Jean-Philippe Rameau Gavotte avec six doubles from Nouvelles suites de pièces de clavecin (1726/27)
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- Опубликовано: 4 янв 2013
- Pavel Kolesnikov was born in Novosibirsk on 25.02.1989 in the family of scientists. He began to study piano and violin at age six. After study with prof. Mary Lebenzon in 2004-2007 he entered the Moscow State Conservatoire in 2007, where he continues his education with prof. Sergei Dorensky, prof. Andrei Pisarev, prof. Pavel Nersessian and Nikolai Lugansky.
Pavel is the prize winner of 15 National and International Competitions including the 7th International piano competition in Andorra (1st prize), the 3rd International Gilels piano competition in Odessa (1st prize) and the 1st European piano competition in Poznan (3rd prize).
He took part in the International Casalmaggiore Festival in 2005 and 2006 and also in the Verbier Festival&Academy in 2007 and 2009. In 2007 he was awarded with the national order The Young Talent of Russia.
Pavel plays concerts both as soloist and chamber musician in Russia, the Ukraine, Italy, Spain, Germany, the United Kingdom and Poland.
His debut recital at the Small Hall of the Moscow conservatoire in September 2008 won the great public acclaim.
Pavel was named 2012 Prize Laureate of Honens piano competition. 
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I'm no musical expert and I can't play any instruments or read music... but I have been listening to Rameau for nearly 40 years and I've always loved this piece. So yes, it's not meant to have been played on the piano, but nonetheless, it's clearly not just recognisable as Rameau, but it's a beautiful interpretation. Pavel uses the features that a piano has that a harpsichord doesn't to very good effect. He conveys a very different emotion into the piece from what I'm used to hearing and it really is a pleasure to listen to. So whilst I understand the 'purists' complain about it not being 'authentic', they should listen to it for what it is: a beautiful musical experience. Yes, I too prefer it on the harpshichord but that doesn't in any way take away from the excellence of this recording.
Bittersweet and so beautiful ❤
Wonderful! It has my innards moving!
Bravo, l'école de piano russe est la meilleure.
Evokes the Goldberg variations. .haunting
il n'y a qu'un seul mot: P-A-R-F-A-I-T
merci, infiniment merci!
Pavel, exquisitively played! There is a unity of rhythm in the whole piece regardless to the tempo; moreover, your rhythm as a performer is inherent, is inward, it comes from deep in you soul, it is a dance that coul be danced from begining to end. My heartfelt congratulations!
Perfect, listened to it 20 times.
Excellent, modern rendition. Highly original in parts. This boy is going to go far!
Most beautiful variation are 4th and 5th!)) Very good performance!
This performance is simply extraoridinary. A maestro.
Left hand stacatto's are phenomenal
Exquisite, thank you.
Bravo, great performance!
Thanks for this.
Sorry, I never went to the youtube comment section school of classical music, but this is some great Rameau. Also out there is the dreamy Tharaud interpretation, which is, who knows, perhaps superior in the way it dissolves the baroque metronome into festive impressionism. But to me, the clarity of this one avoids any suspicions of romanticisms precisely at the changes of pace between doubles and how, it's a shitty word, competent the fast ones are played, just wow.
At least he correctly repeats the Theme at the very end with no repeats. Good!
I just Love It
I love it!!!
Superb!
Very nice!!!Bravo!!
why so many dislikes?... isn't it beautiful?
It's beautiful because Rameau is beautiful, but this is not a very appreciated interpretation... too slow sometimes, not coherent for me. Fast parts are really good played, but slow ones are TOO slow. Listen to Marcelle Meyer's Rameau's Gavotte, and you'll see what I mean.
+Anais Bulsara Meyer's version is extremely romanticised almost to the point of schmalz (so is this one mind you). I'm not a fan to say the least. An authentic Baroque performance, played with passion all the same, such as that of Luc Beaséjour or Catherine Latzarus is far superior.
+Noldorin Thanks everyone for the replies... You all agree that the tempo could have been better.. You are right:)
+Hakan Ozkul No prob. And indeed, there's a lot of opinion in this, but that's mind - I think he uses too much rubato too.
