Album available // Marcelle Meyer plays Rameau: Suites, Livre & Pièces 🎧 Qobuz cutt.ly/2eYPl90u Tidal cutt.ly/CeYPl6of 🎧 Apple Music cutt.ly/SeYPzif6 Deezer cutt.ly/HeYPzjmJ 🎧 Amazon Music cutt.ly/NeYPznVR Spotify cutt.ly/UeYPzULs 🎧 TH-cam Music cutt.ly/weYPzGvu SoundCloud cutt.ly/meYPzMuk 🎧 Naspter, Pandora, Anghami, QQ音乐, LineMusic日本, Awa日本... Jean-Philippe Rameau (1683-1764) re-invented on Piano by Marcelle Meyer / New Mastering. Click to activate the English subtitles for the presentation by Alexandre Tharaud (00:00-02:10) Les Sauvages - Suite en sol majeur (1:56:33) Menuet en rondeau - 1724 (00:00) Suite en mi mineur / in E minor Allemande (00:44) Courante (03:14) Gigue en rondeau (04:59) 2e et 3e gigues en rondeau (06:33) Le rappel des oiseaux (08:52) Rigaudons I & I l (11:51) Musette en rondeau (12:58) Tambourin (14:52) La villageoise - rondeau (16:12) - Suite en ré Majeur / in D Les Tendres plaintes (17:54) Les Niais de Sologne, avec 1er et 2e doubles (20:31) Les Soupirs (25:54) La Joyeuse (31:25) La Follette - rondeau (32:15) L'Entretien des muses (33:45) Les Tourbillons - rondeau (38:16) Les Cyclopes - rondeau (40:24) Le Lardon - menuet (43:06) La Boiteuse (43:35) - Suite en la mineur / in A minor Allemande (44:08) Courante (48:02) Sarabande (52:40) Les trois mains (54:08) Fanfarinette (58:18) La Triomphante (1:00:59) Gavotte et doubles Suite en sol Majeur (1:02:06) - Suite en sol majeur / in G Les Tricotets (1:08:53) L'Indifférente (1:10:25) Menuets I & Il (1:12:13) La Poule (1:14:35) Les Triolets (1:17:41) Les Sauvages (1:20:20) L'Enharmonique (1:21:56) L'Egyptienne (1:25:50) La Dauphine (1:27:54) - Premier Livre de Pièces de clavecin Prélude (1:30:43) Allemande (1:33:49) 2e Allemande (1:35:32) Courante (1:37:14) Gigue (1:38:58) Sarabandes I & II (1:40:33) Vénitienne (1:42:29) Gavotte Menuet (1:43:52) Menuet (1:45:17) - Pièces en concert La Livri - rondeau (1:46:31) L'Agaçante (1:49:14) La Timide - rondeaux I & Il (1:50:59) L'Indiscrète - rondeau (1:55:16) - Pièces de clavecin / 1946 Les Sauvages - Suite en sol majeur (1:56:33) Les Cyclopes - Suite en ré majeur (1:58:08) Les Tendres plaintes - Suite en ré majeur (2:00:53) La Villageoise - Suite en mi mineur (2:03:30) Les Soupirs - Suite en ré majeur (2:05:01) Gavotte et doubles - Suite en la mineur (2:08:55) Fanfarinette - Suite en la mineur (2:15:30) Le rappel des oiseaux - Suite en mi mineur (2:17:01) L'Entretien des muses - Suite en ré majeur (2:19:42) La Livri - Pièces en concert (2:24:06) L'Egyptienne - Suite en sol majeur (2:26:31) - Piano : Marcelle Meyer Recorded in 1953 & 1946 New Mastering in 2020 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr --- La Triomphante par Alexandre Tharaud : « Comment dire le choc éprouvé par la découverte des enregistrements de Marcelle Meyer quand on a dix-sept ans... Très loin du Conservatoire où son nom même n'était pas évoqué, je l'écoutais des nuits entières. Aujourd'hui l'envoûtement reste intact. - Marcelle Meyer, c'était avant tout un jeu qui ne ressemblait à aucun autre, un piano solide, charpenté, mis au service d'un chant d'une constante fluidité. Derrière la courbe, derrière le geste ample, quasi improvisé - n'a-t-on pas l'impression qu'elle vient d'ouvrir la partition ? - se dévoile un véritable travail d'orfèvre. Je découvrais chez elle, plus que chez tout autre, le désir et l' instinct. - Au-delà de ses enregistrements, une partie de sa bibliothèque musicale, qui m'a été transmise par sa fille et que je conserve jalousement, témoigne d'un répertoire gigantesque et d'une audacieuse curiosité. L' Octuor de Stravinsky y côtoie les oeuvres de Tommasini, Sabata, Rieti et Casella. Les Français Auric, Wiener ou Satie se retrouvent aux côtés de Tcherepnine et Bartók ! - Son engagement total dans la musique contemporaine de son temps, son amitié indéfectible pour les plus grands compositeurs, peintres et poètes, sa conviction que Rameau ou Couperin devaient être joués avec une passion égale à celle que l'on accorde plus volontiers à leurs voisins Bach et Scarlatti, sa foi en Chabrier, qu'elle défendait comme Ravel ou Debussy, en font le témoin visionnaire de son temps. Et à mon sens la plus grande pianiste française. » - Il n'y a pas eu plus intemporel que l'art de Marcelle Meyer. Sa première et plus légitime survie en fait vient de la façon dont elle réinventait Couperin et Rameau, les rendant donc actuels. Le plus étonnant est qu'elle ait trouvé (probablement instinctivement, cet instinct inexplicable mais infaillible qui tout simplement s'appelle le goût) le ton, le coloris, la fantaisie d'articulation et de phrasé, la liberté souveraine qui les a sauvés du caractère qu'on leur prêtait, celui de musiciens du passé, académiques. Eh bien, avec de l'académique, elle a fait tout simplement du classique. Étant ce qu'elle était, cela allait presque de soi. - La totalité de cet héritage nous est désormais commodément accessible. Par le simple fait d'être très fermement et jusqu'au bout elle-même, une interprète d'humilité et de génie, sublimant tous ceux qu'elle interprète. Dans le total effacement de soi qui est en même temps pleine expression de soi : une leçon d’artiste. --- Bach by Marcelle Meyer - Complete Inventions & Sinfonias, Partitas, Toccatas, Italian Concerto .. (Century's recording) : th-cam.com/video/spHBTyagfZ4/w-d-xo.html - Scarlatti by Marcelle Meyer - The Keyboard Sonatas, K 380 / NEW MASTERING (recording of the Century) : th-cam.com/video/3Iiyzo9vdYA/w-d-xo.html - Jean-Philippe Rameau PLAYLIST (reference recording) : th-cam.com/video/GRPYpjLP9qA/w-d-xo.html
Thank you for all your efforts; we love Marcelle Meyer's pianism, and many thanks for posting this wizard of the keyboard. However, she "playS" Rameau, not "play".
Grâce à internet, celui que j'aime et soutiens malgré bien des vicissitudes, je viens de découvrir cette pure merveille, à 73 ans et pourtant mélomane, je ne connaissais pas , je le prends comme un miracle ainsi que votre commentaire si juste et érudit merci à vous. C'est le deuxième miracle de la journée avec ma demande à la mairie de mon village de ma Carte d'Identité Nationale Française avant le mois d'Août. Je suis Française et je le revendique dans toutes ces plus belles valeurs, même si je suis de coeur profondément universelle et profondément laïque, être Française me permet d'être au plus près de toutes mes valeurs les plus profondes, et je ne cesse de prier pour que la France revive avec le meilleur d'elle même et le meilleur de son passé, autant j'espère que de son présent, arrachée au monde d'Orwell ou d' Aldous Huxley que l'alliance germano-atlantiste lui fait avec l'UE et SES TRAITÉS INHUMAINS.Je suis UPR, et je le revendique et Chrétienne, je le revendique également, et la musique, toutes les musiques du monde m'aident à tenir le coup, car la musique est internationale et c'est la voix des Anges , l'art est notre part divine et en témoigne, les interprètes de génie la transmettent de génération en génération, alors je prie et je demande chaque jour la force de prier aussi longtemps que je le pourrais pour mon cher Pays et qu'il soit une voix pour le monde entier si épprouvé 💐🙏🏿🤪💚🐭👵🏼🐈🇫🇷🕊👵🏼🗽🌻🎋
"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!"💕🙏💗💕
what feast to have!! Her recording made in the 1920s and remastered in the 1990s are a spectacular triumph for their quality and purity. Whoever did that work should've been given a posthumous Grammy for snatching such art from the dust bin of forgetfulness. Thank you.
