Sviatoslav Richter hat, in der Dokumentation von Montsaignon, Kocsis und Gavrilov immer wieder als überragend erwähnt - egal,was Kocsis unternimmt: ob er Wagner Opern für Klavier genial einrichtet, Rachmaninoffs 4 Konzerte charismatisch einspielt, sich für Liszt einsetzt oder Bartok Sonate und Beethoven 111 spielt - es sind alles Referenzaufnahmen - einer der interessantesten Pianisten aller Zeiten
Translation of this fine remark: Sviatoslav Richter has repeatedly mentioned in the documentation of Montsaignon, Kocsis and Gavrilov as outstanding - no matter what Kocsis does: whether he brilliantly sets up Wagner operas for piano, charismatically records Rachmaninoff's 4 concerts, campaigns for Liszt or Bartok Sonata and Beethoven 111 plays - they are all reference recordings - one of the most interesting pianists of all time
Da haben Sie im Prinzip bei Monsaingeon richtig gelesen, aber, was die die genannten sogenannten "Referenzaufnahmen" anlangt, doch maßlos übertrieben, bzw. diese zum Teil einach in die Biograhie hinein gedichtet. Außerdem hat Mentor Richter bei aller anfänglichen Begeisterung für Kocsis später auch so manches enttäuschte Unverständnis über ihn geäußert. - Anyway, es bleibt in diesem und vielen anderem Mozart (e.g. die Sonate Nr. 11!) sein großartiger Ton sowie seine kongeniale Werkauffassung. Schade, der frühe Tod des so natürlich sympthischen Künstlers - morgen, 6.11. vor 5 Jahren!
Continuo playing. See my reply to the absolute dingus that is Bart Watts. You might counter-argue that's it's dated and unnecessary as a modern piano has much more of a resonant sound than a period instrument - I think it's wonderful even now if applied lightly.
Thanks for the kind explanation I'm curious to see the case where the basso continuo is used in the Mozart song. I do n’t think it ’s bad, I think it ’s rather good.
@@Yj-dw9ie Kapellmeisters (period conductors) more often than not conducted from the piano or in Haydn's case, the harpsichord. You see, orchestras weren't established ensembles at the time, they were hired, random musicians. Rehearsals were pretty much nonexistent if the piece was not an opera, musicians played from hastily scribbled manuscripts and there weren't any rehearsal numbers so if the band made a mess out of the piece they would have to restart right from the beginning. You can only imagine how some concerts turned out back then... Long story short, musicians needed any extra help and a piano could audibly assist with certain cues as opposed to a Spohrian modern conductor who's just waving with the hands. Worst case scenario the conductor would stomp with his feet or carry a big staff baton which he hit the ground with, creating unholy background noise. The more "tame" solution at the time was that they let the konzertmeister (first violinist) conduct with the bow of the violin, standing up, playing important material the musicians needed help with. This is how the premiere of Mozart's Paris symphony went as described by the man himself.
A felvételen az áll, hogy 1975. Én eddig úgy tudtam, hogy az 1974-es rádió karmesterverseny után készült, amit ugye Kobayashi nyert meg. Utána kellene néznem alaposabban, sajnos, csak a videót találtam meg.
Ugh, pianists that must play with the orchestral introduction ala the baroque era=Enormous and absurd ego. In addition, this is absurdly fast. The d minor is a solemn piece, not to be rushed recklessly like this. One of the worst versions I’ve ever heard.
Continuo playing was a practice that was alive and well in Mozart’s time and beyond, so it’s not just the ‘baroque’ era as you’ve pompously proclaimed. There was either a konzertmeister who played the first violin and conducted with the bow or a kapellmeister who played the fortepiano - in the case of symphonies or operas too, mind you. There was even a brief period where both of them were part of the orchestra. It was not until the romantic-era that larger ensembles appeared and thus continuo playing was scrutinized among other things such as the art of improvisation in classical period music. If we do the research instead of relying on presumptions, we find that your opinion is anachronistic, not Kocsis’. The tempos moreover are completely in accordance with late 18th century sensibilities. Check out Czerny, Mocheles, and Hummel’s (pupil of Mozart’s) metronome markings for reference (for the symphonies, chamber music, sonatas and so forth). Tempos were much faster back then because orchestras were smaller and the instrument's action lighter so it allowed for much more rapid action. And the d-minor concerto solemn? Really? With that durm and strang syncopated introduction full of tension and morbid intensity? Listen to Uchida or Perahia if you want a square, well-groomed interpretation that is “solemn”. Enormous and absurd ego? You strike me as someone who has enormous and absurd preconceptions.
![[LP] Mozart - Piano Concerto No. 21 - Weissenberg (side B)](/img/n.gif)
piano concerto No.20
0:17 1.Allegro
12:12 Romanze
21:33 Rondo, Allegro assai
Unaltered, organic greatness. On all sides.
Thank you for uploading this.
Rest in Peace Kocsis Zoltán.
