche Grammophon et Decca quand ses musiciens demeuraient sous contrat d'exclusivité Columbia. Ayant expiré en septembre 1967, les clauses liant Cleveland à la CBS n'avaient été renouvelées que pour deux ans - à la baisse. Exaspéré par la manière dont le traitait sa maison de disques (qui lui semblait favoriser les philharmonies de New York et Philadelphie), le manager de l'orchestre, Beverly Barksdale, exigea ainsi qu'un accord permît à EMI de réunir Gilels et Szell sur vinyle. (Cet enregistrement pour EMI fut suivi de deux autres célèbres, en mai 1969, avec Mstislav Rostropovitch et David Oïstrakh dans le Double Concerto de Brahms, puis David Oïstrakh seul dans le Concerto pour violon.)
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Les sessions d'enregistrement du printemps 1968 furent minutieusement préparées (« Cleveland donne sept concerts hebdomadaires, mais le public n'est admis qu'à deux », ironisait la presse admirative). En vingt ans, l'ancien protégé de Richard Strauss à l'Opéra de la cour de Berlin avait su métamorphoser une honnête formation provinciale entièrement désorganisée par la Deuxième Guerre en l'une des phalanges les plus sûres du monde. Herbert von Karajan avait lui-même affirmé à Lucerne en août 1967 que Cleveland était « indiscutablement le meilleur de tous les orchestres américains ». À son apogée, celui-ci était porté par d'extraordinaires chefs de pupitre : Rafael Druian, Abraham Skernick, Lynn Harrell, David Perlman (cordes), Myron Bloom (cor), John Mack (hautbois), Robert Marcellus (clarinette), Maurice Sharp (flûte), Cloyd Duff (timbales)...
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Quant à Gilels, son ahurissante demi-saison (Belgique, Pologne, Angleterre, Scandinavie, Ukraine, Sardaigne, Hollande, pays baltes, Sibérie l) lui avait donné l'occasion de jouer tous les concertos de Beethoven aux côtés d'Evgueni Svetlanov, Eugen Jochum, Kirill Kondrachine ou Witold Rowicki. L'harmonie avec Szell fut instantanée, et fin octobre John Coveney, l'émissaire d'Angel (la filiale américaine d'EMI), vint remettre à Szell les premiers exemplaires de son coffret de cinq disques, catalogué SE-3731.
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Avant de retraverser l'Atlantique (sa saison ne s'achevait que le 2 juillet 1968), Gilels profita d'une escale pour saluer Henry Z. Steinway, le directeur de la facture de pianos, et offrir à Susan, sa fille cadette, une gigantesque poupée russe. Le 3 août, la nouvelle saison s'amorçait pour lui à Lipetsk. La rentrée de Szell fut marquée par l'enregistrement de grandes pages de Wagner, de la Symphonie no 96 de Haydn et d'Une petite musique de nuit. Dès l'hiver, il accepta le poste de conseiller intérimaire auprès du Philharmonique de New York le temps qu'un directeur musical soit nommé en remplacement de Leonard Bernstein.
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Emil Gilels et George Szell ne devaient plus jouer qu'une seule et dernière fois ensemble : au Festival de Salzbourg, le 24 août 1969 (Troisième Concerto de Beethoven, Philharmonique de Vienne). Le pianiste ne parut ensuite qu'une ultime fois sur la scène de Cleveland. En hommage à Szell, disparu le 30 juillet 1970 (John Barbirolli et Ionel Perlea étaient morts tous deux la veille), Gilels tint à rejouer l'intégrale des concertos de Beethoven pour le public de Severance Hall. Sa volonté fut respectée les 18 et 25 janvier 1977 sous le bâton de Lorin Maazel.
