The music of Sergei Rachmaninov is always magical, this is a real masterpiece, it is a colorful world with constantly flowing endlessly changing forms. . .Genial music ! Memory of the great russian composer will forever remain in the hearts of millions. . .🙏🙏🙏
I must admit this a perfect tempo. Finally someone is focussing more on music than rushing through everything. First time I can actually trully enjoy this concerto. Bravo!
@@ryushev2000 And ? Rachmaninof himself (who is the best pianist ever) played it faster than anyone else I think and it sounds perfect ofcourse. So no, I didnt forget that playing it quicker can also sound great. What I meant is that in this case I can focus more on other things, and I dont think that many pianists can pull off this concerto playing it thus slow.
I don,t care what anyone says, this performance was terrific. The audience approved and that,s all that counts. He deserved a rousing applause Boris is a very gifted and talented pianist absolutely !!!
The audience's approval is never all that counts- then you would have competitions without a jury. Any audience would be more delighted with Rachmaninov than say Prokofiev or Shostakovich. In short, they prefer a popular piece even if it is played badly. Having said that , I love Giltburg's playing.
Many expressive details, nuances helps Boris to play in his temp, time! Very interesting interpretation because he showed much musical material, intonations, which usually closed by another pianists
Exactly well said. First time I can hear all the beautiful harmonies. And I also think its harder to play at this tempo if have nothing to say. Which is why many pianists play it fast.
omg you're my god...IDK how to express my feeling after hearing your performance...tears in my eyes...Thank you soooo much for uploading this video,in which I found my dream music!
I get the impression that Boris is not the type for competitions. I find him very enigmatic. He performs like it's nothing special. That makes him exceptional. That's talent.
Anyone EVER hear Horowitz give 1/10 the thought into this piece that this guy does? Listen to the applause at the end! This wasn't for pyrotechnics, this was for art! Exceptional!
An absolutely genius interpretation - amazing and flawless. . .The poise and lyrical beauty of Boris Giltburg skill, his aristocratic and cultural restraint simply fascinating. . .👌👌👌
Glitburg has a very personalized and sentimentalized style of playing. I commend him for the true artist that he is and would love to see him perform live someday, for his playing keeps me on edge from moment to moment, not knowing at all what to expect! His interpretation of this concerto obviously is not "traditional" but that's not a negative thing whatsoever. If Rachmaninoff were to hear this, I imagine he would be accepting. Perhaps not favoriting this interpretation over, say, Richter or Horowitz, but accepting nonetheless. This interpretation has just as much Rachmaninoff shining through it as it does Glitburg, and I love it. And this is coming from someone who absolutely values "traditional" interpretation, esp of this piece.
NouriMusic I for one believe that Rachmaninov would have actually loved it, I myself have had the pleasure of experiencing one of Boris's concerts and prefer his style.
By searching for a hidden meaning in every note, he is not allowing the music to speak for itself..Hear Bronfman/Gergiev for a truly great performance with no mannerisms and a transcendental technique that is absolutely stunning.
Carl, not sure I ever thanked you for your recommendation of the Bronfman/Giergev...and that tiny baton. It is truly wonderful. Years ago I saw Bronfman play it live at the Hollywood Bowl..OK not the world's most inspiring venue. This was a more confident Bronfman...supremely confident of his place, and I'm sure having the great Gierjgev running the show was great comfort. HIGHLY recommended, along with the emotionally touching Kern and so many others, but Bronfman must NOT be missed.
There is a DVD with Bronfman playing the Rach 3 and Simon Rattle conducting with excellent sound quality. Also on the program is Stravinskys Rite of Spring.A real gem.I now have 45 recordings of this Concerto.Yuja Wang is better than Olga Kern but her piano is out of tune in the youtube video.Her CD won a Gramophone Magazine 'Editors Choice' award when it came out in 2013 and is excellent.
WELL YES, MR. GILTBURG HAS THAT JEWISH MANIA FOR PERFECTION AND STERILE USE OF EVERY MICRO SECOND. THERE IS A LARGER PICTURE TO BE SEEN. MAYBE HE NEEDS TO GET LAID FROM TIME TO TIME.
Of course, if you want to make a spell on every note you risk losing the cohesion of the ensemble, but this pianist is so involved in the music of this concerto that I much prefer his very detailed and nuanced interpretation to that of a HJ LIM whose only goal is to play the work as quickly as possible to establish the speed record in this concerto, and show us how virtuosity for its own sake can be terribly boring.
@@rigel48 Boris performances of the Etudes Tableaux and Preludes are superb. As for HJ Lim her Rach 1 is stunning as well as her Rach 2, but her "intermezzo' in the Rach 3 sounds like Santa Anita horse racing track.
