Благодарю уважаемого пианиста за каждый непривычный акцент, услышанный с ним впервые, а ведь многие из них написаны в нотах! Благодарю его за каждое "добавление" в ноты и обратно из великой оркестровки Равеля, и из других соображений на основании острейшего ощущения "музыкальной правды", которая, как известно, для каждого на Земле разная, и только на многомерных Небесах соединяется! Осмелюсь пожелать великому художнику Юн Чан Лиму продолжать "сметь" радовать наш мир подобными открытиями! Осмелюсь пожелать также уважаемым "критикам", не только не увидевшим в данной дерзкой интерпретации "вкуса", но и решившимся попрекать маэстро светлыми именами Рихтера... Горовица... Как бы не пришлось "критикам" сильно удивиться, встретив нечаянно "во сне" кого-то из них, или, скажем, Глена Гульда или Вана Клиберна! Встретить и обнаружить, например, что они не только пожимают руку Юн Чан Лиму, но и собственные руки МОЮТ, прежде, чем коснуться гения!
Exquisite playing of this gorgeous prelude … even surpasses the Yuja Wang version because the delicate melody really sings here, with some heart-tugging rubato and pulling back at the most gentle of moments. There are tears and caress in your handling of the melody. Thank you for posting! Bortkiewicz’s Elegie (46) needs your hands and mindset too! ❤
People keep talking about how Alkan, and this work in particular, is not particularly deep, if not little more than a mere show-off, but I couldn't personally disagree more. As someone who is mostly into atonal and avant-garde classical music and usually doesn't enjoy these kinds of "simpler" harmonies, there is something about Alkan's writing that makes him one of the most captivating composers of the Romantic era for me, and I think the exaggerated virtuosity is an integral part of whatever this "magic" I feel is.
Among deliberately virtuosic and exaggerated composers, Liszt remains unsurpassed for me. Mainly because even with the romantic style, he still innovated in orchestration and created one of the first self-titled atonal works.
Ich finde seine "Interpretation" (?) schrecklich, da er den Text vergewaltigt. Er hat keine Spur von Geschmack, mißversteht alles, und will offensichtlich nur Eindruck schinden. Horowitz, der ein Genie war, spielte eine von ihm selbst angefertigte Transkription, aber da ist kaum ein Vergleich möglich! Bitte Sviatoslav Richter hören.
1980 Chopin Competition winner Vietnamese pianist Dang Thai Son also played those low Ds with his fist. But before doing so, the D key would have to be first exposed by silently depressing the adjacent white keys (C and E). I would also do that myself. In fact I also play a particular note on the black key in Liszt's Feux Follets with my fist.
people who comment negatively on the interpretation never played this etude because in my opinion it is more of a technical etude based on the rotation on the wrist, so its relatively hard to include such a good interpretation as presented here. i say the clarity is very good, the interpretation fantastic and im glad the pianist feels as he is free to experiment with the piece
Fun fact, this "technique" is actually first used by Đặng Thái Sơn, a vietnamese who once won the Chopin competition in 1980 and since then it have been considered the signature of this piece
The promenade was too fast for me...representing the stroll through the exhibition...the tempo is a little fast for such a walk. Other movements are more interesting...very smooth and well-articulated playing...interesting accents...certainly a unique performance over all.
![Yunchan Lim in Recital : Mendelssohn, Tchaikovsky, Mussorgsky [Verbier Festival]](/img/0.gif)