wow i heard this on The Most Beautiful Passage From Every Chopin Nocturne video and it made me cry, after listening to so many versions of this nocturne i didnt think any interpretation could still surprise me like that.
The most powerful performance of this work that I've ever heard. The subtle tenor voice that you occasionally bring out in the LH, the beautifully balanced harp-chords in the middle section, the sheer desperation of the reprise...it all brought a tear to my eye!
Yes Sir. He did a brilliant job in this performance. The doppio section was especially brilliant in that he did an outstanding job of keeping the variated (is that a word?😜) main theme clearly audible while also articulating the left hand triplets extremely well. I see you used this performance in your video on the Chopin nocturnes.
Hey you! You are lonely, don't you? You are probably here because you are alone, as only lonely people can listen to this type of pieces over and over again. I wish you the best and just want you to know that you are not alone. Sending virtual hugs 🫂
Dear Vadim.. Thank you for this gift of your talent for people in this world...What you are doing - it is the highest form of art, mantelpiece. So poor, so honest, so deep...You make some personalities be inspired again, to love again, to feel, to live, to dream....
The best, most sensible interpretation of the most heart-felt Chopin's nocturne. This videos is so underscored, probably because it requires life experience and knowledge of Chopin's biography to really appreciate it. The piano, the echo in that hall (I thought at first if was Kochneva's house on Fontanka 41, but it's in Bavaria apparently), the manner of playing, interpretation => magic. Congrats and thanks for this.
Absolutely unbelievable performance. Goosebumps...First of all is it the best performance of this work I've ever heard. Secondly, please please never change the way you play. Most colleque famous pianists like you do all this dramatic theatral things with their hands, bodies and with their head. It is like an insult to the piano, they make themselves more important than the piano. Thank God you don't do that! You honor the piano by the way you play the piano. The piano and you are one, if that makes sense. PURE ART. You are a LEGEND
I just discovered your Chanel. Usually, I only listen to Rubistein's interpretation for the Nocturne Op 48 No 1, but I think I've never heard such a magnificent playing than yours, it became my favourite one. Just incredible, thank you so much
An intelligent and sensitive performance. Impossible to forget once heard. I felt a sense of your deep love for, and connection with, the music of Chopin, kept sternly under control because to bare more of one's soul is painful. Thank you for sharing your artistry.
Here I am again this morning listening to this, one year later. I have been working on this piece for 2 months now, (I’m by the ending of section 2 transitioning to last section) and out of all the interpretations I have been watching for inspiration THIS one is still the BEST. Not rushed and has the most contrast. Vadim you are a MASTER of contrast. You are my muse not to mention you are absolutely stunning!🥰💛🥇🏆
I’m inlove with how you play this piece! @5:52 Powerful ‘ff’ hit. The ending sounds EPIC. I can’t stop listening to this. You were so clear on the 3 vs 4 rhythms at the end which are very complex! Vadim you are amazing. I am truly impressed. Congratulations on your talent and hours of dedication.
Hi Vadim, just so you know I started learning this nocturne because of your recording lmao. Using your interpretation as a starting base but will modify it based on my own musical tastes. Amazing performance, IMO it’s the best recording of Op48 no1 out there rivaling and perhaps even surpassing Ashkenazy
sounds very excellent specially upper sound is so clear and beautiful your hand shape and fingers are suitable for playing the piano thank you for uploading my favorite piece
one of the most original and incredible interpretation I've ever heard of that Nocturne ! At some point it reminded me Samson François' way of playing !! Congrats !
very very good interpretation, i loved the way how you "pushed" the first note with your middle finger on your right arm:), no teacher in this world would ever tell you to do so, which tells me there is some good self-reflection behind this interpretation, i am far off being able to play this piece, but from my observation the middle part seems to be the most difficult, personally i probably would have seen the middle part a little bit more agressive, because for me it is the "tearing apart" side on a personal level (dealing with inner conflicts, struggle),so the contrast could be more visible, but nonetheless you seem to be a top notch chopin player of our time, and i believe this does not only apply to chopin, thank you for this one !
