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0:00:00
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- |
Franz Liszt - Transcendental Études, Prelude - Julian Jacobson
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0:00:52
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N |
Liszt invents the piano recital in 1840
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0:01:19
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- |
Ludwig van Beethoven - Piano Sonata 23, op. 57, 1st mov. - Solomon, 1956
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0:01:43
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- |
" - Claudio Arrau, 1983
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0:02:04
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- |
" - Myra Hess, 1945
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0:02:34
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- |
" - Sviatoslav Richter, 1992
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0:02:57
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- |
" - Artur Rubinstein, 1975
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0:03:27
|
N |
Virtuosi are celebrated
|
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0:03:44
|
- |
Liszt - Hungarian Rhapsody no. 2 - Jan Ignatz Paderewski
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0:04:30
|
N |
On Paderewski
|
|
0:05:07
|
* |
The myth/fact about Paderewski: he was a very attractive man - Schuyler Chapin, impresario
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0:05:29
|
N |
Paderewski was controversial
|
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0:05:42
|
* |
Remebering Paderewski - Artur Rubinstein, pianist, 1968
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0:06:03
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- |
Liszt - Hungarian Rhapsody no. 2, closing - Paderewski
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0:07:37
|
N |
Josef Hoffmann was to pianists what Paderewski was to the public
|
|
0:08:06
|
* |
Hoffmann was known as #1 - Gary Graffmann, pianist
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|
0:08:14
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* |
Hoffmann was the greatest of all of them - György Sandor, pianist
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0:08:54
|
* |
Hoffmann appears on The Telephone Hour
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0:09:00
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N |
Hoffmann suspicious of recording
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0:09:11
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* |
On Hoffmann - Piotr Anderszewski
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0:10:00
|
- |
Sergei Rachmaninoff - Prelude in C# minor, op. 3, no. 2 - Hoffmann
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|
0:13:04
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* |
Hoffmann had it too easy - Anderszewski
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0:13:23
|
N |
On Rachmaninoff
|
|
0:13:30
|
- |
Rachmaninoff - Piano Concerto no.3, 1st mov. - Rachmaninoff
|
|
0:13:39
|
N |
Rachmaninoff leaves Russia after Revolution in 1917
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0:14:02
|
* |
Rachmaninoff has a sound of his own - Sandor
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0:15:03
|
- |
Rachmaninoff - Piano Concerto no.3 - Rachmaninoff
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|
0:15:48
|
N |
Benno Moiseiwitsch was Rachmaninoff's disciple
|
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0:16:15
|
- |
Rachmaninoff - Piano Concerto No.2, 3rd Movement - Moiseiwitsch
|
|
0:16:54
|
* |
Remembering Rachmaninoff - Moiseiwitsch
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0:18:26
|
- |
Rachmaninoff - Prelude in B minor, op. 32, no. 10 (already over a minute into the piece) - Moiseiwitsch
|
|
0:21:44
|
N |
On Vladimir Horowitz
|
|
0:22:10
|
* |
On Horowitz - Tamás Vásáry, pianist
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|
0:22:41
|
S |
Frederic Chopin - Octave Etude, Op.25, No.10 - Horowitz
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|
0:22:51
|
* |
On Horowitz's technique - Anderszewski
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|
0:23:07
|
S |
Chopin - Etude in F major - Horowitz
|
|
0:23:14
|
* |
On Horowitz's hands - Vásáry
|
|
0:23:34
|
- |
Scriabin - Etude Op.8 No.12 - Horowitz
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|
0:24:04
|
N |
Horowitz retires for 12 years in 1953
|
|
0:24:16
|
* |
On Horowitz - Colin Davis, conductor
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|
0:24:51
|
- |
Scriabin - Etude Op.8 No.12 - Horowitz
|
|
0:26:19
|
* |
Horowitz was a phenomena - Chapin
|
|
0:26:37
|
N |
Horowitz returns to performance in 1965
|
|
0:26:50
|
* |
Horowitz's return recital at Carnegie Hall - Chapin
|
|
0:28:38
|
- |
Bizet/Horowitz - Carmen Variations - Horowitz
|
|
0:32:17
|
* |
Perfection vs artistry - Vásáry
|
|
0:33:07
|
- |
Liszt - Grand Galop Chromatique - Georgy Cziffra
|
|
0:33:23
|
N |
On Cziffra
|
|
0:33:41
|
* |
Cziffra interviewed (in French) : -"You have played much Liszt, since we know you mainly as an interpreter of Liszt." -"Yes, when I first came here, in France, I started with works by Liszt. So we now have this false legend, if you will, that there is this pianist Cziffra who always plays Liszt, Liszt, Liszt, and still more Liszt. But it's not true of course."
