Frédéric François Chopin (1810-1849) - The Piano Works by the Master Alfred Cortot/ NEW MASTERING 🎧 Qobuz cutt.ly/UegeBmVz Tidal cutt.ly/TegeBAkv 🎧 Apple Music cutt.ly/FegeBBnS Deezer cutt.ly/4egeNyVI 🎧 Amazon Music cutt.ly/zegeNGD1 Spotify cutt.ly/jegeNBR2 🎧 RUclips Music cutt.ly/QegeN638 SoundCloud cutt.ly/NegeMaaK 🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 … *Click to activate the English subtitles for the presentation* (00:00-05:22) YEAR 1952 Nocturnes No. 2 in Eb, Op.9 No. 2 (00:00) Nocturne No. 4 in F, Op.15 No. 1 (04:05) Nocturne No. 7 in C# Minor Op.27 No. 1 (08:31) YEARS 1933/1934/1935 Etude No. 3 In E Major (13:04) Ballades n.1 in g minor op.23 (17:04) ; n.2 in F op.38 (25:44) n.3 in Ab op.47 (32:39) ; n.4 in f minor op.52 (39:22) Sonata No. 2 in B flat minor, Op. 35 I Grave - Doppio movimento (48:51) ; II Scherzo (53:46) III Marche funebre - Lento (58:18) ; IV Finale - Presto (1:04:43) Etudes, Op. 10 No. 1 In C Major (1:06:13) ; No. 2 In A Minor (1:08:12) No. 3 In E Major (1:09:37) ; No. 4 In C# Minor (1:13:37) No. 5 In G Flat Major (1:15:40) ; No. 6 In E Flat Minor (1:17:17) No. 7 In C Major (1:20:28) ; No. 8 In F Major (1:22:00) No. 9 In F Minor (1:24:23) ; No. 10 In A Flat Major (1:26:44) No. 11 In E Flat Major (1:28:40) - No. 12 In C Minor (1:30:31) Etudes, Op. 25 No. 1 In A Flat Major (1:33:15) ; No. 2 In F Minor (1:35:23) No. 3 In F Major (1:36:49) ; No. 4 In A Minor (1:38:35) No. 5 In E Minor (1:40:15) ; No. 6 In G# Minor (1:43:01) No. 7 In C# Minor (1:44:57) ; No. 8 In D Flat Major (1:49:46) No. 9 In G Flat Major (1:50:54) ; No. 10 In B Minor (1:51:56) No. 11 In A Minor (1:55:03) ; No. 12 In C Minor (1:58:35) Preludes, Op. 28 I in C major (2:01:16) ; II in A minor (2:01:54) III in G major (2:04:10) ; IV in E minor (2:05:10) V in D major (2:06:59) ; VI in B minor (2:07:36) VII in A major (2:09:26) ; VIII in F# minor (2:10:04) IX in E major (2:11:44) ; X in C# minor (2:12:57) XI in B major (2:13:29) ; XII in G# minor (2:13:59) XIII in F# major (2:15:06) ; XIV in E flat minor (2:17:38) XV in D flat major (2:18:12) ; XVI in B flat minor (2:22:54) XVII in A flat major (2:23:57) ; XVIII in F minor (2:26:35) XIX in E flat major (2:27:24) ; XX in C minor (2:28:40) XXII in B flat major (2:30:04) ; XXII in G minor (2:31:41) XXIII in F major (2:32:27) ; XXIV in D minor (2:33:09) Waltzes #1 In E Flat, Op. 18, « Grande Valse Brillante » (2:35:39) #2 In A Flat, Op. 34/1, « Valse Brillante » (2:40:15) #3 In A Minor, Op. 34/2, « Grand Valse Brillante » (2:45:02) #4 In F, Op. 34/3, « Valse Brillante » (2:49:20) #5 In A Flat, Op. 42, « Two Four » (2:51:34) #6 In D Flat, Op. 64/1, « Minute » (2:55:17) #7 In C Sharp Minor, Op. 64/2 (2:56:55) #8 In A Flat, Op. 64/3 (3:00:01) #9 In A Flat, Op. 69/1, « L’Adieu » (3:02:59) #10 In B Minor, Op. 69/2 (3:06:07) #11 In G Flat, Op. 70/1 (3:09:01) #12 In F Minor, Op. 70/2 (3:11:00) #13 In D Flat, Op. 70/3 (3:13:25) #14 In E Minor, Op. Posth. (3:16:13) Impromptus n.1 in Ab op.29 (3:18:31) ; n.2 in F# op.36 (3:22:22) Impromptu n.3 in Gb op.51 (3:27:22) Fantaisie-Impromptu in c# minor op.66 (3:31:55) Barcarolle In F# Major, Op. 60 (3:36:32) Fantaisie in f minor op.49 (3:44:29) Tarantelle in A flat op.43 (3:56:07) Polonaise n.6 in A flat op.53 ‘Héroique’ (3:59:10) Sonata No. 3 in B minor, Op. 58 I Allegro maestoso (4:05:37) ; II Scherzo - Molto vivace (4:14:11) III Largo (4:16:46) ; IV Finale - Presto, ma non tanto (4:23:57) Piano Concerto No. 2 In F Minor, Op. 21, B 43 (John Barbirolli) 1. Maestoso (4:29:04) ; 2. Larghetto (4:42:44) ; 3. Allegro Vivace (4:51:38) YEAR 1923 Grande Polonaise brillante in Eb major, Op.22 - Only Polonaise (4:59:53) Berceuse In D Flat Op.57 (5:04:41) YEAR 1929 Ballades n.1 in g minor op.23 (5:08:49) ; n.2 in F op.38 (5:17:39) n.3 in Ab op.47 (5:24:32) ; n.4 in f minor op.52 (5:31:16) Nocturne No. 2 in Eb, Op.9 No. 2 (5:40:59) Piano : Alfred CORTOT Recorded in 1923/29/33-35/52 New Mastering in 2017 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr Pédagogue réputé et très influent, Alfred Cortot fera alterner, toute sa vie durant, concerts et enregistrements. En créant l’Ecole Normale de Musique de Paris en 1919, avec Auguste Mangeot, ils ont tous les deux souhaité affirmer le rayonnement culturel de la France. Ils ont ainsi proposé un système d’admission sans limites d’âges, ouvert largement aux étudiants étrangers, afin de former à la fois des solistes et des pédagogues. Des la formation de l’Ecole, Alfred Cortot a su s’entourer des plus grands musiciens de l’époque. Ainsi, Pablo Casals, Jacques Thibaud, Nadia Boulanger, Paul Dukas, Wanda Landowska, Igor Stravinski, Georges Enesco et bien d’autres ont assuré un enseignement exemplaire à de nombreux élèves tels que Dinu Lipatti, Samson François, Joaquim Rodrigo… Ainsi l’Ecole Normale de Musique de Paris, par son rayonnement international, s’attache-t-elle à faire perdurer la volonté d’Alfred Cortot quand à la diffusion de la culture et de la musique française, dans le monde et en particulier en Asie. Alfred Cortot possédait un répertoire immense mais c’est sans doute par ses enregistrements de Chopin qu’il s’est particulièrement distingué. Il avait une façon de faire chanter le piano qui était unique. Sous ses doigts virtuoses, l’instrument chante avec une éloquence et une variété de nuances d’apparence très libre, mais qui repose en réalité sur une conception minutieusement élaborée des œuvres. Sous le couvert de l’improvisation tout est soigneusement contrôlé et pensé. Si elles paraissent toujours spontanées, ses interprétations sont en réalité élaborées avec minutie et reposent sur une connaissance intime de la partition elle-même, mais aussi de tout ce qui a pu entourer son écriture. « La nationalité, l'époque, le caractère individuel de l'auteur, son degré de culture, les événements de sa vie, les milieux qu'il aura traversés, ses lectures même, l'ayant influencé dans sa création, une mise au point spéciale pour chaque œuvre, sera indispensable à l'interprète qui prétendra la faire revivre », disait ainsi Cortot à ses élèves. Son style pianistique est d'une subtilité et d'une variété qui défient l'analyse ; on peut toutefois tenter de l'évoquer sous l'angle de la rhétorique, l'art de Cortot consistant avant tout à rechercher une « déclamation naturelle et sensible » des œuvres. Ainsi, le rubato n'est pas une distorsion arbitraire de la mélodie, mais souligne « les points névralgiques du discours musical », pour faire apparaître le « caractère émotif, sensuel ou douloureux que la stricte observance de la mesure n'aurait pas su [lui] conférer». Il en va de même du travail de la sonorité, par lequel il cherche la juste couleur et le timbre particulier de chaque phrase et de chaque voix. La discographie de Cortot reflète globalement son répertoire, même si Beethoven en est quasi absent : il n'était alors guère concevable qu'un Français