Видео

The best ever and forever is and will always be Horowitz. ruclips.net/video/kYAS0GlY810/видео.htmlsi=iTRw0TNsgbaDyMpV And that's without any discussion.

Molnar's vibrato is too much sadly.

SO far amazing (I'am halfway through the 1st movement). It must be released on a CD!

La campanella on liszt own piano 😮 i will use coda part

mi dispiace dissentire dagli altri commentatori ma questa esecuzione appare una rapsodia piuttosto che una parafrasi d'opera

TIMESTAMPS: I. Faust: 0:00 II. Gretchen 25:58 III. Mephistopheles: 44:12 (Chorus Mysticus) 59:53

Simple????? Sublimely beautiful.

many thanks. i am sorry that while i have some of his recordings, i never got to see the Maestro live.

I'm glad to hear these, but the transfers seem "overprocessed". Granted, there's considerable surface noise reduction, but upper frequencies are lost when that is pushed too far. Myself, I can live with surface noise if the piano sound has more "zing". Acoustical recording has a limited frequency range to begin with, and lopping off the top - which contains most of the "sizzle" that bothers people not accustomed to early recordings - actually limits the bottom frequencies as well, which the process caught in, at best, a restricted way as well. Hearing Chaminade's discs largely "untreated", except for stylus size and minimal noise reduction, is rather astonishing and much more impressive than what is presented here. For one thing, they are piano recordings _from 1901_ that are quite vivid, thanks to the original engineering by the Gramophone & Typewriter Company's Will Gaisberg. (The company, later HMV, was only 2 years old at this point.) Chaminade's articulations are not only clearer, but the tone she pulls from the instrument is distinctive. What's more, the piano was an upright! - that was all they had at G&T's Maiden Lane studio, where Chaminade recorded (they moved premises in 1902), and it was placed with its soundboard quite close to the recording horn. The upright must have been a very good one, because Chaminade's characteristically French "pearly" touch registers well and in her more aggressive passages the bass has good resonance. She seems to have made no allowances to the recording equipment in terms of either delicacy or power - she just played as she would anywhere, and that speaks volumes for the original equipment and Gaisberg's expertise. I'd like to hear these sides in a way that is less restricted by sonic alterations that unduly adulterate the original recordings.

I enjoyed it! ❤ Thank you🎉

One of the best performance of D959!

super!

たまに無性に聴きたくなるきょく💕🎹🎧✨

It's only a small hall in Baden-Baden with a capacity of 200-300 spectators, that's why the applause is so big...However, the "peché" of the piano performance art was created here and then, the most perfect Liszt replica of this piece. I am convinced that only a Hungarian artist can perform a Liszt piece authentically. Kocsis, as a 4th-generation Liszt student and descendant, carries Liszt's genes in his genes, which makes a Hungarian pianist's Liszt performance inimitable. They can be called Horovitz, Richter, Rubinstein, etc., but they lack this "plus", everything is written in the sheet music, everything can be perfectly learned, but the inner state of mind required for the performance of the piece formulated by Liszt cannot be described in the sheet music. It either comes from within or it doesn't. That's all...

No se entiende porque esos aplausos tímidos....gran ejecución de una pieza dificilísima...Bravo Maestro!!!!!

Too fast.He don't understand this music. Good pianist,but very far from Rachmaninov....

Thank you very much! What a gift…

ruclips.net/video/uXUd_qNAKxY/видео.htmlsi=_Ognp12l3JmrokrZ

2:24 Kocsis played D natural where it's written D flat in the bass.

9:54

This is beautiful, the interpretation could be slower and more serious, but still a beautiful transcription and performance. It sheds some lights on how this piece should be interpreted as a piano music.

Ok didnt expect to be impressed since i'm a snob for the og piano version - but i must admit that first climax raised the hairs on the back of my neck

Достойный последователь Ференца Листа❤

Возможно-это самое лучшее исполнение Беллини Листа Норма. Очень вдохновенно и выразительно,❤к тому же вспоминается и оркестровое звучание.

It was my sight reading for a competition this morning. Love it ❤

Thank you, thank you, thank you.

Благодарю! Я очень Люблю Золтана Кочиша! Светлая ему ПАМЯТЬ! Всего Вам доброго! 9.04.2024.

does not sound like bartok

Someone should remaster this recording. It's one of the best or maybe the best interpretation out there.

Too fast ( my opinion ) !

Bravo Andreas👏❤️💐

♥️♥️♥️

De jó volt ezt látni! ❤ Köszönjük szépen! 🤩😍♥️

I don't know of any piece that requires as much superb technique as this one, but he plays it perfectly. He is a leading expert in superb technique!

Какие хорошие друзья! Чудесные музыканты! ❤

Hungarian National Philharmony Orchestra, conducted by Zoltán Kocsis.

Just how the contrast works here is awesome

Villena.

Szuper

10:01 final

Nagyszerű, hogy ilyen felvételeket találhatunk itt, kész (zene)történelem! Ritkák a filmfelvételek Kodályról, minden ilyen perc kincs (és az a kedves összepillantás a feleségével az éneklés közben...51:00), ahogy persze az összes szereplő, a zene "'szolgái", Forrai, Lukin, Juhász, Kocsis és mindenki, aki a zenéért van itt. Egy kicsit irigy vagyok ezekre az időkre, egy kicsit.

ZK . Top Artistry

Not bad, but too much push, Zoltan!

what is the point of this ...?!

Par Excellence!

Thank you❤

Who is the conductor

Strong Rachmaninov here

Very good Rachmaninov

B major?!