Con qué finura y limpieza, ¡con qué estilo! Sin halagos ni amagos solo música al estado puro interpretada con sensibilidad contenida, propia de quien, más allá de la técnica, siente el misterio del dolor y lo trasciende. Simplemente. Despojado de otra intención que la de cumplir una misión sublime, la de trasmitir el espíritu de lo escrito, tras penetrarlo y rebasar toda ambición espuria, entendiendo como Saint-Saëns que: “El coral no es un coral y la fuga no es una fuga”, sino destilación de ambos.
Most pianists play this too fast. In contrast, Fiorentino is dangerously slow. But does the gain in expressive detail compensate for the loss of forward momentum? Here, it does. No one else better conveys the rhythmic ambiguity of the fugue. And no one else fully captures the cold and alien beauty of this piece.
I've listened many times to these wonderful works performed by various performers on a large organ in the Roman Catholic cathedral in Moscow, but when performed by Vladimir Viardot, it sounds especially heartfelt.
El tema principal es de una belleza casi mística. Ha sido interpretada así por Fiorentino, que más allá del tempo indicado por el autor, captó su esencia
I totally disagree. Of course Viardo's version is wonderful, but too agressive at times & lacking serenity. I think Fiorentino much better feels & expresses the pure and spiritual dimension of this piece. If you find that "boring", I fear you don't fully grasp this dimension.
+Erik Vertriest This one of my favorite pieces in the world. Although originally written for the organ and later transcribed for the piano by Harold Bauer, the piano version, I believe, allows for both a greater dynamic expression and a realization of the private nature of this work, namely, upon the loss of a friend. Viardo's interpretation of this work, if it lacks anything does not lack serenity it lacks sentimentality. I say this as on organist myself. That being said, I love Fiorentino's slower interpretation as well. The not-wanting-to-let-go of a friend is not boring. It is painful... intensionally so. CVD
I'm sorry, I believe it was *not* originally written for organ. Rather, I believe Franck originally wrote it as a duet for harmonium and piano, and then himself transcribed that for organ, which is now better known. And, in fact, the Bauer transcription for piano solo is now better known than the harmonium and piano version, too. In that original duet version the texture is mostly of harmonium with piano accompaniment.For much, though by no means all, of both the prelude and the variation the harmonium is playing but a single line, the melody; the fugue is largely just for the harmonium, with the piano's contribution sporadic, and usually just in the lowest register underneath it. I've not looked at them for a while, but if memory serves there are bits here and there in the Bauer transcription that come from the original duet and are not even present in Franck's own transcription for organ. It's also been transcribed for two harps, and likely other ensembles. Fabulous stuff, whatever instrumentation is used.
Hi Don; Thanks for all the wonderful insights and actual history... of how this great work... works. Love to hear a harp version. Nor have I heard it played on a harmonium. ? Very informative. Thanks deeply. CVD
Not hard for someone who has finished music school and aspiring to visit conservatory. It is a bit hard to read and figure out what to play with right or left hand, but requires no virtuosity at all.
Still too fast... ! think inevitable. Listen. and for gods sake don't rush... any thing. This is not a romantic work. Breathe... breathe again... upon the present moment... on earth as it is in heaven... here and now.......... ovel love thoughtfully ... and with grace all around the whole human family. All of us. All-inclusive ONR.... knock, knock, Kove nana Knock knock. Just because it's right doesn't mean I have to believe it. Knock, knock. Whose there?
very sensitive text.. thank you... the thing is - if you begin to play music on a high level, there is so much, that needs to be there at the same time... flow, architecture, expression, you need to know the piece extremely good and still be spontaneous, and so on and on... only a pianist who has high level knows how difficult it is to fulfill every aspect at the same time.. from outside it is very easy to have wishes like taking more time and expand expression, but to do that and still have control over the architecture is very difficult.. regardless of that your post is inspiring! thanks! by the way this interpretation is masterful........
