Maravilloso , cuanto placer escuchar a estos grandes pianistas ,,,y de Mozart no tendría palabras ni conocimiento para expresar lo que siento oyendo su música . Sólo darle las gracias por por el gran regalo que dejó a la humanidad
You can see the influence of their teacher in all of the mannerisms and style. Martha must fell like she is playing with Gulda again. She said that she could anticipate what he was feeling with only a gesture.
Thank you! It `s simply wonderful ! Great pianists ! Besides. I love Mozart so much! It`s a pity that so few people are able to enjoy really this music today!
UNA ACTUACIÓN SENSACIONAL DE LOS GÜLDA CON LA GRANDE MARTHA ARGERICH. SIEMPRE LA IMPRONTA DEL GENIO DE MOZART, QUE INCLUYE CON LA CADENZA DEL FINAL, EL TEMA SUBLIME E INTIMISTA DEL 2° MOV. DEL CONCIERTO PARA PIANO Y ORQ. N°21 K. 467, PARA DESARROLLARLO Y CORONARLO CON EL TUTTI... ¡ BRAVO !!!
The quotation of the second movement of the Piano Concerto Nr. 21, at the end of the finale of this one, and the way how it is developed, has kept me on the edge of my seat. Only Mozart could do something like that. Thank you for sharing this beauty.
Well said! Martha Argerich is, in fact, one of the very few musicians who can read a new musical score as we read a book and commit it to memory straight away. Her formidable technique requires very little practice as we understand the word, to maintain. And as you correctly say, she will be using the score here for reasons other than a fickle memory.
Albert Sobczak At Mozart's time, Germany did'nt exist as a unified state. On the other hand, there was a german culture. From this point of view, one can say that Mozart was a "german" musician. One thing is certain : he was not austrian. He's born in Salzburg, a city which didn't belong to Austria in the 18th century but was more or less independant. It's only in 1805 that Salzburg has become austrian, that is 14 years after Mozart's death.
Michael Harvey. The Cadenza is a typical example of what was one of the great gifts of Gulda, a speciality. Watch interview with Martha and Gilda’s Donna
The soloists are not "sight reading". They clearly know the music and feel it deeply. They are using the scores (which seem to be full orchestral scores) to synchronize with each other and with the orchestra, not an easy task with 3 pianos!!
Unfortunately, that is often the case during concerts - as soon as a piece or movement is over, everyone starts coughing. I'm always wondering why they don't simply keep it in 'til after the concert, if they can hold it for the duration of the movements....
Mozart Concert for 3 pianos - интереснейшее произведение для исполнителей: пианистов, оркестра, дирижера и слушателей. Моцартовская легкость, изящество, мелодичность, полетность пронизывают все три части концерта, оркестр добавляет в эту хрупкость устойчивый и более яркий фундамент. Появление мелодии второй части из Concerto 21 в финале радует слушателей, но, на мой взгляд, снижает его динамическую устремленность, цельность трехчастной композиции.
I think possibly you are confused about terminology. "Sight reading" means to read at sight - that is to play on seeing the music for the very first time. It does not mean merely having the music in front of you. It usually takes many hours of practise and analysis before the music can be dispensed with. Richter in his later years lost confidence in his memory and, even for pieces he knew and had played 100's of times before, had the music in front of him. He was not 'sight reading'
Thank you very much for this rare and wonderful recording. Another interesting recording of this piece by Solti, Barenboim and Schiff: th-cam.com/video/3ztEjqpSaJA/w-d-xo.html Solti is both playing and conducting :)
Martha plays with a page-turner , and every proffessional paianist does it in order to read and hear the other(s) are playing, not nacause of lack of memorisation.
I think all these people here fighting, makes the purpose of art go stupid. There is not right o wrong way to make things, to play, there just exists different points of view, different kind of performances. Of couse some works had more quality than others, but when we closed our minds so hard trying to attack the others, we should ask ourselves what is really going on inside of us. By the way, I think these concert is beautiful.
I noticed that at the intervals between the movements, many people start to cough. How do they cough at such a right time. Was they able to hold the cough and then burst them out when the players stop between movements?
The cadenza mostly derives from Friedrich Guldas “Aria” and some piece of Mozarts Elvira Madigan theme. The players do not succed with playing it . It sounds clumpsy !
OMG arguing about sheet music - this is a concerto for THREE pianos - the coordination is critical which is also why the orchestra plays with music stands..
the steinway monopoly must be broken. This is not uncommon in professional players used to playing Rach and Chopin; music that doesn't seem very technically challenging they say, "oh there's nothing to practice, I can pull this off," ESPECIALLY for music like Mozart. It makes for shabby performance.
