Many years ago, during the 1970s, Mr Berman came and performed at my school (UCONN). I was doing working study as an ushee at the auditorium, and was there in the afternoon when he was trying out the piano, and he was very kindly and let me pull up a chair and watch him practice. It was truly incredible. He had technique that seemed to know no limits, and actouch that was as if he was pouring sonic diamonds out of his sleeve. I'll never forget that afternoon!
@Mookie Spindlehurst Yes. Liszt is a top composer for me, and Schumann is my favorite of all time next to Bach.
4 года назад+7
@Mookie Spindlehurst It's true what you say. But let me explain what I meant with the word "musicality", since I tend to use in a very particular way or definition of my own. I usually use the term "moment of musicality" to describe those moments in pieces where the melody and the harmony used have the quality to appeal or seduce the extent masses, not just the people who is familiar with classical music. These moments usually occur when the composer use a very well know pattern of hamony, such as the circle of fifths (which is used by Schumann in the moment I pointed), and a melody which is a repetition of cells o motives, cantabile at times; the result is that the listener feels embraced by the music, which melts into the ears. As someone pointed in one comment, that is the second time Schumann presents that melody in the movement, the first one happens at 25:20. I tend to prefer the first, but in this particular rendition of the sonata, I think I prefer the second. To give some other examples of those "moments of musicality" that I've describe: -Schumann: Novellettes, op. 21. N° 6, (Bars 111-118, and then it repeats), and N° 8 (bars 29-32). -Schubert: Drei Klavierstücke D.946, N° 1 (bars 17-44, and many repetitions), N° 2 (second episode, bars 11-25). Also, those are the moments which I expect the most to hear in a performance of the piece, and don't mind listening to over and over again. This is the meaning I intended, but everyone is free to disagree and have their opinions.
Un pianiste qui prend son instrument à bras le corps et le fait vivre aussi puissamment que s'il avait un orchestre au bout des doigts.Sublime. Puissent mes remerciements vous atteindre ,Monsieur Berman qui êtes aux cieux...
I was there! For the privilege of listening to this most underrated virtuoso of all time…back then we didn’t have much info about his custom made piano, but it’s Fazioli now!
I do not believe that there is anyone who will EVER be able to perform the Moment musical in E minor the way Berman did. Simply magnificent, earth shattering, could listen to it a thousand times.
He can set the instrument on fire, the enormous energy delivered is rare amount recorded pianists, but at the same is so articulate, poetic and aesthetic when those magic moments required. IMHO a rare bland of virtuosity and musicianship.
Magnificent atmosphere. Thanks for this. Fiew artists perhaps can justify actually what their ask by what they give. So does Berman by the link between absolute technique mastery and the superlative understanding of the masterpieces he plays.
Vladivostok 1969, I'd like to thank you for sharing with us your selection of the greatest Soviet musicians of the glorious postwar generation! I heard Lazar Berman only once at a concert in Sofia, Bulgaria, around the time of this recording. His fame preceded him. The concert was extraordinary and matched, if not exceeded, the expectations. When I took an autograph from him after the concert, he impressed me with his humble attitude.
what is wonderful about the great artist in his sound is it both BIG ..broad...Steely at times..or velvet covered strength without the harshness that appears constantly in most pianists when they play the loud and intense fortes...his is always FULL and grows out of the individual notes...which is why one hears the actual STRING vibrations...very REAL ...one even hears the richness of vibrations that the TUNING imperfections can be heard ...but THAT is what TRUE piano playing does...it REVEALS the piano s 'CHEST AND LUNGS" so to say...
It is hard for anyone, and I mean it: anyone, no to be overwhelmed by such musical prowess. In my view, these are some of the best musical renditions of the chosen pieces. The composers, each and everyone of them, would have, I am sure, exclaimed Bravo!
Berman nació de padres judíos en Leningrado. Su madre, Anna Lazarevna Makhover, había tocado el piano hasta que fue impedida por problemas auditivos. Inició a su hijo en el piano y este participó en su primera competición a la edad de tres años, y grabó una fantasía de Mozart y una mazurca que había compuesto a la edad de siete años, incluso antes de que pudiera leer música. Emil Gilels lo describió como un "fenómeno del mundo musical". Cuando Berman tenía nueve años, la familia se trasladó a Moscú para estudiar con Aleksandr Goldenweiser en el Conservatorio. Al año siguiente hizo su debut formal interpretando el Concierto para piano nº 25 de Mozart con la Orquesta Filarmónica de Moscú. En 1941, los estudiantes, los alumnos y los padres fueron evacuados a Kuibishev, una ciudad en el Volga, debido a la Segunda Guerra Mundial. Las condiciones de vida eran tan pobres que su madre tuvo que cortar los dedos de un par de guantes para permitirle seguir practicando sin congelar sus manos. Su aprendizaje con Goldenweiser le hizo enlazar con la tradición interpretativa de Liszt y de Ziloti. Por otro lado admiró a Vladímir Sofronitski -yerno de Scriabin y su mejor intérprete- y a Sviatoslav Richter. Estos pianistas tenían una gran personalidad con una interiorización de la música y una técnica impecable para traducir la esencia de su música predilecta.1 Posteriormente comenzó a adquirir una cierta visibilidad internacional. A la edad de 12 años tocó La Campanella de Franz Liszt para una audiencia británica a través de la radio. En 1956 ganó un premio en el Concurso de Música Reina Elisabeth