Sounds a bit like how Gould might have done it judging solely by meter, but Haskil’s touch is so distinct it comes across as completely unique to her. So interesting
Marvelous that our friend is able to share with listeners around the world such life-affirming artists. Sad that, to judge by the comments, they seem not to be attracting many Americans and Brits. For those who don’t know, Parikian was a distinguished soloist (what chaste but gorgeous tone) and leader of the Philharmonia at its zenith. Tagliaferro was one of the century’s giants, though best known in France and Brazil. Another Brazilian, Novaes, visited the US more than Magda did, yet even Novaes was ignored by Philips Great Pianists series. Thanks, as always.
Difficult to take seriously a list without Cortot--and a great many others. Earl Wild is immense as any serious pianist knows but the list favors the older neglected types.
At 10:30, the most colossal octave playing I have ever heard , live or recorded. Equal or better than all the piano titans of the later 20th century; Horowitz, Cziffra, Argerich, Wild, etc.
There are artists who enact greatness and others who are great in their own right. Tagliaferro was one of the greats. She didn’t need to play at being strong, independent, beautiful or even charming because she was all those things. Thanks as always for sharing.
So not overpedalled! A pearly clarity to those virtuosic RH passages. Agility in the leaps of hands, beautiful balance and 'orchestral' relief to the piano playing.
The times are excellent. The sound is clear and crystal clear. Excellent interpretation. Too bad only for the extra notes which are not justifiable in any way.
UNTOUCHABLE - It took me some time to understand his Playing and Interpretations / He’s not a technician, but a Visionary of superlative Expression and Emotion. Claudio Arrau lived in complete jealousy behind this man’s shadow and his singular comment about his musicianship has been detrimental for Posterity - and the fact that he never plays louder than mezzo-Forte (listen to his Chopin Nocturnes) makes his Pianism even more amazing and a testament to his ‘Buddha’ status. One must listen to all of the ‘Greats’ recordings of standard-works and study them personally before listening to Godowsky or else you will be turned off from the ill, pre-fabricated, student-copies ubiquitous in similarities which many give false high praise, encouragement, and precedence.
As I write, Pollini has died. Like Weissenberg he was called cold. I thought Pollini strove for the purity of his father’s Milan architecture, itself informed by High Renaissance ideals that may have been shared by Chopin with his love of Bach, Mozart and Bellini. Pollini’s passing got me turning to Weissenberg, a more tormented, steely artist whose aesthetic reflects the savagery of World War II, when a Nazi charmed by the little boy’s accordion granted Weissenberg and his mother a ticket out of a detention camp. Is the aesthetic response to this horror a return to Biedermeier and Clara’s classicism? Perhaps, but here is a valid - and astounding - alternative, by no means cold.
