Vladimir Ashkenazy: Chopin - Etude Op. 10, No. 1 

Same!

The a minor run, yep

Yes just melting in my heart

I agree. I inspired me to do same with my op25 no11 winterwind etude after the halfway mark!

Janina Fialkowska even moreso...! Tremendous clarity throughout both opuses!

What do you mean ? If you know you're gonna play it, you will have it well worked out

@@cultofscriabin9547 it's actually not that easy when we're talking about pieces of this caliber. I'm sure he was practicing it for years, but he himself admitted that he played it better than he expected and probably couldn't repeat such high-quality live performance ever again. This study is an incredibly difficult piece which is a nightmare to play live, even if you practice it the whole life. Too many distracting factors

@@yusouph2002 I understand, but why did the initial comment mention that it was an encore ? Regardless of whether or not you play it with the normal program or as an encore, it won't change the difficulty

@@cultofscriabin9547 because the encores are played after a long program, and hands usually get tired by that time. That's why it's extra hard

are you that stupid? he played this after he finished his actual program, yet it sounds so extremely well played, that's the point of his saying it was an encore

Tim O'donnell can i please get the link when he says this

Wouldn't doubt that, this etude is very very difficult to perform and this performance was simply amazing.

@Tim O: Can you elaborate a bit? Did he say or mean that he wouldn't likely be *able* to perform it live this way, or that he wouldn't likely *attempt* to perform it live this way? Fred

Perfect Public execution

Horowitz wouldn't play it in public because he said it was too difficult.

Both Liszt and Chopin are the antithesis of boring.

Unfortunately whatever challenges the listener more than repeating I-V-vi-IV 50 times in 3 minutes is deemed too complex to be listened to these days.

Yeah, Me too, but I know why, and you can't convince them otherwise. Too, too much of The Rolling stones and Led Zeppelin. Who, by the way, can't sing a taste. What's all the gushing about on these guys?? They write a couple of tunes, and that guy who wrote some Rounds in a song that he just had to include a reference to Mozart. Actually a point his own way, his brilliance. LOL. Its Spiritual arrival; Classical music that is. Nothing boring here.

@Reiza: And Blues?? I can maybe understand why people might love it; there is an aspect of Art to it, in its place. But, MY GOD!! How many times can you listen to that stuff without going out of your head completely? And every day. Plus every concert you might attend. The difference is like NASA attempting to negotiate the Universe like the Aliens can. And, oh yes. There are Aliens doing it, easily. It's called understanding Gravity. Sorry, guys. ' didn't mean to get off of the subject. But the analysis fits. And both are true. There is a Universe music in the classical Archives. And what's even more, its Public Domain: available at any library.Colleges, and Universities.

Meanwhile listening to some nigram musicam inadvertently through the balcony.........

Yes, A LOT.

Best comment ever! So true!

You are right... but in my opinion Argerich's version remains the best becuase I think She was the One that understand this piece has to be thinked in 8/4 with the strong beat at every start of the arpeggio.

He doesn' justt lift the sustain pedal. After releasing the sustain pedal, he applies the *Sostenuto* pedal which still continues to sustain the *left-hand* Bass range, *and* damper the treble range, giving the melody the plucked effect, still allowing the sustained Bass power. It *does* sound clear and magical though, doesn't it?

@@clarktrent8952please could you explain me why would he need to sustain the bass if the left hand remain always still for all the measures in this piece? And why do you say that treble range are dampered by the use sostenuto pedal? Thanks so much 😊🙏

There are no staccatos written into the piece, he does it to contrast the dynamics

@@blackmage1276it’s an interpretation

@@fh854 I'm saying that when op says "between the staccatos and legatos" that that's incorrect. The playing technique isn't stacatto, actually it sounds legato the whole way through. Very impressive from the performer. It's just super quick piano

That's why practicing this piece is a long ass process, you've got to be sure you can play it almost perfect every single time

Yes, I've wondered about this myself. It seems most pianists tend to avoid it even as an encore. But Ashkenazy is not most pianists.