en Bélgica, con Vladimir Ashkenazy. Y en 1958 debutó en Londres y registró para el sello Saga. A pesar de que era conocido por los aficionados a la música internacional que habían escuchado sus grabaciones en el sello discográfico ruso Melodiya, así como los que visitaron la Unión Soviética, no era generalmente conocido fuera de Rusia antes de su gira americana de 1975, organizada por el empresario Jacques Leiser. Su ahora legendario debut en Nueva York en el 92 Street Y, donde interpretó los Estudios de Ejecución Transcendental de Liszt, golpeó el mundo de la música como un relámpago. Se convirtió en una sensación de la noche a la mañana. Antes de eso, se había limitado generalmente al circuito soviético de conciertos, tocando en pianos viejos y decrépitos a unas audiencias con diversos grados de interés. Las invitaciones para giras fuera de la Unión Soviética fueron ignoradas por la agencia de conciertos del estado soviético, Gosconcert. Vivía en un diminuto apartamento de dos habitaciones en Moscú, con un piano de cola ocupando toda una habitación. Pero después de su gira de 1975, tuvo inmediatamente una gran demanda de actuaciones, con Deutsche Grammophon, EMI y CBS luchando por grabar con él. Registró el Primer Concierto para piano de Chaikovsky con Herbert von Karajan, y este mismo concierto se transmitió en la televisión internacional con Antal Doráti, para celebrar el Día de las Naciones Unidas en 1976. Su grabación de 1977 de los Años de peregrinaje, de Liszt, aún hoy son la mayor referencia de la obra en disco.1 A partir de entonces se le consideraba un gran especialista en la música de Liszt, del que siempre incluía alguna obra en todos sus recitales. Respecto a esta afinidad con el compositor comentaba: "Yo toco casi toda la literatura pianística, y sobre todo los rusos. Toco mucho Scriabin, Prokofiev, Shostakovich, Rachmaninov. Casi siempre toco Liszt. Es posible que mi Liszt tenga algunas características distintas del resto. Lo cierto es que se trata de un compositor al que conozco profundamente. Me apasiona la gran libertad que hay en su música y la forma en que estimula a los pianistas para expresarse al margen de las reglas fijas. Me encanta la filosofía de vida de Liszt. Todo eso tal vez se traduce cuando lo toco. No me molesta que me encasillen como un especialista. Me parece un gran honor."2 Cuando un conocido director de orquesta estadounidense le preguntó a Emil Guilels en los años setenta “quién era Lazar Berman”, respondió: “Si Sviatoslav Richter y yo nos pusiéramos a tocar juntos, a cuatro manos, no podríamos igualar a Berman”. Cuando Harold C. Schonberg, critico del New York Times, escuchó a Berman en Moscú, en 1961, escribió: “Este pianista tiene 20 dedos que transpiran fuego”.3 Su interpretación de Chopin está bien documentada, tanto en una película de un concierto como en una grabación DGG de las Polonesas de los años 70. La mayor parte de sus apariciones británicas vinieron en los últimos años 70 y principios de los 80. En diciembre de 1976, interpretó música de Sergei Prokofiev y Franz Liszt en el Royal Festival Hall. En 1980, los aduaneros soviéticos encuentran en el equipaje del pianista un libro prohibido y su posesión le acarreará la imposibilidad de salir de su país durante cuatro años. En 1990, Berman se traslada a Italia, adopta la nacionalidad italiana y trabaja como profesor de piano en el conservatorio de Imola y, como invitado, en el de Weimar.1 Grabó con los mejores directores de orquesta soviéticos y con los más significados directores occidentales como Leonard Bernstein y Daniel Barenboim. Sus registros de conciertos para piano y orquesta de Brahms, Liszt y Chaikovski con Erich Leinsdorf, Carlo Maria Giulini y Herbert von Karajan3 tuvieron un gran reconocimiento de la crítica y del público. Sus interpretaciones destacaban por su técnica muy depurada. Pero él decía: "La técnica no es un fin en sí mismo. Con ella puedes llegar al lirismo, que es lo que yo pretendo. Ahora, en la madurez, sólo quiero hacer música". Berman fue un gran intérprete de los músicos románticos, y esas obras conectaban con su forma de ser. A los autores clásicos los interpretaba desde un punto de vista diferente al habitual, con el acento en aspectos poco identificados con su música, diciendo al respecto: "La gente piensa en la música de Mozart como si fuese un juego, se le asocia a mujeres bellas, a diversiones, pero hay una parte romántica en él, algo interior que lo hace sublime. Lo mismo ocurre con Bach. No puede ser una música sólo mecánica y fría la de un hombre que tuvo 12 hijos".4 Lazar Berman murió en Florencia en 2005. Le sobrevivió su tercera esposa, Valentina Sedova, también pianista, con quien se había casado en 1968, y un hijo, el gran violinista y director Pavel Berman. Entre sus estudiantes se encontraban Sonya Bach, los pianistas italianos Maurizio Baglini, Enrico Elisi y Enrico Pace, Vladimir Stoupel, Vardan Mamikonian, Víctor Chestopal, Rueibin Chen y Viktoriya Yermolyeva.
Gracias! A Don Arturo Zeballos por compartir estos interesantes comentarios de la biografía de este insigne pianista. Lazar Berman destacó grandemente al igual que sus coterráneos Emil Gilels y Sviatoslav Richter. Felicitaciones! A Vladivostok 1969 y Don Arturo por compartir ésta magnifica grabación y los comentarios acerca del extraordinario pianista.
Gracias por compartir su biografía y por subir para nuestro deleite este maravilloso concierto!! Mi esposo y yo lo repetimos en la pantalla para poder ver bien sus manos, lo disfrutamos enormemente, nuestro agradecimiento de corazón. ¡Sublime!
Thank you for this wonderfully informative article about this truly amazing pianist. Every other pianist pales next to him. How marvelous to have these recordings.
This is a wonderful document, and shows far better than the studio recordings why Berman was such an exciting artist. Real presence, and style. Pity that the recording quality seems to get worse as the recital unfolds. But that was the pre-digital era.
