Jorge Bolet plays the Tannhäuser Overture, S.442 (Wagner/Liszt) at Carnegie Hall (1974)

[@John-se5vc]

Listen closely--the is performance takes place at the end of a gargantuan recital--one that changed Mr. Bolet's career at the end of his life. Even now, at the end of an exhausting evening, he is singing. This is not forced playing. To watch him playing was physically anti-climactical--like watching Toscanini conduct. However, the conception was staggering. Sadly, if you were taking lessons from him, he would mostly just sweep you off the bench, saying "No! Like this!" and then play like what you hear in this recording. Most of my lessons with him were simply a grateful realization that I had been in the presence of one of the greatest players in history. This piano is a Baldwin SD-10, the model which showed Baldwin had carried the SUSTAIN quality of a concert grand to a new level. I knew a technician in the 1990's who knew the history of this particular piano, and even knew where it currently was. That piano should be in a museum as an artifact of one of the greatest recitals in history. Bravissimo, Mr. Bolet. I think you understood what you had, and am thankful you had a sunset in your career that perhaps began to do you justice!

[@jonathanlee5364]

I can only imagine what it was like in your shoes. By the time I had come to truly admire his playing, he had passed away. I would have loved to hear him play live, but am happy to hear him on recordings.

[@John-se5vc]

Listen to all his recordings, commercial and pirated. I truly believe this 1974 recital is Bolet on the Hofmann level. Maybe the comment below that he was--at that moment--the greatest pianist on earth is true. I have heard him on this level at other times, but rarely. Also, I must admit that watching him was a piano lesson in its own right.

[@mstalcup]

Liszt gave master classes in much the same way (No! Like THIS!...and then Liszt at the piano awakens the musical conception for everyone instantly). I imagine the character and command of Bolet's performance here brings us closer to hearing Liszt as he might have played.

[@John-se5vc]

Bolet never gave you the impression he was putting music through the "Bolet filter" as did Horowitz. My copy of the Chopin D-flat Nocturne as taught by Bolet has many of his own markings and ornaments--I thought they were his--but I went on to discover the markings were learned by Mr. Bolet from the old Mikuli Edition, who was a student of Chopin. As Hofmann reported about Rubinstein, Bolet demanded the score when you played, and he made markings with his red pencil as he listened. I should notate which of my scores have Bolet markings in them, so they don't end up in a second-hand store someday.@@mstalcup

[@eddydelrio1303]

Wow! Astounding! So proud to share his Cuban heritage (and to have studied with two Cuban concert artist/pedagogues (that were pupils of the Lhevinnes)). His recording of the Bach-Busoni Chaconne immediately motivated me to learn and program that magnificent transcription!

[@globalc3849]

colossal performance. The standard for this piece which no one has come close to yet.

[@newyorkguy158]

I think the Moieseiwitch is better and it's on film on YT.

[@graememaclaren755]

Much as I love the Moiseiwitsch recording, Bolet’s is greater. The best on record. That is all

[@jeremygwynn]

Seriously. It astounds me that he capped off a 90 minute recital with this impeccable performance. The greatest performance of this piece that I have heard, and one of the greatest moments in music. Bravo!

[@angelodiragusa4770]

He was seriously astounding....

[@carmenreyes6222]

La mano ddrecha muy claro

[@carmenreyes6222]

Buen repertorio

[@carmenreyes6222]

Exelente !!!!!!!!!!!!!!!

[@Elgarman]

It's great. Listen to Yulianna Ardeeva too -

[@pyotr-ilyich-tchaikovsky]

Simply beautiful. One of the best interpretations of this piece in my opinion.

[@mstalcup]

Nothing short of a high point in human history. That's how great this is - the commitment and genius in composition, transcription, and performance.

[@stephenloxton43]

Brilliant and moving. A pianist of grace and power but of beauty of expression. A tremendous sense of the narrative and flow of the music...

[@MrLextune]

Surely Bolet on this day was the greatest pianist in all the world. Thank goodness it was captured. Absolutely astounding.

[@aidengregg]

Utterly jaw-dropping. Transcendently accomplished. Eternally definitive.

