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Très beau commentaire.

Comme je vous envie..!

Il est le seul pianiste qui me donne envie de pleurer, on sent une tristesse infinie

はい、彼は真の天才でした。 彼の先生のナディア・ブーランジェは、ほとんどの時間酔っていたので、いつも彼に腹を立てていました。 彼が心臓発作のためにステージで亡くなったのはとても悲しいがクールな最後の瞬間です！

@@aktasluna 返信ありがとうございます。彼がステージでの緊張になやみアルコール依存になり、心臓発作で亡くなったのは、音楽誌で読んだ記憶がありますが、ステージでなくなったこと初めて知り、涙が止まりません。今でも昔買った彼のショパンのCDを時々聴いています。

@@kanekokazuko7034 また、サムソン・フランソワと同じ教師の生徒であるイディル・ビレット(idil biret)にも耳を傾ける必要があります。 ちなみに、日本語はごめんなさい、初心者で、今のところ主にグーグル翻訳に頼っています😔。

@@aktasluna I'm sorry😞🙏Thank you very much🎶🎵❤️🍀

Samson François n'était pas alcoolique, il avait une santé fragile dont il ne se préoccupait pas dédiant sa vie au plaisir de la vie tant pis s'il a fallu en payer le prix

@@EmptyVee00000 well I don’t know what we expected to hear from you - your channel is dedicated to uploads of ashkenazy

@@EmptyVee00000 I listened to the recording which you included in a reply to my comment which I cannot see now. This music is alive in Francois' hands, dead in Ashkenazy's. He was an accurate pianist, but not an important one.

Sam Betanzos François' Ondine is about as alive as a rotting tree stuck in a frozen lake. Ondine is supposed to be a seductive water (the faster notes) nymph (melodic line); I do not find an ice-block seductive. Is Ondine in your repertoire? I learned it, and I have taught it a lot, in both masterclasses and individual lessons.

@@EmptyVee00000 Ondine is in my repertoire. And while Ashkenazy’s faster notes are faster than Francois’, Francois’ nymph line is seductive and cantabile where Ashkenazy’s is inert and simple like a child’s humming. On top of that Francois has more understanding of harmony and harmonic swells (imperative to interpreting ravel), and has a poet’s sensibility for pulse and rubato where Ashkenazy either prefers his music lifeless without manipulation of time or does not comprehend the idea in the first place.

​@@samuel723 Nice words, but my view differs greatly from yours, and I find Ashkenazy to be one of a very small number of pianists who live the music, and cause the listener to live it as well. Each to his own.

saintansele For real? You saw him live??!! What his performance was like? What was he like on the stage?

@@user-ji9eq8yr3k I kept that printed program & am looking at it now. His stage appearance was very unaffected professional, the "real thing." He played a Baldwin. He played several smaller pieces & ended with Prokofieff Son 7. His French appearance & mannerisms transfixed & delighted the audience. Superb playing, relaxed. Date was 11-21-59. Debussy(3 Etudes) Liszt (4 pieces), Chopin(4 pieces), & the prokofieff Son. All were major & familiar works. I saw them all, Ashkenazy approx 30 or 40 times, Francois has always been up there in my wonderful memories. A dynamic person. He had no problem with the piano

saintansele Thank you for replying to my message and sharing your experience. It means a lot to me! I liked him, if not love, ever since I was a teenager, before I can speak this language. There was one day I saw “ the great pianists of 20th” CD recordings, and I thought he was someone else as introduced in “ The Art of the Piano”. Then his playing overturned my perception of Chopin. Then I collected his full recordings of Chopin, and then Ravel. I also had his recording for Mozart “ Little Star Variation”, and small pieces of Mendelssohn. He’s just like you said “ effortlessly “. It was not until that I grew much up that I saw his videos, listening him talking about his playing. ( I saw one piece in a documentary of his teacher Yvonne Lefebure. He talked about Debussy.) He really played as he talked, or vice versa. I mean, today we hear a lot of pianists talk about their playing, and their thoughts. But somehow, their performances really does not reflect what they say and I would consider such as “ insincere”. Too bad we don’t have many pianists like him today as we did before. I also like Dinu Lipatti. Speaking of so, I think Cortot must be a very good teacher!!!

