Это видео недоступно.
Сожалеем об этом.
Jerome Rose Plays Liszt: Annees de Pelerinage - Grand Prix du Disque - Medici Classics
HTML-код
- Опубликовано: 12 авг 2014
- Liszt: Annees de Pelerinage
Grand Prix du Disque - Franz Liszt Society of Budapest, Hungary
Available on Amazon At:
www.amazon.com/Annees-De-Peler...
Complete Discography Available At:
jeromerose.com
mediciclassics.com
Années de Pèlerinage
Première année: Suisse (First Year: Switzerland), S. 160 (1855)
00:00:00 - 1. Chapelle de Guillaume Tell (William Tell's Chapel)
00:07:04 - 2. Au lac de Wallenstadt (At Lake Wallenstadt)
00:09:47 - 3. Pastorale
00:12:02 - 4. Au bord d'une source (Beside a Spring)
00:15:56 - 5. Orage (Storm)
00:19:46 - 6. Vallée d'Obermann (Obermann's Valley)
00:33:47 - 7. Eglogue (Eclogue)
00:39:09 - 8. Le mal du pays (Homesickness)
00:44:33 - 9. Les cloches de Genève: Nocturne (The Bells of Geneva: Nocturne)
Deuxième année: Italie (Second Year: Italy), S. 161 (1858)
00:51:02 - 1. Sposalizio (Marriage of the Virgin, a painting by Raphael)
00:59:35 - 2. Il penseroso (The Thinker, a statue by Michelangelo)
01:04:00 - 3. Canzonetta del Salvator Rosa (Canzonetta of Salvator Rosa)
01:07:29 - 4. Sonetto 47 del Petrarca (Petrarch's Sonnet 47)
01:14:33 - 5. Sonetto 104 del Petrarca (Petrarch's Sonnet 104)
01:20:38 - 6. Sonetto 123 del Petrarca (Petrarch's Sonnet 123)
01:28:31 - 7. Après une lecture de Dante: Fantasia Quasi Sonata (After Reading Dante: Fantasia Quasi Sonata)
01:43:12 - Supplément, Venezia e Napoli (Supplement, Venice and Naples), S. 162 (1861)
Troisième année (Third Year), S. 163 (1883)
01:59:27 - 1. Angélus! Prière aux anges gardiens (Angelus! Prayer to the Guardian Angels)
02:10:08 - 2. Aux cyprès de la Villa d'Este I: Thrénodie (To the Cypresses of the Villa d'Este I: Threnody)
02:15:40 - 3. Aux cyprès de la Villa d'Este II: Thrénodie (To the Cypresses of the Villa d'Este II: Threnody)
02:26:30 - 4. Les jeux d'eaux à la Villa d'Este (The Fountains of the Villa d'Este)
02:33:16 - 5. Sunt lacrymae rerum/En mode hongrois (There are Tears for Things/In Hungarian Style)
02:40:40 - 6. Marche funèbre, En mémoire de Maximilian I, Empereur du Mexique (Funeral March, In memory of Emperor Maximilian of Mexico)
02:48:47 - 7. Sursum corda (Lift Up Your Hearts)
This is profound music. As I become older it becomes even more profound to me. Perhaps that's a mark of maturity.
ME TOO, IVE GOTTEN INTO THIS TYPE OF MUSIC IN MY OLDER AGE ALSO. ESPECIALLY HAVE A LOVE FOR LISZT MUSIC. HIS MUSIC IS OUTSTANDING.
@@zennabella1676 chill with the caps
For those sad folks who pooh pooh Liszt... This cycle destroys ALL of thier illusions... These three books are some of the very best writing for the instrument...
ABSOLUTELY FIRST RATE GORGEOUS PLAYING MR. ROSE AND THANK YOU FOR SHARING YOUR IMMENSE EPIC TALENT WITH THE WORLD, YOU HAVE MADE MY LIFE SOOOOOOO MUCH BETTER AND - GOD BLESS YOU VERY MUCH SIR !!!!!!!!!!!!!!!!!!!!!!!!!!!