I thoroughly appreciate your summarising the genesis of this re-mastered recording. The tone is so bright and immediate that it feels as though Marcelle Meyer were playing in the next room.
@@PK-re3lu I haven't heard her scarlatti but her light touch and non-pareil ability to trill without breaking the music volume (that is her trills are dynamic) on early 20th century French pianos is unmatched by any pianist post WW2 (partly due to the evolution of pianos) much less alive pianists today. Even Glenn Gould a superb triller never displayed as proficient dynamic trills.
Agreed. The only other person I want to hear play Scarlatti these days is Horowitz. I just can't get over the crystalline quality her playing has. It's like a combination of pure spring water and diamonds! @@PK-re3lu
I love Rameau and I found Marcelle's recordings by looking for someone besides Sokolov to listen to and Wow! I made the discovery of a lifetime for me and I'm obsessed with her now. There will never be another one like this. Her phrasing and tone are beyond belief. What a treasure to have these recordings.
Marcelle Meyer is something of a revelation to me. Her tonal clarity, the balance between hands, exquisite technique and ample power are remarkable. She is one of the great pianists, no question.
Non la conoscevo....e ascolterò tutto...conquistato da un suono ...Magnificat di un'interprete ; attento ad usare il riverbero di un Autore nell'altro...siano nel Parnaso...dove il femmineo intuito impone una grazia che svetta verso un approccio esemplare...e tutto sembra diventare Reo di Vita. Adesso !!!!!...la registrazione è un miracolo; chapeau ai tecnici del suono.
Rameau and Mrs Meyer have built a bond of artistic kinship that transcends time and style. No other performer has done Rameau's music for the keyboard justice better than Mrs Meyer did.
je decouvre avec emerveillement marcelle meyer que je ne conaisait pas ! 65 ans que j ecoute tout les jours de la musique clasique et baroque et je l avais jamais entendue ! ne desesperont pas il y a encore des surprises agreable . je la compare a glen gould , car comme lui elle se demarque de ses comptenporains . merci a alexandre tharaud . pierre xavier de chassot .
Thanks for this! I cant believe how good it sounds. I thought I'd heard Rameau before but this is totally different, and such a treat considering the age. She is amazing ❤
Как красиво играет эта дама! Душа парит в небесах, а сердце исполнено радости от соприкосновения с такой чудесной музыкой! Интерпретация Рамо этой дамой - это чудо!❤👌🙏🙏🎉
Необычайно красивая музыка Рамо . Прекрасное и утонченное исполнение,огромное спасибо за столь великолепную коллекцию произведений.!!!! My lovely Barocco music and Rameau best compositions specially! Thank you
Rhank you, Elmira !!! I know your country very well and I enjoy it very much. French culture was very fal mous in Russia in XVIII th century. A stupid policy prevents nox us from developeing fruiful relationshipx, which would be a quite natural path. Bolchoi , Marinski and so many other places are missing for me,including a visit to Novodieviichi cemetery. . Let us hope for a better future !!!
Regarding the harpsichord/piano quarrel I note, as a harpsichordist, that Meyer plays the ornaments scrupulously according to Rameau's own instructions on how to play them - which in turn means that she studied the original score of the suites. Her articulation and dexterity of touch are astonishingly beautiful, and leave nothing to be desired as regards playing harpsichord music on the piano. Thanks so much for this upload!
But it is well-tempered and thus without fricition. The harpsichord is because of the normally used not well-tempered tone more interesting and not so much sucker-like. But I nevertheless love the recording(s) of Marcelle Meyer.
@@man0sticks Yes! In the well tempered tuning all intervalls are equal but not pure. Thus every key sounds like the others, apart form the pitch. In the old tunings some intervals are pure. This is payed with some very impure intervals. And there are differences between the keys. This makes a kind of sharp sound, a kind of shrillness, which makes the music sound lively. th-cam.com/video/kRui9apjWAY/w-d-xo.html
Harold Samuel put the whole of it neatly into a nutshell, in describing what to him was the effect of the harpsichord: "Two skeletons attempting copulation on a corrugated tin-roof." The only harpsichordist that ever made the thing quite fine to this hearer, was USC's Malcolm Hamilton. (Sorry.)
@@Piflaser Weii put. I believe that a lot of non-musician classical music lovers think that well-tempered means that it sounds good.. Now if we could just get certain sopranos and conductors to be well-tempered the classical music world would be close to perfect.
Indeed. I’m sitting here in my garage on this Monday morning, remnants of Summer, contemplating. Much needed for understanding of our world, and for healing, to keep pressing on.
Difficult times? I think we are living in dark times. Yes, I too agree that these TH-cam recordings are great. An aside: 40 Years ago I had a Macintoch amplifier and B&O turntable, etc. I could care less, today, about "high fidelity" of acoustic reproduction. Only the essence of the music matters to me now, and TH-cam on my laptop is great to my ear which is very forgiving of sound wave frequency limitations. I especially like the recording of Wanda Landowska with WWII artillery fire in the background. That's my kind of high fidelity. (Semper fi!)
Thank you Classic Music /References for more one more treasure of classical recordings from the past. My love for Rameau that had in Tharaud by favorite interpreter, now is enriched with this new, for me, interpreter.
Quelle merveilleuse découverte que cette pianiste dont je n'avais jamais entendu parler... On ne se lasse pas d'écouter ses interprétations de Rameau. Quel jeu ! Ferme, sobre et élégant, qui dégage la mélodie tout en marquant le rythme avec une vitalité extraordinaire.
How wonderful it is that all the myriad subtleties in Rameau are made accessible by the piano. I am stunned at the perfect architecture in his music so fully exposed in this recording. It is as though one were seeing the rose window in Notre Dame in full sunlight rather than partial.
That is a lovely image. Additionally, the piano adds an echoing quality and depth so the sound remains in the air. The ambience in a cathedral has a similar quality.
Another remarkable, remastered recording that richly deserves the appellation "Century's Recording" which it is. Some comments completely miss the point, and get lost in spurious arguments of "authentic". This performance has nothing to do with simpletons. Marcelle Meyer was an incredibly gifted pianist who worked with a charmed circle, not just with Les Six but with Satie and Debussy. Her expressive interpretation of Rameau is definitive and influenced many composers of the 20th Century. When recorded it introduced the music of Rameau to the wider public. I am so grateful for this upload, which is truly a benchmark. I might add that this my go-to recording as it's sublime throughout. And it is simply the best to date!
Well put. An extraordinary and influential pianist. Her interpretative tact, restraint and good taste are essentially unrivalled, matched only by the rare few: Lipatti and Haskil come to mind.
I subscribe to every word of your comment , but it might be a relief to some to know that she was not some kind of alien or demi-god for achieving such an outrageously superior musical ability that no instrumentalist needs any convincing to recognize. I admit that having first only heard her Rameau i was thunderstruck by her musicality , the dynamism of her ornaments is beyond what i thought possible surveying over a century of pianists. But when i listened to her J.S. Bach, it's as if all her superpowers were incompatible with his music. It's still superb, breathtaking playing but a lot of notes are ghosted and dropped, but she plays so expertly fast with extreme dynamics that if you do not know the score you'd think she extracted everything from it. Not so. And yet that comment does not apply to her Rameau at all, it is everything and more. That makes her human. She played a lot of score and maybe recorded music that she should have wisely held off on. No doubt some of Stravinsky music she played was unplayable (not written well for the piano) so that she probably was a tremendous sight reader and was able to 'extract' music and leave off notes that were not essential (or that added any value). That kind of ability is found in the best of pianists and leads to huge repertoires and ability to quickly learn pieces of any difficulty but then those pieces might not have matured fully with the composer's intention. None of this critic applies to her Rameau, which is divine. It is so good that, i am highly tempted to censor myself here and delete this comment.
This is the first and so far only piano recording of Rameau that works!! Superb, wonderful playing. Even the variations which I normally find boring are delightful to hear!
Simply amazing! I listened to her music for hours and still not enough. Her strong determination with freedom, techniques, deep understanding of the music is so clear through her music.
Su majestad el piano ! Se oye divino , pese a que estas obras fueron escritas para clavicémbalo . La pianista es excepcional , de una sensibilidad exquisita. Podría escuchar a Rameau por horas y horas , en piano o clavicémbalo es fantástico . Gracias por compartir esta belleza @Classical Music/ /Reference Recording . Desde el sur del mundo una enamorada de la obra del gran Jean-Philippe Rameau !!
