Maria João Pires plays Schubert - Drei Klavierstücke - D.946

[@jayhaar2440]

I see and feel Schubert now through her choreographic abilities. It is simply amazing how she can do this. She brings Schubert alive. Thank you for the upload.

[@ellahanify3792]

I heard this performance recently on Concert FM New Zealand- I was transfixed and transported and had to stop what I was doing and just listen. No other performance of this work measures up to this inspired performance by Maria Joao Pires which reaches into the heart of dear Schubert, who shows us that he surpasses even Beethoven's best in this glorious piano music. Thank you Maria! Thank you beloved Schubert!

[@DorianLS]

Schubert is unique and can't be compared with Beethoven, Mozart, etc. But I heard someone say elsewhere that no one, even compared with Beethoven, et. all, had created as many beautiful melodies as Schubert. That I would not argue with. Melody = songfulness, and even in his symphonies or masses there is songful melody.

[@alessandratorchiani5346]

Stupenda interpretazione..raffinata, commovente, sempre intensa! Grazie

[@NicoleYily]

Just can’t stop keep listening to it .. so beautiful that I couldn’t compare to any other pianist..it’s just way she could have done!

[@gregorurban3222]

Maybe Brendel, he has a special taste for Schuberts piano works. heart and mindfully.

[@francoiserocker5477]

Son jeu est d'une tel finesse et tendresse qu'il mérite d'être écouté plusieurs fois..elle fait très bien ressortir l'amour de Schubert.

[@christopheschollaert6360]

C est splendide. Vous êtes une incroyable pianiste, ce que vous faites est toujours tellement bien senti, tellement intelligent, tellement beau.

[@Hayamachat]

Incredible warmth, liveliness and beauty! Her personality comes through. Thank you, Maria!

[@navrozelalkaka8457]

So good. How is it that Maria Pires always has the softest touch . Superb.

[@doreenmillman7963]

This is breath-taking........sooooooo beautiful

[@michaelrogers5495]

This is exceptional, as Pires always is. Uchida is another one I love

[@williambunter3311]

Wonderful rendition! Wonderful composition! The bell-like tone of the piano is exquisite, and utilised to perfection by the astounding technique of this amazing artiste.

[@kevindrew8347]

Sorry to be so off topic but does anybody know of a trick to log back into an Instagram account? I was dumb forgot my login password. I would appreciate any tips you can give me

[@colinashton2949]

@Kevin Drew Instablaster ;)

[@kevindrew8347]

@Colin Ashton thanks for your reply. I got to the site thru google and Im waiting for the hacking stuff now. Takes quite some time so I will get back to you later with my results.

[@kevindrew8347]

@Colin Ashton it did the trick and I now got access to my account again. I am so happy:D Thank you so much, you saved my ass !

[@colinashton2949]

@Kevin Drew No problem :)

[@marksmale827]

Why did so many of us think for so long that Franz Schubert's piano compositions were somehow somewhat inferior to those of other great composers? They are works of extraordinary originality, quite unlike any others from the late Classical or Romantic period. It may have taken a century - or nearly two - for their genius to be recognised but thankfully though the artistry of musicians like MJP, they are now firmly entrenched among the the greatest piano works ever written.

[@MrInterestingthings]

I thought Brendel and Uchida were a world to themselves in this music but Pires too makes an imaginary place so very different in its details . I think only people or maybe even pianists weren't ready to accept the miniatures ? Yet so much fluff and miniatures were always a part of concert programmes well upinto this century . looking for virtuoso material might have thought this. Schnabel and Haskil knew in the 1920's along with Horszowsky and Arrau always gave his music pride of place in his recitals . Liszt knew when he saw the Fantasy . When did the Sonatas firststart getting played on concert programmes . Or is it because thi music like Mozart's was made for music lovers at home . There is a difference in how the impromputus etc. are played for a small audience and how they are played as a large recital gathering . Ask a professional- I wouldn't know .Haskil, Cortot all the pianists born in the 19th century knew this music.but!!! they didn't know the concert music.Rachmaninoff didn't know the sonatas existed as late as the 30's he writes in a letter to someone . But he recorded Schubert with Kreisler so he of such a different temperament too loved Schubert .

[@gregorurban3222]

@@MrInterestingthings I agree with you. Only to say this pieces here are not miniaturs. If some exist then tom look at Moments musicaux and the dance pieces of the composer. - And in general much of the sonatas, well known or not so often played ones, is difficult to be played, more difficult when played also adequat.

[@Radiatoron88]

Absolutely gorgeous, and such beautiful tone!

