@@tibetatakan of course, just don’t thank Liszt and only Liszt. It bothers me that people don’t even know who Bellini is much less have heard of an opera called Norma. Not to mention, if you were familiar with Norma then you’d know that Liszt only incorporated a very small amount of moments and themes in this transcription. He definitely did not “condense a 2.5 hour opera” into a piano piece. It’s just a fantasy based on a few themes (and they’re not even presented in chronological order). Just a few reasons I consider Liszts opera fantasies to be some of his least impressive works.
Obviously this is thanks to Bellini, this is way it is una reminiscencia de Norma, and that means, it is an interpretation from Liszt of that great opera. Liszt, as with other operas, just want to make- to be short- a reminiscence of Norma. That it. As he did many others, including Wagner's, his son of law. But, the interpretation of Bolet, is amazing. So, Liszt just did a reminiscence of that. And he did it as usual...great.
He was, without any doubt, the best pianist of the western hemisphere. On top of these, he was absolutely on of the greatest pianist of the 20th century. He didn't give a fuck about this, but he indeed was absolutely amazing and a great musician.
@@denizuz4840 Yes, thankfully he made many recordings and a good number of filmed performances, such as this one exist. His masterclasses on Rachmaninov 2 and 3 are also superb.
He only made four records before the age of forty, and those in his late thirties It was another six years before he made his fifth. In our age of mediocre talent making millions of dollars before the age of twenty, it's difficult to fathom how one of the greatest musical talents of the 20th century had to wait so long to receive appropriate recognition.
There is something that both Tozer and Bolet did that gained my respect for them in terms of their performance of Reminiscences de Norma, which is their decisions to play the ending part of the piece where the theme from the Allegro Deciso and the theme from the arpeggio section after the Piu Lento are combined together at a moderate but appropriate tempo. Most pianists rush that section and it makes me extremely frustrated for them to trample the beauty of the two themes in unity and treat this beautiful piece like a race and as a way to flaunt their techniques. Bolet's performance is much slower than what most pianist would play it at, but it provides not only a romantic, but also dreamy atmosphere, especially in the Piu Lento.
The part after Guerra Guerra sounds much more beautiful at bolet’s tempo than others (not that Tozer plays it bad by any means, I actually think his recording is the best)
Easily one of the top five pianists in the world at the time of this performance, and could have played this any tempo he wanted. It's a magnificent performance and exceptional pianism. Today I can't think of anyone who would come close.
I'm glad you drew attention to Geoffrey Tozer's excellent recording, which to my hearing is ideally attuned to the drama of Bellini's masterpiece. Thank you.
Interpretation of unbelievable beauty, delicacy and profound expression. I hear Bellini and Liszt at the same time, perfectly balanced. Clearly Bolet knew well and loved Bellini's Norma. My favourite version of Liszt's magnificent work by my favourite pianist.
Every knowledgable pianist knows about Bolet and Barere in Liszt . It's the stuff of legends noone forgets esp. when there are records and many films of Arrau and Bolet and Michelangeli and Cziffra etc. !
Incredible. Most performances of this today are around 15 to 16 minutes. Since Jorge Bolet was a student of a student of Liszt, I'd like to think this is the actual optimal length.
Grandisima interpretacion de esta pieza, sin duda, probablentente uno de los pianistas mas grades del siglo 20 y gran musico, gran profesor, y poco dado a grabar, pero sus poca grabaciones de Liszt, Chopin, Rajmáninov, y sus interpretaciones en directo y las grabaciones que hizo en la radio alemana. Han dejado mas que suficiente muestra de su tecnica, musicalidad, su conocimiento de musica, y el grandisimo pianista que fue. Gracias por poner esto y rendir homenaje al Sr. Bolet porque ademas era un Señor de impecable cultura.
I have to say that, only when you know so much about music a such incredible technique, can do this on a piano, when you hear this sang by Callas or Caballé and this man can make the piano sing in that way, you can only say... bravisimo Bolet.
I believe this is in the late 80's. Bolet's health was in decline. He is one of my very favorite pianists. Bolet and Arrau are two of the greatest Lisztian performers.
