Alicia de Larrocha plays Rachmaninoff - Concerto No.3 (1966 Live)
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- čas přidán 10. 07. 2024
- RACHMANINOFF (1873-1943)
Piano Concerto No. 3 in d minor, Op. 30
I. Allegro ma non tanto 00:00
II. Intermezzo: Adagio 16:30
III. Finale: Alla breve 26:08
ALICIA DE LARROCHA, piano
BEROMÜNSTER RADIO ORCHESTRA
CHARLES DUTOIT, conductor
Live from Beromünster Radio Orchestra Studio, Zürich, Switzerland.
30-January-1966.
Information: www.aliciadelarrocha.com/es/n...
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All right reserved by the《Arxiu Alicia de Larrocha》
fondo.aliciadelarrocha.com
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The word “Rach 3” are enough to strike fear into the heart of any piano virtuoso. The third concerto is a summit of piano music, requiring steely nerves, poetic gentleness, and sheer stamina to make it through, and the work not always associated with female pianists.
In the 1950s, only a few women pianists in the world who able to tackle this concerto, there were Gina Bachauer, Moura Lympany and the rather unknown Monique de la Bruchollerie.
1954, when Alicia de Larrocha was 31 years old, she played "Rach 3" at the first time, in her native Barcelona, with Maestro Alberto Bolet and Barcelona Philharmonic Orchestra, at the same concert, she also played the Mozart Concerto No. 23 (K.488).
Since then, she played "Rach 3" extensively in Switzerland (this recording), Dublin, Germany, South Africa and the United states.
Rachmaninoff himself, hoping to make his work more popular, authorized several cuts in the score, to be made at the performer's discretion. These cuts, particularly in the 2th and 3rd movements, were commonly taken in performance and recordings during the initial decades following the Concerto's publication.
In this recording, Alicia de Larrocha played with cuts (2th and 3rd movements), but in her offical recording in Decca (1974), she played the whole concerto without cuts.
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ALICIA DE LARROCHA, pianist (Network Media - Official)
Website: www.aliciadelarrocha.com
CZcams Channel: / @lisilisin
Facebook Page: / aliciadelarrochaoficial
Instagram: / alicia_de_larrocha_ofi...
Twitter: / alicia_larrocha - Hudba
I shook her hand once when I ushered at one of her concerts at Saunders Theater in Cambridge. Her hand is “small” and her spirit is not. She played the complete Iberia Suite, and Cantos de Espana of Albeniz. What a night.
She plays with more breadth and yet also more drive than most current performers
A great performance: the cantabile, the power and stamina, all is there! And a rare poise and depth the younger players often lack today.
Such power in such small hands!
I got to hear her play the Beethoven C Major twice, with the Des Moines Symphony. the first time in the late 70’s I recorded the concert for Radio Broadcast…. sadly no copy of the tape… My daughter met her at the second one.
I can only imagine that a performance like this must have brought the house down...the applause should have been left in rather than edited out.
Listening to this again...all I keep thinking is "Wow!!"
Alicia is a great example that shows that the size of the hand does not matter (she is very small) and yet she managed to play a concert with very large chords and passages for "big hands". Congratulations.
I always wonder how she did it, for Rachmaninoff and Albeniz. They are complex and big cords.
@@user-jj8kg5ef2t She could reach a tenth 😉
If we look well, we soon notice that her hands are quite big compared to her overall stature! And the technique, like Argerich's, from the old italian school, superb! Crisp and accurate! And capable of producing an enormous sound, when they needed it! Glorious playing. When Martha goes (I hope never), well never here anything like it again!
BRAVISIMOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO DE LAS MAS GRANDES. UNA MARAVILAAAAAAAAAAAAAAAAAAAA.........................................
The "mouse that roared" and masterfully played a concerto "written for elephants" in the words of the composer.
Alicia é fabulosa!!!!!!
and she had small hands? wow wow wow... incredible performance
SE me pone la piel de gallina, me encanta la colocación de las manos y la claridad, estoy emocionado.
A brilliant and fantastic performance of this concerto.
Es increíble cómo toca está tía! Magistral el sonido de su cantábile, la claridad, el rubato, es que es precioso y emocionante escucharle.
Amé tu comentario. ¡Ahahahaha! Siento que debe enmarcarse en oro macizo y ser colgado en la entrada del Vaticano ;) ¡El cantabileeeeee! Tan poca gente habla de eso o le da tan poca importancia. Mediante esa articulación de las notas, a las que Alicia les dejaba que se tomaran su tiempo para "sonar", uno siente el cantabile, la melodía. Es musicalidad por todos lados. A mí me pones a un virtuoso haciendo pirotecnias y a Alicia, y me quedo mil veces con ella. ¡Abrazo! XD
FANTÁSTICA.BRAVO
I love her opening tempo, measured, not overly fast like most performances I've heard...and her way with the 1st mvt cadenza is perfect, not bombastic...
This is so glorious.
She never makes a harsh sound, it's always a lush, beautiful sound. Chords are voiced, and unlike Horowitz she doesn't change the score, totally faithful to Rachmaninoff's music.
the Great Alicia....
So beautifully played .
Una joya del archivo de CZcams o familiar y una preciosidad de interpretación.
This really is great. Kudos!
Outstanding for sure.
Como con Argerich, se nota un cariño y sensibilidad especiales en las cadencias, especialmente en la del 2o Movimiento. Espectacular!
Argerich lo toca muy diferente
Una maravilla! Gracias por compartirla!
❤️❤️❤️
There were a few more women playing this in the 1950s, such as Ann Schein and some Soviet pianists like Grinberg (and, I think, Lelchuk and Davidovich). The better question is why wasn't this the "official" recording instead of the 1974 rendition with Previn? That, frankly, is not one of her best studio recordings, although at that time she was giving live performances of this piece that were spectacular. This studio recording is, I think, much more compelling.
nyc2cal Don’t forget Lympany and Bachauer . They both recorded it in the fifties.
Monique de La Bruchollerie is reported to be the first non soviet woman to perform it in europe and there is a totally amazing recording of it with her from 1951 where she plays the ass of Horowitz in it💪💪
But actually the legendary Swedish pianist Greta Erikson started to perform it in Sweden during the 1940:s. Most likely the first female pianist to perform it outside Russia. Now a days Little known outside Sweden but during her lifetime she was considered to be one of the worlds most celebrated performers of Rach 2 and 3.
How she did it? (Her hand is certainly not big)
She could reach a tenth
Was just playing this wonderful performance and this inane advert for Gramily started playing which is so stupid: 'saying what you mean@: language never says what we mean; we do not even know what we 'mean'; hate this capitalist crap aimed at petty-bourgeois creerist who want to 'get ahead' and 'get on'... no one ever communicates clearly; what can be more unclear than language and communication?