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Exceptionally well done. You recreate the essence of Liszt's emotions at the time that this was composed as is covered in his biographies.

I love the part where you don’t start until 34 seconds into the video

How is it that everybody and their mother is coughing during this whole thing?

25:00

24:57

This is the plea, the cry of a suffering man. The music isn’t in the notes, it isn’t in the sound itself. It is the muse that moves and animates the soul through the interpreter. The soul/spirit that goes out and touches people hearts. Makes them laugh, cry, sing. The things that can make us suffer yet heal us. That is El Duende. That is music. This is more beautiful in all of its errors than a crisp clean interpretation; being crisp and clean certainly helps convey the message but at the end of the day are we free? Are we making music?

One of the best piano concerti ever written! And this performance is so brilliant - in this concerto Demidenko has the best interpretation, but in Sudbin's recording there is the best orchestra imo

As with everything nyiregyhazi, I adore some moments so much and more than anyone else but still loathe the rest

nun da braucht eigentlich keiner mehr das stück spielen ... besser gehts nicht ... schöner gehts nicht ...

stinky

0:09 0:33

Bolet is one of my fave pianists, but goodness knows what he was thinking when he decided to truncate that vital climactic section of the cadenza. The composer always knows best! Having said that, Prokofiev himself got into terrible difficulties when he premiered this concerto in 1924!

💖💖💖💖💖

Very rhythmic. Sometimes just a loud mess. Not how Schubert intended it. The Wanderer searches for something that is lost, unbeknownst to all of us, driven by a deep longing and sorrow in his heart that descends into despair. The climax here is plain ugly, a battlefield of the broken. Not one Wanderer in sight.

1:03:08

Take THAT, Alkan!! 🧐🎶🎹😳

Nice ending with the score

the score is not right

I'm going to be honest, I find the second mvt unlistenable in places. But his first mvt has to be one of the most gorgeous renditions ever drawn forth from the keys.

Absolutely f cking incredible!

Bravo....ma essendo molto difficile questo brano penso però che lo debba studiare meglio, non era maturo.... Un po' troppe note sbagliate, a mio avviso. Troppo pesante a tratti

Chi ha scritto Horowitz,Michelangeli Pollini ...ha sbagliato. Perché sono tre interpreti con personalita differenti.

Rhythmically, the beginning of this piece gives me OCD. I perceive the quarter notes in the right hand as upbeats instead of on the beat notes, and the low notes in the left hand as notes on the beat instead weak rythmic parts. No matter how hard I try to perceive the octaves on the right hand as quarter notes in time, I can't do it, damn it!

He has the passion and power, but it's a bit... extreme. Who knows, I'll check back on this recording once in a while to see if my taste has changed.

Help me help me help me😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭😭

The secondary theme starting at 13:20 is such an unabashedly romantic theme. And it already sounds authentically Scriabin because of how coherent and passionate it is. An impressive first sonata.

So many thanks, Jorge Bolet is my favourite interpretation for that concerto! I wish he had played the cadenza too! But he's still one of the best

the cut at 23:23 is not due to his choice, just a technical fault of whoever uploaded this on youtube. You can find the complete version from the right source

9:24

1:10:56

Among pianists whose performances are immortalised on record, there was none quite like the famous Ervin Nyiregyhazi of international reputation. In this performance, he shows that his reputation is well-deserved. There are many recordings, by many pianists, of this beautiful work, but none treat it quite like Nyiregyhazi. There is surely no other performance that can match this one in freedom of tempo, in power, and in imagination. The freedom of tempo to take the music at just the right speed that he can play it at, no matter that this entails taking it slower where there is rapid figuration he hasn't yet practised up to speed. The power deriving from his liberal use of the loud pedal, his disregard for pp markings, and, in ff, the occasional extra note or two in the bass. And, most clearly, the imagination --- when memory fails --- to keep going and make something up, or even skip a few inconvenient bars. His performance is truly unique, if I may be so bold as to express that hope. In the recording catalogue, it fills a much-needed gap.

Thank u so much

Out of curiosity have you heard Abram Shatskes with Svetlanov in this concerto? It’s little-known but probably my favorite recording, I would recommend it even over Medtner’s own performance

Your effort is appreciated

I noticed in the description you didn’t even mention Medtner’s recording of the concerto

I didn't know this one, very good find!

Excellent, very good performance =)

Looking forward to this one...

Thank you so much for posting this with the score. Two points. It's Maria, not Martha. You raise the question concerning the ending. It could never have ended in G, but only in D. As it is, Mozart (or Sussmayr?) falls back on an older tradition of ending it in D major with the raised third (Tierce de Picardie).

Rette mich, Gott, rette mich

The greatest female pianist to have ever lived

The most shattering performance of the Lacrimosa ever.

01:03:09

the world is end

🔥

Saltykov was Yudina's late fiancée. Thank you for the score!

Wonderful atmosphere

Also, is there a dude singing along in the background? I don't mind it.

There may have been one or two pianists who I prefer to Yudina, but there is no greater one.

The shriek at around 2:30 is quite alarming!