A wonderful performance of a pianist undeservedly little known, thanks. His Liszt is really splendid too. And more to the theme, among living pianists I also love Buchbinder's version...
The chandelier lit rooms, the trailing gowns, the anguish concealed behind smiles, the velvet-trimmed furniture, the strongly scented salons and the swooning effervescent appeal of a Viennese matinee.... this is its purest evocation and form.....
Bravo, an excellent work played with great technical fortitude by Mr Cohen - I have him playing the solo Liszt Totentanz and until hearing this performance, have always considered his playing a little on the light side...
Godowsky wrote a fantasy based on themes from Strauss' Die Fledermaus, not a transcription. A transcription stays true to the order of sections, melody, harmony, and, when possible, texture of the original work. The Grünfeld work is not a transcription either.
Disappointing, because Cohen is a good pianist. Now I realize this is fluff music and a performer has a wider latitude to "play" with it to his own taste, but what's the point of disobeying dynamics and tempo indications to the point where it destroys the line and phrases don't make sense. And on a basic level Cohen thinks he's being crafty by turning on the rubato, but it's obvious he just slows down when it gets hard. Not his best work. Terrific piece though, I wish he'd played it with more musical integrity.
THANK YOU!!! I completely agree with you and can’t tell you how disheartened I was by this performance.... yes...... We can all get a little out of whack when performing an encore after a concerto or program recital.... but this goes above and beyond destroying a BEAUTIFUL transcription.
to each their own, but...... I don't prefer interpretations of things bereft of musicality, for the sake of showmanship.... I mean... motifs were not only completely neglected, but MANGLED... Have you ever actually listened to strauss? What of his did you ACTUALLY hear in this?!
@@rickalessi7490 Consequentially, I agree with your point in which Strauss's motifs were mangled within the work. However, it is a paraphrase. Cohen, unlike Kissin, takes liberties to express the waltz-like character of the piece. Henceforth, the dissonances are created.
![Strauss/Godowsky - Symphonic Metamorphosis on 'Künstlerleben' (Audio+Sheet) [Syomin]](http://i.ytimg.com/vi/cLdQwzZ2weI/mqdefault.jpg)
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0:43 - Fledermaus Waltz
1:55 - Morgenblätter 3rd Waltz
2:28 - Künstlerleben 2nd Waltz
3:00 - Wein, Weib und Gesang 3rd Waltz (2nd part)
3:30 - Morgenblätter 4th Waltz
4:17 - Cagliostro-Walzer 1st Waltz
I was looking for the titles of 1:55 and 3:30 and found the answer here. Thank you very much!!
A wonderful performance of a pianist undeservedly little known, thanks. His Liszt is really splendid too. And more to the theme, among living pianists I also love Buchbinder's version...
Yeah definitely no bots the two of you
The chandelier lit rooms, the trailing gowns, the anguish concealed behind smiles, the velvet-trimmed furniture, the strongly scented salons and the swooning effervescent appeal of a Viennese matinee.... this is its purest evocation and form.....
Having seen the opera I have a slightly different image in mind 😂 Total chaos, anarchy and comedy.
charming and elegant interpretation, full of virtuosity
lush and imaginitive. I liked the liberties he took with the score!
kinda unrelated but whats the most exciting piano piece you've heard this year?
Bravo, an excellent work played with great technical fortitude by Mr Cohen - I have him playing the solo Liszt Totentanz and until hearing this performance, have always considered his playing a little on the light side...
Beautiful interpretation !
Playful interpretation! I love it! ^_^
Глядя на ноты, я не представляю, как ТАКОЕ можно вообще исполнить. Пальцев не хватит! 😂👍
Excellent!! you inspire younger pianists!!
Great piece!
Wonderful!
Maravilhoso!!!!
Is there any one know that what is the original waltz start from 3:00? Thank you so much. I really want to know that where does it come from.
Wein, weib und gesang, op 333
Very fun.... with a Horowitzian ending!
Супер
not only fledermaus, cagliostro too ;)
kinda unrelated but whats the most exciting piano piece you've heard this year?
La campanella at 2:58 ?
Fantastic!!
Amazing do you have this score in pdf?
i found this on imslp
how about kaiserwalzer as well?
The ending is missing parts 🥲
he just played the parts differently, its not actually part of the piece
Brazilian Pianist
Download it here: musescore.com/user/116681/scores/2857076 (you may need an account)
sf and he plays piano, ritenuto and he plays in tempo. what is it?
imagination
@Egg MCMUFFIN only if you think the composers intentions are frozen once and for all in the score.
A rather charming transcription, most winningly played. Godowsky's transcription is obviously better-written though.
you mean 'over-written'. I find this way better.
Godowsky wrote a fantasy based on themes from Strauss' Die Fledermaus, not a transcription. A transcription stays true to the order of sections, melody, harmony, and, when possible, texture of the original work. The Grünfeld work is not a transcription either.
Compare this to the infinitely more complex paraphrase by Godowsky.
Godowsky's is more of a fantasy than a paraphrase.
Really bad performance.
This is a great arrangement,... Then came along a bored Cziffra
Vous auriez pu éviter ce genre de commentaire.
Cziffra's arrangement is too much and heavy to digest . Not one of his best tbh
Disappointing, because Cohen is a good pianist. Now I realize this is fluff music and a performer has a wider latitude to "play" with it to his own taste, but what's the point of disobeying dynamics and tempo indications to the point where it destroys the line and phrases don't make sense. And on a basic level Cohen thinks he's being crafty by turning on the rubato, but it's obvious he just slows down when it gets hard. Not his best work. Terrific piece though, I wish he'd played it with more musical integrity.
How awful. This Cohen is snuffing the music out with his twisted caricature of Strauss.
THANK YOU!!! I completely agree with you and can’t tell you how disheartened I was by this performance.... yes...... We can all get a little out of whack when performing an encore after a concerto or program recital.... but this goes above and beyond destroying a BEAUTIFUL transcription.
@@rickalessi7490 Sorry, but I beg to differ.
to each their own, but...... I don't prefer interpretations of things bereft of musicality, for the sake of showmanship.... I mean... motifs were not only completely neglected, but MANGLED... Have you ever actually listened to strauss? What of his did you ACTUALLY hear in this?!
@@rickalessi7490 Consequentially, I agree with your point in which Strauss's motifs were mangled within the work. However, it is a paraphrase. Cohen, unlike Kissin, takes liberties to express the waltz-like character of the piece. Henceforth, the dissonances are created.