4 жыл бұрын
4 жыл бұрын
Пікірлер
@ivohrudka2164 17 сағат бұрын
Německý nacismus zneužil závěr skladby ke své propagandě...
@PrettyTom-dg7pc 2 күн бұрын
"Ennek a fiatal művésznek a portréját" ezt csak én érzem rossz megfogalmazásnak?
@MariaWilliams-h7e 2 күн бұрын
Davis Steven Perez Charles Thompson Jennifer
@nicksticksrussoofficial6028 5 күн бұрын
10:35
@leventedomosi7516 8 күн бұрын
❤
@ImreKalman-k4r 10 күн бұрын
Tény és való, hogy e felvételen minden idők legnagyobb zongoristája játszik! Aki ezt nem hallja, Isten sem segít rajta...
@78625amginE 15 күн бұрын
There’s a reason he revised it. That’s the benefit of growing older: we fix our mistakes.
@mateuszkozieja7537 16 күн бұрын
Insane
@janosturan7575 17 күн бұрын
Csodás!
@ZoltanSzanthoF. 19 күн бұрын
A zongora nem volt túl jó választás, a hangja miatt, Kocsis brilliáns játéka nem jön át ezen a hangszeren. A rendkívül finom futamok elvesznek...
@Pamela-dv7gb 20 күн бұрын
And in the same concert he played reminescence de norma , such an amazing pianist
@モネ-v1o 27 күн бұрын
懐かしいですね 当時コチシュ派とラーンキ派にわかれ、 金子さんはコチシュ先生から直接教わったのですね どちらかというとラーンキに雰囲気は似ている気がします。 先生のお若い頃の貴重な映像ありがとうございます 圧巻です
@user-oz8ju7xt9u 28 күн бұрын
What a super miracle performance💐🎉G listen everyday repeatm💐🎶
@alessandrotorri8577 29 күн бұрын
Straordinaria tensione e tecnica 🤩
@alessandrotorri8577 29 күн бұрын
Fenomeno assoluto in termini tecnici!😮
@bryanhunnicutt7811 Ай бұрын
Delightful!
@soozb15 Ай бұрын
Cute film. Although I'd happily listen to the score without watching it. I'm old😁
@kofiLjunggren Ай бұрын
Somewhat reminds me of alboreda de gracioso by Ravel
@pierrelangedoc5292 Ай бұрын
Whilst its true that Kocsis was never a strong technician,not by todays standards anyway, he always played with heart and enthusiam which made up for his technical shortcomings.I saw him play years ago and there were fistfuls of mistakes but somehow it didn't matter that much.
@Kris9kris Ай бұрын
Mate, don't spam the same comment under multiple videos. I'm going to delete them if you proceed to do it anyway.
@pierrelangedoc5292 Ай бұрын
Whilst its true that Kocsis was never a strong technician,not by todays standards anyway, he always played with heart and enthusiam as witnessed here, which made up for his technical shortcomings.I saw him play years ago and there were fistfuls of mistakes but somehow it didn't matter that much.
@Kris9kris Ай бұрын
If you saw him post-aortic dissection (aka. after 2012), there is a reason why. His right hand was paralyzed as a result of his surgery, and he had to pretty much "retrain" it from scratch. I think he did a heck of a job under the circumstances.
@pierrelangedoc5292 Ай бұрын
he was never a strong technician,not by todays standards anyway, but he always played with heart and enthusiam which made up for his technical shortcomings.
@Kris9kris Ай бұрын
LMAO, I'd wager you're the first person in the universe to accuse Zoltán Kocsis of having "technical shortcomings."
@RobertTevault-b1n Ай бұрын
Kocsis a is about as perfect a pianist, technically, as they get. Hearing his Chopin waltzes first, before anyone else, warped my opinion forever.
@johnpcomposer Ай бұрын
I guess having one sprechstemming and the other one singing is one way to make sure there's not a tonal harmony to be found. All this effort to avoid tonality...there are times in this opera where it sounds very easy and natural.
@johnpcomposer Ай бұрын
the emphatic drunken sounding singing is both strangely compelling and at times ridiculous...I guess when you are being so serious it's hard to image how easy it is to mock this style of singing. some of it sounds incredibly hard on the human voice.
@marfox23 2 ай бұрын
Irs not too bad but (in my opinion) there is not any rythm change between "A" and "B" theme, they is typical for nocturnes and moato of the A-B-A music
@rht100 2 ай бұрын
Kocsis never ceases to amaze
@Nahoonazzang 2 ай бұрын
24:39 24:39 24:39 24:39 24:39 24:39 24:39 24:39 24:39 24:39 24:39 24:39 24:39 24:39 24:39 24:39 24:39 24:39 24:39 24:39 24:39 24:39 24:39 24:39 24:39 24:39
@roy991010 2 ай бұрын
this rendition is just horrible, horrible, horrible!
@AngeloDeAngelis748 2 ай бұрын
Grandioso Liszt
@levoyageurdenice9894 2 ай бұрын
Magnifique et très mélancolique
@levoyageurdenice9894 2 ай бұрын
Une oeuvre totalement inconnue en France...
@piano2750 2 ай бұрын
could Philips not be persuaded to release this? it's superb.
@tomascostero9962 2 ай бұрын
00:07.
@ultravenia 3 ай бұрын
Now THAT'S presto
@christopherbernhardt 3 ай бұрын
Holy rubato
@Pianistmichelangelo 3 ай бұрын
Strepitoso!!