Je découvre. Je connaissais le nom mais pas le jeu. Quelle artiste incomparable quelle clarté et quelle modernité! Intemporalité de Rameau servi par une splendide interprète. Merci.
YESS, thanks! It's amazing that this wonderful pianist understands how French baroque music should dance and sing all the while remaining elevated, decades before the whole revival got started! :D
Ashamed to be previously unaware of Michelle Meyer’s performances. Her genius - no other word for it - seems to lay to rest old quarrels about piano vs harpsichord, etc. (& I am typically in the pro-harpsichord faction). Complete technical mastery & a transcendent sensibility in understanding a composer’s intentions, aligned with full awareness of her instrument’s potential, here gives us the most compelling expression of the great Rameau, in these works. Not just musicianship, but an apparent intellectuality in choosing just how best to bring forth a wide range of feeling in these pieces, shows Meyer’s mastery. Her links to Les Six, & others, spanning centuries, were no barrier to interpretations of real depth, from any source - no Bloomsbury dilettante here, seeking superficial “meaning,” in art or philosophy… Eh, bien! assurément... Elle est parmi les immortels.
no bloomsbury dilettante and a stock Frenchwoman without any cryptic kin ties. She had to leave France for some times at the liberation because her husband got richer during the war. Her teacher Alfred Cortot also deflected unfounded accusations of collaboration after the war. She is the best known French female pianist.
@@goognamgoognw6637 Marguerite Long was France's best-known female pianist at the time. (Which might explain why Meyer was largely forgotten until fairly recently.)
@@goognamgoognw6637son mari, Pierre Bertin (Sociétaire de la Comédie Française), ne s’est pas « enrichi » : il a joué à la télévision des Allemands (comme tout le monde : il s’y trouvait même des techniciens juifs), rue Cognac-Jay, cette même chaîne qui est devenue la RTF, puis la Première chaîne de l’ORTF (puis TF1), à la Libération, l’occupant ayant laissé tout le matériel. On a fait ce mauvais procès à tout ce qui, de près ou de loin, avait continué tant bien que mal son métier d’artiste. (On a moins embêté un Fernandel qui déjeunait quotidiennement au mess des officiers allemands …) Pierre Bertin apparaît dans certains des plus grands films du cinéma français (y compris Le Corbeau, de Clouzot), et Chabrol n’oubliera pas de le faire jouer. On est loin de l’enrichissement. En revanche Marcelle Meyer aura bien mérité que son piano lui rapporte de beaux cachets, espérons-le.
@@bigbong620Meyer was a student to Marguerite Long. Then she went to study with Cortot, quickly becoming his best pupil, according to himself. Aged 20, not long before Debussy died, Meyer worked with the composer for a few months to create his Preludes, ans so she did. Boy, how both Long and Lefébure must have been jealous ! I always regarded Meyer far better than those two …
Where has this wonderful pianist been all of my life???? I heard her play Bach and Scarlatti as well and she excels in everything I have heard her play. I will be looking for her boxed sets.
Une grande dame née avec un piano et avec une grâce divine. Une joie immense envahie mon corps quand je l'écoute, à tel point que je me sens proche du paradis. Une pianiste unique qui inlassablement me rend moins triste dans un monde tellement cruel. Dieu, je te remercie de nous avoir donné naissance d'un tel prodige. ❤ J'apprends le violoncelle depuis dix ans et je puis vous dire que la musique est source de bonheur et de plénitude mais aussi beaucoup de travail sans relâche ❤❤❤
Впервые слушала Рамо, раньше только знала, что есть такой композитор. Я не музыкант, но просто влюбилась в Рамо в этом чудесном исполнении. Спасибо огромное!
Спасибо Ютубу, он открыл для меня Марсель Мейер, раньше о ней не слышал. Изумительная пианистка, ее Рамо великолепен. На мой взгляд, она одна из лучших интерпретаторов музыки этого композитора.
Thank you for these truly extraordinary recordings of Marcelle Meyer. This is a total discovery for me: a musician all my life, much in France, I had never heard of Marcelle Meyer! She has a touch which is alternatively refined and of strength (not hard), with fluidity, a great sense of phrasing, and always with clarity. I think it is safe to say that she is representative of a French style: elegant, expressive, but also strong when needed, and always clear. I appreciate your making this available.
Exquisite and perfect for these times-and all times! I love Rameau! These pieces, like much music of the 18th century, are filled with such delicate emotion, understated, yet able to draw tears.
I agree. Even though I usually prefer that Baroque keyboard pieces be played on a harpsichord this rendering by Marcelle Meyer sounds completely natural and appropriate (aside from the fact that it is brilliantly played). I don't know how she managed to do it, but she did. Incredible.
¿Y por qué no? Suena mucho más intenso, expresivo y estoy segura de que a Rameau le hubiera encantado, lo mismo digo de Bach, su música es tan grande que en el clave se quedaba corta… disfrútalo
Oh my god. Sublime beauty, sensitivity, masterful technique. I'm listening this for an hour now and this and this is a revelation. Reminds me to time I first heard Bartók's Concerto or Gould's 1982 Goldberg recording. This is wonderful.
Beautiful, sensitive and romantic playing that is perfectly suited to Rameau. That Madame Meyer plays this on the piano illustrates the interest in discovering the music, rather than our present hidebound interest in "period performance practice". Thank you for posting this wonderful artist in these ageless works.
You know how people at piano recitals like to sit on the left side of the hall to watch the pianist’s fingers? I usually don’t because I think the sound is better sitting in the center. But this is one instance where I would have chosen the left side. Her technique on those ornaments is magnificent. As someone who studied harpsichord for a few years, I got a bit of a crash course on French ornamentation one summer with my teacher, and this would have qualified as perfectly elegant. When I hear a pianist play French Baroque, I always find myself asking two questions: Does it breathe, and does it dance. I think because of the influence of Chopin and his emphasis on cantabile, sometimes those issues are forgotten when it comes to this music. You want long, singing phrases, stretched to the max by rubato. But she does a wonderful job of bringing that lively Baroque sensibility to these pieces, while taking advantage of what the piano can do as well. A real revelation. Thanks for remastering them. Are they on CD? I’m wondering if the sound quality would be even better.
The best of Alfred Cortot's students and a lesson to any world class pianists of any known period for mastery of dynamics in ornamented music. There simply is nobody who has recorded a large set of ornamented music with such dynamics and fluidity. Even considering lowering to a level below her, there is still nobody. They're all at least two or three levels down and i mean competition winners and recorded titans included, all of them, even Rachmaninoff in his recordings.
Thanks God I've discovered you: what a stunning collection, a goldmine for our heart and soul. I listen to you everyday, looking for unhearded (for me) masterpiece of the piano history...like this!!!
Best regards for this uploading. What astonishing both dexterity and fluidity in the way of interpreting. As dynamic and harmonious. Superb discovery, really. +Classical Music/Reference Recording
This music and the playing bring tears to the eyes. I do wish, though, that the wording of the title read correctly "Marcelle Meyer PLAYS Rameau". Thank you for this treat.
Une exceptionnelle intégrale Rameau, sans conteste la plus belle au piano, un ovni, on regrette que Marcelle Meyer ne soit pas plus connue...parce que ses Couperin, Scarlatti, Ravel et Debussy sont tous aussi beaux que ses enregistrements des pièces de Rameau !
Bien sûr qu'elle est connue, et ce n'est pas toujours pour le meilleur, parfois c'est sec comme une trique et sans poésie aucune, élève de Marguerite Long, écoutez les Cyclopes joués comme si elle avait un train à prendre, aucune expressivité, une machine à coudre, Lazare-Lévy le plus grand maître français abhorrait ce jeu digital et sans âme. Dans Debussy pitié...Certains appelaient cette école "l'usine à tierces". Lévy, Yves Nat, France Clidat se sont battus contre ce courant du "piano français" qui a fait beaucoup de dégâts.