ONE OF THE VERY FEW THAT CAN BRING OUT THE GENIUS OF LISZT TO UTMOST PERFECTION, BEST I'VE EVER HEARD ON MUCH OF THIS EVEN BETTER THAN KISSIN ON A LOT OF THIS !!!!!!!!!!!!!!!!!!!!!!!!!!!!!
i am wisse to your wonderful sound ill bet that you are lucky to be playing an bosendorfer v piano
Années de pèlerinage
Première année: La suisse, S160
[0:00] La chapelle de Guillaume Tell
[7:04] Au lac de Wallenstadt
[9:48] Pastorale
[12:04] Au bord d’une source
[15:58] Orage
[19:49] Vallée d’Obermann
[33:50] Eglogue (Hirtengesang)
[39:12] Le Mal du pays
[44:37] Les Cloches de Genève
Deuxième année: L'Italie, S161
[51:10] Sposalizio
[59:43] Il Penseroso
[1:04:01] Canzonetta del Salvator Rossa
[1:07:31] Sonetto 47 del Petrarca
[1:14:35] Sonetto 104 del Petrarca
[1:20:40] Sonetto 123 del Petrarca
[1:28:33] Après une lecture du Dante (Fantasia quasi sonata)
Supplément: Venezia e Napoli, S162
[1:43:12] Gondoliera
[1:48:57] Canzone
[1:52:03] Tarantella
Troisième année, S163
[1:59:29] Angelus! (Prière aux anges gardiens)
[2:10:09] Aux Cyprès de la Villa d’Este, No. 1 Thrénodie
[2:15:42] Aux Cyprès de la Villa d’Este, No. 2 Thrénodie
[2:26:33] Les jeux d’eaux á la Villa d’Este
[2:33:20] Sunt lacrymae rerum
[2:40:44] Marche funèbre (En mémoire de Maximilien I)
[2:48:50] Sursum corda (Erlebet eure Herzen)
This is an excellent recording. Thanks for posting.
Première année : Suisse (S 160)
Cette partie dure environ 48 minutes :
Chapelle de Guillaume Tell (Lento - Più lento - Allegro vivace) : 6 min 42 s
Au lac de Wallenstadt (Andante placido) : 3 min 06 s
Pastorale (Vivace) : 1 min 33 s
Au bord d'une source (Allegretto grazioso) : 3 min 33 s
Orage (Allegro molto - Presto furioso - Meno Allegro - Più moto) : 3 min 58 s
Vallée d'Obermann (Lento assai - Più lento - Recitativo - Più mosso - Presto - Lento) : 14 min 27 s
Églogue (Hirtengesang) (Allegretto con moto) : 2 min 44 s
Le mal du pays (Lento - Adagio dolente - Lento - Andantino - Adagio dolente - Più lento) : 6 min 07 s
Les cloches de Genève (Nocturne) (Quasi Allegretto - Cantabile con moto - Animato - Più lento) : 6 min 18 s
Deuxième année : Italie (S 161)
Avec son supplément, cette partie dure environ 71 minutes :
Sposalizio (Andante - Andante quieto - Più lento - Quasi allegretto mosso - Adagio) : 8 min 13 s
Il Penseroso (Lento) : 4 min 39 s
Canzonetta del Salvator Rosa (Andante marziale) : 2 min 49 s
Sonetto 47 del Petrarca (Preludio con moto - Sempre mosso con intimo sentimento) : 5 min 17 s
Sonetto 104 del Petrarca (Agitato assai - Adagio) : 6 min 42 s
Sonetto 123 del Petrarca (Agitato assai - Sempre lento - Più lento - [Tempo iniziale]) : 7 min 05 s
Après une lecture du Dante (Fantasia quasi sonata) (Andante maestoso - Presto agitato assai - Tempo I (Andante) - Recitativo - Adagio - Allegro moderato - Più mosso - Tempo rubato e molto ritenuto - Andante - Più mosso - Allegro - Allegro vivace - Presto - Andante) : 16 min 59 s
Supplément : Venezia e Napoli (S 162) :
Gondoliera (Quasi Allegretto - La biondina in gondoletta. Canzone del Cavaliere Peruchini) : 6 min 00 s
Canzone (Lento doloroso - Nessùn maggior dolore. Canzone del gondoliere nel "Otello" di Rossini) : 3 min 59 s
Tarantella (Presto - Più vivace - Canzona napolitana - Prestissimo) : 9 min 19 s
Troisième année (S 163)
Cette partie dure environ 56 minutes :
Angelus ! (Prière aux anges gardiens) (Andante pietoso) : 10 min 14 s
