I went to the local thrift store near my university, and next to a complete vinyl set of liszt's organ works, i was amazed to find Neuhaus with Dubrovsky recording of this concerto... not only amazed at finding scriabin at all, but this, one of my favorite pieces of all time? i bought it right away
Благодарю за возможность просмотра этого контента! Великий, гениальный пианист, с огромной любовью и глубинной осознанностью исполняет великую, необыкновенно прекрасную Музыку гениального А.Н. Скрябина!!!
В музыке и её исполнении столько нежности,света и воздуха, что вовсе не кажется,а на самом деле, твоя душа вырывается из груди, и парит под облаками,как птица и совершает там,то плавный(порой зависая),то головокружительный Полёт. 5.05.2021.Спасибо,Вам! Пусть весеннее солнышко вас согревает.
Magnifique interprétation de ce concerto qui est un véritable éblouissement de tous les instants. Les 3 mouvements sont des chefs d'œuvre.Le son est limpide, le piano à une belle part que l'orchestre accompagne respectueusement. Mr. Neuhaus a été un très grand pianiste, qui malheureusement nous a quitté trop tôt. Les internautes sont eux aussi admiratifs tant par le pianiste que l'œuvre. Et pourtant ce concerto déroute à la première écoute. Mais il faut écouter et écouter pour presque le connaître par cœur, pour attendre le passage qui nous touche au plus profond de nous. J'aime aussi et peut-être plus que tout l'interprétation de D. Trifonov. Quelle déception de nos pianistes français dont on nous rebat les oreilles. Ce sont de bons interprètes..... mais pourquoi laissent ils de côté ce chef d'œuvre de Scriabin.? Incompréhensible. Encore merci à ce merveilleux pianiste S. Neuhaus. P. R.
@Лилия Сэй vous avez peut être raison, mais pour moi la Russie représente beaucoup de chose, et je vous envie d'avoir autant d'artistes dans tous les domaines et surtout la musique. Soyez fier de votre pays. P.
One of the most beautiful piano concertos ever written, played in an exceptional way, full of great feeling and refined style at the same time. Simply great.
I’m hosting an online Scriabin festival from New Zealand near the end of 2022. I’m also writing a book of poetry (100 poems) for Scriabin… for the 150th birthday of my favourite composer ever…
Many years ago I remember my father purchased a remarkable stereo L.P. (EMI Melodiya ASD 2607), Side B of which featured this self-same performance of Alexander Scriabin's gorgeous Piano Concerto in F minor, Op. No. 20, beautifully played by the pianist Stanislav Neuhaus. Speaking personally, I have yet to hear this interpretation bettered and It is a truly astonishing privilege to be able to listen to this pristine recording, devoid of the distracting background of crackles and pops that continuously afflicted the original vinyl disc. It's truly something I never imagined possible, but nevertheless here it is in all it's resplendent glory !! Purely from a point of interest, Side A featured Anton Arensky's Piano Concerto in F minor, Op. No.2, wonderfully performed by the pianist Arnold Kaplan and accompanied by the Moscow Radio Symphony Orchestra conducted by Boris Khaikin. It can be heard via the youtube link below: ruclips.net/video/CBCuPFQJN8U/видео.html Kind regards Richard
Easily the best interpretation of this concerto and the most passionate version I’ve heard… Wished he was better known and made more recordings, lived longer… just love love love all his recordings!
I've heard pianists tackle this Concerto before, some great while others not. Mr. Neuhaus doesn't disappoint me at all. I intend to listen to it again.
What a cosmic finale, what a concert from the beginning till the final note!! Otherworldly and the execution is also exceptional. Great collaboration and synergy between pianist and the orchestra.
Beautiful work, wonderful performance and recording. I believe this is very much as what (the 24 year old) Scriabin was hearing in his mind as he was composing it.
A work of great beauty which in places seems to need a fair bit of performer help to hang together convincingly. Here I think it receives such help in large doses and the performance sounds compelling (unlike the one I heard from the Proms last August!)