NOT TRUE! Lazar Berman The second-rated player! Lazar Berman The second loudest hardest hitter of keyboard! Mikhail Pletnev The Loudest hardest hitter of The keyboard But Pletnev had his moments CPE Bach rondos and sonatas CD and Haydn piano concerto no 11 The Best ( not his recording! Live concert better stronger Brighter) Lazar Berman so over-rated pianist! The Best greatest pianists of All Time Are really=Artur Rubinstein (The God) Grigory Sokolov ( The Titan of The piano The Giant of The piano) Emil Gilels ( The King) Wilhelm Kempff ( The most beautiful piano sound Ever) Sviatoslav Richter Mikhail Pletnev ( The most Powerful Ever) Alexei Lubimov ( The Genius no 1 Mozart piano concerto no 27) Maurizio Pollini ( The Genius no 2) Solomon Cutner ( The most perfect structure of music! Solomon Cutner The highest IQ points Ever) The piano Proffesor Malinin Said that Mozart playing is The most difficult! The Best greatest Mozart piano concertos players Are really=Mozart 17 Dezo Ranki Mozart 18 Vladimir Ashkenazy Mozart 19 Radu Lupu Mozart 20 Vladimir Ashkenazy Mozart 21 Radu Lupu ( The others The Good=Artur Rubinstein Murray Perahia Maurizio Pollini Vladimir Ashkenazy Stanislav Bunin) Mozart 22 Laura Mikkola Natalia Trull Jörg Demus Robert Casadesus Mozart 23 Solomon Cutner ( The others The Good=Wilhelm Kempff Grigory Sokolov Vladimir Horowitz Radu Lupu Maurizio Pollini Vladimir Ashkenazy Murray Perahia) Mozart 24 Grigory Sokolov Maria Grinberg ( The Good=Wilhelm Kempff Mikhail Pletnev Gina Bachauer) Mozart 25 Murray Perahia Mozart 27 Alexei Lubimov ( The others The Good=Emil Gilels Vladimir Ashkenazy Murray Perahia Stanislav Bunin Natalia Trull)!
You cannot play better the progression at 1:06:25 until 1:07:30 and on. Maybe you cannot play any other piece in the history of pianism as good as done here. Totally overwhelming but in total, perfect control. What a pianist...
This man had a particular soul and could make any sound he cared too .He didn't play everything .He played what he liked and in Liszt and Rachman he astounded . I heard him in West Pal as a child but only remember the extraordinary resence he commanded and how everyone in the concert hall was spellbound by a personality as big as the composers he played . Like Gilels and Horowitz he commanded a space !
Edwin van den Berg omg. All the man did was beat the shit out of any piano he played. No musician, there are gross misreads in his famous Liszt recordings that are impossible to believe. Erich Leinsdorf remarked he was the stupidest musician he'd ever met.....
Interesting therefore that his famous Liszt recordings of the Transcendental Etudes are the yardstick by which every pianist is judged, and all have have come up short.
I think I'd like you to qualify your comments please. If safe, note perfect recordings that simply don't really say anything are your preference then you are part of the problem in classical music today!
I got his autograph at the F.Liszt international piano competition at Vredenburg, Utrecht, just a year before he died - too early, in the Annee de Pelrinage cycle CD booklet on DGG - on my own request. I had his amazing duo LP album of the famous CBS 1963 recording of the 12 Transcedental Etudes. To my opinion if ever Liszt Reincarnated, then Berman must have been The Reincarnation of Franz Liszt. He was part of the jury of that competition and so humble and Liszt-like in his character, piano playing, apearance, everything. Nobody after Berman succeeded in playing Liszts 12 Transcedental etudes the way he did. According to me he exactly duplicated all the stories Liszt wrote into them and Berman was above any technical difficulty, as if they all 12 were composed for his soul. The man was not only big of body seize but also big of great spirit! He was the only pianist who could play Rachmaninoffs 3th piano concerto in 1 breath.. ... And as no other. his Moments Musical. OMG he died too soon...Imagine he would still be alive and all the other wonders he would have recorded on DGG... He was as great as Horowitz & Rachmaninoff.... Same Class of utmost Greatness.
Lazar Berman é único, atá pela forma como o som que emite é assimilado pelo ouvinte, independentemente da sua magnifica técnica e da sensibilidade que demonstra ao longo das execuções. Esta sonata é um excelente exemplo. Artistas destes não deviam morrer.
The real masters of piano sound Rubinstein Radu Lupu E.Gilels W.Kempff.The only thing Berman had was his power to hit notes.LazarBerman the second harsest hitter of the piano. Mikhail Pletnev the hardest hitter of the piano. Pletnev has his moments Prokofiev piano concerto no 1 Scarlatti sonatas C.P.E.Bach sonatas. Lazar Berman was a sledgehammer no art what so ever
I look and listen to his magnificent sound and demeanor. He was absolutely the best with Liszt and I wonder what has happened to the true art of Pianism...Note the absence of gyrations and emotional mugging...which has become a most prevalent and disgusting part of the classical piano scene. Some of today's piano players should take note! Berman glorified the art in the same manner as Rubinstein and Horowitz. Truly remarkable!
Lazar Berman as good as A.Rubinstein and V.Horowitz. Come on!!. L.Berman the second hardest hitter of the piano(Pletnev the hardest) The true giants of the piano are A.Rubinstein W.Kempff D.Lipatti G.Sokolov E.Gilels S.Richter M.Perahia S.Igolinsky R.Lupu V.Horowitz and so on. Berman his group are the second rated players like K.Zimerman E.Kissin and ABM
@@RaineriHakkarainen My comments were merely a comparison based on their stage presence, lack of stage antics and overall dignfied dedication to the art of performing. Take your troll mentality somewhere else. There are many of us here that enjoyed these performances without the need to compare musical results.
Maravilloso pianista, es de un virtuosismo y elegancia cegadores. Schumann es digno de Richter o Gèza Anda; en la sonata es una gran alternativa a las versiones de Gilels. Su Liszt... Curiosamente de los cuatro que grabaron el primero de Chaikovski con Karajan (Richter, Weissenberg y Kissin) él fue el único que no lo llegó a hacer en concierto en vivo...
A somewhat underrated artist. His Liszt and Rachmaninov was big, bold and stunningly well executed, my only reservation is that his tone could rather metallic in heated virtuosic passages. I always admired his completely unaffected platform style along with perfectly positioned hands, an object lesson to students.