[@newyorkguy158]

The Moiseiwitch on film on YT is better.

[@philippajoy4300]

As if one heard Liszt himself bringing to ears that had never yet heard such orchestral sounds, expressing through his fingers the grandeur of Wagner's newest music which breaks like a tsunami on a continental shelf upon the ecstatic first listeners, and upon those who had heard it before, as a revelation of a profundity they found they had not experienced.

[@junyeongYoon]

a historic Carnegie Hall recital It's a breathtaking performance. It's so sublime that my heart is going to explode.

[@johnspradling7906]

This performance climaxes one of the greatest recitals in Carnegie Hall's history

[@alangoldhammer7460]

I saw this when he was getting the recital ready as he was on the Indiana School of Music faculty at the time. It was one of the most amazing recitals I've ever attended.

[@illogicmath]

Wow! Such an amazing testament

[@fstrong98070]

I was there, too. Simply amazing.

[@AlexanderArsov]

Technically and musically stupendous. Justly legendary. One of the very, very few examples of performance as close as possible to the imaginary one described with the dreaded word "definitive".

[@yakayaki4611]

Jorge Bolet en 1974 a Carnegie Hall, une performance rarement égalée I treasure this album among my favorites

[@johnschlesinger2009]

Absolutely astonishing on every level. So sad that his greatness was only recognised so late in his career. The clarity is transcendental.

[@pauchalo]

IT truly sounds like 2 virtuoso pianists at the same time on 2 pianos! OUT OF THIS WORLD

[@pieteruys2032]

Wow! Superhuman performance. Wonderful phrasing and thrilling climax.

[@James_Bowie]

A tour de force by one of the greatest and one of my all time favorite painists. RIP dear Jorge.

[@TheFranceskaTree]

Jorge Bolet was my dads teacher....& this piece was a part of my childhood.

[@Deelystaniel]

I envy you sister ✌️

[@SimonCU]

Did your dad become a professional pianist at the end? Whats your dad doing now?

[@clintockmaconaghie3763]

WOW. My piano teacher was Ethel Sanger mother of David Sanger. My mother would play this to inspire me.

[@pianomaly9859]

If your dad cold play this well, he must be worth hearing.

[@pianomaly9859]

@@clintockmaconaghie3763 If your mom could play this well, she must be worth hearing.

[@professordodo1]

Applause well and truly deserved. Great stuff

[@dimitrisnawas7497]

There are no words capable to describe Jorge Bolets greatness.

[@j-mharari3374]

..pupil of Josef Hoffman.

[@glauciusazeredo212]

Fantástico Bolet. Ótima leitura. Sensibilidade. Interpretação. Wagner. gênio. Ninguém faz isso se não for especial.Extremamente complexa está obra.Belíssima. Profunda. Para ele, de fácil entendimento.

[@user-sknkkybzs1qrg7t]

A truly outstanding performance is no longer the performer playing, but the work itself revealing itself through the performer. In such a performance, the performer's mission is to deliver the work to the divine spirit that created it. I myself can do nothing; it is the Spirit that gave birth to the work that does the work. In this performance of Tannhäuser, Jorge Bolet is doing just that. The result is a piano version of Tannhäuser that stands out from all others.

[@nancyspada2240]

How very true!

[@65attila]

Beautiful and very exciting.

[@josephf151]

That was fantastic. Much thanks to whoever recorded this, and also thanks for posting this video so that others can enjoy this most wondrous work and performance.

[@johnellis6755]

Wow wow wow is this perfection?

[@peterroycroft6433]

Utterly stunning.

[@carlrichards49]

Spectacular performance! Bravissimo!!

[@KenWangpiano]

Hear the vigor and color of Bolet's magisterial performance! Although Cziffra's version has a special place in my heart for his infallible technique, Bolet's ability of possessing bravura without inducing narcissism makes this recording an easy contender for the best rendition of this transcription

[@pianoman551000]

Cziffra's performance- technically is flawless, but lacks artistic purity. Bolet's performance is a measured one. Notice how he slows the tempo in the recapitulation of the Pilgrim's Chorus, but the sheer ethereal beauty and artistic expression is extremely heightened until the last chord. I don't think any pianist can really perform this titanic piece as well as Bolet. And to perform this piece as his final offering in a recital is just mind blowing!

