Chopin Etudes op. 10 - Alfred Cortot (1933)

[@789armstrong]

Horowitz in his later years said "sometimes you have to miss a few notes to get it right".

[@miamargareta9997]

If the options are playing correctly or taking risks and making it more interesting Cortot really chooses the later with a great success,even the choises are often very individual 🌹

[@ccdrz]

He’s also accenting different harmonies but yeah

[@ciararespect4296]

Haha yea he missed plenty especially older he was rubbish then

[@christopherczajasager9030]

Most today play the notes and miss the music😢.

[@christopherczajasager9030]

​@@ciararespect4296his " rubbish" ...surpasses the pedestrian poverty of most playing today😅

[@stephenhill2404]

Cortot was a genius. So much passion and emotion. I don't care about a few wrong notes, it's like a live performance.

[@santiagol365]

It’s also worth noting that all of these pieces were recorded back-to-back in one take because of the recording technology of the time. Still sounds amazing for 1933.

[@gabriele6596]

He was nazi

[@fredericfrancoischopin6971]

@@gabriele6596 who care?

[@geiryvindeskeland7208]

Stephen Hill, I don’t care for a few mistakes. It more serious that Wim Winters And Bernhard Ruchti play this etudes wrong from the very first to the very last note, because they play the etudes way too slow.

[@sundayoliver3147]

Yes, my feeling as well. I love that he cares for the musicality more than the technicality-- and yes, recording techniques then were primitive. Thanks santiago for the info that they were al back-to-back and in one take. i

[@nickk8416]

Just maybe the best Chopin interpreter of them all. All the inner lines and accentuations he brings out so clearly. These are really good! Superb Chopin playing.

[@fabiopalma4429]

Music above everything! Can't get enough of such poetry! Alfred Cortot ❤

[@thecozytrader00]

That control on op.10 no.2 is super human. My favorite interpretation on it, alongside with Cziffra!

[@kaareej]

omg that nr.5 is amazing. the clearity of every note in the right hand is something ive never heard before.

[@leongunnyli6059]

King of rubato. So thick, full of emotion.

[@g.lucchio5660]

so true.

[@subplantant]

It's the Romantic apotheosis of Mozart's "flow like oil" ideal.

[@miamargareta9997]

It really sounds he s having the time of his life in number5 🙂 The ode for joy of playing the piano ❤️

[@johnrenehan7406]

He is one of the great pianists from yesteryear There is a type of exhilarating , raw freedom but, still subtlety in his playing - magic

[@donstefanogreco4276]

sono commosso..sto riscoprendo l'arte di Cortot grazie a questi contributi. Anche gli ...errori sono belli con Cortot!

[@sergiocattapan1192]

Errori o meno, riesco ad ascoltare felicemente Cortot, perché altri mi possono anche creare nausea

[@AlexanderArsov]

Cortot's finest Chopin hour. By far. He was a great artist in miniature, not so much in the large-scale works which he had serious trouble holding together. But those Etudes are staggering stuff. Just listen to the most famous of all, No. 3, the slight stretching of the main theme in the climaxes of the outer sections. I suppose this is what the elusive word "rubato" means. It can easily go out of hand, but in this case, in each and every etude (including Op. 25 which Cortot recorded on the next year), the effect is brilliant. Alas, it cannot be taught. Alas, again, nobody today even tries to teach it. What a shame so many people still complain about the wrong notes in this recording, as if Chopin's Etudes are nothing more than technical exercises!

[@jerimiahotto3993]

Dr. Robert Hill teaches rubato and tempo rubato at the university of colorado boulder.

[@dr.brianjudedelimaphd743]

The wrong notes in all his performances makes the performances sound more alive -- brilliant

[@shandfan]

@@dr.brianjudedelimaphd743 In all of his performances? It mainly occurred in the technically easiest pieces,such as waltzes,mazurkas.I have got an old 78 record with Liszts 2nd Rhapsody,played by Cortot.Technically hard enough to avoid those "lapses"And he DID!.Or...please.... go to his Chopin Ballads,notably the 4th op 52. There you can also convince yourself.And yes....the early 30s one could not yet cut and replay a passage with lapses.Either ignore the passage or make the whole thing all over.Or....with regard to other works on 78...the awfully high tempo.Necessary to fit on the record.And..believe me...hearing Magaloff playing LIVE Chopin mazurkas...it also was teeming with lapses. I myself did not play piano for 10 yrs. Did loose several things,but unison scales proved to be still there!!! Due to having trained to it for times on end!

[@walpolenut5351]

Interesting remarks

[@sundayoliver3147]

@@shandfan Yes, if I recall, the limit for recording then was 2 minutes. Segovia talks about this in recalling his early recordings.