+Anais Bulsara The Paris Conservatory of Music fastidiously charted metronomic tempo markings, interesting for historically accurate stylistic performance practice. The early American President Thomas Jefferson used it as his own musical reference. Interesting comparison before determining value judgement on a tempo's character sensed through time.
very good and plaisant interpretation!!!
just beautiful
Meraviglioso!
Brilliant rendition!
A brilliant piece of music on either piano or harpsichord. I would love to hear it played on a cathedral Organ
Malcolm, try this: ruclips.net/video/0oFbRcoNVos/видео.html
sublime !!!
to jest najlepsze wykonanie, najlepsze i najpiękniejsze :)
Sublime.
bravissimo!
ゴールドベルク変奏曲風に、主題に戻ってくるところが、他のピアニストと違いますね
woo-hooooo
Some comments lamenting the artist for playing a harpsichord piece on a piano. :) Guess they've never heard Beethoven on guitar.
Thanks for making me throw up...
Brano menzionato in "Il piacere", romanzo di D'annunzio.
Bellissimo. Suonata al pianoforte risulta più affascinante e più significativa.
agreements sbagliati sia come accento che come metrica , agogica inesistente tactus non solo irregolare, ma il doppio accento iniziale mancante è UNA GAVOTTA!!!!!!!!!!!!! prolazione sbagliata tra le variazioni ....per non parlare della semantica sballata...... questo è Rameau non Mendelshonn!!!!!!!!!!!!! dov'è inagalitè.....ma forse non sa cosa essa sia...... e le liason per carità questa non è penosa è schifosa......sia l'esecuzione che l'interpretazione .....e poi da bravo pianista contemporaneo..... è un pestone nei forti e le note ribattute sono belanti....... siamo anche al ridicolo
falernoducande1961
Apparently these viewers never have seen a harpsichord or heard any of the real pieces by Rameau. It is more than horrible and has absolutely nothing to do with Baroque music but only with a kind of circus act. . .
Parla come magni,cche tte viene mejjo
Am I glad I don't understand Italian :-))))
FoliesEspagne dear it is best that you do not understand the Italian .... Sir Kappa has nothing to say, being a person with little intelligence and nothing good taste ....
carissimo è meglio che non lo capisci l'Italiano .... Sir Kappa non ha nulla da dire, essendo una persona con poca intelligenza e niente buon gusto..
0:00 Theme
2:04 Var I
2:54 Var II
3:47 Var III
5:25 Var IV
6:12 Var V
6:58 Var VI
Seguí haci
F**k. I can't stop watching this video.
3rd variation ridiculously slow... why do artists so often do this with various doublings of this work? The last two doublings are frantically fast, which again, I think is against the spirit of this piece.
I think that it sounds best when all doublings are relatively same in tempo. Mr. Kolesnikov obviously plays quite well and with profound interpretation, but for something of this genre, I much prefer Pinnock's take.
Nadhera , cit pro vyvazenost ,harmonii ,melodicnost,i kdyz trochu lento,,
Very talented pianist indeed but there is a certain risk in having an overly personal interpretation however brilliant it may be : disrupting the unity of the piece A patchwork of miscellaneous parts, each of them with a very good sound but . there is an obvious lack of unity because the idea of service is absent . One should rather serve the music than the contrary. I would have fancied a little bit less of virtuosity and attempt of originality , that is to say a more humble approach to the piece.'( Marcelle Meyer's interpretation for instance ) . The rendition tends to enhance more the pianist than the piece itself !.
This is absolutely beautiful. However, I am requesting that you re-arrange your information about the artist. It is trivializing his talents by preparing the reader with facts about upbringing and parenthood. Please start with the artist being very talented on his own, followed by whatever information
Of course this is up to you :) You were so good to upload it, and it's very lovely,, so please don't take this as a complaint, just a suggestion.
Jeu prétentieux . Où est Rameau ? Une suite de petites pièces avec une très bonne technique. Patchwork sans unité. Très décevant. Rameau incompris .
