Questa esecuzione del Concerto per pianoforte n. 4 di Beethoven è semplicemente straordinaria! Krystian Zimerman riesce a esprimere con il pianoforte una gamma di emozioni incredibilmente ricca, mettendo in luce la bellezza e la complessità del brano. La direzione di Leonard Bernstein è impeccabile, e il suo lavoro con l'orchestra crea un equilibrio perfetto e una sintonia totale. Insieme, hanno dato vita a un'interpretazione che è un vero e proprio tributo al genio di Beethoven, rendendo questa esperienza musicale indimenticabile. Un momento che esalta il valore artistico della musica, lasciando una profonda impronta nel cuore degli ascoltatori...
I went online (RU-vid) listened to scores of versions. This is, by far, the acme of perfection. It is worth all the finest superlative adjectives -- Majestic! The pianist’s Sturm and Drang, (extreme contrast of dynamics in the most lyrical and pellucid lake of joy reflecting the clouds and skies) at times skimming the surface, at times, trawling the unfathomable depths of our soul; the orchestra and the conductor, alike, are all in equal terms! May I say that though I admire Rachmaninoff’s third piano concerto, I would say that Beethoven’s 4th concerto’s thematic cohesiveness is stunning…if not superior from a musical standpoint. Yes, if you convert single notes into octaves, and could even interweave some simple chordal passages with some Rachamaninoffian chromatic binges, Beethoven’s concertos, may prove to be the raw materials for super-virtuosi, as yet unborn, with a knack for inordinate chromaticism. F. Liszt, as we all know, transcribed some masterworks by J. S. Bach, and I can’t wait to hear that a new phenomenal pianist could take on the same challenge, not just by simply playing Beethoven’s 4th Concerto, but by rising to the same afflatus, and most ingeniously, let the pianist continue on the great tradition of the great-pianist-composers of yore. What one composer has achieved through a mind-boggling juggernaut of chromaticism, the other one was able to express in a most succinct although immeasurably cogent, poignantly compelling range of human emotions. For the pianist concerned with technical virtuosity, such appraisal could be deemed blasphemous, but we all know that Beethoven like Bach, had an uncanny knack for things verging on the realm of the sublime, dreadful, frightening and beautiful. Rachmaninoff’s music could be said to be as profound as that of Beethoven, but the latter could hold a question mark, ever knocking on the portal-gate of “mysteriousness” from the beginning to the end in a most cohesive fashion. In other words, in Beethoven’s Fourth, few musical passages strike me as digressive or extraneous. This is the main reason why Liszt revered Beethoven as a master of masters. Of course, as with any mortal, the power of inspiration may veer-off, every now and then, into some all too-human trivial, banal, hackneyed passages, but for the most part, there is to be found a genuine seriousness, naturalness and nobility of the highest order, which rightly so, should be held as one of the finest masterpieces by any human. And Beethoven has left very few stones unturned in the Temple of Muse: tonality. Latter composers have simply plagiarized the lonely master of yore, and in some cases, even Richard Wagner seems to have followed on the heels of Beethoven’s ninth symphony. We may agree that life is full of desultory moments, and so a great composer should be at liberty to going from one scene to the other without any underlying cohesiveness, but for serious composers the likes of Bach or Beethoven, the first striking chord is simply the gist of their subject-matter, and every part is a constituent part of the whole. No doubt, if you are a pianist, you may relish the inordinate difficulties of treacherous chromatic passages, galore, but I think to express much with few bombastic or “turgid rigmaroles” has always won the highest praise of posterity. Franz Liszt, who was a master of chromaticism, just like Sergei Rachmaninoff, well understood that Beethoven’s masterpieces, even when stripped of their sundry ornaments, grand engineering artifices or intricate chromaticism, are still very rich and musically expressive in essence!
Not surprising that it is reportedly the 2nd most performed piano concerto at Carnegie Hall, second only to B's Fifth. It is arguably considered one of the best composed of all of them
What a superb quality of video and sound recording! Masterfully played concerto, with much nuance, reflection and passion demonstrated by the soloist and the orchestra. It seems that there was a great chemistry between Zimerman and Bernstein.
Gracias infinitas, Christian, por compartir este registro histórico de dos grandes. Bernstein con su legado increíble y Zimerman aún entregando todo su talento.
Mamma mia, più ascolto questo concerto e più rimango stregato! È medicina per l'anima, per lo spirito e per il corpo. Bello, bello, bello. Gli interpreti sono dei mostri. Grazie Dio!
This is a great performance of the 4th. I was watching earlier the Lenore No 3 Beethoven from 1976 with Leonard Bernstein. Of course13 years younger with a beard. It was hugely evident the performance was great too and the show of emotion from both the artists and conductor made watching it so very satisfying. But the most incredibly noticeable thing on this performance was the finer video (and audio too) and the skill of the video recording professionals trained to follow the special parts of the artists for us the audience. Truly the experience in some ways is even better than sitting there in person. It's just awesome. And even better in 2024 than 1989!
What a combined virtuosic performance by perhaps the best combination of Beethoven piano sonatas expertese and phenomenal talent and skill - but a bove all filled with over brimming with delicious passion. I was blown away! Thank you. Rob
There is a notion that late Bernstein (this is from the fall of 1989) is slower than earlier, but this version is slightly faster than the 1961 record with Gould. I think it is the best of the series made with Zimerman.
Un placer inmenso escuchar este maravilloso concierto de mi autor favorito .. qué decir de la interpretación de zimmerman o la dirección del gran Bernstein al frente de esta gran orquesta ,, pues no hay palabras para describir mi gratitud .
La perfezione assoluta... Oggi si brucia tutto troppo in fretta. Questo CAPOLAVORO va ascoltato più e più volte ad occhi chiusi... Se ne esce migliorati nello spirito
Tocar assim ,pode se Dizer que è quando se Chega ao limite Máximo da Exatidão e Perfeição ,este Pianista Figura entre os Melhores do Mundo sem Dúvida .
Este concerto é uma obra prima e sublime ,um de meus Favoritos ,orquestra maravilhosa e maestro famoso , o Pianista é Excepcional ,bela postura ao tocar ,romantismo na medida e lindíssima interpretação.Amo ver Ele tocar ,e além disto é uma figura bonita ,parece um homem fino e elegante ,parabéns.