[@hannastaszak1684]

Chopin to najpiękniejsza spuścizna dla ludzkości. Wspaniałe wykonanie, bardzo dziękuję. ♥️

[@pelegrino791]

In every piece of Chopin he plays, we can feel the passion burning even if there some false notes here and there.

[@victoreze8725]

This is really beautiful..... Fantastic performance 🙌

[@jonathanlim7091]

really love the variety of colors cortot draws from the keyboard

[@goognamgoognw6637]

Early twentieth century Pleyel, not Steinway & S ...

[@VladVexler]

Playing of unsurpassed genius. Characterisation, rhythmic strength, transitions, distribution of distinct voices - all makes me want to get on my knees and thank heavens, or luck, for throwing up Cortot.

[@lucas__machado]

This is just too good. This IS music, this is life

[@therightmusic7639]

The best rendition of these beautiful and indispensable etudes I have heard. Bravo Maestro Cortot!!

[@shandfan]

In some sense Cortot is not to be surpassed.

[@sagar1992]

Omg I like how cortot accents the D# in the left hand of the op. 10 no. 12 etude. It makes the performance so much more remarkable.

[@alainspiteri502]

J agree but Chopin wrote " crescendo " so Cortot put accent

[@malummors3089]

I think you mean the e flat 🤓

[@davisatdavis1]

It warms me when I hear pianists in Chopin arpeggiate chords by going from the bottom note to the very top and not both hands at the same time. That's how you're supposed to do it in Chopin. You get an entire swarm of it in no 11.

[@elisabetta594]

This is what we call magic

[@victorwalters6812]

Cortot was such a “mad” genius! My Love Forever!

[@fabiopalma4429]

So many people speaking about the No 1 but no one speaking about the perfect No 5. Never heard anything like this

[@johnrenehan7406]

👌👌👌and you wont hear playing from any pianists today like this - he is unique

[@RogerBesst]

No. 5 is absolutely amazing!

[@joelmacinnes2391]

I rarely notice his technical errors, and they don't nt take away from anything!

[@CarmenReyes-em9np]

Gracias por lo imposible pará mi ,,,🎹🥇🇮🇷

[@CarmenReyes-em9np]

Gracias Cortot por correjir lo errore cuando llegaban los estudios mal copiados. Yuçatan Mejico.

[@lorraineprieur]

Mes racines que j'honore... Yvonne Hubert (mon professeure , élève de Cortot) oh! comme je reconnais l'esthétique, le style et la grande subtilité ... INSPIRATION jusqu'à mon dernier souffle!!!

[@sarahheger5612]

Feel the nervous energy! Even though he has technique to burn, Cortot makes the Etudes sound like everything else by Chopin and not just dazzling exercises. Even in the Etudes, Cortot gives us the soul of Chopin. Only Cortot! The greatest Chopin played EVER.

[@elishafer4447]

+Farah Beal What about Chopin?

[@aramzulumyan6380]

What about С major?

[@iliatsiklauri3868]

Yes Yes and Yes! Its chopin!

[@odiajulius2349]

Ever heard of Leopold Godwosky ? He even went ahead to re-write the Opus 10 etudes Cortot is great but I think Godwosky and Alcardi volodos trumped Cortot

[@iliatsiklauri3868]

yes he gives a soul of chopin

[@meredith218461]

There was only ever one Cortot, an interpreter with huge insight and imagination. Somehow the odd blemish and technical inaccuracy does'nt matter in the face of such noble and ardent playing. Incidentally I would urge YT followers to listen to the young Russian Zlata Chocieva, her recent recording of the Etudes simply has everything artistically. Great musicality, technical brilliance allied to supreme control. We rightly venerate iconic figures like Cortot, nevertheless outstanding new recordings should also be recognised.

[@AndrewWuMusic]

Hi, I have his version of the etudes, and I can confidently assert that you are completely wrong about his "without musical context". Furthermore, it appears that you yourself do not play the piano seriously, so I would advise everyone reading to please ignore this troll. Thanks!

[@meredith218461]

Andrew Wu Indeed, I have had my run - ins as it were with the abusive Meta Art. To state that a Cortot performance is ''without musical context'' is simply astounding and insulting to the memory of this legendary artist.

[@AndrewWuMusic]

"In his “Rational Principles of Piano Technique”, he produces abstract exercises to be done without musical context. The same mistake done by all the piano pedagogues of the 19th and early 20th century. There is nothing rational in these exercises. " Quoted from you in the comment right above mine.

[@AndrewWuMusic]

***** And yet he plays piano far better than you ever could...? Perhaps you should reconsider, and perhaps he knows more about piano technique and piano musicality than you ever will, being one of the greatest Chopin interpreters of all time? Your arrogance is astounding.

[@goognamgoognw6637]

andrew Wu , a chinese being insultant and ignorant.

[@silviacervellati4290]

Che musica! E che interpretazione fantastica!

