Liszt　Harmonies poétiques et religieuses S.173, No.7 "Funérailles"　Alfred Brendel 

Such extraordinary musicianship. Listening to Brendel always makes me acutely aware of how much further I need to go in my own renditions to achieve the heights of pianistic mastery that he attains.

This man is a living legend, a true artist in every sense of the word. 4:37- 5:04, just close your eyes and let the chills cover your body from head to toe. How is he able to capture that emotion when Kissin, Argerich, and even Zimerman fall a little short? That's subjective obviously, but it reflects my personal sentiments.

Absolutely, my favorite interpretation of this piece. Brendel is a master. I saw him perform at Symphony Hall in Boston many years ago, and, unfortunately most of the program was Scarlotti but with a final wonderful nod to a Schubert Impromptu.

Tom Owen 1 second ago Best interpretations I know of are: Volodos, Brendel, Plletnev, and Zimerman. Pletnev is super-crisp and dry. Technically, perfect. Jaw-dropping in its restraint and control of sound. Prestidigitation. Zimerman is crisp and dry, but also incredibly (possibly scarily!) fast in the galloping octave passage. There is no doubt that Zimerman provides something special in his version. It must be heard. This is unbelievably fast and violent, and impressive, from someone considered a poet and aristocrat of the piano. Volodos provides all the technical precision of Zimerman and Pletnev, plus breadth. He provides an 11 out of 10 in his live version. It is amazing. It is, objectively, probably the best for a person who wants to hear 'best ever' for this piece. I would to a newcomer recommend Volodos as the best version. But we all know there are more than one ways to skin the cat. One feels that this piece is personal to Brendel. He lacks nothing technically. He has his own vision of the piece, his own pedalling, and phrasing. And for me at least, this is a wonderful work of art, up there with his versions of the Sonata (2nd and 3rd). He is actually quicker than a lot of interpreters, yet there is the right amount of space. And that is down to how you play each section of the composition, and link it together overall. It is, after all, one of Liszt's most personal works; although it was about the Hapsburg uprising within Hungary, it is also about Chopin, and political unrest in Poland, with all its consequences on lives and children and jobs etc; and the same thing happening in Hungary, and above all; the untimely death of Chopin, one of Liszt's greatest friends, a pianist who opened the doors wide from the mighty achievements of Bach and Beethoven, to a newer world of emotion and colour and feeling and unrestrained expression. A pianist, (Chopin) who invented in his Etudes (and dedicated them to Liszt) a whole new kingdom of possibilities, which Liszt unwittingly or wittingly made his empire. An empire, never matched by any pianist before or since, possibly by any musician who ever lived; and here, Liszt acknowledges his debt to Chopin, and his sadness at his death, and his anger, and his gratitude for what Chopin gave him. Taking all of the above into account: I love Brendel, because he already knows all of that and a lot more besides. Still my personal favourite. There is still the understanding of a bell ringing, throughout, and the song of a bird, or a child. His clear tone is perfect for this piece. Volodos is probably better because of his performance, understanding plus improved virtuosity. So for me, he is a younger version (and more powerful) than Brendel, but Brendel is the sage.

Astonishing musicianship and composition.

beautiful sorrow that lives forever

Under rated brilliant pianist

excellent, just marvelous, please complete this recital, its great¡¡

¿ por qué estos grandes pianistas no interpretan la música de Manuel de Falla,?

Jeszcze ktoś nie lubi Liszta ?