Chopin Nocturne Op.15 No.2 - Garrick Ohlsson
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- čas přidán 21. 08. 2024
- #Chopin_Nocturne_Op15_No2 #Garrick_Ohlsson #Chopin_and_His_Europe
Chopin Nocturne Op.15 No.2 in F sharp major(encore)
GARRICK OHLSSON piano
13th International Music Festival
Chopin and His Europe
From Italy to Poland - from Mozart to Bellini
Warsaw, 15-30 August 2017
*First Prize, 1970 VIII International Chopin Piano Competition, Warsaw.
He has every right to be smiling. That was perfection.
He showed his own way of communicating the emotion that can't be imitated, which is called "perfection." Thanks, hotajax!!!
Fell in love with his skills when first hearing him in 1979. SO fortunate to hear him live, and graced to shake his hand backstage. What a WONDERFUL instrument for modern day ears yearning for the Chopin gift.
Wow... really graced!!!
His chopin is not comparable and always gives me inner peace to me.
Every note Chopin wrote had a good reason behind it.
Hahaha Chopin is the last composer to say that about
There is only one person who can do this, and you just heard it.
노장 연주자의 깊은 감성이 손가락 선율에 그대로 묻어나네요~ 💛
1970년 쇼팽콩쿨 1위 게릭올슨 이분의 연주를 직접 감상한 분들은 눈물을 흘렸대요. 😊💖
@@amnesia0510 정보 감사합니다~ 꿀잠을 위해서 꼭 들어야 할 녹턴들 💐
덕분에 저도 맘이 요즘 많이 안정되고 좋아요. 다 부르주아님 덕분이에요.💖
@@amnesia0510 ^^;; 👍
Hi my friend. Do you have the full concert available?
Hi,,, friend! Nice to meet you!!! The music that I posted is his encore at the festival. I tried to find the main performance but I'm sorry I couldn't. They hid the all the performances of the 13th international chopin festival. Not open... If I happen to find some videos, I'll let you know.
_______________________
But Michael Moran's review about Garrick Ohlsson www.michael-moran.com/2017/04/chopin-i-jego-europa-2017-chopin-and.htmlis like that:
www.michael-moran.com/2017/04/chopin-i-jego-europa-2017-chopin-and.html
(Garrick Ohlsson)
This always smiling and genial pianist has been adored in Poland since he won the International Fryderyk Chopin Piano Competition in Warsaw in 1970. All I can say of this recital is that it was a long time ago and time has wrought some changes on the pianist and his approach to Chopin.
He opened his recital with my favourite among the Bach English Suites, No:3 in G minor. The English Suites despite their name resemble closely the French Suites that followed them in order of composition. He encouragingly performed the entire suite without resorting to the pedal yet maintained a fine legato throughout.
I felt the tempo he adopted in the Prelude denied this suite a certain sprightly forward momentum it possesses, internal energy in a word. The counterpoint was clear and articulation attractive for Bach on the piano. His phrasing in the Allemande was exemplary as it was in the moving and soulful Sarabande but as the work progressed I felt he was tantalizingly missing the essential rhythmic nature of the French dance suite on which the composition is based. This was especially true of the two Gavottes that had pastoral innocence in abundance but lacked a rhythmically convincing French dance character. I also felt the marvelous Gigue that concludes the suite could have also had a great deal more internal energy driving it along, despite the independence of his hands.
He then embarked upon (and I use the word advisedly) the fiendishly difficult Szymanowski Third Piano Sonata Op. 36. This one movement work is the last of Szymanowski’s piano works from his second creative period. He dedicated it to Alexander Siloti, Director of the St. Petersburg Concert Society.
Throughout it is delineated by the influence of Impressionism and Expressionism, and also remarkably inspired by ancient and oriental cultures. Although in fact returning to classical sonata form (it is possible to isolate four distinct sections despite its one movement structure), the work utilizes completely original and avant-garde harmonic language, based on the twelve tone scale. A work of the greatest genius, it is saturated in impressionist orientalisms, intensely demanding chromaticisms, almost a scherzo followed by a stupendous polyphonic Fugue which concludes the work. I have rarely heard this in concert as it is so demanding many pianists will not even approach it. Ohlsson courageously gave what seemed to me anyway as a novice with this sonata, a convincing account.
After the interval, Chopin. I hate to say this but must confess to being rather disappointed. The soft touch and rounded tone were still present but some subtlety, refinement and finesse seem to have been lost with the passing years. Am I being unfair to a great pianist? Possibly.
The Scherzo No 4 in E major Op.54 lacked the electrical energy, capriciousness, whimsicality, lightness and sometimes insidious sparkle of this curious musical dialogue. The Nocturne in F minor Op.55 No:1 was pleasant enough but not particularly moving. Although once as a young man having taken dancing lessons to improve his understanding of Mazurka rhythm, this appears to have been lost along the long road of life in the A-flat major Op. 59 No:2 and the B-flat minor Op. 24 No:4. These ventured into Waltz rather than Mazurka territory. He concluded his recital with the Ballade in G minor Op. 23 which seemed to have become a series of rather disjointed dramatic episodes than a coherent musical narrative in what is sometimes obscurely but usefully termed 'absolute music'. I felt much was exaggerated purely for the theatrical effect of these isolated dramatic episodes.
The audience loved his matured Chopin and Ohlssohn was given wild applause and a standing ovation.
The encores were: Chopin Nocturne in F sharp major Op. 15 No 2 (beautiful, possibly the finest part of the recital), the Rachmaninoff C-sharp minor Prelude (a harsh tone playing to the audience dynamic predilections) and to conclude the brief Scriabin Etude F sharp major Op 42 Nr 3 which was delightful confection for the audience but is it meant to be?
Unfortunately they are deleted…
Yes...deleted. I can't find it anywhere on the web..
Saw this a few years ago. Sadly the institute deleted the original video. But thank you for the upload. Love this interpretation