concurrence l'intégrale enregistrée par Schnabel pour la même maison de disques. Par contre, la prépondérance de Chopin témoigne de la « dilection passionnée » du pianiste pour un compositeur qu'il a joué plus que tout autre. Cette dilection trouve son origine dans les années de formation de Cortot : Decombes, son premier professeur au Conservatoire (avant Diémer), avait reçu quelques conseils de Chopin et lui fit rencontrer d'authentiques élèves du Maître (Camille Dubois, George Mathias). Un peu plus tard, les exemples de Paderewski et surtout d'Edouard Risler (son véritable mentor) furent déterminants dans sa vocation d'interprète chopinien. Chopin est pour Cortot le musicien romantique par excellence, dont le langage musical est un mode d'expression privilégiée des sentiments et des émotions, mais qui sait aussi créer les formes musicales conformes à la manifestation de son génie. Cortot jouait toutes les œuvres de Chopin, il est ainsi le premier à traiter les Préludes comme un cycle, unifiant cette « série d'états d'âme musicaux » en une vision de plus en plus fiévreuse et mélancolique. Il révèle également toute la portée lyrique et poétique des Etudes, par-delà leur prétexte pédagogique. Il a été l’un des premiers à considérer les Etudes de Chopin non pas comme des exercices techniques mais comme un véritable monument où chaque pièce est un joyau de musique. Quant aux Ballades, elles deviennent sous ses doigts de véritables poèmes « symphoniques », dont il accentue la dramaturgie et assure avec génie la transition entre les épisodes. Cortot a enfin donné leurs lettres de noblesse aux deux dernières Sonates : dans la Sonate « Funèbre », qu'il appelait, à la suite d'Anton Rubinstein, « Le Poème de la mort ». Il parvient à maintenir une même tension tout au long des quatre mouvements ; mais il fait aussi découvrir au public français la Sonate No.3, longtemps restée dans l'ombre de sa devancière, soulignant le conflit entre son caractère chevaleresque et son lyrisme rêveur. À l’écoute de ses enregistrements, nous ne pouvons que reprendre la citation de l’écrivain Stefan Zweig : « Quand les mains de Cortot n'existeront plus, Chopin mourra une seconde fois. » Schumann by Alfred Cortot - Complete Piano Works / Presentation + New Mastering (Century’s record.): bit.ly/3JWH7Js Frédéric François Chopin PLAYLIST (reference recordings): cutt.ly/keLBA203
Some years back I attended a Chopin recital by a very talented young pianist, American, whose name I've forgotten. He agreed to take questions from audience members at the end of the recital. I asked him what Chopin pianists he most admired. I expected him to say Rubinstein, Horowitz, maybe Pollini or Ashkenazy. To my surprise, he said without hesitation, "Alfred Cortot." I said to myself, "Well, I need to know about him." Thank you for posting this.
Chopin left the instructions, Cortot not only followed them, but expanded on them, morphing them, and painted a beautiful picture using what tools Chopin left for him and his own, endless imagination. Inspiring, profound, creative, and utterly astounding.
@@bm33tati Yes, Michelangeli is my favorite "Chopinist" too. Most dynamic, fabulously precise (EVERY NOTE is perfect), and utterly transcendent. Though I must admit that Cortot provides a certain introspection that brings out a different dimension to Chopin's work that moves me somewhat differently. I'll settle for referring to them as two pianistic geniuses. I'm enjoying myself tremendously (and not working as I am supposed to right now because I am too captivated). Oh, well.
@@bm33tati Ive only heard his beethoven which was alright, but not on par with the likes of kempff, schnabel, backhaus, (Annie) Fischer and Richter, but I'll check out his chopin
I have a CD by a 90-year old Horszowski, also amazing pianist. He comments that he remembers when musicians weren't judged by the number of wrong notes they played, but how much heart and soul went into their playing. Listening to Cortot brings this home to me. Some won't like everything here, but this is true passion, taking chances, music playing as true art. Wonderful!
These recordings are literally my entire childhood. We had old tape cassettes with Cortot playing these works of Chopin... and my mother would always play them on very low volume at night until we fell asleep. I also played some of these pieces when I went to music school. This video brings me back to my best memories :)
Clear and quiet tone. Though the Chopin pianist I most admire is Valentina Igoshina, I like this performance by Alfred Cortot. Thanks for introducing him to me.
I've never failed to be moved by the interpretations of Cortot. They are an education for me. As long as his recordings are heard, he will continue to have students. It makes me only the sadder that so much of his work is still not released, above all his Beethoven cycle. Sure, there are those who will not appreciate his applying his interpretive genius to the classical form, which does not lend itself so easily to that. But those who throw mud at him are already doing it anyway. Those of us who love Cortot will continue loving him and learning from him, the more so for his transference back into classicism of the knowledge gained from romanticism. We love Cortot because he concentrated on what matters, the music, not on hitting every note and measuring every measure. He'd be of no interest if he had put his focus the other way around. The mud throwers are missing the forest for the trees. Cortot gave us the forest. He tone painted it, in colors and contours that leave us with a magnificent picture in our souls. I long for the day when we will be able to see through our ears all the forests Cortot painted for us.
In spite of my agreement of what you wrote, by the time Cortot came to the Beethoven Sonatas in the late '50s, his command of the instrument was very much eroded, although the intelligently guided instinct is still in evidence. His pupil Thomas Manshardt recounts that he required eighty takes for the fugue of the Hammerklavier, although it's unclear whether he ever achieved a satisfactory recording. That being said, he did pull himself together enough for valedictory recordings of Chopin's Ballades and Preludes Op.28 in 1957- which are included in this set. All in all, Cortot makes, even in his postwar recordings, almost anyone else sound like Elmer Fudd in a Nyquil haze.
This precious recording has struck me like a thunderbolt ( nice one). His interpretation is profound, free and spontaneous. I felt ultimate joy of experiencing Cortot's Chopin- its tempo, phrasing, and dynamics. Thank you for uploading!
In my callous youth as an aspiring pianist I used to laugh at his stumbles and wrong/missed notes. Then I realize his Chopin comes from his heart and that listening for impeccable technique is very much missing the point.
