The last concert in which Karajan and Maurizio Pollini performed together - a charity affair with Beethoven’s 3rd piano concerto to support the victims of the Irpina earthquake in 1980.
at 9:39 a typical polliniesque brilliant little twist of rhythm - these are the moments that make him interesting, but sometimes one has to wait for quite a while indeed until the next one happens.
@@dlhuo9366 Thank you. If you have access to a bar-numbered score, specifically I was referring to the use of rubato between the last beat in bar 324, and the first in 325. The slight delay produces, to my ears, one of those ever subtle moments that separate the great from the ordinary. As usual, with Pollini it's in the live recordings you get these moments most frequently.
Thank you for sharing this. If you can excuse my ignorance could you possibly provide some information with regard to the image you have used to illustrate this Concerto?. Kind regards.
Karajan dal vivo suonava molto diverso che dalle sue famose registrazioni in studio. Molte volte può quindi trarre in inganno. Ma controllando nel archivio Karajan risulta che questo medesimo concerto di Berlino fu trasmesso per radio. Quindi ogni dubbio è fugato. Comunque io Karajan lo sento eccome!!!
l'enregistrement est parfois déséquilibré à l'orchestre. Le piano sonne comme une casserolle. Le soliste ne semble pas vraiment à l'aise dans ce qu'il fait. Plus libre qu'à l'accoutumée dans le tempo il se laisse écouter aver plaisir, hélàs, il y est plus sucré qu'expressif. Le tempo du deuxième mouvement est meiux choisi que dans d'autres versions. Les soli des vents y sont plus naturels et d'une beauté saillante. Les cordes à la Karajan se justifient pleinement à l'écoute. Le chef cherche un peu trop dans l'épais dans le final mais on s'y attendait. À écouter.
GiovanniEMB C.Lej : La mauvaise qualité de l’enregistrement ne permet pas de se faire une idée très précise de l’interprétation de ce concerto. Mais qualifier de « sucré » le jeu magnifique de Pollini, voilà qui est original (!) et contraire à l’éthique artistique de ce très grand pianiste qui lui vaut admiration et reconnaissance depuis des décennies !
This is NOT Herbert von Karajan it's Karl Bohm and not the Berliner Philharmoniker but the Wiener Philharmoniker! At least the soloist it's Maurizio Pollini!!
I'm not sure you are correct here, Sir - Karajan performed the Beethoven 3rd Piano Concerto with Pollini as soloist in Berlin with the BPO on 27 December 1980 (the Pathetique Symphony was the second half of the concert). You are right insofar that there is a commercial recording of this work on DG with Pollini, on that occasion with Bohm and the VPO, but a/b comparisons with that and the above indicate different readings. An example, compare the introduction with the fortissimo orchestral chords (29 seconds in the above rendition) - the Bohm recording has much leaner textures than the above at this point, which leads me to conclude this RUclips video is of a different performance. If you look hard enough, you will also find the Karajan/Pollini/Beethoven 3rd on "unofficial" record labels too. Hope this helps !
There are huge differences between Karajan and Bohm conducting styles, this is absolutely the work of Bohm with Pollini and the WP definitely not Karajan, perhaps this is a concert recording of the studio version recorded by DG with Bohm.
This is the Berlin Philharmonic. It is the sound of the Berlin Philharmonic of that era under Karajan, as demonstrated by a number of elements--the thick oboe sound of Lothar Koch, the deep, dark string sound, the Berlin timpani sound. These are all quite distinct from their Vienna counterparts. This is indisputably the Berlin Philharmonic.
Judging from the orchestral phrasing this is Karajan. No doubt. To my best knowledge Karl Böhm never played like this. Furthermore orchestral sound is surely Berliner Philharmoniker; I am 100% sure the principal flute is Karlheinz Zoeller
@@nicholasfox966 You sir, are correct and are the only person I have encountered, in 52 years of listening to great music, to hear this. My hat is off to you!
Whether you are Karajan or Böhm , you are too old, and there was a problem with the movement with regard to the concerto accompaniment. Even so, Karajan and Böhm still had an irreplaceable thing as an opera conductor. As music, the thing with Abbado of the middle age seems to be compatible with it. As the same Italian, it makes you feel a three-dimensional beauty like a music sculpture.
Y yo sólo quiero escuchar a Emil Gilels, sea con Szell (Salzburgo 1969) o con quien sea; a la espera de oír a Gilels con Karajan (Salzburgo, Concierto de la Asunción - 15 de agosto de 1976)... madre mía, todos a hablar y nadie a escuchar.
Wilhelm Kempff and Emil Gilels and Ashkenazy more colorful beautiful piano sound than ABM Serkin Pollini! Dimitri Bashkirov her teacher Anastasia Virsaladze teach saying to Bashkirov the most important lesson is the love of beautiful colorful piano sound! This was already in 1930s! Really Shocking!!
![I.N "HALLUCINATION" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/n5B5q1Hwt_U/mqdefault.jpg)
Excellente interprétation Pollini-Karajan. Je boycotte les produits dont les sociétés coupent cette merveilleuse musique par leur pub.
The last concert in which Karajan and Maurizio Pollini performed together - a charity affair with Beethoven’s 3rd piano concerto to support the victims of the Irpina earthquake in 1980.
First movement (Allegro con brio): 00:00
Second movement (Largo): 15:55
Third Movement (Rondo - Allegro): 25:20
The best concsucteur and the best pianist this is excellent
BRILLANT WITH TWO BRILLANTS MASTERS.
Wonderful performance ! Thank you so much :)
perfection
Obrigada por partilhar. Uma obra prima!
at 9:39 a typical polliniesque brilliant little twist of rhythm - these are the moments that make him interesting, but sometimes one has to wait for quite a while indeed until the next one happens.