|
|
0:34:07
|
* |
On Cziffra - Sandor
|
|
0:34:35
|
N |
On Cziffra
|
|
0:34:45
|
* |
On Cziffra - Vásáry
|
|
0:35:17
|
- |
Liszt - Grand Galop Chromatique - Cziffra
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|
0:37:21
|
* |
On safety in interpretation - Anderszewski
|
|
0:37:51
|
N |
London burns
|
|
0:38:01
|
N |
On Myra Hess
|
|
0:38:15
|
N |
Mozart - Piano Concerto No. 17 in G major, K. 453 - Hess
|
|
0:38:48
|
* |
On Hess - Stephen Kovacevich, pianist
|
|
0:39:17
|
* |
Crown Film Presents Myra Hess
|
|
0:39:31
|
- |
Beethoven - Piano Sonata 23 in F minor, opus 57, 1st mov. - Hess
|
|
0:42:02
|
* |
On carreer pianists - Chapin
|
|
0:42:26
|
- |
Chopin - Polonaise Op.53 in A-Flat Major "Heroique" - Rubinstein
|
|
0:43:38
|
N |
On Rubinstein, with footage
|
|
0:44:24
|
N |
Rubinstein acclaimed
|
|
0:44:29
|
* |
Rubinstein speaks
|
|
0:45:24
|
* |
On Rubinstein - Daniel Barenboim, pianist/conductor
|
|
0:46:10
|
* |
Rubinstein speaks
|
|
0:46:35
|
- |
Beethoven - Piano Concerto no.4, cadenza and finale - Rubinstein
|
|
0:51:40
|
N |
On Francis Planté and early 20th century recordings
|
|
0:52:07
|
- |
Chopin - Etude Op.10 No.7 - Planté
|
|
0:52:23
|
N |
On personality
|
|
0:52:45
|
- |
Chopin - Valse de l'adieu, Op.69, No.1 - Alfred Cortot
|
|
0:54:40
|
* |
Cortot captures Chopin - Anderszewski
|
|
0:55:01
|
* |
On Cortot - Sandor
|
|
0:55:30
|
N |
Cortot footage
|
|
0:55:40
|
* |
On Cortot - Barenboim
|
|
0:56:12
|
- |
Cortot, master class (in French) : "It appears to me that the last piece, "The Poet Speaks" -- such is the title that Schumann himself added to this immortal page -- should be transposed to a plane of more intimate reverie, you understand, not only the nice sonority, the expressive relaxation of the phrase, but a dreamier sentiment. In truth, this last piece must be dreamt, not played. Will you allow me to take your place? [starts playing] ... and here, do not connect the two phrases, they are two different elements ... of the same musical condition... and here, like a kind of question ... and once again another one, tenderly, ... question the future ... and starting here [smiling], flow simply, not into the music, but by a stroke of genius, into immortality ... and allow the fading away of the sonorities, which must disappear, die out, leaving us simply in the presence of a continuing dream..."
|
|
0:56:57
|
- |
Schumann - Kinderszenen, Op.15, 13-"The Poet Speaks" - Cortot, master class
|
|
0:58:47
|
* |
Here be tonal music - Barenboim
|
|
0:59:47
|
* |
Between the bar lines - Davis
|
|
1:00:22
|
N |
On Wilhelm Backhaus, with footage
|
|
1:00:45
|
- |
Beethoven - Piano concerto no.4, 1st mov. - Backhaus, late in life
|
|
1:01:14
|
* |
Backhaus (in German)
|
|
1:02:04
|
* |
On Backhaus - Sandor
|
|
1:02:48
|
- |
Beethoven - Piano Concerto no.4, 2nd mov. - Backhaus
|
|
1:06:31
|
N |
On Edwin Fischer
|
|
1:06:43
|
- |
Bach - C minor prelude, WTC I - Fischer
|
|
1:07:09
|
N |
On Fischer
|
|
1:07:22
|
- |
Bach - C major prelude, WTC I - Fischer
|
|
1:07:32
|
* |
Fischer interviewed (in French) : -"Beethoven taught Czerny how he played the Well Tempered Clavier. Czerny taught it to Liszt. And Liszt taught it to Eugen d'Albert." -"Eugen d'Albert, who was your teacher, passed on the tradition to you. You yourself have taught it to a whole generation of young pianists." -"Thanks to records, I can now even remind myself about it."
