George Enescu plays Chausson Poeme (Part 1)

[@ydraki]

Such lyricism I have never heard before. He busts the upper limits of human sensitivity. Enescu is superb!

[@jansnauwaert1785]

His pupil, Ginette Neveu, is better. Seriously.

[@hughmarc9373]

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[@orlandoty2902]

@Hugh Marc instablaster =)

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[@graverol1]

Pureté, simplicité, profondeur.... bref authenticité exprimée dans une magnifique sonorité!!!!

[@Kaitalise]

Only for info: Chausson is the composer. Poeme is the piece. Enescu is the performer. It's very often just called "Chausson Poeme" which can lead to misunderstandings about it being the name of the piece.

[@iahinamirg]

Slides that just melt my soul

[@TheInana]

What a great souuuuuuund!!!!!!!!!!!!!!!!!!:-)

[@StrivetobeDust]

Menuhin admitted in the art of violin that he could not reproduce the beauty of Enescu's slides. This recording contains several wonderful examples.

[@aimson]

The pianist's name is Sanford Schlussel (I've never heard of him before), recorded 1929. You can find this and a few other gems on the CD "George Enesco & Carl Flesch"

[@normapuccio6309]

I really liked this version a lot.!!!.thanks

[@KerstinElisabeth]

What I want to say is that today the most of the violinists who perform there, on world stages...they all sound quite the same...but for example Neveu, Oistrach, Menuhin, Heifetz, Ferras...their violin sound was original...they all sounded differently...I like how Menuhin once said: "Your violin sound has to be same natural as your voice"...

[@mihaimangir]

Genuinely made me tear up

[@orlist]

enescu was a child prodigy;by the age of seven he was a student at the consevatory of viena;he started composing in the same time'if not earlier(try to find "poema romana" and listen to it-he was 16 when he wrote it)

[@winglow7615]

So beautifully played. I am inspired to spend more time practicing this piece.

[@penelopewhite5074]

Bravo M. Enescu.Ma Tante Ginette a apprie d'un proffeseur tres expressife mais tres meloncholique et morose. avec despair et du resignation ons pour fait rien la vie et des gens mais ons pouvais avoir des reves et l'espair dans la musique..

[@ecollen]

Wonderful playing!

[@poseuresque]

I prefer this recording with its slowness, because of its slowness, and to me it is THE recording of chausson's poeme. at 7:03 enescu proves his ability and his musicianship (if it needed proving). every violinist rushes through that like a tornado and he allows it to build then pushes to the other side of the dream. it's beautiful in a way that only enescu discovers

[@alexpate8626]

Albus Perceval Wulfric Brian Dumbledore Agreed! Hirschorn plays it beautifully. Hopefully someone who reads this will see your suggestion and be able to explore another amazing violinist and artist!

[@ydraki]

@jaschenski Totally agree with keen observation. Enescu does make Poeme his own, embedding it as close to his soul as possible, flying with it but never disturbs the original intent of Shausson. Therein lies the greatness of Enescu, the great ARTST and teacher.

[@sebastiandangerfield9933]

And what, pray tell, was Chausson’s “intentions”??

[@robotnik77]

No need for excuses; you can hear the great mind behind the playing - if you listen with your inner ear.

[@thuyviola]

its so worth for me! i'm studying on his music,thanks.

[@MartinLassViolinist]

Regarding Enescu's softer, gentler approach to this piece than we are used to from more modern players, one also has to remember that he was probably still using gut strings, i.e. not wound with metal, so could not push the sound too hard, nor did he wish to, I'm sure... a different world back then... more concerned with the inner content of the music rather than the outward spectacle or with overly exciting the senses for its own sake.

[@misterbg1]

those recordings are extremely rare... i hardly found it on some russian site... Juilliard store didnt have it and even some very famouse libraries didnt have it.

[@kamishichan]

merci.

[@ArtVandelay99]

I agree. For some strange reason, for me personally, the newer an interpretation is, the more I am often likely to appreciate it. Hard as I might try, I simply cannot sincerely say that I enjoy the recordings of great early 20th century violinists such as Enescu or Heifetz (one notable exception is Oistrakh). Generally I resonate much more to the playing styles of, for instance, Frank Peter Zimmermann or Gidon Kremer. I wish I knew the reason for this...

[@sebastiandangerfield9933]

You might need a hearing aid…

[@rubensavoi8095]

Omitieron decir. Si al final les agrado, cuál versión los emociono o no conocieron al momento histórico o a las diferentes instrumentaciones...?...

[@moonlightperformers]

Nice--thanks!

[@OrlandoAponte]

Exactly, this is the main reason why I consider the old masters to be superior to today's violinists. Today's violinists have great technique and great tone, but that's it - hardly if any character

[@aimson]

I would love to hear Oistrakh playing this! I already have Heifetz' recording and I actually don't care for it that much. Even though it is played VERY differently (and with orchestra) compared to Enesco, I actually found it overly dramatic and lacking emotionally. Maybe because I heard Enesco playing it first and fell in love with that. Who knows... I also have Ginette Neveu playing it, I can post if anybody wants.

[@OrlandoAponte]

It's probably just a phase, it's up to the newer generations to bring back individuality into classical music

[@kojiattwood]

Part of the slowness might be from the recording itself, which is pitched quite low.

