Just divine... I feel like being transported to another world when I listen to this marvellous music performed so incredibly. I keep coming back. ABM was a genius
Wonderful to have the score broken into pieces synched with the playing. I've been studying this piece forever, & I usually get lost on the recordings because they're so fast. Danke schoen!
Michelangeli is something live more force than his recordings often ! I think Perahia knows more about sch and how this should be played .Heard in the 90's give a recital I shall never forget this astonishingly played then I was shocked to hear him play several Rach at end -music I had never associated with him . The intermezzo (few pieces of music so instantly waft their perfume) takes me to a time century before I was born and hints at why Schumann's lied are the most beautiful to come out of Europe after Schubert .
In the central section, tha direct and fast modulation from A to Bb and reverse, which articulates the architecture, is quite astonishing by the feeling of a soft transition given by this 'theoretically) harsh modulation. The architecture of the fisst part as a vast A/B/A or rondo form is also outstanding in its natural impulse and "evidence".
1. Allegro - Sehr lebhaft (very lively) - B-flat major, 3/4 0:06 A section: B-flat major (1) 0:06 first part 0:18 second part 0:41 B section: G minor 1:12 A section (2) 1:31 C section: E-flat major 1:31 first part: ends in B-flat major 1:39 second part: ends in E-flat major 2:51 A section (3) 3:11 D section: G minor 3:11 first part 3:42 second part 4:11 A section (4) 4:30 E section: F-sharp major -> B-flat major 4:30 first part: F-sharp major 4:55 second part: F-sharp -> D-flat -> A-flat 5:14 La Marseillaise quotation 5:41 third part: B-flat major 5:53 F section: E-flat major 5:53 first part: ends in B-flat major 6:12 second part: ends in B-flat major 6:53 third part: ends in E-flat major 7:19 fourth part: ends in E-flat major 7:53 A section (5) 8:10 coda: B-flat major 8:10 first part: quotes C section, first part 8:57 second part 9:21 third part: quotes E section, third part 2. Romanze - Ziemlich langsam (pretty slow) - G minor 9:48 A section: G minor, 2/4 11:08 B section: C major, 3/4 11:46 A section reprise: ends in G major 3. Scherzino - B-flat major, 2/4 12:36 A section: B-flat major (1) 12:51 B section 12:51 first part 13:06 second part 13:23 A section variant: A major 13:35 A section (2) 13:46 C section: ends in F major 14:02 A section (3) 14:10 coda: B-flat major 4. Intermezzo - Mit größter energie (with greatest energy) - E-flat minor, 4/4 14:49 phrase A (1): E-flat minor -> F major 15:09 phrase B (1): B-flat minor 15:28 phrase A (2): E-flat minor -> B-flat major 15:49 phrase B (2): E-flat minor 16:07 phrase A (3): A-flat minor -> E-flat major 16:25 coda: E-flat major 5. Finale - Höchst lebhaft (highly vivid) - B-flat major, 2/4 16:58 exposition: B-flat major -> F major 16:58 first repeat 17:27 second theme: F major 18:11 second repeat 18:42 second theme 19:28 development 19:59 recapitulation 20:18 second theme: B-flat major 20:57 coda: B-flat major 20:57 part 1 21:14 part 2: presto
Stevee GALLO all of Richter’s recordings of this work are obviously of the highest pianistic and musicianly standard, even the infamous one from 1962 (he played the recital after having learned that his mother was at death’s door). Having said that, imho Michelangeli is sharper in his characterization and more inspired than Richter in this particular work.
@@punkpoetry -- Your point very well-taken indeed. Guess I'm just over-awed by Richter's huge savage LEFT-HAND at the very end of the 'Intermezzo.' [Greetings from San Agustinillo, Oaxaca !]
At M.M = 188, as indicated, even the Finale is far from "insanely difficult". Liszt's études, Schumann's op.7, some of the Chopin études, that is "insanely difficult" stuff. This is hard, but manageable.
@@geckogra1747-Well-to play it, especially the finale right at the end as Michelangeli did, is not manageable at all. To play it as other supposedly great pianists on RUclips do is definitely manageable.