[@tommasoschioppo8709]

Hai ragione Silvia

[@MrGer2295]

Beautiful! Thanks for posting!

[@cosainsegnarealmentelatorr4532]

questa è....bellezza, non fredda tecnica.GRAZIE!!

[@silabayir]

he has the best articulation.

[@joseluizfrancis-cresciment6747]

Very Good! Cortot is the best!

[@ccdrz]

Wow the way he plays this

[@Palestrina-us8sv]

12:15 is one of the most beautiful ideas I've ever heard.

[@gorgiasromero4647]

master for ever...pure MUSIC

[@carloseduardobarrosrodrigu6318]

The Best i heard

[@alainspiteri502]

We listen Cortot since 90 years , he recorded " le carnaval op9 " Schumann in 1928 ( unsurpassable with him , except Rubinstein ) . How many pianists who play to day will be listened in 2108 ? Several Masterpieces by Alfred Cortot are Immortal as Frédérick Chopin

[@alainspiteri502]

With Cortot j like Chopin Nocturnes Berceuse Tarentelle Barcarolle Preludes Impromptus all recordings except piano with Orchestra sound is too old it-s a pity !

[@fredericfrancoischopin6971]

No 5. Etude The best record ever

[@bludika]

his playing sounds so unique

[@iliatsiklauri3868]

Played so correctly that he transfers me to that time! time machine!

[@doodletime9041]

There were lots of mistakes, actually

[@cosimoleone9110]

@@doodletime9041 it doesn't matter, the notes are wrong, but the music is the right one. According to berlioz, even chopin himself wasn't flawless in his performances.

[@CarmenReyes-em9np]

Gracias. Sr. Ozan. 😃

[@kniazigor2276]

De très belles études de Chopin avec quelques accrochages mais qu'importe ! la spontanéité et la virtuosité sont là

[@alainspiteri502]

Argerich n'a pas encore enregistré les Etudes de Chopin , aussi pas de critiques cest plus facile !

[@mnemonic14]

thank you

[@fredericchopin7538]

Marvelous!

[@davidrosenman1889]

Listen (watch), also, Kempff in Beethoven's Tempest Sonata. These pianists, including Paderewski and others (Neuhaus) were just in another World.🥀

[@vivvpprof]

His version of No. 11 is like... one big WOW O_O a final awakening after dreaming in darkness for years

[@MrInterestingthings]

It is also I think the worst Chopin i've ever heard. Why so fast so rough only the left hand melody he discovers saves it from being a big distortion . Cortot . Yuk yuck yuck in most everything I ever hear of him . the Franck may be the best thinking . He obviously thought seriously about the music he played but really only no.5 seems to be Chopin style. No.3 is horrid . Every 15 year old in asia can play these more musically.No.8 is a travesty .Hear horowitz brilliant textural ideas in no.8 .Now there is someone who could think about chopin and Schumann!

[@joaokyiv3931]

J Martin you must be a very good pianist. The Silly-pianist

[@vivvpprof]

@@joaokyiv3931 As Neuhaus put it "not a good pianist but a very good hysteriac" :D

[@joaokyiv3931]

Another Vpproofフプロフ of true!

[@vivvpprof]

😂

[@CarmenReyes-em9np]

A nadie le interesa ni saben quién es. Dejo un gran legado a los grandes pianistas.

[@cherubim4452]

Gulda told an anecdote that he went to see Cortot practicing but Cortot just practiced scales for hours.

[@levanneb]

that's why he plays so many wrong notes

[@vivvpprof]

+sandro nebieridze Hahaha, true.

[@PianistTanooki]

+sandro nebieridze He plays many wrong notes because the standard back then was different from today. Also, when one made of, say, the Chopin Études, they wouldn't play each one by one like they do today where they could just retake it. If Cortot didn't like one, too bad. He has to play the ENTIRE set, no looking back. One couldn't just go back and redo one Étude if they didn't like it. This is why recordings sound so "perfect" today. They're heavily edited.

[@Marsmallos]

I believe part of what you say is incorrect. he didn't have to do the entire set in one take. One side of a disc in those times was around 5-6 minutes I believe, so he had to do 2-3 etudes in one take. But yes, new recordings are often heavily edited. Plus lets just face it, Cortot was a bit sloppy, didn't have much time for practise, and suffered from poor eyesight and parkinsons when he got older.