@@saintansele -- So good of you to share...

There are more pianists of absolute top class you hardly ever hear about today, like Emil Gilels and Nikolai Petrov. Petrov's recording of Prokovief's 3rd piano concerto is a must hear. I just came across Francois' recordings and I am amazed. Especially his Ravel and Debussy are top recordings.

Hardly remembered ? I'm sorry but I can't agree. Here in France you hear his name quite often, especially when it comes to Ravel or Chopin or Debussy. He remains by far my favorite.

+Asme Feila Bon partage kis!

EmptyVee00000 Ashkenazy is indeed amazing but you have no right to dislike this just because of your opinion. It is the duty of every musician to accept the fact that others have great interpretations.

Terrible playing.

@@EmptyVee00000 why do you think that way?

@@aktasluna Because it does not evoke Ondine, the seductress water nymph. François' playing is like a frozen fountain; there is no sensuous movement. Also, it is a very slow tempo.

@@EmptyVee00000 I think Samson Franceoise is one the finest pianists ever..are you hard of hearing..or just don;t know muic?

You made two comments. I like it.

Try Argerich, Sergei Babayan, Alessandra Ammara, and Bertrand Chamayou

And Anna Vinnitskaya

excellent, certes et vous, très (trop?) sérieux.😉

Oui, sûrement, et les filiations ne sont pas uniques... Néanmoins, j' apprécie profondément celle de Ravel, marguerite Long et Samson François...( comme pour Debussy d' ailleurs !) Cette filiation tient pour le premier "couple", du sensible fraternel voir intime, et dans le second d' une maternité certaine...qui ne pouvait éclore mieux qu' en Samson François. On peut connaître ne serait-ce qu' une journée, voir le temps d' un songe... le maître fondateur, et cependant en devenir le meilleur hériter... Je l' ai souvent vécu ! Ces filiations du sensible n' appartiennent pas au temps des hommes, et encore moins à l' institution... Elles sont de l' ordre du "Mouvement infini" dont Samson François avait la conscience, la grâce absolue...elles appartiennent aux enfants qui joue au cerceau, ou au piano...et à un ciel qui avait choisi Samson pour définir ces enfantillages.... Maximilien en avait bien parlé par après.

Non, le Maître ne fut ni le seul, ni le premier : l'honneur en revint à sa contemporaine Henriette Faure. Par ailleurs, s'agissant des proches, pionniers, amis ou dédicataires, vous oubliez Alfred Cortot, Lazare-Lévy et Louis Aubert (ses camarades de classe au Conservatoire), Marguerite Long, Harold Bauer .... s'il s'agissait de se contenter seulement de citer ceux de ces interprètes qui sont encore célèbres aujourd'hui. Que dire de Ricardo Viñes ! Ou de Juliette Meerovitch, tôt disparue, dont Ravel reconnut lui-même que personne ne jouerait plus son Trio, après elle, avec cette sonorité irréelle qu'il attendait, qu'il exigeait dans l'Allegro, qu'aucun autre ne savait obtenir.

Merveilleux

Pour ce qui est des filiations on est pas si loin avec Samson puisqu'il a été un élève choié de Marguerite Long que l'on surnommait "Madame Ravel". Pourtant rien de conventionnel ou hérité de quelcun se manifeste dans le jeu du pianiste. La liberté d'un maître ne se transmet pas par un esclavage.

Hello my friend...Probably a little deaf ! Ah ah ! Anyway, Samson françois would deserve to be heard from morning to evening... You should buy the entire recordings, so that you wil enjoy the most important french man of the history ! Then you will give much pleasure to your friends and relatives .... Samson François was a master before learning, and he kept freedom from childhood...the one which is close to heaven...in a somewhere that suits to angels...Best regards from France Vincenzo, and welcome to sensitive piano !