[@martienbrands8224]

number Two 'can' only be played reaching its maximal impact the way Pires does it. esp when the slow staccato in the chords sequence - in the second part after the repetition of the main theme (20:26) - is mixed with a proportionate rubato, that creates the unbelievable tension which one gets with slow motion parts in a film: larger than life.... magnificent.

[@mariarosariohuntrods5960]

Maria João maravillosa intérprete!

[@ericsteph]

her musicianship is just unparalleled

[@abiholdaway8644]

In a class of her own

[@marizacabral5141]

Astounding interpretation.

[@Sifsif__ma]

no one can play this piece of music like she does

[@dragicavujanovic]

Brendel can

[@eviahun]

Pollini can better

[@jmlfa]

It is true. I love Brendel, but she brings so much emotion - it is incredible.

[@oldronald6560]

I love her part 1, a little slower in places than Uchida. The amazing melodies are clearer. But I prefer Uchida’s part 2. Dame Mitsuko somehow puts special, ethereal and almost spooky sound into the minor part that is practically repeated 4 times. Bot

[@gregorurban3222]

Dear answers - nobody can, because everbody plays differnt. It isn´t a question of better or not!...

[@gyulakovats5983]

Pár éve amikor elkezdtem zongoristákat hallgatni az interneten Pires volt a nagy kedvencem , azóta van több is .Schuberttet nagyon szeretem és örültem , hogy ezt a darabot tőle is meghallgathatom.Fantasztikus , a tempó ott lassú és gyors ahol kell , és a hangerő , dinamika is telitalálat .Pires még mindig nagyon ott van.Köszönöm! Thanks from Hangery.

[@tompiszabo9661]

Nekem is ő az egyik nagy kedvencem.

[@abiholdaway8644]

Such lucidity. She makes it sound like she is not doing much but much there is, such abundance

[@arturozeballos1]

una de las mas grandes interpretes de su época!!!

[@turidemarcodeeustachijs3926]

Meravigliosa interprete!

[@etienneanduze7203]

Superbe

[@GiovannaMancaSindia]

Incantevole performance complimenti Fabio ❤

[@martinclaude7261]

Il y a de temps à autre des gens exceptionnellement doués.

[@daniellefoucaut8325]

Vous oubliez de mentionner le travail qu'il y a au-delà du don et de l'inspiration...mais c'est vrai qu'à l'âge de 7 ans elle jouait déjà Mozart en public...

[@jakedewyn8848]

Her interpretation of these pieces is one of the better ones, and especially #1 sounds beautiful the way she plays it. But at times, I think she plays a bit too timidly, especially the C part in #2 (from 20:30). For some reason, only Brendel seems to get that part right (edit: for my taste, at least).

[@kristenk708]

fully agree about that part in #2

[@wolfganggingter3131]

This is nonsense. Look at the composer Franz Peter Schubert as the master of the song and then you will know how to play it. There is no right or wrong. Both interpretations are perfect. With Brendel, the song is in the foreground. Maria reflects a lot of Schubert's emotions. Schubert was a very sensitive genius full of lust for life, but inwardly torn.

[@jakedewyn8848]

Alright, of course it's subjective what is the "right" interpretation. For this part, I just can't really enjoy anyone's interpretation than Brendel's.

[@wolfganggingter3131]

Jake, that's the fantastic thing about classical music. It lives on good, true-to-score interpretations by the artists and, in this case, by the pianist. I can understand your enthusiasm for Brendel's Schuberts. It is definitely a reference at Schubert and I can enjoy it too. It is good that people have different empathies for artistic music performance.

[@manoelmasini9204]

This partem right? What is right, can you explain?

[@intermezzoprincess5575]

No. 3 is in C Major (not c minor).

[@Fabio67377]

Thank you for the clarification

[@roncoffey4900]

Until I heard Pires play part 2, I thought Dame Mitsuko Uchida played it better than anyone. Now I prefer the slower tempo that Pires uses. Both ladies play incredibly well, with great feeling. Some personal interpretations make for minor differerences, all fascinating to listen for! 😃

[@jamesnickoloff6692]

Part 2 is not played at a slow tempo at all compared to others. Listen to Richter--the pathos breaks one's heart. It's because of his facility with rubato where he holds notes just a bit, stretching the beauty, the pain, taking one to a very deep place. Of his recordings I prefer the live Moscow performance of 1964.

[@wolfganggingter3131]

@@jamesnickoloff6692 Ever heard of freedom of interpretation. Who gives the Andante to Schubert or Richter? Andante means walking, striding. This quickly turns into an Andantino, with a pianist Schubert does not give any score information about Rubato. That you like Richter better is a very personal feeling.

