Frédéric François Chopin (1810-1849) Piano Concerto No. 2 in F minor, Op. 21 🎧 Qobuz bit.ly/3zNxN69 Tidal bit.ly/3fjpPIx 🎧 Spotify spoti.fi/3GoRgfK RU-vid Music bit.ly/3rcLNT6 🎧 Apple Music apple.co/3HUuk8A Amazon Music amzn.to/3K2UGak 🎧 Deezer bit.ly/34D5GuJ Amazon Store amzn.to/3GqCrtd 🎧 Napster bit.ly/33azeQ8 Soundcloud bit.ly/3GnlHmL 🎧 LineMusic日本 bit.ly/3K4gHFO Awa日本 mf.awa.fm/3FmKUwd Click to activate the English subtitles for the presentation (00:00-02:33) 00:00 Piano Concerto No. 2 in F minor - I. Maestoso 13:47 Piano Concerto No. 2 in F minor - II. Larghetto 22:37 Piano Concerto No. 2 in F minor - III. Allegro Vivace Piano: Clara Haskil Orchestre Lamoureux Conductor: Igor Markevitch Recorded in 1960 New mastering in 2022 by AB for CMRR Painting: Michael Garady 🔊 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 Alfred CORTOT on CHOPIN. The edition of Chopin 's Second Piano Concerto usedfor this historic recording, made by the late Clara Haskil in October 1960, is by the great French pianist, conductor, and critic Alfred Cortot (1877-1962). Cortot, who studied with one of Chopin's last pupils and who edited most of his works, was asked to write thefollowing briefintroductory note. It proved to be one ofthe lastpieces hepublished before his death. « The project of editing this wonderful concerto, which for me was to mean some detailed retouching of the orchestral scoring, should be seen in connexion with a helpful suggestion of Wilhelm Furtwängler's. The first performance in this form took place under his baton in 1934 at the Berlin Philharmonic Society. It goes without saying that, taken as a whole, my treatment avoids variants likely to affect the authenticity of the work's conception. For the sake of musical proportion I have merely abbreviated the opening tutti, an exposition which by its excessive length brings in an element of conventional rhetoric at odds with the air of infectious vitality in this introduction. Elsewhere I have taken pains to observe the few marginal notes Chopin jotted in the piano part of the version used when, supported by very limited instrumental forces, it was first heard in 1829 at his parents' Warsaw home. This was the version used for the first public hearing. The necessary filling-out of the orchestral part was probably not his own handiwork. He had intended revising it himself when he subsequently planned to entrust the printing to the Parisian publisher Farrenc, with alternative orchestral accompaniment or string quartet reduction, as witness Farrenc's letter dated May 4, 1832: "This is how I stand with the composer: he is going to correct his manuscripts meticulously, cueing the wind solos into the string parts so that his work might also be performed with a double quartet and double-bass." Unhappily, this reworking stopped at the planning stage, as Farrenc again indicates on December 21 in the following lines, couched in by no means agreeable terms: "M. Chopin, inordinately idle and eccentric, was daily supposed to be setting to work but would never do so, although he had very little to occupy him in Paris ... and he so tried my patience that I tore up the contract between us." If, then, the extra instrumental retouching added to the original material on the present recording cannot claim to convey the feats of invention which only Chopin was qualified to perform on his rough draft, I should like to think I have not thereby betrayed the inspiration, by turns dramatic, nostalgic, and picturesque, which brings to life the musical inflexions imparted by the piano. The exceptionally high-quality recording to which I have been asked to append these prefatory comments is especially touching in that it preserves one of the last examples of Clara Haskil's wonderful talent, accompanied by that other incomparable artist, Igor Markevitch. The two of them come together in my mind for similar reasons, having both from a very early age given me the honour and privilege of being able to promote the flowering of their miraculous gifts and their dazzling musical careers. » Alfred Cortot Scarlatti - The Keyboard Sonatas K 322, K 193, K 247, K 132 .. (Century's recording: Clara Haskil): ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-2xE4RzNiQWo.html Beethoven - Overtures, Symphonies Nos.1,3,5,6,8,9 REMASTERED (reference record.: Igor Markevitch): ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-f8FBZaFAMo0.html Frédéric François Chopin PLAYLIST (reference recordings): ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-wB4oj4sS3zA.html
I was brought up to believe that the first concerto was superior to the second, but this makes me think again. Incidentally, Arthur Rubinstein said he would never perform both concertos in the same concert as the were "too similar".
