Paderewski plays Mozart Rondo A minor K 511

[@marcxopoco]

Beautifully played. Phrasing, use of dynamics, pressing forward, holding back, contrapuntal playing, use of various touches from legato to detached touch. A great artist on display here.

[@LaetitiaHahnandPhilipHahn]

His playing is beautiful!

[@MrFlorestan1]

This is a captivating document of Paderewski playing repertoire that one wouldn't normally associate with him or with any "19th century" pianist for that matter! I think it is also a testament to his greatness, or perhaps why people liked him despite his inconsistencies and the reservations that his colleagues had for him. Considering how long this performance has been available on KZbin, I'm surprised that I have only encountered this recording now. It is easy to draw attention to the way he separates the left hand from the passagework in the right hand. But to dwell on that alone would be a very reductive way of describing this performance. As far as one can tell without looking at the score, this strikes me as a very measured rendition played with imperceptible rubato. All of the expressive nuances are created through minute "shades" without extremes in dynamics (although people have played the octaves in the bass with more restraint). The ascending main theme is somewhat difficult to play without creating the impression of struggling with the keyboard (and the pedals), but Paderewski gives no sense of that. So for all of the perceived "Chopin"-like mannerisms in this recording, I think it should be appreciated for the taste that Paderewski exercises and the few liberties that he takes with the *content* of Mozart's music.

[@newyorkguy158]

His repertoire was not limited to romantic composers, or just 19th century composers. As I recall he recorded Couperin and maybe Rameau too.

[@ЕленаМихайлова-ъ8к]

Замечательная интонация, живая музыка, содержательно, а не просто пальцы в темпе и ритме

[@sigridmann9511]

How wonderfull !

[@ninodaney]

D’une immense beauté ! D’une grande simplicité !

[@Alix777.]

Non c'est très sophistiqué au contraire... Personne ne peut jouer comme cela aujourd'hui.

[@newyorkguy158]

Alicia de Larrocha plays this beautifully and I love her playing, yet it doesn't touch this performance in beauty or depth of feeling. Mozart, romantic that he was would have loved this interpretation, the way Paderewski lets the piece breathe, the beauty of tone, phrasing, dynamics and expression. Can't get a more sensitive interpretation than this or more heartfelt. It's hard to listen to any other interpretation after this.

[@vova47]

Beautifully played and perhaps not surprisingly close to Horowitz' interpretation. Someone (I can't recall who at the moment) said that Mozart should be played a bit like Chopin and Chopin a bit like Mozart. I think both Horowitz and Paderewski felt that way as well..... Thanks for sharing!

[@xper2xper]

It was Pablo Casals saying that, as far as I remember.

[@Promytheas100]

Horowitz said this in an interview!

[@otterhouse]

Very nice... Chopinesque, but that's the charm of this performance... :-) Greetings from the Netherlands, Rolf

[@metteholm4833]

Mozart and Chopin had a LOT in common.

[@CenaniHarun]

A young man approaches Paderewski on one of his political state visits and asks him ; " Sir, are you not the famous pianist Paderewski ? " and Paderewski answers him : " Yes, I am the prime minister now " and the young man says ; " Oh, I see, so sorry for your failure "... Paderewski has stated that this comment made him wake up. Great man, great patriot.

[@CenaniHarun]

Młody mężczyzna podchodzi do Paderewskiego podczas jednej z wizyt w państwie politycznym i pyta go; „Panie, czyż nie jesteś słynnym pianistą Paderewskim?” A Paderewski odpowiada mu: „Tak, jestem teraz premierem” i młody człowiek mówi; „Och, rozumiem, przepraszam za twoją porażkę” ... Paderewski stwierdził, że ten komentarz obudził go. Wielki człowiek, wielki patriota.

[@bvbwv3]

Ah-hhhh…...

[@GlynGlynn]

I like the splitting of the two hands but, if done to excess within a series of bars, as in some instances in this performance, it becomes irritating and unconvincing. A pity, since the runny passages are little gems.

[@3047L-f6m]

do you think you understand Paderewski's interpretation? he is much more close to Mozart than we are. we should listen to him and learn.

[@charlestebbs]

Oh I've heard a lot more conspicuous and frequent splitting. I think this it is very subtly done and in fact not far off a few fortepiano versions I've come across on the KZbin. P probably gave it endless consideration and refinement. Try it yourself! There is considerable evidence pointing to the use of contrametric rubato reaching right back into the 18th century.

[@MrInterestingthings]

I can't believe it Paderewsky has taste in Mozart .Noonebefore Horszowsky andHaskil plays with good judgement in Mozart .Thisman was special . Thisisnot bad , there is even subtlety much of touch and phrasing andfantastic left phrasing .Im really shocked heoverplays somesectionsbut itneversounds like milkedchopin untilthe harsh pedaling in the series of dim7ths . Habler isstill thejoy in M.Perahiaanduchidaandallthoselivingget itright .Arrau major disappointment in Mozart (whoheadord.Also surprising DeLarrochaalwaysplayedMozart well evenin the 1950's when noone else did !

[@おおやすぐる]

ゲンリヒ・ネイガウスの演奏に似ている。 テンポ・ルバートを駆使して要所要所をデフォルメするパデレフスキに 対して、一貫した早いテンポの中に千変万化するネイガウスの方が よる我々時代に近いのかな。 この人のタッチはイイよ

[@Prancer1231]

This sounds like Chopin.

[@3047L-f6m]

in your modern ears maybe yes.