Dopo tanti anni scopro questo brano interpretato sublimamente da lei. Grazie Maestro che continua a donarci la Bellezza della musica con una grazia che appartiene a pochi❤
Sorry, but I think he plays this like it's a dirge. The dynamics are so muted as to be practically non-existent, and the tempo is much too slow. I didn't think this gorgeous piece could ever be boring, but this dreary performance does it. The antidote to this is to click over to the great Vladimir Viardo, playing this piece as it should be played.
+Domenico14255 Fiorentino was a great pianist and also here he is great in creating the organ sweetness , the tempo is slow but you may listen to E.Ghilels who was often playing op18 as an encore and he can be as slow
La grandezza musicale del Maestro Fiorentino, è seconda solo alla sua gigantesca umiltà. Questa note ne sono un esempio.
Profondo, semplice, intenso senza mai. cedere al sentimentalismo. Immenso Maestro Fiorentino.
Profondo e sublime.
Meraviglioso Franck. Immenso il Maestro Fiorentino.
ogni singola nota suonata da quelle mani è un meraviglioso miracolo.
Con qué finura y limpieza, ¡con qué estilo! Sin halagos ni amagos solo música al estado puro interpretada con sensibilidad contenida, propia de quien, más allá de la técnica, siente el misterio del dolor y lo trasciende. Simplemente. Despojado de otra intención que la de cumplir una misión sublime, la de trasmitir el espíritu de lo escrito, tras penetrarlo y rebasar toda ambición espuria, entendiendo como Saint-Saëns que: “El coral no es un coral y la fuga no es una fuga”, sino destilación de ambos.
Mais que c’est émouvant et intriguant ce tempo soi-disant lent mais persistant et parlant. J’en ai les larmes aux yeux … ♥️
👍👍👍
Pianista straordinario!
Sergio Fiorentino.....!Riusciremo mai a penetrare il mistero del Suo mondo interiore? Resta Un Grande tra i più Grandi!
Soavità sublime! Meraviglioso Maestro Fiorentino! Incantevole!
Most pianists play this too fast. In contrast, Fiorentino is dangerously slow. But does the gain in expressive detail compensate for the loss of forward momentum? Here, it does. No one else better conveys the rhythmic ambiguity of the fugue. And no one else fully captures the cold and alien beauty of this piece.
En toute simplicité, c'est magnifique!
esecuzione densa ,toccante,pochi così,uno dei nostri grandi artisti italiani,
virtuosissimo e dal destino non facile.Grande signore
QUANTA MERAVIGLIA IN QUESTE NOTE .....E' UN SOGNO.GRAZIE MAESTRO
... esecuzione stellare ! ! !
Meraviglioso! Semplicemente! 🤗 Grazie Maestro
Una grande esecuzione del maestro Fiorentino, semplice dolcezza che accarezza il cuore !❤
Bravo! It touches the heart.
Fiorentino conveys the spiritual calm as well as the occasional grandeur of this music, and his tone is always beautiful. He was such a fine pianist!
Sergio Fiorentino (Napoli, 1927 - Napoli, 1998).
"E' il solo altro pianista" disse di lui Arturo Benedetti Michelangeli.
+Giuseppe Russo This says it all! Questo dice tutto. Punto!
Кристальная гармония, ничего лишнего.
Grandissima esecuzione!!!
Belle transcription,jouée avec une sorte de recueillement qui convient parfaitement à cette musique épurée.
I've listened many times to these wonderful works performed by various performers on a large organ in the Roman Catholic cathedral in Moscow, but when performed by Vladimir Viardot, it sounds especially heartfelt.
Tre riĉa transskribo kaj sentimentplena etere dolĉa interpreto de majstro Fiorentino.
Dovreste leggervi la biografia di questo sublime artista ❤🌹❤
io faccio quello che voglio
El tema principal es de una belleza casi mística. Ha sido interpretada así por Fiorentino, que más allá del tempo indicado por el autor, captó su esencia
Just wonderful!...
Sublime
Sublime..
il dono della dosatura del tocco.....magia
si '' Dieu est avec nous'' qui sera contre nous .