[@jamesnickoloff6692]

@@wolfganggingter3131 Yes, Wolfgang, it is a very personal feeling. That is the point. Even with Schubert's score in hand, we can never know exactly how HE would have played it. And even if we had a recording of him playing it, that would only be one possible interpretation. Creators (composers) give us great gifts with their creations, but as they do so, they let go of the gift, entrusting it to others--in this performers (and to a lesser degree listeners, like us). Within limits of course, performers (and listeners) are not only free to interpret what they think is called for; the MUST do this. There is no way around it. Similarly for all works of art. A painter creates the work--and then releases it. This makes artists very vulnerable. Their work is now in the hands of others, some of whom have great hearts and minds and some who don't. I think Pires is a great pianist and great interpreter. I just don't think her soul found in Schubert what is potentially there--and what Richter finds and expresses.

[@c.g.marseille4510]

für mich; keine Bemerkungen nötig, alles sehr Gut und sehr Schön gespielt

[@llanianemesis]

Perfection!You remind me Dimitris Sgouros♥

[@juancarloscasado9140]

Hace 30 años quel a escuché por 1 vez con el 21 concierto de piano de Mozart y desde entonces es mi pianista principal y referente Ahora la escucho con Beethoven , Schubert, Chopin gracias M. J. Pirés

[@MrAlumnito]

Das ist eine Kriegserklärung an Alfred Brendel. Oh mein Gott, wie sie jede Note mit Leben erfüllt!! Da bröckelt das Brendel-Denkmal aber gewaltig...

[@MrAlumnito]

That is a declaration of war on Alfred Brendel. OMG how she brings every note to life! the monument of Brendel wobbles...

[@wolfganggingter3131]

Das ist Quatsch Brendel interpretiert Schubert auf seine Weise mit einem etwas schnelleren Rubato als Maria. Beide Interpretationen sind Spitzenklasse und habe jeweils Ihre eigene Berechtigung. Schon mal was gehört von Interpretationsfreiheit einer Partitur ohne dies in Zweifel zu stellen oder davon abzuweichen. Das ist das Recht eines Künstlers und macht klassische Musik immer neu.

[@gregorurban3222]

Why declaration of war? Both musicians are searching their direction of their journeys to meet Schubert´s music. - I´m writing this as Brendel admirer and proffesional musican.

[@yzubirt]

... ♡ ...

[@josephlaredo5272]

As ever with Pires, this is passionate and intense playing, and for the most part these gorgeous pieces can take such an approach, though occasionally one craves a tad more 'classical' restraint. I also find her tendency to 'swoon' over phrases a trifle irritating. And, oh, surely the opening theme of no. 2 should be magically transformed when it returns for the second time after that sublime Cb major episode (at 25:50) and not sound exactly the same as the first (and second) time? Still, better this than Uchida's detachment, for example. Pires includes the episode Schubert apparently deleted from the first piece, which does it no harm (even 'deleted' Schubert is vastly superior to the best efforts of most other composers!). Thanks for posting!

[@gunterfreitag5562]

Joseph Laredo and

[@gunterfreitag5562]

Abc

[@gunterfreitag5562]

Joseph Laredo zzzik.t

[@jamesnickoloff6692]

I'm sorry to go against the tide of approval here, but I find that Pires has stretched these stüke beyond recognition. What I mean is that she takes such liberty with rubato (which I normally love in pianists and singers alike) that what we have is "Pires" instead of Schubert. I'm referring not only to the bits she adds, as noted by others here, but to her continuous alteration of the tempo in all three pieces. The worst moment for me comes in no. 2 where she transforms it into a frolic, missing the pathos completely. Give me the more careful observation of Richter and the resulting tension, sadness, and redemption.

[@josephlaredo5272]

... Posted too soon. What on earth is that unmarked accelerando at the end of no. 3, Ms Pires? It's horrid!

[@kurthansen580]

She actually adds a couple improv moments like the one you just mentioned at the end of #3 and also towards the end of #1 as well. She's clearly improvising (these were originally titled "Impromptus"). But yes, I'm not the biggest fan of those particular improvs that she inserts in these works as they don't match Schubert's character; still a good performance nonetheless.

[@kliberalsing]

c'est un véritable scandale :))

[@roiranen5950]

Go on, play it better

[@AndreyKiselev1994]

Actually I've discovered the #1 bit you're referring to can also be heard in Avdeeva's rendition, but surprisingly in no one else's (Brendel's or Schiff's, for instance). So apparently there's an alternative Schubert's version (?) that includes this additional bit. I'd love to have a look at the sheet music...

[@baroqueclassicaldeepcuts]

@@AndreyKiselev1994 it was actually crossed out of Schubert's original manuscript and Brahms rewrote it and had it published posthumously. Snippets of the sheet music are available on the Henle website, but I can't find any PDFs of the whole section (c section in Ab). If anybody has a copy, let me know!