I like the way she says "If I could make just one point, a very minor point..." and then 20 seconds later says "You need a different approach"! She certainly plays Ravel very well indeed.
I love the internet age for being able to come back and reference all of the historical footage of old school performances and coachings like these. It’s fascinating to me because if new generations were to play rep like the golden age masters did they would be flayed alive, all while regardlessly being (usually uncharitably) compared to their “gold standard” records/performances. I do love the adorable nod of approval she gives at 0:48 because it sounds to me exactly like what her playing that passage would be like. The shift from solely composer worship to also performer worship of the recording age is really a trip to see and I’m an apologist for both 😂 let the frustration and fascination run wild
She is truly a uniquely musical musician, a complete artist in whom we see realized the meaning of the poet's dictum "truth is beauty, beauty truth..."
Il fait bon se retourner quelques décennies en arrière pour avoir le plaisir de découvrir une telle personnalité au service de la Musique. C'est fascinant ! Cette recherche constante de perfection est une véritable leçon de vie. On ne se lasse pas de l'entendre parler et expliquer Beethoven , Ravel, Debussy, Schumann .... Une immense artiste !
There are better recordings of Ravel’s concerto but the way she teaches it, especially around 11:20 is absolutely fascinating - she heard the composer’s own comments and she was able to ask him how he intended it to be played. Absolutely invaluable.
-- Yvonne Lefébure, la plus ravelienne des pianistes. Incroyable personnage, maître au Conservatoire, élève de Cortot et professeur de D.Lipatti. Une femme extraordinaire, une musicienne hors pair. --
She welcomed Dinu but as a teacher she kad absolutely ZERO impact on Dinu's artistry. Luckily!.She was just an assistant to Cortot. Dinu was already an incredible accomplished pianist before he went to Paris.He basically studied composition with Paul Dukas.The French always falsely try to suggest or insinuate they "formed "Dinu as a pianist.. No way!
Very good piano playing. I like it very much. An important thing: before Debussy, Liszt had already used the whole tone scale. See, for example, "Der traurige Monch" (1860). And it was Liszt who strongly infuenced both Debussy and Ravel. Debussy even met him three times and played for him (among other works, the 2-piano reduction of the "Faust Symphony" by Liszt himself). Liszt in turn played works such as "Au bord d'une source" for Debussy, a very interesting fountain piece.
Lots of composers had used whole-tone aspects in their music but Debussy was the first to use the scale as a harmonic basis for a piece - writing pieces without any hint of a functional progression or cadence in the traditional sense.
Very interesting glimpse of a fine player and,obviously an... energizing teacher!She played my"first"Ravel inG at the Proms when i was about twelve;i've always loved the piece.Here it's not to her highest level and whyever arrange the orch kilometres away from the piano?Pity about the unsynkronoze image but still a fascinating glimpse.Thank you.
So wonderful to see film of this vey vital and alive woman . Another link from cortot . I need to hear the tapes made of him talking about Beethoven because compared to the average pianist trained now he is not impressive ! Pires in a minute outshines every word he wrote in those ridiculous prefaces to Brahms and chopin's works. Perhaps he had the comparable depth of a pires . I aint heard it yet and I bought Japanese pressing s of his recordings as a child over 35 years ago ! It can be like taking out he trash but I read comments hear and just found out Debussy visited LISZT 3 TIMES !!! I ve never red this befoe.Liszt played Au bourd d'une source .Liszt picked right he could see or portent what was or WOULD BE in the air .Like stravinsky people often forget how really great Liszt IS! Few talk about Lefebure now but I kno as a child when one talked about French pianists before Collard and Entremon both of whom i heard .Entremont in Tallahasee in Mozart GM of all things and Collard in Palm Beach and Los Angeles in a fantastic program !
Your are right, pianopera, this video is out of sync. I think that a problem occurred when I extracted these sequences from the original source. But alas, this defect was impossible to correct. Greetings.
grand enseignement quelle passion quelles observations pertinentes l'élève dans cette master class a les nerfs solides pour encaisser toutes ces observations
@FREDV321 The name of the piece played at the beginning is 'Alborada del gracioso'. Of Spanish inspiration, it is the fourth piece of the suite for piano solo in five parts called 'Miroirs'.
Am I the only one who finds this Ravel last movement a race - with a continuous percussive sound and little variation in colour or texture. Bang bang bang and she's broken the ravel speed record.
Oui. Mais comme indiqué en anglais sous l'écran après le mot "WARNING", une nouvelle version de cette vidéo, où le problème de décalage constaté a été corrigé, est accessible sur RU-vid depuis le 31 janvier 2017. Le lien qui y conduit est : ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-bcSVi5In6bQ.html.
What one might call "old-style teaching", which is more like bullying! Half the time she isn't even listening to what the first poor student is doing, or trying to do; and she keeps interrupting the interviewer. And her Concerto utterly lacks charm and humour; it's almost an assault. Interesting, néanmoins ... Thanks for posting.
@@Jomtek Ce qui m intéresse chez Debussy c est l harmonie. Les compositeurs que tu cites sont très bons mais ne me transportent pas... J aime aussi Poulenc.
Comment tu peux faire de telles assertions sans même savoir de quoi tu parles ? Gabriel Fauré, Maurice Ravel, Claude Debussy, tous ces compositeurs l'ont connue. "Liée aux grands musiciens de son temps, Gabriel Fauré, Maurice Ravel, Paul Dukas, elle se fait leur interprète favorite quand elle ne se produit pas sous la baguette de chefs tels que Furtwängler, Boult, Markevitch, ou en compagnie de Pablo Casals, au festival de Prades en 1950, puis souvent ensuite" (wikipedia)