Alfred CORTOT on CHOPIN. The edition of Chopin 's Second Piano Concerto usedfor this historic recording, made by the late Clara Haskil in October 1960, is by the great French pianist, conductor, and critic Alfred Cortot (1877-1962). Cortot, who studied with one of Chopin's last pupils and who edited most of his works, was asked to write thefollowing briefintroductory note. It proved to be one ofthe lastpieces hepublished before his death. « The project of editing this wonderful concerto, which for me was to mean some detailed retouching of the orchestral scoring, should be seen in connexion with a helpful suggestion of Wilhelm Furtwängler's. The first performance in this form took place under his baton in 1934 at the Berlin Philharmonic Society. It goes without saying that, taken as a whole, my treatment avoids variants likely to affect the authenticity of the work's conception. For the sake of musical proportion I have merely abbreviated the opening tutti, an exposition which by its excessive length brings in an element of conventional rhetoric at odds with the air of infectious vitality in this introduction. Elsewhere I have taken pains to observe the few marginal notes Chopin jotted in the piano part of the version used when, supported by very limited instrumental forces, it was first heard in 1829 at his parents' Warsaw home. This was the version used for the first public hearing. The necessary filling-out of the orchestral part was probably not his own handiwork. He had intended revising it himself when he subsequently planned to entrust the printing to the Parisian publisher Farrenc, with alternative orchestral accompaniment or string quartet reduction, as witness Farrenc's letter dated May 4, 1832: "This is how I stand with the composer: he is going to correct his manuscripts meticulously, cueing the wind solos into the string parts so that his work might also be performed with a double quartet and double-bass." Unhappily, this reworking stopped at the planning stage, as Farrenc again indicates on December 21 in the following lines, couched in by no means agreeable terms: "M. Chopin, inordinately idle and eccentric, was daily supposed to be setting to work but would never do so, although he had very little to occupy him in Paris ... and he so tried my patience that I tore up the contract between us." If, then, the extra instrumental retouching added to the original material on the present recording cannot claim to convey the feats of invention which only Chopin was qualified to perform on his rough draft, I should like to think I have not thereby betrayed the inspiration, by turns dramatic, nostalgic, and picturesque, which brings to life the musical inflexions imparted by the piano. The exceptionally high-quality recording to which I have been asked to append these prefatory comments is especially touching in that it preserves one of the last examples of Clara Haskil's wonderful talent, accompanied by that other incomparable artist, Igor Markevitch. The two of them come together in my mind for similar reasons, having both from a very early age given me the honour and privilege of being able to promote the flowering of their miraculous gifts and their dazzling musical careers. » Alfred Cortot Click to activate the English subtitles for the presentation (00:00-02:33) 🔊 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
Esecuzione brillante e chiarissima dove ogni nota è messa in risalto con un tempo differente dagli usuali. Uno Chopin piu vivo e forse piu vicino a sé stesso anche negli elementi folclorici sempre presenti nelle sue opere. Una pianista eccezionale e bellissima anche la direzione musicale.
