Bolet's artistry surpasses any other performance of this piece: he preserves the line, captures the melancholy mood, and subordinates the shimmering accompaniment to the role Liszt intended rather than to 'muscularize' the virtuosity as many are tempted to do.
@jegspillerpiano You do know that once you're used to a certain interpretation, other interpretations often seem awkward, right? It takes some time to get to the point where you don't fall for that problem.
My earlier teacher Gordon Watson of the Sydney Con was in the same study class as Cziffra - Gordon said that Cziffra was expelled because 'he played things too fast and loud..."However I like some Cziffra performances. Here we have a Master in Jorge Bolet, I bracket him with the insurmountable Michael Ponti.
@Contrappunto Fully agree, I have heard many and all performances of this piece and can say with assurity that Liszt would be the first to turn towards this great performance...
@jegspillerpiano Cmon, I play this. It is too slow to be a blizzard. Snowflakes move at the speed of the wind in a blizzard, which is fucking fast if you've ever seen one. The wind howls as it blows at speeds getting up to 50 mph in some cases. I don't prefer this interpretation, personally, but if others do, then who am I to say that they're wrong? I think your description of the Cziffra interpretation in another comment shows a true lack of understanding of different interpretations.
There are fast blizzards an slow blizzards, depending of the velocity of the current wind... /Swepianoholic, living in a country with snow 5 months a year-Sweden
@jegspillerpiano I know that I don't because I've recorded myself on digital pianos and listened. I also play the rapid octaves perfectly 9 times out of ten at the same tempo as Berezovsky (sometimes faster and staccato when messing around), and in that rare one time, it's not noticeable. Anyhow, besides that, it hardly matters if I was a mildly interested musician or a pro: your comments are obviously stupid, saying that Cziffra's interpretation was amateur.
@s1earle I disagree, I prefer the interpretations of Kissin and Berman for this work. However, I agree that Bolet exhibits masterful playing in numerous works, in particular: ruclips.net/video/QVxEG12-1Ps/видео.html (Liszt's Sonetto del Patriarch 104)
I am always amused when outstanding artists like Jorge Bolet are compared with outlandish clowns like Cziffra or Berezovsky. It's like comparing a Harley Davidson and a bicycle. Those who are keen of technical fireworks and absurdly fast tempi, may listen to Cziffra and Berezovsky as much as they like. Those who think the music more important than the technique needn't bother with such guys.
Bolet's artistry surpasses any other performance of this piece: he preserves the line, captures the melancholy mood, and subordinates the shimmering accompaniment to the role Liszt intended rather than to 'muscularize' the virtuosity as many are tempted to do.
Superb voicing... Breathtaking melodic phrasing... Monumental sound! And doesn't sound like a tempest of sound until when it should.
Kissin and Berman also provide amazing renditions of Liszt's etudes.
@jegspillerpiano
You do know that once you're used to a certain interpretation, other interpretations often seem awkward, right?
It takes some time to get to the point where you don't fall for that problem.
My earlier teacher Gordon Watson of the Sydney Con was in the same study class as Cziffra - Gordon said that Cziffra was expelled because 'he played things too fast and loud..."However I like some Cziffra performances. Here we have a Master in Jorge Bolet, I bracket him with the insurmountable Michael Ponti.
@Contrappunto Fully agree, I have heard many and all performances of this piece and can say with assurity that Liszt would be the first to turn towards this great performance...
@jegspillerpiano
Cmon, I play this.
It is too slow to be a blizzard. Snowflakes move at the speed of the wind in a blizzard, which is fucking fast if you've ever seen one. The wind howls as it blows at speeds getting up to 50 mph in some cases. I don't prefer this interpretation, personally, but if others do, then who am I to say that they're wrong?
I think your description of the Cziffra interpretation in another comment shows a true lack of understanding of different interpretations.
There are fast blizzards an slow blizzards, depending of the velocity of the current wind... /Swepianoholic, living in a country with snow 5 months a year-Sweden
@jegspillerpiano
I know that I don't because I've recorded myself on digital pianos and listened. I also play the rapid octaves perfectly 9 times out of ten at the same tempo as Berezovsky (sometimes faster and staccato when messing around), and in that rare one time, it's not noticeable.
Anyhow, besides that, it hardly matters if I was a mildly interested musician or a pro: your comments are obviously stupid, saying that Cziffra's interpretation was amateur.
DEFINITELY one of Liszt most lyrical compositions!
@robert982 True but they are not in the interpreting class of which Bolet proves himself a Master.
@s1earle I disagree, I prefer the interpretations of Kissin and Berman for this work. However, I agree that Bolet exhibits masterful playing in numerous works, in particular: ruclips.net/video/QVxEG12-1Ps/видео.html (Liszt's Sonetto del Patriarch 104)
It's kind of nice and clear with good Rubato but too slow to be a blizzard.
@jegspillerpiano thumbs up 2 u for truth. bolet is clever subtle artistry cziffra is uninteristing mechanoid
Not sure about this interpretation, it sounds like he's playing with a metronome! Doesn't really conjure up any imagery at all.
I am always amused when outstanding artists like Jorge Bolet are compared with outlandish clowns like Cziffra or Berezovsky. It's like comparing a Harley Davidson and a bicycle. Those who are keen of technical fireworks and absurdly fast tempi, may listen to Cziffra and Berezovsky as much as they like. Those who think the music more important than the technique needn't bother with such guys.