Neuhaus makes a few - quite effective - changes in the solo part. The first recording I heard, was one by Paul Badura-Skoda on a Westminster LP, and he made only one : lifting the last passage in the 1st movement up one octave, which provides a real exclamation mark. Otherwise I find Neuhaus a lot more in his element in this music.
Il y a de la tristesse comme la saison des pluies à mon époque Sous le toit rouge, la nostalgie suit les rayons une saison infiniment belle emporté par les vagues du canal ne dis rien Au rythme des contes de fées d'autrefois Pulvérisons le liquide dans la rue Le brin d'herbe chaud est comme votre jeune résilience tirant la nuit hors de la terre Il existe maintenant un marché pour le cacao J'entends ton son qui ne connaît que des souvenirs comme une erreur Les garçons se cachent dans l'église par les ruelles L'odeur de l'acétylène est partout où je vais suivre comme une ombre Les rues battent comme un pouls chaque jour Mon village comme la côte de Béring manquer les fleurs qui tombent Les femmes parées comme le crépuscule passent les collines Transformez la rue vers la mer en une pure salle à manger Ma poitrine est comme un arbre dans le vestibule Embrassez le bégonia et sortez des airs Les dix millions de sourires que j'ai vu à travers le télescope sont enveloppés dans un manteau gris Marchons dans la nuit gelée de Noël ,
I think this is the ultimate "Piano Hero" concerto. I mean that positively, of course - I worked to learn and play it, as well as I could, myself. I say "Piano Hero", because in this concerto the pianist is fighting all the time - except, perhaps, in the first 40 seconds or the last 120 seconds. I take that as an indication of what Skryabin's vision - and abilities - thought a pianist could do. And that vision is enticing: but it makes it an extremely difficult concerto to play convincingly. I'm not talking about the technical difficulties - which obviously Neuhaus is more than master of in this recording. It's more a case of this concerto being deliberately _unkind_ to the pianist. Many other concertos are full of technical difficulties: but they at at least sometimes grant them dignity as moments of massive achievement. There are "wow" moments in this piece, but they're more evident to the pianist learning and playing it than to the audience. The most obvious effect would be to put more pressure on the pianist to be more "wow", but I think that's unfair on the player - as evidenced by such a pianist as Neuhaus (endowed with God knows a lot of wow), in spite of his fantastic playing, failing to solve these problems. Personally I think that, though it's an early work, this concerto already contains the ambition of later works such as the 9th/10th Sonata, in which Skryabin demands that the pianist should transform the world. Those later works are more consistent, in that no-one who doesn't want to have their mind seriously and wonderfully messed-up will listen to them: in this earlier work, it feels as though Skryabin is making the same demand, (on the pianist? On the audience?), but within the confined space of a "classic" concerto. Within that space, Skryabin is already imposing his own laws: turns from emotion to opposite emotion in a moment, nothing lasting, climaxes which then turn to nothing. Could any pianist make sense of this? It's no criiticism of Neuhaus that he doesn't - thought it's interesting hearing his opening, with far more unlyrical ringing tones than are perhaps fashionable now. I think it's to do with the piece itself: one of which I've never heard any one truly convincing performance. No idea whether AK Skryabin played it himself: but perhaps that was the intended way to play it.
What a pity this compelling pianist died so young. His interpretation is on the move, certainly romantic but refreshingly unsentimental. The finale usually bores me a bit (it's rather repetitive), but not this time. The sweeping runs up and down the keyboard are so amazingly done that one eagerly waits for them instead of counting them.
@@helgeevju I share your view that the interpretation is compelling. I think it is important for us to realize why we did not notice Neuhaus earlier: He was active at a time were East and West were almost completely divided, and I assume the Soviet bureaucrats did not really much appreciate Skriabin, but Neuhaus seems to continue to have an enormous reputation here in Russia (where I live).