Les médecins soignent et Marcelle aussi. Merci de nous fournir gratuitement cette thérapie. Seul bémol (si j'ose dire ici) , mon stock de mouchoirs risque de partir plus vite que prévu 😢 👏
Merci François pour votre commentaire, j'espère qu'il vous reste des mouchoirs, ou plutôt que ce sois des larmes de joie ou d'extase devant pareille beauté :-)
Claudio Arrau : "it is important to remember the timelessness of Mozart - timeless beyond "authentic instruments," but not beyond authentic performance practice which is part of his voice and expression." Listening to Marcelle Meyer play, Claudio Arrau's quotation comes to life and the harpsichord/piano quarrel loses its reason for being in this case. 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr
The harpsichord piano quarrel is not more a quarrel. That Rameau's music for keybord instruments is a genuine harpsichord music is without question. But unquestionable the Rameau recording of Marcelle Meyer is one of the great recordings of the piano recording history. Here one of the best recordings from the other side of the river: th-cam.com/video/GRPYpjLP9qA/w-d-xo.html
Peter Sharp Yes, Arrau was very much a proponent of Baroque keyboard music played on the modern piano. That was in his earlier career. Of course, he later moved away from Bach mainly, as I understand, from his principal assistant in Europe, Greville Rothon, because of his insistance that pedalling was essential. This was not viewed kindly by the public apparently, so Arrau stopped performing Bach. In his early career he performed most, if not all, of Bach's keyboard works from memory.
@@petersharp1629 Bach himself played the Silbermann piano, a early piano. Thus his music is functioning so well on the modern piano. Couperin and Rameau wrote for the harpsichord. In Arrau's final sessions you will find the Bach partitas 1, 2, 3 and 5.
From Wikipedia: Marcelle Meyer (French: [mɛjɛʁ]; 22 May 1897 - 17 November 1958) was a French pianist. She worked with a group of musicians known as Les Six of whom she was the favored pianist. Biography Marcelle Meyer was born in Lille, France on 22 May 1897. She was taught piano from the age of five by her sister Germaine, and entered the Conservatoire de Paris in 1911 at age 14, studying with Alfred Cortot and Marguerite Long and was awarded the "Premier Prix" at age 16. She then studied Ravel and Spanish composers with Ricardo Viñes. She coached with Debussy about how to play his Preludes after having met him when she played the premiere performance of Satie's Parade in 1917. Meyer became Erik Satie's favored pianist and premiered Francis Poulenc's Sonata for piano four-hands with the composer. She premiered several of his other works and recorded with him. In the early 1920s she played for Darius Milhaud and Stravinsky. She became famous for her talent[1] and gave recitals in England, Netherlands and Germany, as well as giving many premieres, including works by Honegger, Roland-Manuel, and Igor Markevitch. In 1922 Jacques-Émile Blanche painted Marcelle Meyer in the company of Jean Cocteau and Les Six, a group of composers consisting of Georges Auric, Louis Durey, Arthur Honegger, Darius Milhaud, Francis Poulenc and Germaine Tailleferre. She died on 17 November 1958 in Paris after suffering a heart attack while playing at her sister's piano. The actor Pierre Bertin was her first husband, with whom she had a daughter (Marie Bertin). She later married Carlo Di Vieto, an Italian lawyer, with whom she had a second daughter (Anne-Marie Di Vieto).
What a Feast this past two weeks for me! It began with a TH-cam (YT) entry of works of Debussy interpreted by Walter Gieseking(G). My father told me decades ago that G was known as a gifted interpreter of Debussy. As I listened to that YT entry, I was totally captivated as the impressionist strains washed over me - stunned at what I had missed out on for 60 years, or so. ** Then a couple of days later I was listening to a YT entry by a pianist that was reputed to have been a student of Rosalyn Tureck(T). I had heard of T, but not heard any recordings (she died in 1958). Well, on YT there was an entry of T playing a Bach Allemande and Courante on a piano. The entry was probably made in the 1950s, because the sound quality was very good. T’s interpretation of the Allemande absolutely shimmered; I could not help comparing it to how G might have played it! ** Then, today, I stumbled on Meyer(M). Until now, I found Rameau to be mostly boring. As I write this I am hearing a pianist shine a 10,000 lumen light into the minds of Rameau and his French colleagues of the time. Definitely NOT boring. And even more astonishing, the Wikipedia entry for M says she was a friend of Jean Cocteau and Poulenc selected her to premiere some of his works. Really? M, a recognized interpreter of Rameau and Poulenc? How trite and amateurish it must seem to you for me to say at my advanced age, “Where has Meyer been all my life?” Or even “Where has Tureck been all my life?” ** In this Quarantine Spring we have the time to search out revelations on TH-cam. What an extraordinary benefit of the Internet! My friends: Make the year of 2020 your Musical Feast Year!
A real gem, thanks a lot for sharing this, thanks to all, nice presentation and sharp comments! Ce canal est une véritable école, merçi aussi aux connaisseurs qui partagent leurs commentaires nous invitant à affiner notre écoute et à intensifier ce partage.
I discovered Rameau through Marcelle Meyer. I prefer this performance to any others. I can't tell how many working hours, I spent listening to this music.
Album available // Marcelle Meyer plays Rameau: Suites, Livre & Pièces
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🎧 Naspter, Pandora, Anghami, QQ音乐, LineMusic日本, Awa日本...
Jean-Philippe Rameau (1683-1764) re-invented on Piano by Marcelle Meyer / New Mastering.
Click to activate the English subtitles for the presentation by Alexandre Tharaud (00:00-02:10)
Les Sauvages - Suite en sol majeur (1:56:33)
Menuet en rondeau - 1724 (00:00)
Suite en mi mineur / in E minor
Allemande (00:44) Courante (03:14)
Gigue en rondeau (04:59) 2e et 3e gigues en rondeau (06:33)
Le rappel des oiseaux (08:52) Rigaudons I & I l (11:51)
Musette en rondeau (12:58) Tambourin (14:52)
La villageoise - rondeau (16:12)
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Suite en ré Majeur / in D
Les Tendres plaintes (17:54)
Les Niais de Sologne, avec 1er et 2e doubles (20:31)
Les Soupirs (25:54) La Joyeuse (31:25)
La Follette - rondeau (32:15) L'Entretien des muses (33:45)
Les Tourbillons - rondeau (38:16)
Les Cyclopes - rondeau (40:24) Le Lardon - menuet (43:06)
La Boiteuse (43:35)
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Suite en la mineur / in A minor
Allemande (44:08) Courante (48:02)
Sarabande (52:40) Les trois mains (54:08)
Fanfarinette (58:18) La Triomphante (1:00:59)
Gavotte et doubles Suite en sol Majeur (1:02:06)
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Suite en sol majeur / in G
Les Tricotets (1:08:53) L'Indifférente (1:10:25)
Menuets I & Il (1:12:13) La Poule (1:14:35)
Les Triolets (1:17:41) Les Sauvages (1:20:20)
L'Enharmonique (1:21:56) L'Egyptienne (1:25:50)
La Dauphine (1:27:54)
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Premier Livre de Pièces de clavecin
Prélude (1:30:43) Allemande (1:33:49)
2e Allemande (1:35:32) Courante (1:37:14)
Gigue (1:38:58) Sarabandes I & II (1:40:33)
Vénitienne (1:42:29) Gavotte Menuet (1:43:52)
Menuet (1:45:17)
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Pièces en concert
La Livri - rondeau (1:46:31) L'Agaçante (1:49:14)
La Timide - rondeaux I & Il (1:50:59)
L'Indiscrète - rondeau (1:55:16)
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Pièces de clavecin / 1946
Les Sauvages - Suite en sol majeur (1:56:33)
Les Cyclopes - Suite en ré majeur (1:58:08)
Les Tendres plaintes - Suite en ré majeur (2:00:53)
La Villageoise - Suite en mi mineur (2:03:30)
Les Soupirs - Suite en ré majeur (2:05:01)
Gavotte et doubles - Suite en la mineur (2:08:55)
Fanfarinette - Suite en la mineur (2:15:30)
Le rappel des oiseaux - Suite en mi mineur (2:17:01)
L'Entretien des muses - Suite en ré majeur (2:19:42)
La Livri - Pièces en concert (2:24:06)
L'Egyptienne - Suite en sol majeur (2:26:31)
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Piano : Marcelle Meyer
Recorded in 1953 & 1946
New Mastering in 2020 by AB for CMRR
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🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg
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La Triomphante par Alexandre Tharaud : « Comment dire le choc éprouvé par la découverte des enregistrements de Marcelle Meyer quand on a dix-sept ans... Très loin du Conservatoire où son nom même n'était pas évoqué, je l'écoutais des nuits entières. Aujourd'hui l'envoûtement reste intact.
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Marcelle Meyer, c'était avant tout un jeu qui ne ressemblait à aucun autre, un piano solide, charpenté, mis au service d'un chant d'une constante fluidité. Derrière la courbe, derrière le geste ample, quasi improvisé - n'a-t-on pas l'impression qu'elle vient d'ouvrir la partition ? - se dévoile un véritable travail d'orfèvre. Je découvrais chez elle, plus que chez tout autre, le désir et l' instinct.