FRÉDÉRIC GAUSSIN
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Beethoven - Piano Concertos No.1,2,3,4,5 'Live Recordings' + Presentation (Cent. rec. : Emil Gilels / Sanderling) : th-cam.com/video/rcn8QvWTyx8/w-d-xo.html
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Tchaikovsky - Piano Concertos Nos.1,2,3 / NEW MASTERING (Century's record.: Emil Gilels / Maazel) : th-cam.com/video/hWATWZI8Hl0/w-d-xo.html
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Beethoven - Piano Concerto No.6 + Presentation (reference recording : F.-R.Duchable / Y.Menuhin) : th-cam.com/video/U5kSpougK_g/w-d-xo.html
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Ludwig Van Beethoven PLAYLIST (reference recordings) : th-cam.com/video/aI0FhkCnLoc/w-d-xo.html
You are the best. Wonderful selection
Thank you for not putting ads in this, I truly appreciate it.
Mitico !
merci beaucoup pour les précieux commentaires..c est plus que PARFAIT l Exécution de ce pianiste super doué que je ne connaissais pas. m.h.
The best ever interpretation of Beethoven's concerts.
Gilels in my opinion really is one of the finest pianists I have ever heard. His complete recordings of the Beethoven Piano Sonatas are sublime. It is difficult to choose between him and Richter. In their era though there were many other first-rate pianists, so ranking is not quite fair. I was born in 1964, so was a little too young to have seen most of those wonderful pianists from the mid 20th century. No modern pianist captivates me and indeed too many I think are ridiculous showmen (and women) - they may have technical brilliance, but they lack sensitivity or insight. I do admire Mitsuko Uchida - her complete Mozart Piano Sonatas remain a treasure
Beethoven was, definitely, the greatest musician of all time.
"Right now, there are people all over the world who are just like you. They're either lonely, they're missing somebody, they're depressed, they're hurt, they're scarred from the past, they're having personal issues no one knows about, they have secrets you wouldn't believe. They wish, they dream and they hope. And right now, they are sitting here reading these words, and I'm writing this for you so you don't feel alone anymore. Always remember, don't be depressed about the past, don't worry about the future, and just focus on today. If today's not so great don't worry! Tomorrow's a new chance. If you are reading this, be sure to share this around to make others feel better. Have a nice day!"💕🙏💗
Praise Worship Music,. what a beautiful statement .🤗🤗🤗🥰🥰🥰
The following are not my words(can't recall who said them):
YESTERDAY IS HISTORY.
TOMORROW IS A MYSTERY.
THAT'S WHY IT'S CALLED THE PRESENT.✌✌✌✌
@@matthewpoplawski8740 Thank you very much .🙏 I hope you have a good day, God bless abundantly! 😊 Amen
One of the great pianists of the 20th century. He was often in the shadow of Richter but was his equal in every respect.
"Emil Gilels stands out as a giant among giants," wrote Gramophone when the Odessa-born pianist died in 1985. "In terms of virtuosity he was second to none, yet his leonine power was tempered by a delicacy and poetry that few have matched and none has surpassed." Beethoven was at the heart of Gilels's repertoire and in 1968 he recorded this complete cycle of the composer's piano concertos with the Cleveland Orchestra and its long-standing maestro, another musical titan of the era, George Szell.
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Beethoven - Piano Concertos No.1,2,3,4,5 'Live Recordings' + Presentation (Cent. rec. : Emil Gilels / Sanderling) : th-cam.com/video/rcn8QvWTyx8/w-d-xo.html
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Tchaikovsky - Piano Concertos Nos.1,2,3 / NEW MASTERING (Century's record.: Emil Gilels / Maazel) : th-cam.com/video/hWATWZI8Hl0/w-d-xo.html
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A real miracle of modern technology, to hear this perfect recording made more than 50 years ago in Cleveland. Of course the musicians who created this recording in the first place were real giants. George Szell was a miracle who took an orchestra from the US Midwest to legendary heights, creating a perfect giant instrument at the height of the Vienna or Berlin orchestras of the time. Emil Gilels, on the other hand, one of the top pianists of the USSR (a land renowned for its myriad outstanding pianists). This superb recording starts with the 32 variations, a work without opus, unjustly displaced by the Diabelli set, and variations of turkish march and on a Russian dance, works less popular perhaps. And then the five monsters, the piano concertos, works of revolutionary technique, of romantic sensitivity, works complex, difficult for the pianists of the day, works opening horizons of musical explorations, opening the doors to Schubert, Brahms, Schumann. From the concerto 1 with its Mozartian enchantment and its melancholic adagio, reminding of Mozart's 20th, creating a new language altogether. Beethoven respected in general the Mozart structure of the concerto, but each one of the five is a new, separate universe of music never heard before, beautiful, solemn, valiant, deep, enormous, elegiac, dreamy, a gift from the Gods.
