Brahms - Emil Gilels, Ballade Op.10 No. 1 in D minor
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- Опубликовано: 26 авг 2024
- (Moscow, 27 december 1977)
Emil Grigoryevich Gilels (Ukrainian: Емі́ль Григо́рович Гі́лельс, Russian: Эми́ль Григо́рьевич Ги́лельс, Emi'li Grego'rievič Gi'lelis; October 19, 1916 October 14, 1985) was a Soviet pianist, widely considered to be one of the greatest pianists of the 20th century. His last name is sometimes transliterated Hilels.
Gilels was born in Odessa (now part of Ukraine). He began studying the piano at the age of five[3] under Yakov Tkach, who was a student of the French pianists Raoul Pugno[4] and Alexander Villoing[3] Thus, through Tkach, Gilels had a pedagogical genealogy stretching back to Chopin, via Pugno, and to Muzio Clementi, via Villoing. Tkach was a stern disciplinarian who emphasized scales and studies. Gilels later credited this strict training for establishing the foundation of his technique.[3]
Gilels made his public debut at the age of 12 in June 1929 with a well-received program of Beethoven, Scarlatti, Chopin, and Schumann.[3] In 1930, Gilels entered the Odessa Conservatory where he was coached by Berta Reingbald, whom Gilels credited as a formative influence.
After graduating from the Odessa Conservatory (Ukraine) in 1935 , he moved to Moscow where he studied under the famous piano teacher Heinrich Neuhaus until 1937.
A year later he was awarded first prize at the 1938 Ysaÿe International Festival in Brussels by a distinguished jury whose members included Arthur Rubinstein, Samuil Feinberg, Emil von Sauer, Ignaz Friedman, Walter Gieseking, Robert Casadesus, and Arthur Bliss.[5] His winning performances were of both volumes of the Brahms-Paganini variations, and the Liszt-Busoni Fantasie on Two Motives from Mozart's "Marriage of Figaro". The other competitors included Moura Lympany in second place, and Arturo Benedetti Michelangeli in seventh place.[6]
Following his triumph at Brussels, a scheduled American debut at the 1939 New York World's Fair was aborted due to the outbreak of the Second World War.
During the War, Gilels entertained Soviet troops with morale-boosting open-air recitals on the frontline, of which film archive footage exists.[7]
In 1945, he formed a chamber music trio with his brother-in-law, the violinist Leonid Kogan and the cellist Mstislav Rostropovich.
After the war, he toured the Soviet Bloc countries of Eastern Europe as a soloist. He also gave two-piano recitals with Yakov Flier, as well as concerts with his violinist sister, Elizaveta.
Gilels was one of the first Soviet artists, along with David Oistrakh, allowed to travel and concertize in the West. His delayed American debut in 1955 playing Tchaikovsky's Piano Concerto No. 1 in Philadelphia with Eugene Ormandy was a great success. His British debut in 1959 met with similar acclaim.
In 1952, he became a professor at the Moscow Conservatory, where his students included Valery Afanassiev[1] and Felix Gottlieb[2]. He presided over the International Tchaikovsky Competition for many years, and as chair of the jury awarded first prize to Van Cliburn at the sensational inaugural event in 1958.
He made his Salzburg Festival debut in 1969 with a piano recital of Weber, Prokofiev and Beethoven at the Mozarteum, followed by a performance of Beethoven's Third Piano Concerto with George Szell and the Vienna Philharmonic Orchestra.
In 1981, he suffered a heart attack after a recital at the Concertgebouw in Amsterdam,[8] and suffered declining health thereafter. He died unexpectedly during a medical checkup in Moscow, only a few days before his 69th birthday. Sviatoslav Richter, who knew Gilels well and was a fellow-student of Neuhaus at the Moscow Conservatory, believed that he was killed accidentally when an incompetent doctor at the Kremlin hospital gave him the wrong injection during a routine checkup.
Gilels is universally admired for his superb technical control and burnished tone.[10]
He had an extensive repertoire, from Baroque to Late Romantic and 20th Century Classical composers. His interpretations of the central German-Austrian classics formed the core of his repertoire, in particular Beethoven, Brahms, and Schumann; but he was equally illuminative with Scarlatti, Bach, as well as with twentieth-century music like Debussy, Bartók, and Prokofiev. His Liszt was also first-class, and his recordings of the Hungarian Rhapsody nº 6 and the Sonata in B minor have acquired classic status in some circles.[11]
Gilels premiered Sergei Prokofiev's Piano Sonata No. 8, dedicated to Mira Mendelssohn, on December 30, 1944, in the Great Hall of the Moscow Conservatory.[12]
He was in the midst of completing a recording cycle of Beethoven's piano sonatas for the German record company Deutsche Grammophon when he died. His recording of the "Hammerklavier" sonata received a Gramophone Award in 1984.
