Live performance in Reims on July 4, 2017 as part of Flâneries Musicales de Reims Kerson Leong, violin Christia Hudziy, piano Facebook: / kersonleong Instagram: / kersonleong Twitter: / kersonleong Website: www.kersonleong.com
It felt like a ploy, getting serenaded at first and without realizing falling into his hands. It slowly comes to you around 9:20 and then it hits you at like 10:20-ish Towards the last third or so I truly felt powerless and like I couldn't move. That I was being taunted by the devil, and then slowly getting closer and closer to the deliverance of death.....it was amazing wow
Enfin un violoniste qui ne met pas en avant la performance technique (pourtant bien là, et d'une finesse d'exécution... !) mais l'émotion et la dramaturgie de cette sonate si belle... Merci à Kerson Leong et à Christia Hudsiy, pour cet accord parfait...
It's awesome isn't it?! :O Many hours of practice and a tiny dash of good luck when playing live on stage. Maybe he heard a slight brush of the bow, but we didn't! So clean and lightning quick....
If you’re wondering, you can achieve that by very little bow weight, very fast bow speed, and lots of practice to not make it sound during the quick retake. 😄😄 im still working on that myself
A violin bow has a given weight. The production of continuous and clean tone upon a violin is dependent on several factors. The pressure the bow exerts upon the strings, the speed at which the bow is drawn, and the angle of the bow in relation to the string (along the 2D plane of the string -- we are not talking about tilting the bow here) all are important factors in tone production. While bow-angle is a complicated subject, suffice it to say here that a straight bow (+ - 10 degrees) is necessary to produce a clean tone. On top of this, the other two factors are thusly related: if the downwards pressure is p and the speed is s, we may describe a rough equation of p=s. This equation applies only within certain limits--an extremely fast bow under great pressure will fail to produce an even tone, while an extremely slow bow with extremely light pressure will produce no sound whatsoever. (Curiously, if we can say that the first equation works in moderate circumstances, while nothing works with extreme variables, we can also say one more thing: in the case that the strength of one variable is "very strong" or "very weak", this equation applies: p=-s. So, if you draw VERY fast (but not extremely fast), you should play with light pressure to produce the ideal tone; while if you play with VERY strong pressure (though not extremely strong), you should draw slowly. For the latter case (which is rarely discussed in the technical literature), one should tilt the bow towards oneself and play VERY CLOSE TO THE BRIDGE in order to produce a good tone.) However, all violinists might agree that those two scenarios are preferable to the other two options of extremes: extremely slow with extremely high pressure (pure coughing and grating) and extremely fast with no pressure (no sound). It is by the virtue of the equations p=s and p=-s (applied in their respective domains), with the help of tilting the bow a bit more this way or that way, that any volume of tone may be produced on the violin for a period of about seven seconds per bow-length. This, if you will, is the great secret of tone-production--how great technicians seem to will any quantity and quality of sound out of their ethereal wand of a bow. While the production of tone thus relies upon the equation p=s, if you want to do a soundless retake without lifting the bow, we can try to purposefully fail the equation so that we do not produce tone. Since using an extremely slow bow with high pressure (p>s) produces noise, the preferable option is to use high speed with no pressure (p
Perhaps the most sensitive musicality and beauty yet are revealed in this rendition of the fiendishingly difficult Devil's Trill Sonata. I stopped breathing in the cadenza. Bravo, bravissimo, bravissimo Mr Leong, and THANK YOU, thank you sooo much.
The most musically sensitive and impressive playing of this piece that I've heard. (I've never heard it played with a greater infusion of not only beauty as far as tone-quality but also quantity of interesting and perfectly tasteful musical ingredients.)
I just discovered this entrancing Tartini piece a few months ago, and I gotta say, this is the best rendition of it I have heard thus far. Both musicians here play with such intense precision and sensitivity. I can't help but wonder if they might be concerned about the possibility of a hellish smiting by the fallen one, should either player have an accidental misstep. This sonata truly astounds me. Well done. Bravo.
You are probably my favorite violinist of today’s world. Impeccable technique with very carefully worked out interpretations. Talent paired with a lot of dedication and hard work. I would love to see you playing chamber music with Jonathan Roozeman!! A pianist equally superb I have not found yet..
Excuse me. HOW ON EARTH? How- who can do this with an instrument??? Holy- I have to keep replaying to mildly finish processing what my eyes just saw and my ears just heard. Just... Breathtaking.
I've discovered this piece recently, and I've been looking around RU-vid. I love your interpretation so so so much. It feels like you didn't just played it mechanically, but put your soul into it. Beautiful!
Wonderful performance, Kerson! Thank you so much for posting this. Btw, really interesting insights you shared with us and Nathan Cole a couple weeks ago!
Hahaha i know you through a video on instagram of u playing a french baroque piece for 2 violins, now i found you on youtube playing my all time favorite piece. Great job man! I'm a guitarist but my dream is being able to play this piece one day, whether they say it's too late to learn the violin or not :D
Hermosa melodia , siempre la escucho pero la manera de como vuelas con ella te hace sentir como si estuvieras fuera de este mundo. Quiza la que toco el diablo hasta la vida te quitaba .
Hi, Kerson , I've been following you for a long time. You're the best violinist in recent years. We are in New York and we have owned our music conservatory, hope can invite you to come!
The beginning sounds like his lament about his fall from heaven down to earth before he suddenly remembered he was being challenged /tested on his skill at 4:03, I wish I could have heard the real version
Керсон, вы сыграли во славу Бога Живого и Господа нашего Спасителя Иисуса Христа, потому, что во истину всё прекрасное от Него, Им и к Нему, поэтому успехов вам и вашему концертмейстеру Кристине Дюваль!
He played it more than 10000 times until he was able to perform it this way. We violin players most often don't use sheets in solo concerts to focus on feelings and performance details. We close our eyes and we feel music the right way. memorizing is not a big deal since not your brain who remembers, but your fingers. We never think about it actually fingers move by themselves. By the way thank you KersonLeong great performance... :)
I don't get why classical musicians/listeners are amazed by memorizing a piece. If you look at classic rock for example. Guitarists memorize a 2 hour concert while being drunk and drugged up... There's seriously nothing special about it.
@@ciri151 Because classical music more complex both technically and musically. I can improvise easily as long as I want to, not hard to do that in a rock concert.
@@ciri151 We learn every scale and the related variations as classical musicians. The "riffs" are based on those scales and the different combination are in my fingers.
Nah tartini didn't actually write down what the devil played in his dream but he wrote what he could remember, it's more of a tribute to what the devil played for him
