Cortot conveys beautifully the intrinsic poetry of these Trois Nouvelles Etude especially no.1. These exquisite works deserve to be heard more frequently.
@abidoful not at his best? c est magique.... Cortot was a great musician. And a great teacher. His importance is depassing all we know. Even Horowitz did take a close look on Cortot as he wanted to understand his secrets. Horowitz in later years was also not always "at his best" but which lesson to listen to these artists even when not "at their best"
( In reply to Philip Rostek) ......with you shoulder to shoulder about Cortot. His 1955 Munich recording of the Preludes is far and away the most imaginative rendering of the complete Op. 28 I've ever heard. However, Koczalski's work (at least what I've heard) is certainly a unique and individual vision of Chopin. On the other "hand", Rosenthal is in on the same pipeline to Chopin though on his own frequency........nobody else dares to play the B minor Prelude (which every second year piano student has mauled for the last 175 years) so slowly. And the G major is second to none, not even de Pachmann or Koczalski. He used to listen to Liszt play for hours at the Villa d'Este and it shows. And nobody wil ever better the handful of Etudes that Josef Lhevinne recorded. That's my two cents for now. Peanut gallery signing off.
Hi, I love the Cortot preludes, Horowitz didn't play them because he opined that he could not surpass Cortot in the preludes... Some of the finest playing ever recorded. And the pianists that you mentioned are favorites of mine, too! - such a great tradition. - Phil.
Etudes op10 and op25 by Cortot ( 1933 and 1944 at London ) are more a reference , not possible to compare with others pianist ( dixit show radio ) a few years ago by " France Music j remember , also complete preludes op28 ( dixit Alfred Brendel ) are incomparable : there is in complete etudes and Preludes Cortot and after the others : an example who plays op25 -12 as Cortot ? J listened etudes and Preludes since 1958 and others . An answer why Rubinstein did't not recorded complete Etudes-Chopin ? J' m not an answer
@@alainspiteri502Cortot didn’t record in London during the war but in Paris . The London recording of the op 10 and 25 are from 1933(10)and1934(25) . The Paris recording is from 1942.
For me " La Tarentelle " by Cortot is magic , an unreal lightness , all the genius of Cortot is here . J prefer in first étude op10 and op25 by Cortot recordings ( 1933 and 1944 at London ) but for one time in " les nouvelles etudes " it 's Rubinstein , Cortot plays too fast the three posthume etude , it seems .
Lovely feeling. Cortot was never a top technician, and it shows in #2 (actually #3, oddly out of order here), in which he ignores the Etude aspect which makes the right hand so difficult -- lower line detached, upper line legato.
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I just love Cortot's elasticity on his melody's pacing on the Etude no.1. And how he plays it not too slow.
Cortot conveys beautifully the intrinsic poetry of these Trois Nouvelles Etude especially no.1. These exquisite works deserve to be heard more frequently.
Divinely beautiful....irresistible! What a melodist. His recordings of Debussy with Maggie Teyte are incomparable. The man understood singing.
There will never be another Cortot
Fantastic!!
What a wonderful pianist!!!! These etudes really highlight Chopin's unique harmonies to the full, even more so than the Op10 and Op25 sets.
@abidoful not at his best? c est magique.... Cortot was a great musician. And a great teacher.
His importance is depassing all we know. Even Horowitz did take a close look on Cortot as he wanted to understand his secrets. Horowitz in later years was also not always "at his best" but which lesson to listen to these artists even when not "at their best"
These are such beautiful pieces, and not as well-known as the Etudes op. 10 & Op.25. Many thanks for posting.
Thanks for uploading these recordings.
Marvellous version! Thanks for uploading it.
( In reply to Philip Rostek) ......with you shoulder to shoulder about Cortot. His 1955 Munich recording of the Preludes is far and away the most imaginative rendering of
the complete Op. 28 I've ever heard. However, Koczalski's work (at least what I've heard) is certainly a unique and individual vision of Chopin. On the other "hand", Rosenthal is in on the same pipeline to Chopin though on his own frequency........nobody else dares to play the B minor Prelude (which every second year piano student has mauled for the last 175 years) so slowly. And the G major is second to none, not even de Pachmann or Koczalski. He used to listen to Liszt play for hours at the Villa d'Este and it shows. And nobody wil ever better the handful of Etudes that Josef Lhevinne recorded. That's my two cents for now. Peanut gallery signing off.
Hi, I love the Cortot preludes, Horowitz didn't play them because he opined that he could not surpass Cortot in the preludes... Some of the finest playing ever recorded. And the pianists that you mentioned are favorites of mine, too! - such a great tradition. - Phil.
Etudes op10 and op25 by Cortot ( 1933 and 1944 at London ) are more a reference , not possible to compare with others pianist ( dixit show radio ) a few years ago by " France Music j remember , also complete preludes op28 ( dixit Alfred Brendel ) are incomparable : there is in complete etudes and Preludes Cortot and after the others : an example who plays op25 -12 as Cortot ? J listened etudes and Preludes since 1958 and others . An answer why Rubinstein did't not recorded complete Etudes-Chopin ? J' m not an answer
@@alainspiteri502Cortot didn’t record in London during the war but in Paris . The London recording of the op 10 and 25 are from 1933(10)and1934(25) . The Paris recording is from 1942.
great versions, thanks for posting !
Oh Cortot, you are hiding your own melancholy while playing Chopin's.
Alfredo Cortot gracias por. dedicar tu vida a corregir. lo que estaba. copiado a mano con errores. ( La imprenta ? no se había inventado. ❤
Se sabio mas alla del talento. 🎹🎶🎶❤️🩹 🇲🇽🙏🏻
gotta love Cortot's playing.
As good as it gets.☺
For me " La Tarentelle " by Cortot is magic , an unreal lightness , all the genius of Cortot is here . J prefer in first étude op10 and op25 by Cortot recordings ( 1933 and 1944 at London ) but for one time in " les nouvelles etudes " it 's Rubinstein , Cortot plays too fast the three posthume etude , it seems .
Lovely feeling. Cortot was never a top technician, and it shows in #2 (actually #3, oddly out of order here), in which he ignores the Etude aspect which makes the right hand so difficult -- lower line detached, upper line legato.
1:52
🇮🇷 ❤️❤️❤️❤️❤️❤️❤️❤️❤️😍 😂
Grande entre los grandes. 😅
wie anders klingt das bei cortot als bei ALLEN anderen ! unbeschreiblich!!!
Oh race version
Listen to Rubinstein
Falls far short of Rubinstein's interpretation.