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Au-delà de ses enregistrements, une partie de sa bibliothèque musicale, qui m'a été transmise par sa fille et que je conserve jalousement, témoigne d'un répertoire gigantesque et d'une audacieuse curiosité. L' Octuor de Stravinsky y côtoie les oeuvres de Tommasini, Sabata, Rieti et Casella. Les Français Auric, Wiener ou Satie se retrouvent aux côtés de Tcherepnine et Bartók !
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Son engagement total dans la musique contemporaine de son temps, son amitié indéfectible pour les plus grands compositeurs, peintres et poètes, sa conviction que Rameau ou Couperin devaient être joués avec une passion égale à celle que l'on accorde plus volontiers à leurs voisins Bach et Scarlatti, sa foi en Chabrier, qu'elle défendait comme Ravel ou Debussy, en font le témoin visionnaire de son temps. Et à mon sens la plus grande pianiste française. »
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Il n'y a pas eu plus intemporel que l'art de Marcelle Meyer. Sa première et plus légitime survie en fait vient de la façon dont elle réinventait Couperin et Rameau, les rendant donc actuels. Le plus étonnant est qu'elle ait trouvé (probablement instinctivement, cet instinct inexplicable mais infaillible qui tout simplement s'appelle le goût) le ton, le coloris, la fantaisie d'articulation et de phrasé, la liberté souveraine qui les a sauvés du caractère qu'on leur prêtait, celui de musiciens du passé, académiques. Eh bien, avec de l'académique, elle a fait tout simplement du classique. Étant ce qu'elle était, cela allait presque de soi.
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La totalité de cet héritage nous est désormais commodément accessible. Par le simple fait d'être très fermement et jusqu'au bout elle-même, une interprète d'humilité et de génie, sublimant tous ceux qu'elle interprète. Dans le total effacement de soi qui est en même temps pleine expression de soi : une leçon d’artiste.
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Bach by Marcelle Meyer - Complete Inventions & Sinfonias, Partitas, Toccatas, Italian Concerto .. (Century's recording) : th-cam.com/video/spHBTyagfZ4/w-d-xo.html
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Scarlatti by Marcelle Meyer - The Keyboard Sonatas, K 380 / NEW MASTERING (recording of the Century) : th-cam.com/video/3Iiyzo9vdYA/w-d-xo.html
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Jean-Philippe Rameau PLAYLIST (reference recording) : th-cam.com/video/GRPYpjLP9qA/w-d-xo.html
Classical Music/ /Reference Recording rappel des oiseaux
Thank you for all your efforts; we love Marcelle Meyer's pianism, and many thanks for posting this wizard of the keyboard. However, she "playS" Rameau, not "play".
Grâce à internet, celui que j'aime et soutiens malgré bien des vicissitudes, je viens de découvrir cette pure merveille, à 73 ans et pourtant mélomane, je ne connaissais pas , je le prends comme un miracle ainsi que votre commentaire si juste et érudit merci à vous. C'est le deuxième miracle de la journée avec ma demande à la mairie de mon village de ma Carte d'Identité Nationale Française avant le mois d'Août. Je suis Française et je le revendique dans toutes ces plus belles valeurs, même si je suis de coeur profondément universelle et profondément laïque, être Française me permet d'être au plus près de toutes mes valeurs les plus profondes, et je ne cesse de prier pour que la France revive avec le meilleur d'elle même et le meilleur de son passé, autant j'espère que de son présent, arrachée au monde d'Orwell ou d' Aldous Huxley que l'alliance germano-atlantiste lui fait avec l'UE et SES TRAITÉS INHUMAINS.Je suis UPR, et je le revendique et Chrétienne, je le revendique également, et la musique, toutes les musiques du monde m'aident à tenir le coup, car la musique est internationale et c'est la voix des Anges , l'art est notre part divine et en témoigne, les interprètes de génie la transmettent de génération en génération, alors je prie et je demande chaque jour la force de prier aussi longtemps que je le pourrais pour mon cher Pays et qu'il soit une voix pour le monde entier si épprouvé 💐🙏🏿🤪💚🐭👵🏼🐈🇫🇷🕊👵🏼🗽🌻🎋
Plan p
P.?,e❤😅m a
The mastery of Meyer illustrates the beauty of Rameau. What a combination.
"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!"💕🙏💗💕
Nice thought, but it is impossible not to think of the past or the future.
Pure merveille. Merci. C'était l'époque où l'école française avait l'avantage.
L'enregistrement a presque 70 ans, mais quelle modernité, quelle liberté. Rameau ainsi interprété ne peut pas vieillir !
Marcelle Meyer : son onterpretation de Rameau atteint la perfection. Inoubliable !
what feast to have!! Her recording made in the 1920s and remastered in the 1990s are a spectacular triumph for their quality and purity. Whoever did that work should've been given a posthumous Grammy for snatching such art from the dust bin of forgetfulness. Thank you.
Recorded in 1940s and 50s apparently
I thoroughly appreciate your summarising the genesis of this re-mastered recording. The tone is so bright and immediate that it feels as though Marcelle Meyer were playing in the next room.
Falling more in love with this elegant pianist every day. I've never heard anyone like her. A true genius!
idem^^
@@arbrekim1352 The Scarlatti is possibly even better :)
She creates haunting music. Rameau seemed to speak to her or through her.
@@PK-re3lu I haven't heard her scarlatti but her light touch and non-pareil ability to trill without breaking the music volume (that is her trills are dynamic) on early 20th century French pianos is unmatched by any pianist post WW2 (partly due to the evolution of pianos) much less alive pianists today. Even Glenn Gould a superb triller never displayed as proficient dynamic trills.
Agreed. The only other person I want to hear play Scarlatti these days is Horowitz. I just can't get over the crystalline quality her playing has. It's like a combination of pure spring water and diamonds! @@PK-re3lu
I love Rameau and I found Marcelle's recordings by looking for someone besides Sokolov to listen to and Wow! I made the discovery of a lifetime for me and I'm obsessed with her now. There will never be another one like this. Her phrasing and tone are beyond belief. What a treasure to have these recordings.
Marcelle Meyer is something of a revelation to me. Her tonal clarity, the balance between hands, exquisite technique and ample power are remarkable. She is one of the great pianists, no question.
Elle trouve des choses que même les plus grands ne pensent pas à chercher. Merveilleux.
Non la conoscevo....e ascolterò tutto...conquistato da un suono ...Magnificat di un'interprete ; attento ad usare il riverbero di un Autore nell'altro...siano nel Parnaso...dove il femmineo intuito impone una grazia che svetta verso un approccio esemplare...e tutto sembra diventare Reo di Vita. Adesso !!!!!...la registrazione è un miracolo; chapeau ai tecnici del suono.
Rameau and Mrs Meyer have built a bond of artistic kinship that transcends time and style. No other performer has done Rameau's music for the keyboard justice better than Mrs Meyer did.
She is amazing ; but you must listen to Robert Casadesus playing Rameau ; he is superb too !
I feel your comment. Maybe Sokolov?
@@michaelfahy7683 heck no, he tries to use Rameau as encore showpiece and it's in bad taste. Ruins it.
@@mereyeslacalle After hearing this Rameau, I don't know what more can be asked!
je decouvre avec emerveillement marcelle meyer que je ne conaisait pas ! 65 ans que j ecoute tout les jours de la musique clasique et baroque et je l avais jamais entendue ! ne desesperont pas il y a encore des surprises agreable . je la compare a glen gould , car comme lui elle se demarque de ses comptenporains . merci a alexandre tharaud . pierre xavier de chassot .
Merci Pierre pour votre retour , nos sommes réellement heureux de faire découvrir des interprètes d'excellences aux internautes qui nous suivent :-)
S'il vous plait, M. Chassot, ne comparez pas Mme Meyer à Gould. Elle joue beaucoup trop bien pour qu'on lui fasse cette méchante comparaison.
Elle est beaucoup plus plus agréable à écouter que Glenn Gould que trouve assez souvent rigide et “dry”
Thanks for this! I cant believe how good it sounds.
I thought I'd heard Rameau before but this is totally different, and such a treat considering the age. She is amazing ❤
Jean-Philippe Rameau et Marcelle Meyer sont élégants.
Как красиво играет эта дама! Душа парит в небесах, а сердце исполнено радости от соприкосновения с такой чудесной музыкой! Интерпретация Рамо этой дамой - это чудо!❤👌🙏🙏🎉
Необычайно красивая музыка Рамо . Прекрасное и утонченное исполнение,огромное спасибо за столь великолепную коллекцию произведений.!!!!
