I was at this concert and the others at which he played Schumann and "Pictures at an Exhibition." He came in and out of focus. At least some of the time it was wonderful. Sometimes it wasn't. I was about 13. The older people (in their 70s) sitting next to me said, "We're so sorry you had to hear him like this. He was so wonderful!" And of course he played in the shelters during WWII. Obviously a great man and a great pianist. This was at a high school on Irving Place in NYC. Many of the performers used to go there to play. These were run throughs in front of an audience. Often enough they played at Carnegie Hall later in the week. These concerts were free.
Although by then Moiseiwitsch was well past his glory years, flashes of the old magic still shone through. The melting cantabile (2nd subject 1st mvt), the fleet finger work in scalic passages (finale). Yes there are near disastrous memory lapses along with a number of rhythmic weaknesses, BUT sadly he was approaching his final days. I am hugely thankful for the wonderful and varied recorded legacy this prince of pianists left us, a legacy that any aspiring student pianist should experience.
I often wonder why he skips the opening introduction of the finale. It works in a sense coming out of the atmosphere of the third movement, however its not what Chopin actually wrote.
It's actually on purpose - he thought that segue-ing directly from the 3rd mvt to the 4th mvt without the octaves worked better than what Chopin wrote. I don't recall where I read that, but I think most of us would probably disagree with him...
He talked about that. It was entirely intentional. He thought it was more effective to bring the 4th movement out of the 3rd w/o a big announcement. In terms of a unified vision of the piece, I think he's right.
@@remomazzetti8757 I agree totally. I have some discussions with other commentators about the many changing Horowitz allowed himself to do in the Liszt second Ballade.
I was at this concert and the others at which he played Schumann and "Pictures at an Exhibition." He came in and out of focus. At least some of the time it was wonderful. Sometimes it wasn't. I was about 13. The older people (in their 70s) sitting next to me said, "We're so sorry you had to hear him like this. He was so wonderful!" And of course he played in the shelters during WWII. Obviously a great man and a great pianist. This was at a high school on Irving Place in NYC. Many of the performers used to go there to play. These were run throughs in front of an audience. Often enough they played at Carnegie Hall later in the week. These concerts were free.
Although by then Moiseiwitsch was well past his glory years, flashes of the old magic still shone through. The melting cantabile (2nd subject 1st mvt), the fleet finger work in scalic passages (finale). Yes there are near disastrous memory lapses along with a number of rhythmic weaknesses, BUT sadly he was approaching his final days.
I am hugely thankful for the wonderful and varied recorded legacy this prince of pianists left us, a legacy that any aspiring student pianist should experience.
Beautiful the way he plays at 1:27 min. one of the most beautiful Chopin melodies. Great pianist!
Fantasticly poetical - true Chopin
Oh, my! This is a truly great performance. ☺♥
1961 - Wow!! Thanks for sharing!
phenomenal, beyond imagination! no words...
the end?
Moiseiwitsch
s last years!
still the divine eloquence , and fantasy, poetry!
One of a kind. Bravo!
even at the end more understanding and beuty than the 'stremlined ' of today.....
Streamlined.....beauty
I often wonder why he skips the opening introduction of the finale. It works in a sense coming out of the atmosphere of the third movement, however its not what Chopin actually wrote.
A lot of thanks !
beauty!
streamlined!
my eyes ...going?
Das ist das mitreißendste Spiel dieser Sonate, das ich jemals gehört habe.
Wonderful indeed. Regrettable that the double octaves that furnish a dramatic intro to the fourth movement are missing.
It's actually on purpose - he thought that segue-ing directly from the 3rd mvt to the 4th mvt without the octaves worked better than what Chopin wrote. I don't recall where I read that, but I think most of us would probably disagree with him...
He skipped the eight initial bars of the fourth movement… and a couple of notes later...
He talked about that. It was entirely intentional. He thought it was more effective to bring the 4th movement out of the 3rd w/o a big announcement. In terms of a unified vision of the piece, I think he's right.
Nonsense. This is one of Chopin's greatest masterpieces and doesn't need any ridiculous editing by a performer.
@@remomazzetti8757 I agree totally. I have some discussions with other commentators about the many changing Horowitz allowed himself to do in the Liszt second Ballade.
Listen to Dinu Lupatti
He missed half the notes in the Finale. Granted, I couldn't begin to play this, but please.
He was 71 years old and two years from death, for heaven's sake!