Yes, I agree. It reminds me to an other comment - I don´t know who said about what artist - it was this : " his wrong notes I like more than my correct notes " .
@@santorinischnabel I’m a noob but personally Cortot phrasing for Chopin and Schumann is much better than Rubinstein. I don’t know how I’d argue this or prove it it’s just my opinion xD. I’m a huge fan of cortot playing thoguh.
To me all his recordings seem like live performances. We have listened to him every day since April. He induces a state of euphoria. What a great musician
The greatest delight ... the most exquisite taste to hear again and again to Chopin in the hands of Cortot .. for me the greatest interpreter ... his sensitivity is second to none .... I love it
I love this man. I listened to the whole thing I don't know how many times, paying attention or not, and he is the most beautiful. Listening to this feels so special.
This immediately leaves me in tears, in the best possible way. I feel home. Thank you so much for all you give to us in your wonderful, important videos.
Wow... I have been looking for this a long time before this video was even published... And guess how I found it? Through a RUclips comment. Yes, seriously. Somebody mentioned Alfred Cortot. And since I have never heard of him (do NOT judge me), I went to see who that is. Well, it seems like I didn't find this masterpiece, but it found me.
¡Oh! ¡Que delicadeza para moverse en el teclado, desde la suavidad, hasta la intensidad! ¡Excelente el Señor Cortot para trabajar la música del genio Chopin! Me ha impresionado y me gusta mucho, pues pasea mi alma en una nube de "glamour" musical.
Da ragazzo ho avuto il piacere e la buona sorte di assistere ad uno dei rari concerti italiani di Cortot offerto dal grande maestro in omaggio al fondatore dell'Accademia Musicale Chigiana di Siena. Durante l'esecuzione di alcuni brani di Chopin, come incantato da tanta meraviglia, socchiusi per alcuni attimi gli occhi. Al riaprirli, dall'alto del 'loggione', mi parve di scorgere Chopin ricurvo sul piano intento a interpretare la Grande Polonaise Brillante. Pensai di aver sognato, ma mia sorella maggiore mi informo' che in effetti un certa rassomiglianza tra Chopin e Cortot esisteva come comprovato dalle copertine dei dischi di casa! Aggiunse poi che smettessi di sognare! Peccato. Mi sarebbe certo piaciuto essere stato presente ad un concerto di Chopin...chissa' forse lo ero stato davvero... THANK YOU SO MUCH FOR THIS FANTASTIC ANNIVERSARY EDITION.
Mi piace pensare che sia stato proprio così. Si sente un legame così forte con gli artisti amati che li percepiamo come vivi accanto a noi in certi mome nti privilegiati
these are the classics, the Schnabel of Chopin. I'm amazed that Cortot was so beyond even the other great pianists of his time in Chopin, such as Doyen, Nat, Hofmann, Friedman, Cherkassky, and other greats ... amazing.
Cortot’s interpretations remind me of Gitlis’s statement that great music can be interpreted in different ways. I find Cortot an impressionist, painting with Chopin’s notes. A refreshing view.
My God!! It’s like hearing Chopin for the first time! Of course! This is how it should’ve played. Notice how he breaks the hands in the nocturne, the melody line coming in slightly after the left hand. My teacher told me not to break the bands but I thought then that he was wrong. And Cotton conforms me in my conviction.
Fabulous performances, so expressive and sensitive. Cortot is indeed the Schnabel of Chopin. Both artists had supreme spiritual and musical insights into the inner depths of their respective composers. Both were unsurpassed - Cortot in Chopin, Schnabel in Beethoven (and Schubert).
It's not Chopin's orchestration. Cortot may have used e re-orchestrated version by Andre Messager , or he may have re-orchestrated it himself. Chopin's original version is better.
i have to say, this is a gold mine! the way he breathes into the masterpieces brings me reminiscences of my first time listening to them my personal favourites list, with particularly interesting interpretation choices: ballades op 23 (17:04) op 38 (25:43) op 47 (32:39) op 52 (39:21) etudes op 10 no 3 (1:09:37) op 10 no 5 (1:15:40) op 10 no 7 (1:20:28) op 10 no 10 (1:26:44) op 25 no 1 (1:33:15) op 25 no 2 (1:35:23) op 25 no 3 (1:36:49) op 25 no 6 (1:43:01) op 25 no 8 (1:49:46) preludes op 28 no 1 (2:01:16) op 28 no 23 (2:32:27) waltzes op 64 no 1 (2:55:17) op 64 no 2 (2:56:55) op 64 no 3 (3:00:00) op 69 no 2 (3:06:07) op 70 no 1 (3:09:01)
It is amazing how pedestrian Cortot makes every other performance of Nocturne no 9 op 2 sound. That Schumann bloke certainly knew what he was talking about!
Magnificent. I always heard of Cortot as poetic but slightly erratic. And I think I may have just heard his post-war recordings. These pre-war recordings show his full mastery. The playing is so warm, lyrical and rich. And his technique is up to anything. This was the age of musicians with real personality.
Op.25 No.5 is so weirdly perfect. In the second theme he introduces the bass melody instead of pushing the arpeggios. It is my first time hearing somebody did this, and it is absolutely fascinating.
Google Translate says this says: "The beauty of Fryderyk Chopin's music is a phenomenon bordering on a miracle. Gorgeous and timeless. This music will delight forever."
I have enjoyed, yet never thanked you for, these amazing recordings. Bless you, Chopin, Cortot, and others whose hearts resonate to beauty and truth. My Irish windows may be clouded with storm salt, but my soul is free :)
No tengo otra cultura musical que la sensibilidad y las emociones que siento al escuchar al piano específicamente a Chopin en esta hermosa tarde. Ya no olvidaré a Alfred Cortot tampoco. Infinitas gracias por compartir esta selección maravillosa con la que vivir la belleza y el encuentro de las almas que conectan a su son. ¡FELICITACIONES!💚🧡💛♥️💟🥰
Alfred Cortot, simply the greatest of all Chopin pianists since the era of recording began. These recorded performances are priceless...the more I listen the more speechless I become (what pedaling!!) There have been so many other great Chopin pianists, some of them Cortot's pupils such as Perlemuter and Lipatti, and also Hofmann, Novaes, Rubinstein, Moiseiwitsch...but Cortot had it all--incredible technique, luscious sound, intellect, everything. He stands at the top--not just as the greatest exemplar of the French school of pianism, but of all pianists of any age.
Negaliu Atsigėrėti..Tuo kaip Maestro Rankos Groja Šopeną tarsi Pats Šopenas Grotų Savo Muziką... Dieviškas Lengvumas ir Virtuozinė Technika..Atgaiva Šiuo Tamsiu Laikotarpiu Pasaulyje .Dėkoju....Merci
This recording has so many treasures. But Cortot's interpretation of the Sonata No 3 stands out to me as singularly beautiful. The Largo movement is in my opinion one of the most beautiful things Chopin wrote. Cortot's performance keeps the rhythm underlying the entire sonata which tends to get lost by many interpretations of this piece where the Largo is often performed too slowly.