(Wikipedia)
Beautiful playing - full of Brahmsian drama and breadth. I heard Gilels in the late 70s play the Schumann Piano Concerto - stunning (if a bit slow) - Such wonderful sound!
Fichtre je ne m'en lasse pas !
How does he manage to play it so quietlyyyyy????!!!!
Emil Gilels was known throughout western Europe to have the most delicate, colorful sound of all pianists from the Soviet Union. His tours in western Eu anticipated S.Richter, whom Gilels praised to reporters as one "better than me" when Richter was still to be heard at our side of the iron curtain.
As a funny but true story, once Gilels was reharsing alone in Florence for a recital.
Some musicians and piano students were able to overhear him studying Mozart's piano Sonata in F major, they cannot believe of the strong, almost violent energy he put while reharsing on a vertical piano of a famous Instrument Shop. The same day, in theatre the recital went perfect and his sound was as heavenly as ever. So we may think that he had already memorised the resistance of the concert instrument, the acoustics of the hall, and was studying just with the right touch for the concert.
He is a master!
I used to be not so keen on the Brahms ballades, having expected to hear something akin to Chopin's masterpieces. I found them very different and I dare say lacking in substance. But I think they are "acquired tastes"; the more I listen, the more I can appreciate them for their own attributes and the more I notice details I never noticed before. In the end, though they are not like Chopin's, they do have their own artistic qualities and evoke different moods to Chopin's, yet still romantic ones.
These are much more spiritual, almost choral like.
I'm with you, but this performance.... I'm sold! WOW.
@Jayangaz it is in AMEB grade 8th Manual list but not the leisure, Piano exam(prof)
Nice Beethoven styling he gives himself at 3:30! Love Gilels for his wonderful interpretations :-)
@Kalen1457 I wasn't crazy about it either in the beginning, but it's a grower
Could we have that superb interpretation without sound compresion please ? There is almost no difference between the p to ff in the middle section crescendo.
@kedmann074 you bake your mana?
Thank you!!! Great!! :)
Cool
Bravo!!!!!!
to the plethora of imaginative music of Liszt-all the way to the sometimes goofy melodies of Prokofiev, Stravinsky, and avante gardists like Leo Ornstein. I love the music. Further more, why would I favorite about 1000 classical music videos if I "dont enjoy" listening to classical music as you presumed? Least play it?
@thedudethatkilledyou
Liszt isn't ALL technical, nor is Beethoven and Bach. ANd by the way I do admire Chopin as a great composer. Just look at my channel, I even posted two videos of me playing his music. I like nearly all composers-this piece just didn't capture me.
kempff95 I love classical music-as a matter of fact, its the only music I enjoy. Just look at my favorites, I have at least 1000 videos of classical music. I just think this piece is rather bland-I've listened to tons of music-mostly piano. In addition, I play piano-so that also testifies to the fact that I like classical music. You shouldn't generalize like that and assume that I think ALL classical music is boring. From the contrapuntal music of Bach, to the revolutionary music of Beethoven,
on a scale of 1 to 10, how hard is this song?
+Shwarzmen Duddlehaeven i would say middle may be 5
It's on the current grade 8 ABRSM syllabus, so it's not too challenging
The first page is not at all difficult, but then you've got quite a few octave leaps beginning at 1:58. For me the most difficult bit is the phrasing at 2:48 and bringing out the left hand melody at 1:58 with quite a lot going on around it. In my opinion this interpretation is not savage enough in the middle section (it is meant to depict a murder - sounds more like a funeral march to me), plus Gilels plays the middle section (Allegro non troppo) at the same speed as the first section (Andante). But he brings out the melodies very well.
@@gwilymprice4442 Good point about the lack of savagery in the middle section. I was feeling the same thing.
Gilels,a true giant... BTW, according to the recently published Richter biography, the story about Gilels dying because of a wrong injection is a complete fabrication.
@kempff95 Take it easy, you'll pop a vein!
@Kalen1457 I agree, I find this piece of music rather flat... dull if you will.
On sait pour qui le coeur de Brahms a longtemps chanté;et Guilels reprend le chant afin qu'il ne s'éteigne pas.
Compare this piece by Schubert:
/watch?v=3bHuqKAu54k
I can play this! But not to the degree of expertise in the video
@zimmermann1986 I dont get it, is this supposed to be good music?
No, it's not "supposed" to be good music. It IS good music. Perhaps you should go back to Dr. Dre and Biggie Smalls, which I assume are more your style.
(yawn) Sorry this compositions is sort of boring in my opinion...