My lovely Barocco music and Rameau best compositions specially! Thank you
Rhank you, Elmira !!! I know your country very well and I enjoy it very much. French culture was very fal mous in Russia in XVIII th century. A stupid policy prevents nox us from developeing fruiful relationshipx, which would be a quite natural path. Bolchoi , Marinski and so many other places are missing for me,including a visit to Novodieviichi cemetery. . Let us hope for a better future !!!
Regarding the harpsichord/piano quarrel I note, as a harpsichordist, that Meyer plays the ornaments scrupulously according to Rameau's own instructions on how to play them - which in turn means that she studied the original score of the suites. Her articulation and dexterity of touch are astonishingly beautiful, and leave nothing to be desired as regards playing harpsichord music on the piano. Thanks so much for this upload!
But it is well-tempered and thus without fricition. The harpsichord is because of the normally used not well-tempered tone more interesting and not so much sucker-like. But I nevertheless love the recording(s) of Marcelle Meyer.
@@Piflaser Could you possibly explain what you mean by “fricition” and “sucker-like”?
@@man0sticks Yes! In the well tempered tuning all intervalls are equal but not pure. Thus every key sounds like the others, apart form the pitch. In the old tunings some intervals are pure. This is payed with some very impure intervals. And there are differences between the keys. This makes a kind of sharp sound, a kind of shrillness, which makes the music sound lively.
th-cam.com/video/kRui9apjWAY/w-d-xo.html
Harold Samuel put the whole of it neatly into a nutshell, in describing what to him was the effect of the harpsichord:
"Two skeletons attempting copulation on a corrugated tin-roof."
The only harpsichordist that ever made the thing quite fine to this hearer, was USC's Malcolm Hamilton.
(Sorry.)
@@Piflaser Weii put. I believe that a lot of non-musician classical music lovers think that well-tempered means that it sounds good..
Now if we could just get certain sopranos and conductors to be well-tempered the classical music world would be close to perfect.
Quelle artiste,quelle sensibilité,quelle maitrise,quel rendu intelligible et envoutant.Elle est au niveau des plus grand(e)s !!
Certainment.
This is heaven on earth! Much needed in these difficult times. She is one of my favorite pianists. Thank you for giving us the entire volume.
You're welcome , as beautiful as it is therapeutic !
Indeed. I’m sitting here in my garage on this Monday morning, remnants of Summer, contemplating. Much needed for understanding of our world, and for healing, to keep pressing on.
@@classicalmusicreference - Yes. Beauty is healing!
Difficult times? I think we are living in dark times. Yes, I too agree that these TH-cam recordings are great. An aside: 40 Years ago I had a Macintoch amplifier and B&O turntable, etc. I could care less, today, about "high fidelity" of acoustic reproduction. Only the essence of the music matters to me now, and TH-cam on my laptop is great to my ear which is very forgiving of sound wave frequency limitations. I especially like the recording of Wanda Landowska with WWII artillery fire in the background. That's my kind of high fidelity. (Semper fi!)
@@bradfordmccormick9501 Yes, Wanda Landowska. Her estate in California is an entrée to her art.
I love Rameau but never knew of this recording. What a gem. Marcelle Meyer is brilliant. Thanks for posting
You're welcome Mark :-)
Thank you Classic Music /References for more one more treasure of classical recordings from the past. My love for Rameau that had in Tharaud by favorite interpreter, now is enriched with this new, for me, interpreter.
Quelle merveilleuse découverte que cette pianiste dont je n'avais jamais entendu parler... On ne se lasse pas d'écouter ses interprétations de Rameau. Quel jeu ! Ferme, sobre et élégant, qui dégage la mélodie tout en marquant le rythme avec une vitalité extraordinaire.
How wonderful it is that all the myriad subtleties in Rameau are made accessible by the piano. I am stunned at the perfect architecture in his music so fully exposed in this recording. It is as though one were seeing the rose window in Notre Dame in full sunlight rather than partial.
That is a lovely image. Additionally, the piano adds an echoing quality and depth so the sound remains in the air. The ambience in a cathedral has a similar quality.
素晴らしい演奏です。聞いていると心が落ち着きます。こんな音楽は初めてです。
Another remarkable, remastered recording that richly deserves the appellation "Century's Recording" which it is. Some comments completely miss the point, and get lost in spurious arguments of "authentic". This performance has nothing to do with simpletons. Marcelle Meyer was an incredibly gifted pianist who worked with a charmed circle, not just with Les Six but with Satie and Debussy. Her expressive interpretation of Rameau is definitive and influenced many composers of the 20th Century. When recorded it introduced the music of Rameau to the wider public. I am so grateful for this upload, which is truly a benchmark. I might add that this my go-to recording as it's sublime throughout. And it is simply the best to date!
Your comment is a reference as well.
Well put. An extraordinary and influential pianist. Her interpretative tact, restraint and good taste are essentially unrivalled, matched only by the rare few: Lipatti and Haskil come to mind.
Letellier, I have subscribed. You have a nice collection there.
I subscribe to every word of your comment , but it might be a relief to some to know that she was not some kind of alien or demi-god for achieving such an outrageously superior musical ability that no instrumentalist needs any convincing to recognize. I admit that having first only heard her Rameau i was thunderstruck by her musicality , the dynamism of her ornaments is beyond what i thought possible surveying over a century of pianists. But when i listened to her J.S. Bach, it's as if all her superpowers were incompatible with his music. It's still superb, breathtaking playing but a lot of notes are ghosted and dropped, but she plays so expertly fast with extreme dynamics that if you do not know the score you'd think she extracted everything from it. Not so. And yet that comment does not apply to her Rameau at all, it is everything and more. That makes her human. She played a lot of score and maybe recorded music that she should have wisely held off on. No doubt some of Stravinsky music she played was unplayable (not written well for the piano) so that she probably was a tremendous sight reader and was able to 'extract' music and leave off notes that were not essential (or that added any value). That kind of ability is found in the best of pianists and leads to huge repertoires and ability to quickly learn pieces of any difficulty but then those pieces might not have matured fully with the composer's intention. None of this critic applies to her Rameau, which is divine. It is so good that, i am highly tempted to censor myself here and delete this comment.
by the way her debussy is the absolute most incredible debussy i ever heard
Rameau et son interprète sont élégants et légers comme un matin de printemps. C'est tout simplement Beau.
This is the first and so far only piano recording of Rameau that works!! Superb, wonderful playing. Even the variations which I normally find boring are delightful to hear!
Simply amazing! I listened to her music for hours and still not enough. Her strong determination with freedom, techniques, deep understanding of the music is so clear through her music.
Thank you.
Exquisite sensitive playing ..... She has really captured the joy and nobleness of Rameau.....I'm in awe
The admirably free-flowing yet meticulous phrasing of a nightingale.
Les tendres plaintes magnifique morceau. Merci !
Oui, aussi moi, je le sens ainsi.
I can't praise this performance enough. Such eloquence, such elegant articulation... Absolutely sublime... Can't get enough of it.
Su majestad el piano ! Se oye divino , pese a que estas obras fueron escritas para clavicémbalo . La pianista es excepcional , de una sensibilidad exquisita. Podría escuchar a Rameau por horas y horas , en piano o clavicémbalo es fantástico . Gracias por compartir esta belleza @Classical Music/ /Reference Recording . Desde el sur del mundo una enamorada de la obra del gran Jean-Philippe Rameau !!
Another gem by the great Marcelle Meyer! Thanks so much for allowing us to enjoy this extraordinary performer playing this musical treasure.
Je découvre. Je connaissais le nom mais pas le jeu. Quelle artiste incomparable quelle clarté et quelle modernité! Intemporalité de Rameau servi par une splendide interprète. Merci.
je découvre aussi. pureté, finesse. quelle sensibilité......
Takes your breath away.
Quite incidentally, it seems that she was a very good and lovely person too.
YESS, thanks! It's amazing that this wonderful pianist understands how French baroque music should dance and sing all the while remaining elevated, decades before the whole revival got started! :D
exactly, in addition to her talent, she was a woman of high culture.