Please don't use the word "underated". It sends wrong signals! Berman was amazingly brilliant and that's what matters at the end of the day! Forget negative comments they are people who don't have a inkling what a master musician is. Let us enjoy music without any prejudices and your joy and my joy is what Classical music is all about. Forget these illerate barking dogs!
Oh do forgive me I dared to express an opinion! do you not understand the norm of taking a view or forming an opinion where the arts are concerned?. For your information I am a practising musician with experience as a pianist and organist (Quote-''Forget negative comments they are people who don't have a inkling what a master musician is''- unquote), I have attended recitals given by some of the most iconic names in the piano world. I have been privileged to hear Richter, Horowitz, Rubinstein, Arrau, Ashkenazy and other less high profile names. So please do not patronise me with your arrogant high handed tone!!. I stand by my opinion concerning Berman.
Lazar Berman The second loudest hardest hitter of The keyboard Ever! Mikhail Pletnev The Loudest hardest hitter of The keyboard Ever! Lazar Berman The second-rated player! Lazar Berman so over-rated pianist! Pletnev had his moments CPE Bach rondos and sonatas CD! Haydn piano concerto no 11 The Best ( not his recording! Live concert better stronger Brighter better piano sound)
most enjoyable as is the majority of classical music put up by whoever it is,what isn't is when one is listening to the musical offerings of these talented people because they maybe tired,in need of cheering up,are ill in bed,need to listen to music or for whatever reason some person stops the music,no matter where,and asks if you are still listening,an act of pure ignorance not worthy of youtube who make listening to this beautiful music possible in the first place and i ask them to please stop this self defeatist practise.....thank you....mw.
A great recital -- many thanks for posting it. The unmusical video director did his best to ruin for us -- he has no idea where the musical and pianistic interest lies and infallibly manages to show us the face when we want to see the hands, and vice versa.
I don't know any pianist that brings out the daemonic aspect of Liszt's work better than Berman. But I just can't figure out what exactly it is about his playing that is the reason. I'm interested in hearing from anyone that has an opinion on this (assuming you agree...).
14:12 daydreaming on your beautiful beloved , i believe lazar played this at a quicker pace on his recording , must not have been feeling too "steroid" this day still beautifully done.
Berman was a great artist. He had a unique touch like no other. No one could equal him at what he did best. His Schumann 1st sonata interpretation fascinates me. There are many beautiful moments, but it doesn't seem to gallop the same one other interpreters make it. To me, his Schumann doesn't convince. His touch doesn't seem to fit Schumann as well as Liszt and Zach. What do you all think about his Schumann?
Many years ago, during the 1970s, Mr Berman came and performed at my school (UCONN). I was doing working study as an ushee at the auditorium, and was there in the afternoon when he was trying out the piano, and he was very kindly and let me pull up a chair and watch him practice. It was truly incredible. He had technique that seemed to know no limits, and actouch that was as if he was pouring sonic diamonds out of his sleeve. I'll never forget that afternoon!
これ行きました！😁
I was at his American debut in 1976. Amazing pianist, very special memory for me.
The best in terms of music purity and express composer’s intent. The best in a century.
30:30 This is one of those wonderful moments in which Schumann shows great musicality, and it's beatifully played by Mr. Berman
@Mookie Spindlehurst Schumann has always been about harmony and musicality over virtuosity and texture.
@Mookie Spindlehurst Yes. Liszt is a top composer for me, and Schumann is my favorite of all time next to Bach.
@Mookie Spindlehurst It's true what you say. But let me explain what I meant with the word "musicality", since I tend to use in a very particular way or definition of my own. I usually use the term "moment of musicality" to describe those moments in pieces where the melody and the harmony used have the quality to appeal or seduce the extent masses, not just the people who is familiar with classical music. These moments usually occur when the composer use a very well know pattern of hamony, such as the circle of fifths (which is used by Schumann in the moment I pointed), and a melody which is a repetition of cells o motives, cantabile at times; the result is that the listener feels embraced by the music, which melts into the ears.
As someone pointed in one comment, that is the second time Schumann presents that melody in the movement, the first one happens at 25:20. I tend to prefer the first, but in this particular rendition of the sonata, I think I prefer the second.
To give some other examples of those "moments of musicality" that I've describe:
-Schumann: Novellettes, op. 21. N° 6, (Bars 111-118, and then it repeats), and N° 8 (bars 29-32).
-Schubert: Drei Klavierstücke D.946, N° 1 (bars 17-44, and many repetitions), N° 2 (second episode, bars 11-25).
Also, those are the moments which I expect the most to hear in a performance of the piece, and don't mind listening to over and over again.
This is the meaning I intended, but everyone is free to disagree and have their opinions.
Un pianiste qui prend son instrument à bras le corps et le fait vivre aussi puissamment que s'il avait un orchestre au bout des doigts.Sublime. Puissent mes remerciements vous atteindre ,Monsieur Berman qui êtes aux cieux...
Toujours aussi grandiose dans Liszt, après 50 ans d'écoute ! Et cette intériorité du regard..
Молодыми они восхищают нас виртуозностью, зрелыми - зрелым мышлением - мудростью, сохранившей виртуозность. Спасибо.
Great pianist, great artist, something we can nowadays hear only on CD and RUclips
I was there! For the privilege of listening to this most underrated virtuoso of all time…back then we didn’t have much info about his custom made piano, but it’s Fazioli now!
He was never underrated
Гениальный пианист! Глубоко, проникновенно, бесподобно!💖🌿🕊🌹🌹🌹🌹🌹
I do not believe that there is anyone who will EVER be able to perform the Moment musical in E minor the way Berman did. Simply magnificent, earth shattering, could listen to it a thousand times.
No! I don’t think there’s anyone who does that anywhere near as great as Lazar Berman. What a great musician and pianist!
I wrote about the entire concert.
After this you might as well hang it up and become a plumber. There's just no way..
Nikolai Lugansky?
Well I guess you never heard me play 🎉
Невероятно тонко, гоубоко и филигранно. Высочайшее мастерство и удивительная красота и культура извлекаемого звука. Восхитительно!!!
