César Franck - Prélude, Aria et Final

[@hervich]

Sublime interprétation du maître Cortot.

[@Marsmallos]

I love this work and recording so much!

[@mckernan603]

Aria section starting 11:48 is remarkable

[@Lerkovac]

Souvenir,souvenir,dit is inderdaad het werk waar ik mijn eindwerk moest over maken.

[@olla-vogala4090]

+Brigitte,Françine,Elza,Elvire Leirens Weet u nog wat uw bevindingen waren, hoe het stuk zich verhield tot andere Franck stukken bijvoorbeeld? Dank voor uw comment!

[@Lerkovac]

+olla-vogala Graag wil ik Uw vragen beantwoorden en heb U op Facebook gezocht en niet gevonden.Mijn naam is Brigitte Leirens en hoop U daar te zullen vinden.

[@maartenvanderlek8955]

At the end 'the Prélude's opening theme and the Aria are woven together in silvery rapture'. 13:24 and 19:25. By Cortot very clear. Not in every performance. This interpretation is a legacy!

[@sebastientraglia1351]

My question may be stupid, but why did Glenn Gould (who I don't appreciate) never record these late Franck piano pieces? After all, they are full of masterful and ingenious counterpoint. The complexity of these pieces is exactly the one he said to love exclusively. Did he only ignore them because of his bigoted and blind hate of romanticism?

[@KUBADUPAPUPADUMB]

Actually thats pretty interesting. I googled it and I couldn't find anything. I also wonder why...

[@jdbrown371]

Octaves

[@AlessioAndres]

Shout out to maman Cortot, here

[@gerardbegni2806]

This tryptic is less known than 'Prelude, choral & fugue'. It is indeed less spectacular and even openly less speculative. But by no ways, its quality is lower. Its technical skill and subtleties are less visible, but probably more advanced than in the firt tryptic. All in all, the two works deserve equal attention and should be played more often by various virtuosos who may have very radically different visions of these masterpieces (hear for instance Sviatoslav Richer in 'Prelude, Choral and Fugue').

[@seanfogarty5559]

It's more the more successful piece, to me anyway.