Enormous time of practicing finger technique and extensions to reach every note in legato. The first system of the score is downright hell.

@@tomliu3092 Thanks for your opinion.

@@thisisjnv he does fatfinger d and e at around 00:52

Cool

I don’t want to be a lil bi*** but you should also checkout Maurizio Pollini’s recording. It’s not live, but in my opinion, he’s recorded all the Chopin etudes better than anyone. His recording of this piece is the one that brought me to tears and made me want to be a pianist. I prefer this recording for actually basing my interpretation off of sometimes though

@@shuatock8216 bro pollini's chopin should be nuked off this earth, I've never heard anyone play so uninspired and boring. Yeah he plays fast and hits all the right notes, but that's where his virtuosity ends

Bon courage.

@@shuatock8216 frederic chiu did better

lol

lol

ok

That's Dutch, literally "Forbidden to smoke".

@@10jpmorgan i was reading the big Russian sign in red...

I love how bold and sometimes even rough he is. Perfectly in the spirit of Russia and the Soviet Union! (And very unique amongst interpretations from Chopin. At first, it really didn't like him. But the more I listened to Ashkenazy, the more Ashkenazy I needed. I love your comparison with the Russian chess masters. It's too fitting.)

I love his album of scriabin complete sonatas 10/10

Mark Taimanov perhaps?

Master of all Cephalopods: Comrade Zulaski Kaitzo this is in no spirit of the Soviet Union. The Soviet’s would have only the music glorifying their regime published

@@Daniel-gv5xg i would say Botvinik

Swag

Thug life

yeah , he was def a gangsta

Pianist gangsta

Swaggg

me too! the best!

Both this one and George Cziffra's version are my favorites.

No kidding. Have ya ever heard Pollini's, or Andre Watts'? You need to get out more- or rather, get in.

Ashkenazy had a very good rendition on this etude, although my favorite one is Argerich's!!!

@@zAt0mic all op10-1 are the same there are hundreds and hundreds pianists who play the same thing . Op10-1 and op10-4 are 100/100 studies not melody not lyrical it's Czerny but better not masterpieces then Argerich is in your head don't dream

The greatest! 🎯

No shit

Agree that it's spectacular, although Argerich in the Chopin Competition certainly gives him a run for his money: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-jg91_MDzo7s.html

Argerich is still a phenom and, with Ashkenazy, one of the few masterful technicians whose musicality is exquisite! They actually make _music_ out of this piece, while being in perfect control! There are a lot of young “technicians” who perform this piece in public, but I’ve never heard anyone play it without any errors or with anything approaching musicality. As an example, I remember watching a video of Daniil Trifonov playing this etude at the Rubinstein competition….he did not play it note perfect, and he only played with anything approaching musicality during the parts in which he appeared to be most confident. During the other, presumably most difficult parts, his expression cut out completely and he played as though set to a metronome.

_jt.photography_1 it’s been 4 months. How’s it?

when i composed this piece i don’t even have my hands big enough to play it

@@fredericchopin6445 Ashkenazi could only reach a 9th, it's possible!

How the heck does he do that? Is it just letting go of the pedal?

@@fredericchopin6445 unfortunately my move to college slowed me down a lot. I'm still working on speed tho!

@@bartoszkowalczyk2873 not Frédéric Chopin in french , Frédérick in Polish

@@alainspiteri502 XDD? No, his name was Fryderyk, Fryderyk Chopin, polish Frédéric is Fryderyk :))

@@mikoajmikoaj8268 yed j mistake on Key-board j known

@@mikoajmikoaj8268 thank's

Because Chopin is mostly French, and he prefers French culture.

😅 what

It’s pRactIcaL

I think he rolls the wrist and forearm to the right to accent the pinky

There is a secret that all musicians know It is known as PRACTICE

Its the arm,not the pinky

@@crazyhorse33 In overall the arm does the job . But these accented notes have something to do with the pinky. I recently learned that piece and believe me , if you have small hands it will be even harder

I will pray for you. You will play like this but God's grace

Good luck. Op 10-1 has been tormenting me for 30 years. Even Vladimir Horowitz said it was too difficult for him.