//Dante// !!! ///DANTE///
He can set the instrument on fire, the enormous energy delivered is rare amount recorded pianists, but at the same is so articulate, poetic and aesthetic when those magic moments required. IMHO a rare bland of virtuosity and musicianship.
Lazar Berman es un pianista, elogiado y admirado por otros geniales pianistas, como fue el legendario Emil Gilels. Maestros de maestros.
Magnificent atmosphere. Thanks for this. Fiew artists perhaps can justify actually what their ask by what they give. So does Berman by the link between absolute technique mastery and the superlative understanding of the masterpieces he plays.
A colossal performance of the Dante sonata. Incredible, suits his way of pianism perfectly.
Prime Berman. Absolutely astonishing.
Vladivostok 1969, I'd like to thank you for sharing with us your selection of the greatest Soviet musicians of the glorious postwar generation! I heard Lazar Berman only once at a concert in Sofia, Bulgaria, around the time of this recording. His fame preceded him. The concert was extraordinary and matched, if not exceeded, the expectations. When I took an autograph from him after the concert, he impressed me with his humble attitude.
what is wonderful about the great artist in his sound is it both BIG ..broad...Steely at times..or velvet covered strength without the harshness that appears constantly in most pianists when they play the loud and intense fortes...his is always FULL and grows out of the individual notes...which is why one hears the actual STRING vibrations...very REAL ...one even hears the richness of vibrations that the TUNING imperfections can be heard ...but THAT is what TRUE piano playing does...it REVEALS the piano s 'CHEST AND LUNGS" so to say...
Uno dei più grandi Pianisti di tutti i tempi.
Più si ascolta, più si ama!
браво!гениально и глубоко,просто и возвышенно!
The Liszt is out of this word Amazing
agreed! I was rather taken with the Schumann as well...!!!
Боже, какие уникальные ценнейшие и прекрасные записи!
Огромное спасибо!
He was 58 years old here? Wow, he doesn't look that old. Fabulous as always, and thanks for posting this recital for us.
My age
@@maratom34 Mine too. And I look even younger, they say.
Holy fuck!
It is hard for anyone, and I mean it: anyone, no to be overwhelmed by such musical prowess. In my view, these are some of the best musical renditions of the chosen pieces. The composers, each and everyone of them, would have, I am sure, exclaimed Bravo!
Berman nació de padres judíos en Leningrado. Su madre, Anna Lazarevna Makhover, había tocado el piano hasta que fue impedida por problemas auditivos. Inició a su hijo en el piano y este participó en su primera competición a la edad de tres años, y grabó una fantasía de Mozart y una mazurca que había compuesto a la edad de siete años, incluso antes de que pudiera leer música. Emil Gilels lo describió como un "fenómeno del mundo musical". Cuando Berman tenía nueve años, la familia se trasladó a Moscú para estudiar con Aleksandr Goldenweiser en el Conservatorio. Al año siguiente hizo su debut formal interpretando el Concierto para piano nº 25 de Mozart con la Orquesta Filarmónica de Moscú. En 1941, los estudiantes, los alumnos y los padres fueron evacuados a Kuibishev, una ciudad en el Volga, debido a la Segunda Guerra Mundial. Las condiciones de vida eran tan pobres que su madre tuvo que cortar los dedos de un par de guantes para permitirle seguir practicando sin congelar sus manos.
Su aprendizaje con Goldenweiser le hizo enlazar con la tradición interpretativa de Liszt y de Ziloti. Por otro lado admiró a Vladímir Sofronitski -yerno de Scriabin y su mejor intérprete- y a Sviatoslav Richter. Estos pianistas tenían una gran personalidad con una interiorización de la música y una técnica impecable para traducir la esencia de su música predilecta.1
Posteriormente comenzó a adquirir una cierta visibilidad internacional. A la edad de 12 años tocó La Campanella de Franz Liszt para una audiencia británica a través de la radio. En 1956 ganó un premio en el Concurso de Música Reina Elisabeth en Bélgica, con Vladimir Ashkenazy. Y en 1958 debutó en Londres y registró para el sello Saga.
A pesar de que era conocido por los aficionados a la música internacional que habían escuchado sus grabaciones en el sello discográfico ruso Melodiya, así como los que visitaron la Unión Soviética, no era generalmente conocido fuera de Rusia antes de su gira americana de 1975, organizada por el empresario Jacques Leiser. Su ahora legendario debut en Nueva York en el 92 Street Y, donde interpretó los Estudios de Ejecución Transcendental de Liszt, golpeó el mundo de la música como un relámpago. Se convirtió en una sensación de la noche a la mañana. Antes de eso, se había limitado generalmente al circuito soviético de conciertos, tocando en pianos viejos y decrépitos a unas audiencias con diversos grados de interés. Las invitaciones para giras fuera de la Unión Soviética fueron ignoradas por la agencia de conciertos del estado soviético, Gosconcert. Vivía en un diminuto apartamento de dos habitaciones en Moscú, con un piano de cola ocupando toda una habitación. Pero después de su gira de 1975, tuvo inmediatamente una gran demanda de actuaciones, con Deutsche Grammophon, EMI y CBS luchando por grabar con él. Registró el Primer Concierto para piano de Chaikovsky con Herbert von Karajan, y este mismo concierto se transmitió en la televisión internacional con Antal Doráti, para celebrar el Día de las Naciones Unidas en 1976. Su grabación de 1977 de los Años de peregrinaje, de Liszt, aún hoy son la mayor referencia de la obra en disco.1
A partir de entonces se le consideraba un gran especialista en la música de Liszt, del que siempre incluía alguna obra en todos sus recitales. Respecto a esta afinidad con el compositor comentaba: "Yo toco casi toda la literatura pianística, y sobre todo los rusos. Toco mucho Scriabin, Prokofiev, Shostakovich, Rachmaninov. Casi siempre toco Liszt. Es posible que mi Liszt tenga algunas características distintas del resto. Lo cierto es que se trata de un compositor al que conozco profundamente. Me apasiona la gran libertad que hay en su música y la forma en que estimula a los pianistas para expresarse al margen de las reglas fijas. Me encanta la filosofía de vida de Liszt. Todo eso tal vez se traduce cuando lo toco. No me molesta que me encasillen como un especialista. Me parece un gran honor."2
Cuando un conocido director de orquesta estadounidense le preguntó a Emil Guilels en los años setenta “quién era Lazar Berman”, respondió: “Si Sviatoslav Richter y yo nos pusiéramos a tocar juntos, a cuatro manos, no podríamos igualar a Berman”. Cuando Harold C. Schonberg, critico del New York Times, escuchó a Berman en Moscú, en 1961, escribió: “Este pianista tiene 20 dedos que transpiran fuego”.3
Su interpretación de Chopin está bien documentada, tanto en una película de un concierto como en una grabación DGG de las Polonesas de los años 70.
