I don't know how to play the piano but I have listened to the greatest performers with great enjoyment for years and for what it's worth in my opinion this is among the best performances. I'd say it's best if more recent Horowitz recordings were available than are available today. Indeed, I take this opportunity to ask if anyone is kind enough to point out someone in which the microphone is not installed in the cellar. Thanks in advance 🙏 Traduced by Google translate 🥴
Creativity allows better versions. Always listening for new interpretations. Don't pay any attention to those who critique. We don't want the same old versions. Well done.
I don’t play this piece. I can’t play this piece. I’ve heard it for years, and I love it. That being said, I’m not going to criticize the nitpicky details like some people are doing. People nowadays are accustomed to recordings that have been spliced and edited from one end to the other. No need to criticize any notes you might have missed. This appears to me to have been done in one take. As a collector of 78 RPM records by early 20th century pianists (one of them being Horowitz’s recording of this, another being two or three performances by the Sousa Band) records in those days were released with a reasonable amount of wrong notes because editing was not possible. (Piano rolls could be edited, but they had less of the “human element”.). As for any criticisms of staccatos that you should have played legato or legatos that you should have played staccato, some of these “people who know everything about everything” evidently don’t know that Horowitz didn’t have a definitive written-down version of the score. This is more apparent in his Carmen Variations, but there is no Horowitz authorized printed version of that score either. What people play nowadays is a score with the editorial markings of whoever wrote it out by ear. As for the complaint about the loudness of the piccolo solo, anybody with a set of ears refers to this section as “the piccolo solo”, not the “recap of the trio”. So there. The ear also thinks it heard that familiar melody anyway. Transcriber’s trick. If you sit down with the score of the piano transcription of Stravinsky‘s Rite of Spring (either Leyetchkiss or Raphling) There are sections where the transcriber left out notes of the theme. A solo pianist can’t play them all. But with pedal and good “style”, we think we heard them because we’ve heard the original orchestral version for years. I have no criticism or complaint with what you’ve done here. I am most impressed with your work. Bravo!! My criticism is for these people - these armchair critics - who dare to compare your video to Horowitz’s performance, or their own expectations, WHEN I’M SURE THAT A VAST MAJORITY OF THEM CAN’T EVEN GET THROUGH THIS PIECE.
What other renditions have you heard? This is the Horowitz version that is well-played. There are no other "renditions" that come close to the Horowitz version.
Quite an achievement. This has a more “saloon-style” quality which I enjoyed. I’ve been fascinated by this piece for ages, you make me want to take a crack at it myself.
Does anybody know this young man's name? As I read down through the comments, I see negative critiques. Everybody has their own interpretation. This happens to be this young man. The fact that he played this all by himself was quite amazing too. I have only heard this played duet style, so to see someone able to play it single-handed is a real fascination.
There's other videos of single pianists doing these pieces. People here critiquing are those that have nothing better to do and think theyre experts lol
@@jponz85 I agree with you. Some people cannot just enjoy the beautiful music. They have to criticize, because they are jealous that cannot do it themselves!
I am very impressed. I have heard this done many times, including 4 hands on 1 piano, 8 hands on 2 pianos and once of twice several pianists on multiple pianos. However I think this time it was done flawlessly. You make this look so EFFORTLESS, which I know it is not at all. I can only dream of playing a fraction as good as this. THANK YOU for giving us this "concert" for free no less!
I wish I had a piano like that! the acoustics are incredible. I learned this on trumpet recently for fun, because I love it. sounds great, my favorite march.
This was brilliantly executed- though lacking in the staccato in a few places. It is also worth noting that the piccalo part is counter melody - thus it shouldn't be brought out in such a way that tends to cover up the recapitulation of the principal melody.
On the contrary: I hear the piccalo part as a unique moment when the right hand is a star doing a variation for a while, the left hand a temporarily subordinated accompaniment that allows it to shine. That doesn't happen here. Both hands try to shout down the other.
After doing a bit of playing in those octaves its the weakness of the piano - the right part is up so high it has to practically be banged out and the left is so low that the soft touch creates a fair bit of resonence that makes mezzo dynamics a serious challenge to hand control.
The piece was executed with precision note playing .....HOWEVER, try to use the una corda pedal when introducing the high soprano "fife" sound. You'll be amazed at how much color will be added if you do. Don't press the una corda all the way down...just half way. Also, before you play the first chord of this piece, depress the damper pedal all the way down, then release the damper after playing the chord, this is called "wetting " the sound, giving the chord a more resonant, less metallic sonority. Finally, marches are written with a 2/2 tempo (usually) with the band members walking, not jogging. Enjoyed your performance!!
This is a remarkable performance technically. Very impressive to do this awkward piece with such ease. You now need to make it sound musically effortless, as Horowitz did. I never heard him perform it, although I was at his last two London concerts. The whole thing for him was totally effortless in creating this vast sound. And if you listen to the many pirate recordings of him playing this, he makes it sound so easy, and it flows perfectly
Technically well done ! But it feels like you go from the first bar to the last one without letting it breathe. It's not too fast ! It's too linear. Horowitz didn't have a better technique, he just used a wider range of dynamics (eventually different for both hands), and he understood the value of silences (even the quickest ones between some measures) in order for each note to express its meaning and not to follow one another till the end. For exemple : 0:05 the end of the introduction may need to be more marked before moving on 0:13 time for a quick silence 0:55 again 1:46 again