[@PianistTanooki]

I don't think this is exclusive to Cortot, though, which is why I used the thing with them having to do many Études in one take. Artur Schnabel also had more wrong notes than what we usually hear in modern recordings. Older recordings were just different, they were more like live performances. Back in those days, recordings were still a relatively new thing, and people were still used to live performances. The idea of being able to play back their performances again and again, and listen for every wrong note just wasn't something that they did back in those days… so again, the standard for wrong notes was far more relaxed. This is why I generally prefer listening to live recordings, or watching videos of live performances. You get a far more human performance this way. You get the good AND the bad. Recordings really only give you the artist's BEST performances while editing out the mildly sub-par ones. Real playing isn't like that. Sometimes you may play one movement of a Beethoven sonata well, other times you'll play the other well. Or, you may have different aspects that improve in later performances. In a studio recording, you play EVERYTHING well.

[@henrique1944]

The piano used by Mr.Cortot is a Pleyell.

[@keysersose996]

Pleyel model 4, I played it once, it's pretty awesome...

[@franksimoes-pereira7027]

Liked the information. I am always curiour about the piano's brandname.

[@sundayoliver3147]

You can feel him feeling it.

[@thomasramdasvoegeli]

Überirdisch. Ich kenne die Kompositionen, einige selber habe ich gespielt, ich kenne sie von x Interpreten gespielt. Hier eine der überirdischen Wiedergaben. Überirdisch. Danke, Alfred, danke, hoffe, im Himmel habe es auch gute Klaviere für Dich. Na ja, vielleicht bist Du ja wieder da, als Kissin, Langlang, als Nehring, wer weiß. :-)

[@OzanFabienGuvener]

Gern geschehen:)

[@dominiquedavid5807]

Cortot appelait ces Études de Chopin "un collier de perles"

[@cedericocosantorini8013]

...qu'il enfilait l'une après l'autre, à la perfection.

[@lubovbarannikova5945]

Чудо!

[@victorbernard284]

en ecoutant Cortot jouer, son interprétation de n'importe quelle oeuvre sonne vrai et est telle qu'elle pourrait être renouvelee sans cesse chaque fois qu'il joue a nouveau et sonnerait toujours vrai; c'est ce que l'on pourrait appeler: la rigueur en habit d'improvisation.

[@alainspiteri502]

Chopin improvisait beaucoup , il a peut être plus composé dans sa tête que tout écrire sur du papier ce qu'il avait dans la tête. Cortot " improvise le plus en jouant les valses. Dans un tout autre domaine de l'improvisation je pense à Michel Petrucciani comme " Silence" qui frise l'improvidation classique . Cortot était un grand technicien dans les années 1910 ou il a été édité des enregistrements sur rouleaux remastetusees . Il se consacra beaucoup à la création de l'école Normale de musique travailla peut être un peu moins sa technique faute de temps mais il est resté le musicien qu'il était . J'écoute Cortot depuis 1955 Jai réécoute ses études 1933 et 1944 ( Londres ) toute ma vie . qq lignes sur KZbin me permettent de traduire ce que je pense , ne m'en voulais pas pour ce long commentaire qui peut voir être apparu ennuyeux

[@hervegilles7941]

Rien à voir avec le son "léché" qu'on entend partout maintenant. Il y a beaucoup plus de vie ici. On ressent tout.

[@CarmenReyes-em9np]

En los estudios hay correciones de Cortot. 🎶🎶🎹 🇲🇽

[@levanneb]

I'm not a fan of Cortot, but I liked pretty much of these etudes. 5th was perfect!

[@TheMightyFork_]

Genius pianist, I adore him because he isn't perfect , like today's pianists .. asians.. yeah

[@MrInterestingthings]

The only one that is memorable fromthe entire group. No. 1 actually seems right musically but Ive heard it played so many other imaginative ways . Hear Chiu and Lortie. Really musicianly and full of depth !

[@budindepunk]

bon anniversaire mon ami

[@furiousfox3000]

So what? be thankfull of thoses recordings dude cause i never heard of yours.

[@goognamgoognw6637]

Great comment. The critic can only critic what he understands, for some it's not higher than notes being played right or wrong and the light of the genius will never reach low in their pit. Some are even musicians.

[@CarmenReyes-em9np]

No los interprtan en concíertos. solo en discos. 🎶🎶🎶🎹

[@iliatsiklauri3868]

oh man! this is chopin, this is how chopin would play! i am sure!

[@Thepaperairplane.expert]

Bit late to respond but this is actually the way chopin playes it cause he was a student of chopin and he taught him the way he plays his pieces so ye this is the best version of how chopin played it

[@iliatsiklauri3868]

@@Thepaperairplane.expert tanks for answer

[@CarmenReyes-em9np]

No hay falsas ,Cortot corrigio todos lo Estudios. Yo lo estudie en clases de piano i favorito es el 12 Op 25.

[@Younghoonjin]

God..

[@thomgeo8073]

შესანიშნავი პიანისტი და ადამიანი, მან დაიცვა ჯერ დინუ ლიპატი და მერე არტურო მიქელანჯელი საერთაშორისო კონკურსებზე ❤

[@geiryvindeskeland7208]

Thom, because of the heart we understand you all over the world.