The curious ending, with the short orchestral and long piano chords, has always sounded rather like a mannerism to me, but somehow Neuhaus makes it work by putting extra fire into it. Does he make a tremolo?
Thank you for your comments! I don't think Neuhaus plays tremolo in the last chords, but the sound quality of the original recording is not very good, it almost sounds distorted, as if you hear a crescendo after he struck these chords (which is impossible on a piano)...
But I actually like it that way. There are many ways of making a tremolo, one can do it almost in the pedal alone, only reinforcing the sound with slow finger movements. The effect could be that of a crescendo within the chord. (Beethoven's single-note crescendo at the end of the 1st movement of the "Les Adieux" is famous, and here one can do nothing but lean forward and think the cresc. so that the following note is that much louder).
Yes, it's very interesting, and it's all about suggestion or illusion, isn't it! Now that I think more clearly about this passage, I think what you hear in a concert hall is this: the orchestra AND the soloist are playing a very loud F sharp major chord at the same time. But the pianist keeps the chord in the pedal, whereas the short orchestral chord "resonates", "echoes" in the hall and influences the sound of the piano chord that is still held by the pedal. In reality, the piano sound comes through gradually after the orchestral chord has vanished, but it also depends on the acoustics of the particular hall. So what you hear on the recording is slightly distorted and probably not how it sounded in reality, but it gives a very nice effect. In general, I think this Concerto sounds better on a recording, where one can manipulate the balance between piano & orchestra. I've heard this Concerto played in the famous Concertgebouw in Amsterdam by a very good pianist and it was a complete disaster. Many of the orchestral parts are much too "thick" so that the piano part was practically inaudible...no doubt this was because Scriabin was quite young when he wrote this Concerto (24) and not very experienced yet in writing for orchestra.
A little unfortunate for Norwegian ears, especially for my generation who had basic piano training in the early 1950s: the sequence 22.40 - 23.00 strongly recalls "Crescendo" by Per Lasson (1859 - 1883), a very popular salon piece much used by pedagogues in its time. I daresay the composer had potential, but unfortunately his talent was nipped in the bud.
![Scriabin - Piano Concerto in F sharp minor, op. 20 (Vladimir Ashkenazy/Maazel) [Complete]](http://i.ytimg.com/vi/ylSrzlphVq0/mqdefault.jpg)
![Scriabin – Piano Concerto in F sharp minor, op. 20 (Vladimir Ashkenazy/Maazel) [Complete]](/img/tr.png)
![I.N "HALLUCINATION" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/n5B5q1Hwt_U/mqdefault.jpg)
Гениальное исполнение Станиславом Нейгаузом, бессмертного концерта А.Н. Скрябина!!!
Спасибо RUclips за возможность послушать эту прекрасную запись!❤
Without a doubt the best interpretation!
I went to the local thrift store near my university, and next to a complete vinyl set of liszt's organ works, i was amazed to find Neuhaus with Dubrovsky recording of this concerto... not only amazed at finding scriabin at all, but this, one of my favorite pieces of all time? i bought it right away
Bt of course
Благодарю за возможность просмотра этого контента! Великий, гениальный пианист, с огромной любовью и глубинной осознанностью исполняет великую, необыкновенно прекрасную Музыку гениального А.Н. Скрябина!!!
the art of scriabin piano concerto at its finest...
В музыке и её исполнении
столько нежности,света
и воздуха, что вовсе не
кажется,а на самом деле,
твоя душа вырывается из
груди, и парит под облаками,как птица и
совершает там,то плавный(порой зависая),то головокружительный
Полёт.
5.05.2021.Спасибо,Вам!
Пусть весеннее солнышко вас согревает.
Какое счастье слушать музыку в исполнении С.Г.Нейгауза!
Благодарим.