Aux cyprès de la Villa d'Este (1) Thrénodie (Andante) : 7 min 19 s
Aux cyprès de la Villa d'Este (2) Thrénodie (Andante, non troppo lento) : 10 min 55 s
Les jeux d'eaux à la Villa d'Este (Allegretto) : 7 min 44 s
Sunt lacrymæ rerum (En mode hongrois) (Lento assai) : 7 min 56 s
Marche funèbre (En mémoire de Maximilien Ier) (Andante - Maestoso, funebre) : 8 min 12 s
Sursum corda (Erhebet eure Herzen) (Andante maestoso, non troppo lento) : 4 min 15 s
Thank you
Liszt is certainly the master of piano
FOR SURE.
1:28:30 Après une Lecture du Dante (Fantasia quasi Sonata)
One stunning piece after another!
Beautiful interpretation
I've been watching so much classical music with the score scrolling by that I had forgotten to just kick back and listen to it. This has brought me back to that approach. Rediscovered these pieces all over again.
Me gusta ,años de peregrnacion exelente .Lo escucho seguido. .🇮🇷🥇🎶🎶🎶👋👋👋😘💌
Wonderfull interpretation! Amazing!
one of the best performances of these pieces. exquisite.
Magical...
Just goes to show what a genius Liszt was!
after listening to this your brain will not be the same
I love this.
Beautiful songs sounds good on the piano
wonderful and committed traversal.
Muchas gracias por subirlo. Un verdadero lujo.
Fabulous playing! Best interpretation I've heard.
Hi Jerome,
I have spoken with you before on this recording, but I just wanted to publicly declare your significance, not only as a Liszt interpreter, but more significantly as one of the greatest musicians/pianists of the last century. While German and Russian pianists were respectively boring and banging their way through the 70's and 80's, 3 great Americans, and 1 Canadian (not Gould)' were condemned to languish under appreciated for the sin of being 'not European'. This collection is testament to the fact that you are the most significant among them. Your Liszt is poetic, delicate and profound. It is a present manifestation of Liszt's fundamental masculinity and his significance as one of the greatest composers of all time; who is himself greatly underestimated. You are in good company. I think it wholly appropriate that in a world of Chopin sycophants, you make me want to meet Liszt above all others.
Tim
(Note: This extension is transfered from my video response to a Julian Bream video. It cites Jeromes playing as being representative of the best in instrumental musicianship.)
Many years ago, this video, and the comments of the student-enthusiasts attached to it, caused me to post my first comment ever on a youtube video. That comment has since been caused to lapse for its vintage, but I feel the need to repost the tenets of its consideration here, in service of...music.
There are two kinds of 'significant' instrumentalists: 'technicians', the lessor, whose awe inspiring technique is appreciated by those who aspire to having an 'audible' technique of their own; and 'musicians', the greater, those whose technique escapes accounting for being occultly spent (even in the most difficult passages) in service of music.
The 'playing' of technicians draws attention to itself. Technically difficult parts sound especially difficult, even though they are played without error, and those who themselves aspire simply to great 'technique' always find what they are looking 'for,' and are rewarded 'with' the awe they so hope to inspire themselves. This is the pinnacle of amateurism.
