Pieces such as this are so beautiful and for someone to express this emotion, in my opinion, as well as this, truely are unbelievable..... it just makes you remember how incredible Franz Lisz was to actually compose something which, without a doubt, touches everyones hearts
I never heard such a deep interpretation! From 1:30 min, he starts a great emotional crescendo where I can hear an ardent soft voice exactly with the initial D sharp . What to say about 3:01 min, ? A nostalgic moment, not too soft as most pianista play, but still with beautiful and profound cantabile.
this is seriously the best i have ever heard this beautiful piece played - percfect feel for the melody, and GREAT timing + dynamics ... as i listened to this, time just stopped for me, then time fast forwarded as the piece finished ... fantastic :D well done you :):)
Emotion wise yes this brings a whole different performance which I enjoyed. But the errors really doesn’t seem befit the best version. Without errors could be your best version(and would be even better). For mine imo is Arthur rubeinsteins. Truly phenomenal and imo the best version of liebestraum
To describe the feelings drawn out by Mr. Kissin from this one piece: passionate, sensual, delicate, and tender. Truly a "love dream," and Liszt must be applauding!
@@kyroh-bf2tf Do you actually play the actual piano? It is very physically challenging. I believe that some pieces can really only be properly played by a man, or a woman with a very pronounced upper body strength. Liebestraume I could manage in my youth but Polonaise Heroique was a real punishment; my neck, arms, hands & shoulders would hurt after practice. I had to practice the sections separately & rarely played its entirety in one go. I've heard it played by female pianists but I never was ad impressed as when Horowitz & Rubenstein played it.
@@cynthiagonzalez658 It is not physically demanding people act as if the piano is a full workout you dont need ANY upper body strength to play the piano. it is all about your technique
@@kyroh-bf2tf The techniques demand strength. Have you actually played Polonaise in Aflat major? Have you seen how Rubenstein plays it? How his left hand pounds down in keys from three feet up & he almost stands up on the fortissimo parts? Boy, I think you're playing chopsticks only.
@@cynthiagonzalez658 And yet nobody plays the way Rubinstein does in that piece. If you understand how to use the weight of your entire body then strength is much less of an important factor. When you play completely loose, the strength is from momentum and weight and not brute strength. Of course sections here and there are the exception but someone with good skill can bypass most of their strength limitations.
just finished watching the video of his concert in Tokyo, 1991, and he was much younger then. His interpretation then was already very nice, but a little bit shallow and technique-showing compared to his interpretation now. It is amazing to see how a great pianist grows and changes over time.
@SKAndland, You're totally right. One cannot account for petty little mistakes when someone plays with all their heart and soul. It doesn't change the fact that he really makes the instrument sing.
This is the best I've heard Kissen play in terms of feeling and expression. While he has always had an impressive command of the piano, I've always thought that finding the best interpretation has eluded him.
Just wanted to say I think that the company that keeps making people take down this video are completely, utterly stupid. Its BECAUSE of this video that I might actually go out and buy something recorded by this artist. DUH! KEUDER, thanks for posting! Lovely recording; this definitely proves that a "mistake" is most certainly tolerable, because of the overall interpretation and playing. Just magnificent.
I'm sure different composers had their own unique method of composing, but many styles of composition (fugue, sonata, symphony, etc.) have a form that almost everyone follows. Many of the greats shook things up by 'breaking the rules' but this was rare because an audience went to the theater expecting to be able to follow along with the music. For example, if something is in sonata allegro form you expect to hear two themes connected by a transition followed by the development etc...