Kate Liu's performance of this sonata is also extremely poetic, as was all her playing at the 2015 Chopin Concours ruclips.net/video/UFlIvrEZ3nU/видео.html
until now, my absolute favourite interpretation of this sonata has been fialkowska's. I had never found one that would exceed hers, but cortot's interpretation is truly brilliant. I am barely half way through the first movement right now and I already think he'll surpass my love for fialkowska's. I'll indeed listen to the ones you all have named in these comments, sadly I had never heard of them even though this is one of my favourite pieces ever! thank you
Thanks for Cortot, I, for the first time, recognized certain similarity between sonata 3, 3rd movement and Prelude n.23 ; for anyone who wants to check this, listen to his improvisation at 4:21:13
Alfred's Nocturne no 9 op 2 is the most moving..and beautiful version I have ever heard...in fact I had always likes Horowitz and Rubinstein's Chopin but I never heard Cortot only read about him..but he is wonderful.
"Alfred's Nocturne no 9 op 2 is the most moving ..." Isn't that the truth! I like all the nocturnes apart from that one because it, usually, has a constant rhythm of: plod two three, plod two three etc. However, Cortot injects variations in tempo and note delays that completely transforms it into a true work of art. I am about halfway through the recordings now but that is the highlight so far. I have never heard it played as well as that.
Magnifique!un jeu d'une grande intériorité très poétique des tempos idéale pour garder la suspension du chant .finesse qui permet de savourer chaque intention.
Listening to his fantasie-impromptu, then hearing people criticise his technique relative to other great pianists, makes me feel exceptionally inadequate
A renowned and influential pedagogue, Alfred Cortot will alternate his concerts and recordings throughout his life. By creating the Ecole Normale de Musique de Paris in 1919, with Auguste Mangeot, they both wanted to assert the cultural influence of France. They have proposed a system of admission without age limits, widely open to foreign students, to train both soloists and pedagogues. From the formation of the School, Alfred Cortot knew how to surround himself with the greatest musicians of the time. For example, Pablo Casals, Jacques Thibaud, Nadia Boulanger, Paul Dukas, Wanda Landowska, Igor Stravinsky, Georges Enesco and many others have provided exemplary instruction to many students such as Dinu Lipatti, Samson François, Joaquim Rodrigo ... Thus the Ecole Normale de Musique de Paris, by its international influence, strives to perpetuate the will of Alfred Cortot when the diffusion of French culture and music, in the world and in particular in Asia.
Ses interprétations sont de pures merveilles, sa façon de retarder certaines notes de la main gauche ou de rajouter des appogiatures, des octaves, c'est juste du génie.
Non è genio, tanti pianisti se sono veramente pianisti sanno e sentono interiormente come appoggiare o ritardare alcune note piuttosto che altre... Cortot peraltro era dotato di un gusto che oscilla incredibilmente tra espressivita' e cattivo gusto ( talvolta, di derivazione purtroppo tardo ottocentesca...)
The first and the last piece in this compilation -- Nocturne No. 2 in Eb, Op.9 No. 2 -- is recorded in 1952 and in 1929 -- quite differently played .. Thank you very much for the wonderful upload ... Amazing sound ...
"Nocturne no 9 op 2" I have just commented above about how this nocturne was a revelation to me. I had never liked it previously although I love all the other nocturnes. This one is always played in a plodding style - apart from this rendition - I have only heard the first one so far. It is cetainly the highlight.
What Cortot achieves, musically speaking, demonstrates titanic technical ability. Smudges and wrong notes weren't as important back then as they are now.
Frédéric François Chopin (1810-1849) - The Piano Works by the Master Alfred Cortot/ NEW MASTERING
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*Click to activate the English subtitles for the presentation* (00:00-05:22)
YEAR 1952
Nocturnes No. 2 in Eb, Op.9 No. 2 (00:00)
Nocturne No. 4 in F, Op.15 No. 1 (04:05)
Nocturne No. 7 in C# Minor Op.27 No. 1 (08:31)
YEARS 1933/1934/1935
Etude No. 3 In E Major (13:04)
Ballades
n.1 in g minor op.23 (17:04) ; n.2 in F op.38 (25:44)
n.3 in Ab op.47 (32:39) ; n.4 in f minor op.52 (39:22)
Sonata No. 2 in B flat minor, Op. 35
I Grave - Doppio movimento (48:51) ; II Scherzo (53:46)
III Marche funebre - Lento (58:18) ; IV Finale - Presto (1:04:43)
Etudes, Op. 10
No. 1 In C Major (1:06:13) ; No. 2 In A Minor (1:08:12)
No. 3 In E Major (1:09:37) ; No. 4 In C# Minor (1:13:37)
No. 5 In G Flat Major (1:15:40) ; No. 6 In E Flat Minor (1:17:17)
No. 7 In C Major (1:20:28) ; No. 8 In F Major (1:22:00)
No. 9 In F Minor (1:24:23) ; No. 10 In A Flat Major (1:26:44)
No. 11 In E Flat Major (1:28:40) - No. 12 In C Minor (1:30:31)
Etudes, Op. 25
No. 1 In A Flat Major (1:33:15) ; No. 2 In F Minor (1:35:23)
No. 3 In F Major (1:36:49) ; No. 4 In A Minor (1:38:35)
No. 5 In E Minor (1:40:15) ; No. 6 In G# Minor (1:43:01)
No. 7 In C# Minor (1:44:57) ; No. 8 In D Flat Major (1:49:46)
No. 9 In G Flat Major (1:50:54) ; No. 10 In B Minor (1:51:56)
No. 11 In A Minor (1:55:03) ; No. 12 In C Minor (1:58:35)
Preludes, Op. 28
I in C major (2:01:16) ; II in A minor (2:01:54)
III in G major (2:04:10) ; IV in E minor (2:05:10)
V in D major (2:06:59) ; VI in B minor (2:07:36)
VII in A major (2:09:26) ; VIII in F# minor (2:10:04)
IX in E major (2:11:44) ; X in C# minor (2:12:57)
XI in B major (2:13:29) ; XII in G# minor (2:13:59)
XIII in F# major (2:15:06) ; XIV in E flat minor (2:17:38)
XV in D flat major (2:18:12) ; XVI in B flat minor (2:22:54)
XVII in A flat major (2:23:57) ; XVIII in F minor (2:26:35)
XIX in E flat major (2:27:24) ; XX in C minor (2:28:40)
XXII in B flat major (2:30:04) ; XXII in G minor (2:31:41)
XXIII in F major (2:32:27) ; XXIV in D minor (2:33:09)
Waltzes
#1 In E Flat, Op. 18, « Grande Valse Brillante » (2:35:39)
#2 In A Flat, Op. 34/1, « Valse Brillante » (2:40:15)
#3 In A Minor, Op. 34/2, « Grand Valse Brillante » (2:45:02)
#4 In F, Op. 34/3, « Valse Brillante » (2:49:20)
#5 In A Flat, Op. 42, « Two Four » (2:51:34)
#6 In D Flat, Op. 64/1, « Minute » (2:55:17)
#7 In C Sharp Minor, Op. 64/2 (2:56:55)
#8 In A Flat, Op. 64/3 (3:00:01)
#9 In A Flat, Op. 69/1, « L’Adieu » (3:02:59)
#10 In B Minor, Op. 69/2 (3:06:07)
#11 In G Flat, Op. 70/1 (3:09:01)
#12 In F Minor, Op. 70/2 (3:11:00)
#13 In D Flat, Op. 70/3 (3:13:25)
#14 In E Minor, Op. Posth. (3:16:13)
Impromptus
n.1 in Ab op.29 (3:18:31) ; n.2 in F# op.36 (3:22:22)
Impromptu n.3 in Gb op.51 (3:27:22)
Fantaisie-Impromptu in c# minor op.66 (3:31:55)
Barcarolle In F# Major, Op. 60 (3:36:32)
Fantaisie in f minor op.49 (3:44:29)
Tarantelle in A flat op.43 (3:56:07)
Polonaise n.6 in A flat op.53 ‘Héroique’ (3:59:10)
Sonata No. 3 in B minor, Op. 58
I Allegro maestoso (4:05:37) ; II Scherzo - Molto vivace (4:14:11)
III Largo (4:16:46) ; IV Finale - Presto, ma non tanto (4:23:57)
Piano Concerto No. 2 In F Minor, Op. 21, B 43 (John Barbirolli)
1. Maestoso (4:29:04) ; 2. Larghetto (4:42:44) ; 3. Allegro Vivace (4:51:38)
YEAR 1923
Grande Polonaise brillante in Eb major, Op.22 - Only Polonaise (4:59:53)
Berceuse In D Flat Op.57 (5:04:41)
YEAR 1929
Ballades
n.1 in g minor op.23 (5:08:49) ; n.2 in F op.38 (5:17:39)
n.3 in Ab op.47 (5:24:32) ; n.4 in f minor op.52 (5:31:16)
Nocturne No. 2 in Eb, Op.9 No. 2 (5:40:59)
Piano : Alfred CORTOT
Recorded in 1923/29/33-35/52
New Mastering in 2017 by AB for CMRR
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Pédagogue réputé et très influent, Alfred Cortot fera alterner, toute sa vie durant, concerts et enregistrements. En créant l’Ecole Normale de Musique de Paris en 1919, avec Auguste Mangeot, ils ont tous les deux souhaité affirmer le rayonnement culturel de la France. Ils ont ainsi proposé un système d’admission sans limites d’âges, ouvert largement aux étudiants étrangers, afin de former à la fois des solistes et des pédagogues.