I think it's nice playing. I don't know the score well enough to comment on wrong notes. His sound is very clear and I hear a lot of detail. He doesn't bang. Maybe a climax doesn't have to be ffffffff to be convincing.
Meant to add to my comment of a moment ago that I listened to Glitberg's Rach 3 after listening to his performances of Prokoviev's very difficult (for pianist and listener) piano sonatas 7 and 8--which, of those I've heard, are for me the best.
Just listen to Rachmaninov's perfomance. A lot faster and more simple, and in a style of playing almost lost nowadays, but the proper one for this music.
He's a wonderful pianist but seems to miss the muscular power of Rach's 3rd. I love Bronfman best on this. Too slow for me and not well integrated with orchestra. Giltburg's interpretations of Rach's solo piano Preludes Opus 23 best I've ever heard, though.
That's interesting, because my main issue usually with Rach 3 interpretations is too fast! I always thought Horowitz played it too fast. The Agerich tempo is perfect, IMO - and this is roughly approximate.
Rachmaninov Concerto No. 3 played by the new winner of the Queen Elizabeth this year competition is a joke! The interpretation of Giltburg is the right one.
Hmm. Mein lehrer saß dieses jahr in der jury. Nicht alle jurymitglieder waren mit dem 1. Preis einverstanden. Manchen gefällt die art so extrem zu spielen und manchen nicht. Vondracek wurde unter anderem europäischer lang lang gennant...
This conductor always phones it in. She was bad with Yuchan Lim's performance too. The orchestra has no vitality or life, just playing the notes instead of feeling them... ugh. That glorious finale is so expressionless in this rendition. The violins, the horns, the bass, they're all so muted u might as well have put the score into an emulator or something
@@CRH1A-1145 Maybe the slower pace and lack of pedalling allows one to appreciate the sonorities in a different way. For the first time I also heard what stellar contrapuntal writing exists in the orchestral part. Giltburg's style is unique and not for everyone, but this worked for me.
I prefer the ossia candenza being played like a hurricane to this because of the contrast with the innocent melody of the opening theme. This is too slow at times. Congrats with your win though.
No me gusto su técnica pianística; hay resoluciones que no son lógicas y da la impresión que tan sólo la ejecución resulta muy limitada para realmente expresar la grandeza de éste concierto
Salvation by Grace alone: May I remind you of Ephesians 4:29 "When you talk, don’t say anything bad. But say the good things that people need-whatever will help them grow stronger. Then what you say will be a blessing to those who hear you."
MUSIC CONDUCTING FOR WOMEN IS ALWAYS A DIFFICULT TASK AS WOMEN MUST MAKE BODY MOVENTS WHICH ARE MORE EASILY DONE BY MEN. WOMEN ARE LIMITED IN THEIR EXSPRESSIVE MOTIONS ESPECIALLY WHEN AS VIEWED FROM BEHIND. SORRY- IT´S JUST REALITY. AND---WHY ARE THERE NOT ONE SINGLE FEMALE COMPOSER OF NOTE? BUT THIS LADY DOES A GREAT JOB CONDUCTING ONE OF THE MOST DIFFICULT PIECES OF MUSIC KNOWN TO THE WORLD.
Giltburg is one of the very few concert pianists who can perform this piece and make it seem as if he is oblivious to the formidable technical demands. Every note is delineated, every note sings, and he always seems to find the melodic line. I am surprised he is not more widely known.
It was immediately obvious to everyone that this was the winning performance. I saw him at one of the laureate concerts afterwards, same then. Still one of my all time favorite performances and the #1 for Rach 3.
Marvelous and awesome. His CD of the concerto shows the same attention to detail and clarity as this performance. Mr. Giltburg is gifted in many ways, and it's clear he cares not only for the music but also for the communication with the conductor - also good to watch. An absolute joy to watch and hear.
Absolutely! And I love the slightly slower tempo; it enables you to hear and enjoy all the very beautiful things he's doing with this. He actually winds up proving that most players play it too fast.
I have listened to as many performances of this as I can find on RU-vid. My two favorites are Evgeny Kissin and Olga Kern, and now this guy is right there with them. Boris Giltberg, I will remember you. When he played the Cadenza I heard notes I’ve never heard before. This has always been my biggest complaint with so many performers. Most of them play too fast, just because they can. I am an old man and I play as an amateur only. When I was learning in the 1960s, there was only a couple dozen pianists in the world who had this piece in their repertoire: Now all the young kids who are piano majors are performing this as Undergrads .... lol, HUMANITY IS EVOLVING. This is absolute perfection but the RACH 2 is my most beloved favorite piece ever. I will look next and see if he has recorded it. I hope so! Thanks for listening to an old man chatter. Blessings
There’s no point pointing out defects in such a great artist, can you play like that?? I don’t see anything that’s wrong.!Those who see the mistakes, please upload your own performances of the concerto, so that we can see the correct form.