However, those 'few' that reach the highest levels of performance transcend the limitations of their instrument to be rightfully called 'musicians', instead of guitarists (or pianists for that matter). When 'they' play, 'music' lovers listen, not just guitarists. But, despite making music, the 'hard parts' fail to impress simple guitarists because they don't 'sound' hard; so, what's the point, if not to impress.
If you play the guitar, and you listen to music to see how well someone negotiates the technically challenging parts, you are only a guitarist and not so too a musician. You apparently believe that it was ever in the composer's mind to provide opportunity for a performer to demonstrate his or her raw technique, but no composer ever wrote a passage of music to that end.
That 'lay' people and hobbyist-musicians hear only ostentatious technique in great music, is evidence only of the fact that many professional performers still struggle to negotiate some technique, such as is necessary to make music some pieces, and therefore should not endeavor to perform it, for the disservice they do to music. In the hands of the few musicians that can do it justice, there is no greater service than to make great music of Liszt without ever setting the listener in mind of technique.
Listen to pianist Jerome Rose's performance of the complete, Annees De Pelirinage (Years Of Pilgrimage), ruclips.net/video/kH6bFu7la5g/видео.html to hear technique in context. The parts that sound delicate, transcendant, and fragile, and therefore deceptively easy, are in truth monumentally difficult to play (given the independence of line, dynamics, expression or articulation).
The parts that sound monumental, epic, dramatic, violent, and triumphant, are the parts that, in a lessor performers hands, would be heard as being technically virtuosic, but in this performance, one is given no time to endulge that impression, because they are too busy being moved by invocation of the spirit of the music. 'Musical' virtuosity, rather than techinical virtuosity.
Played correctly, a piece of music 'transcends', rather than reveals the instrument it is played on, and the listener loses track of the instrument for being gripped by the authority of the music. Jullian Bream (and Jerome Rose on piano) is one such as these. I never hear technique when he plays, and I never hear a guitar, I just hear music. That why he's the best.
If you doubt that, get out your metronome and compare the synthetically virtuosic tempo's of your favorite technical guitarist to Bream. In most case, although its feels slower, he actually plays it faster (when the music requires its service that is), it's just more relaxed, because he is.
Bream is guitar's one in a million (Jerome Rose is piano's)! Every instrument has one (but they are not usually the most celebrated). In every case, music lovers get it right, while pure guitarist and pianist ritually, habitually and religiously get it wrong. Shame on you. Now pick up your instrument (unless its a piano), and make people feel, not think.
Hello Tim,I'm not sure this reaction to your comment re Jerome Rose will reach you. After all, you might just be in solitary confinement in an institution for the mentally unstable. Alternatively, you may hold the exalted position of Culture Secretary to Donald Trump. I don't know, of course, but something is not right with your head. Let me go over your personal communication to Jerome Rose. Whether he is or isn't one of the greatest musicians/pianists of the last century (the 20th, I presume) I cannot say. But that he is recognized outside America as a great interpreter of the music of Franz Liszt is borne out by the fact that he won the Grand Prix du Disque Franz Liszt from the Franz Liszt Society in Budapest, Hungary. You have to play Liszt pretty well to satisfy the Hungarians, I can tell you. So no anti-Americanism for Rose there, I'm afraid. As to your assertion that Americans (and Canadians) were condemned to languish under-appreciated 'for not being European', who the dickens are you talking about? Not, from Canada, Marc-Andre Hamelin, Angela Hewitt, Glenn Gould, Jan Lisiecki, Janine Fialkowska, Valery Tryon, Jon Kimura Parker, Louis Lortie, etc etc, all of whom are as Canadian as maple syrup and have made great careers for themselves, even in the culturally boring/banging deserts of Germany and Russia.As for the blooming fresh pastures of the United States, where do I begin? OK, I'll begin with an artist even you may not have heard about. I'm an admirer of Russell Sherman. His recording of the Liszt B flat Sonata I will never part with. Mind you, there are equally great recordings of that work by a handful of European/Russian boring bangers whose names might ring a bell with you. Does the name Alfred Brendel mean anything to you? Or Maurizio Pollini? Or Lazar Berman? Emil Gilels? Sviatoslav Richter? (Oh shit, they're both Russian) . I lived in New York in the early 1960's (when Glenn Gould burst onto the scene with his Bach 24), but even then, the American keyboard was not short of great exponents. There was Lenny Bernstein, of course, and Andre Watts and Rosina Lhevinne (I'm honestly not sure how American she was, but she was there). If I say Rudolf Serkin (later succeeded by his son Peter). does that mean anything to you? Ever heard of a guy called Leonard Pennario? Byron Janis? The great Van Cliburn? You, my friend, know nothing. I was in Carnegie Hall in 1962 when the German boring banger Wilhelm Kempff played a programme of Beethoven and Schumann (both boring Germans).Concluding I would say that you don't know nearly as much about music as you think you do and that the worthy Jerome Rose could well do without friends like you. Stay well.