Not using a score in performance is a relatively modern affectation. Chamber musicians universally play with music and those pianists included in chamber performances never play from memory.
Regretfully, the cadenza (for me) was an inappropriate distraction from an otherwise lovely performance. It seemed a poor idea to borrow the haunting theme from the 21st concerto and variate it so poorly. (The theme that is irritatingly referred to as "the Elvira Madigan")
Ironically, Martha is the only one keeping the tempo with the conductor. The brother sitting next to her is trying to conduct the entire performance, and if this were a true reenactment, he probably would be conducting the piece but he seems to be fighting against the true conductor.
Yes, I agree who composed this cadenza ..... not Mozart I`m sure.! The cadenza was amateurish and sounded like a jazzy piece that did not fit into the concerto .The performance also lacked the sparkle and brilliance of this Mozart concerto.
No professional pianist would turn up to attempt to sight read at a concert. It would be far too risky and also immensely disrespectful to their colleagues, - this is how they earn their living. There is a difference between having learnt how to play a piece and having memorised it
Fort bien, mais il faudrait que ces MM. Gulda apprennent à s'habiller non seulement pour faire des emplettes, mais aussi pour venir en scène. Mes deux maîtres, George Georgesco et Sir John Barbirolli les auraient envoyés à la maison, se changer.
22:43 surprised me!! The moment when I heard it, I doubted my ears.(I thought it occured an error.) Frankly, I'm still feeling awkward. But good try. This is a piece of CLASSICAL MUSIC. But this kind of new playing makes it be not classical. That's why we love CLASSICAL MUSIC!!
Silly myths often spread about people and pianists are no exception. Isn't it enough to know that they play the piano extremely well wthout believing that they do it by magic!
Maravilloso , cuanto placer escuchar a estos grandes pianistas ,,,y de Mozart no tendría palabras ni conocimiento para expresar lo que siento oyendo su música . Sólo darle las gracias por por el gran regalo que dejó a la humanidad
You can see the influence of their teacher in all of the mannerisms and style. Martha must fell like she is playing with Gulda again. She said that she could anticipate what he was feeling with only a gesture.
The second movement is astral -unearthly the unique gift that is Mozart
Thank you! It `s simply wonderful ! Great pianists ! Besides. I love Mozart so much! It`s a pity that so few people are able to enjoy really this music today!
Un concierto muy rara vez ejecutado o difundido. Una joya escondida. Vale la pena oirlo varias veces
Quando gli interpreti si divertono, sempre viene fuori qualcosa di eccezionale!
Un bijou! Et le joueurs du piano sont, tous le trois, de grands interprets.
Dextérité, passion, émotion. Quelle maîtrise. Mozartien comme il se doit.
Thanks again for this Wonderful Mozart Treat.
Loved every note of it! Thank you.
Very interesting, beautiful and rare. I enjoyed.
Great moments... rare... Perfection...Thank you!
Great playing from all!
I really enjoy this performance,:) thank you
Thank you for this video.
Amazing!
Bucharest, Roumanie
Bravo! La pieza de Gulda en la cadenza final es hermosísima!
Coincido es sublime, estimo que es la mejor interpretación de este concierto
@@irisballestrasse4575 Verdad? Muy conmovedora.
The brothers make an own cadenza in the last two parts, amazing good.
Merveilleux trois pianos phantastique,bravo aux pianistes!!!!!!!!!!!!!!
UNA ACTUACIÓN SENSACIONAL DE LOS GÜLDA CON LA GRANDE MARTHA ARGERICH.
SIEMPRE LA IMPRONTA DEL GENIO DE MOZART, QUE INCLUYE CON LA CADENZA DEL FINAL, EL TEMA SUBLIME E INTIMISTA DEL 2° MOV. DEL CONCIERTO PARA PIANO Y ORQ. N°21 K. 467, PARA DESARROLLARLO Y CORONARLO CON EL TUTTI... ¡ BRAVO !!!
Gracias por tu comentario. Descubrí este concierto y me sacudió. Desconocía que los hijos de Gulda habían heredado su genio.
This piece is very similar to the main motives of Don Giovanni. Splendid, charming, heavenly, eternal.
SIMPLEMENTE MARAVILLOSO !!!!!!!!!!!!!!!!
The quotation of the second movement of the Piano Concerto Nr. 21, at the end of the finale of this one, and the way how it is developed, has kept me on the edge of my seat. Only Mozart could do something like that. Thank you for sharing this beauty.
It’s hard to quote something that won’t be composed for another ten years.
