from austerity to grandiosity. from avid hopefulness to neurotic desperation. this Chopin Nocturne charts the entire spectrum of human emotions. hauntingly beautiful and quietly intense.
I like Opus 48 No.1 as my favourite nocturne. Mostly is played slower. I'm positively surprised by Yundi Li: it's played with compassion and joy (let's say: love)! Very, very nice, mister Li. I like especially the vulnerability in combination with the anger (?) in this piece (if I may say so; I don't know the character of Chopin. The only thing I know about Chopin, that he was a great composer and that he died far much to young!).
Bravo Yundi!!! I like the way he built up to the Doppio Movimento! It isn't too fast at all. The transition just blends in very well. Great expression. I wish I can play like that. The music and the way he plays it takes my breath away.
Not so simply astounding and inspiring, with so sensitive a build, but not overdone, subtle yet maintaining momentum, along the music's haunting melodic path, with expectation of someting amazing to come, those volleys of wondrous chords, from sombre steps to wild charge, all carried with an irresistable impetus: brilliant play.
'3:16' doppio movimento is incredible,, sounds effortless, so much control. only those who have played this piece can truly understand what im talking about.
Independentemente dos resvalos em notas ou do toque de notas erradas propriamente dito, a performance foi fantástica! Altamente sensitiva! Ao invés de ficarmos observando deslizes, vamos nos fixar nos acertos e trabalhar duro ("work hard") para chegar a pelo menos 90% do nível de tais grandes intérpretes.
De facto, ainda que seja mais difícil do que a original. A interpretação dele é mais rápida do que o tempo original. A primeira vez que ouvi esta opus foi interpretada por ele. Depois disso, todas os outros pianistas me parecem lentos. Practice and Practice.
omgg thats actually v interesting to think of. we will never know how he wanted each specific measure to sound like. even with his sheet music we will never know how much emphasis he wanted on each chord or what he wanted it to sound like
@@ash39877 I know right? I would kill to just sit there and listen to him play any of his own pieces. I wonder how the dynamics would sound which note would he want to emphasize like you said
Да, немного быстровато. И тем не менее это очень хорошее исполнение. Просто маэстро молод и порывист. Через 10--15 лет он станет тяжелее, весомее, и игра его будет более зрелой. Для исполнения этого ноктюрна особенно важна внутренняя трагедия и боль по невозвратимому.
As usual for him, this is an extraordinary interpretation. But there must be some oddity in his brain's musical center: the tempo which he may consider to be the optimum for his interpretations is different than the tempo which we other mortals like to hear it play. It is too fast for the normal ear. I listened to this at a speed of 0.75, and it sounded perfect. Except that the quality of sound suffers.
Could it not be that the tempo normally used is a bit slow? Just listen to Raul Koczalski’s version here on RU-vid, he studied directly under Chopin’s best student (Carl Mikuli). By the way Cortot writes in his edition of this piece says that the dopio portion is not to be double speed, rather to bring the piece to the same tempo as the beginning, because now since it’s rhythmically flourished with triplets it already creates the sense of feverishness and anxiety without having to speed up. Cortot too was a direct student of Chopin’s student. Just some food for thought.
This is way, way too fast, particularly at the end. Made the most beautiful piece in history sound jumbled and disjointed. I'll stick to Rubenstein, thanks.
The technic is there but no emotion, executed way too fast it looks compressed and rushed; seems like Li has a plan to catch and is in the hurry to finish it up. It is very similar to the way most young pianist interpret this piece confusing emotion with volume and speed versus working on the touch, the articulation and the phrasing; I guess it is part of what has become the classic piano repertoire, a showroom for brilliancy for an audience that is not able to differentiate interpretation from pure technicity.
Whoa! He was fine until he got to the "Doppio Movimento" section - it's WAY too fast! This is a nocturne, not an etude! To me , it's like he's saying, "See how fast I can move my fingers!" Compare this to the interpretation by Maria Joao Pires, which is pure heaven!
Some of my favorite recordings of the piece are fast for the doppio movimento. The problem is, if you choose to play it that quickly, the feeling needs to be of desperation and the left hand chords need to be loud and sporadic, not inaudible and dry like they are here.
Both Argerich and Pollini played just as fast if not faster. Not much criticism there. It is up to the pianist to interpret how to play at twice the tempo and with agitated emotion. Most versions are slower. If you are used to the fire power and zeal of Argerich, or the technical brilliance of Pollini, you may find other performances too calm or weak, or lacking emotion. Yundi’s performance is definitely high on the fiery emotional side as well as technical power. This is one of the most emotionally charged piece of music, unlike other Chopin nocturnes. You like either one interpretation or the other.