There are amazing recordings dating back to the 50s. The record companies didn't want to introduce stereo and only did so for marketing reasons (everyone had to buy new gear, new recordings etc.) Its worth knowing that taking records out of Russia is stealing their culture and punishable by 5 years in prison if you get caught however, if you transfer the record to digital you can do what you want with it. The reddest of red tape no?! :o)
@@PrinceWesterburg Thanks for your interesting comment.
George Szell uno de los mejores directores que he escuchado, Cleveland se fizo conocida en el mundo
@@ricardollaque7310 George Szell fue en efecto uno dos más importantes directores del mundo y llevó la orquesta de Cleveland a alturas inéditas.
2863 likes and not a single dislike. Given the fact that you can ALWAYS find someone to dislike even the greatest and most beloved music, this is pretty remarkable.
I listen to Gilels performance of the 32 variations at least 150,000 times since 10 and still listening.
I grew up with this set. Now after years I can admire it even more. What a cooperation! This recordings are born under a lucky star!
These are some of the greatest piano concertos ever. They will never grow old. Thank you. ❤️
What a wonderful recording. In two days,I 've listened to it twice all the way through.
Of late, whenever I want to listen to Beethoven's piano concertos, these are the recordings I listen to.
The works that precede the concertos I wasn't familiar with, but, now,I am.
I have a CD with Van Cliburn playing Beethoven's Piano Concertos #4 and #5,(Eugene Ormandy conducting),but, at least for me, his playing of all five IS SUPERB.
I,also, have a CD of Szell conducting the Columbia Orchestra and Rudolph Serkin playing Mozart's Piano Concerto #20(played during the closing credits of AMADEUS).
I first heard this on the vinyl LP back in the 80's with Szell conducting the Cleveland Orchestra (hard to find this one via TH-cam; same pianist ).
A MAGNIFICENT TOUR DE FORCE BY ALL!!
Удивительная глубина эмоциональных переживаний, напряжение мыслей гения.
Amid the many wonders of this truly phenomenal set, please do not overlook the absolutely magisterial clarinet of Robert Marcellus in the slow movement of 1! No words - fantastic.
Gilels y los conciertos de Beethoven me han acompañado toda la vida.Todavía los tengo en vinilo
Never heard so much perfection [yes, just like "bigly"] in tone etc. - I absolutely adore this performance. Thank you so much, Mr. Szell and Mr. Gilels. Can't imagine a much better performance. If there ever was a Piano God, this is my epiphany.
I love the Beethoven piano concertos, and I always come back to this version.
sure , its magnificient. btw, wht do you think about Gilel`s concertos with Günter Wand ?
This pair of greats exposes Beethoven's genius like few others. Otherworldly!
To my ears, all five of these are total musical perfection. Thank you 🙏 .
Not surprising that in the last three hundred years no one could equal Beethoven in his works.
Mi è sempre piaciuto Gilels,grande pianista,così come Szell e CO. La loro accoppiata è di grande qualità.
Great Gilels!
This is an amazing performance by Gilels, and I would compare his virtuosity and soul playing Beethoven only to Claudio Arrau, which I was lucky to listen twice in Chile in the 1960 s. I thought then that nobody would match Maestro Arrau on Beethoven, but Gilels did....Thanks for this great recording.
That’s wonderful that you like other pianists, besides Arrau. There were 2 other Russian piano giants: Horowitz and Sviatoslav Richter and now Grigory Sokolov, whose musical career was blessed by Gilels. So, beyond Arrau you can discover quite a few masters, each unique in his interpretation of great composers. Good journey!