@@geckogra1747 Wrong. This is a virtuosic piece that many professional pianists have butchered. I don't wanna write a whole novel about why this piece is so challenging, because there are many different aspects, but what I will say is that just because other pieces of music (like those by Liszt) are technically MORE difficult, it doesn't change the fact that this masterpiece is a beast to tame.
@@malloryg4251 That is true. I am currently learning the whole op. 26 and to be honest, it is a pain the arse to play coherently and musically satisfying. For some reason, it is also extremely difficult to memorize. I played Chopin's whole op. 25 and most of Liszt' S. 139 and I would say this piece is more difficult than quite a few works in those sets.
Actually, that is part of the JOKE/JEST of this piece. The Marseillaise was banned in Vienna given it's revolutionary associations. This was Schumann's way of "tweaking" the noses of the authorities.
Hadn't heard Michelangeli in this before . So intelligent but without the sentimentality this music and that period implies . I's rough , Germanic one can feel the humor of the Grman scene (Burgmuller et.al ) in this performance. I've heard too many Slav pianist in Schumann . Maybe this is a corrective .Did Moseiwitsch or Shura Cherkassky record this . Would love to hear them .Michelangeli has many qualities - even humor . As always his weighting of chords is wonderful but i've heard many an unfamous pianist in live recital get better piano sounds . 1957 was a long time ago and He may have been stuck with this english instrument and the technical abilities of the sound recordists. anyway , We are lucky for this !!!
Clearly Schumann was using not only Op. 26 as a model but the Moonlight as well. The precedent of the Moonlight would be well-known to Schumann as a work with sonata form only in the finale. My guess is that Schumann wanted something that would sell copies, so he was careful not to put his academic material in the display window of the first movement. It was the layout of the inner movements for me that told me I should expect a sonata-form finale here. Schumann doesn’t even have any qualms about admitting his trickery at the point it became self-evident: in time-honored tradition, he asks that his exposition be repeated.
I beg to differ. The first movement in the Moonlight Sonata is in sonata form. The only thing I like about the Moonlight Sonata is that the first and third movements are tied together by the use of the Neapolitan chord. Other than that, I think it's one of Beethoven's worst pieces.
@@bootman26 I have actually seen the first movement of the Moonlight analyzed as being in sonata form, but the elements to mee seem downplayed on purpose, and it would not likely have been obvious to Schumann.
I don't know if I can agree with that comment, either. Schumann was a smart cookie and I bet nothing musical got past him. Just curious if you've looked at Beethoven's Op. 54. The second movement is the sonata, but the themes and transistions are short. I'm not a smart cookie, and it took me years to finally figure it out.
If this is meant to be modelled on Beethoven's op.26, then where's the long slow "Funeral March" movement? I'll grant you the first movement is in theme and variation form, but other than that ... Good piece, mind.
It's a wierd piece all the way around. My advice to any pianist thinking about it is that you need an easy 10th in both hands. Robert and Clara must have had big paws. I'm loving this performance as I listen. Michelangi was a super-virtuoso. I wonder how Robert and Clara would have liked that...
Why is he playing the octaves from 4:55 an octave lower than written? Once again, the pianist thinks he's better than the composer, which he isn't. It was all going so well, even if it was devoid of humour which the title demands. It's a Carnival Prank!
You should have more respect my friend, you're talking about someone who's probably the greatest pianist of all time. Michelangeli sometimes ads some basses for the sake of sonority. Schumann didn't know our modern instruments so it is totaly understandable (and debatable also) to add or deplace notes in the bass (especially) . The less possible of course, but when you know and play the piece as Maestro Michelangeli did here, I think the composer himself wouldn't disagree about such a choice...
![YoungBoy Never Broke Again - Sneaking [Official Video]](http://i.ytimg.com/vi/1ILUps2zDFU/mqdefault.jpg)
This is such an underplayed work. I've performed it several times. Just gorgeous!
@@alpinoalpini3849 I'm better live.
youre right, kreisleriana, humoreske, arabesque, and even carnaval & symphonique etudes are more present in concert these days.
