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@@thenotsookayguy I've never really figured out how to use Audacity, so I'm afraid I can't help you there. I sourced the audio directly from the video from where it came, which is in the description. There is also a studio recording available of Russell Sherman's Liszt Ètudes cycle, perhaps that'll sound better for headphones? Thanks for watching, anyways!

@@Pgagolfpianoaviation In my opinion, I generally do not like to use the words "better" or "worse". I generally distinguish music based on how it is perceived by each and every individual, not on what it is inherently. Re: Liszt's Transcendental No. 10-I haven't forgotten your request! I have a backlog of other content I want to do on here as well, however, so it might be a while. It does help that you suggested an interpreter though, as I personally have struggled to find good interpreters for No. 10. I absolutely adore Russell Sherman's performance of No. 9, however.

and instrument players are more likely to have stronger connection between sophisicatedness of the music and their taste in music, also contributes in devision between mass, but it is unavoidable since they understand music more than the mass general. This is similar to oral language in which those who understand language is more likely to prefer Dostoevsky’s crime and punishment than Children’s book. Ofcourse you can say both are equaly valueable as children prefers and enjoy children’s book. However you can not deny the value of Dostoevsky but in different degree. Same can be said with bach. Those who understand modal counterpoint or figured bass composition apporach, or fugue compositions in general will be astonished with Bach’s musical mind when they hear for instance Art of Fugue. Greats are great not because some people prefer it, but it’s artistic value, which not everyone can understand it immidiately But for those who understands, artistic pleasure becomes everything as a listener, which often leads them into conclusion that certain music is supurior to one another

@@kakoou3362 Well, to answer your question on whether a baby smashing a keyboard randomly is equivalent to Lhevinne's recording of Chopin's Op. 25-6, it is not. But that is not a fair comparison, because the simplest and purest definition of music is that it is *organized* sound; a baby smashing random notes on a keyboard cannot be organized sound, therefore it cannot be music. At the same time, if you were to make a piece of music that included, let's say, organized recorded samples of you knocking on a door, someone may end up preferring it to a Bach or Mozart piece. And that IS okay! No one should be ridiculed for that.

@@farazhaiderpiano how do you define orginized sound?

@@kakoou3362 Organized sound can be any sound in the universe, but the means in which the sound is arranged is what matters-if they can be arranged in such a way that they resemble musical elements, such as rhythm or texture, it is music.

@@farazhaiderpiano There is rhythmic element to any interval of sound in universe, including child smashing on the keyboard, right?

@@sydwest3454 Indubitably sir 🫡

@@Sgt_davion Thank you so much!! Appreciate you

@@Pgagolfpianoaviation Appreciate you!!

@@colechicken Thank you man! Appreciate you, you an OG <3

@@MNorbert89 It's not me performing! The performers are in the description.

@@josephli7164 I in fact have listened to the Cortot recording! Thanks for watching!

@@josephli7164 It is a little surprising, but yes, it is his arrangement-part of his piano suite "Mozartiana", which is available on IMSLP.

My favorite part

@@d_r_e_a_m_b_o_a_t Indeed, it is a very cool arrangement! And much like the Busoni arrangements of Mozart, sorely and sadly neglected. Thanks for listening, appreciate you!

@@Pgagolfpianoaviation sure!

Max Reger's "Ave Maria" could be a good piece. Reger is often pigeonholed for writing incredibly dense contrapuntal works, but he also wrote alot of incredibly approachable miniatures for solo piano that are worth studying. Definitely worth a look. I don't remember the opus number however. I can check!

Cool, what do you think about O Holy Night or an arrangement for Rimsky Korsakovs Christmas Eve Suite?

Cool, what do you think about O Holy Night or an arrangement for Rimsky Korsakovs Christmas Eve Suite?

Do you like Rimsky? Korsakov! 😂

@@Pgagolfpianoaviation I like him enough, yeah.

All of them really are. Especially Ballade d'Ukraine which is rarely heard compared to the other Liszt ballades. The other 2 are really fantastic as well-I myself have a soft spot for the operatic 2nd Ballade in B minor. The 1st Ballade is great too!

I do like the 1st Ballade, but I prefer the 2nd to be honest.

@@Pgagolfpianoaviation I've mentioned Novaes to Farobag before, I'm not 100% sure he remembers her name though.