EXCELENTE, FANTASTICO
Well said! Martha Argerich is, in fact, one of the very few musicians who can read a new musical score as we read a book and commit it to memory straight away. Her formidable technique requires very little practice as we understand the word, to maintain. And as you correctly say, she will be using the score here for reasons other than a fickle memory.
It is simply beautiful!
Прекрасное исполнение! Спасибо за интересную запись!
FANTASTIC TRIO OF PIANIST IN A MASTERPIECE FROM THE GERMAN GENIUS
Albert Sobczak
At Mozart's time, Germany did'nt exist as a unified state. On the other hand, there was a german culture. From this point of view, one can say that Mozart was a "german" musician. One thing is certain : he was not austrian. He's born in Salzburg, a city which didn't belong to Austria in the 18th century but was more or less independant. It's only in 1805 that Salzburg has become austrian, that is 14 years after Mozart's death.
TheJORDIGRAU
Jose Carranza Mozart was an Austrian, but then again so was Adolf Hitler. This music is called "Germanic".
A masterpiece indeed, with an extraordinary surprise 3 piano solo towards the very end. Michael Harvey, Luxembourg
Michael Harvey. The Cadenza is a typical example of what was one of the great gifts of Gulda, a speciality. Watch interview with Martha and Gilda’s Donna
the second movement is music box enchantement
I like so much! Thanks!!
super, danke
Ein gutes video das
Questo è puro Jazz, per tre pianoforti. Che fenomeno paranormale è W.A.Mozart.
Soy de Chile🇨🇱❣️FELICITACIONES...bello Concierto. Lo he deleitado varias veces ...maravilloso 👏👏💌
i love you Wulfie...!!
Great Performance. Many Thanks. I hear Friedlish Gulda was the teacher of Martha Argerich. The two genlemen pian are sons of Prof. F Gulda?
Yes, are his sons, Paul and Rico Gulda
Interesante concierto. No lo había escuchado
The soloists are not "sight reading". They clearly know the music and feel it deeply. They are using the scores (which seem to be full orchestral scores) to synchronize with each other and with the orchestra, not an easy task with 3 pianos!!
beautiful....
To sight-read this would be a feat all in itself.
Not really. Depends upon the technical level of the musician.
YES, MOZART, AT THAT TIME ,WHILE LIVING IN AUSTRIA, WAS GERMANY
Gulda brothers: like father, like sons
:)
Nourishment for the #mindbodyspirit from this wonderful Grand Dame of the 20th Century #piano #mozart #Argerich
excellent
HERMOSO
This fragment owns to Friedrich Gulda's aria. You can hear it right here in youtube. ;) I love classical music too :)
thanks for your corroboration :) also for the tip
Unfortunately, that is often the case during concerts - as soon as a piece or movement is over, everyone starts coughing. I'm always wondering why they don't simply keep it in 'til after the concert, if they can hold it for the duration of the movements....
Mozart Concert for 3 pianos - интереснейшее произведение для исполнителей: пианистов, оркестра, дирижера и слушателей. Моцартовская легкость, изящество, мелодичность, полетность пронизывают все три части концерта, оркестр добавляет
в эту хрупкость устойчивый и более яркий фундамент. Появление мелодии второй
части из Concerto 21 в финале радует слушателей, но, на мой взгляд, снижает его динамическую устремленность, цельность трехчастной композиции.
Thanks!
現在演奏中の作曲家の楽曲よりも別の作曲家の楽曲を案内して欲しいと思います。ありがとうございます。
Indeed. Memory is tricky thing.
After minute 22, it seems to listen to the music you would likely listen to when entering Heaven (if there was one).
Have you any doubt about the existence of eaven? Poor you!
@@jeanghika7653 yes Jean, I would like to believe in Heaven but I do not believe in it, not even in hell or purgatory. 🙄
Showing up with memorized music wasn't until the 19th century and chamber performances are often done with the aid of sheet music.
Paul Gulda is a look a like from the famous pianist and director Christian Zacharias.
qui est le troisieme pianiste? (bros signifie frere...je reconnais pas f gulda ???????
Son los dos hijos de Gulda.
I think possibly you are confused about terminology. "Sight reading" means to read at sight - that is to play on seeing the music for the very first time. It does not mean merely having the music in front of you. It usually takes many hours of practise and analysis before the music can be dispensed with.
Richter in his later years lost confidence in his memory and, even for pieces he knew and had played 100's of times before, had the music in front of him. He was not 'sight reading'
Thank you very much for this rare and wonderful recording. Another interesting recording of this piece by Solti, Barenboim and Schiff: th-cam.com/video/3ztEjqpSaJA/w-d-xo.html Solti is both playing and conducting :)
Martha plays with a page-turner , and every proffessional paianist does it in order to read and hear the other(s) are playing, not nacause of lack of memorisation.
