Видео

I am not usually a fan of ornamentation in Scarlatti, but here it seems Claire does them with clarity and restraint. Thanks for sharing!

The tone clusters of course give it a Ravelian “Tombeau de Couperin” feel.

Thank you a lot!

Love the descriptions, this is how pieces/performances/interpretations should be explained from early music school years!

Bravo!

As soon as I regain my attention span, I might finally post a piece that's longer than a minute and a half 💪

I think Michalengeli misses a lot in Debussy preludes. So colorless, so dull. Even the parts that require excitement are played very uncertain. Not unlike Zimerman's cold and bad interpretation

just discovered your channel; i like your taste. your music reminds of myself when i was younger and had more hope and joy. thank you

Jando is better 😅

Kissin's performance is the best I have ever heard!! You can listen to it eternally without getting tired of it!!

it's 1am i'm too sleepy to go through and annotate my favourite moments 😭😭😭 but if anyone watches this and wants to share theirs, please feel free :)

This recording is a once in a lifetime recording. The piece and performance is insane

(Random thoughts) The op. 42 set contains some of the last pieces of music in minor keys composed by Scriabin with the exception of the prelude in the op. 51 set, and in fact this is the last one with "aggressively" sounding traditional minor tonality. Someone said the etude indicates morbidness or imminent death (breathlessness by disease) but for me it is rather associated with anxiety, struggle, and desperation in search of lost or unreachable things. The music programmatically reminds me of liquid movements, for instance waves on a dark river or ocean at the (stormy) night as in the second movement of the sonata-fantasy. Many of the rhythmic motifs make sense in this context. At faster tempo it feels more like wind than water (both are fluid anyways 😂) The recapitulated first theme (1:34) is always played fff no matter what but IMO it should not be that loud considering that there are two crescendos until the ff explosion (1:55) and that the second theme (1:01) is also introduced with the same dynamic indication as in the first theme recap, namely f. This performance undoubtly shows crystal clear exposition and control of melody.

21:47 Such a good moment

So Beautiful Yuja you can always move me to tears I love You ❤️

The Best of the Best 😮

Какая умница Юджа! Как бережно и нежно передаёт мелодию Шостаковича. Как будто это она сама прямо сейчас сочиняет эту музыку и передаёт нам своё настроение.

So Beautiful and I love watching those magical fingers 😍

I don't understand that much of piano but uau I play ??

Penetrating your soul ❤ beautiful and talented Yuja. Shostakovich a genius.

so beautiful✨💓

Meu Deus, eu amei!

It’s just amazing ❤

I want to comment but I don't know what to say except look at how differently each artist approaches that terminal grace note pianissimo.

Yeah, dude’s got a real nice touch.

随着协奏曲的意境，钢琴家表现出的那份慵懒，尽显贵气，极具魅力。

lovely

please compose more u make lovely stuff

It is not good sorry

very lovely

There is an important error in the way to name this piece (and many others). The correct way is: Etude Op. 42, No. 5. This is because numbers BEFORE opus number in a tittle indicate the place a particular piece occupies in the total list of that type of pieces composed by someone (i.e. etudes, sonatas, nocturnes...) However, numbers AFTER opus number in a tittle indicate the place a particular piece occupies in the list of THAT OPUS NUMBER (usually, an opus number means one or more pieces published together). Thus sometimes you have to use BOTH numbers and if you misuses the place of the number, you are not appropriate identifying the piece. Some examples: - Opus 42, by Scriabin comprise 8 etudes published at the same time: nº 5 of this collection must be defined indeed as Etude Op. 42, No. 5. On the other hand, Scriabin composed several etudes before this op. 42: one etude under opus 2 and 12 etudes under op. 8: Thus, our etude Op. 42, No. 5 is, in fact, the 18th etude composed by Scriabin, so it can be named also as Scriabin's Etude No. 18; and finally, it can be used BOTH numbers, named this piece as Scriabin's Etude No. 18, Op. 42, No. 5. This is not often used for Scriabin's etudes, but is commonly used in Beethoven's sonatas: i.e. Beethoven's Waldstein Sonata No. 21, Op. 53 (only this sonata in op. 53) and Beethoven's Moonlight Sonata No. 14, Op. 27, No. 2 (because Beethoven published TWO sonatas at the same time). In this case it is clear that it cannot be used Sonata Op. 27, No. 14!! thus you can correctly name this piece in THREE ways: Sonata No. 14; Sonata Op. 27, No. 2; Sonata No. 14, Op. 27, No. 2. Hope this long explanation will be useful.

Soon as I saw the masks …….click

정말 아름답다.. 아름답다 못 해 가슴이 너무 아픈 곡이에요.

Fast and perfect

Dieses geniale Stück!

Sadest song ever?

I agree. Let's say that it is a minuet that could easily be compared to a bagatelle. Greetings to the this channel.

What a wonderful piece of music - played amazingly to Yuja Wang

Por DIOS!

She plays the piano with great taste when it comes to expression. Delicate but not over romantic or sentimental and lets the music speak for itself.

Her posture is amazing! I slouch like crazy when I play piano.

슬픈 극락 .ᆢ 이승에선 이뤄질수없는걸 약속한 느낌

Incredible talent . Enjoyable and passionate performance.

the groovy parts: 2:05 6:08 (LOVE this rendition) 11:19

Beautiful hands making beautiful music

As soon as I saw the masks I turned off. Such a beautiful song does not deserve being muzzled by this nonsense.

👏❤️❤️

Korobeinikov played the melody from the middle part so clearly

bros back