@@2alberich2 Je, sí; por esa regla de tres, el cretinete Tim también se dejaría fuera a ARRAU y a Arguerich!!! Dos gigantes también americanos!. Entre otros. Y si vamos al campo de la ópera... será porque no hay americanos INMENSOS. Tim necesita repasar un poco de historia musical a ambos lados del mar, sin duda para dejar de decir bobadas.
Hi Robert,
How nice to hear from a student. I assume that you are a perpetual (rather than perennial) student because you fail to learn, and continue to evidence the sycophantic enthusiasm that characterizes your perspectives. That being the case, lets educate you to a greater level of musical sophistication, because fanaticism is an embarrassing condition for anyone to suffer if they intend to publicly propose themselves as being 'on the inside'. The point of my commentary was that I APPRECIATE MR. ROSE'S TALENT. You are welcome to do so too, but instead you came here to set upon a more occult course. To avoid ruffling what your tone indicates are now mottled feathers any further, please assume me to have said, 'In my personal opinion', before every following statement.
Wherein I have venerated and celebrated the unique talent of Jerome Rose, your take away is that I don't appreciate 'other' pianists enough! You Sir, are no friend to Mr. Rose (neither, by the way, can I claim that honor). All you have to offer is that you want to hijack the ethos of this commentary in order to celebrate yourself! And with a simple list! In this age of the internet, do you suppose that you can impress anybody with a list of populist pianists. This is not middle school. If you wanted to impress serious enthusiasts (though your goal should have been to flatter Mr. Rose), you would have done better to provide original musical insights, or a personal opinion, such as I have, instead of trying to attack me by reading out of the Penguin Record Guide; which of course makes my point: is Jerome even mentioned in the earlier editions when he flourished?
That is a great though incomplete list that you have generated (you missed Canada's very own Jerome Rose, Anton Kuerti, again making my point). All of them 'appreciated' (and rightly so) pianist from North America, some of whose significance we likely agree upon, but that doesn't change the point: those performers have no audience outside of specialist North American audiences. Ironically, in your attempt to be clever (or funny) you of course prove my point: none of them has achieved the notoriety, fame, or celebrity of the Europeans that you go on to list. [You see, that's why you think your clever: for having known the names of the 'less' commercially succesful pianists'; further making my point that they are underappreciated by the general music going public.] You won't find Jerome in the classical section at Walmart, but you will find Brendel, Kissin, Lang lang, etc. there next time you go record shopping there.
You probably have Penguin's, "Record Guide For Music Lovers Who Need To Be Told What's Good" close to hand at all times. The difference is that I actually have 10's of thousands of recordings (and all of the one's you mention), and my point is that Jerome's performances are, in many cases besides, better; but no populist reviewer, record store clerk, or simple fan is knowledgeable enough to promote him to receive his due (despite him being recognized by the Liszt Society, because he lacks presence in the commercial catalog; which is a result of him having failed to secure a recording contract with a major player; hence he is...under appreciated!