|
|
1:08:07
|
* |
On Fischer - Barenboim
|
|
1:08:19
|
- |
Bach - Harpsichord Concerto No.5 in F minor, BWV 1056, 3rd mov. - Fischer
|
|
1:08:33
|
* |
On Fischer - Barenboim
|
|
1:09:09
|
* |
Fischer demonstrates touch (in French): "The pianist's touch, the softness of a voice."
|
|
1:09:16
|
- |
Beethoven - Piano Concerto No.4, 2nd Movement - Fischer
|
|
1:09:45
|
* |
Fischer anecdote - Vásáry
|
|
1:10:55
|
N |
Russian virtuosos emerge: Richter and Emil Gilels
|
|
1:11:07
|
- |
Shostakovitch - Symphony no.11, 2nd mov. (about 3/5 in)
|
|
1:11:42
|
- |
Rachmaninoff - Prelude Op.23, No.5, in G Minor
|
|
1:11:43
|
* |
Gilels and Russian troops (in Russian): "Gilels plays on the front line ... The troops need music. They need to remember why the war is worth fighting ... Immortal music!"
|
|
1:12:50
|
* |
On Gilels and a pianist's sound - Evgeny Kissin, pianist
|
|
1:13:34
|
- |
Tchaikovsky - Piano Concerto no.1, 1st mov. - Gilels
|
|
1:15:36
|
N |
On Richter
|
|
1:15:52
|
- |
Tchaikovsky - Piano concerto no.1, 3rd mov. - Richter
|
|
1:16:12
|
* |
On Richter - Zoltán Kocsis, pianist
|
|
1:16:27
|
* |
On Richter (in Russian) - Gennadi Rozhdestsvensky, conductor : "I think at the time there wasn't a process of joint music-making. He was too mighty for me. I played with him on two occasions. I must say that both encounters were quite difficult for me, since the energy that he projected was more overwhelming than collaborative." (translated by Arthur Hakhverdian, youtube. Thanks!)
|
|
1:17:36
|
* |
On Richter - Kocsis
|
|
1:17:59
|
* |
On Richter - Kissin
|
|
1:18:20
|
- |
Chopin - Etude, Op.10, No.12 "Revolutionary" - Richter
|
|
1:20:31
|
N |
On Arturo Benedetti Michelangeli
|
|
1:21:03
|
* |
On Michelangeli - Kissin
|
|
1:21:24
|
N |
Michelangeli acclaimed
|
|
1:21:31
|
* |
On Michelangeli - Anderszewski
|
|
1:22:13
|
- |
Domenico Scarlatti - Piano Sonata K.27 - Michelangeli
|
|
1:24:46
|
N |
On Glenn Gould
|
|
1:25:08
|
* |
On Gould - Kovacevich
|
|
1:24:22
|
N |
Gould footage
|
|
1:25:33
|
- |
Bach -Partita No.2, BWV.826 - Gould
|
|
1:25:57
|
N |
Gould and live performances
|
|
1:26:14
|
* |
On performers and composers - Gould
|
|
1:26:53
|
- |
Ravel/Gould - La valse - Gould
|
|
1:27:56
|
* |
On Gould - Paul Meyers, record producer
|
|
1:28:37
|
- |
Bach - Piano concerto no.1 - Gould
|
|
1:31:36
|
N |
On Claudio Arrau
|
|
1:32:04
|
* |
On Arrau - Barenboim
|
|
1:32:53
|
* |
On Arrau - Davis
|
|
1:33:20
|
- |
Brahms - Piano concerto no.2, 4th. mov. - Arrau
|
|
1:34:43
|
* |
Arrau
|
|
1:34:27
|
- |
Brahms - Piano concerto no.2, 4th. mov. - Arrau
|
|
1:34:43
|
* |
On Arrau (in Russian) - Rozhdestsvensky: "He had an exceptional kindness, an ease of contact with the instrument, and an extraordinarily natural sense of musical logic. Every pause is significant. There's no showy rubato, or false virtuosity. It's as if one was back in the 19th century, and facing Brahms himself."
|
|
1:35:39
|
* |
On reading scores - Barenboim
|
|
1:36:45
|
* |
Arrau on vanity
|
|
1:37:18
|
- |
Beethoven - Piano Sonata 32, 2nd mov. - Arrau
|
|
1:44:53
|
N |
End
|
|
1:45:06
|
- |
Chopin - Minute Waltz - Annie Fischer
|
|
1:46:42
|
N |
Credits end
|