it's just how they played pieces at the time not just Chopin but also Beethoven, Liszt etc. Whenever there was a big chord you would tend to play the left hand first followed by the right hand, it's just old fashioned playing, rarely heard these days
Wow, I like this interpretation the most of all the versions on RUclips. The reason is at 1:42-1:54 - that feeling of hope in the midst of the waves of despair. He emphasizes what needs to be emphasized in this piece. Bravo! Beautiful!
@@antonvl7able cortot is alone in this genre j'm think that kt-s seems all studies-recordings are the same , not for me exept Alfred Cortot also with Debussy-studies not much différence except Gieseking 1956 recording . Cortot Gieseking are the Kings in Chopin Debussy studies !
@@thebatman6991music is above technic and not the nose in tve keyboard as G Gould the best robotic pianist in the world , otherwise listen Lang Lang Fazil Say or Chopin International competition
One of the few who doesnt smash the living hell out of the accents, as if it was a 20th century composition (e.g. Cziffra). He plays it very lyrical with very nice dynamics.
@vivacelife Chopin, in the study, when reading the melody in the accentuated notes is: Mib-Re-Fa-Mib (Eb-D-F-Eb) the first time it is exposed. This is nearly a direct transposition of BACH since it should be: Mib-Re-Fa-Mi (Eb-D-F-E). However, the second time, (compass 12),it is exactly that when Chopin changes the Eb (Mib) by an E flat. Then is goes on and on. When I listen to this study I am getting the same feeling as in Fugue XV in the Art of the Fugue and with the Liszt Fantasy.
Music sheet in hand, it seems to me that Cortot does what Chopin wrote putting accents where they are. Maybe, he could be a little bit less emphatic on that but at least we get the message clear which disappear with other pianists. Another point also that may be noted is that the four notes that are singled out are very near to a transposition of the "B.A.C.H." theme and makes it even more interesting to be aware of it.
I agree with the opinions from many Folks in this Column that pianists from early generations like Cortot,Cziffra, had a total different approach to Interpretation of classic Works , they lived in a much Slower Era, people had the Time to analyse and scrutinized things more thoroughly ,people just did not "rush-Things".......Look today at our Modern Top Piano Performers, Lang-Lang springs to mind,...in my opinion he plays Complex Piano Works much "too-Fast" giving the impression that he is in a hurry and that he wish to finish as soon as possible,...a great shame because the man is a great Musician but like "most" Contemporary Pianists, they aspire to be the"Fastest-Player " on the Planet; a possible reason of this behaviour ,is the Modern Piano Components, most of these Machines are capable of playing as fast as you can handle them.We live in a World where Speed is the Target, we are in need of finishing our daily Chores as fast as we can.We are losing a lot of Musicality at our everyday Recitals, because Speed is removing the Magic of Inspiration due to the absurd Fast Tempos some Players choose to Perform.........
J try to translate your comment about the tempis too fast with Chopin , not only Lang-Lang but here it's Alfred Cortot Who plays op25-12 very fast but with him there is somethinģ above a tempo , above the notes difficult to say what Cortot is different the others pianists . For me all the pianists play the same thing with op25-12 except Cortot ( record 1933 ) . It's a recording of 86 Y old always listened !
So, I love Cortot's Chopin, and this is in no way meant to be a "why isn't his playing 100% accurate", but did anyone flip out at least a little bit when he missed the jump from G to C during the "recap," right before the piece switches back to C major?
estoy de acuerdo completamente con hguzmans68. Esta interpretaciôn no parece que fuese un piano; este hombre saca sonidos del piano que ninguna otra versiôn logra. Cada vez que escucho se me pone la piel de gallina. J'suis complètement d'accord avec hguzmans68. On dirait que ce n'est pas du piano sur cette interprétation; cet homme tire des sons du piano qu'aucune autre version ne réussit. A chaque fois que je l'entend j'ai la chair de poule.