It's interesting though that Chopin himself marked the second half "sotto voce", and e.g. the wikipedia article about "sotto voce" says this: "In music, sotto voce ('"under the voice"') is a dramatic lowering of the vocal or instrumental volume - not necessarily pianissimo, but a definitely hushed tonal quality. Examples of sotto voce include ... The second part of Chopin's Nocturne in C minor, Op 48 No 1, which is marked sotto voce e sostenuto; this is used to "hold back the drama and keep us in suspense".
@@аолровкре doppio movimento: agitato at least the sheet tells me, you can look the translation up for yourself, but i can´t see a "sotto voce" instruction written here
@@Marcel-Saal indeed. But he also wrote "pp" near agitato, and after 2 crescendi that follow much later he wants us to reach only one f and then two ff at the very end. In my view he wanted this to be very restrained and intense rather than some kind of bombastic drama a la Liszt. But I am not a musician myself only a hobby pianist :D
@@аолровкре i don´t like the Liszt style either, i would play it more like (if i could) a little rebellion, imagine you want to be close to a woman (for example), but it is impossible (of whatever reason), it tears you apart, in this kind of emotion
This for me is how the piece should be played, you can tell from the opening few bars that the the slower tempo really works to emphasise the emotions here
Bravo to you sir - I've watched Es Bahn's compilation 'Who played Chopin's GREATEST musical moment the best? (Nocturne op. 48 no. 1, "doppio movimento")' and you beat all of the musicians by a mile
My favorite interpretation. Even surpasses the mighty Seong Jin Cho. While his interpretation is great, this moves me far more. I much prefer the slower, agonizing almost, beginning. I love how it all slowly develops into the powerful ending section. I had no idea this piece could be so beautiful until I heard your interpretation-well done. This is very underrated and you deserve far more recognition.
Mr. Chaimovich, I have a deep color and shape association with each note. Surprisingly, (or maybe not so surprisingly) it follows the natural rainbow spectrum, beginning with middle C as red. Higher octavos become pastels, and lower octaves become darker, crimson red tones. My findings (or at the very least my beliefs) are that C, as reddish in tone (warm, flesh, weighty), generates the most personal key; The blood in the veins, but, also of the heart; Like Valentine's Day. And, historically, it is quite obvious that love songs constantly get written in C major. My analysis of C-minor (or any minor key) is the difficult part to me. Certainly, we know that C-minor is harmonically depended on it's Relative-Major, E-flat major (a golden yellow. Almost a full triangle, but more like a megaphone shape to me!). // To put it bluntly, I feel that C minor is the key of desire. Even carnal desires, like lust and greed. The element of red as minor key TURNES love into lust. The secret to C-minor (and this is the hard part for me to say objectively) is that if E-flat major is an awakening, an opening of the eyes to conscious awareness, then the reactive C-minor is the dark, inner-workings of awareness and vision itself. I have thus, explained C-minor to it's E-flat major. The final parade: E-flat MINOR...is giving in to the desire...or to lust. And, of course that is al dependent of F#. Green. Thank you much for bringing your work to us. Your, _Acoustic Rabbit Hole_
I heard this recording 5 month ago in this best of ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Jn09UdSb3aA.html and I listened to it every day since I heard it. I don’t like to compare pianists to each other but for me your performance is by far the best one in history, every note made me feel something special, and the doppio movement was the most clear and impactful I heard. I will still listen to it every day for the rest of my life. You are really special
If I remember correctly, it was done with 2 pairs of Neumann condenser mics, KM 184 and TLM 103, but don't remember the exact placement, unfortunately.
Chopin on the phone to Fontana: "I just composed a new Norturne for you to publish for me". Fontana: "Okay, but it is any good"? Chopin: "I guess it's okay, I don't know"