Le pianiste se fait plaisir, c est tout.
I searched for Rameau and Gavotte and got this romantic piano spaghetti?!? What happened to Rameau?
queste sono le note di Rameau... ma non la sua musica.....la musica di Rameau è ben altro..... chi vuol capir capisca ....
I saw it during a search and played it for a laugh, knowing what I would be listening to. It didn't disappoint :-D
@@paulcaswell2813 , early music snob
@@andrewsnow1933 [Tips hat]
I’m so mad, there used to be a harpsicorde version played in this cadence. They removed it, and now all i’m left with is way too fast shitty interpretations. Someone can help me ? Lol
What sort of neurosis do you suffer from? Every interpretation when played with deep love for the music is valid. Its not like hes trying to insult the composer or being extremely arrogant. In a couple centuries this will be just as antique. Heal and love.
Chaconne
The first variation is supposed to be played "notes inegales". He doesn't do it. Bad
Inégales optional. Check KG's almost reference performance on the 1761 Hemsch. Égales throughout!
Why this artificial non legato? You cannot Imitate an hapsichord on the piano. It just sounds not natural.
Da riascoltare come Rameau l'aveva concepita, al clavicembalo. Purtroppo il francese non era Bach e nel passaggio tra i due strumenti, la sua musica diventa piatta e perde tutta l'intelleggibilità ritmica ed armonica.
Commercials between variations.
Infuriating
Odd that people try to play this harpsichord piece on a piano. The thrillers makes no sense on a piano. Isn't there enough piano music left to play?
"The thrillers makes no sense on a piano." Whatever our critic is struggling to tell us, all that emerges is that he thinks it "odd" that artists "try" to play this piece on a piano when it was originally written for the harpsichord, but that would of course consign all Bach, Scarlatti, Rameau, and every other baroque composer exclusively to the harpsichord. What's discouraging is that musical purists of this ilk invariably write so poorly that nothing emerges but cliches and, uh, thrillers.
sixkatz Well Rachmaninoff, Chopin and Satie don't sound very suitable on a harpsichord either because the music with all its characteristics was written for an entirely different instrument. Especially in the slow variations it is far too romantic to be near Rameau. The fast parts are a poor imitation of a harpsichord with those staccato basses.
I don';t hear any fundamental musical critics on my view. I'm no purist, I just like _music_ no circus acts. .
The question is, only my oppinion, who tells us that Mr. Kolesnikov wants to imitate Rameau or be near him? It is just one way to construe a piece. And, damn it, I do not have a harpsicord at home but a piano. Is this the reason why I am not allowed to do this piece? Hmm...
ghostreh
It is one of the very best pieces of harpsichord music ever written because all the characteristics of the instrument are being explored. How would you consider it when someone tries to play one of the best piano pieces intended to explore all colors and dynamics of the piano with its pedals on a linited instrument with no dynamics as the harpsichord?
Just consider that option that is all I ask.
FoliesEspagne
I'd say it's worth a try. You could also play it on recorders or accordion or guitar (it exists here, and it's good) and I would be far away from saying: this is too much this or that. It's pointless to say e.g. trills do not sound like done on a harpsichord if they cannot even sound like it due to the physics of the instrument. That's my point: If I would do a "real" piano piece on a harpsichord I'd have entirely different kinds of expectations towards the interpretation, the sound and everything. And the other way around. It's all a question of taste and not fulfillment of an order, or it should at least be, I think.
I try not to come over as a purist snob when this guy is clearly talented but the piano is simply the wrong instrument. Rameau utilised all the strengths of the harpsichord in this piece and the piano renders it ‘soft’ and devoid of sparkle.
Oh my god. I thought the days of bastardising harpsichord music died years ago. The music of the harpsichord, from the Virginalists right through to Duphly, is never 'gentile' and quiet - anything but, in fact. A performance such is the present one may have just passed muster in the 1920s in the days of 78rpm records, but has no place in todays rather more enlightened and scholarly age.
You poor constipated, pompous ass.
@@frankromano9064 Thanks for the compliment :-)