Diese 2 Holländer sind zur Zeit die besten Pianisten von Europa . Auserdem sind sie sehr hübsch u. sehr symphatisch . Zwei tolle Jungs ,ich freue mich über jedes Video von ihnen . 🇳🇱 🌿 🌷 🌿 🇳🇱
"Nejlepší" je velmi relativní pojem. Podle jakých měřítek? To, co je nejlepší, může každý člověk vnímat jinak. Jsou opravdu úžasní - ale například pro mě je nejlepší klavíristkou Alexandra Dovgan (velmi mladá). A hned za ní Alexander Malofejev.
In the words of another commentator below, "I am totally in love with the Jussen brothers!" But more than that, I hold in reverence their consummate, mature artistry.
Encore plus expressif que l'original ! Merci Lucas et Arthur pour le parfait bonheur musical que l'on éprouve à vous entendre. Un enchantement que Bach aurait adoré ....
Love the playing. They are preternaturally attuned to each other. Hate that some video editor has taken away my ability to focus on what I want to see with a montage of oh-so-artistic closeups. I'd do a split screen with the keyboard shot from above across the bottom third of the screen and their two faces shot through the upraised piano lid on the upper two thirds of the screen.
With all due respect and admiration for the enormous artistic achievement of the two brothers: are those the pathetic, detached head and body rotations common among outstanding keyboard artists, or is it just a consciously employed element of self-expression?
You aren’t very nice are you? If you need it explaining, all musicians move with the music they are playing. Watch almost any other musician on earth, you will find facial expression and movement as the music influences them. Don’t be so rude and unpleasant next ime you feel a comment coming on.
One reason they play so incredibly well together, with impeccable timing and flawless ensemble playing is that they have developed a non-verbal communication that keeps them in sync. Their 'pathetic' head and body rotations are simply communication to each other where the music is going. If you watch them play solo, there isn't any of that, because it isn't necessary. Together, it is necessary, for them, and it works.
Heel mooi gespeeld, mooie toon, heldere lijnen, goed samenspel. Maar deze schaapjes moeten wel rennen voor hun gras. De tekst van de cantate suggereert een rustig tafereeltje. Dat komt er nu niet echt uit.
I see that for a few of the commenters, these performers' appearance is distracting. One of them thinks there's too much focus on their hair and not enough on everything "tonal." Another decries their pathetic detached head and body rotations. A third suggests that if they're going to emote in such a fashion, they might as well perform in costumes that rival Yuja Wang's revealing outfits. But if these commenters are disappointed with this video because they think production values are skewed in favor of appearance over content, they should make their case. What would more focus on things "tonal" look like? I don't think these young men would play the piano better if they sat up straight and never deviated from that posture. A performer's appearance or show of emotion doesn't take time away or detract from production values. I think what it comes down to is, these commenters are disturbed by the performers' disregard for what was once considered a sense of propriety. There was a time when television cameras would not show Elvis below the waste. His hip-swiveling was not ready for prime time. Personally, I wish Ms. Wang would cover herself. But if she appeared naked, I'd still be thrilled and grateful for her performance. It's sad to be uncomfortable in the presence of heartfelt emotion in a musical performance. I wonder what causes that. But I know what these commenters mean. Many prefer earlier times when performers didn't show their feelings. There's a noticeable difference between then and now probably because it was considered more sophisticated then to project an aura of serenity like Rubinstein. I think performers deliberately tried not to show emotion because it was a custom of the times. One that I hope we never go back to. In my view, Horowitz was the preeminent pianist of his day. I don't mind that he and many of his contemporaries didn't show their feelings when they played. I wouldn't have minded if they did. But any of them who would have shown emotion but didn't because they feared criticism or even ridicule, missed out on a freedom that I think might actually have improved the quality of the performances they produced. I'm guessing that Horowitz showed no emotion because he didn't need to. It wasn't natural to him. Or it was trained out of him. Sultanov said it was his experience that the objective of Russian piano teachers was to produce a pseudo warrior culture among their students. I imagine this meant that pounding on the keyboard and bouncing on the bench were encouraged, but no unmanly bodily contortions or strained facial expressions were allowed. I can't imagine that Horowitz's performances could have been any more exciting than they were. But I don't think his thoughtful demeanor while performing should be the standard to which all others should aspire. Playing a musical instrument is a physical accomplishment. Imposing a constraint like not being able to show emotion interferes. The instructions on a printed page of music will often say "with feeling." I think these two young men look natural when they play. It shouldn't surprise anyone to see performers show their feelings. Why would anyone play with feeling and try not to let it show? Without emotion, playing the piano is just getting the notes. We all want a nuanced performance, and feeling is required. Having to play without showing any feeling seems like an oddly self-defeating requirement. I suppose I should confess that some of the faces other pianists make when they perform make me want to turn away. But I'll gladly put up with whatever they need to do to get the result they're after on the keyboard. My being uncomfortable with the way they look while they're doing it is my problem. I'd be reluctant to suggest that showing emotion is a bad thing and we ought to go back to earlier times when it was discouraged just because I sometimes react unfavorably to it. I think it's important to be aware that our reactions can mislead us. Simply having a bad feeling about something isn't a sufficient indictment. After all, some people with light skin have a bad feeling about people with dark skin. And we've seen where that leads. I don't think anyone who plays the piano these days worries about showing emotion. In spite of my own occasional problems with it, I think that's a good thing.
If their body movements and/or facial expression bother you, you don't have to watch. You can just listen. Personally, I find their motions, both body and face, genuine and authentic and enjoy them. What top musicians these Jussen brothers are!
@@gwenmckeithen614 George Damon 1 second ago When I said that some of the faces pianists make when they perform make me want to turn away, I wondered if anyone would take that as a criticism of the Jussen brothers. I didn't intend it to be, so I thought no one would. But you did, so others probably did too. But no. When I said, "I think these two young men look natural when they play," that was my only comment on how they present themselves. It's the faces of other pianists when they perform that sometimes make me want to turn away. But I still prefer to watch a performer rather than listen only. No matter what they do. I'm sorry to have misled you. And I certainly share your enthusiasm for the brothers' performances. Also, thanks for prompting me to make a correction. I added "other" in the first sentence of the last paragraph. 'I suppose I should confess that some of the faces 'other' pianists make when they perform make me want to turn away."
Nope, sorry. Too much focus on their hair and not enough on... basically everything tonal. Packaging in classical music is of little consequence. As it should be.