[@ilmiochopindiruyshev4316]

Grazie. Ciao :-)

[@thomashughes4859]

I hear mistakes after mistakes. WOW! When I was younger listening to "these guys", I thought they walked on water. I do have his Op. 25 original edition, which gives not only MM numbers but the time of the piece. His (written) notes are terrific, however. Thank you for sharing.

[@mktsound8240]

You are you to criticise Cortot ? At the time recordings were made with one take only from beginning to end with no editing , to capture the emotion as opposed to cut and paste of multiple takes . Today some charlatans need a lot of editing with multiple takes to produce some rather mediocre music played at half speed . I’m sure you know who I am talking about .

[@thomashughes4859]

@@mktsound8240 Criticism is " The practice of analyzing, classifying, interpreting, or evaluating literary or other artistic works". [1] I did not criticise Alfred Cortot (nihil nisi bonum); I stated a fact about what I heard in this recording (irrespective of who recorded it), which requires no criticism. I am glad that you agree with me that "mistakes after mistakes" were made. By your response, you have indeed analysed his errors and defended them by explaining why he made these mistakes. Interesting. In fact, I appreciate his work related to his teachings of the Opus 25 (original edition, I might add). If you would like a copy, I could get around to scanning it in - at least the notes. Let me know. I do not to whom you are referring. I know no Charlatans. The recording industry of today is replete with editing practices. I do know of a magnanimous teacher who interprets the use of the pendulum exactly as physics and maths requires to describe historic tempi in music of the 18th and 19th centuries. Thank you for your thread. I learn from everyone. [1] The Free Dictionary - dot - com, definition 3, a.

[@mktsound8240]

@@thomashughes4859 thanks for the offer, I learned Chopin with Cortot editions for both op 10 and 25. When it comes to charlatans who make money banking on people’s credulity , just a bit harder ;)

[@mktsound8240]

@@thomashughes4859 I also forgot to mention that while it is true today that most studio recordings are done with editing, the true artists who give live performance in front of a real audience are under immense pressure to perform without any artificial editing and no possible escape if there is a bump note . The charlatans I am referring to are musicians who don’t perform live and don’t even have the guts or the necessary skills to give a live performance of their work. Again , both you and I know who I am talking about here .

[@thomashughes4859]

@@mktsound8240 Well since you and I seem to be talking about someone whom we have different perspectives about, you might want to look up his live performance on his American debut. He gave a great concert in New York on Clavichord, and his performance was stellar. In all fairness to your claim, you should find that recording, and then retract your statement. I would never want to lose respect for you for disseminating libel. Are we good here? Thank you for sharing your opinions, and it seems to me by some clues that you might be French, if you are, please Allez à la boulangerie, prenez un pain et un café pour moi.

[@geraldomaul7228]

Insuperável até nos dias de hoje.

[@jonathanlim7091]

Alfred cortot may be criticized for hitting too many wrong notes but i will be more than happy if i hv his technique

[@manuelbes]

Also with the quality of the recording it's easy to think there are mistakes.

[@bonjourmelancholy]

Wow, I have never heard the version of the 12th etude where there is that one accented note in the left hand coming up the run, sounds so strange...

[@Dh4m13l]

Yeah, I had to go and have a look at the score lol I did not see anything new. Who knows how Chopin played it right? It did add some extra drama, though I'm not sure it was because it was surprising (as in apparently wrong...) or that because it actually does artistically.

[@thislifeissad]

Daniel Tkach This was so long ago haha I don't even remember writing this comment 😂 Of all things, I don't know why that took my interest...

[@Dh4m13l]

Alright! And now after all the extra musical maturity you got, what do you think about this extra note? Is it an extra note or what? XD

[@minoki4063]

Daniel Tkach I guess after listening to it again and looking at the score now, it's nothing 'revolutionary' but it's the way the note was accented by Cortot and the contrast between the heavy bass octaves with the high notes that made it so interesting for me haha I would still give full credit to Chopin : P

[@Dh4m13l]

Hi Mino Ki. I'll check again. Some people hate Cortot, some people love him, I don't know lol At least he makes people talk, no one talks about me for example, who cares lol

[@victorgallardo6375]

Very good recording of 1933.....? or has it been improved

[@keysersose996]

EMI was the best for the time

[@alainspiteri502]

some studies by Lucien Ades in 1910' with a meticulous-reconstitution ( not piano-roll ! ) where Cortot had a fabulous technic when he was 30 Y Old , studio Pathé Marconi in 1933 and Also Marconi studies-recordings in 1944 at London but j think Cortot don't play but it seems often that he improvises not a meticulous technical pianist as a composer where technic is after the soul of theirs compositions : it's Cortot. When j see on Y Tube Michel Petrucciani vidéo j make différence beetwen a composer ( not a meticulous pianist ) but very far From sophisticated pianists in theirs tie suits , it's very rarely to see a composer-video it's for that j talk Michel Petrucciani . Cortot plays as a composer not only as a pianits and there some mistakes j understand this

[@alexanderprives4509]

для 1933 года неплохо.