I wonder, do you have an opinion yourself, or do just like who ever has enjoyed a moment of fame because they have won a competition or been assigned fame? Use you ears instead of your eyes. It may be the case that you don't play yourself, and therefore suffer the amateurs paradigm of being impressed by anyone who can play the notes. Know that I have a 14 year old student that can play the entirety of this great collection without challenge to his technique, but have you heard of him? I am of course familiar with all of the pianists you listed, the bangers, the cerebralists, the eccentrics, the technicians, the effete romantics, and the rest, and I stand by those characterizations. In some cases, they would each do music a service if they limited themselves to repertoire they 'can' authentically interpret; for they can all 'play' the notes. Do you know the difference?
I had a discussion with Emanuel Ax (did you forget him from your list...tut, tut...) about whether old men should play the music of young composers, and whether people of diverse nationalities have the spirit necessary to authentically perform music generated by different acculturation practices. If you like Brendel playing Liszt, you have never know any Hungarians. If you like John Browning playing Tchaikovsy, then you don't know any Russians. Similarly so, I don't want to hear Gyorgy Cziffra playing Schumann; too much is missing or added. But his Liszt...amazing!
True, the blandishments of some mid-century performers provide a good 'stem-cell' (musically neutral starting point) performance if you want to get to cut through to the bare bones of the music without there being a performer in the way. For this reason, I listen to Menuhin's Beethoven Sonata's instead of Heifetz. I too have seen Kempf play Beethoven. He is one of my favorite Beethoven performers for this reason; although his performances, even when he was young, lack...the gravitas necessary to realize its rightful character; as of course do the performances of most of the German cerebralists from that era; they almost strangled the life out of music. If you want to hear Beethoven, the Lion, the man that the histories and biographies reveal, try instead listening to Anton Kuerti's Beethoven cycle; its epic. Start your education there, and you will realize my pont.
We will leave it for others who come here to determine which of us is relevant.
Tim
P.S. I do know Russel Sherman, where most do not, again making my point!
This was not a list of great pianists from the America's that DID receive the celebrity they deserved, it was a lamentation about one performer who did not. What is it about people and lists? Maybe, in your case, it was a language problem. If so, I'm sorry; my Spanish is terrible too! Read my reply below to your less than polite RUclips friend.
j'aime bcou
Truly amazing!! So beautiful, Sublime, INDEED!!!
Could you please, mark the duration of each piece, and also its title?
And THANK you for posting such a work! Thank you!
A wonderful profound interpretation. On what date was it recorded? Thanks for the posting
1973
you could show the title of each piece and duration
One of my all time favorites on YT! Thank you!
2:50
9:50
12:04
30:32
1:28:34
Oh and another thing - what piano is being played? Fabulous bass and amazingly clear and strong in the highest notes.
Yamaha?
Kind of piano please.
Stiff, unimaginative, hard piano playing. Arrau, Berman, Sofronitzky, Horowitz and other piano giants, how we miss you...
Speak for yourself. I love Mr. Rose's playing, as do many, many others. The guy's all class, a brilliant talent.
Jerome Rose is a great artist. Some of this interpretations are unbeatable, especially his recording of Liszt-Mozart transcriptions and Ravel.
You seem to be one of those who is, as are most, a pianist first and a musician second. Pianists, if they aren't careful, can become too...effete and apologetic in their musical orientation: too emotional and insufficiently cerebral.
If in fact you aren't able to play at a high level yourself, your views are then those of a fan advised by celebrity rather than understanding play. As such you are likely impressed by the musically obvious, and this is not an obvious performance.
I will grant you that this is a 'masculine' (with all of the potential latitude that invites) performance. Lest you forget, Liszt was a man. Chopin...wouldn't have understood either, just so do men and women confound one another today.
Transcendence is an intellectual, cognitive journey, not an emotional one, and Liszt is about transcendence of the spirit to realms free of the incumbent authority of...emotion, which too often choses sentiment rather than sacrifice.
Emotion without the discipline of reason to temper its waxing and waning, is self-validating, and otherwise has no desire or means to evolve, so it wallows in perpetual self-satisfaction.