I agree with 123mortimer456. This interpretation is not only interesting to hear, but it's also really difficult to play the fast arpeggio's that quiet to let the melody sing that way! Nevertheles a lot of wrong notes in almost every bar! Really annoying after a while! Strange..
I didn't notice very many wrong notes, though it's full of such fast notes that would take more listening. But I've heard quite a few people flub this piece in various places, it is that difficult. I realize the style back then was also to put the bass acompaniment note just a shade before playing the melody note, and don't mind that occasionally. But I don't like it all the time, and not in this stormy piece at more than a couple of key phrases.
Chopin-studies are robotic in Discographies , hundred and hundreds recordings and always the same thing in fact with all piznists except Cortot since 1933 ! what about first prices of Chopin Competition Varsovie in 2110 ??
His playing has such a feeling of vulnerablity and honesty. Its nice to hear someone play with their heart and not their head.
The last affermation is awesome!! I'm totally agree with you. Cortot is one of the best pianists of ever with Artur Schnabel, Rachmaninoff and Busoni!
Cortot Studied with Émile Decombes (one of Chopin's students) so, this recording might be the closest to Chopin
this is wonderful - cortot is chopin to so many of us... and the little wrong note at 1:55 is something of a little cortot gem!
his recording of the piece proves that his technique was just as good as anyones
The split is amazing. Accenting both notes one after the other - I even thought of that idea by myself once briefly!
it's just how they played pieces at the time not just Chopin but also Beethoven, Liszt etc. Whenever there was a big chord you would tend to play the left hand first followed by the right hand, it's just old fashioned playing, rarely heard these days
Wow, I like this interpretation the most of all the versions on RUclips. The reason is at 1:42-1:54 - that feeling of hope in the midst of the waves of despair. He emphasizes what needs to be emphasized in this piece. Bravo! Beautiful!
So beautiful.....and Cziffra so wild. But both satisfy my spirit 😁
I absolutely agree! I have found many versions but this one is the One! You can hear the realy romantic soul has played this.....
@@antonvl7able cortot is alone in this genre j'm think that kt-s seems all studies-recordings are the same , not for me exept Alfred Cortot also with Debussy-studies not much différence except Gieseking 1956 recording . Cortot Gieseking are the Kings in Chopin Debussy studies !
Ok, if you don t mind the many wrong notes..Sorry, too much
@@thebatman6991music is above technic and not the nose in tve keyboard as G Gould the best robotic pianist in the world , otherwise listen Lang Lang Fazil Say or Chopin International competition
One of the few who doesnt smash the living hell out of the accents, as if it was a 20th century composition (e.g. Cziffra). He plays it very lyrical with very nice dynamics.
Still love Cziffra though
Who cares if it isn't a perfect rendition. This is musically beautiful... Interpretation-wise.
You can hear, somewhere in this low quality, thin recording, a shadow of what the truly immense nature of this performance must have been.
Esta interpretaciòn es fascinante, este hombre hacìa sonar el piano de manera distinta.
@123mortimer456
Yes I think that contrast is very important. This is one of those pieces that can easily bore an audience without it.
@vivacelife Chopin, in the study, when reading the melody in the accentuated notes is: Mib-Re-Fa-Mib (Eb-D-F-Eb) the first time it is exposed. This is nearly a direct transposition of BACH since it should be: Mib-Re-Fa-Mi (Eb-D-F-E). However, the second time, (compass 12),it is exactly that when Chopin changes the Eb (Mib) by an E flat. Then is goes on and on. When I listen to this study I am getting the same feeling as in Fugue XV in the Art of the Fugue and with the Liszt Fantasy.
The revolutionary etude has almost the same theme that has allemande from Bach partita 2 in c minor
Cortot the first for several Centuries op25-12
@123mortimer456 ... melody-delaying was practised by all pianists born before 1870 as discs and rolls shjow.
I was following your example.