The greatest pianists have played Chopin's concertos,but for me Clara Haskil remains the best of the best.The orchestra is at the suitable level,the sound is articulate,crisp and vivid.Thanks for uploading this gem.From Milano,Italy
Majestätische und wunderschöne Interpretation dieses romantischen und perfekt komponierten Konzerts mit entschiedenem doch zugleich anmutigem Klang des unvergleichlichen Soloklaviers sowie gut vereiniigten und perfekt entsprechenden Tönen der anderen Instrumente. Der zweite Satz klingt besonders schön und echt romantisch. Der intelligente und geniale Dirigent leitet das ausgezeichnete Orchester im gut analysierten Tempo und mit perfekt kontrollierter Dynamik. Die verbesserte Tonqualität ist auch ziemlich hoch als eine Originalaufnahme von mehr als sechzig Jahren vor. Alles ist faszinierend!
Welch ein ebenso sinnloses wie schwer erträgliches Geschwurbel. Würde als Realsatire für eine Konzertkritik des Unterammergauer Volksblatts durchgehen.
@@wagnerfan5453 Ich finde es, ehrlich gesagt, sehr unterhaltsam. Dieser Nutzer ist unter beinahe jedem Video zu finden, wo er dann seinen Zufallsgenerator für Superlative auf den Kommentarbereich loslässt.
I couldn’t agree more. Though, I do prefer Cortot’s recording of this piano concerto, I think Francois also mastered Chopin in a way similar to Cortot. Therefore, Francois’s recordings of Chopin and also ravel will forever be the gold standard for me.
NOT TRUE! The Best Chopin piano concerto no 2 players Are really= 1:Grigory Sokolov ( Sokolov The Best piano sound Ever! Sokolov=unbeatable vitalness! Sokolov The most Titanic! Sokolov his Chopin piano concerto no 2 playing is with The Finnish Radio Symphony Orchestra! The Finlandia Hall Had 4 Steinways! Sokolov picked up The weakest coldest sounding Steinway! The Finlandia Hall stuff and The Big Orchestra boss they were SHOCKED Sokolov picked up The weakest coldest sounding Steinway! Sokolov There Are NO Bad Steinways in The world! We Have The Bad players! 2;Artur Rubinstein ( The golden tone King for Chopin piano concerto no 2!!) 3: Vladimir Ashkenazy ( The most beautiful colorful perfect volcanic piano sound Ever) 4: Stanislav Igolinsky ( Igolinsky better than Lipatti!! Lipatti played of course Chopin piano concerto no 1! But My money My list says Igolinsky better than Lipatti!!!) 5: Maurizio Pollini (.The Genius playing Chopin piano concerto no 2) 6: Murray Perahia ( Perahia the.best 3th movement both Chopin piano concerto no 2 and Chopin piano concerto no 2) The really Bad Chopin piano concerto no 2 players Are really=The Mechanical Boring dull stiff machine player Ever Krystian Zimerman! Evgeny Kissin ( The ice cold piano sound Ever) Mikhail Pletnev ( The most Powerful pianist Ever but Pletnev his piano sound is suitable composers like CPE Bach rondos and sonatas! Haydn piano concerto no 11! JS Bach Piano Concerto no 1 1052( Harpsichord concerto 1052) Stephen Hough ( The most over-rated pianist Ever! The British critic writers claiming lie that Stephen Hough The Best Rachmaninov piano concertos player! Same critic writers telling That Hough The Best Saint-Saens piano concerto no 2 player! The Truth is that Steohen Hough is the second-rated player! Hough his Chopin piano concerto no 2 with no colors his piano sound! Hough with The thin stiff sound Ever)
@@RaineriHakkarainen NOT TRUE?!!! How can my statement be NOT TRUE if I say it is MY personal favorite. EVERYONE can have his of her own personal favorites. You, sir, are trying to force your own personal preference onto other people, making YOUR OWN preference now the ultimate standard of what is the the best. That, sir, is arrogance in the highest form. I've noted from previous interactions the two off us had that you seem to be a Sokolov addict. He is YOUR pianist if choice, you are free to feel so about him, but stop trying to force your preferences onto other people!
Hi Horia, Thanks for the report, unfortunately we can't change it anymore, but we will change the illustration of the video that appears before clicking and we will also change the illustrations of albums on other platforms. Thanks