La mayor parte de sus apariciones británicas vinieron en los últimos años 70 y principios de los 80. En diciembre de 1976, interpretó música de Sergei Prokofiev y Franz Liszt en el Royal Festival Hall.
En 1980, los aduaneros soviéticos encuentran en el equipaje del pianista un libro prohibido y su posesión le acarreará la imposibilidad de salir de su país durante cuatro años.
En 1990, Berman se traslada a Italia, adopta la nacionalidad italiana y trabaja como profesor de piano en el conservatorio de Imola y, como invitado, en el de Weimar.1
Grabó con los mejores directores de orquesta soviéticos y con los más significados directores occidentales como Leonard Bernstein y Daniel Barenboim. Sus registros de conciertos para piano y orquesta de Brahms, Liszt y Chaikovski con Erich Leinsdorf, Carlo Maria Giulini y Herbert von Karajan3 tuvieron un gran reconocimiento de la crítica y del público.
Sus interpretaciones destacaban por su técnica muy depurada. Pero él decía: "La técnica no es un fin en sí mismo. Con ella puedes llegar al lirismo, que es lo que yo pretendo. Ahora, en la madurez, sólo quiero hacer música".
Berman fue un gran intérprete de los músicos románticos, y esas obras conectaban con su forma de ser. A los autores clásicos los interpretaba desde un punto de vista diferente al habitual, con el acento en aspectos poco identificados con su música, diciendo al respecto: "La gente piensa en la música de Mozart como si fuese un juego, se le asocia a mujeres bellas, a diversiones, pero hay una parte romántica en él, algo interior que lo hace sublime. Lo mismo ocurre con Bach. No puede ser una música sólo mecánica y fría la de un hombre que tuvo 12 hijos".4
Lazar Berman murió en Florencia en 2005. Le sobrevivió su tercera esposa, Valentina Sedova, también pianista, con quien se había casado en 1968, y un hijo, el gran violinista y director Pavel Berman. Entre sus estudiantes se encontraban Sonya Bach, los pianistas italianos Maurizio Baglini, Enrico Elisi y Enrico Pace, Vladimir Stoupel, Vardan Mamikonian, Víctor Chestopal, Rueibin Chen y Viktoriya Yermolyeva.
Mi padre un gran aficionado del piano tenía su grabacion de la bibloteca en Londres!
Gracias! A Don Arturo Zeballos por compartir estos interesantes comentarios de la biografía de este insigne pianista. Lazar Berman destacó grandemente al igual que sus coterráneos Emil Gilels y Sviatoslav Richter. Felicitaciones! A Vladivostok 1969 y Don Arturo por compartir ésta magnifica grabación y los comentarios acerca del extraordinario pianista.
Gracias por compartir su biografía y por subir para nuestro deleite este maravilloso concierto!! Mi esposo y yo lo repetimos en la pantalla para poder ver bien sus manos, lo disfrutamos enormemente, nuestro agradecimiento de corazón. ¡Sublime!
Thank you for this wonderfully informative article about this truly amazing pianist. Every other pianist pales next to him. How marvelous to have these recordings.
Magnifico pianista!!!
Потрясающие руки’ (ко всему прочему🤩)
Прекрасное исполнение, получила истинное удовольствие от услышанного!
This is a wonderful document, and shows far better than the studio recordings why Berman was such an exciting artist. Real presence, and style. Pity that the recording quality seems to get worse as the recital unfolds. But that was the pre-digital era.
Amazing performance.
IMPRESIONANTE: NUNCA OLVIDARE SU VISITA AL TEATRO COLON DE BUENOS AIRES , UNA DE ELLAS EN 1993. SOBRESALIENTE ARTISTA EN EL SIGLO XX
El gran Lazar Berman. Uno de los 10 pianistas mas formidables del siglo XX
NOT TRUE! Lazar Berman The second-rated player! Lazar Berman The second loudest hardest hitter of keyboard! Mikhail Pletnev The Loudest hardest hitter of The keyboard But Pletnev had his moments CPE Bach rondos and sonatas CD and Haydn piano concerto no 11 The Best ( not his recording! Live concert better stronger Brighter) Lazar Berman so over-rated pianist! The Best greatest pianists of All Time Are really=Artur Rubinstein (The God) Grigory Sokolov ( The Titan of The piano The Giant of The piano) Emil Gilels ( The King) Wilhelm Kempff ( The most beautiful piano sound Ever) Sviatoslav Richter Mikhail Pletnev ( The most Powerful Ever) Alexei Lubimov ( The Genius no 1 Mozart piano concerto no 27) Maurizio Pollini ( The Genius no 2) Solomon Cutner ( The most perfect structure of music! Solomon Cutner The highest IQ points Ever) The piano Proffesor Malinin Said that Mozart playing is The most difficult! The Best greatest Mozart piano concertos players Are really=Mozart 17 Dezo Ranki Mozart 18 Vladimir Ashkenazy Mozart 19 Radu Lupu Mozart 20 Vladimir Ashkenazy Mozart 21 Radu Lupu ( The others The Good=Artur Rubinstein Murray Perahia Maurizio Pollini Vladimir Ashkenazy Stanislav Bunin) Mozart 22 Laura Mikkola Natalia Trull Jörg Demus Robert Casadesus Mozart 23 Solomon Cutner ( The others The Good=Wilhelm Kempff Grigory Sokolov Vladimir Horowitz Radu Lupu Maurizio Pollini Vladimir Ashkenazy Murray Perahia) Mozart 24 Grigory Sokolov Maria Grinberg ( The Good=Wilhelm Kempff Mikhail Pletnev Gina Bachauer) Mozart 25 Murray Perahia Mozart 27 Alexei Lubimov ( The others The Good=Emil Gilels Vladimir Ashkenazy Murray Perahia Stanislav Bunin Natalia Trull)!
