Markus Ebernburg - Yes, he certainly WAS inspired by Debussy. And most of the world's critics were, at the time, in agreement that Gieseking was foremost in expressing Impressionism. To me, everything he performed at his best was inspired! He could play, for example, Schumann, inimitably. You might care to listen to his recording of Schumann's Sonata no.1in f # minor. I've never heard better. When in his audience for the first time, I was mostly looking forward to his Debussy and came away also enthused by his Mendelssohn and Rachmaninoff. But a recording off radio of Scriabin's 5th Sonata, I feel sure, Gieseking would not have given his approval for its release. In it, although he never slows down in the extraordinary difficulties, he does bluster through. Hated to hear him seemingly struggling and playing wrong notes. His technique was on a par with other top German pianists of the era, e.g. Backhaus, busoni (if you consider him German). Not nearly at his best in that radio performance. His Rachmaninoff 3rd Concerto was commended by the composer.
Suonare il pianoforte o qualsiasi strumento musicale a volte salvato la vita di una persona ... o no Ebreo un Ebreo. Eseguire o morire! (La mia lingua è l'inglese.).
Difficult to listen Debussy-studies after Gieseking : sonority piano Gieseking is not the same that the others pianists . To day pianists don't play Debussy 1950 ' : it's a true Debussy ? how to known ? except some pianists with original sound mostly records are piano-roll , with Gieseking 1955' it's a original sonority j think very important this . True or false for me Gieseking is Debussy as Clara Haskil or Lily Kraus are Mozart , j listened L Krauss in 1957 with " Ka Marche Turque " in live , unforgettable , Gieseking with Debussy recording in 1955-56 before his death is also
"The Snow" is unparalleled, but I find "Jumbo's Lullaby" and "the little Shepard" too fast. He takes a whole 2 minutes longer than Arturo Benedetti Michelangeli, whose interpretation remains my favourite (also on RUclips)
Agreed. As interesting as his "classical" approach is, Gradus as Parnassum just doesn't have the control and voicing magic of Michelangeli - and nothing of the dynamics. The final forte note in Michelangeli's 1971 recording makes you realize he had been holding back all the time - at speed! - whereas Gieseking seems to have already played his cards by the time the moment comes
Debussy deve molto a Gieseking poichè questi fece un grande opera di divulgazione della sua musica. Eppure, ferma restando l'incantevole arte del pianista, sento sempre con disagio le sue esecuzioni, poichè non riesco a togliermi dalla mente il pensiero che ha suonato nella Germania nazista senza sentire vergogna, in un contesto dove i locali pubblici esponevano cartelli con la scritta "vietato l'ingresso ai cani ed agli ebrei". Un limite morale di Gieseking che non mi condiziona sempre.
I grew up listening to Gieseking's Debussy, so he is Debussy to me.
The children's Corner always made me laugh as a kid when my brother played it downstairs. I love Debussy.
Wonderful ! I prefer this interpretation to all others I have listened on You Tube tonight. Gieseking is really inspired by Debussy ;
this is brilliant.
Phenomenal performance!
Wonderful !! Gieseking is really inspired by Debussy.
12:17 Golliwog's Cake-Walk
I wonder why is 'complete piano works by Ravel' can no longer be accessed? I love them so much!
Markus Ebernburg - Yes, he certainly WAS inspired by Debussy. And most of the world's critics were, at the time, in agreement that Gieseking was foremost in expressing Impressionism. To me, everything he performed at his best was inspired! He could play, for example, Schumann, inimitably. You might care to listen to his recording of Schumann's Sonata no.1in f # minor. I've never heard better. When in his audience for the first time, I was mostly looking forward to his Debussy and came away also enthused by his Mendelssohn and Rachmaninoff. But a recording off radio of Scriabin's 5th Sonata, I feel sure, Gieseking would not have given his approval for its release. In it, although he never slows down in the extraordinary difficulties, he does bluster through. Hated to hear him seemingly struggling and playing wrong notes. His technique was on a par with other top German pianists of the era, e.g. Backhaus, busoni (if you consider him German). Not nearly at his best in that radio performance. His Rachmaninoff 3rd Concerto was commended by the composer.
Suonare il pianoforte o qualsiasi strumento musicale a volte salvato la vita di una persona ... o no Ebreo un Ebreo. Eseguire o morire! (La mia lingua è l'inglese.).
Difficult to listen Debussy-studies after Gieseking : sonority piano Gieseking is not the same that the others pianists . To day pianists don't play Debussy 1950 ' : it's a true Debussy ? how to known ? except some pianists with original sound mostly records are piano-roll , with Gieseking 1955' it's a original sonority j think very important this . True or false for me Gieseking is Debussy as Clara Haskil or Lily Kraus are Mozart , j listened L Krauss in 1957 with " Ka Marche Turque " in live , unforgettable , Gieseking with Debussy recording in 1955-56 before his death is also
"The Snow" is unparalleled, but I find "Jumbo's Lullaby" and "the little Shepard" too fast. He takes a whole 2 minutes longer than Arturo Benedetti Michelangeli, whose interpretation remains my favourite (also on RUclips)
Agreed. As interesting as his "classical" approach is, Gradus as Parnassum just doesn't have the control and voicing magic of Michelangeli - and nothing of the dynamics. The final forte note in Michelangeli's 1971 recording makes you realize he had been holding back all the time - at speed! - whereas Gieseking seems to have already played his cards by the time the moment comes
Sounds a little like "Flight of the Bumblebee"!
Mi scuso per l'errore, ovviamente volevo dire che MI CONDIZIONA SEMPRE.
Debussy deve molto a Gieseking poichè questi fece un grande opera di divulgazione della sua musica. Eppure, ferma restando l'incantevole arte del pianista, sento sempre con disagio le sue esecuzioni, poichè non riesco a togliermi dalla mente il pensiero che ha suonato nella Germania nazista senza sentire vergogna, in un contesto dove i locali pubblici esponevano cartelli con la scritta "vietato l'ingresso ai cani ed agli ebrei". Un limite morale di Gieseking che non mi condiziona sempre.
Vero, come chi ha accettato green pass e relative aberrazioni, senza batter ciglio.
Di più, spandendo odio a piene mani