+cchris874 why is it his twist and not Beethoven's?
+chrish12345
"why is it his twist and not Beethoven's?"
Perhaps it's both. But it's not explicitly in the score, thus it has Pollini's "stamp" on it.
An interesting observation.
@@dlhuo9366
Thank you. If you have access to a bar-numbered score, specifically I was referring to the use of rubato between the last beat in bar 324, and the first in 325. The slight delay produces, to my ears, one of those ever subtle moments that separate the great from the ordinary. As usual, with Pollini it's in the live recordings you get these moments most frequently.
Very inspiring . So different musicians and still so good , and live. Warts and all . Bu t what Beautiful warts.!
Phenomenal🎼💙💙💙🎼💙💙💙🎼💙💙💙
DANKE ❤❤❤
I love Karajan's music!
that`s it!!!!!!!!!!
💖🎼💖
🎼👍👋
Thank you for sharing this. If you can excuse my ignorance could you possibly provide some information with regard to the image you have used to illustrate this Concerto?. Kind regards.
Caspar David Friedrich - Gebirgslandschaft mit Regenbogen
@@mischamauch5588 thank you very much!
Siete sicuri si tratti di Pollini-Karajan? Per quanto riguarda Pollini non ho dubbi, lo riconosco. Ma Karajan???
Karajan dal vivo suonava molto diverso che dalle sue famose registrazioni in studio. Molte volte può quindi trarre in inganno. Ma controllando nel archivio Karajan risulta che questo medesimo concerto di Berlino fu trasmesso per radio. Quindi ogni dubbio è fugato. Comunque io Karajan lo sento eccome!!!
l'enregistrement est parfois déséquilibré à l'orchestre. Le piano sonne comme une casserolle. Le soliste ne semble pas vraiment à l'aise dans ce qu'il fait. Plus libre qu'à l'accoutumée dans le tempo il se laisse écouter aver plaisir, hélàs, il y est plus sucré qu'expressif. Le tempo du deuxième mouvement est meiux choisi que dans d'autres versions. Les soli des vents y sont plus naturels et d'une beauté saillante. Les cordes à la Karajan se justifient pleinement à l'écoute. Le chef cherche un peu trop dans l'épais dans le final mais on s'y attendait. À écouter.
GiovanniEMB C.Lej : La mauvaise qualité de l’enregistrement ne permet pas de se faire une idée très précise de l’interprétation de ce concerto. Mais qualifier de « sucré » le jeu magnifique de Pollini, voilà qui est original (!) et contraire à l’éthique artistique de ce très grand pianiste qui lui vaut admiration et reconnaissance depuis des décennies !
Che differenza rispetto a Böhm!
This is NOT Herbert von Karajan it's Karl Bohm and not the Berliner Philharmoniker but the Wiener Philharmoniker! At least the soloist it's Maurizio Pollini!!
I'm not sure you are correct here, Sir - Karajan performed the Beethoven 3rd Piano Concerto with Pollini as soloist in Berlin with the BPO on 27 December 1980 (the Pathetique Symphony was the second half of the concert). You are right insofar that there is a commercial recording of this work on DG with Pollini, on that occasion with Bohm and the VPO, but a/b comparisons with that and the above indicate different readings. An example, compare the introduction with the fortissimo orchestral chords (29 seconds in the above rendition) - the Bohm recording has much leaner textures than the above at this point, which leads me to conclude this RUclips video is of a different performance. If you look hard enough, you will also find the Karajan/Pollini/Beethoven 3rd on "unofficial" record labels too. Hope this helps !
There are huge differences between Karajan and Bohm conducting styles, this is absolutely the work of Bohm with Pollini and the WP definitely not Karajan, perhaps this is a concert recording of the studio version recorded by DG with Bohm.
This is the Berlin Philharmonic. It is the sound of the Berlin Philharmonic of that era under Karajan, as demonstrated by a number of elements--the thick oboe sound of Lothar Koch, the deep, dark string sound, the Berlin timpani sound. These are all quite distinct from their Vienna counterparts. This is indisputably the Berlin Philharmonic.
Judging from the orchestral phrasing this is Karajan. No doubt. To my best knowledge Karl Böhm never played like this.
Furthermore orchestral sound is surely Berliner Philharmoniker; I am 100% sure the principal flute is Karlheinz Zoeller
@@nicholasfox966 You sir, are correct and are the only person I have encountered, in 52 years of listening to great music, to hear this. My hat is off to you!
Whether you are Karajan or Böhm , you are too old, and there was a problem with the movement with regard to the concerto accompaniment. Even so, Karajan and Böhm still had an irreplaceable thing as an opera conductor. As music, the thing with Abbado of the middle age seems to be compatible with it. As the same Italian, it makes you feel a three-dimensional beauty like a music sculpture.
I've definitely decied that in this concerto I only want to listen to Uchida, be it with Kurt Sanderling or Simon Rattle.... :-)
Gee Erik, I love Uchida, but...(list of superb pianists goes here)
I only want to listen to the Serkin / Bernstein recording
@@hansdampf5150 I only want to listen to the Michelangeli/Giulini recording
Y yo sólo quiero escuchar a Emil Gilels, sea con Szell (Salzburgo 1969) o con quien sea; a la espera de oír a Gilels con Karajan (Salzburgo, Concierto de la Asunción - 15 de agosto de 1976)... madre mía, todos a hablar y nadie a escuchar.
Wilhelm Kempff and Emil Gilels and Ashkenazy more colorful beautiful piano sound than ABM Serkin Pollini! Dimitri Bashkirov her teacher Anastasia Virsaladze teach saying to Bashkirov the most important lesson is the love of beautiful colorful piano sound! This was already in 1930s! Really Shocking!!