Quel immense artiste, merci pour la publication de ce merveilleux concert
I adore this music and this playing!
Lazar Berman is the Russian Bear, totally incomparable
Lazar Berman is outstanding on these amazing recitals!
You cannot play better the progression at 1:06:25 until 1:07:30 and on. Maybe you cannot play any other piece in the history of pianism as good as done here. Totally overwhelming but in total, perfect control. What a pianist...
What interpretations! You immediately are struck by the opening tunes of Schumann sonate. Moving. What a fantastic pianist!
and he keeps a REALLY strong ethereal atmosphere through out the entire piece... just amazing!
Yes. Lazar is the last of em. You might have some little Korean prodigy brat but here and there but this is a Master forged in fire
@@jeffreynilsenthirdrail9819 more masters will come
Wow
Ave Maria makes me cry..
All this concert is awesome, but the most exciting in my modest opinion is the vision of the sonata for piano of Schumann by Lazare Berman.
I fully agree.
Hearing Schumann piece for the first time
Love Shchumann
All great videos Vladivostok 1969!!!
This man had a particular soul and could make any sound he cared too .He didn't play everything .He played what he liked and in Liszt and Rachman he astounded . I heard him in West Pal as a child but only remember the extraordinary resence he commanded and how everyone in the concert hall was spellbound by a personality as big as the composers he played . Like Gilels and Horowitz he commanded a space !
Edwin van den Berg omg. All the man did was beat the shit out of any piano he played. No musician, there are gross misreads in his famous Liszt recordings that are impossible to believe. Erich Leinsdorf remarked he was the stupidest musician he'd ever met.....
Interesting therefore that his famous Liszt recordings of the Transcendental Etudes are the yardstick by which every pianist is judged, and all have have come up short.
I think I'd like you to qualify your comments please. If safe, note perfect recordings that simply don't really say anything are your preference then you are part of the problem in classical music today!
@@Obaysch He had his off nights, as does anyone, but you speak nonsense.
J Martin Obysch : your cluelessness is equaled only by your hubris. For shame.
I got his autograph at the F.Liszt international piano competition at Vredenburg, Utrecht, just a year before he died - too early, in the Annee de Pelrinage cycle CD booklet on DGG - on my own request. I had his amazing duo LP album of the famous CBS 1963 recording of the 12 Transcedental Etudes. To my opinion if ever Liszt Reincarnated, then Berman must have been The Reincarnation of Franz Liszt. He was part of the jury of that competition and so humble and Liszt-like in his character, piano playing, apearance, everything. Nobody after Berman succeeded in playing Liszts 12 Transcedental etudes the way he did. According to me he exactly duplicated all the stories Liszt wrote into them and Berman was above any technical difficulty, as if they all 12 were composed for his soul. The man was not only big of body seize but also big of great spirit! He was the only pianist who could play Rachmaninoffs 3th piano concerto in 1 breath.. ... And as no other. his Moments Musical. OMG he died too soon...Imagine he would still be alive and all the other wonders he would have recorded on DGG...
He was as great as Horowitz & Rachmaninoff.... Same Class of utmost Greatness.
Великолепный звук у пианистов старой отечественной школы!
Полностью согласен с комментариями Елены Смирновой! Это пианист от бога! Время идёт,а кумиры остаются недосягаемыми!!!
@@MrNinel661 Я его слушала молодым в Самаре, и тогда первым достоинством был звук, туше.
His sound is simply... wonderful.
Tellement fabuleux, Berman!
Que profunda y maravillosa interpretación de la sonata de Schumann!!
Je connais particulairment bien cette sonate. Quel magnifique et extraordinaire pianiste. On sent surement son absense.
Dans Schumann et Liszt, incontournable. Une référence encore aujourd'hui. Merci :)
Lazar Berman é único, atá pela forma como o som que emite é assimilado pelo ouvinte, independentemente da sua magnifica técnica e da sensibilidade que demonstra ao longo das execuções. Esta sonata é um excelente exemplo. Artistas destes não deviam morrer.
Красивый выразительный звук!
wat een geweldige pianist is hij toch ! en wat een verrukkelijke Liszt speelt hij .....
MASTER OF SOUND
The real masters of piano sound Rubinstein Radu Lupu E.Gilels W.Kempff.The only thing Berman had was his power to hit notes.LazarBerman the second harsest hitter of the piano. Mikhail Pletnev the hardest hitter of the piano. Pletnev has his moments Prokofiev piano concerto no 1 Scarlatti sonatas C.P.E.Bach sonatas. Lazar Berman was a sledgehammer no art what so ever
Прекрасно что появился доступ к записям этого пианиста. Он давно исчез в России. Прекрасный исполнитель Ф.Листа.
Un genio del pianoforte!!!grazie per questo splendido concerto!!!
Ghiles disse che Berman era superiore a lui e a Richter.. non sono on grado di valutare.. pero' grandissimo di sicuro.
Merci.
Thank you very much for the summary of this excepcional romantic artist
What a Perfect controlled performance
how luckey me that i was in 2 of his concerts in munich and salzburg. back in the 1980s and early 1990s
il più grande interprete di Liszt vivente.
I look and listen to his magnificent sound and demeanor. He was absolutely the best with Liszt and I wonder what has happened to the true art of Pianism...Note the absence of gyrations and emotional mugging...which has become a most prevalent and disgusting part of the classical piano scene. Some of today's piano players should take note! Berman glorified the art in the same manner as Rubinstein and Horowitz. Truly remarkable!