Des la formation de l’Ecole, Alfred Cortot a su s’entourer des plus grands musiciens de l’époque. Ainsi, Pablo Casals, Jacques Thibaud, Nadia Boulanger, Paul Dukas, Wanda Landowska, Igor Stravinski, Georges Enesco et bien d’autres ont assuré un enseignement exemplaire à de nombreux élèves tels que Dinu Lipatti, Samson François, Joaquim Rodrigo… Ainsi l’Ecole Normale de Musique de Paris, par son rayonnement international, s’attache-t-elle à faire perdurer la volonté d’Alfred Cortot quand à la diffusion de la culture et de la musique française, dans le monde et en particulier en Asie.
Alfred Cortot possédait un répertoire immense mais c’est sans doute par ses enregistrements de Chopin qu’il s’est particulièrement distingué. Il avait une façon de faire chanter le piano qui était unique. Sous ses doigts virtuoses, l’instrument chante avec une éloquence et une variété de nuances d’apparence très libre, mais qui repose en réalité sur une conception minutieusement élaborée des œuvres. Sous le couvert de l’improvisation tout est soigneusement contrôlé et pensé. Si elles paraissent toujours spontanées, ses interprétations sont en réalité élaborées avec minutie et reposent sur une connaissance intime de la partition elle-même, mais aussi de tout ce qui a pu entourer son écriture.
« La nationalité, l'époque, le caractère individuel de l'auteur, son degré de culture, les événements de sa vie, les milieux qu'il aura traversés, ses lectures même, l'ayant influencé dans sa création, une mise au point spéciale pour chaque œuvre, sera indispensable à l'interprète qui prétendra la faire revivre », disait ainsi Cortot à ses élèves.
Son style pianistique est d'une subtilité et d'une variété qui défient l'analyse ; on peut toutefois tenter de l'évoquer sous l'angle de la rhétorique, l'art de Cortot consistant avant tout à rechercher une « déclamation naturelle et sensible » des œuvres. Ainsi, le rubato n'est pas une distorsion arbitraire de la mélodie, mais souligne « les points névralgiques du discours musical », pour faire apparaître le « caractère émotif, sensuel ou douloureux que la stricte observance de la mesure n'aurait pas su [lui] conférer». Il en va de même du travail de la sonorité, par lequel il cherche la juste couleur et le timbre particulier de chaque phrase et de chaque voix.
La discographie de Cortot reflète globalement son répertoire, même si Beethoven en est quasi absent : il n'était alors guère concevable qu'un Français concurrence l'intégrale enregistrée par Schnabel pour la même maison de disques. Par contre, la prépondérance de Chopin témoigne de la « dilection passionnée » du pianiste pour un compositeur qu'il a joué plus que tout autre. Cette dilection trouve son origine dans les années de formation de Cortot : Decombes, son premier professeur au Conservatoire (avant Diémer), avait reçu quelques conseils de Chopin et lui fit rencontrer d'authentiques élèves du Maître (Camille Dubois, George Mathias).
Un peu plus tard, les exemples de Paderewski et surtout d'Edouard Risler (son véritable mentor) furent déterminants dans sa vocation d'interprète chopinien. Chopin est pour Cortot le musicien romantique par excellence, dont le langage musical est un mode d'expression privilégiée des sentiments et des émotions, mais qui sait aussi créer les formes musicales conformes à la manifestation de son génie.
Cortot jouait toutes les œuvres de Chopin, il est ainsi le premier à traiter les Préludes comme un cycle, unifiant cette « série d'états d'âme musicaux » en une vision de plus en plus fiévreuse et mélancolique. Il révèle également toute la portée lyrique et poétique des Etudes, par-delà leur prétexte pédagogique. Il a été l’un des premiers à considérer les Etudes de Chopin non pas comme des exercices techniques mais comme un véritable monument où chaque pièce est un joyau de musique. Quant aux Ballades, elles deviennent sous ses doigts de véritables poèmes « symphoniques », dont il accentue la dramaturgie et assure avec génie la transition entre les épisodes.
Cortot a enfin donné leurs lettres de noblesse aux deux dernières Sonates : dans la Sonate « Funèbre », qu'il appelait, à la suite d'Anton Rubinstein, « Le Poème de la mort ». Il parvient à maintenir une même tension tout au long des quatre mouvements ; mais il fait aussi découvrir au public français la Sonate No.3, longtemps restée dans l'ombre de sa devancière, soulignant le conflit entre son caractère chevaleresque et son lyrisme rêveur. À l’écoute de ses enregistrements, nous ne pouvons que reprendre la citation de l’écrivain Stefan Zweig : « Quand les mains de Cortot n'existeront plus, Chopin mourra une seconde fois. »
Schumann by Alfred Cortot - Complete Piano Works / Presentation + New Mastering (Century’s record.): bit.ly/3JWH7Js
Frédéric François Chopin PLAYLIST (reference recordings): cutt.ly/keLBA203
Thanks a lot !
:-)
Classical Music/ /Reference Recording for
Classical Music/ /Reference Recording
Chopin concerto two. Cortot
Chopin concerto 2 Corcoran
アルフレッド･コルトー 全集大賛辞
アルフレッド･コルトーの偉大である事を確と知ったのは、つい最近です｡コルトーは、リパッティの恩師です。リパッティが、ショパン･(コンクールで2位であったことに、納得がいかず、審査員の座を辞した事を私は、コルトーというビアニストが、自分を信じ､リパッティの才能を愛し､厳然と音楽芸術を守って来た人であると思うのです。そのようにコルトーのピアノ演奏を聴いていますと､より深い芸術の感動を味わう事が出来るのです。その演奏の中に、その人が顕れる事の意味の重要である事を､思い知るのです。
Some years back I attended a Chopin recital by a very talented young pianist, American, whose name I've forgotten. He agreed to take questions from audience members at the end of the recital. I asked him what Chopin pianists he most admired. I expected him to say Rubinstein, Horowitz, maybe Pollini or Ashkenazy. To my surprise, he said without hesitation, "Alfred Cortot." I said to myself, "Well, I need to know about him." Thank you for posting this.
