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juanromansilva: Yes, Richter has wonderful technical control. You are right there. It's a pity, though, that you don't exercise some control over your language. You have offended thousands of people by needlessly using the name of Jesus as a way of expressing your annoyance. Your point is correct in substance, but are you so lacking in articulation that you have to employ blasphemy to get it across? Try thinking before writing.

@@williambunter3311 Who, have I offended? Jesus or Yeshua is just a jewish name, it happens to be the name of the christian messiah. How do you know I’m using the lord’s name in vain? There are thousands of people called Jesus in this planet. Further more I was not thinking of Jesus Christ nor any of the people called Jesus on earth, I only used it as a remark similar to “jeez” Had I said Jesus Christ, then I would understand your annoyance, but you are assuming things. But yeah, I get the point. When using the jewish name Jesus, some people think it’s refering their messiah and automatically scream blasphemy. That’s what caused the downfall of christianity, people being too extreme about their beliefs. Ease down you know.

@@juanramonsilva1067 So why didn't you use the name 'Mohammed', which is the name of millions of muslims and just 'happens' to be the name of the muslims' 'prophet'? You know full well that your feigned innocence fools nobody but yourself. Go to hell. Oh! I forgot! That's where you are heading anyway!

You have not improved very much.

This is so true, and it looks even more hurtful. 😆😆😄😄

You can literally hear the exact same thing in Sokolov's recording as well

This wind is really bone chilling. 💨💨

I should have put a better title of this video, I mean small hands for ordinary people only, not for Richter. His hands can span a 12th. However, RUclips title is restricted to 100 alphabets only.

If it's some of the awkwardness that the sixths cause in your hand to make you feel that the piece requires larger hands to play, you'll be pleased to know that with very diligent and slow practise, you'll gain precisely the technique required for this etude. To me, as ironic as it sounds considering how difficult this etude really is, it also feels more self-contained in both execution and methodology than other works in both sets. Rather more subjectively, there are other etudes (for me for example, Op 10 2), which require not only the laborious, mechanical practise, but some instruction/technical work gathered from other sources (like a Czerny 365 work or Dohnanyí) You can also use Op. 10 10 as it has that intermittent nature of sixths interspersed with emphasis of thumb leverage/wrist rotation. But honestly, unless you do have a hand that can't span more than a seventh from thumb to pinky, this etude is possible. Not only that, but the facility it grants you with other passages and the finger independence it teaches you is invaluable.

I Hear quite an hundred of shadings(piano rallentando cadenza libera corona,bel canto fermata,rubato,ritardando, crescendo diminuendo morendo.)He misses!That s Much worst!Wrong notes you can count but missed shadings Need a true ear and sense of style.

Once the young Moisseiwitsch went to the great and famous Leschetizky to be taken as a pupil in audition:"There are not less then One hundred shadings you missed to do"After few lesson the Master succeded in correcting the mechanical pupil

But After all he Is 75 .The greatest Chopin interpretation of Richter Is Scherzo Op.54

I think your statement is correct. The piano at this time is indeed relatively slimmer in size. I once had the opportunity to play a piano that Liszt had used before, and I felt that the keys were narrower and longer in length.

​​@@selftaughtmusicguidethis is actually a common myth. The key width of pianos of the time and modern pianos is basically identical. The key width of Liszt's piano in weymar is essentially the same as a modern Steinway (or any other manufacturer, since it's basically standardized).

Thanks for your kind words. I also learned a lot when editing these clips.

I see what you meant but I have never seen such an instrument before.

@ David Steinbuhler makes narrower sized keyboards. I’ve played on these before - in fact, I’ve ordered a digital 7/8 width keyboard. According to PASK, the conventional piano keyboard is too big for 85% of females and 25% of males. You can find more data on the PASK piano website.

I wish I could play it.

I believe he has faster recordings out there, some of these videos are from when he was older and played a little slower

I agree with you, but honestly I feel like Richter makes it work. Whether you personally agree with the tempo choice or not, the performance is beautiful. You don't really get the sense he's rushing since all the nuance of the piece is maintained in full. You see the same thing with Richter's B flat minor Scherzo, blazing fast, but no musicality left behind, in fact, quite the opposite.

@@xenon3633 yeah i also think the musicality is on point but most other interpretations give time to let the audience actually savor the notes and not have them fly past.

@@beepbobeep603 agreed, and he does completely ignore the allegretto marking.

Don’t forget this is an etude, and not a Debussy piece meant to transport you to some magical ship or something. It’s crystal clear its aim is to develop the Right hand and Richter as always is faithful to the score and to what the composer wrote.

@@juanramonsilva1067 I encourage you to listen to Josef Lehvinne and report back. I think you might like it. He doesn’t make you forget it’s an Etude, but enlivens it as a piece of music, as well. ruclips.net/video/lec704Z7vmA/видео.htmlsi=8WmlvRPCeHuaYq73

@@juanramonsilva1067 don’t forget also that Chopin’s Etudes were among the first to be great pieces of concert music besides being technical exercises. This is why the whole world admires and loves these pieces. Additionally, his level of harmonic sophistication and genius is unparalleled. Long live Chopin!

In the competiton for worst pianist? He butchers everything he plays.

yet you have just compared him to every pianist in saying that he is the best

@@eboone You should read comments more carefully. I did not say he is the best. I said he is second to none. There are others probably equally as great. I could cite Martha Argerich, Yuja Wang, Lang Lang, Valentina Lisitsa, Mitsuko Uchida and a number of others who are among the super-elite. All I said was that it is childish to put them in some sort of competition with each other. You are just looking for an argument. Grow up! You're making yourself look silly!

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Lhevinne's recording is wonderful. I am so surprised to know that he practiced this for 17 years.

I listened to Cziffra's recording after reading your comment, it is really amazing!

not a single etude of chopin was named by chopin himself, most of them got named by others after his death (probably I'm not sure)

This is an anecdote from some historical books, contemporary records of Chopin's colleagues and students. Same case to Beethoven, who hated his work to be titled without his permission.

Richter spielt alles zu schnell

Tragic and pathetic? This may the best performance of this tune I've ever heard and by far the most power in a performance!

@@PiotrBarcz pathetic here means full of pathos

@@ardarico I don't know what that word means...

Das ist eine Vermutung, begründet auf der Behauptung, er hätte auch schneller und furioser (wie in jungen Jahren) spielen wollen. Seine technische Bewältigung ist in allen Aspekten makellos und dieses Tempo führt genau zu der eher rückschauend sinnenden Stimme in den Akkorden (also tragisch); ein schnelleres Tempo führte zu extremerer Dynamik in den Akkorden und würde mit dem Charakter brechen. Das Stück ist für Richter (auch in dem Alter) eine Spazierfahrt - man höre sich mal die anderen Etüden in demselben Konzert an.

Pathos-tragic emotions-sadness,profoundly so.

There were too many idiomatic interpretations and I feel like he opened a new dimension to pianism

Agree. But he still plays some of his works exceptionally, like Berceuse or 4th ballade

Listen again. The way he articulates the inner lines in the A section are so beautiful and the rubato is perfect. Not too much not too little. And in the E major section he beautifully brings out the tenor, alto, and bass line while beautifully balancing the right hand arpeggiation. And in the end, he brings all the voices together as a whole to bring a proper end to the piece. Sometimes it takes a fresh listen or two to really hear it.

@EggMCMUFFIN-e4l when I state an opinion I'm actually not inviting a lecture

I agree this is a bit boring