I played the intermezzo for my grade 8 exam about 15 years ago. Amazing piece, and a hell of a lot easier than it sounds.
Michael Peacock -- Yes....even I can play it....not so bad......
0:00 I. Allegro - Sehr lebhaft
9:48 II. Romanze - Ziemlich langsam
12:35 III. Scherzino
14:49 IV. Intermezzo - Mit grosster Energie
Thank you soooooo much!!!
16:56 - V. Finale (Höchst Lebhaft), B-flat major
Just divine... I feel like being transported to another world when I listen to this marvellous music performed so incredibly. I keep coming back. ABM was a genius
Schumann and ABM are both giants of music. A near perfect combination
Normally I'm against pianists embellishing the music, but this is a real tour de force. And this was live too!
Where was it embellished?
@@bootman26 numerous places, look at the beginning of the finale just for a quick example
I listened again, and you are right, mostly doubling the octaves.
Wow! First time I've listened to these pieces - and it will not be the last!
Fantastica interpretacio,quina musica amb tanta frescurs,i un broll de imaginació i esgotable
My favorite version of this great music.
Wonderful to have the score broken into pieces synched with the playing. I've been studying this piece forever, & I usually get lost on the recordings because they're so fast. Danke schoen!
Michelangeli is something live more force than his recordings often ! I think Perahia knows more about sch and how this should be played .Heard in the 90's give a recital I shall never forget this astonishingly played then I was shocked to hear him play several Rach at end -music I had never associated with him . The intermezzo (few pieces of music so instantly waft their perfume) takes me to a time century before I was born and hints at why Schumann's lied are the most beautiful to come out of Europe after Schubert .
In the central section, tha direct and fast modulation from A to Bb and reverse, which articulates the architecture, is quite astonishing by the feeling of a soft transition given by this 'theoretically) harsh modulation. The architecture of the fisst part as a vast A/B/A or rondo form is also outstanding in its natural impulse and "evidence".
Love that La Marseillaise quotation at 5:15
1. Allegro - Sehr lebhaft (very lively) - B-flat major, 3/4
0:06 A section: B-flat major (1)
0:06 first part
0:18 second part
0:41 B section: G minor
1:12 A section (2)
1:31 C section: E-flat major
1:31 first part: ends in B-flat major
1:39 second part: ends in E-flat major
2:51 A section (3)
3:11 D section: G minor
3:11 first part
3:42 second part
4:11 A section (4)
4:30 E section: F-sharp major -> B-flat major
4:30 first part: F-sharp major
4:55 second part: F-sharp -> D-flat -> A-flat
5:14 La Marseillaise quotation
5:41 third part: B-flat major
5:53 F section: E-flat major
5:53 first part: ends in B-flat major
6:12 second part: ends in B-flat major
6:53 third part: ends in E-flat major
7:19 fourth part: ends in E-flat major
7:53 A section (5)
8:10 coda: B-flat major
8:10 first part: quotes C section, first part
8:57 second part
9:21 third part: quotes E section, third part
2. Romanze - Ziemlich langsam (pretty slow) - G minor
9:48 A section: G minor, 2/4
11:08 B section: C major, 3/4
11:46 A section reprise: ends in G major
3. Scherzino - B-flat major, 2/4
12:36 A section: B-flat major (1)
12:51 B section
12:51 first part
13:06 second part
13:23 A section variant: A major
13:35 A section (2)
13:46 C section: ends in F major
14:02 A section (3)
14:10 coda: B-flat major
4. Intermezzo - Mit größter energie (with greatest energy) - E-flat minor, 4/4
14:49 phrase A (1): E-flat minor -> F major
15:09 phrase B (1): B-flat minor
15:28 phrase A (2): E-flat minor -> B-flat major
15:49 phrase B (2): E-flat minor
16:07 phrase A (3): A-flat minor -> E-flat major
16:25 coda: E-flat major
5. Finale - Höchst lebhaft (highly vivid) - B-flat major, 2/4
16:58 exposition: B-flat major -> F major
16:58 first repeat
17:27 second theme: F major
18:11 second repeat
18:42 second theme
19:28 development
19:59 recapitulation
20:18 second theme: B-flat major
20:57 coda: B-flat major
20:57 part 1
21:14 part 2: presto
The finest performance of this work by some distance
punkpoetry -- Richter's excels, too....
