0:12 Promenade * - Someone is humming? - like bells - 0:55 colour change! 1:52 The Gnome - Attacca! - 2:45 new section - 3:49 notice left hand 4:21 Promenade (delicate) - Maintained ringing quality - 4:55 left hand accent 5:15 The old Castle - 6:42 notice harmonies - 7:02 development on theme starts anew - 9:04 pedal technique! 9:25 Promenade (heavy) - 9:52 notice already how the last phrase is in the spirit of Tuileries (children playing) 9:55 Tuileries - Crescendo opening - 10:20 new section 10:53 Cattle - 11:22 melodic line (dynamics) - 12:29 return to theme - 12:20 piano e decrescendo 13:47 Promenade (Tranquil) - disturbed mood 14:30 Ballet of unhatched Chicks - 15:02 new section - 15:17 notice left hand 15:43 Samuel Goldenberg and Schmüle - rich man/poor man is portrayed by Mussorgsky, 16:30 coda from 17:40 18:17 Promenade *(restatement of opening ver.) - Sometimes this is omitted by various performers and arrangers alike, to me this is the coffee break between paintings, a much needed one, because it splits the work into two, and notice that there are no actual promenades after this, just bits and pieces that are already baked into the pieces themselves. 19:49 - notice the last note connects to the next miniature! 19:52 Limoges. The Market - 20:54 notice the melodic line hiding 21:18 Catacombs - attacca! - 22:02 pianissimo into forte - 23:09 pianissimo into fortissimo - 23:24 manipulated promenade in minor key, are we walking amongst the painting(s) or the dead? I think both! 24:58 The Hut on Fowl's Legs - 26:08 wonderful right hand - 26:29 notice the play between wet and dry sound in the section. Then, subito the finale kicks in a la attacca... 28:22 Great gates of Kiev - 29:23 colour change! And notice the lush harmonies - 31:24 seamless emergence of the Promenade theme before the coda, the proposed design of the gate was to have great cupola with ancient Russian heroes depicted, well there is no actual gate but here the heroes stand very real in musical form - 33:00 goose bumps. 35:02 Encore - La Campanella, Paganini, Arr. Liszt - 27:48 Good idea to maintain smooth transition of trill 40:39 Encore - Für Elise, Bagatelle in A minor, Beethoven - 41:08 skip repeat - 42:00 secco left hand
Alicia: además de gracia y gallardía, queda manifiesta tu generosidad ante un público tan mediocre. Hiciste una presentación espectacular y ninguno de estos huevones se paró para aplaudirte. Ven a México cuando puedas y encontrarás un público más justo y amoroso. ¡Celebramos tu talento!
I hope it becomes a common habit for everyone to play barefoot on stage. The idea that bare feet are more polite, the idea of doing it with bare hands and bare feet. It must be natural than wearing shoes.That is good thing.
Yeah, she's a doll, but two minutes in, she is an artist, sublime. I know, and she knows that she didn't write this piece, but she took the time and work and patience to understand it. I'm crying. DSL
@jun “There are three classes of intellects: one which comprehends by itself; another which appreciates what others comprehend; and a third which neither comprehends by itself nor by the showing of others; the first is the most excellent, the second is good, the third is useless.” ― Niccolò Machiavelli, The Prince 「知性は3つにクラス分けされる。1つ目は、自分で理解する者、2つ目は、他人の理解の価値を認める者、そして3つ目は、自分で理解することも他人の示した理解の価値も分からない者。1番目が最優秀、2番目が可、3番目は能無し」 ―マキアヴェッリ《君主論》 私は聴き手であり「考える人」。消費者ではない。対話不能のそうした異なる思考世界が存在することすら知らず、形而上的思考など一切しない哀れな存在が消費者。消費者は「人」ではない。芸術は「人」のために存在する。