I think all these people here fighting, makes the purpose of art go stupid. There is not right o wrong way to make things, to play, there just exists different points of view, different kind of performances. Of couse some works had more quality than others, but when we closed our minds so hard trying to attack the others, we should ask ourselves what is really going on inside of us. By the way, I think these concert is beautiful.
Wo und wann wurde die Aufnahme gemacht ? Wer war der Dirigent ? Bitte die Grundinformationen immer mitliefern !
Unless you're a jazz player, then that is quite common (aka unexpected gigs)
I noticed that at the intervals between the movements, many people start to cough. How do they cough at such a right time. Was they able to hold the cough and then burst them out when the players stop between movements?
The cadenza mostly derives from Friedrich Guldas “Aria” and some piece of Mozarts Elvira Madigan theme. The players do not succed with playing it . It sounds clumpsy !
OMG arguing about sheet music - this is a concerto for THREE pianos - the coordination is critical which is also why the orchestra plays with music stands..
I go to quite a lot of concerts - I've never seen a orchestra without music stands - orchestral players are not expected to memorise scores.
muy bueno
the steinway monopoly must be broken. This is not uncommon in professional players used to playing Rach and Chopin; music that doesn't seem very technically challenging they say, "oh there's nothing to practice, I can pull this off," ESPECIALLY for music like Mozart. It makes for shabby performance.
Was one of them afraid of missing their train?
So true!
Not using a score in performance is a relatively modern affectation. Chamber musicians universally play with music and those pianists included in chamber performances never play from memory.
Although in their earlier years, Quartetto Italiano played without music ("the score".)
Simply wrong
22:42 did he borrow this from himself. I thgouth this was piano concerto 21 2nd monvemt.
0:45
Brain says "Great": Thanks.
12:17 the mundane melts into transcendant landscapes
KV 242 ?
Regretfully, the cadenza (for me) was an inappropriate distraction from an otherwise lovely performance. It seemed a poor idea to borrow the haunting theme from the 21st concerto and variate it so poorly. (The theme that is irritatingly referred to as "the Elvira Madigan")
GRAN COMPOSITOR DICE JORGE ALBERTO BARON
Sight reading is sight reading
MAESTRO DE MAESTROS MOZART DICE JORGE ALBERTO BARÓN
Ironically, Martha is the only one keeping the tempo with the conductor. The brother sitting next to her is trying to conduct the entire performance, and if this were a true
reenactment, he probably would be conducting the piece but he seems to be fighting against the true conductor.
that is completely different.
but these professionals did very well don't you think?
Agrego: la filmación no es buena. Pocas cámaras, mal ubicadas. Más para oír que para ver
Yes, I agree who composed this cadenza ..... not Mozart I`m sure.! The cadenza was amateurish and sounded like a jazzy piece that did not fit into the concerto .The performance also lacked the sparkle and brilliance of this Mozart concerto.
+Roland Scharenguivel It's Gulda composing this! Did you hear that was Gulda's For Paul in the cadenza? Just amazing to see Paul himself playing it!
+Roland Scharenguivel At 20:36
No professional pianist would turn up to attempt to sight read at a concert. It would be far too risky and also immensely disrespectful to their colleagues, - this is how they earn their living. There is a difference between having learnt how to play a piece and having memorised it
🙂🙂🙂
Why the heck would you sightread something at a concert?
She just had it there for security.
Try getting three "artists" in the same place at the same time. The Gulda boys are no amateurs. Rehearsal time is very sparse.
Get a stereo system or perhaps go for audiometry
This is in japan, and the primary pianist is Martha Argerich. Don't be a racist.
Gulda's student and sons
Fort bien, mais il faudrait que ces MM. Gulda apprennent à s'habiller non seulement pour faire des emplettes, mais aussi pour venir en scène. Mes deux maîtres, George Georgesco et Sir John Barbirolli les auraient envoyés à la maison, se changer.
🎶☺️♦️🥀
who's the baton's?
22:43 surprised me!! The moment when I heard it, I doubted my ears.(I thought it occured an error.) Frankly, I'm still feeling awkward. But good try. This is a piece of CLASSICAL MUSIC. But this kind of new playing makes it be not classical. That's why we love CLASSICAL MUSIC!!
Silly myths often spread about people and pianists are no exception. Isn't it enough to know that they play the piano extremely well wthout believing that they do it by magic!
3
most of the violinists
Rico Gulda is half asian.
If this were a Rachmaninoff composition, we would barely hear the orchestra...
Could a European play :Keto" as good as a Japanese?....well,think
who in the video is Asian?