I think the Moieseiwitch is better and it's on film on YT.

He was seriously astounding....

La mano ddrecha muy claro

Buen repertorio

Exelente !!!!!!!!!!!!!!!

It's great. Listen to Yulianna Ardeeva too -

I can only imagine what it was like in your shoes. By the time I had come to truly admire his playing, he had passed away. I would have loved to hear him play live, but am happy to hear him on recordings.

Listen to all his recordings, commercial and pirated. I truly believe this 1974 recital is Bolet on the Hofmann level. Maybe the comment below that he was--at that moment--the greatest pianist on earth is true. I have heard him on this level at other times, but rarely. Also, I must admit that watching him was a piano lesson in its own right.

Liszt gave master classes in much the same way (No! Like THIS!...and then Liszt at the piano awakens the musical conception for everyone instantly). I imagine the character and command of Bolet's performance here brings us closer to hearing Liszt as he might have played.

Bolet never gave you the impression he was putting music through the "Bolet filter" as did Horowitz. My copy of the Chopin D-flat Nocturne as taught by Bolet has many of his own markings and ornaments--I thought they were his--but I went on to discover the markings were learned by Mr. Bolet from the old Mikuli Edition, who was a student of Chopin. As Hofmann reported about Rubinstein, Bolet demanded the score when you played, and he made markings with his red pencil as he listened. I should notate which of my scores have Bolet markings in them, so they don't end up in a second-hand store someday.@@mstalcup

The Moiseiwitch on film on YT is better.

I envy you sister ✌️

Did your dad become a professional pianist at the end? Whats your dad doing now?

WOW. My piano teacher was Ethel Sanger mother of David Sanger. My mother would play this to inspire me.

If your dad cold play this well, he must be worth hearing.

@@clintockmaconaghie3763 If your mom could play this well, she must be worth hearing.

Wow! Such an amazing testament

I was there, too. Simply amazing.

..pupil of Josef Hoffman.

Cziffra's performance- technically is flawless, but lacks artistic purity. Bolet's performance is a measured one. Notice how he slows the tempo in the recapitulation of the Pilgrim's Chorus, but the sheer ethereal beauty and artistic expression is extremely heightened until the last chord. I don't think any pianist can really perform this titanic piece as well as Bolet. And to perform this piece as his final offering in a recital is just mind blowing!

cziffra’s performance is a collage of different live executions of his. Bolet’s recording is from one single live performance.

Er, champion? Peut-être....

To answer your comment... They put a thumb down because they could never perform it so beautiful themselves. They're just jealous that's all.

usually they are miscliks! Once I accidentally put a a thumb down on a Lipatti recording! At the time you could not correct it.

@@marcelmombeek9889 no no, i am sure, i listened Cziffra: I don't like that version. I will listen Iortie

@@marcelmombeek9889 I, and the Carnegie Hall audience, strongly disagree with you.

Exelente Mexico

The Moiseiwitch on film on YT is better.

And non-stereo? The Friedman piano roll?

I would recommend Benno Moiseiwitsch, because I don't like paper roll...

LIszt’s

People applaud because a living, present human being just gave them this treasure, this joy, this performance....and they rightly show their appreciation and thanks in return.

I, on the other hand, can't contain my joy over the fact that it bothers you so much and yet there is absolutely nothing you will ever be able to do about it. How does it feel?

I know where you’re coming from, but looked at from an alternative perspective, applauding, and the desire to applaud is the most natural human reaction to something as refined and studied and practiced and ‘performed’ as this sort of pianistic (and just pure human) excellence. Without getting too quasi philosophical or Ying Yang about it, a barbaric reaction is natural AND beautiful in the context of maintaining an unforced equilibrium. To put it simply, you can’t have one without the other, and even if you could, it just wouldn’t be preferable. It comes full circle, refinement without barbarism, would itself be a curious type of ugliness, cerebral, cold, Ideal - with a hideously capitalised ‘I’, and we all know where that ends up. I adore reflection and silence and am critical sometimes of (forgive me) American audiences prematurely ‘hallooing from the reverberate hills’, but for that brief second when the audience screams and claps their hands over Sr Bolet’s last chord, there IS a communion of sorts and a contact where we are, for the briefest of moments, making music and sharing life together as nothing more and nothing less than equals. THAT’s the power and gift of music. Sr Bolet shows us that, but so do the occupants of Rows A, B, C, to Rows X, Y, Z, stalls, balconies and upper circles and everyone between... and even at home through KZfaq nearly 50 years after the fact, Sr Bolet, Liszt and Wagner reach out to us and more than that, invite our embrace. This is the very opposite of barbarism, no?

As as composer and performer, how I hate people that do not applaud at a performance, that sterile post-script of the vacuous elite to a feeling they could never experience! Deep, moved appreciation would be much more expressive than the utter silence to the majestic accomplishment of sublime sound! À chacun son goût

I also hate applause - between movements and in the middle of operatic or ballet numbers.