00:00 - N° 1, in F major 05:00 - N° 2, in D major 10:12 - N° 3, in D minor 15:24 - N° 4, in D major 19:08 - N° 5, in D major 27:12 - N° 6, in A major 31:44 - N° 7, in E major 35:22 - N° 8, in F# minor
Absolutely marvellous playing here, and relatively rare to hear these works played as a cycle, which is what Schumann intended for a time, although even at the outset, contemporaries chose to select indvidual works. As a cycle, it makes a fair demand on an audience. However, Zilberstein is so completely authoritative, and with such intellectual power, a keen sense of the mercurial and compelling technique, although I did notice that the final (and in my view the finest) 8th Novellette was a bit short - the reason being that she missed out the Bb major section the first time around - great to know it can happen to the best of them!
This is a terrific performance of lesser known pieces by Schumann, not commonly performed as a set because (in my experience as a lousy pianist) they are technically challenging, quite exhausting, and not especially melodic. In fact they strike me as being more about timbre and modulation than melody. I love watching Zilberstein's left hand, as the left hand provides such important orchestral volume and percussive sound in the 'A' sections of most of these pieces. Not to mention it has to fly all over the place authoritatively tracing out Schumann's often unexpected harmonic twists and turns! So it is really impressive to watch these pieces performed as much as listen to them.
I agree with you on everything, *except* the notion that these pieces are "not especially melodic". Although lots of the writing is energetic to the point of being percussive, maybe more so than usual, there is an abundance of gorgeous lyrical melodies here. At least in my experience as another lousy pianist 😉
This performance is wonderful. These pieces are not heard as much as they should be-they are marvellous in every way. The lyrical sections are gorgeous. Thanks so much for this clip. :-)
So intense, maybe a bit more aggressive then I'm used to but undeniably convincing. It left me spellbound and wanting to hear more. Not at all surprising considering this is someone who plays duets with Argerich.
Very impressive ! This was Horowitz's fixation he liked the piece but for some reason it gave him some difficulties..... I need to see more of this pianist!
@@EmptyVee00000 I think your first argument exactly fits what Schumann like to play with. And the latter also fits in some occasions like here. He just likes to play some rhythmically dissonant imitations across the hands, which makes it sound awkward. However, the longer I listen and play, the better I like. I think that is always how I approach the Schumann's music especially during this period of time. All the awkwardness becomes brilliant.
wow it’s incredible how she corrected that mistake in the beginning of the first one, I could have never continued so fast!!
Che brava... ❤
00:00 - N° 1, in F major
05:00 - N° 2, in D major
10:12 - N° 3, in D minor
15:24 - N° 4, in D major
19:08 - N° 5, in D major
27:12 - N° 6, in A major
31:44 - N° 7, in E major
35:22 - N° 8, in F# minor
Thanks!!!
Incredible playing - interpretation with conviction.
Absolutely marvellous playing here, and relatively rare to hear these works played as a cycle, which is what Schumann intended for a time, although even at the outset, contemporaries chose to select indvidual works. As a cycle, it makes a fair demand on an audience. However, Zilberstein is so completely authoritative, and with such intellectual power, a keen sense of the mercurial and compelling technique, although I did notice that the final (and in my view the finest) 8th Novellette was a bit short - the reason being that she missed out the Bb major section the first time around - great to know it can happen to the best of them!
Great comment 😊
I agree with all you say! :-)
This is a terrific performance of lesser known pieces by Schumann, not commonly performed as a set because (in my experience as a lousy pianist) they are technically challenging, quite exhausting, and not especially melodic. In fact they strike me as being more about timbre and modulation than melody. I love watching Zilberstein's left hand, as the left hand provides such important orchestral volume and percussive sound in the 'A' sections of most of these pieces. Not to mention it has to fly all over the place authoritatively tracing out Schumann's often unexpected harmonic twists and turns! So it is really impressive to watch these pieces performed as much as listen to them.
I agree with you on everything, *except* the notion that these pieces are "not especially melodic". Although lots of the writing is energetic to the point of being percussive, maybe more so than usual, there is an abundance of gorgeous lyrical melodies here. At least in my experience as another lousy pianist 😉
This performance is wonderful. These pieces are not heard as much as they should be-they are marvellous in every way. The lyrical sections are gorgeous. Thanks so much for this clip. :-)
Perfect !
Sei magnifica by Cavallaro Massimo
So intense, maybe a bit more aggressive then I'm used to but undeniably convincing. It left me spellbound and wanting to hear more.
Not at all surprising considering this is someone who plays duets with Argerich.
每次听21之8一个降号那一段都很感人偏偏自己弹一点感觉也没有
It's a very good performance, though in some places it strikes me as a little impatient and/or monochrome.
Very impressive ! This was Horowitz's fixation he liked the piece but for some reason it gave him some difficulties..... I need to see more of this pianist!
brilliant
How clever she cancels out the mistake from the very beginning
Does not sound like Schumann at all.
Try humoreske op 20 and Faschingsschwank aus Wien op 26
Please, elaborate
Sounds very much like Schumann to me.
@ Rhythmically very wayward, with very strange, and vocally unnatural, surges in the melodic sections.
@@EmptyVee00000 I think your first argument exactly fits what Schumann like to play with. And the latter also fits in some occasions like here. He just likes to play some rhythmically dissonant imitations across the hands, which makes it sound awkward. However, the longer I listen and play, the better I like. I think that is always how I approach the Schumann's music especially during this period of time. All the awkwardness becomes brilliant.