Magnifique interprétation de ce concerto qui est un véritable éblouissement de tous les instants. Les 3 mouvements sont des chefs d'œuvre.Le son est limpide, le piano à une belle part que l'orchestre accompagne respectueusement. Mr. Neuhaus a été un très grand pianiste, qui malheureusement nous a quitté trop tôt. Les internautes sont eux aussi admiratifs tant par le pianiste que l'œuvre. Et pourtant ce concerto déroute à la première écoute. Mais il faut écouter et écouter pour presque le connaître par cœur, pour attendre le passage qui nous touche au plus profond de nous. J'aime aussi et peut-être plus que tout l'interprétation de D. Trifonov. Quelle déception de nos pianistes français dont on nous rebat les oreilles. Ce sont de bons interprètes..... mais pourquoi laissent ils de côté ce chef d'œuvre de Scriabin.? Incompréhensible.
Encore merci à ce merveilleux pianiste S. Neuhaus. P. R.
@Лилия Сэй vous avez peut être raison, mais pour moi la Russie représente beaucoup de chose, et je vous envie d'avoir autant d'artistes dans tous les domaines et surtout la musique.
Soyez fier de votre pays.
P.
For me this the best performance of this concerto such a expressive phrasing and clear musical ideas. Bravo!!!
One of the most beautiful piano concertos ever written, played in an exceptional way, full of great feeling and refined style at the same time.
Simply great.
Sono d'accordo issimo
🎉🎉
Veramente bello
Una dolcezza e una grandiosità infinita
X fortuna che scriabin è nato,le sue composizioni x pianoforte sono ancora da scoprire x la difficoltà e gli effetti..
Probably the best performance of this fine piece of Scriabin
I’m hosting an online Scriabin festival from New Zealand near the end of 2022. I’m also writing a book of poetry (100 poems) for Scriabin… for the 150th birthday of my favourite composer ever…
Many years ago I remember my father purchased a remarkable stereo L.P. (EMI Melodiya ASD 2607), Side B of which featured this self-same performance of Alexander Scriabin's gorgeous Piano Concerto in F minor, Op. No. 20, beautifully played by the pianist Stanislav Neuhaus.
Speaking personally, I have yet to hear this interpretation bettered and It is a truly astonishing privilege to be able to listen to this pristine recording, devoid of the distracting background of crackles and pops that continuously afflicted the original vinyl disc. It's truly something I never imagined possible, but nevertheless here it is in all it's resplendent glory !!
Purely from a point of interest, Side A featured Anton Arensky's Piano Concerto in F minor, Op. No.2, wonderfully performed by the pianist Arnold Kaplan and accompanied by the Moscow Radio Symphony Orchestra conducted by Boris Khaikin. It can be heard via the youtube link below:
ruclips.net/video/CBCuPFQJN8U/видео.html
Kind regards
Richard
I didn’t expect to cry, but I did. I love the clear statement of ideas, the breath, the articulation. Everything.
Gorgeous rendition of Scriabin's Concerto. I could listen to it ALL day!
Me too
My grad recital concerto
His performance is shining now. So beautiful and cool !
Easily the best interpretation of this concerto and the most passionate version I’ve heard… Wished he was better known and made more recordings, lived longer… just love love love all his recordings!
I've heard pianists tackle this Concerto before, some great while others not. Mr. Neuhaus doesn't disappoint me at all. I intend to listen to it again.
The poet speaks here, finally.
чудесный металлический стасик , как я его люблю за открытый мощный электрически пронзительный звук .
гений !
Very convincing performance. So Russian! Elegance and power.
Have never come across a beter performance, more impressive and captivating than this one..
Splendour♥️♥️♥️Phenomenal interpretation!
One of the great piano concerto performances. Total identification with the music. Riveting.
What a cosmic finale, what a concert from the beginning till the final note!! Otherworldly and the execution is also exceptional. Great collaboration and synergy between pianist and the orchestra.
Nt only singend aber sprechend mit d.irkestra
Orkestra
Beautiful work, wonderful performance and recording. I believe this is very much as what (the 24 year old) Scriabin was hearing in his mind as he was composing it.
Totally the tops. Love the third movement.
How gorgeous!
