Hello and welcome to my channel! My name is Cole Anderson, and I focus on masterpieces from the piano repertoire, providing in-depth analyses and complete performances. I post a new video every Friday. Please take a look at some of my projects, and please remember to subscribe and consider supporting my Patreon account if you like what I am doing!
Thank you so much for highlighting the transcendent Margulis recording. I discovered it about 15 years ago and sent it to many pianists and friends. Then I forgot about it and I could never remember his name or find it on RU-vid. Now I am at last reunited with this magnificent performance. What a pity Grigory Ginzburg didn't record this etude!
Thanks a lot for posting all those great examples. But Margulys was well known as a great teacher, I think, he has an extremly interesting recording of BachWTK (probably both books) But, please, try to find a recording of russian pianist Vadim Rudenko - because, this is the best performance I've ever heard of this etude, in 1994 in summer festival in Salzburg, when I was in masterclass of his teacher, Sergej Dorensky. I have a live recording in one old tape cassete, but can't find it- it is completely incredible- great pianist Lugansky said the same opinion, when I talked with him in Ljubljana after his recital. Rudenko is playing this etude with such kind of "easy flow", like this is nothing.. in incredible speed, but you can hear absolutely everything, and it is music, not only technic! Vadim Rudenko had than a extremly beautiful recital in Salzburg where he played Bach, Mozart, Schubert Brahms, some romantic russian composer, and in the end Tschaikovsky- Pletnjev Nutcracker (no worse like the author, maybe even better!), and he played this etude for one of bis pieces.. we stayed without words.. He had a sound of piano no worse than for instance, E. Gilels! Good luck with practicing and all the best, you are very nice person
I wish you had mentioned about Chopin impromptu op.29. Not only does it sound similar, it also has the same strucutre A. The A section can be divided into 2 parts. And the B section is melodic, slower contrast to A section. It almost feel like impromptu 1 is Chopin's own response to the fantaisie
Completely non-musical observation - I love that lighting effect that you can get from a venetian blind at a particular angle. But I'm really here for the Rachmaninov.
I can’t deny a partiality for Cortot’s interpretation…Cortot was truly the Chopin pianist par excellence!! For me Cortot was for Chopin what Schnabel was for Beethoven….
Yes, the processional theme is the beginning of the wedding ceremony and the beginning of he eight-note flourishes marks the presence of God (the falling fifth iterated by the priest earlier in the piece). The key of C#sharp major is the relevation of God, which vanishes gradually.
Hello there ! I enjoyed this video very much. One of my favourite piano pieces is Opening (from Glassworks) and, of the many performances I’ve heard, the composer’s solo performances (many littered around RU-vid) are my least favourite, mostly due to the tempo being far higher than the 92 BPM written on the score. (The recording quality is another factor.) The version on the original 1982 album (played by Michael Riesman) was always definitive for me because I love the my attention shifts between the left hand quavers and the right hand triplets. However, I also love the performance by Vikingur Ólafsson on the 2017 album Philip Glass: Piano Works where, it seems to me that whereas my shifting focus on Riesman’s performance is due to my mind, I think Ólafsson is deliberately stressing one hand (and sometimes one note, or notes). I would love to watch your take on this Sir! and thank you again for this video.
Great technique but like a machine. No taste.I mean the first one. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-izIMf9-pQGk.html This is better than anyone shown in this video.Or litsen to Yunchan Lim. The best!
The Margulis recording is nice in some respects, however, it is energetically impotent. Pollini’s recording is best, he achieves something most Pianist miss, that is, a full, continuous legato in the chromatic line, as well as the bringing out of the two lower notes of each chord in the right hand. Bachaus recording, while lacking in some respects (i.e. many breaks in the chromatic line, missed Notes, lack of continuous legato, etc), is closer, in tempo, to the energetic requirement Chopin intended. 144bpm is the lowest end of the spectrum for this piece.
My favorite is this one. ¿How do you find it? In my opinion it has a great balance between speed, clarity and artistry. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-U_wNABPosd4.htmlsi=F2KcOvvZ-R8J7Gg6
I grew up with the Schenker edition. However, for fingerings, the Henle app is it. Most of the Beethoven sonatas have the fingerings by Saint Saens, Arrau, Schnabel and several others. The fingerings by Michael Korstick--also in the app--are the most ingenious for my money. They also have the fingerings by that awful German, Hans Martin Theopold. The only downer is that Henle makes you pay more for fingerings by Murray Perahia. That said, there's more to life than fingering. The points made about the Bulow edition in this video are thought provoking. I have to confess, I never got that deep with Beethoven.
I loved your video and the Comments, as well as Margulis' interpretion. Cyprien Katsaris alerted me to inner melodies. A youngster named Arielle Beck does the same in Nos. 2, 3, 5, and 10 of the Op 25 Etudes: Arielle Beck (14 yo) Chopin 12 Etudes Op 25. I agree that a slower tempo allows the opportunity to play with a more nuanced interpretation. I suggest viewers listen to these: Arielle joue la "Valse Op 64" de Chopin au piano, Arielle Beck (10) Rameau Le Rappel des oiseaux, Arielle Beck (13) Mendelssohn Variations sérieuses op 54.