Stevee GALLO all of Richter’s recordings of this work are obviously of the highest pianistic and musicianly standard, even the infamous one from 1962 (he played the recital after having learned that his mother was at death’s door). Having said that, imho Michelangeli is sharper in his characterization and more inspired than Richter in this particular work.
@@punkpoetry -- Your point very well-taken indeed. Guess I'm just over-awed by Richter's huge savage LEFT-HAND at the very end of the 'Intermezzo.' [Greetings from San Agustinillo, Oaxaca !]
splendid!! awesome playing ever...
Fantastic .. I love this version ..
Robert Schumann:Bécsi farsang Op.26
1.Allegro (Vivace assai) 00:05
2.Romanze (Piúttosto lento - Adagio) 09:48
3.Scherzino 12:35
4.intermezzo (Colla piú grande energia) 14:49
5.Finálé (Il piú vivace possible) 16:56
Arturo Benedetti Michelangeli-zongora
Köszönöm az értékelést
Wouldn't say the first movement is virtuosic, it's actually very manageable. The last one otoh is insanely difficult
At M.M = 188, as indicated, even the Finale is far from "insanely difficult". Liszt's études, Schumann's op.7, some of the Chopin études, that is "insanely difficult" stuff. This is hard, but manageable.
@@geckogra1747-Well-to play it, especially the finale right at the end as Michelangeli did, is not manageable at all. To play it as other supposedly great pianists on RUclips do is definitely manageable.
Well, I have seen many pianists that play the first movement terribly.
Musically it is not at all easy
@@geckogra1747 Wrong. This is a virtuosic piece that many professional pianists have butchered. I don't wanna write a whole novel about why this piece is so challenging, because there are many different aspects, but what I will say is that just because other pieces of music (like those by Liszt) are technically MORE difficult, it doesn't change the fact that this masterpiece is a beast to tame.
@@malloryg4251 That is true. I am currently learning the whole op. 26 and to be honest, it is a pain the arse to play coherently and musically satisfying. For some reason, it is also extremely difficult to memorize. I played Chopin's whole op. 25 and most of Liszt' S. 139 and I would say this piece is more difficult than quite a few works in those sets.
Great rendition
Chen Ben-David -- Richter's too......
Last movement is actually 200bpm as opposed to the 160bpm marking! Whoa xD
Yes, but it is also marked 'più vivace possible' which roughly means 'as fast as possible' ;)
I see xD
I wouldn't translate "Höchst lebhaft" as più vivace possibile". It is simply "molto più vivace".
Ma poi stiamo parlando di Arturo Benedetti Michelangeli non di certo l'ultimo arrivato
How do u like that b-flat octave blast at 21:33? Schumann had the best endings to pieces for me anyways 🤓
Something called pedal
Como me emocionan los Romances ,gracias por completar mi repertorio
Has anyone noticed the quote of the Marseillaise in Part one? :)
5:15-5:21
IN fact, it is quoted two times: once direxctly, the second through an allusion to the leied 'die zwei grendieren" which includes it.
Actually, that is part of the JOKE/JEST of this piece. The Marseillaise was banned in Vienna given it's revolutionary associations. This was Schumann's way of "tweaking" the noses of the authorities.
Qué injusticia!!! Cuánto virtuosismo en algunos y qué pocos en otros!!!
2021 still
My be the last movement is to fast, but the autor noticed "più vivace possibile" that means "as fast as possible"
Nobody’s gonna comment that on the 12:34’th mark is the quirky 3rd mvt? Haha. So perfectly timed. 👻
Me fascinan ,me llevan a otro plano de vida
I think this work can be interpreted as a quasi-sonata
Sounds very Schumann. I have to say technically this suite is not as difficult as other Schumann's suite.