[@CarmenReyes-em9np]

Op. 25. ?

[@CarmenReyes-em9np]

Todos los estudios tien correcciones de Cortot .0p 10. ..y op 25 🎶🎶🎹 ..🇲🇽Mejico bb

[@EmdrGreg]

It's true he put a lot of passion in his playing, and that makes up for a lot, but to my ear the passion in No 1 isn't quite enough to make up for the shoddy execution. Still, I wish I could play it half as well.

[@franksimoes-pereira7027]

That is funny Gregg. You recognise that you cannot play it half as well, and in the same breath you call Cortot's execution "shoddy"?

[@EmdrGreg]

I'm not a professional pianist, but I am able to hear pianists and to listen carefully. What part of my statement seems to you not to fit?

[@uliwidmaier2136]

I see your point. To our perfection-trained ears this is indeed shoddy. Any modern competition winner can play No. 1 with no wrong notes. I also agree that it's not particularly passionate. The reason I love it anyway, and in fact prefer it over all others, is that it has charm. There's a lightness about it, a sense of humor, that no other recording I know of has ever brought out. Arrau is lugubrious, Pollini is chiseled marble, and so on. But to my ears, only Cortot has that sense of joyful abandon. It's totally turned around my understanding of the piece. For that experience I put up with a lot of wrong notes.

[@uliwidmaier2136]

What is that supposed to mean? Is criticism valid only if the critic can do it better? That cannot possibly be right. For instance, I can't play piano, but having studied piano interpretations all my life, I most certainly can validly discuss an interpretation by Cortot versus Arrau versus Pollini and so on. And according to your approach, operagoers in the 1960s were not justified in noting that Callas's voice was in dramatic decline because they couldn't sing it better. That's just silly.

[@joachimaerni8305]

Platz

[@marksmith3947]

I think his no. 7 is really a standout.

[@gabriele6596]

He becomes more romantic in the harder passages 🤣🤣

[@orangefruit9166]

Hat piano is he playing?

[@CarmenReyes-em9np]

😮 comparar

[@hervegilles7941]

Ce qui gâche tout ce sont les horribles coupures publicitaires.

[@OzanFabienGuvener]

C'est suffisant . Mais youtube se règle automatiquement. Je n'ai pas de revenus.

[@user-vo9lb5od9i]

10-4 ピアノだけなのに、オーケストラのように感じたよ

[@CarmenReyes-em9np]

Pues yo interprtaba la 12 me gusta. 🎶🎶🎶🎶🎹❤️‍🩹 🇲🇽

[@clc6351]

7:21

[@ohsoleohmio]

this is not cortot just listen to other recording of his etude 10 ...

[@goognamgoognw6637]

this is cortot.

[@user-gm6mf2lj9w]

22:18

[@hervegilles7941]

Bah oui mais dans la n.1, il tape souvent à côté. Pas autant que moi certes, mais...

[@andantino5558]

"Jouer une fausse note est insignifiant, jouer sans passion est inexcusable". - Ludwig van Beethoven En fait, il ne faut pas se focaliser sur les fausses notes, on peut toujours travailler des heures pour en faire le moins possible, mais toujours chercher à faire de la musique, ce qui, comme le dit Martha Argerich, inexplicable.

[@MrInterestingthings]

No. 1 sounds not so great for todays standards .No.2 is perfectly even and light but the music making seems almost ordinary. One has to be a very good pianist and have had great training to really know . If you haven't studied with an important teacher I doubt if any of you know what you hearing. No.3 can be played by anyone so here the music playing should be the highest standard .I've heard 10,000 others make sense musically in this and listen to any Chopin competition and you will hear people playing gorgeous lines and light and pedal techniques few of us will ever know.No.4 is controlled makes musical statements but again I feel I have heard better playing .No.5 's lightness ,clarity ,tonalmelody in left hand and speed surprised me and musically it was special .No. 6 made me realize I don't like the miking .Legato phrasing here ,the line of the music seems pushed , nervous .I play 8 of these myself so I know in places how things sound if you dont do a special attack or pedal.No.7 has a wonderful lilt and the melody is always apparent -the right hand is very very good. No.8 wonderfully clear left hand melody little pedal wonderful guiding of melodic line in middle which is hard to do without over accenting .Cortot 's philosophy of Chopin can be guessed from the really wonderful mood ,phrasing in no9 .A large canvas-one long carved melody's line.Expertly managed . How he gets the broken arpeggi to sound as they do in no.11 -I'll never known.Missed notes don't matter.This is a great portrait here of Chopin's universe.Not as memorable as Lhevinne still but very good playing ! No.12 has many touches but requires a special kind of listneening because of the 1933 recording.That e flat sticking out in the left hand doesn't feel right but a few listens and the musical statement given here is exemplary .Not my favorite Chopin player .there must be a lot I don't know! Who is crazy enough to read what I have written.I'm definitely no expert.All the great thinkers of piano say Cortot was the greatest musician and mind.Rachmaninoff was not impressed .Hear sokolov or Gavrilov or any of the great Russians.