Such an inspiring RU-vid. Love your Mozart sonata interpretation too. Btw - Kempff's daughter Diana Kempff has written an autobiographic novel "Fettfleck" about her unhappy upbringing as Wilhelm's obese daughter in the cultural aristocratic Kempff family. Besides, Kempff has written a poetic autobiography Unter dem Zimbelstern - English: "Under the Zymbal Star"
It takes a great musician to make these etudes sound like great music. Remember Schnabel's dictum? Cortot does this in his inevitably echt-poetic performance. Rubinstein would likely be as poetic, a pity he never recorded it.
Nicely done and again the 'taste' you impart by way of rhythm is admirable. This piece is often 'smashed' through - loud and too fast but you've captured the 'essence' of it at just the right tempo in my opinion. Highlighting the subtle shades of dynamics and rhythms which illuminate the 'Bachian' shifting harmony structure. Beautfully done. I feel Chopin would approve!
When we talk about Bach's influence on Chopin, we should not forget Wojciech Zywny. In Warsaw, a provincial city of the Russian Empire, at a time when no one wanted to listen to Bach in the great capitals of Europe, Zywny introduced Chopin to the two notebooks of Das Wohltemperierte Klavier. Towards the end of his life, in a conversation with Eugène Delacroix, Chopin would say: "The whole logic of music is in counterpoint." This would not have happened if not for Zywny.
I am happy that you picked some Lieder, vocal music is less popular nowadays. I am also a fan of Vaughan Williams and Liszt, and would probably add some orchestral music, Liszt's Heroide Funebre is unavoidable on my TopTen.
Well I disagree completely, and I am sorry to hear that it is Vitaly Margulis. I am a concert pianist and I knew Vitaly from UCLA. I did not his interpretation of it at all 1) Completely overpedalled. Even Chopin's pedaling cannot fully be adapted to our modern pianos, as the French pianos were weak-sounding instruments, and the pedal needs to be changed more often on the modern pianos, lest you get muddy textures, as Vitaly gets. Where is the elegance and clarity that Chopin Etudes need? 2) The rubatos used are arbitrary and overdone. I got kind of sea-sick listening to it. They must come inevitably from the music, and also, one should never lose the pulse, no matter how free. I am not saying the playing of Chopin should be metronomic, but in this performance, where is the pulse--it is non-existent. So my vote would have gone to Pollini or Cortot.
YES! I used to go over this piece in the wee hours of the morning on arrival at my workplace. Always the most elegiac resort before the morning light. Would love to be able to play it, but alas! PWG
Wow, the texture you get out of those inner voices is absolutely magical! It's interesting to me that the same melodies tend to occur on the beats in the lower octave due to the figuration, but Chopin chooses to mark them off the beats and in the middle register instead. It seems to create a wonderful sense of freedom in the melody without disrupting the etude's rhythmic drive, just fantastic stuff!
Totally agree with you, only use URTEXT is nonsence for students. Currently we can still easy to find Schirmer's (Bulow-Lebert) version for reference. It's full of remarks and everything is writen by those student's of Beethoven or Student's of Student's of Beethoven. The interpertation of these old full or remarks version, they should not been written by Beethoven, but might delivery oral to these guys. To say these 1800's version are wrong is totally ridiculous course these musians are far closer to Beethoven. I would just like if i could only have this Schirmer's version. I started mine first 3 of his sonatas on this edition only, it really help me to understand these masterpieces way beyond my musical knowledge 20 years ago. And it really saves me a lot of time to understand these details. You can see those mater class by all these beloved pianists, their knowledge actually comes from this version a lot. After that i have more versions to research more detail into it. Beyond all URTEXT books I will say I like new version of Henle most. I won't say it's the most accuate urtest (and we will never know it's the most accuate?) but because I have already have all my Bach collection in Henle and thier print are actually most satisfe my eyesight, the notes are bigger than others, hahaha.... Now I use Henle to play on piano (cause my eye have already fully get used to Henle's style of type setting and Henle provide largest notes) and I sight reading Henle Scores much smooth than any other publishers. And i read Schirmer's on my desk. I will copy those most important things on Schirmer's to Henle to remind myself. Fingering, I always find any Schirmer's fingering worked better than anyother publisher. I won't stick to any fingering of any version but i would always like to check back on Schirmer's for reference. Schirmer's Beethoven fingering are already just like fingering by myself. And I will always check where it's different than my instinct and usually i can find there is someting i just missed. But these old edition has a main drawback, I just realized I play one piece always the same kind. It's all marked on it so if i put it in front of me i will try to do everything as on the score. I would like i play any piece differently everytime. Especially I play Schirmer's edition of Mozart sonatas i jus stick to it and play over and over again and same and same. My brain might become lazy on it. Thus i find myself to play with URTEXT and read with old versions it's best for me. My teacher is a fan of Schirmer's and younger pianists seems not really looked into it. I am glad that I saw the trend that people totally switched to urtext for teaching and learning these pieces. I can say old pianists were start and grow with Schirmer's, Schiff, Barenboim. Just find their masterclass on youtube, they said lots of details that just printed on Schirmer's. New generation pianists are clearly grow with Henle's such as Lang Lang so their Beethoven don't have that much of small details which only exist on these Schirmer's. Just search Barenboim give Lang Lang masterclass on Appassionata (and even Schiff's masterclass the same place) just find 1st mov bar 51-52 how they played according to Schirmer's and how Lang Lang and other younger generation played according to urtext. Also see the difference of Pathetique 3rd mov lift hand of bar 51-56. How can i say? I will agree that urtext version actually lost details here. Historic version should be correct in these places.