Thank you Fiorentino.
Now I don't fear death anymore.
That day I will run to hug you.
Thank you.
Этот темп очень выразительный.
Deeply peacful
Maestro
I totally disagree. Of course Viardo's version is wonderful, but too agressive at times & lacking serenity. I think Fiorentino much better feels & expresses the pure and spiritual dimension of this piece. If you find that "boring", I fear you don't fully grasp this dimension.
+Erik Vertriest This one of my favorite pieces in the world. Although originally written for the organ and later transcribed for the piano by Harold Bauer, the piano version, I believe, allows for both a greater dynamic expression and a realization of the private nature of this work, namely, upon the loss of a friend. Viardo's interpretation of this work, if it lacks anything does not lack serenity it lacks sentimentality. I say this as on organist myself. That being said, I love Fiorentino's slower interpretation as well. The not-wanting-to-let-go of a friend is not boring. It is painful... intensionally so. CVD
I'm sorry, I believe it was *not* originally written for organ. Rather, I believe Franck originally wrote it as a duet for harmonium and piano, and then himself transcribed that for organ, which is now better known. And, in fact, the Bauer transcription for piano solo is now better known than the harmonium and piano version, too. In that original duet version the texture is mostly of harmonium with piano accompaniment.For much, though by no means all, of both the prelude and the variation the harmonium is playing but a single line, the melody; the fugue is largely just for the harmonium, with the piano's contribution sporadic, and usually just in the lowest register underneath it. I've not looked at them for a while, but if memory serves there are bits here and there in the Bauer transcription that come from the original duet and are not even present in Franck's own transcription for organ.
It's also been transcribed for two harps, and likely other ensembles. Fabulous stuff, whatever instrumentation is used.
Hi Don; Thanks for all the wonderful insights and actual history... of how this great work... works. Love to hear a harp version. Nor have I heard it played on a harmonium. ? Very informative. Thanks deeply. CVD
Is this piece hard? What difficulties does one encounter when learning and interpreting it?
Not hard for someone who has finished music school and aspiring to visit conservatory. It is a bit hard to read and figure out what to play with right or left hand, but requires no virtuosity at all.
Di struggente profondità
il Maestro Michelangeli aveva ragione
Still too fast... ! think inevitable. Listen. and for gods sake don't rush... any thing. This is not a romantic work. Breathe... breathe again... upon the present moment... on earth as it is in heaven... here and now.......... ovel love thoughtfully ... and with grace all around the whole human family. All of us. All-inclusive ONR.... knock, knock, Kove nana Knock knock. Just because it's right doesn't mean I have to believe it. Knock, knock. Whose there?
very sensitive text.. thank you... the thing is - if you begin to play music on a high level, there is so much, that needs to be there at the same time... flow, architecture, expression, you need to know the piece extremely good and still be spontaneous, and so on and on... only a pianist who has high level knows how difficult it is to fulfill every aspect at the same time.. from outside it is very easy to have wishes like taking more time and expand expression, but to do that and still have control over the architecture is very difficult.. regardless of that your post is inspiring! thanks! by the way this interpretation is masterful........
Dopo tanti anni scopro questo brano interpretato sublimamente da lei. Grazie Maestro che continua a donarci la Bellezza della musica con una grazia che appartiene a pochi❤
Sorry, but I think he plays this like it's a dirge. The dynamics are so muted as to be practically non-existent, and the tempo is much too slow. I didn't think this gorgeous piece could ever be boring, but this dreary performance does it. The antidote to this is to click over to the great Vladimir Viardo, playing this piece as it should be played.
Ciccolini is far superior to Viardo, Ciccolini does a great job in any case
+Domenico14255 Fiorentino was a great pianist and also here he is great in creating the organ sweetness , the tempo is slow but you may listen to E.Ghilels who was often playing op18 as an encore and he can be as slow
+mairzyd It is a dirge you silly cow. It is the second most famous dirge ever composed, and in my opinion, without equal. CVD