Ashamed to be previously unaware of Michelle Meyer’s performances. Her genius - no other word for it - seems to lay to rest old quarrels about piano vs harpsichord, etc. (& I am typically in the pro-harpsichord faction). Complete technical mastery & a transcendent sensibility in understanding a composer’s intentions, aligned with full awareness of her instrument’s potential, here gives us the most compelling expression of the great Rameau, in these works. Not just musicianship, but an apparent intellectuality in choosing just how best to bring forth a wide range of feeling in these pieces, shows Meyer’s mastery. Her links to Les Six, & others, spanning centuries, were no barrier to interpretations of real depth, from any source - no Bloomsbury dilettante here, seeking superficial “meaning,” in art or philosophy…
Eh, bien! assurément... Elle est parmi les immortels.
no bloomsbury dilettante and a stock Frenchwoman without any cryptic kin ties. She had to leave France for some times at the liberation because her husband got richer during the war. Her teacher Alfred Cortot also deflected unfounded accusations of collaboration after the war. She is the best known French female pianist.
indeed
@@goognamgoognw6637 Marguerite Long was France's best-known female pianist at the time. (Which might explain why Meyer was largely forgotten until fairly recently.)
@@goognamgoognw6637son mari, Pierre Bertin (Sociétaire de la Comédie Française), ne s’est pas « enrichi » : il a joué à la télévision des Allemands (comme tout le monde : il s’y trouvait même des techniciens juifs), rue Cognac-Jay, cette même chaîne qui est devenue la RTF, puis la Première chaîne de l’ORTF (puis TF1), à la Libération, l’occupant ayant laissé tout le matériel.
On a fait ce mauvais procès à tout ce qui, de près ou de loin, avait continué tant bien que mal son métier d’artiste. (On a moins embêté un Fernandel qui déjeunait quotidiennement au mess des officiers allemands …)
Pierre Bertin apparaît dans certains des plus grands films du cinéma français (y compris Le Corbeau, de Clouzot), et Chabrol n’oubliera pas de le faire jouer. On est loin de l’enrichissement.
En revanche Marcelle Meyer aura bien mérité que son piano lui rapporte de beaux cachets, espérons-le.
@@bigbong620Meyer was a student to Marguerite Long. Then she went to study with Cortot, quickly becoming his best pupil, according to himself.
Aged 20, not long before Debussy died, Meyer worked with the composer for a few months to create his Preludes, ans so she did. Boy, how both Long and Lefébure must have been jealous !
I always regarded Meyer far better than those two …
Quelle artiste, ça façon de joueux enlevé l'esprit, ❤
Quiet, intimate and heartbreaking!!!!! Superb!!!!! Thank you!!!!
You're welcome Hiram ;-)
Where has this wonderful pianist been all of my life???? I heard her play Bach and Scarlatti as well and she excels in everything I have heard her play. I will be looking for her boxed sets.
Listen to her Ravel too.
Ce jeu merveilleux est un cadeau à l'humanité !!! Tepper Michael.
I’m so grateful for this recording, and having discovered the gift of Rameau and Meyer… Truly, thank you so much for posting this entire recording.
Une grande dame née avec un piano et avec une grâce divine. Une joie immense envahie mon corps quand je l'écoute, à tel point que je me sens proche du paradis. Une pianiste unique qui inlassablement me rend moins triste dans un monde tellement cruel. Dieu, je te remercie de nous avoir donné naissance d'un tel prodige. ❤ J'apprends le violoncelle depuis dix ans et je puis vous dire que la musique est source de bonheur et de plénitude mais aussi beaucoup de travail sans relâche ❤❤❤
Très d'accord. Et chez les violoncellistes: Pierre Fournier...
une découverte que cette belle et talentueuse pianiste ; merci pour cela et pour ce beau moment de musique passé grâce à vous .
Wundebare Musik!!! Großartig gespielt und prächtige Aufnahme !!! Danke schon !!! Tepper Michael.
Besides Marcelle's Bach, this is my favorite music by Rameau to listen to everyday. Merci mille fois.
Впервые слушала Рамо, раньше только знала, что есть такой композитор. Я не музыкант, но просто влюбилась в Рамо в этом чудесном исполнении. Спасибо огромное!
Спасибо Ютубу, он открыл для меня Марсель Мейер, раньше о ней не слышал. Изумительная пианистка, ее Рамо великолепен. На мой взгляд, она одна из лучших интерпретаторов музыки этого композитора.
Thank you for these truly extraordinary recordings of Marcelle Meyer. This is a total discovery for me: a musician all my life, much in France, I had never heard of Marcelle Meyer! She has a touch which is alternatively refined and of strength (not hard), with fluidity, a great sense of phrasing, and always with clarity. I think it is safe to say that she is representative of a French style: elegant, expressive, but also strong when needed, and always clear. I appreciate your making this available.
Exquisite and perfect for these times-and all times! I love Rameau! These pieces, like much music of the 18th century, are filled with such delicate emotion, understated, yet able to draw tears.
So delicate and sometimes sad but always beautiful Rameau ❤❤❤
Listening to this over and over again. Brings refinement and higher standards into everything you see around. Thank you 🙏🙇♀️
I was a bit sceptical (Rameau on piano?), but I couldn't stop listening, yes wonderful piano playing.
@bill Bloggs I believe you. Regards.
I agree. Even though I usually prefer that Baroque keyboard pieces be played on a harpsichord this rendering by Marcelle Meyer sounds completely natural and appropriate (aside from the fact that it is brilliantly played). I don't know how she managed to do it, but she did. Incredible.
¿Y por qué no? Suena mucho más intenso, expresivo y estoy segura de que a Rameau le hubiera encantado, lo mismo digo de Bach, su música es tan grande que en el clave se quedaba corta… disfrútalo
Merci Alexandre. Merci Marcelle!
귀하고 훌륭한 연주 감사합니다
Oh my god. Sublime beauty, sensitivity, masterful technique. I'm listening this for an hour now and this and this is a revelation. Reminds me to time I first heard Bartók's Concerto or Gould's 1982 Goldberg recording. This is wonderful.
Maravilhosa! Uma grande inspiração🌹
Thanks for this magnificent upload. Honored to be the first thumbs up for these great recordings by Meyer.
FIRST , excellent :-)
この動画に出会えて幸せです🥰 まるで前世でも聴いていたかと思う位心に響きます…😌
Indescribably beautiful - one of the all-time great pianists in absolutely sumptuous performances!
Agree
me too
Beautiful, sensitive and romantic playing that is perfectly suited to Rameau. That Madame Meyer plays this on the piano illustrates the interest in discovering the music, rather than our present hidebound interest in "period performance practice". Thank you for posting this wonderful artist in these ageless works.
Listening to Maestro Rameau performed by Marcelle Meyer I feel myself as if being in the World of Angels !!! Tepper Michael.
Tout cela est d’une fluidité musicale et technique incroyables. Un partage est nécessaire.
Прекрасное исполнение чудесного Рамо!
Bravo, Marcelle Meyer era una pianista elegante, y muy buena.❤️, precioso.
Immensely imaginative and subtle phrasing! All embellishments are beautifully interwoven and never irritating.
You know how people at piano recitals like to sit on the left side of the hall to watch the pianist’s fingers? I usually don’t because I think the sound is better sitting in the center. But this is one instance where I would have chosen the left side. Her technique on those ornaments is magnificent. As someone who studied harpsichord for a few years, I got a bit of a crash course on French ornamentation one summer with my teacher, and this would have qualified as perfectly elegant.
When I hear a pianist play French Baroque, I always find myself asking two questions: Does it breathe, and does it dance. I think because of the influence of Chopin and his emphasis on cantabile, sometimes those issues are forgotten when it comes to this music. You want long, singing phrases, stretched to the max by rubato. But she does a wonderful job of bringing that lively Baroque sensibility to these pieces, while taking advantage of what the piano can do as well. A real revelation.
Thanks for remastering them. Are they on CD? I’m wondering if the sound quality would be even better.
Thank you for these recordings of Rameau’s pieces…a solace for a sad time.
Que gran descubrimiento de mi parte, no conocía a Rameau y me parece excelente su obra, así como también el virtuosismo de Meyer!
I will never get over how beautiful that music is. 😍
Such underrated beauty...
Effortlessly expressive and life-affirming... She makes this 18th century music sound fresh and modern.
I have been listening to this amazing pianist over and over as I study for school. Thanks for the incredible uploads!
The best of Alfred Cortot's students and a lesson to any world class pianists of any known period for mastery of dynamics in ornamented music. There simply is nobody who has recorded a large set of ornamented music with such dynamics and fluidity. Even considering lowering to a level below her, there is still nobody. They're all at least two or three levels down and i mean competition winners and recorded titans included, all of them, even Rachmaninoff in his recordings.
Bellísimo! Cuánta delicadeza y ternura en esta música y en su interpretación.
名ピアニストメイエがラモーの録音を多く残してくれた事を感謝しています。アップ有難うございます。
I've downloaded every link of her performances. What a library!