[@andream.464]

cziffra’s performance is a collage of different live executions of his. Bolet’s recording is from one single live performance.

[@CarmenReyes-em9np]

En. México ..te recordamos todo el tiempo. Bravísimo. .

[@skimask7776]

THE BEST!!!!!

[@aseverino]

El recital de Málaga de diciembre de 1974 fue para mí una de las experiencias musicales más impresionantes de mi vida. Grandísimo Bolet, quizás solo comparable a Horowitz o Joseph Hoffman. Gracias.

[@claudioparrella183]

Bolet in questa performance è insuperabile

[@alberto798]

I've heard many versions of this, but none of them are this good. Amazing, what a shame the quality isnt the best

[@timparry8304]

The date is actually 25 February 1974.

[@GeorgeTengTV]

Genius.

[@CarmenReyes-em9np]

Excelentísimo. Para Liszt. 🇲🇽. 🎶🙏. 🇲🇽

[@sanjosemike3137]

Never excess. Never showy. Judicious use of pedal. Accuracy in all octave passages. Never rushed. You can hear everything "inside." Pedal points are never "pounded." Notice his complete refusal to use rubato. He actually worked this out by counting out each measure. The incredible virtuosity is virtually hidden. All you hear is the music. He may have played this better than Liszt. Sanjosemike (no longer in CA)

[@michaeloleary1867]

Gorgeous!

[@OE1FEU]

He actually played this much, much later when I heard him in Germany back in 1989, this time on a Baldwin, not on a Bechstein as in Carnegie Hall.

[@cziffrathegreat666]

People who have health problems better sit at the back... One of the best renditions I've ever heard!

[@carmenreyes6222]

Interpreto la pelicula dd la biografia de Liszt UNA LIAMA MAGICA es otro genio

[@loanguy6193]

We measure great performances like this in hundreds of years

[@sergio6357]

최고의 연주...

[@fatimacanche9081]

Muy rrecordado. en Mexico por tu gran exito. en la pelicula Una Llama Magica (biografia de Liszt)

[@CarmenReyes-em9np]

Gran pianista ,hace años que te escucho. 🏆🇮🇷🙋

[@carmenreyes6222]

Exelente !!!!!!!!

[@antoniofernandez-albalatga5731]

Extraordinario.!!!!!!!!!!!!!Soberbio pianista e interprete.

[@carmenreyes6222]

Jovencito dra muy guapo

[@giacomoboganini7823]

Wagner/Liszt Tannhäuser Overture definitive performance

[@giacomoboganini7823]

@@marcelmombeek9889 no no, i am sure, i listened Cziffra: I don't like that version. I will listen Iortie

[@James_Bowie]

@@marcelmombeek9889 I, and the Carnegie Hall audience, strongly disagree with you.

[@carmenreyes6222]

Exelente Mexico

[@newyorkguy158]

The Moiseiwitch on film on YT is better.

[@ebutuoy8141]

Bolet, le champignon du monde de l’interprétation romantique.

[@peterroycroft6433]

Er, champion? Peut-être....

[@doloresazul5145]

A child prodigy and a great pianist from an early age, Bolet didn't really receive his due until this date, when he was almost 60.

[@underzog]

Jorge Bolet was my music teacher's teacher.

[@gergin342]

the best stereo recording of S. 442😭

[@BachBusoni]

And non-stereo? The Friedman piano roll?

[@gergin342]

I would recommend Benno Moiseiwitsch, because I don't like paper roll...

[@yanikucho]

how could people give a thumbs down to this is beyond me :S

[@skimask7776]

To answer your comment... They put a thumb down because they could never perform it so beautiful themselves. They're just jealous that's all.

[@andream.464]

usually they are miscliks! Once I accidentally put a a thumb down on a Lipatti recording! At the time you could not correct it.

[@mariocarrion7807]

Crea un clima de tensión y serenidad a la vez con su ritardando particular.