[@mikesmovingimages]

I enjoyed very much your honest comments. One does not need to be an expert to express whether the music works for them or not! Honestly, sometimes we have too many so-called experts running around. Personally, I find Cortot not to be the greatest, either, but definitely special. That said, no one is the greatest. But we are fortunate to consider the performances of many greats in this timeless music. This music can absorb and reflect a seemingly infinite variety of approaches. That Rach would not have been impressed is not too surprising - his and Cortot's pedigrees are very different and it shows in their approach to the music.

[@alexanderprives4509]

Рахманинов был прав не впечатлило. , для 1930 годов неплохо . но техника делает быть на уровне его художественной стороны.

[@alexanderprives4509]

Русские пианисты 2023 играют несравненно превосходно

[@CarmenReyes-em9np]

Que feo es comparar. 😭

[@Ellatigojusticiero]

No entiendo cual es la grandeza de Cortot, todo tocado con docenas de teclas falsas, cualquier pianista ruso joven toca los Op 10 y los 25 seguidos y perfectos, ahí tienen a Trifonov, que es un profesional , pero estudiantes son virtuosos tocándolos...además mucho más guapos y expresivos, de lo que fue Cortot, con todo mi respeto. Yo se que el edito dos libros con los studios de Chopin y ejercicios como estudiarlos, pero me pregunto yo,los estudiaría el? Por que tantas notas falsas entonces?

[@Cayres18]

Cortot tiene um problema de memória, pesquise.

[@kaleidoscopio5]

Antes importaba la musica, no los robots asiaticos actuales 😑

[@alexanderprives4509]

СПАСИБО за правдивый комментарий!

[@santiagobalbi3798]

No existían docenas de discos y audios videos como hoy en día, en ese momento se iba q escuchar la música en vivo, como salga, sin referencia de escuchar las mejores interpretaciones.....

[@wannabecat369]

Cortot was an editor and ran a music school. He couldn't practice 8 hrs. a day like pianists do now. In his youth, he could play perfectly if given the chance. Also, he concentrated so much on the music (instead of on the sound) that he often "forgot" to play the notes. If an average pianist tried to produce such passion, they too would miss notes.

[@kbell4852]

112th comment

[@agamaz5650]

is he drunk

[@Danlovar]

He is like homosexuality whats that?

[@TheSoteriologist]

Let's face it: Cortot was a great musician, but a mediocre pianist.

[@OzanFabienGuvener]

A reasonable opinion. However, I believe Cortot is a somewhat difficult person to generalize. This is a bit complex. His technique was also outstanding in his pre-1925 recordings. He impressed even Horowitz with his Saint-Seans etude recording in 1919. Cortot's recordings of Chopin etudes from 1923, for example, involve risks that most pianists today would not dare to undertake. Later, his technique deteriorated as he got older and gave up technical studies. It should not be forgotten that he recorded it in a single session, without studio tricks. He recorded these etudies at the age of 57, not in his prime (in technique). Still Cortot's individual tone, pedal handling, and nuanced playing are absolutely top notch. We can compare ourselves with very few pianists in these matters. And technically he was one of the best pianists in his early period. Most pianists' techniques deteriorated with age and problems. After 1930, although Cortot sometimes failed technically, he sometimes did great things. I think even how he feels that day affects his playing. It is not easy to play legato like Cortot, he was taking too many risks in many ways.

[@TheSoteriologist]

@@OzanFabienGuvener Thanks for the pointer to Cortot's 1919 performance of the _"Etude en Forme d'une Valse"_ by Saint-Saens. It seems good recording came too late for Cortot ! However, when you say _"he was taking too many risks in many ways"_ ... surely, someone like Pogorelich wasn't shy about taking enormeous risks, but successfully ! That is particularly true of actually playing a wall-shaking fortissimo in difficult passages when it is written in the script, and in that regard I would lump in Cortot with all the other _"Weichspülerchopinisten"_ as I call them. Also, I just listened again to Cortot's 1926 _(not too long after your decisive date, and perhaps that's why you set it to 1925)_ studio recording of Chopin's op. 28 a second time around, but I would still say the same thing, and he seemed to flunk not only while taking risks. I guess technical brilliance has eclipsed any other musical criterion so much since those days that Cortot would be shocked at what happens in the music scene today. I think he would readily admit that he wouldn't be able to compete with some of the titanic skills of contemporary pianists while at the same time wanting nothing to do with them or their products.