I love this cocerto.such exquosite harmonies.
I adore this. Thank you.
Best concert ever written!
昔から聴いていましたが当時は全く日の目を見なかったようなマイナーな曲だったのに最近は有名になりましたね。本当に可愛らしくて魅力的なメロディばかり
One of the best piano concertos ever composed in my opinion.
Absolute performance
Just spectacular -
A work of great beauty which in places seems to need a fair bit of performer help to hang together convincingly. Here I think it receives such help in large doses and the performance sounds compelling (unlike the one I heard from the Proms last August!)
Neuhaus makes a few - quite effective - changes in the solo part. The first recording I heard, was one by Paul Badura-Skoda on a Westminster LP, and he made only one : lifting the last passage in the 1st movement up one octave, which provides a real exclamation mark. Otherwise I find Neuhaus a lot more in his element in this music.
Certainly the best.
very good
いつ聴いても美しい・・・
Благодарим!!!
Так играли боги когда-то )
연주 듣게해주셔서 감사합니다
Il y a de la tristesse comme la saison des pluies à mon époque
Sous le toit rouge, la nostalgie suit les rayons
une saison infiniment belle
emporté par les vagues du canal
ne dis rien
Au rythme des contes de fées d'autrefois
Pulvérisons le liquide dans la rue
Le brin d'herbe chaud est comme votre jeune résilience
tirant la nuit hors de la terre
Il existe maintenant un marché pour le cacao
J'entends ton son qui ne connaît que des souvenirs comme une erreur
Les garçons se cachent dans l'église par les ruelles
L'odeur de l'acétylène est partout où je vais
suivre comme une ombre
Les rues battent comme un pouls chaque jour
Mon village comme la côte de Béring
manquer les fleurs qui tombent
Les femmes parées comme le crépuscule passent les collines
Transformez la rue vers la mer en une pure salle à manger
Ma poitrine est comme un arbre dans le vestibule
Embrassez le bégonia et sortez des airs
Les dix millions de sourires que j'ai vu à travers le télescope sont enveloppés dans un manteau gris
Marchons dans la nuit gelée de Noël
,
I think this is the ultimate "Piano Hero" concerto. I mean that positively, of course - I worked to learn and play it, as well as I could, myself. I say "Piano Hero", because in this concerto the pianist is fighting all the time - except, perhaps, in the first 40 seconds or the last 120 seconds.
I take that as an indication of what Skryabin's vision - and abilities - thought a pianist could do. And that vision is enticing: but it makes it an extremely difficult concerto to play convincingly.
I'm not talking about the technical difficulties - which obviously Neuhaus is more than master of in this recording. It's more a case of this concerto being deliberately _unkind_ to the pianist. Many other concertos are full of technical difficulties: but they at at least sometimes grant them dignity as moments of massive achievement. There are "wow" moments in this piece, but they're more evident to the pianist learning and playing it than to the audience. The most obvious effect would be to put more pressure on the pianist to be more "wow", but I think that's unfair on the player - as evidenced by such a pianist as Neuhaus (endowed with God knows a lot of wow), in spite of his fantastic playing, failing to solve these problems.
Personally I think that, though it's an early work, this concerto already contains the ambition of later works such as the 9th/10th Sonata, in which Skryabin demands that the pianist should transform the world. Those later works are more consistent, in that no-one who doesn't want to have their mind seriously and wonderfully messed-up will listen to them: in this earlier work, it feels as though Skryabin is making the same demand, (on the pianist? On the audience?), but within the confined space of a "classic" concerto. Within that space, Skryabin is already imposing his own laws: turns from emotion to opposite emotion in a moment, nothing lasting, climaxes which then turn to nothing.
Could any pianist make sense of this? It's no criiticism of Neuhaus that he doesn't - thought it's interesting hearing his opening, with far more unlyrical ringing tones than are perhaps fashionable now. I think it's to do with the piece itself: one of which I've never heard any one truly convincing performance. No idea whether AK Skryabin played it himself: but perhaps that was the intended way to play it.
