Le Tombeau de Couperin est une “lamentation” pour les six amis morts au front pendant la Grande Guerre. Ravel dédie chacun des mouvements à l’un ou deux de ses compagnons : I. Prélude " en mémoire du lieutenant Jacques Charlot "; II. Fugue " en mémoire de Jean Cruppi "; III. Forlane " en mémoire du lieutenant Gabriel Deluc " ; IV. Rigaudon " en mémoire de Pierre et Pascal Gaudin " ; V. Menuet " en mémoire de Jean Dreyfus ". Plus qu’un Requiem c'est une remembrance poétique, chacune des compositions invoquant par une danse l’ami perdu. Pour y parvenir, il s’inspire de l’esprit des suites de danses écrites pour le clavecin par des compositeurs comme Couperin ou Rameau. Á la façon d’un enchantement, il s’agit d’une libre interprétation revisitée réaffirmant par ce retour au passé un éveille du pays commun. Au dire d’Adorno, mélancolie claire et cristalline du temps fugace qu’on ne peut pas écrouer, car peu importe ce qui de lui s’échappe ("Ravel", Écrits musicaux IV).
I remember this recording vividly from its LP incarnation on Connoisseur Society. This CD mastering handily eclipses that version. Weissenberg is something of a challenge for listeners. His technique is often on such a high level that he is written off as heartless or machine-like. But when at his best, as I believe he is here, one always hears many little subtleties and thought-provoking inflections under the surface layer of highly proficient technique. I love Le Tombeau de Couperin, but even after hearing countless performances I can't think of one that has taught me more than this one about how this music is put together.
I always enjoy performances by Weissenberg. He was criticized at times for being too much a technician - i.e. lacking passion in his playing. But I don't see that at all. I always find his performances not only technically amazing and efficient, but also warm. He was truly one of the great pianists of the last 50 years.
+Peter Lunow I think that is probably right. I also critics sometimes like to pigeonhole performers (technician, lyrical, ...). In every recording I've ever heard of Weissenberg, his playing is technically flawless, but also very musical.
I was lucky to have listened to Weissenberg's live concerts when he visited his native Bulgaria. I gradually grew up to a deeper understanding of the emotional depth of his music behind his ostensibly restricted facial and body expression. Indeed, he was critiqued for being too mechanical. Not for me. Probably, restricted or measured, yes. Dry - never. I find this weighed emotion preferable for Bach and Scarlatti. But, I also enjoyed Weissenberg's romantic interpretation of Schumann.
Some of Weissenberg's albums were truly dry as a desert, and, as such, he was like so many pianists of his day, they who were indoctrinated into the fanatick mid 20th century artistick cult of sterile objectivism. In any case, Dear Monsieur, Dirac, this performance has a nice luminescence and is not dry.
Sapristi! On dirait qu'il y a travaillé comme d'autres travaillent les études de Chopin. Cette interprétation et cette approche du piano sont l'expression du génie. Respecter le phrasé de la fugue tout en le noyant dans la pédale, pourtant bien sonnante. Rendre la pudeur du style avec cette liberté dans les changements te tempo. Ces couleurs, ce fini dans les moindres détails. Et moi qui croyait tout savoir ou presque sur cette musique!
I first heard this in the 1960's on a 10-inch LP I checked out of the college library. I was enraptured, especially by the Prelude. The only recording available was a complete box set of Ravel piano music, which I bought!
Toccata am Ende sensationell:wie er die Oberhand behält, die Kontrolle nicht verliert...die Spitze rausarbeitet. ..viel edles Metall im Klang (H. Neuhaus) Er spielt vieles nicht "übermusikalisch" wodurch dann andere Stellen sehr innig heruaskommen. Das ist nur natürlich, da man auch beim Sprechen nicht alles mit höchstem Ausdruck hervorbringt, sondern auch mal beiläufig. Der Kontrast machts.
Diese Aufnahme ist einfach ganz und gar fantastisch. Karlo Feder hat 100% Recht! Hab die LP, aber von CD ist natürlich noch besser - schöner, wie es Weissenberg verdient.