@@JuanraHernandez π
@@JuanraHernandez ?
Cortot était nazi c'est ça votre commentaire ?
Chopin left the instructions, Cortot not only followed them, but expanded on them, morphing them, and painted a beautiful picture using what tools Chopin left for him and his own, endless imagination. Inspiring, profound, creative, and utterly astounding.
Cortot is always my favourite Chopin player. The way he plays is so unique, which you cannot find in any modern pianist
Ryan Li I have heard a few by George Harliono I thought very impressive despite his youth!
Rian Li there is опе моre modern uniqie pianist Arturo Benedetti Michelangeli.He plays
@@bm33tati Yes, Michelangeli is my favorite "Chopinist" too. Most dynamic, fabulously precise (EVERY NOTE is perfect), and utterly transcendent. Though I must admit that Cortot provides a certain introspection that brings out a different dimension to Chopin's work that moves me somewhat differently. I'll settle for referring to them as two pianistic geniuses. I'm enjoying myself tremendously (and not working as I am supposed to right now because I am too captivated). Oh, well.
@@bm33tati Ive only heard his beethoven which was alright, but not on par with the likes of kempff, schnabel, backhaus, (Annie) Fischer and Richter, but I'll check out his chopin
I have a CD by a 90-year old Horszowski, also amazing pianist. He comments that he remembers when musicians weren't judged by the number of wrong notes they played, but how much heart and soul went into their playing. Listening to Cortot brings this home to me. Some won't like everything here, but this is true passion, taking chances, music playing as true art. Wonderful!
My piano teacher in Havana, Margot Diaz Dorticos, studied with Cortot in the Twenties. Always felt his soul in her teaching.
How lucky you are..
Nice!
Okay I just wanna state one thing....... 5 hours of Chopin WITHOUT ADS :D :D Thanks you goddamn !!
there werent ads the first listening - but now i do have them...
@@militaryandemergencyservic3286
Pay for a subscription.
Why should you get everything for free? Netflix and Prime dont even offer an option with ads.
Pay for a subscription with no ads. Netflix isnt free either.
His performances are so imaginative - thanks for sharing these!
Cortot is such a poet, agreed.
These recordings are literally my entire childhood. We had old tape cassettes with Cortot playing these works of Chopin... and my mother would always play them on very low volume at night until we fell asleep. I also played some of these pieces when I went to music school. This video brings me back to my best memories :)
Clear and quiet tone. Though the Chopin pianist I most admire is Valentina Igoshina, I like this performance by Alfred Cortot. Thanks for introducing him to me.
I've never failed to be moved by the interpretations of Cortot. They are an education for me. As long as his recordings are heard, he will continue to have students.
It makes me only the sadder that so much of his work is still not released, above all his Beethoven cycle.
Sure, there are those who will not appreciate his applying his interpretive genius to the classical form, which does not lend itself so easily to that. But those who throw mud at him are already doing it anyway. Those of us who love Cortot will continue loving him and learning from him, the more so for his transference back into classicism of the knowledge gained from romanticism. We love Cortot because he concentrated on what matters, the music, not on hitting every note and measuring every measure. He'd be of no interest if he had put his focus the other way around.
The mud throwers are missing the forest for the trees. Cortot gave us the forest. He tone painted it, in colors and contours that leave us with a magnificent picture in our souls.
I long for the day when we will be able to see through our ears all the forests Cortot painted for us.
You said it! He definitely is a 'big picture' pianist. He sounds like one of the most intuitive I've ever heard. Gives me goosebumps every time.
AMEN to that, Ma'am!
Well, beautiful comment. I feel the same.
Amen
In spite of my agreement of what you wrote, by the time Cortot came to the Beethoven Sonatas in the late '50s, his command of the instrument was very much eroded, although the intelligently guided instinct is still in evidence. His pupil Thomas Manshardt recounts that he required eighty takes for the fugue of the Hammerklavier, although it's unclear whether he ever achieved a satisfactory recording. That being said, he did pull himself together enough for valedictory recordings of Chopin's Ballades and Preludes Op.28 in 1957- which are included in this set. All in all, Cortot makes, even in his postwar recordings, almost anyone else sound like Elmer Fudd in a Nyquil haze.
This precious recording has struck me like a thunderbolt ( nice one). His interpretation is profound, free and spontaneous. I felt ultimate joy of experiencing Cortot's Chopin- its tempo, phrasing, and dynamics. Thank you for uploading!
A "nice" thunderbolt..I like that.
Cortot phrases like a great singer. Hearing his Chopin is like hearing Callas sing Puritani.
A friend of mine was Cortot's pupil and this friend's advice to me was always that I should take singing lessons to play better.
Oh, Callas is one of my very very favorites :)
Very sensiitive your comment! Bravo! Norah de Almeida (from Brasil)
That is a very perceptive thought.
That's a pretty unusual comparison, and an uncanny way to see things, but why not? Very interesting comment!
In my callous youth as an aspiring pianist I used to laugh at his stumbles and wrong/missed notes. Then I realize his Chopin comes from his heart and that listening for impeccable technique is very much missing the point.
me 2
Yes, I agree. It reminds me to an other comment - I don´t know who said about what artist - it was this : " his wrong notes I like more than my correct notes " .
@@santorinischnabel I’m a noob but personally
Cortot phrasing for Chopin and Schumann is much better than Rubinstein. I don’t know how I’d argue this or prove it it’s just my opinion xD.
I’m a huge fan of cortot playing thoguh.
To add a bit more his phrasing seems more free and creative to me and still he uses rubato very nicely in my opinion.
@@santorinischnabel Yes, Anton Rubinstein was no doubt a superior pianist ...
Brilliant, beautiful, calming & comforting. Perfect distraction, 5 hours no less, in a time of coronavirus. Thank you for this.
indeed :-)
Me equivoqué con la fecha. de Chopin. Corto es contemporáneo de CliBurn. disculpa.
Would give everything to go back in time and listen to this man's magic live in concert...
My mother heard him during the war. I knew from the way she described the concert it was very special.
To me all his recordings seem like live performances.
We have listened to him every day since April.
He induces a state of euphoria.
What a great musician
We are going back in time and hearing him play! I'm so grateful.
Same
The greatest delight ... the most exquisite taste to hear again and again to Chopin in the hands of Cortot .. for me the greatest interpreter ... his sensitivity is second to none .... I love it
I love this man. I listened to the whole thing I don't know how many times, paying attention or not, and he is the most beautiful. Listening to this feels so special.
RUclips post of a century. Thank you.
:-)
All the grief of Chopin's too short life, his passion and rage at approaching death are there in Cortot's fingers. Absolutely breathtaking.
This immediately leaves me in tears, in the best possible way. I feel home.
Thank you so much for all you give to us in your wonderful, important videos.
Beyond words! Cortot plays like Chopin, himself ,would have played his own works,I think. The Master of Chopin.
I've been thinking, listening to him: he couldn't have heard Chopin live, but the teacher of his teacher could have.
It takes a poet, to play the music of a poet.
Wow... I have been looking for this a long time before this video was even published...
And guess how I found it?