[@gomogomez7300]

🎶🎻🎹🎶💕👏👏

[@aimson]

@valdengo1 Yes, this has been an issue for me as well. Growing up on Heifetz, most other great violinists (Oistrakh, Perlman, Grumiaux, Stern, etc.) sounded bland to me most of the time. In fact, they still do. The same used to be true when I listened to Enescu, Elman, and Neveu. However, after listening to more of these violinists, my views changed and I love listening to them. My advice is to try attuning your ears to these three violinists and your views will eventually change for the better.

[@aimson]

Unfortunately, I only have Heifetz and Ginette Neveu playing this piece. Maybe somebody around here has Oistrakh's version, which I've never heard.

[@manfred4766]

Who is the pianist ? Lipatti ?

[@iahinamirg]

Sanford Schlussel

[@misterbg1]

Please... Post it! thanks!

[@OrlandoAponte]

The one disadvantage of being a child prodigy is that unlike normal-born musicians (like David Oistrakh and maybe Enesco, i don't really know much about him), they have to work much harder to develop their actual musicianship, but on the other hand, technique is never a challenge for them. Anyway, could you upload your recording the Bach?

[@danceteras2884]

Orlando Aponte Enescu is the definition of a prodigy. He got into the Viena conservatory when he was 7.

[@misterbg1]

I wanna hear oistrakh play this!!!

[@orlist]

this is for certain the best poem i'v heard;he makes music using slides and also by intonation(like casals or gitlis)he has some notes out of tune but only God is perfect

[@KerstinElisabeth]

yes...seems like the classical music world is brokening...Music is left behind and technique and show are the things what rule in a concert......

[@aimson]

Perlman is inconsistent because some of his recordings can be bland or sloppy but others, like the Lalo, are really well done. I think it could have been played more delicately in many areas of all the movements,, particularly mov 2,4, & 5. Also, he has a tendency to play brutishly, too heavy, and often punches the notes, which leads to a scratchy sound (especially in the 1st & 5th). If you think I'm nitpicking, you might be right - on the whole, I think the recording is very good.

[@ydraki]

@ydraki Correction to read: with YOUR keen....

[@stefanaprodu2333]

Who plays piano?

[@princegarbsen]

thx!

[@sababa123]

Who is the pianist?

[@thuyviola]

sorry,i meant Enesco's music. I need to know more about him for my analysis,i'm practicing Concertstuck for viola. (:

[@KerstinElisabeth]

maybe it's bad that we can listen to so many recordings...As we can see the other violinist, the older ones... from the last century and so...they had their own colours...They didn't have influences, what are easily getting on today's violinists. Important is the nature....your own nature...

[@aimson]

This is true, but you must understand that all art is historical. Pick any art - music (any genre), painting, sculpturing, architecture, etc. - and you will always find the influence of the old onto the new. And it should be this way because greatness does not exist in a vacuum. Every violinist should be aware of the important artists before them and learn from them how to be better than them.

[@lolmanerik]

best

[@aimson]

I'm sure this will rile up some of the community fanboys but I would add: d) a greater musician (but not violinist) than his most famous student, Menuhin. I have the recording of the Bach double concerto played by teacher and student and it is clear there is only one musician that stands out.

[@sebastiandangerfield9933]

Rubbish.

[@misterbg1]

you MUST hear perlman's performance of this with the london philharmonic....now THATS some inspiration...

[@zigeunerviolin]

I have Oistrakh playing this. Maybe I could email it to you. Heifetz's is incomparably better by the way.

[@aimson]

Hehe, better or worse? I was listening to Perlman playing Lalo last night and I definitely thought it could have been better. He has a certain charm but pretty inconsistent if you ask me.

[@sebastiandangerfield9933]

Nobody did (ask you).

[@zigeunerviolin]

Calm down, I was joking. What I really meant by that was that I felt Oistrakh didn't put in as much as he could in the recording whereas Heifetz played to his full potential and it sounds like he put more attention. Also, Heifetz is my favorite. And I have heard Perlman's but not Neveu's and I like Heifetz's better than Perlman's and have heard Neveu play other things and like Heifetz much more in general.

[@rembrandt21000]

@aimson omg its enescU

[@valdengo1]

..after 40 years of hearing Oistrakh, Heifetz, Milstein, Chung etc......this seems a little slow and mannered...lacks intensity I found in other recordings...yet, I want to be able to listen to this....nonetheless, I do like this version, too......

[@jaschenski]

It's as though he's playing it just for himself, like a sort of therapy. Nowadays everyone knows what the "bog standard" way to play this is, but this is so individual - never "I can do it" but "Can I do it?"

[@sebastiandangerfield9933]

Oooh - how keenly perceptive 🙄🙄.

[@aimson]

Glad you enjoyed it. However, I find it odd that you would describe Perlman's technique as superior to Oistrakh's. Just about everything I've heard from Perlman has been somewhat sloppy - scratches, out of tune, etc. Anyways, it shouldn't matter how "perfect" a violinist is, what matters the most is how good of a musician they are (e.g., Enesco)

[@abiidwail5532]

oui oui

[@zigeunerviolin]

I have horrible taste because I like Heifetz? Why don't you buzz off.

[@zigeunerviolin]

Right... except Heifetz's is better.

[@tobiasundry]

nope