Sviatoslav Richter hat, in der Dokumentation von Montsaignon, Kocsis und Gavrilov immer wieder als überragend erwähnt - egal,was Kocsis unternimmt: ob er Wagner Opern für Klavier genial einrichtet, Rachmaninoffs 4 Konzerte charismatisch einspielt, sich für Liszt einsetzt oder Bartok Sonate und Beethoven 111 spielt - es sind alles Referenzaufnahmen - einer der interessantesten Pianisten aller Zeiten
Translation of this fine remark: Sviatoslav Richter has repeatedly mentioned in the documentation of Montsaignon, Kocsis and Gavrilov as outstanding - no matter what Kocsis does: whether he brilliantly sets up Wagner operas for piano, charismatically records Rachmaninoff's 4 concerts, campaigns for Liszt or Bartok Sonata and Beethoven 111 plays - they are all reference recordings - one of the most interesting pianists of all time
@@nancyparis1 thank you för the fine translation nancy gee - we also can thank his son kris9kris for the many recordings of his father on you tube
Da haben Sie im Prinzip bei Monsaingeon richtig gelesen, aber, was die die genannten sogenannten "Referenzaufnahmen" anlangt, doch maßlos übertrieben, bzw. diese zum Teil einach in die Biograhie hinein gedichtet. Außerdem hat Mentor Richter bei aller anfänglichen Begeisterung für Kocsis später auch so manches enttäuschte Unverständnis über ihn geäußert. - Anyway, es bleibt in diesem und vielen anderem Mozart (e.g. die Sonate Nr. 11!) sein großartiger Ton sowie seine kongeniale Werkauffassung. Schade, der frühe Tod des so natürlich sympthischen Künstlers - morgen, 6.11. vor 5 Jahren!
What a treasure- could have been lost forever. And thank you Kris9kris for your much appreciated additional information. Always a pleasure.
Thank you❤
absolutely great music
Köszönöm ! ❤
Es meg egy kerdesem lenne: kinek a kadenciait jatssza Kocsis Zoltan?
Sajátot, az első és a harmadik tételben is.
@@Kris9kris Koszonom.
I can hear the piano at the beginning of the song. Am I the only one who can hear?
...i know The piano doesn't come out at first.
Continuo playing. See my reply to the absolute dingus that is Bart Watts. You might counter-argue that's it's dated and unnecessary as a modern piano has much more of a resonant sound than a period instrument - I think it's wonderful even now if applied lightly.
Thanks for the kind explanation I'm curious to see the case where the basso continuo is used in the Mozart song. I do n’t think it ’s bad, I think it ’s rather good.
@@Yj-dw9ie Kapellmeisters (period conductors) more often than not conducted from the piano or in Haydn's case, the harpsichord. You see, orchestras weren't established ensembles at the time, they were hired, random musicians. Rehearsals were pretty much nonexistent if the piece was not an opera, musicians played from hastily scribbled manuscripts and there weren't any rehearsal numbers so if the band made a mess out of the piece they would have to restart right from the beginning. You can only imagine how some concerts turned out back then... Long story short, musicians needed any extra help and a piano could audibly assist with certain cues as opposed to a Spohrian modern conductor who's just waving with the hands. Worst case scenario the conductor would stomp with his feet or carry a big staff baton which he hit the ground with, creating unholy background noise. The more "tame" solution at the time was that they let the konzertmeister (first violinist) conduct with the bow of the violin, standing up, playing important material the musicians needed help with. This is how the premiere of Mozart's Paris symphony went as described by the man himself.
Kris9kris thank you 🤗🤗
Elnezest kerek, mikor keszult ez a felvetel?
A felvételen az áll, hogy 1975. Én eddig úgy tudtam, hogy az 1974-es rádió karmesterverseny után készült, amit ugye Kobayashi nyert meg. Utána kellene néznem alaposabban, sajnos, csak a videót találtam meg.
@@Kris9kris Koszonom.
Micsoda páros!!!!!
Ugh, pianists that must play with the orchestral introduction ala the baroque era=Enormous and absurd ego. In addition, this is absurdly fast. The d minor is a solemn piece, not to be rushed recklessly like this. One of the worst versions I’ve ever heard.
Continuo playing was a practice that was alive and well in Mozart’s time and beyond, so it’s not just the ‘baroque’ era as you’ve pompously proclaimed. There was either a konzertmeister who played the first violin and conducted with the bow or a kapellmeister who played the fortepiano - in the case of symphonies or operas too, mind you. There was even a brief period where both of them were part of the orchestra. It was not until the romantic-era that larger ensembles appeared and thus continuo playing was scrutinized among other things such as the art of improvisation in classical period music. If we do the research instead of relying on presumptions, we find that your opinion is anachronistic, not Kocsis’. The tempos moreover are completely in accordance with late 18th century sensibilities. Check out Czerny, Mocheles, and Hummel’s (pupil of Mozart’s) metronome markings for reference (for the symphonies, chamber music, sonatas and so forth). Tempos were much faster back then because orchestras were smaller and the instrument's action lighter so it allowed for much more rapid action. And the d-minor concerto solemn? Really? With that durm and strang syncopated introduction full of tension and morbid intensity? Listen to Uchida or Perahia if you want a square, well-groomed interpretation that is “solemn”. Enormous and absurd ego? You strike me as someone who has enormous and absurd preconceptions.
maybe the tempo was so quick because there was a time constraint for the programme?
Не привыкли к такому темпу? Но в этом темпе он играет выразительнее,чем кто-либо