Yuncham lim for me. Although he using a different fingering resulting in a slur during Mazeppa's ride than the intended gallop. Other than that it's perfection
@Jim Davis and Trevor Hderson I will make it clear to then buddy. What's the problem with you? You seem like the type of person that gets into fights because they can't resolve anything verbally. Just enjoy his piano playing and "shut up". It's ok, u no understand mi anyway.
Very impressive performance. The fast tempo is a real challenge, at the high expected level from the competition. And knowing that any mistake is a serious thing in competitions, the choice of the piece plus the tempo chosen makes it much more incredible. Unfortunately, sometimes the student/challenger interpretation is much more relevant than the one of many reknowned pianists, because of the importance of the moment for him. This is an example of something that deserves a standing ovation, but since this is a competition, the jury has to make it seems you can do better than that...
Yeah, the Tchaikovsky competition is not like some composer specific competitions (Chopin competition for example). In the Tchaikovsky competition you're actually required to play pieces by other composers. For example in the 2015 competition in one round every performer had to play at least one etude for each of the following composers: Liszt (Transcendental or Paganini etudes), Chopin, Rachmaninoff (Etudes Tableaux). The Transcendental etudes are a perfect way to show off technique of course :-)
I have a friend who's played this piece: now he's playing Feux follets, Islamey and Gaspard de la nuit at the same time. I don't understand how he doesn't have broken hands.
Technically, you say. Not everything in music is about how fast you can play. Secondly, they all use different techniques and have different difficulties. Feux follets is really harsh on your fourth and fifth fingers, and also is very hard to coordinate on the modified thalberg's trill. Islamey is more focused on leaps onto large chords quickly before readjusting to play the tune at the same time. Gaspard de la nuit is based on new, improvised techniques (chromatic major seconds in one hand) and jumping around the keyboard (as well as fast notes)
Easily the best interpretation of all! The dynamics and the pedalimg are superb and the mood and contrasts are exquisite.. beats all the performances I've ever heard, including mine
Yukio Yokoyama's is better, albeit a studio recording that no doubt took many attempts to fine-tune as perfectly as he did. As far as live performances go, this one certainly reigns supreme in that regard.
@@magik1283 I am one of the few people who dislike Cziffra's style, except for a few recordings. I consider myself to be kind of a Lisztian scholar and I truly believe that there's a reason why Liszt has a reputation of being an oversmashed piano destroying composer without any touch of lyricism. It's these old timers who let their virtuosity get in the way. Cziffra is brilliant in polonaise 1 and Valse Impromptu and can really find clarity in some textures where others produce only noise, but his delivery is often enough one or two levels of forte above what's written in the score. The old scratchy recordings certainly do not help to make a case for him. His goal was to play like he had 4 hands, above all else, even his peers admitted to that. I honestly think, even in the most macabresque of Liszt's pieces, one can find musicality and clarity, which is not what I find when I listen to Cziffra. But to each their own I guess :) I mean it's been 5 years since the comment, I now think Berezovsky's version is the superior one and I think of this one as being oversmashed :D. That's life I guess
@@Viflo I completely disagree. Cziffra is an old school styled player with high understanding of music over all and specially one of the greatests interpretators of Franz Liszt's music. His goal never was to act like he had 4 hands and he shows it in playing chopin when he never rushes his pieces. He has incredible amounts of creativity for example 1:08 in this ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-9xHBY-duRj4.html&ab_channel=MusikschuleLengerich video second variation the way he leads the thirds is almost nowhere else seen and this is what Liszts pupil Emil von Sauer pointed out in his edition of transcendental etudes. The reason he plays Liszt like this is that its the way its supposed to sound like. Watching his improvs shows how great pianist he was probably as high ranked as Liszt himself. You can actually see on his face and hear in his music the thankfulness for surviving deathcamps.
Yup. That's how I found out about this piece too. I swear to god its so amazing. If you haven't heard the symphonic poem version of this piece do so. That's one of the best classical pieces I've ever heard in my life and I only discovered it this week.
Yeah, he's awesome... I've also seen him playing 12 transcendent Liszt etudes and that was amazing cos it's not esay to play all of them at once, only a few pianists do that and he's one of them. I'm in love with this guy :)) (his talent actualy)
4:50 wow those hand leaps would kill me if i attempted this piece! talk about technical difficulty. But there is some beauty in this piece despite all the drama and fireworks, especially during the middle section where the main melody is mellow. It's very introspective and heroic.
