As many times I have listened to this magnificent piece, I have never heard it with as many melodies being dissected out of it as clearly as this. What a true master!
Что требует и просит душа Мастера, то неукоснительно выполняют его живые, чувственные пальцы! Это по - настоящему потрясающе!!! Спасибо за такую возможность почувствовать и насладиться настоящей МУЗЫКОЙ!!! НАСТОЯЩЕЙ ГЕНИАЛЬНОСТЬЮ КОМПОЗИТОРА И ПЕДАГОГА С БОЛЬШОЙ БУКВЫ!!! БРАВО... ДО СЛЕЗ....
Thank you so much for posting this! It's a privilege to be able to listen to a professor from Russian conservatory. Needless to say, his remarks are profound and create a precious scenario for the students who are going to study the piece.
It's so interesting that I find all his technical insights make perfect sense and are inspiring even though his interpretation on an emotional level is the complete opposite of the way I relate to the piece. This has always been a deeply romantic piece to me.
Agree. It's like a build up to calling for someone, and a passionate yearning to be together. It would be interesting to discover what was in Scriabin's mind when he composed it.
Yeah, I've heard of so many ways to interpret and feel this etude. Mine is actually more on the mystical, waves of the unknown. A bit in the line of his belate works
Когда встречаются гениальный педагог и гениальный ученик, способный слышать и понимать мастера, то получается Султанов, но это происходит крайне редко, к сожалению
@@AnoNym-fz9me For me, one possible solution or an expediency for me would be to play the top note very heavy and loud, while keeping pedal down as long as possible so that the sound effect are not too messed-up. In some sections, I think it's just impossible to do the finger holdings exactly as the original score writes.
The inner tenor pedal tones are offbeat and irregular. Takes some crazy hand-foot coordination. Same thing happens in Chopin Op 10 no 6 but it's much slower. It's like my tap dancing skills are inadequate.
от этого этюда, да ещё и с подобными комментариями, трудно не прослезиться... разве только перевод на английский подкачал, а так -- прекрасный ролик, огромное спасибо!
I'm studying now this piece and I think the main problem of this etude is quite clear: it's fucking hard to have a complete technical control of every note at that speed (it's should be faster than in the video as Scriabin wrote 84 = dotted crotchet which is crazy). If you still focused and worried to hit clearly every note you can't think about dynamics, rubato, strong bass and everything. And just when you think you really succeded in learning it...that's never enough!
Что за люди ставят дизлайки? 1)Либо сами двух нот сыграть не могут, просто из вредности, 2)либо могут преподавать значительно лучше. Скорее всего первое. На мой взгляд, очень вдохновенно, с большим душевным подъемом, профессионально в вопросах динамики, музыкальной формы и т.д. Незаметно время пролетело, и хотелось ещё)))
А я в нём чувствую сверх-вдохновенный порыв сумасшедшего.))Но никак не не боль... Удивительно, что у каждого могут быть настолько полностью противоположные образы.
Sometimes he says something interesting, but most of the time he`s just disarraging the student`s interpretation (95% of the teachers do the same). I guess when we criticize other musician, we must pay attention to the great line, how one part interact with each other and see if this makes sense. if we cut the piece, it becomes a frankenstein.
Most students IMITATE famous pianists' interpretations thinking their teachers will be in awe...but they can't possibly hear or know what an experienced teacher can.Look for a professional teacher with no ego.
@@veganworldorder9394 Because of the undercurrent of anguish at the beginning, the passionate and glorious war against despair throughout, and the merciful death at the end. How can the war against despair and inevitable death be glorious if there is no resurrection and reward? I think Trifonov's version is what convinced me of this.