@lorenzley1324 3 ай бұрын
The best ever and forever is and will always be Horowitz. kzbin.info/www/bejne/oYqkhGN9ob5rZ5Isi=iTRw0TNsgbaDyMpV And that's without any discussion.
@ruramikael 3 ай бұрын
Molnar's vibrato is too much sadly.
@Kris9kris 3 ай бұрын
Agreed wholeheartedly. He makes too much of a point of going for a heldentenor interpretation, and it's completely incongruous, in my opinion, with the rest of the piece. But even with a Wagnerian bent in mind, that dreaded wobble is just too heavy-handed, as you said. You know the saying, you can lead a horse to water, but you can't make it drink. I think the rest of the performance sans Chorus Mysticus makes up for it, though. This is one of those compositions (like the b-minor Sonata) in which if you don't get the pacing and the tempi right, it shatters into a million pieces (hence why none of the famous performances of this symphony convinced me thus far, e.g. Bernstein, Solti, Noseda, Masur, etc...)
@ruramikael 3 ай бұрын
@@Kris9kris Bernstein is good, but too slow Gretchen movement. My favourite is Dorati. I don't care about the others.
@ruramikael 3 ай бұрын
SO far amazing (I'am halfway through the 1st movement). It must be released on a CD!
@ruramikael 3 ай бұрын
Perfectly paced 2nd movement as well.
@Mazeppa2568 3 ай бұрын
La campanella on liszt own piano 😮 i will use coda part
@claudioparrella183 3 ай бұрын
mi dispiace dissentire dagli altri commentatori ma questa esecuzione appare una rapsodia piuttosto che una parafrasi d'opera
@djsuia1265 2 ай бұрын
su cunn’e mammarua
@Kris9kris 3 ай бұрын
TIMESTAMPS: I. Faust: 0:00 II. Gretchen 25:58 III. Mephistopheles: 44:12 (Chorus Mysticus) 59:53
@scuunjieng 4 ай бұрын
many thanks. i am sorry that while i have some of his recordings, i never got to see the Maestro live.
@philipcarli3718 4 ай бұрын
I'm glad to hear these, but the transfers seem "overprocessed". Granted, there's considerable surface noise reduction, but upper frequencies are lost when that is pushed too far. Myself, I can live with surface noise if the piano sound has more "zing". Acoustical recording has a limited frequency range to begin with, and lopping off the top - which contains most of the "sizzle" that bothers people not accustomed to early recordings - actually limits the bottom frequencies as well, which the process caught in, at best, a restricted way as well. Hearing Chaminade's discs largely "untreated", except for stylus size and minimal noise reduction, is rather astonishing and much more impressive than what is presented here. For one thing, they are piano recordings _from 1901_ that are quite vivid, thanks to the original engineering by the Gramophone & Typewriter Company's Will Gaisberg. (The company, later HMV, was only 2 years old at this point.) Chaminade's articulations are not only clearer, but the tone she pulls from the instrument is distinctive. What's more, the piano was an upright! - that was all they had at G&T's Maiden Lane studio, where Chaminade recorded (they moved premises in 1902), and it was placed with its soundboard quite close to the recording horn. The upright must have been a very good one, because Chaminade's characteristically French "pearly" touch registers well and in her more aggressive passages the bass has good resonance. She seems to have made no allowances to the recording equipment in terms of either delicacy or power - she just played as she would anywhere, and that speaks volumes for the original equipment and Gaisberg's expertise. I'd like to hear these sides in a way that is less restricted by sonic alterations that unduly adulterate the original recordings.
@Kris9kris 4 ай бұрын
You have a great point. The only way to remove the surface noise is with EQ; even high-end denoising equipment today that purports to be cutting-edge is just cleverly disguised EQ (or so my audio engineer friend says). It’s a zero-sum game still. Unfortunately for us, the only way to hear these recordings as they were at the turn of the century is to obtain an original 78rpm shellac disc because the only digital transfer of these records (AFAIK) is the one I uploaded (made by Pierian Recording Society).
@amirhosseinlashkari 4 ай бұрын
I enjoyed it! ❤ Thank you🎉
@PlanetmusicFmax 4 ай бұрын
One of the best performance of D959!
@zsigmondlaszlodavidszabo417 4 ай бұрын
super!
@reifoxey4329 4 ай бұрын
たまに無性に聴きたくなるきょく💕🎹🎧✨
@bababubu-j5g 4 ай бұрын
It's only a small hall in Baden-Baden with a capacity of 200-300 spectators, that's why the applause is so big...However, the "peché" of the piano performance art was created here and then, the most perfect Liszt replica of this piece. I am convinced that only a Hungarian artist can perform a Liszt piece authentically. Kocsis, as a 4th-generation Liszt student and descendant, carries Liszt's genes in his genes, which makes a Hungarian pianist's Liszt performance inimitable. They can be called Horovitz, Richter, Rubinstein, etc., but they lack this "plus", everything is written in the sheet music, everything can be perfectly learned, but the inner state of mind required for the performance of the piece formulated by Liszt cannot be described in the sheet music. It either comes from within or it doesn't. That's all...
@chiquibolso2342 4 ай бұрын
No se entiende porque esos aplausos tímidos....gran ejecución de una pieza dificilísima...Bravo Maestro!!!!!