fortunately music is an emotional experience, not a technical one. And Georgijs Osokins produces interpretations better than most. A delight to listen to
He may not be as fleet as some of the competitors but he has my vote for musicality and capturing the majestic quality and unique rhythmic subtlety in Chopin's music.
I would not say this is the greatest interpretation of Op.47 but I would say this is the more interesting and colorful interpretation of the piece. It is very convincing while Osokins is still there at Chopin. Very Chopin-feeling and still Osokins's own. He played this piece at the next Chopin competition , in 2021, as well but this version is better for my ears as this comes sound more wild and even sensational.
When I started getting back into piano again back in 2015, and discovered more classical music, Gerogijs Osokins performances were some of the first videos I saw, and was the first time I heard the Ballade in A flat. I could relate and connect with the piece in terms of my personal life and he played it with such authenticity. I only dreamed of being able to play it one day... Then I started learning it in 2020, and ended up perfoming it in a competition last year. I ended up winning, getting first prize, and that was the first time I cried happy tears, because it meant so much to me. So thank you for this video, and thank you Georgijs Osokins for such an amazing performance!
I notice three things. his coda in this year (2021) is slower than this. he has fewer insecurities when jumping, with a more constant tempo. technical errors are reduced. it is an evolution of interpretation.
a lot of Chopin's Composition needs left hand domination or the right hand (specially the left..) .. it belongs in the end to the composition, but here i feel he missed these things in this ballade and also somehow some parts of it had a little fast tempo
Le " facce" mentre si suona non sono un problema di controllo... non appaiono in esterno se il brano è veramente sentito " dentro" mentre si suona. oggi si tende troppo a guardare al dato esterno in musica... Per giungere agli altri bisogna innanzitutto conoscere approfonditamente il pezzo che si suona e sentirlo intensamente dentro, non fuori. musicista e attore sono 2 professioni diverse, malgrado le attinenze.
Comparison is an evil condition in music- A persons conception is what it is, one likes it or not. keyboard manners count. I find making faces off putting
I have not listened once to Hamelin's interpretations since he was prize winner in 2015 in Warsaw. quiet boring. Osokins adds such specific lively character and personal swing to Chopin's music, it gives this extra dimension, i always hope to hear, to those pieces we all know so well and have heard hundreds of times.
Technically quite nice, but I had the feeling that he never completely released the sustain pedal; perhaps it was a piano that he wasn't familiar with, or on which he hadn't rehearsed enough. The performance lacks the crispness and clarity one should hear in Chopin. Compare it to the Rubinstein recording, or even Zimerman (if you can overlook the whining political skreeds that usually accompany his performances...yawn)
@@henrycash7725 I think the same about the sustain pedal, but I don't think it's due to the piano, but to the speeds it applies. look at the coda personally the best ballad op. 47 is from Cimerman.
There was a lot of mismatch in left and right hand coordination - the right hand would play just after the left hand or vice versa. This can be interpretative but the amount of mismatch was jarring and annoying.
It's funny that you wrote. You probably had a bad mood when you listened to this performance. His performance of this ballad is one of the most interesting in the history of the Chopin’s Competition.
