Nyíregyházi plays Chopin Mazurka 6-2, Mazurka 33-4, Prélude 28-10
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- Опубликовано: 7 сен 2024
- Ervin Nyíregyházi (1903-1987), recorded in 1972
Certainly not a natural Chopinist... oh well... we discussed that before... played like a Lisztian rhapsody*... His tempi are slow even by today's standards, and his playing is rhythmically free even when compared to 19th century pianists such as Pachmann and Paderewski. With Nyíregyházi's approach, the printed text is merely a point of departure...
In the mazurka he also plays rather thick chords on the first beat that are not written. Every Nyíregyházi performance features these thickened chords - a Nyíregyházi "trademark". The results are more Nyíregyházi than Chopin, as Chopin was not in the habit of close-spacing bass chords.
* Mazurka in B minor op.33 no.4: Chopin's tempo is "Mesto"... and Chopin's pupil Lenz said Chopin taught this as a ballade (!) and the composer described the end as a bell toll followed by chords sweeping away a cohort of ghosts...
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"Practice isn't important for me, because my performance is driven by my feeling and emotion ... I don't own a piano now. I don't need it, because I can always hear it. Even though there are no keys around me, I can feel them through my fingers and hand." Ervin Nyíregyházi
One empathizes with Nyíregyházi the Buddha as he careens from superstar to penniless drudge to adored advocate of romanticism and back to homelessness...
By now, the story of Ervin Nyíregyházi (1903-1987) has become so legendary, it scarcely needs repeating: a child-prodigy on the level of Mozart and Saint-Saens, a spectacular Carnegie Hall debut in 1920, a career flameout soon thereafter, ten marriages, and decades of poverty before a short lived rediscovery in the 1970s. There were sensational headlines, and much controversy among musicians and critics, but Nyíregyházi, uncompromising when it came to his artistic ideals, was unwilling to milk the publicity for the sake of money or status or fame. He refused lucrative offers to play in in Carnegie Hall, and refused to abandon his down-and-out lifestyle.
There are no proper recordings of him in his prime. He was only recorded later when he hadn't owned a piano or practiced properly in 40 years and he was usually very drunk. Kevin Bazzana released a book about his remarkable life (he had ten wives before his death, one of whom tried to murder him and one of whom was the mother of a previous wife), called "Lost Genius".
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How fascinating - listen to the first piece at 2x playback speed, and it becomes some of the best mazurka playing I've heard. The second mazurka at 1.5x speed is also quite idiomatic. It's as if Nyiregyhazi feels this music in slow motion.
He had a profound musical instinct, exquisite phrasing, articulation and mellifluous flow of emotion.
How fortunate we are to have the recorded performances of Chopin's Mazurkas by Pachmann, Paderewski and Horowitz among a very small group of others, as an antidote for the appallingly languorous, rhythmically flaccid, over pedaled with little or no variety of touch, performances that we hear in our recital halls today.
And Cortot ❤
I showed this my russian piano teacher who played all of Chopin's Mazurkas and had a great affection for Chopin. Chopin was his favourite composer.
But somehow he laughed at me hearing Ervins recording of Chopin Opus 6.2 and was asking me if Nyiregyhazi was drunk playing this lol!
I have to admit that if you know how it should be played he was right... BUT I can't really laugh at Ervins playimg. It also sounds right somehow...
I would say, after that opinion, you had to change your teacher.
I think EN was mentally ill and destroyed when he was recorded. Honestly he plays like a crazy homeless person and not a musician.
Sorry. I know a few russian piano teachers. Inevitably (for me at less of those) all are square minded. Here, with this ancient master there is a deep feeling and genius (it is necessary to say?). Music doesn't have rules than sincerity. And Niregyhazi is a case of equation: music = humanity. Forget the pedantry of those who speak from a high chair and live music as it reaches you.
I would say almost all Russian school teachers today only carries russian piano culture that is post-gilels
Mazurka 33-4 at 4:15 Prélude 28-10 at 10:23
Grünfeld, Pachmann, Friedman, Rosenthal, and Nyíregyházi play Chopin's Mazurka in B minor op.33 no.4: ruclips.net/video/HyTdv67JwLM/видео.html
Nyíregyházi plays Mazurka No 51 in A minor (à Émile Gaillard) by Chopin: ruclips.net/video/PcDPe_JzOpM/видео.html
Maybe the only case in which nostalgia is really justified
Nyiregyhazi almost invariably drains, vampire-like, any music in a dance rhythm of a feeling of dancing, leaving only the melancholy, as he does with Chopin and Grieg. One has to push aside that accepted context in order to appreciate what is left. I can't agree with his conception of the Prelude, however, no matter how hard I try to stifle my own idea of what the piece is trying to convey. It has to go like quicksilver, over in a couple of brief flashes.
First mazurka sounds so sad.....saddest mazurka ever.....
For my taste too much „rubato“, the music is losing its form until it is no longer recognizable… Why? It is hard for me to listen…
...MA PER FAVORE...MA DOVE LO HANNO TROVATO !!! INASCOLTABILE ,ORRIBILE!!!!!!!!!
6.2 is just terrible, a travesty - same for the Bm op33