Thanks God I've discovered you: what a stunning collection, a goldmine for our heart and soul. I listen to you everyday, looking for unhearded (for me) masterpiece of the piano history...like this!!!
Thanks friends for sharing such a wondergul performance by Marcelle Meyer.
You're welcome Gerardo , we like your profile picture, it shows a lot of dignity and self-confidence ;-)
Best regards for this uploading.
What astonishing both dexterity and fluidity in the way of interpreting. As dynamic and harmonious.
Superb discovery, really. +Classical Music/Reference Recording
This music and the playing bring tears to the eyes. I do wish, though, that the wording of the title read correctly "Marcelle Meyer PLAYS Rameau". Thank you for this treat.
I have his works on harpsichord, clavichord, but whoa ..piano? Lovely! thanks! An amazing early 20th c. interpretation and recording!
Une exceptionnelle intégrale Rameau, sans conteste la plus belle au piano, un ovni, on regrette que Marcelle Meyer ne soit pas plus connue...parce que ses Couperin, Scarlatti, Ravel et Debussy sont tous aussi beaux que ses enregistrements des pièces de Rameau !
Qui connait Yves Nat, Catherine Collard, Reine Gianoli, Brigitte Engerer?
Piflaser Quelques mélomanes...j’ai une préférence pour Nat, Perlemuter et Collard.
@@Piflaser c'est une question de génération. Ces musiciens sont connus de tous les mélomanes hélas septuagénaires !
@@renemilleret1938 exact mais heureusement TH-cam existe :-) 60% de nos abonnés ont entre 10 et 35 ans :-)
Bien sûr qu'elle est connue, et ce n'est pas toujours pour le meilleur, parfois c'est sec comme une trique et sans poésie aucune, élève de Marguerite Long, écoutez les Cyclopes joués comme si elle avait un train à prendre, aucune expressivité, une machine à coudre, Lazare-Lévy le plus grand maître français abhorrait ce jeu digital et sans âme. Dans Debussy pitié...Certains appelaient cette école "l'usine à tierces". Lévy, Yves Nat, France Clidat se sont battus contre ce courant du "piano français" qui a fait beaucoup de dégâts.
Его можно беcконечно слушать Орган это успокоение Души ,бальзам на сердце ❤❤❤
No conocía la música de Rameau. Me gusta mucho.🎉❤❤❤
Les médecins soignent et Marcelle aussi. Merci de nous fournir gratuitement cette thérapie. Seul bémol (si j'ose dire ici) , mon stock de mouchoirs risque de partir plus vite que prévu 😢 👏
Merci François pour votre commentaire, j'espère qu'il vous reste des mouchoirs, ou plutôt que ce sois des larmes de joie ou d'extase devant pareille beauté :-)
interprétation toute en humanité. quel bonheur. je ne regrette pas de cette découverte !
Claudio Arrau : "it is important to remember the timelessness of Mozart - timeless beyond "authentic instruments," but not beyond authentic performance practice which is part of his voice and expression." Listening to Marcelle Meyer play, Claudio Arrau's quotation comes to life and the harpsichord/piano quarrel loses its reason for being in this case.
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The harpsichord piano quarrel is not more a quarrel. That Rameau's music for keybord instruments is a genuine harpsichord music is without question. But unquestionable the Rameau recording of Marcelle Meyer is one of the great recordings of the piano recording history. Here one of the best recordings from the other side of the river: th-cam.com/video/GRPYpjLP9qA/w-d-xo.html
Peter Sharp
Yes, Arrau was very much a proponent of Baroque keyboard music played on the modern piano. That was in his earlier career. Of course, he later moved away from Bach mainly, as I understand, from his principal assistant in Europe, Greville Rothon, because of his insistance that pedalling was essential. This was not viewed kindly by the public apparently, so Arrau stopped performing Bach. In his early career he performed most, if not all, of Bach's keyboard works from memory.
@Piflaser ... So true ... And thanks a lot for the link, I missed it somehow .. TY
@@petersharp1629 Bach himself played the Silbermann piano, a early piano. Thus his music is functioning so well on the modern piano. Couperin and Rameau wrote for the harpsichord. In Arrau's final sessions you will find the Bach partitas 1, 2, 3 and 5.
A nonsense remains such even if it was Claudio Arrau who said it
From Wikipedia:
Marcelle Meyer (French: [mɛjɛʁ]; 22 May 1897 - 17 November 1958) was a French pianist. She worked with a group of musicians known as Les Six of whom she was the favored pianist.
Biography
Marcelle Meyer was born in Lille, France on 22 May 1897. She was taught piano from the age of five by her sister Germaine, and entered the Conservatoire de Paris in 1911 at age 14, studying with Alfred Cortot and Marguerite Long and was awarded the "Premier Prix" at age 16. She then studied Ravel and Spanish composers with Ricardo Viñes. She coached with Debussy about how to play his Preludes after having met him when she played the premiere performance of Satie's Parade in 1917. Meyer became Erik Satie's favored pianist and premiered Francis Poulenc's Sonata for piano four-hands with the composer. She premiered several of his other works and recorded with him. In the early 1920s she played for Darius Milhaud and Stravinsky. She became famous for her talent[1] and gave recitals in England, Netherlands and Germany, as well as giving many premieres, including works by Honegger, Roland-Manuel, and Igor Markevitch.
In 1922 Jacques-Émile Blanche painted Marcelle Meyer in the company of Jean Cocteau and Les Six, a group of composers consisting of Georges Auric, Louis Durey, Arthur Honegger, Darius Milhaud, Francis Poulenc and Germaine Tailleferre.
She died on 17 November 1958 in Paris after suffering a heart attack while playing at her sister's piano.
The actor Pierre Bertin was her first husband, with whom she had a daughter (Marie Bertin). She later married Carlo Di Vieto, an Italian lawyer, with whom she had a second daughter (Anne-Marie Di Vieto).
:-)
A Gemini! At the right place, at the right time.
@@BetaCummins The distant arrangement of stars and OUR very subjective perception of that arrangement has nothing at all to do with anything on earth.
@bill Bloggs ?
Thank you for giving us this, with all the information.
Very nice interpretation and beautiful sound considered it was recorded in 1953 & 1946.
What an enchanting performance
SENSATIONAL Achievment......BRAVA from Acapulco!
What a Feast this past two weeks for me! It began with a TH-cam (YT) entry of works of Debussy interpreted by Walter Gieseking(G). My father told me decades ago that G was known as a gifted interpreter of Debussy. As I listened to that YT entry, I was totally captivated as the impressionist strains washed over me - stunned at what I had missed out on for 60 years, or so. ** Then a couple of days later I was listening to a YT entry by a pianist that was reputed to have been a student of Rosalyn Tureck(T). I had heard of T, but not heard any recordings (she died in 1958). Well, on YT there was an entry of T playing a Bach Allemande and Courante on a piano. The entry was probably made in the 1950s, because the sound quality was very good. T’s interpretation of the Allemande absolutely shimmered; I could not help comparing it to how G might have played it! ** Then, today, I stumbled on Meyer(M). Until now, I found Rameau to be mostly boring. As I write this I am hearing a pianist shine a 10,000 lumen light into the minds of Rameau and his French colleagues of the time. Definitely NOT boring. And even more astonishing, the Wikipedia entry for M says she was a friend of Jean Cocteau and Poulenc selected her to premiere some of his works. Really? M, a recognized interpreter of Rameau and Poulenc? How trite and amateurish it must seem to you for me to say at my advanced age, “Where has Meyer been all my life?” Or even “Where has Tureck been all my life?” ** In this Quarantine Spring we have the time to search out revelations on TH-cam. What an extraordinary benefit of the Internet! My friends: Make the year of 2020 your Musical Feast Year!
It was really Tureck's Courante that shimmered, but both were wonderfully played.
Dining with you, dear one.
Les soupirs has such an incredibly sweet melancholy
A real gem, thanks a lot for sharing this, thanks to all, nice presentation and sharp comments! Ce canal est une véritable école, merçi aussi aux connaisseurs qui partagent leurs commentaires nous invitant à affiner notre écoute et à intensifier ce partage.
I discovered Rameau through Marcelle Meyer. I prefer this performance to any others. I can't tell how many working hours, I spent listening to this music.
Quel choc! Il faut écouter et re ecouter ces grandes dames du piano... une pensée aussi pour yvonne Lefebure....
Merci, c‘ est d‘ une fluiditè‘ ‚ d‘ une sensualité et d‘ une beautè de jeu qui me touche. Bé
Incredibly deep and spacey, what a discovery of devine...thank you so much for lightning it to us amateurs.