Through a RUclips comment.
Yes, seriously. Somebody mentioned Alfred Cortot.
And since I have never heard of him (do NOT judge me), I went to see who that is.
Well, it seems like I didn't find this masterpiece,
but it found me.
enjoy ;)
Then you HAVE to look up for Dinu Lipatti!
Wonderfully sensitive interpretation. Cortot delivers the genuine values of Chopin!
Cortot has moved me to tears.
Alfred Cortot
A musician who created a unique world
¡Oh! ¡Que delicadeza para moverse en el teclado, desde la suavidad, hasta la intensidad! ¡Excelente el Señor Cortot para trabajar la música del genio Chopin! Me ha impresionado y me gusta mucho, pues pasea mi alma en una nube de "glamour" musical.
Da ragazzo ho avuto il piacere e la buona sorte di assistere ad uno dei rari concerti italiani di Cortot offerto dal grande maestro in omaggio al fondatore dell'Accademia Musicale Chigiana di Siena. Durante l'esecuzione di alcuni brani di Chopin, come incantato da tanta meraviglia, socchiusi per alcuni attimi gli occhi. Al riaprirli, dall'alto del 'loggione', mi parve di scorgere Chopin ricurvo sul piano intento a interpretare la Grande Polonaise Brillante. Pensai di aver sognato, ma mia sorella maggiore mi informo' che in effetti un certa rassomiglianza tra Chopin e Cortot esisteva come comprovato dalle copertine dei dischi di casa! Aggiunse poi che smettessi di sognare! Peccato. Mi sarebbe certo piaciuto essere stato presente ad un concerto di Chopin...chissa' forse lo ero stato davvero... THANK YOU SO MUCH FOR THIS FANTASTIC ANNIVERSARY EDITION.
Mi piace pensare che sia stato proprio così. Si sente un legame così forte con gli artisti amati che li percepiamo come vivi accanto a noi in certi mome nti privilegiati
What a treasure! This is a breath of life. Thank you very much!
아름다운 피아노 연주곡 잘 들었읍니다~감사합니다~🎵🎹🌿🍀☘🌹🌹☘🍀🌿❤❤
these are the classics, the Schnabel of Chopin. I'm amazed that Cortot was so beyond even the other great pianists of his time in Chopin, such as Doyen, Nat, Hofmann, Friedman, Cherkassky, and other greats ... amazing.
I've been on a kick of listening to different recordings of the Op. 10 Etudes. Then I hit Cortot-- and now I'm on a kick of listening to Cortot.
Cortot’s interpretations remind me of Gitlis’s statement that great music can be interpreted in different ways. I find Cortot an impressionist, painting with Chopin’s notes. A refreshing view.
My God!! It’s like hearing Chopin for the first time! Of course! This is how it should’ve played. Notice how he breaks the hands in the nocturne, the melody line coming in slightly after the left hand. My teacher told me not to break the bands but I thought then that he was wrong. And Cotton conforms me in my conviction.
Quelle élégance, quelle authenticité, quelle âme dans le jeu d' Alfred Cortot ! Unique !
I don't know how you manage to recover this quality of sound. It must be some kind of witchcraft magic. Thank you.
Number one de l'interprétation pianistique
Fabulous performances, so expressive and sensitive. Cortot is indeed the Schnabel of Chopin. Both artists had supreme spiritual and musical insights into the inner depths of their respective composers. Both were unsurpassed - Cortot in Chopin, Schnabel in Beethoven (and Schubert).
I personally put Schnabel 4th in beethoven, after Richter, (Annie) Fischer and Backhaus, but that's beside the point, I agree with what you're saying
@@joelmacinnes2391 What would u say about Emil Gilels playing the last three Beethoven piano sonatas?
The best rendition of Chopin's Piano Concerto no.2 I've ever heard. Both Cortot and the orchestra did the piece a great service.
It's not Chopin's orchestration. Cortot may have used e re-orchestrated version by Andre Messager , or he may have re-orchestrated it himself. Chopin's original version is better.
i have to say, this is a gold mine! the way he breathes into the masterpieces brings me reminiscences of my first time listening to them
my personal favourites list, with particularly interesting interpretation choices:
ballades
op 23 (17:04)
op 38 (25:43)
op 47 (32:39)
op 52 (39:21)
etudes
op 10 no 3 (1:09:37)
op 10 no 5 (1:15:40)
op 10 no 7 (1:20:28)
op 10 no 10 (1:26:44)
op 25 no 1 (1:33:15)
op 25 no 2 (1:35:23)
op 25 no 3 (1:36:49)
op 25 no 6 (1:43:01)
op 25 no 8 (1:49:46)
preludes
op 28 no 1 (2:01:16)
op 28 no 23 (2:32:27)
waltzes
op 64 no 1 (2:55:17)
op 64 no 2 (2:56:55)
op 64 no 3 (3:00:00)
op 69 no 2 (3:06:07)
op 70 no 1 (3:09:01)
Among the best recordings i've ever listen to
00:00:00 Shhh !! Chopin is playing !!
05:45:17 "Hats off, gentlemen, A GENIUS." !!
It is amazing how pedestrian Cortot makes every other performance of Nocturne no 9 op 2 sound. That Schumann bloke certainly knew what he was talking about!
Magnificent. I always heard of Cortot as poetic but slightly erratic. And I think I may have just heard his post-war recordings.
These pre-war recordings show his full mastery. The playing is so warm, lyrical and rich.
And his technique is up to anything. This was the age of musicians with real personality.
Yes. Musicians with personality. You articulated what I was thinking.
Op.25 No.5 is so weirdly perfect. In the second theme he introduces the bass melody instead of pushing the arpeggios. It is my first time hearing somebody did this, and it is absolutely fascinating.
Bravo ,masterpiece . Thank you Classical Music .
Piękno muzyki Fryderyka Chopina to fenomen graniczący z cudem. Wspaniałe i ponadczasowe. Ta muzyka będzie zachwycać wiecznie.
Google Translate says this says: "The beauty of Fryderyk Chopin's music is a phenomenon bordering on a miracle. Gorgeous and timeless. This music will delight forever."
Thank you for uploading this! Cortot's renditions of Chopin are always unique and exquisite.
Absolutely amazing. Just listen and be transported back to how Chopin and Liszt would have played this music.
Thank you for sharing this beautiful music with the public!
one of my favorite chopin interpreters
I have enjoyed, yet never thanked you for, these amazing recordings. Bless you, Chopin, Cortot, and others whose hearts resonate to beauty and truth. My Irish windows may be clouded with storm salt, but my soul is free :)
Cortot, exceptionnel et excellent.
私が幼少時代（今年７０歳）父がSP版のレコードを買ってくれたので聴いたのが、コルトーの演奏する変ロ短調のソナタでした。確かにこの響き、不思議なくらい演奏解釈が自然に受け入れられます。ショパンならコルトーかしら、やはり（笑）
No tengo otra cultura musical que la sensibilidad y las emociones que siento al escuchar al piano específicamente a Chopin en esta hermosa tarde. Ya no olvidaré a Alfred Cortot tampoco. Infinitas gracias por compartir esta selección maravillosa con la que vivir la belleza y el encuentro de las almas que conectan a su son. ¡FELICITACIONES!💚🧡💛♥️💟🥰
Alfred Cortot, simply the greatest of all Chopin pianists since the era of recording began. These recorded performances are priceless...the more I listen the more speechless I become (what pedaling!!) There have been so many other great Chopin pianists, some of them Cortot's pupils such as Perlemuter and Lipatti, and also Hofmann, Novaes, Rubinstein, Moiseiwitsch...but Cortot had it all--incredible technique, luscious sound, intellect, everything. He stands at the top--not just as the greatest exemplar of the French school of pianism, but of all pianists of any age.