[@carmenreyes6222]

Era muy guapo

[@carmenreyes6222]

En esta edad lo conosi en la biografia de Liszt jovencito

[@CarmenReyes-em9np]

Jorge Bolet interpretó la obra de Lizst en la película. * Una llama majica. ,lo escuché por primera vez ,es muy guapo además. 🇲🇽 Mexico❤

[@garrywindshield1]

Fucking coughing never ends

[@derisleybrittain]

astonishment😀😀😀😀😀

[@CarmenReyes-em9np]

Es una manía el MIX. 😮

[@CarmenReyes-em9np]

Eres. Incomparable. México. .....,

[@gilbertoalvarezramirez-abo903]

¡Insuperable!

[@stephenloxton43]

Transcendental interpretation

[@CarmenReyes-em9np]

20+;;;------24. .México 🇲🇽🙏

[@paulkomen4693]

Superior performance in every aspect!!!

[@williamtackle9236]

Karl Bohm Respektor brought me here.

[@carmenreyes6222]

Merida mexiico

[@carmenreyes6222]

Se escuchan mas las campanas

[@josepgirbesplaza8440]

14:25

[@mobilis54]

oui, effectivement, un toucher délicat et rarissime, je dois admettre.

[@titicatfollies6615]

Terrifying!

[@enricocorbi6839]

Was this original Liszt's Paraphrase? Or rather Bollet's own version upon Tannhäuser Ouverture by Wagner? Not human...anyway...out of scale virtuosity.

[@andream.464]

LIszt’s

[@Paulofibonelli]

The impossible comes into reality here

[@CarmenReyes-em9np]

No mix

[@CarmenReyes-em9np]

No mix.

[@javiergilvidal1558]

How I hate applause, that barbaric post-script of the illiterate to a letter they could never write! Deep, moved silence would be so much more expressive than the raucuous coda of clapping din to the majestic accomplishment of sublime sound!

[@CanAlternateLostTape]

People applaud because a living, present human being just gave them this treasure, this joy, this performance....and they rightly show their appreciation and thanks in return.

[@SpaghettiToaster]

I, on the other hand, can't contain my joy over the fact that it bothers you so much and yet there is absolutely nothing you will ever be able to do about it. How does it feel?

[@MrAristaeus]

I know where you’re coming from, but looked at from an alternative perspective, applauding, and the desire to applaud is the most natural human reaction to something as refined and studied and practiced and ‘performed’ as this sort of pianistic (and just pure human) excellence. Without getting too quasi philosophical or Ying Yang about it, a barbaric reaction is natural AND beautiful in the context of maintaining an unforced equilibrium. To put it simply, you can’t have one without the other, and even if you could, it just wouldn’t be preferable. It comes full circle, refinement without barbarism, would itself be a curious type of ugliness, cerebral, cold, Ideal - with a hideously capitalised ‘I’, and we all know where that ends up. I adore reflection and silence and am critical sometimes of (forgive me) American audiences prematurely ‘hallooing from the reverberate hills’, but for that brief second when the audience screams and claps their hands over Sr Bolet’s last chord, there IS a communion of sorts and a contact where we are, for the briefest of moments, making music and sharing life together as nothing more and nothing less than equals. THAT’s the power and gift of music. Sr Bolet shows us that, but so do the occupants of Rows A, B, C, to Rows X, Y, Z, stalls, balconies and upper circles and everyone between... and even at home through KZbin nearly 50 years after the fact, Sr Bolet, Liszt and Wagner reach out to us and more than that, invite our embrace. This is the very opposite of barbarism, no?

[@enriquesanchez2001]

As as composer and performer, how I hate people that do not applaud at a performance, that sterile post-script of the vacuous elite to a feeling they could never experience! Deep, moved appreciation would be much more expressive than the utter silence to the majestic accomplishment of sublime sound! À chacun son goût

[@AlexanderArsov]

I also hate applause - between movements and in the middle of operatic or ballet numbers.

[@ConcordMass]

14:25

[@CarmenReyes-em9np]

No mix.

[@babygirl4169]

14:25

[@CarmenReyes-em9np]

No mix.