Honestly, it is not that bad if you take a few months to practice. I started piano about a year ago, and started this piece 9-10 months ago. Watch paul bartons tutorials on this piece they helped me tremendously and I can now play close to tempo with little mistakes

It's also a reminder of the biggest mistake people make when learning this piece: trying to play this piece legato. This etude is about expanding and contracting your hand to play large spans of the piano and bridging the notes to create a false sense of legato. Without pedal, it is supposed to sound staccato. Anyone actually trying to play this legato either has Rachmaninoff sized hands or is going to have a really bad time.

The fact that its non legato doesn't mean it's staccato. There is no staccato in this piece nor in this performance, thanks G.

But this ia legato

@@user-zr2sz8fd6o not always

@@rcradiator I disagree. A lot of the arpeggios are possible to play legato. I think that the pedal should only be used as an aid to the legato (most of it done by the fingers), and to enrich the sound by pulsing it a couple of times during an arpeggio.

I strongly agree!

Maybe Cziffra...

Sokolov

Having heard him several times in late 60s, early 70s, I agree with you. I heard two Beethoven 3rd concertos back then within a year of each other: Ashkenazy and Barenboim. Ashkenazy impressed me far more. Later, he was criticized for becoming a less "emotional" player. Perhaps, but when I heard him again in a solo recital in the mid 80s, the pianistic finish was still astounding. I also heard 3 performances of Prokofiev Concerto #2 in late 60s. Lorin Hollander, not quite. Ashkenazy, excellent. Jorge Bolet - magisterial command, no sign of having to stretch or exert himself.

Debussy tamb es otro papi de la musica !!!!

Of course-- that is what I meant by playing with the arms. Your hand is in constant motion, but it cannot be closed. I'm not implying an uncomfortable stretch of the hand, but an expanded or open hand. I'm sure we're on the same page-- just a difference in words.

Absolutely

Same here,heard many.this is the one

Yes, Dietrich Fischer-Dieskau was Sine Qua Non, wasn't he? In the mid-1970s, I went to hear him sing one of the Schubert Lieder Cycles, even in what then were his advancing years of a mellower, yet sometimes throatier timbre, he was like fine expensive silk. He has quite the bravado in his speeches and interviews though. I guess he's more than earned his right to be a real swaggerer...

You are so right. I just noticed the sparkle of the downward run.

@@guotesuoze Accents are on the beat not on the 4th note. And as always I always think composer put it there for a reason. It's not played that way because it's hard to do when going up, but I think it give rythmic drive to the piece makes it more interesting.

Unbelievably fantastic performance. I have being praying for a miracle since I watched this

This is even better than Pollini's studio recording.

eNeNe I disagree

Nadia De Simone lisitsa is better

@ixlioavoeqgni oeqgni no

Trifonov is the best? LUL

You are right JIm.

Ашкенази далеко до Циффры тем не менее) ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-pf2accwGEaU.html в середине ролика

Ziffra doesn't come close to maestro Askenazy. This rendition is a miracle. Ziffra is just fast

Пожалуйста. Это - чудо.

I agree :)

He plays it _musically,_ not just technically, and this is an _encore,_ not a part of his recital! There may be a few pianists who would tackle this piece live-Horowitz wouldn’t!-but they’re mostly monster technicians without music in the way of musicality. Argerich performing this at the Chopin Competition is as crazy as this, and Cziffra plays it beautifully, as well. There are others, I’m sure, just not very many.

Yeah Ashkenazy's version always get me charged, not sure what sorcery is going on there. Others have played it faster, louder, etc. but he's the one I like the most. Pollini's is wonderful too, imo, it just sparkles so brilliantly. Plus I just found this, which I think is remarkably musical for someone so young: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-g260oZJWIR8.html @@voraciousreader3341

No shit