There is nothing more heartfelt and exquisite than Cortot's Chopin recordings
you upload clearly recorded musics.l always appreciate your uploads. Big thanks to you.
Thanks :-)
Thank you for this compilation! Cortot was a master. I absolutely adore and have been influenced by his touch, tone and sense of rhythm!
The etude op 25 no 1 is my favorite recording of his. It sounds just like a soft melody blowing suddenly out of the wind. Just like an aeolian harp.
It does. 100%
Negaliu Atsigėrėti..Tuo kaip Maestro Rankos Groja Šopeną tarsi Pats Šopenas Grotų Savo Muziką... Dieviškas Lengvumas ir Virtuozinė Technika..Atgaiva Šiuo Tamsiu Laikotarpiu Pasaulyje .Dėkoju....Merci
I used this music as a new year gift to my beloved wife.
Great gift!
This recording has so many treasures. But Cortot's interpretation of the Sonata No 3 stands out to me as singularly beautiful. The Largo movement is in my opinion one of the most beautiful things Chopin wrote. Cortot's performance keeps the rhythm underlying the entire sonata which tends to get lost by many interpretations of this piece where the Largo is often performed too slowly.
For me Cziffra is the ultimate poet of this sonata , don't know why so many people ignore his recording XD
Try Cortot's best student in the 3rd Sonata: Dinu Lipatti
Kate Liu's performance of this sonata is also extremely poetic, as was all her playing at the 2015 Chopin Concours ruclips.net/video/UFlIvrEZ3nU/видео.html
until now, my absolute favourite interpretation of this sonata has been fialkowska's. I had never found one that would exceed hers, but cortot's interpretation is truly brilliant. I am barely half way through the first movement right now and I already think he'll surpass my love for fialkowska's.
I'll indeed listen to the ones you all have named in these comments, sadly I had never heard of them even though this is one of my favourite pieces ever!
thank you
いいですねえ
聴き惚れています
うちの近くの川棚にコル島という島があります
コルトーにプレゼントされた島です
^^
Thanks for Cortot, I, for the first time, recognized certain similarity between sonata 3, 3rd movement and Prelude n.23 ; for anyone who wants to check this, listen to his improvisation at 4:21:13
Gracias por la hermosa música de Chopin y magnifica interpretación
Alfred's Nocturne no 9 op 2 is the most moving..and beautiful version I have ever heard...in fact I had always likes Horowitz and Rubinstein's Chopin but I never heard Cortot only read about him..but he is wonderful.
"Alfred's Nocturne no 9 op 2 is the most moving ..." Isn't that the truth! I like all the nocturnes apart from that one because it, usually, has a constant rhythm of: plod two three, plod two three etc. However, Cortot injects variations in tempo and note delays that completely transforms it into a true work of art. I am about halfway through the recordings now but that is the highlight so far. I have never heard it played as well as that.
Thank you!
such a fantastic collection and such generosity!!
:-)
Everlasting thanks!!!!!!!!!!!!!
what a tremendous genious
The great poet of the piano.He also was a great teacher.
Thanks friends for sharing such an outstanding performance!
You're welcome :-)
Excellent, thanks for sharing and putting everything together.
Cortot parece haber descubierto el corazón sagrado de la música.
So moving, how can you dislike this.
Thanks Cortot 😊🎶
Magnifique!un jeu d'une grande intériorité très poétique des tempos idéale pour garder la suspension du chant .finesse qui permet de savourer chaque intention.
Belíssima interpretação!!!
Gracias cCortot hasta el cielo. 💌 🖐️🎶🎶🎶🎶🎶
Thank you from Meadville Pennsylvania USA 👍
This just sounds RIGHT. Wonderful.
Amazing. The first nocturne sounds at though I was recorded this morning.
What?
@@Sound.bored1 It's so fresh.
좋은 음악 고마워요~~THanks a lot for gooood plays
This is MASSIVE. And gorgeous. Deeply appreciated.
Listening to his fantasie-impromptu, then hearing people criticise his technique relative to other great pianists, makes me feel exceptionally inadequate
Wonderful Cortot!
J'adore la musique classique. C'est si émouvant.
A renowned and influential pedagogue, Alfred Cortot will alternate his concerts and recordings throughout his life. By creating the Ecole Normale de Musique de Paris in 1919, with Auguste Mangeot, they both wanted to assert the cultural influence of France. They have proposed a system of admission without age limits, widely open to foreign students, to train both soloists and pedagogues.
From the formation of the School, Alfred Cortot knew how to surround himself with the greatest musicians of the time. For example, Pablo Casals, Jacques Thibaud, Nadia Boulanger, Paul Dukas, Wanda Landowska, Igor Stravinsky, Georges Enesco and many others have provided exemplary instruction to many students such as Dinu Lipatti, Samson François, Joaquim Rodrigo ...
Thus the Ecole Normale de Musique de Paris, by its international influence, strives to perpetuate the will of Alfred Cortot when the diffusion of French culture and music, in the world and in particular in Asia.
Poético, que magnífica interpretación !!!
Musica perfecta para disfrutar en el campo
Exactamente Carmen, somos en la Axarquia en Andalucia.
Es la “música perfecta para disfrutar en el campo” Gracias para este percepción
Thank you for sharing this marvelous upload!
Maravilloso. Poder gozar de esta música es para agradecer al Cielo y dar gracias a Dios por el talento de Chopin y de Cortot.
maravilloso . really beautiful hermoso, I LOVE IT
Superb,a unique style,a genius.breathless!
Nestorn bland seklets mest respekterade artister som vi nu får ta del av via inspelningar.
By far the best pianist to play my work
Ses interprétations sont de pures merveilles, sa façon de retarder certaines notes de la main gauche ou de rajouter des appogiatures, des octaves, c'est juste du génie.
Non è genio, tanti pianisti se sono veramente pianisti sanno e sentono interiormente come appoggiare o ritardare alcune note piuttosto che altre... Cortot peraltro era dotato di un gusto che oscilla incredibilmente tra espressivita' e cattivo gusto ( talvolta, di derivazione purtroppo tardo ottocentesca...)
thanks maestro....... for beautiful chopin...
The first and the last piece in this compilation -- Nocturne No. 2 in Eb, Op.9 No. 2 -- is recorded in 1952 and in 1929 -- quite differently played .. Thank you very much for the wonderful upload ... Amazing sound ...
"Nocturne no 9 op 2" I have just commented above about how this nocturne was a revelation to me. I had never liked it previously although I love all the other nocturnes. This one is always played in a plodding style - apart from this rendition - I have only heard the first one so far. It is cetainly the highlight.
@@T0NYD1CK Both Koczalski, Hofmann, Maryla Jonas and Sztompka play The Nocturne 9 - 2 ... Noble old Polish school ... The best Chopin players
Cortot y Horowitas si incomparabkes BRAVISIIMO .Gracias por el buen rato ,no me canso de las BALADAS
What Cortot achieves, musically speaking, demonstrates titanic technical ability. Smudges and wrong notes weren't as important back then as they are now.
There's a lot of obsession about a few "smudges and wrong notes". Fact is, he has a brilliant technique. Horowitz also smudged.
So did Callas.