Brendel too
I've loved Gilels' playing since '74, when I was 15. His Beethoven is, for me, on a level with that of Backhaus, Arrau, and Schnabel. Rubinstein's was wonderful, and so was Novaes', though they played not the entire repertoire. If you have not heard Eisenzopf play Beethoven, you are missing something spellbinding. Hoomeyow!!
Who is eisenzopf?
@@leo32190 A Slovene. 1893 to 1981. Never played in the US.
Clara Haskil is in this exalted company also.
Thanks indeed for posting this beautiful, fantastic performance of Beethoven. Emil Gilels is simply brilliant on the piano. We have listened to this over and over and over again. The more we listen, the more we love it. Thank God for Ludwig.
Thank god for Ludwig! I love it!
This music by Beethoven and Emil’s rendition of it is in my humble opinion, so utterly brilliant that I can not really find words to express it well. Thanks for posting and with no adverts, even better!
This You Tube site is getting better and better. I love the read along information it provides on the composers and conductors. Thank you.
I'm not familiar with any classic tunes, and who played also, but I love this recording.This is stunning.
Once again the remastering of a notable recording by CMRR brings memorable performances to life. This collaboration of conductor, orchestra and soloist resulted in one of the finest and richest interpretations of Beethoven's great cycle of concertos made in the last century. Wonderful audio detail is displayed ... for which many thanks.
The best performance of WoO 80 that I've ever heard. This was a revelation.
It is fabulous! Gilel seemed to specialize in elevating the more infrequently played Beethoven pieces. I watched a video of him playing Sonata #12 in A-flat and it became my new favorite sonata! Revelation is the correct term for what he does.
i like brendel's better but yes, very very good.
Les Variations quelles merveilles absolu pour l’oreille est un plaisir unique pour l’oreille et les sence musical c’est la Perfection! C’est presque pas Possible.Mon respect et admiration merci
Beethoven always makes me cry but with hope and joy, deep inner longing is stired up like a remembrance of a long forgotten home. The work especially the 5th can be likened to Moses having journeyed to the mountain brings back wonder for his mankind. Good Lord. Such wonders Thank you
Such a wonderful and brilliant rendition and very good interpretation as well as very beautiful tone colour! I love these piano works too and I love performances from the past too including old historical recordings! Thanks for the upload anyway!! Thanks for remastering it and it is amazing to be remastered to such a very refine recording which seems like modern recordings recorded in nowadays!!
What a wonderful concert this was. I much prefer Beethoven's piano and orchestral works to several of his symphonies. Thank you to all concerned for performing/recording and also curating this gem.
Gracias por compartir esta bella y fascinante música del gran maestro Beethoven.
Muchas gracias por este regalo extraordinario!!!La mejor música de todos los tiempos...
Magnifiques interprétations, en particulier pour l'adagio de l'Empereur ! Vraiment un pur bonheur !
医師会オーケストラのコンミス、開業医です。
偉大な２人のマエストロの渾身の演奏は、世界の演奏家の憧れであり、先駆的な模範でもあります。また、歴史的な名演奏名録音です。
Thanks for this ! My mother ( herself a pianist ) introduced me to Beethoven and Gilels , have not heard his playing in so long. !
Likewise - my mother , a pianist , also introduced me to Gilels , and I preferred his sublime and poetic renditions of Beethoven to those of Kempf , Backhaus , and Schnabel ….
The best performance of Beethoven's piano works!!!! 👍🌟😍
This is amazing!! No words. Thank you!!
The orchestra -especially brass section- is quite wonderful!
なんと贅沢なプログラム‼️これだから、止められないです。素晴らしい👌👌🎶🎶❤️❤️有り難うございます。🎶❤️🙆
Amazing treasure trove of iconic classical masterpieces by an intellectual giant! Bravo Beethoven! Thanks for uploading. ❤️🎹🎼🎵🎶👏🇮🇪☘️
A great gift from you to us. Thank you with all my heart 🙏 .
boa tarde Classical Music. na escuta ouvindo e o cérebro agradece esse bálsamo
enormemente com Beethoven. obrigada e até a próxima.
Wow and thank you 😀🎹
Thank you so so much for posting this. Just gorgeous!