Dude... Ravel must have really dug Couperin... That is a fucking earthy toccata with balls i am hearing right now and a great tempo to boot. Weissenberg,
I remember this recording vividly from its LP incarnation on Connoisseur Society. This CD mastering handily eclipses that version. Weissenberg is something of a challenge for listeners. His technique is often on such a high level that he is written off as heartless or machine-like. But when at his best, as I believe he is here, one always hears many little subtleties and thought-provoking inflections under the surface layer of highly proficient technique. I love Le Tombeau de Couperin, but even after hearing countless performances I can't think of one that has taught me more than this one about how this music is put together.
![[LP] Mozart - Piano Concerto No. 21 - Weissenberg (side B)](http://i.ytimg.com/vi/L_650Lfjfds/mqdefault.jpg)
５０年位前にレコードを買いました。
展覧会の絵とのカップリングでした。
毎日、何回も聴いているうちにレコードにキズを付けてしまい、またレコードプレイヤーも壊れて聴けなくなり、そのまま何十年も経ち、数ヶ月前にワイセンベルクさんが難病パーキンソン病と闘って亡くなっていた事を知りました。
私はショックで、どんなにか辛かったかと思うと胸が張り裂けそうでした。
それから、ワイセンベルクのＣＤを買い集め、このＣＤも久しぶりに聴き、なんて美しい音色だろうかと感動しています。
誰が何と言おうとワイセンベルクさんは20世紀最高の偉大なピアニストの１人です。
ワイセンベルクさんの芸術はいつまでも私の心の中にいます。
I learned this piece from him years ago. No other recording even comes close. RIP.
Merveilleux Alexis, disparu voilà bientôt 2 ans. Merci des beaux moments passés en ta compagnie à Biarritz et de tes encouragements.
Le Tombeau de Couperin est une “lamentation” pour les six amis morts au front pendant la Grande Guerre. Ravel dédie chacun des mouvements à l’un ou deux de ses compagnons : I. Prélude " en mémoire du lieutenant Jacques Charlot "; II. Fugue " en mémoire de Jean Cruppi "; III. Forlane " en mémoire du lieutenant Gabriel Deluc " ; IV. Rigaudon " en mémoire de Pierre et Pascal Gaudin " ; V. Menuet " en mémoire de Jean Dreyfus ". Plus qu’un Requiem c'est une remembrance poétique, chacune des compositions invoquant par une danse l’ami perdu. Pour y parvenir, il s’inspire de l’esprit des suites de danses écrites pour le clavecin par des compositeurs comme Couperin ou Rameau. Á la façon d’un enchantement, il s’agit d’une libre interprétation revisitée réaffirmant par ce retour au passé un éveille du pays commun. Au dire d’Adorno, mélancolie claire et cristalline du temps fugace qu’on ne peut pas écrouer, car peu importe ce qui de lui s’échappe ("Ravel", Écrits musicaux IV).
I remember this recording vividly from its LP incarnation on Connoisseur Society. This CD mastering handily eclipses that version. Weissenberg is something of a challenge for listeners. His technique is often on such a high level that he is written off as heartless or machine-like. But when at his best, as I believe he is here, one always hears many little subtleties and thought-provoking inflections under the surface layer of highly proficient technique. I love Le Tombeau de Couperin, but even after hearing countless performances I can't think of one that has taught me more than this one about how this music is put together.
one of the best intepretations of this work i have ever listened to
もともとムソルグスキーの展覧会の絵とのカップリングでリリースされた録音。私にとっては一期一会の名演。ワイセンベルクを仏教に例えると菩薩。菩薩はネックレスを身に付けたり如来より世俗的であり厳しさの中に優しさをたたえている。この演奏の中には数え切れないほどの優しさとオマージュが含まれている。ワイセンベルクの演奏をマニエリスムと批判する向きもあるが、それが当たっていないことをこの演奏は教えてくれる。
あなた様のコメントに感動いたしました。
I always enjoy performances by Weissenberg. He was criticized at times for being too much a technician - i.e. lacking passion in his playing. But I don't see that at all. I always find his performances not only technically amazing and efficient, but also warm. He was truly one of the great pianists of the last 50 years.
