Je l'ai decouvert â Alger en 1957 , recital Chopin et aussi son concerto pour piano ; c'est lui qui m'a fait découvrir Chopin . Il a ête critiqué uniquement parce que pour lui la mélodie permets toute les interprétations , S François netait pas un pianiste traditionnel avec ses codes rubato - tempo- stricte- non conventionnel - hors des sentiers battus ; élève de Cortot il ne l'a pas suivi pour jouer Chopin â sa manière ; avec lui Chopin rayonnait , chantait et peu importait les indications de la partition : S François cetait Chopin qui improvisait , cetait pas que un interprète mais le compositeur en personne ; les pianistes sont froids glaciales avec Chopin lui etait dans la musique jamais dans la recherche de la Beauté pianistique mais dans l'improvisation , cad le sens réel de la musique classique , l'opposé 100-100 du concours Chopin d'aujourdhui ou les pianistes font des efforts considerables pour essayer de transmettre ce quils ne comprennent pas , la musique est un language pas la science du clavier .
Il excellait aussi dans l'interprétation des oeuvres de Debussy. Pour moi ,son meilleur interprète. Je possède encore de lui un magnifique album en vinyle que je réécoute toujours avec un vif plaisir. Hommage à Samson François.
We never get the chance to hear this kind of piano playing these days...Can anyone imagine any chinese pianist or these russians from today (not the great ones from the past) playing with such refinement and "gout"? Just impossible...Can you imagine la Wang sounding anything close to this??? These beautifull shaping of frases that we can see, so real they are...
Maria Joae Pires who is old now and not from this generation played the beginning of this Chopin concerto on a bechstein fortepiano from the late 1880's, the video clip from around 2012 cuts at the same time as Samson. Her playing is beautiful on the fortepiano even if Samson has a more free expressive touch. But then you can listen her with the same piece on a modern piano and all the magic is gone !! I believe Steinway destroyed classical music with their pianos since post WW2. In another video of Maria she says the modern piano is "too material" and it is a "fight" to bring out music out of them whereas pre WW2 piano allowed the music to come through with a soul of its own (and for Pleyel even later pianos). She says modern piano have a seductive sound but the music cannot be sublimed. The Pleyel Samson played and Cortot's Pleyel still had that lighter touch that is gone in post WW2 steinways (and got even heavier after 1980). From that a different technique was learned by the young pianists competition winners who have to deal with a much heavier action. They can still play the right notes fast but who cares, the magic is gone. When i see Samson's hand in this video or Cortot's hand, that technique looks different than any pianists of today. They would not be able to play modern Steinways that way, the piano heavy action would not allow it. People tend to say it's not the piano, it's a different era and style of playing that is in cause. I disagree, i believe the piano construction has heavily influenced the way of playing because mechanically you cannot play it with these older more expressive hand techniques. Also very importantly when such modern pianist plays on a fortepiano he/she will use the modern piano technique she learned for heavy action for years and will not produce that magic. Unless the pianist spent many years playing fortepiano he will not know the deeper expressive possibilities of a lighter piano touch. Maria being an enthusiast of fortepiano probably has one at home she plays regularly but even so, she probably grew up learning her technique on a modern piano with heavy action (otherwise she could not be a professional pianist) and that is why she did not sound as free and expressive as Samson who only played the piano of his time. Of course all this begs the question why did Steinway do this and why is nobody addressing and correcting it ? The answer is complicated. First from their standpoint their goal was to stay in business by producing a piano that sounded fuller with more sound projection than the competition (always more horsepower). That means bigger hammers -> bigger strings -> more string tensions -> heavier action. Steinway is not run by legendary pianists but by business men. The problem is that as can be seen in piano competition it is still possible to produce dazzling playing in the moment that has no magic. Only the true musical artists who have sufficient perspective with the past will be able to see what we have lost. The main public will not and once they see and hear historic recordings they assume the magic came from the pianist and they assume that pianist could produce the same interpretation on a modern piano but they could not ! The piano is the problem. The piano technique had to adapt to heavier action and the magic was sacrificed for sound power, for longer lasting tuning, for more solid piano. Steinway has destroyed classical music (and everybody else copied Steinway).
@micheltennil Les "mauvaises interprétations " sont vraiment rarissimes ! Bien d'accord avec vous sur certains de ses comportements (alcool et tabac) qui nous ont privé trop tôt d'un pianiste d'une sensibilité exceptionnelle ; quelle musicalité, quelle virtuosité maîtrisée... J.-P. H.
ça cest exclu : alors expliquez pour quelles raisons vous rejetez les interprétations de Samson François , cest trop facile d'écrire trois mots et point d'exclamation .
He says he never worked his technique. That he hates following the mesures of the score and likes being very free in the rythms. He also says that you have to find the melodic line in any part of the music while they can be everywhere
Bonjour, un grand merci pour ce partage. Samson François est l'un des plus grands interprètes du siècle passé et il manque à la musique.
Je l'ai decouvert â Alger en 1957 , recital Chopin et aussi son concerto pour piano ; c'est lui qui m'a fait découvrir Chopin . Il a ête critiqué uniquement parce que pour lui la mélodie permets toute les interprétations , S François netait pas un pianiste traditionnel avec ses codes rubato - tempo- stricte- non conventionnel - hors des sentiers battus ; élève de Cortot il ne l'a pas suivi pour jouer Chopin â sa manière ; avec lui Chopin rayonnait , chantait et peu importait les indications de la partition : S François cetait Chopin qui improvisait , cetait pas que un interprète mais le compositeur en personne ; les pianistes sont froids glaciales avec Chopin lui etait dans la musique jamais dans la recherche de la Beauté pianistique mais dans l'improvisation , cad le sens réel de la musique classique , l'opposé 100-100 du concours Chopin d'aujourdhui ou les pianistes font des efforts considerables pour essayer de transmettre ce quils ne comprennent pas , la musique est un language pas la science du clavier .