Dos excelentes músicos interpretando las obras del Genial Compositor !!!
GREAT!! Thank you for sharing. 👍😄
What a treasure this recoding is, thank you
Thank you for this gift!💝
Excelente, maravilloso. Muchas Gracias por compartir. Feliz año 2021.
Awesome, fantastic beyond words!
These recordings are gems, Nice lead-in with the solo piano work(s), The concertos are magnificent: I've known them for decades. Great music to cue up while working (or relaxing0. Thank you for posring.
Waouh! Thank you!
Very fine intense and beautiful performance!
His performance of the 32 variations truly inspires me to A's almost full marks at the exam !
Extraordinaria publicación! De colección . Gracias, Thanks!
Maravillosa !
Thank you so much for uploading this!
Excellent notes. Thank you.
1.51.10-1.52.03 A boy has decided to ask the woman he loves out. He is waiting for her to come out of the workplace. His anxiety builds up... and then THERE SHE IS, looking more beautiful than he even remembered.
The Beethoven concertos cycle systematic paradigm....Alfred Brendel with Bernard Haitink, James Levine, Simon Rattle... Claudio Arrau with Haitink, Sir Colin Davis... Ashekenazy with Siolti, Zubin Mehta, Haitink... Stephen Bishop Kovacevic with Sir Colin Davis... Daniel Barenboim with Otto Klemperer...Maurizio Pollini with Bohm, Abbado... Krystian Zimmerman with Bernstein, Rattle...
GREAT! Thanks!
das ist ein muss ein tolles fingerspiel sein!
Wonderful Recording 💞🎶🎶
I was a relatively poor graduate student when the album came out but I rushed to buy it. I cannot describe the magical tones of piano and orchestra on those vinyl recordings. I replaced the set with the CDs when they came out and was immediately disappointed in the dimunition of the tonal qualities. I am now listening to this streaming version and, although the brilliance of the performances by both Gilels and the Cleveland are obvious, it in no way matches the quality of the original vinyl. We are lucky to have TH-cam introduce these magical performances to a new generation of listeners, but so much has been lost in the transfer.
Tienes razón, se perdió la calidez del sonido analógico y los armónicos casi naturales de los instrumentos; pienso como músico y pianista que en estas grabaciones digitales queda la transparencia de las articulaciones y el fraseo se resalta. Gracias por pulir estás joyas que corren el riesgo de perderse.
I really love the performance of the 32 variation at the Moscow conservatoire. Gilels is the ONLY pianist who made this variation really stands out !
MAGNIFIC 🔥♫♖
Merci beaucoup!
💐💐💐
Эмиль Гилельс мой лююбимый!Спасибо!
Old recordings but performance
and sound quality is best!
wunderschön!
Wonderful improvement in remastering.
Genius Gilels❤
Marvelous sound quality in the SACD version that was released in Japan ... (five piano concertos ...)
Thanks!
Think the 4th and 5th Beethoven Piano Concerts Gilels recorded with Ludwig are better renditions of these works than the ones he recorded with Szell. Although these ones are good ones, also. Gilels often bordered perfection, and he had that incredibly powerful piano sound that made relevant and unique, everything he did. His Beethoven Sonatas are a Masterwork. 🎶🎵❤️🆗👍🤗
Beethovens Op.37. Piano-concert nr.3 macht mit dem zweitenSats Largo meinen Favoriten.
Beautifull
Благодарю!!!!!!! 💞💐
Thanks for the upload. Szell might have been a tyrant to work for but he knew how to conduct Beethoven. Makes many of today’s wanna-be’s sound amateur and disengaged by comparison.
I don't think Szell is a 'tyrant'. He manage to guide a kind amaturish Cleveland Orchestra to become one of the leading orchestra in the world in parallel with the Berlin Philharmonic.
@@psono429 Sorry but you cannot put Szell and Eschanbach into the same pot
Szell had a reputation for tyrannical leadership. He got the job done, and done well.
Великий Эмиль Гилельс!!! Это грандиозно,все пять концертов!
Great complete of Beethoven!!Great Performance!