+Paul Dirac I totally agree, maybe they find him 'cold' because he never got sentimental? just a thought:-)
+Peter Lunow I think that is probably right. I also critics sometimes like to pigeonhole performers (technician, lyrical, ...). In every recording I've ever heard of Weissenberg, his playing is technically flawless, but also very musical.
I was lucky to have listened to Weissenberg's live concerts when he visited his native Bulgaria. I gradually grew up to a deeper understanding of the emotional depth of his music behind his ostensibly restricted facial and body expression. Indeed, he was critiqued for being too mechanical. Not for me. Probably, restricted or measured, yes. Dry - never. I find this weighed emotion preferable for Bach and Scarlatti. But, I also enjoyed Weissenberg's romantic interpretation of Schumann.
Some of Weissenberg's albums were truly dry as a desert, and, as such, he was like so many pianists of his day, they who were indoctrinated into the fanatick mid 20th century artistick cult of sterile objectivism.
In any case, Dear Monsieur, Dirac, this performance has a nice luminescence and is not dry.
Definitely on the speedier side but very beautiful crystalline sound. Amazing interpretation.
Sapristi! On dirait qu'il y a travaillé comme d'autres travaillent les études de Chopin. Cette interprétation et cette approche du piano sont l'expression du génie. Respecter le phrasé de la fugue tout en le noyant dans la pédale, pourtant bien sonnante. Rendre la pudeur du style avec cette liberté dans les changements te tempo. Ces couleurs, ce fini dans les moindres détails. Et moi qui croyait tout savoir ou presque sur cette musique!
This is absolutely amazing. Thank you so so so so much for the upload.
I first heard this in the 1960's on a 10-inch LP I checked out of the college library. I was enraptured, especially by the Prelude. The only recording available was a complete box set of Ravel piano music, which I bought!
展覧会の絵の裏面がクープランの墓でした
安穏な家庭の休日の昼下がりをそのまま籠めたような曲であり演奏だと想いました
演奏者は作曲者とタイプは全然違うのに、居場所が一緒のように思えました
そうそうわたしもLPで聴いてました。クープランの墓、断然一押しはワイセンベルク。とくにフーガの美しさは格別ですね。
音大生の頃、クープランの墓 の トッカータをワイセンベルク気取りで、弾いて偉い目にあいました。余りの才能の差に愕然としました。身の程知らずもいいとこ、です。
シギワイゼンバーグ adjunto
@KarloFeder i'm sorry i don't understand german, but thanks for the comment anyway!
ACQUA PURA
Like a power bulldozer~~:)
You got it right! Bulldozer on Meth.
of course, Yoshito...
Toccata am Ende sensationell:wie er die Oberhand behält, die Kontrolle nicht verliert...die Spitze rausarbeitet. ..viel edles Metall im Klang (H. Neuhaus) Er spielt vieles nicht "übermusikalisch" wodurch dann andere Stellen sehr innig heruaskommen. Das ist nur natürlich, da man auch beim Sprechen nicht alles mit höchstem Ausdruck hervorbringt, sondern auch mal beiläufig. Der Kontrast machts.
do have a listen to oliver kern's version on real sound (along with berg, scriabin and stravinsky works)
I must agree. He just grapples it
Diese Aufnahme ist einfach ganz und gar fantastisch. Karlo Feder hat 100% Recht! Hab die LP, aber von CD ist natürlich noch besser - schöner, wie es Weissenberg verdient.
Remarkable
Oye, no seria mejor en respuesta a KarloFederer? jejeje
Dude... Ravel must have really dug Couperin... That is a fucking earthy toccata with balls i am hearing right now and a great tempo to boot. Weissenberg,
In another way, of course, but a bit right up there with the performance of Monique Haas.
maybe a bit too fast in some pieces (forlane, menuet)
Awful
You are
I remember this recording vividly from its LP incarnation on Connoisseur Society. This CD mastering handily eclipses that version. Weissenberg is something of a challenge for listeners. His technique is often on such a high level that he is written off as heartless or machine-like. But when at his best, as I believe he is here, one always hears many little subtleties and thought-provoking inflections under the surface layer of highly proficient technique. I love Le Tombeau de Couperin, but even after hearing countless performances I can't think of one that has taught me more than this one about how this music is put together.