It took me a few listens to appreciate Scriabin's majestic preludes, and boy oh boy have I fallen deep in love with them now. Your interpretation of this wonderful set is exquisite!
A very lyrical, romantic interpretation of Scriabin's Preludes, Op. 11, with excellent phrasing, dynamics and tonalities. I don't think I've ever heard this set played better. Bravissimo Sergey Kuznetsov!
I studied at Gnessin and have heard all the 'greats' but I have never heard such a good pianist as this Sergei Kuznetsov. If you like this, check out also his version of Schubert's f min fantasia for single pianist.
I'll never forget the day I first heard the music of Scriabin.....the Sonata #5 played in concert by Horowitz.....changed my life....his music is an entire universe unto itself that I've enjoyed (and continue to )exploring. these preludes are exquisite little gems, and they sparkle in your hands....Bravo. By the way, your reading of the nocturne for the left hand was exquisitely nuanced and articulated..... look forward to hearing more Scriabin from you!!!!
Changed mine....of course... Life of my familly... You know... We were like Italians on table... The same... Lunch... Everyone speaking etc... I was a baby girl.... My Father showed me where to 'press play'... Soo..we
Wonderful Pianist.....Great Control.....I was fortunate to have been a friend of Vladimir Horowitz, and I can tell you that he would greatly have admired your Playing ! 👑👑👑👑
You Are Very Welcome....I got to play for Mr Horowitz at his home on 94th Street in Manhattan Several times . I often took walks with him and always asked him many questions about Pianists and Composers. His answers would surprise many ! He was not a fan of Hoffmann at all ! But of course his idol was Rachmaninoff. Although he told me that Rachmaninoff almost never was satisfied with his own performances and even more so about other Pianists of that era . I have a collection of over 20 years of Letters and Correspondence with Mr. Horowitz.……About one year After his passing i got a call from his Secretary that he saved and included all of MY Correspondence with him in The Vladimir Horowitz Archives In Yale University. I was flabbergasted...it is the Greatest honor of my life when I found myself listed there !……. During my years at Juilliard when I received my Masters Degree in 1977 …I was tremendously inspired by knowing hm in person . I’ve been thinking of Concertizing again but I’m getting a bit old now and I don’t think I have the physical strength anymore. Keep working hard...you have tremendous potential. Try to get Pianos that are Voiced well...this one that you are playing has hammers that are a bit too hard . Horowitz was fanatical about perfect Hammers...I flipped when I first played Horowitz’s own Steinway “ D” !!!…I was 22 Years Old then . The Bass snarled like a Lion !……… Best Wishes, Alan Bash
@@thelonearchitect From the pianist's POV - perhaps this will help you find its greatness. First of all it's in B-major which sets the pianist a little on edge from the very start, as the D-sharp is rarely a beautiful note on most pianos. The chords do not have the normal bass notes, the chords are inverted, so there's that little element. And there is this crazy big E-major dominant 7th chord that comes out of the blue mid-way through and the pianist must deal with that blaring "vanilla" tonality. And then the ending is marked pianissimo to triple pianissimo and the cloudy surrealism continues - Together all three sections deliver a benchmark work from a very young Scriabin to announce his unique sound - a journey into the mysteries of jazz tonalities that are way ahead of their time. Care to listen again?
You have mastered the art of giving life to the music of this uncanny soul.....number 21 made me think about the 64 th sonnet of W. Shakespeare. No other music I find more suitable for it....no other words are more suitable for this piéce. Splendid !
These are incredibility beautiful preludes.I played some of them and they really relax me.Thanks for sharing your playing with us.Most beautifully played.
Нежно, мощно и с чувством. Браво. Правда, мне показалось, что №1 сыграно немного "торопливо". в №7 сильно выделили аккорды в левой руке перед фортисиммо, такого не замечал у других. Прозвучало интересно.