Samson. François
Un miracle de la nature que j'aime passionnément ecouter
Il excellait aussi dans l'interprétation des oeuvres de Debussy. Pour moi ,son meilleur interprète. Je possède encore de lui un magnifique album en vinyle que je réécoute toujours avec un vif plaisir. Hommage à Samson François.
Inoubliable artiste...
Génial ce documentaire
We never get the chance to hear this kind of piano playing these days...Can anyone imagine any chinese pianist or these russians from today (not the great ones from the past) playing with such refinement and "gout"? Just impossible...Can you imagine la Wang sounding anything close to this??? These beautifull shaping of frases that we can see, so real they are...
Maria Joae Pires who is old now and not from this generation played the beginning of this Chopin concerto on a bechstein fortepiano from the late 1880's, the video clip from around 2012 cuts at the same time as Samson. Her playing is beautiful on the fortepiano even if Samson has a more free expressive touch. But then you can listen her with the same piece on a modern piano and all the magic is gone !! I believe Steinway destroyed classical music with their pianos since post WW2. In another video of Maria she says the modern piano is "too material" and it is a "fight" to bring out music out of them whereas pre WW2 piano allowed the music to come through with a soul of its own (and for Pleyel even later pianos). She says modern piano have a seductive sound but the music cannot be sublimed. The Pleyel Samson played and Cortot's Pleyel still had that lighter touch that is gone in post WW2 steinways (and got even heavier after 1980). From that a different technique was learned by the young pianists competition winners who have to deal with a much heavier action. They can still play the right notes fast but who cares, the magic is gone. When i see Samson's hand in this video or Cortot's hand, that technique looks different than any pianists of today. They would not be able to play modern Steinways that way, the piano heavy action would not allow it. People tend to say it's not the piano, it's a different era and style of playing that is in cause. I disagree, i believe the piano construction has heavily influenced the way of playing because mechanically you cannot play it with these older more expressive hand techniques.
Also very importantly when such modern pianist plays on a fortepiano he/she will use the modern piano technique she learned for heavy action for years and will not produce that magic. Unless the pianist spent many years playing fortepiano he will not know the deeper expressive possibilities of a lighter piano touch. Maria being an enthusiast of fortepiano probably has one at home she plays regularly but even so, she probably grew up learning her technique on a modern piano with heavy action (otherwise she could not be a professional pianist) and that is why she did not sound as free and expressive as Samson who only played the piano of his time.
Of course all this begs the question why did Steinway do this and why is nobody addressing and correcting it ? The answer is complicated. First from their standpoint their goal was to stay in business by producing a piano that sounded fuller with more sound projection than the competition (always more horsepower). That means bigger hammers -> bigger strings -> more string tensions -> heavier action. Steinway is not run by legendary pianists but by business men. The problem is that as can be seen in piano competition it is still possible to produce dazzling playing in the moment that has no magic. Only the true musical artists who have sufficient perspective with the past will be able to see what we have lost. The main public will not and once they see and hear historic recordings they assume the magic came from the pianist and they assume that pianist could produce the same interpretation on a modern piano but they could not ! The piano is the problem. The piano technique had to adapt to heavier action and the magic was sacrificed for sound power, for longer lasting tuning, for more solid piano. Steinway has destroyed classical music (and everybody else copied Steinway).
Aquí se ve claramente de qué está hecho el plomo.
@luizfernandg : it's an old comment here , j had not read it before to write but in fact j think as you about him
La courbe mélodique ! Immortel Samson François !
Merci beaucoup!!
Thanks for upload !
Trop génial....
On est d'accord.
C'est mon icône.. 😏
@micheltennil Les "mauvaises interprétations " sont vraiment rarissimes ! Bien d'accord avec vous sur certains de ses comportements (alcool et tabac) qui nous ont privé trop tôt d'un pianiste d'une sensibilité exceptionnelle ; quelle musicalité, quelle virtuosité maîtrisée...
J.-P. H.
Y encima, sin subtítulos. Se han lucido.
sublime ! avez vous l'intégral de l'enregistrement du concerto de chopin que l'on entend à la fin ?
00:56
Merci beaucoup pour le partage! Où est-ce qu'on peut regarder plus de ce documentaire/entretien ?
Like Gerardo Sanchez I say thank you very much and also ask the same question.
C'est intéressant, ce qu'il dit.
Geert Dehoux, pianiste belge.
Absolument !
on peut penser que Chopin jouait ainsi
Ah non ca c'est exclu !
ça cest exclu : alors expliquez pour quelles raisons vous rejetez les interprétations de Samson François , cest trop facile d'écrire trois mots et point d'exclamation .
What is he playing at the beginning ?
Etude nr. 10 ( f minor ) / Liszt
@@hansdekorver7365 thanks for that info.
Who can translate it in English?I'm Chinese and I can't understand Franch.
He says he never worked his technique. That he hates following the mesures of the score and likes being very free in the rythms. He also says that you have to find the melodic line in any part of the music while they can be everywhere
The English, this inconsistent people, left the European continent, we will have to make an effort, Chloe, to master our beautiful language¯\_(ツ)_/¯
He said when he learns a new piece he thinks how can i sing this on the piano.
@Paulo78180 Liszt Xè étude d'exécution transcendante
It is a pity he smoked too much
on n'entend rien de l'interview, le son est très bas