This is the recording of the Musicales program of September 17, 1988 on the FR3 channel on French television doc.rero.ch/record/110533/files/1988-09-17.pdf
7:48 In the RH runs, the sixteenth notes that follow the eigths sounded rushed and out of place in other recordings, but this is the first I've seen where they sounds just right!
Truly one of the very greatest of pianists. I discovered him in 1982 doing a master class of the Rach 3 in Scotland entitled "Bolet meets Rachmaninoff". It's so good. Check it out. It may still be here on RU-vid. I learned so much from it.
Easily the finest "Norma" for me. All others sound rushed and crude by comparison. Bolet's tempo and phrasing are matchless; the music breathes and comes to life as in no other performance known to me.
I couldn't agree with you more. I'm reminded of the footage of his masterclass on Liszt's Dante sonata, and the Benediction of God in Solitude after it. He explains to the performer so many nuanced touches to make the most of egogic points and changes in dynamics, in just three phrases (or so) of the middle slow section of that piece. You hear so many pianists these days who play through the quieter bits to get to the 'exciting' development later, whereas he sees this universe of beauty and detail. I'd have loved to hear him play the sonatas of Rachmaninov, Scriabin or Barber to see what he would have done with them.
I've never seen this . So lucky to have some older tv of Bolet .I saw him talking about Godowsky on one American show and another teaching Rach concerto to a student . Wonderful that we have him in Liszt . A lot of pianists say his technique was more complete than Horowitz but he didn't have that electricity .You can't doubt that; I've heard dozens of non-musicians compare Rubinstein to Horowitz and the wild electric aura catches most though my grandmother felt Rubinstein was authentic and more musicianly .Cortot wasn't too impressed with Horowitz study of a Beethoven Sonata says my old teacher .
Nope, sorry Zoltan Kocsis and but both of Marc-Andre Hamelin’s play far more technically solid interpretations on Audiophile (16’51”) then more recently on Hyperion leave this in the dust. Yet another example of comment section groupthink turning to hagiography, why do people do this? The old man Bolet has to take a practice tempo to barely cross the finish huffing and wheezing at 21’ Speed isn’t everything in most endeavors but it is a big part of bravura and playing the immortal masterpieces of Franz Liszt.
This must be 1987. He used to play Bechstein, but when the company was bought from Baldwin by a German piano builder in 1986, he went back to play Baldwins, even in Europe. Heard him with Bechstein concert grand some time late 1985 in Cologne and after that twice with a Baldwin, Hannover 1987 and Leverkusen in 1989. He played the 'Norma' in Hannover in 1987, so I'd date this around that time since he already played a Baldwin then.
You have better info Peter! I wish I heard him live. I got my 1st Bolet LP in 1985, but I dont think he came to Scotland when I was at Uni in Edinburgh otherwise I would have definitely gone to see him. This is 1988 too: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-cFOaKg1agtQ.html&ab_channel=JorgeBolet-Topic .
I can't believe these opera fantasies are 20 minute long rather fluffy pot smorgasbords 19th century people in the street lovred these operas and the pianist interested them the most in the flashy stuff whenthey heard their familiar songs instead of a Beethoven Sonata .
Mr. Bolet did not look like that in the 50's. I knew him in the early 70's and he shows more age in this telecast than when I knew him. Also, to be frank, he is playing very "carefully" at this stage, as anybody who knows his playing through his career would understand. Also, the Baldwin logo is in keeping with the time listed at the top. In the 50's, Baldwin's logo was Old English style. His performances in this repertoire bear the stamp of phenomenal authenticity. Mr. Bolet was an extraordinary musician, and brought all the respect to this repertoire that Schnabel brought to Bach and Beethoven. Music lovers are fortunate that a peerless technician such as Bolet lavished his love and dedication on this music. This is greatest Liszt playing you can find, and is a priceless treasure!
Bolet was a great pianist. But I have to say he hasnt understood this piece. This sounds like a bad parody only. Check out the thrilling and unbelievable recording of Zoltan Kocsis, here on youtube
Sergei Prokofiev most of people finish this piece in 18 minutes, so it’s obvious that he plays much slowlier than others, but I think he puts more effort on the interpretation, so I could say his performance still better than most of people. I like Tozer’s version as well, he does the same effort on this piece but plays it not too “slowly.” BUT the comment like yours which only ask others to “upload your version” is really meaningless