In any case, the best pianists in the world have been Russians, except Arrau, Benedetti, Cortot and a few others, (I know what I'm talking about, I studied piano at the Paris Conservatory when I was a teenager, but I ended up being an engineer), for interpret a Russian composer very well, you have to be Russian and not Chinese, they do not understand musical heritage, nor the spirit behind Western music, although they try, you have a great heritage, I think you will go very far. Best regards
And Chopin's preludes are a copy of Bach's Das Wohltemperiertes Klavier, more or less. :-) But the differences between these works are more interesting.
Спасибо! Очень понравилось! Сергей, а можно вам небольшой технический вопрос от любителя: вот в 19 прелюдии , в единственном такте, где играется трель (где фа- малый мажорный септаккорд с пониженной квинтой F7 5- условно ) нужно ли в правой руке, где на первой доле берется ля-бекар ми-бемоль и ля бекар в аккорде при переходе на трель держать ля-бекар и ми-бемоль, а трель играть 4 и 5 пальцами или весь такт можно на правой педали сыграть и после первой доли в правой руке играть только трель теми пальцами, которыми удобно?
Здравствуйте! Спасибо! Насчет вашего вопроса - во-первых, две нижних ноты в правой руке записаны как четверть, тогда как верхний ля бекар с трелью - как половинка, то есть это уже намёк, что нижние не нужно держать всю дорогу. Во-вторых, первая нота баса, относящаяся к этой гармонии, является затактовой 16-й, от которой начинается длинная лига на 10 нот. Такими лигами Скрябин часто обозначал объединяющие, цельные движения рук, логически выражающие какую-то одну мысль или слово. Здесь этот приём указывает в том числе на педаль. То есть почти всю прелюдию педаль может браться почти на весь такт из затакта. Следовательно, держать что-либо пальцами в правой руке долго, без расчёта на длинную педаль, не нужно, это вызывает перенапряжение в руке и противно скрябинскому пианизму.
@@sergeypiano Спасибо Огромное Сергей за столь развернутое объяснение - очень помогли прояснить ситуацию. А если не сложно, скажите пожалуйста вот в 11 прелюдии того же опуса в партию аккомпанимента, записанную в басовом ключе, нужно исполнять целиком левой рукой или же все же некоторые ноты можно поручить правой руке, ну например в первом периоде данной прелюдии ноту си первой октавы (при исполнении арпеджио ми минорного трезвучия)? И как мне кажется есть еще несколько мест, где можно ноты партии аккомпанимента исполнить правой рукой или тут заранее предписанной аппликатуры нет и каждый исполнитель сам волен выбирать тот или иной вариант?
@@СеменБлэкморбаев Вы знаете, конкретно здесь я, кажется, играю как написано, т.е. левой рукой то, что написано на нижнем нотоносце. Хотя в принципе у Скрябина бывают моменты, когда переложение из руки в руку можно сделать вполне безболезненно. Но именно в Скрябине этот вопрос вообще-то важнее, чем у большинства других композиторов. Т.к. Скрябин был сам гениальным пианистом, он прекрасно чувствовал, что лучше поручить какой руке, и в своих нотах обычно очень чётко показывал, что к какой руке относится. И то, что кажется неудобным, на самом деле может, через ощущение пластики больших гибких движений рук, напротив, помогать понять дух играемой музыки и замыслы автора. Например, первые две октавы в 3 сонате довольно неудобны для игры одной рукой, но Скрябин настаивал именно на таком исполнении, чтобы сохранялось ощущение риска, опасности. Так что делать перекладывания у Скрябина можно, но осторожно, если вы хорошо понимаете, почему вы это делаете и почему у автора иначе: какого эффекта он хотел достигнуть и, стало быть, какой эффект надо преследовать, даже играя другой аппликатурой.
Hi, I am using one of your recording of the first prelude for a pianist video I am making. I hope you do not take offense to this... Just thought I would let you know, it will be to give you more exposure.
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