Grew up with these
Bravo Gilels, Bravo Beethoven
Bravo Szell.
This is fairy tale stuff. Thanks.
13:20, an early version of the theme from the Choral Fantasy, which itself is an early version of "Ode to Joy..."
!!!!! БЛАГОДАРЮ.!!!!!
Wunderschöne und spannende Interpretation dieser fünf perfekt komponierten Konzerte mit gut artikuliertem doch anmutigem Klang des unvergleichlichen Soloklaviers sowie gut harmonisierten und perfekt synchronisierten Tönen anderer Instrumente. Der intelligente Maestro dirigiert das ausgezeichnete Orchester in inspirierenden und gut phrasierten Tempi sowie mit perfekt kontrollierter und möglichst effektiver Dynamik. Wunderbar und atemberaubend zugleich!
Absolument magnifique !
note for self
4 2:11:32 2:26:40 / 2:30:20 / 2:36:08 2:43:50
J'adore ! Le 2eme mouvement du 5eme concerto est pour moi, peut être, le plus beau morceau jamais entendu. Gould et Zimmermann l'interprétent à la perfection, mais je dois dire que cette version est peut être même au dessus !
Je vous conseille Michelangeli et Celibidache, ou Fischer et Furtwangler.
@@Sofronichrist Et Backhaus...
@@jacekm22 Oui, mais avec Krauss ou Schmidt-Issersdt.
Je les connais toutes merci ! C'est vrai que celles ci sont aussi géniales !
Glenn Gould not The Best Beethoven piano concerto no 5! Krystian Zimerman not The greatest Beethoven piano concerto no 5 player! Krystian Zimerman so over-rated pianist! Krystian Zimerman his Brahms piano concerto no 1 with Bernstein The first movement coda is The most Mechanical stiff Boring dull dullard machine playing ever! The Best greatest Beethoven piano concerto no 5 players Are really=1: Vladimir Ashkenazy ( The most colorful volcanic piano sound Ever for Beethoven concerto no 5!!) 2: Wilhelm Kempff ( The most beautiful piano sound Ever for Beethoven concerto no 5!!) 3: Grigory Sokolov ( Sokolov The Best rhythmic vital beat! Unbeatable vitalness! Sokolov The most TITANIC EVER!) 4: Solomon Cutner ( The Best perfect structure of music! Solomon Cutner The highest IQ points Ever) 5: Mikhail Pletnev ( The most POWERFUL EVER! Pletnev The Best Crystal Bright sharp clear perfect Beethoven piano concerto no 5!) 6: Maurizio Pollini ( The Genius playing Beethoven piano concerto no 5!) 7: Van Cliburn! Why Van Cliburn? Because Van Cliburn better than The stiff Claudio Arrau! Van Cliburn better than The Mechanical Boring dull stiff machine player Ever Krystian Zimerman) 8: Emil Gilels ( The King of All pianists! Gilels The perfect piano sound for Beethoven concerto no 5! Beethoven sonatas Gilels even better than concertos!)
Elsa Nickol- Escucho la música de este fántastico y maravilloso compositor desde los cinco años mi padre me enseño todo lo que se de el ahora tengo 82 y es mi compañia para todas las horas del día ..-
👏👏👏👏👏
que bonito es un excelente pianista esta tocamdo con sentimiento ami me gusta loque yo no se que pianista.toca
Guter dirigent orchester solist
One feels that this is how Beethoven himself played his pieces.
He couldn’t. Impoverished and utterly deaf, he had a shabby and out of tune instrument, not suited to be played on. But the sounds of his compositions were in his head and all he needed was the keyboard.
@@stonefireice6058 I know. I suppose I meant, the way he heard them in his mind.
In Beethoven's time, they played fortepiano, not todays concert grand made by Steinway and Sons. The sound would be very different. The question is: what would Beethoven think if he "could hear" today's concert piano.
@@stonefireice6058 I have been trying to understand Gilels' unique ouch, which is neither legato nor staccato, but it resists any of my efforts to capture it verbally. Your comment leads me to ask whether it is intended to echo and perpetuate the sound of the fortepiano.
😭😭😭😭❤