[@OzanFabienGuvener]

​@@TheSoteriologist He would certainly be shocked at how much technique had taken precedence over the music. I think techniques are abused a lot nowadays, pedals for example. Pianists use too many pedals without knowing it, this makes it easier for them, but problems occur in the music. This is why the playing of most modern pianists does not sound as clear, singing and polyphonic as Backhaus, Lhevinne, Hofmann, Rachmaninov, Rosenthal, Horowitz and Cortot. It is very difficult to play with real legato without pedals. Pianists before 1950 used the pedal for sound effects and details, and today's pianists often use the pedal for ease of passages. I mean, it's pretty hard to play the way Cortot plays. The current technical understanding of the piano is not about "music" as you say. With exceptions like Pletnev, most pianists today cannot play etudes the way historical pianists did.

[@TheSoteriologist]

@@OzanFabienGuvener OK, Pletnev next on my comparative list 😄

[@TheSoteriologist]

@@OzanFabienGuvener Pletnev !!! A revelation !

[@S.Lander]

I'm not sure I'd give a piano student a 'B' for his Op. 10 No. 1. Sorry!

[@MrInterestingthings]

I'm surprised Iliked what he did in op.! 10 no.1 .Many if not most virtuosi before the public have MUCH!!! better techniques than cortot (Rachmaninof was not impressed at his concerst in Paris either) but he has very important things to say in chopin . Many great pianists now say he had the best musical ideas and that his chopinis ideal. I prefer chiu inmost of these.Rubinstein and pollini inmany and Horowitz has more brains about texture than anyone in no,8 .even Zimmerman an almost perfect pianist suffers in compoarison musically and tonal variety -wise compared to Horowitz ! In #No.3 I dislikevery much what cortot does in blow-up section in but the way he plays melody may be the right way !? No. 5 has charm and delicacy very few display and I think it's admirable chopin style .Horowitz was always my fave in No.5 . I've heard no.6 given more depth and inne voice and melodic clarity .Rather messy too compared to today's standards. No.8 's (15:38) left hand is rough and the right hand is not impressive compared today virtuosi . I findnothing not the melodies line not until very end does left hand show some subtlety .Maybe it shuld be a very direct piece and that last F major chord comes out like a brass bugle band . Geese . He let them keep that in instead of splicing something .1933 ? Wow! All the experts cry to the skies about this man . Horowitz even went to study with him and cortot said unkind things about him and Beethoven sonatas . I came here to seewhat he felt about 8 & 9 he is similar to Rubinstein ( "mad woman on the beach style "). No.10 has many better adherents Argerich even Novaes charms here he sounds like bricks bumping into each other ! Lhevinne 's Chopin now that was something the record companies should have beat the door down for more of .No.11 here is fast and ugly .Again - is this Chopin style nice voicing in left hand I dont mind missed notes but I don't think this music should ever go like this .I'mnot talented or skilled enough to ever have been able to study in a Cortot class but some of these etudes like DePachmann I'd rather never hear again .No.12 makes a lot of sence after the opening but the general emotion is wrong needs more anger and a true FF! is too unheroic and every noteworthy pianist from Fialkowska to other unheard ofs have left more satisfactory recoedings of this most famous of chopin's early works

[@williamsmarek]

Filled with mistakes!!

[@kennethdower7425]

There was no editing back then, genius. Also, the emphasis was on musicality, not note perfect performances.

[@horatiodreamt]

+Kenneth Dower Yes, and unfortunately unlike some piano competition performances in our time.

[@etiennedelaunois1737]

Yeah at the time they can not make a copy paste and some sound technicians was not there after the recording trying to correct the mistakes. Dinu Lipatti recorded perfect version of pieces but he had sometimes, to record more than 50 times the same piece. Pmus Cortot is probably one of the pianist that we can hear who was the closest to Chopin playing.

[@geoffreyfouvry6094]

Well today we have tons of mistakes that people do not hear, which is that people play with the wrong "phrasé" or with no "phrasé". that is the biggest mistake you can make when playing Chopin. Cortot beats anybody by a mile on 3 and 6, not technical pieces, everything in the 'phrasé" and expression, change in dynamic, tempo and color of sound.....

[@geoffreyfouvry6094]

***** You don´t need to be a genius to realize that nothing happens... just open your ears and heart. It is very easy to be "artificial" or pompous in Chopin... not authentic...

[@inraid]

trainwreck

[@OzanFabienGuvener]

If you're only interested in the "technical" details, you can look at Cortot's recordings of the 1923 Chopin etudes.

[@Ellatigojusticiero]

Many false notes!!!!!