@@martinwest2538 "Better" or "worse" I find are words that don't match up with the spirit of romanticism. Illustrious performers of the romantic era, including those who also composed-such as Franz Liszt, Anton Rubinstein, Sergei Rachmaninov and others did not seem to mind if one would "disrespect" their scores as long as the sound coming out of the performers was genuine and sincere means of expression. There is value of course in "urtext" expressions of a piece but if I wanted to hear a piece completely "perfect" to the printed page, I wouldn't have uploaded Cherkassky's interpretation. My impressions of romantic era composers as I've understood them is that emotions dictate the score, not the other way round. Jean Sibelius was of course writing this piano piece in his own musical rhetoric, but he also uses a fair deal of Liszt's language, and those who subscribed to his theory on music, such as Alexander Siloti, would have heard Liszt constantly deviate from his own scores, and he would have encouraged his own pupils to do the same! So I really don't see the problem, frankly.

​@@farazhaiderpiano Thanks for the thorough answer! The "problem" (which may be solely my personal one) is, as I see it, that - in lack of better words - expression contradicts the character of the musical content. As if you suddenly would play the storm part of Beethoven's sixth very meekly, as an extreme example - but you surely got the idea. I don't really endorse sorting in "better - worse", either, as it's all about personal preferences in the end. In my opinion the written directions of the composers usually are reflecting the substance of the music itself, and if not, they can be altered to suite the true emotion. Of course one can say "I love you" in dozens of different ways, but frankly they are not all especially suitable to bring out the true meaning of the words. I find Chercassky here has used some of the less appropriate ways to mediate the musical intentions of Sibelius - or perhaps rather of the "romance". But still, as a former amateur composer myself, I would be rather annoyed, if someone would treat my "urtext" expressions like he does here.

@@martinwest2538 That is understandable, and I don't object to your viewpoint that a composer could possibly be annoyed, and in some cases, would actually be annoyed, by even the slightest of deviation in the music, even in the context of the pursuit of expression. I also don't endorse sorting in "better - worse" because it IS about personal preferences, and I'm glad we can agree on that! Too many people don't seem to understand that music isn't like a math problem, where 2+2 will always equal 4. It is more subjective. I of course value expression immensely; sometimes expression can be achieved easier by deviating from the score even in just the slightest of ways, like what Cherkassky does here, or what Horowitz does more elaborately in Tchaikovsky's "Dumka". But on the contrary, I find some cases in which expression will come across easier when it is in tandem with the character of the musical content, like in Beethoven's Moonlight Sonata, where the tempo of the first movement is in "cut time", not "common time". This is demonstrated excellently, most recently to my knowledge, in Andras Schiff's lecture. Sometimes I also find examples where traditional performances of a piece tend to overpower what a composer wrote-lots of people dislike Glenn Gould's Mozart, but I find he is the only one who actually takes Mozart's tempo markings in the famous "Rondo alla turca" literally! Everyone plays the "Allegretto" as a "Vivace", but Gould takes it as an "Allegretto". That interpretation is much more expressive to my taste. So my general rule of thumb is: whenever I hear an interpretation, I think of expression in addition to what a composer wrote. Anton Rubinstein's philosophy proves to be useful here: Don't change the composer's text UNTIL you've read everything the composer wrote, THEN IF you still believe you can express something a composer wrote in a way that is different but still worthwhile, do it THAT way. Cheers!

@@farazhaiderpiano I guess my first commentary was quite grumpy and provocative, too, but I'm glad it evoked this little conversation! I do like the Rubinstein philosophy and hope interpreters always would keep this valuable lesson in mind - or at least as a starting point. I also want to thank You for bringing forth this wonderful Romance (even if I personally find this interpretation not so presentable) and hope you'll discover (or perhaps you already do know) still more of the lovely gems in Sibelius' piano repertoire!

Argerich is also another talented pianist, with a fabulous musicality to boot too! Have you heard of Guiomar Novaes, the Brazilian pianist? One of my absolute favorites

No I have not, I’ll listen to some of the recording of him or her. Also, Barenboim and Argerich did a duet were they played Psallite from Weihnachtsbaum. Also could you do a recording of Weihnachtsbaum or Liszt’s 1st Ballade. Those two are very beautiful have beautiful pieces; personally I like the Ballade D Flat Major the most, but I do love Carillon from Weihnachtsbaum the same as how much I love the Ballade.

@@Pgagolfpianoaviation Novaes is fantastic! Absolutely can wholeheartedly recommend her Chopin recordings, as well as her Gluck-Sgambati Melodie recording. I am planning to upload someone's recording of the 1st Ballade when I have a bit more freetime-it's on my to-do list!

@@pR-ms4cr I do like me some Cziffra.

@@evankajikawa1277 Sibelius did admire Liszt's tone poems.

@@farazhaiderpiano This piece definitely has a ton of Lisztian textures in it. Especially the tiny cadenza alternating octaves are straight out of the transcedental etudes.

@@Pgagolfpianoaviation Thank you!!