I don’t have to be able to play the concerto to criticize this performance. To me this performance lacks an overall sense of the work as a whole. It’s as if the pianist is focused on the minutiae of each individual phrase with little or no conception of the work as a whole. There are so many tempo variations in this performance that any sense of an underlying rhythm permeating the whole work, is destroyed. It’s as if we have 40 little pieces here, instead of one concerto. I can point to performances of the work which are successful (in my opinion): Horowitz’ 1943 performance with Rodzinski and the New York Phil (superhuman playing which has never been equaled, despite the incomplete recording), his performance in Ann Arbor, MI with Ormandy from 1978, William Kapell’s two performances of the work from 1947 and 1953, and Gina Bachauer’s performances of this piece. All of these artists had a sense of the architecture of the concerto, and knew how to get this across in their performances. They were not so focused on each individual tree, that they forgot to show us the magnificence of the whole forest. IMO this performance goes nowhere; it is disconnected. I can say that, without having to demonstrate how to do it on the piano, myself. If a surgeon botches an operation, do I have to demonstrate how to do the surgery correctly myself, before criticizing the doc for his errors and failing? No. Same here.
I love everything of this performance the cadenza has amazing accents and the whole concerto was extremely musical, Boris is at the top of Rachmaninov interpreters, he earned the spot only few can, congrats!
When the story of the soloist is very clear for orchestra and audience or the soloist has understood the philosophy of this concerto, it'll be easy for the orchestra to face on details in that piece. In this case Mr. Giltburg has accomplished the mission with conductor and orchestra. The same conductor and same orchestra had to deal with difficulties when Mr. Vondracek played the same concerto 3 years later.
Gramophone seems to disagree wholeheartedly with all of you who are disparaging of this great artist: "One imagines that Giltburg must be thoroughly conversant with Rachmaninov’s recorded legacy but his readings are far from simulacra. Rather than imitating Rachmaninov, Giltburg seems to imbibe the composer’s spirit. Doing so, he provides the best testimony I know of that Rachmaninov’s 116-year-old signature concerto still has a long, healthy life ahead of it."
I followed the live back in June, my first impression was "too slow", but now I must admit that it is a great version, really good quality. The member of the jury might have make the right decision after all. Bravo Boris!
When a piece becomes extremely well known artists begin to devise ways to differentiate themselves from other interpretations. The result is often eccentricity for its own sake. I intensely dislike this performance, which I would call positively perverse.
Guys - approve it or not, but what you hear is a true artist and a performer who has a plan (grand plan) for every piece he plays where all notes fall in the right place according to his interpretation. And that what really matters!
I like Boris but not this interpretation. It’s too intellectual for me as if he wants to make every passage sound special. But he is a fantastic pianist no doubt.
@@bobmayfield7925 It's one line, one concept and one understandable story in a stable meter and rhythm. There are no sudden tempo changes like clown Vondracek was doing.
The sound and mixing engineers should be commended for for the extremely clear and detailed audio of this recording. The microphone placements and audio board mixing of the piano and orchestral soloists were outstanding, resulting in an incredibly beautiful recording.
I feel my heart tight; i'm having difficult in breath ... and i'm almost crying! (it's the first time i'm listening this) I'm overwhelmed!! He played this with an amazing passion.
Bravo d'abord à Rachmaninov et merci de féliciter l'Orchestre National de Belgique dirigé par Marin Alsop, dialoguant à merveille avec ce soliste inspiré, délicat et efficace, tous ayant une palette de sonorité illimitée.
+William Estep where can I find of recording of G Gould performing the Rach 3 I had no idea he ever played it..... now that would be an interesting interpretation I am sure
Нежнее нежного Лицо твое, Белее белого Твоя рука, От мира целого Ты далека, И все твое - От неизбежного. От неизбежного Твоя печаль И пальцы рук Неостывающих, И тихий звук Неунывающих Речей, И даль Твоих очей.
I like it in someways but in others not so much. It is rather slow and, therefore, tends to a bit schmaltzie ..... if one thinks of Rachmaninov's playing of this work, which tends to be matter of fact and icy in tone like quicksilver.... I think only Horowitz and Argerich seem to capture it.
