this piece is very hard to play, it´s extra hard to play it convincingly, with lightness. You have to exaggerate everything you play, (every forte, every piano, every character) to gain the effect you need. You need to engage all your body, imagination, and physical strength... also physical appearance does a great job - one mustn´t look relaxed while playing the opening of this piece.
this piece is even more difficult than most of the other sonatas. That is why there is only one movement but actually with a lot of very difficult techniques combined.
Her intelligence shows more after Subotic speaks. If she has only had this Sonata for a semester I can understand the misses and inhibition.Not enough contrast all the way through. Her last page shows her inhibition and that her imagination was not engaged and alive the day she was filmed playing this .The beginning artist must show commitment in 3rd Sonata 's wildness .Gilels,Weissenberg,Trifonov,even Tiffany Poon's remarkably masculine feroce and power make one think this is War Music which it wasn't and the childhood 2nd theme should really feel in contrast to opening .Memory and nervousness contribute here I think .3:28 she's not giving enough of herself . 4:32 shows her musicality here she is speaking for the 1st time She has so much to do the nervousness takes back seat but she's afraid to really make a ff.
@@jackeitel4954i started 3 months ago as i want to audition for university with this piece and i will need another 2 months for it to start sounding as i would want to
Not much contrast. It all sounds the same--even though it ought to contain extreme shifts of character and loudness. Incidentally, Prokofiev's won style of playing was nothing like this at all. Part of the difficulty has to do with he fact that she never gets her hands or fingers at all far from the keyboard. It is as if she felt she would lose track of where she was if she did not stick close to the keys and crawl around, So it is impossible to belt the notes. Berman is of course in complete contrast to this. When he wants to belt something, it gets belted/
this piece is very hard to play, it´s extra hard to play it convincingly, with lightness. You have to exaggerate everything you play, (every forte, every piano, every character) to gain the effect you need. You need to engage all your body, imagination, and physical strength... also physical appearance does a great job - one mustn´t look relaxed while playing the opening of this piece.
this piece is even more difficult than most of the other sonatas. That is why there is only one movement but actually with a lot of very difficult techniques combined.
9:22 Chad Berman
Her intelligence shows more after Subotic speaks. If she has only had this Sonata for a semester I can understand the misses and inhibition.Not enough contrast all the way through. Her last page shows her inhibition and that her imagination was not engaged and alive the day she was filmed playing this .The beginning artist must show commitment in 3rd Sonata 's wildness .Gilels,Weissenberg,Trifonov,even Tiffany Poon's remarkably masculine feroce and power make one think this is War Music which it wasn't and the childhood 2nd theme should really feel in contrast to opening .Memory and nervousness contribute here I think .3:28 she's not giving enough of herself . 4:32 shows her musicality here she is speaking for the 1st time She has so much to do the nervousness takes back seat but she's afraid to really make a ff.
How long does it take typically to learn a sonata of this caliber? I'm new to the piano world so I'm not sure about a lot of this.
@@jackeitel4954i started 3 months ago as i want to audition for university with this piece and i will need another 2 months for it to start sounding as i would want to
Соната совершенно сырая,не готовая..
Not much contrast. It all sounds the same--even though it ought to contain
extreme shifts of character and loudness. Incidentally, Prokofiev's won style of playing was nothing like this at all. Part of the difficulty has to do with he fact that she never gets her hands or fingers at all far from the keyboard. It is as if she felt she would lose track of where she was if she did not stick close to the keys and crawl around, So it is impossible to belt the notes. Berman is of course in complete contrast to this. When he wants to belt something, it gets belted/