Bravo !!!!
Bellissima...
i love the dialogue at 17:45
so good!!!!!!!!!!
Hadn't heard Michelangeli in this before . So intelligent but without the sentimentality this music and that period implies . I's rough , Germanic one can feel the humor of the Grman scene (Burgmuller et.al ) in this performance. I've heard too many Slav pianist in Schumann . Maybe this is a corrective .Did Moseiwitsch or Shura Cherkassky record this . Would love to hear them .Michelangeli has many qualities - even humor . As always his weighting of chords is wonderful but i've heard many an unfamous pianist in live recital get better piano sounds . 1957 was a long time ago and He may have been stuck with this english instrument and the technical abilities of the sound recordists. anyway , We are lucky for this !!!
Clearly Schumann was using not only Op. 26 as a model but the Moonlight as well. The precedent of the Moonlight would be well-known to Schumann as a work with sonata form only in the finale. My guess is that Schumann wanted something that would sell copies, so he was careful not to put his academic material in the display window of the first movement. It was the layout of the inner movements for me that told me I should expect a sonata-form finale here. Schumann doesn’t even have any qualms about admitting his trickery at the point it became self-evident: in time-honored tradition, he asks that his exposition be repeated.
I beg to differ. The first movement in the Moonlight Sonata is in sonata form.
The only thing I like about the Moonlight Sonata is that the first and third movements are tied together by the use of the Neapolitan chord. Other than that, I think it's one of Beethoven's worst pieces.
@@bootman26 I have actually seen the first movement of the Moonlight analyzed as being in sonata form, but the elements to mee seem downplayed on purpose, and it would not likely have been obvious to Schumann.
I don't know if I can agree with that comment, either. Schumann was a smart cookie and I bet nothing musical got past him. Just curious if you've looked at Beethoven's Op. 54. The second movement is the sonata, but the themes and transistions are short. I'm not a smart cookie, and it took me years to finally figure it out.
exciting!!
but strange but extremely beautiful music
the last movement is a tour de force to the max... how could a mortal person put it into notes on a piece of paper?
DOES ANYONE KNOW WHICH FINGERS DOES HE PLAY MOVING THIRDS IN FINALE.HOW DOES HE PLAY IT SO distinctly?
Arturo Michelangeli You should know...
I found.He plays octaves here.
Are you Arturo Michelangeli: the pianist!!!!!!! 😅
If this is meant to be modelled on Beethoven's op.26, then where's the long slow "Funeral March" movement?
I'll grant you the first movement is in theme and variation form, but other than that ...
Good piece, mind.
What to make of it? Perhaps an honest depiction of a ball. As such it does not stand up in the concert hall as autobiographical as it may be
4th movement sometimes sounds a bit like Rachmaninoff.
and Franck
3th movement sometimes sounds a bit like Xenakis. LOL
It's a wierd piece all the way around. My advice to any pianist thinking about it is that you need an easy 10th in both hands. Robert and Clara must have had big paws.
I'm loving this performance as I listen. Michelangi was a super-virtuoso. I wonder how Robert and Clara would have liked that...
0:41: 😢😢😢
Estas triste ?
15:45 wrong note on melody
0:40 best
5:16 French national anthem
Good notice
Anyone care to translate name to English , please
Please read the description
14:49
16:58
15:10
4:29
1:31
Se llaman Romanzas
16:56
Mechanical, metronomic and rushed.
too fast, way too fast
Why is he playing the octaves from 4:55 an octave lower than written? Once again, the pianist thinks he's better than the composer, which he isn't. It was all going so well, even if it was devoid of humour which the title demands. It's a Carnival Prank!
You should have more respect my friend, you're talking about someone who's probably the greatest pianist of all time. Michelangeli sometimes ads some basses for the sake of sonority. Schumann didn't know our modern instruments so it is totaly understandable (and debatable also) to add or deplace notes in the bass (especially) . The less possible of course, but when you know and play the piece as Maestro Michelangeli did here, I think the composer himself wouldn't disagree about such a choice...
They are both dead so maybe don’t worry about it so much.
0:41