JORGE BOLET, piano recital 4 March 1988 Carnegie Hall NEW YORK

MENDELSSOHN: Prelude and Fugue in e, Op 35, Rondo Capriccioso, Op 14; BEETHOVEN:Sonata # 23 in f, Op 57; FRANCK: Prelude, Chorale and Fugue; LISZT: Reminiscences of Bellini's 'Norma'; Encore. Jorge Bolet, piano live 4 March 1988 Carnegie Hall NEW YORK.

[@hotuttoio69]

Encores: Chopin: Nocturne Op.15 no.2; Moszkowski: la Jongleuse; Chasins: Prelude no.14 Op.12 no.2 & Prelude no.15 Op.12 no.3

[@helenandhermaninlawrence7983]

+hotuttoio69 Thank you very much for contributing the information identifying the encores! I am very bad at that. Yesterday I was extremely pleased with myself that it only took two days for me to come up with Islamey in my mind, the final encore on a Pletnev recital, and it still isn't identified on the graphic. Usually I can't come up with them, so I am extremely grateful when you can and do. Thank you again.

[@salt_cots]

Abram Chasins (August 17, 1903 - June 21, 1987). After Bolet left Curtis (1934) and had begun his concert career, a few years later he had some intense coaching sessions with Josef Hofmann’s pupil Abram Chasins and these produced tangible results; Bolet always acknowledged Chasins’s influence on his playing. I recall being at a London recital of JB in June 1987 and backstage I heard him say to a friend that he had played two preludes of Chasins as encores as he had just passed away.

[@AlexanderArsov]

MENDELSSOHN: Prelude and Fugue 0:38; Rondo Capriccioso 11:44; BEETHOVEN: Sonata # 23 "Appassionata" 19:48; FRANCK: Prelude, Chorale and Fugue 47:10; LISZT: Reminiscences of Bellini's "Norma" 1:08:15; Encores (Chopin, Nocturne 15/2; Moszkowski, La jongleuse; ?): 1:29:40. Fantastic upload, even though all works are commercially available from Jorge's concerts at Montgomery and Schwetzingen in April/May 1988.

[@helenandhermaninlawrence7983]

+Alexander Arsov Dear Alexander Arsov, I am happy you enjoy the Bolet recital from Carnegie Hall. I have more Bolet to bring forth, but not all is accessible at this time (the story of my life.). Mostly I am in 'Put These Musics Up Now' mode, and, honestly, I don't know how to make the blue numbers of timings happen. I am not email savvy, or internet, or much of anything else actually, but putting up music is my purpose these days. Thank you for your input and information.

[@AlexanderArsov]

+Helen and Herman in Lawrence, there is no mystery about the blue numbers. You just post them as timings and they automatically appear as cues. Your work is very much appreciated.

[@helenandhermaninlawrence7983]

+Alexander Arsov I am a timid soul, but I'll give it a try. Thank you.

[@salt_cots]

This recital is just over a year from when Jorge Bolet would have to retire (June 1989) from the concert platform through illness. On 13 March 1988 (Sunday) at the Royal Festival Hall, London , he repeated much of this programme, a performance which I attended. (For British viewers of KZbin, comedian Frankie Howerd sat in the row behind me, coming in as the lights dimmed, no doubt to avoid publicity.). JB played the Beethoven and the Franck not long after this (21-23 June) in Istanbul, his first time there. There is a very poignant note in the obituary published by Cumhuriyet, a Turkish newspaper in October 1990. "It turned out that we listened to two of the last concerts of Jorge Bolet, who was discovered in Turkey in the autumn of his life by giving two piano recitals within the scope of the International Istanbul Festival on 21-23 June 1988 in our country." The review in the same newspaper of the concerts in 1988 had an amusing aside: "Although Bolet didn't play Liszt in the movie ("Song without end"), he only did the piano soundtrack for the movie, he has the type of traits that would make him convincing in any historical movie, just as if he were playing the Governor-General of India of the Great British Empire".

[@neilford99]

Gosh. Frankie Howerd. Another genius.

[@neilford99]

Just fantastic from the first note to the last encore. JB is on particularly poetic form playing that is more reflective and probing that we often heard from him. I doubt I'll ever hear a better performance of the Cesar Franck or the Mendelssohn op 35. Great singing lines in the Liszt/Norma, much less of a show off piece than some of his other transcriptions and a perfect way to finish the recital. Even the Appasionata, one of my least favorite works, was gripping and profound. Amazing he could play so well when his health was a rapid free-fall. Listen to the ovations! After 6 decades of striving he finally found the right audience!

[@evasophie66]

Wonderful to hear Mr. Bolet live again. I hearded him twice live in Concertgebouw, Amsterdam. Very special! Thank you so much for posting!

[@helenandhermaninlawrence7983]

+evasophie66 Oh fortunate one to have heard him live and in person! I am just glad to have such evidences as remain to share as best I can, but actually there in the flesh cannot be replicated, no matter how much I wish it. Thank you, for writing and for enjoying.

[@themusicalgerbil192]

Why were people talking in the audience?! And why were they not thrown out of the hall?

[@salt_cots]

And to be talking at such a glorious moment in the music.