@StatuesBleedingGreen...Lol...Couldn't agree more !
agreed
Music sheet in hand, it seems to me that Cortot does what Chopin wrote putting accents where they are. Maybe, he could be a little bit less emphatic on that but at least we get the message clear which disappear with other pianists. Another point also that may be noted is that the four notes that are singled out are very near to a transposition of the "B.A.C.H." theme and makes it even more interesting to be aware of it.
It is artistic to handle the accents the way he did .
Remember contrast is law of art
I agree with the opinions from many Folks in this Column that pianists from early generations like Cortot,Cziffra, had a total different approach to Interpretation of classic Works , they lived in a much Slower Era, people had the Time to analyse and scrutinized things more thoroughly ,people just did not "rush-Things".......Look today at our Modern Top Piano Performers, Lang-Lang springs to mind,...in my opinion he plays Complex Piano Works much "too-Fast" giving the impression that he is in a hurry and that he wish to finish as soon as possible,...a great shame because the man is a great Musician but like "most" Contemporary Pianists, they aspire to be the"Fastest-Player " on the Planet; a possible reason of this behaviour ,is the Modern Piano Components, most of these Machines are capable of playing as fast as you can handle them.We live in a World where Speed is the Target, we are in need of finishing our daily Chores as fast as we can.We are losing a lot of Musicality at our everyday Recitals, because Speed is removing the Magic of Inspiration due to the absurd Fast Tempos some Players choose to Perform.........
J try to translate your comment about the tempis too fast with Chopin , not only Lang-Lang but here it's Alfred Cortot Who plays op25-12 very fast but with him there is somethinģ above a tempo , above the notes difficult to say what Cortot is different the others pianists . For me all the pianists play the same thing with op25-12 except Cortot ( record 1933 ) . It's a recording of 86 Y old always listened !
So, I love Cortot's Chopin, and this is in no way meant to be a "why isn't his playing 100% accurate", but did anyone flip out at least a little bit when he missed the jump from G to C during the "recap," right before the piece switches back to C major?
estoy de acuerdo completamente con hguzmans68. Esta interpretaciôn no parece que fuese un piano; este hombre saca sonidos del piano que ninguna otra versiôn logra. Cada vez que escucho se me pone la piel de gallina.
J'suis complètement d'accord avec hguzmans68. On dirait que ce n'est pas du piano sur cette interprétation; cet homme tire des sons du piano qu'aucune autre version ne réussit. A chaque fois que je l'entend j'ai la chair de poule.
Exactely it's same thing with Chopin op25-1 his recording has 85 years ago and we listen again to day
Pure Cortot mistakes and all but great.
I agree with 123mortimer456. This interpretation is not only interesting to hear, but it's also really difficult to play the fast arpeggio's that quiet to let the melody sing that way! Nevertheles a lot of wrong notes in almost every bar! Really annoying after a while! Strange..
I didn't notice very many wrong notes, though it's full of such fast notes that would take more listening. But I've heard quite a few people flub this piece in various places, it is that difficult. I realize the style back then was also to put the bass acompaniment note just a shade before playing the melody note, and don't mind that occasionally. But I don't like it all the time, and not in this stormy piece at more than a couple of key phrases.
Chopin-studies are robotic in Discographies , hundred and hundreds recordings and always the same thing in fact with all piznists except Cortot since 1933 ! what about first prices of Chopin Competition Varsovie in 2110 ??
Cortots ocean is clear.. theres no mud.. How does he achieve this?
I don't think he captures the madness and glory of Chopin's soul. But unless we can hear Chopin play it we will never know :(
Cortot Studied with Émile Decombes (one of Chopin's students) so, this recording might be the closest to Chopin, maybe
Irritating performance????
Are you CRAZY???
Haeve you got ears???
I entirely agree. Obnoxious is the correct word for this irritating performance.
shut your damn mouth or upload your rendition of the piece