The Russian romantic tradition , is it not?
I quite agree. So few pianists who have a distinctive sound or character these days. No affectation but so much interest in Berman's playing.
@Maria Callous Thank you! Kempff remains my favorite overall Beethovenist.
Lazar Berman as good as A.Rubinstein and V.Horowitz. Come on!!. L.Berman the second hardest hitter of the piano(Pletnev the hardest) The true giants of the piano are A.Rubinstein W.Kempff D.Lipatti G.Sokolov E.Gilels S.Richter M.Perahia S.Igolinsky R.Lupu V.Horowitz and so on. Berman his group are the second rated players like K.Zimerman E.Kissin and ABM
@@RaineriHakkarainen My comments were merely a comparison based on their stage presence, lack of stage antics and overall dignfied dedication to the art of performing. Take your troll mentality somewhere else. There are many of us here that enjoyed these performances without the need to compare musical results.
Thank you
39:32 omg, thats the most beautiful thing i heard lately
Magnificent!
I had a priviledge to listen to him in Monterey, California. He had played Beethoven 4th.
Wonderful player and a great experience for all.
Maravilloso pianista, es de un virtuosismo y elegancia cegadores. Schumann es digno de Richter o Gèza Anda; en la sonata es una gran alternativa a las versiones de Gilels. Su Liszt... Curiosamente de los cuatro que grabaron el primero de Chaikovski con Karajan (Richter, Weissenberg y Kissin) él fue el único que no lo llegó a hacer en concierto en vivo...
Неперевершено! Дякую!
Una tarantella di Liszt suonata in maniera spettacolare.
Left foot on the damper whilst the right foot support the weight. Pure genius!
Che belle sonorità.
Замечательный пианист! Рояль звучит как оркестр !
A somewhat underrated artist. His Liszt and Rachmaninov was big, bold and stunningly well executed, my only reservation is that his tone could rather metallic in heated virtuosic passages. I always admired his completely unaffected platform style along with perfectly positioned hands, an object lesson to students.
Please don't use the word "underated". It sends wrong signals! Berman was amazingly brilliant and that's what matters at the end of the day! Forget negative comments they are people who don't have a inkling what a master musician is. Let us enjoy music without any prejudices and your joy and my joy is what Classical music is all about. Forget these illerate barking dogs!
Oh do forgive me I dared to express an opinion! do you not understand the norm of taking a view or forming an opinion where the arts are concerned?. For your information I am a practising musician with experience as a pianist and organist (Quote-''Forget negative comments they are people who don't have a inkling what a master musician is''- unquote), I have attended recitals given by some of the most iconic names in the piano world. I have been privileged to hear Richter, Horowitz, Rubinstein, Arrau, Ashkenazy and other less high profile names. So please do not patronise me with your arrogant high handed tone!!. I stand by my opinion concerning Berman.
Yes he is underrated by the snobish music society who like to compare great masters with each other, but who cares about them?
Lazar Berman The second loudest hardest hitter of The keyboard Ever! Mikhail Pletnev The Loudest hardest hitter of The keyboard Ever! Lazar Berman The second-rated player! Lazar Berman so over-rated pianist! Pletnev had his moments CPE Bach rondos and sonatas CD! Haydn piano concerto no 11 The Best ( not his recording! Live concert better stronger Brighter better piano sound)
Great: passionate and poetic!
this makes a fantastic encore 01:18:19
What a beast. One of the greatest.
Très émouvante interprétation de ce grand maître malheureusement quelque peu oublié
most enjoyable as is the majority of classical music put up by whoever it is,what isn't is when one is listening to the musical offerings of these talented people because they maybe tired,in need of cheering up,are ill in bed,need to listen to music or for whatever reason some person stops the music,no matter where,and asks if you are still listening,an act of pure ignorance not worthy of youtube who make listening to this beautiful music possible in the first place and i ask them to please stop this self defeatist practise.....thank you....mw.
Excellent recording
E' stato dimenticato per anni, poi Karajan lo riportò in vita
Très belle "Mort d'Isolde" et la "Dante" : wohoua !
Светлая память ❤
Браво.
Oh!There is ｖｅｒｙ power！＾＾（Ｌｉｓｚｔ ｉｓ taｒantella）
Toma el discurso sonoro de Schumann con una soltura apabullante, como si esta obra extensa y compleja hubiera sido concebida por el propio Barman.
Gorgeous Schumann
A great recital -- many thanks for posting it. The unmusical video director did his best to ruin for us -- he has no idea where the musical and pianistic interest lies and infallibly manages to show us the face when we want to see the hands, and vice versa.
I don't know any pianist that brings out the daemonic aspect of Liszt's work better than Berman. But I just can't figure out what exactly it is about his playing that is the reason. I'm interested in hearing from anyone that has an opinion on this (assuming you agree...).
He was amazing but for me cziffra's gallope chromatic is liszt reincarnated
Berman exudes perfect humility. None of this " look at me I'm great" nonsense. I feel welcome and his performance is not "in my face" at all.
14:12 daydreaming on your beautiful beloved , i believe lazar played this at a quicker pace on his recording , must not have been feeling too "steroid" this day still beautifully done.
What a technical recital
すごい〜
A true polyphonic pianist, unlike Glenn Gould, who was more like an harpsichord player who just happened to be playing on a piano.
Titán, capo, genio, bestia
Berman was a great artist. He had a unique touch like no other. No one could equal him at what he did best. His Schumann 1st sonata interpretation fascinates me. There are many beautiful moments, but it doesn't seem to gallop the same one other interpreters make it. To me, his Schumann doesn't convince. His touch doesn't seem to fit Schumann as well as Liszt and Zach. What do you all think about his Schumann?
Oh YES!
Espressivo anche in Schumann
Lazar Berman was a consummate artist and one of the greatest musicians of his generation. To me he surpassed Richter and Gilels both.