Thanks! I've always loved the fingering independence on this recording from Rosenthal. This is very close to the tradition of Chopin and Liszt. Chopin: "For a long time we have been acting against nature by training our fingers to be all equally powerful. As each finger is differently formed, it's better not to attempt to destroy the particular charm of each one's touch but on the contrary to develop it. Each finger's power is determined by its shape: the thumb having the most power, being the broadest, shortest and freest; the fifth [finger] as the other extremity of the hand; the third as the middle and the pivot; then the second [illegible], and then the fourth, the weakest one, the the buzz of a string plucked on the harp or the guitar-like a violin pizzicato. You can make this marvellous vibration of the string not so much by snatching your hand away from the key, as by using a short, dry touch - almost grazing it like a fly brushing against it with its wing. Basic technique Siamese twin of the third, bound to it by a common ligament, and which people insist on trying to separate from the third - which is impossible, and, fortunately, unnecessary. As many different sounds as there are fingers." I included the beginning of the cadence part of this recording (9:04 to 9:28) in my "improvisations" video, it is different from the studio version and maybe i'm wrong but I believe that part was improvised.
I believe this is the first RUclips publication of this important recording. In his official version R was much more cautious and didn't add that much to the score.
This is the greatest - the most imaginative and inspired-sounding - version I have heard to date, followed only by the Paderewski televised concert. The only greater interpretation I can imagine would be by Erwin Nyiregyhazi in his prime.
@@jjgghhjk if you asked me to name one recording that would give an idea of how Liszt might have played, it would probably be this one. Check out Jose Vianna da Motta’s Totentanz if you want another contender!
Thanks! I've always loved the fingering independence on this recording from Rosenthal. This is very close to the tradition of Chopin and Liszt.
Chopin: "For a long time we have been acting against nature by training our fingers to be all equally powerful. As each finger is differently formed, it's better not to attempt to destroy the particular charm of each one's touch but on the contrary to develop it. Each finger's power is determined by its shape: the thumb having the most power, being the broadest, shortest and freest; the fifth [finger] as the other extremity of the hand; the third as the middle and the pivot; then the second [illegible], and then the fourth, the weakest one, the the buzz of a string plucked on the harp or the guitar-like a violin pizzicato. You can make this marvellous vibration of the string not so much by snatching your hand away from the key, as by using a short, dry touch - almost grazing it like a fly brushing against it with its wing. Basic technique Siamese twin of the third, bound to it by a common ligament, and which people insist on trying to separate from the third - which is impossible, and, fortunately, unnecessary. As many different sounds as there are fingers."
I included the beginning of the cadence part of this recording (9:04 to 9:28) in my "improvisations" video, it is different from the studio version and maybe i'm wrong but I believe that part was improvised.
Very very interesting, that quote from Chopin is new to me
I believe this is the first RUclips publication of this important recording. In his official version R was much more cautious and didn't add that much to the score.
Absolutely incredible. Rosenthal sparks a fest of musicality, emotion, technique, and fire in a mere 10 minutes
Try Cortot's 1926 version, especially the cadenza!
This is the greatest - the most imaginative and inspired-sounding - version I have heard to date, followed only by the Paderewski televised concert. The only greater interpretation I can imagine would be by Erwin Nyiregyhazi in his prime.
Now I can see how he broke off piano legs.
So this is how Liszt himself played it, right?
@@jjgghhjk if you asked me to name one recording that would give an idea of how Liszt might have played, it would probably be this one. Check out Jose Vianna da Motta’s Totentanz if you want another contender!
Fascinating use of deliberate wrong notes, exaggerations...very spirited, messy.
Really very funny. Maybe this inspired the Bugs Bunny version.