Great recording 👏 Scriabin went back to Russia thank god.
What a pity this compelling pianist died so young. His interpretation is on the move, certainly romantic but refreshingly unsentimental. The finale usually bores me a bit (it's rather repetitive), but not this time. The sweeping runs up and down the keyboard are so amazingly done that one eagerly waits for them instead of counting them.
Thank you pianopera!
Neuhaus died age 76, correct?, and not before having had pupils that became famous.
@@maxgutbrod3097 Sorry for being misinformed.
@@helgeevju I share your view that the interpretation is compelling. I think it is important for us to realize why we did not notice Neuhaus earlier: He was active at a time were East and West were almost completely divided, and I assume the Soviet bureaucrats did not really much appreciate Skriabin, but Neuhaus seems to continue to have an enormous reputation here in Russia (where I live).
This is Stanislav Neuhaus playing, he is Heinrich’s son. Stanislav died aged 52.
Ok. This version and Anatol Ugorski with Pierre Boulez is the best ive heard yet.
Trifonov does some good things
The curious ending, with the short orchestral and long piano chords, has always sounded rather like a mannerism to me, but somehow Neuhaus makes it work by putting extra fire into it. Does he make a tremolo?
Thank you for your comments! I don't think Neuhaus plays tremolo in the last chords, but the sound quality of the original recording is not very good, it almost sounds distorted, as if you hear a crescendo after he struck these chords (which is impossible on a piano)...
But I actually like it that way. There are many ways of making a tremolo, one can do it almost in the pedal alone, only reinforcing the sound with slow finger movements. The effect could be that of a crescendo within the chord. (Beethoven's single-note crescendo at the end of the 1st movement of the "Les Adieux" is famous, and here one can do nothing but lean forward and think the cresc. so that the following note is that much louder).
Yes, it's very interesting, and it's all about suggestion or illusion, isn't it!
Now that I think more clearly about this passage, I think what you hear in a concert hall is this: the orchestra AND the soloist are playing a very loud F sharp major chord at the same time. But the pianist keeps the chord in the pedal, whereas the short orchestral chord "resonates", "echoes" in the hall and influences the sound of the piano chord that is still held by the pedal. In reality, the piano sound comes through gradually after the orchestral chord has vanished, but it also depends on the acoustics of the particular hall.
So what you hear on the recording is slightly distorted and probably not how it sounded in reality, but it gives a very nice effect.
In general, I think this Concerto sounds better on a recording, where one can manipulate the balance between piano & orchestra. I've heard this Concerto played in the famous Concertgebouw in Amsterdam by a very good pianist and it was a complete disaster. Many of the orchestral parts are much too "thick" so that the piano part was practically inaudible...no doubt this was because Scriabin was quite young when he wrote this Concerto (24) and not very experienced yet in writing for orchestra.
19:31
오늘도 웅장해지는 뇌세포를 느끼며 내 능력의 조촐함을 만끽해본다.. 웅장함은 조촐함 만큼 혹은 그보다 괴롭구나
Why do the Neuhauses add some notes near the end of the first movement?
Go to 6:20
I agree with the other comments here.
Aus Respekt vor dem fabelhaften Solisten das Klavier etwas zu vordergründig aufgenommen, was den Werkeindruch schmälert.
Schauderbare werbeunterbrechungen, von totalen musikbanausen
N love
I feel great influence of Chaikovsky here
4:40 I don't like this dry break
쇼팽보다 더 좋은 인상과 성격의 소유자로 알고있습니다 많이 배우겠습니다 감사합니다
I like this much more than Rachmaninoff.
A little unfortunate for Norwegian ears, especially for my generation who had basic piano training in the early 1950s: the sequence 22.40 - 23.00 strongly recalls "Crescendo" by Per Lasson (1859 - 1883), a very popular salon piece much used by pedagogues in its time. I daresay the composer had potential, but unfortunately his talent was nipped in the bud.