I always thought Ashkenazy owned this work, now having heard this performance from Zlata Chochieva I begin to wonder. This is extraordinary playing by any standard.
Ashkenazy made 2 recordings of this work. His early one is a virtuoso performance where the later one slows down considerably. I love Lugansky and Howard Shelley even more, but here Zlata gives meaning to every note plus superb virtuosity. A rare and unequaled combination.
@@789armstrong Totally agree. I heard Askenazy perform this live many decades ago, I think it was his first recital in the west, at Carnegie Hall. It was a bravura rendition, quite wonderful. He owned it. But no longer. Zlata has taken his place. Bravissimo!
Rachmaninoff’s piano writing often gives the effect of having been transcribed from a work with more instruments! There is a such a great variety of textures, effects, layers and voices. To the extent that in a poor performance it can sometimes come across a bit overstuffed and dense. I love Chochieva’s playing because, in her hands, Rachmaninoff becomes almost sheer - she really separates out those voices - she can somehow conjure a solo singer, distant bells, a rippling stream, a military drummer, and curtains of rain, all at once! You can listen to any voice individually, and hear them weaving in and out of each other, like chamber musicians. Her polyphonic voicing and pedal control is extraordinary. I also think she’s a great storyteller, her structure and pacing is always spot-on, making complete sense of huge pieces like the Chopin variations and the first sonata, which can be meandering and shapeless in others hands. She leads you through these hallways and landscapes with so much confidence and artistry, never showing off, just allowing Rachmaninoff to be fully revealed. I also like that she’s not afraid of taking risks, her performances are different each time, teasing out different perspectives, giving the music life and spontaneity rather than feeling static and safe. I would love to hear her play more Medtner - the things she could do with his sonatas...!
@@miamipianofestival Not at all. Just an enthusiastic amateur. Thank you for showcasing all the tremendous musical talent through your festival, and on youtube. I hope you and all your musicians weather the pandemic...
Изумительно глубоко и тонко воспроизводит гениальную композицию Рахманинова! К тому же безупречно по всем техническим аспектам. Очень рекомендую послушать все её записи, особенно полную запись этюдов Шопена! Не могу забыть её выступление в камерном зале Konzerthaus в Берлине в прошлом году.
Wonderful interpretation. I think she should have played in Carnegie Hall with better audience to enjoy such great performer as Zlata. She probably could have better reached the high point and the lyrical section of this giant painting, if she wouldn’t have been distracted by the noise from the audience. Thank you for this gift
Don't know whence R's Corelli-reference. These particular folía-variations are based on the ones by Antonio Martín y Coll (1709). Which sound more beautiful in the original. Still - great playing.
The folia theme is thought to originate in the 1500s in Portugal or the Canary Islands. And around 150 composers have done work on the theme. Extraordinary!
The Corelli reference reflects the state of knowledge on the subject of early music in R's time, hardly a mystery. As to sounding more beautiful--when someone compares an apple to an orange and rates the orange as failing to taste like an apple, all they have really communicated is a clear picture of their lack of knowledge of fruit. A sad reminder of the type of mind that infested the world when Rachmaninoff was alive, materially constraining Rachmaninoff's output to the too-few treasures we got.
![Blox Fruits Dragon Rework Update [Full Stream]](http://i.ytimg.com/vi/EqDAp8udhm0/mqdefault.jpg)
Never heard of her before, but ended up listening to some of these via a Rachmaninoff masterclass. So good! Bravo!
I always thought Ashkenazy owned this work, now having heard this performance from Zlata Chochieva I begin to wonder. This is extraordinary playing by any standard.
Meredith Foster absolutely exactly!!!!
Ashkenazy made 2 recordings of this work. His early one is a virtuoso performance where the later one slows down considerably. I love Lugansky and Howard Shelley even more, but here Zlata gives meaning to every note plus superb virtuosity. A rare and unequaled combination.
@@789armstrong Totally agree. I heard Askenazy perform this live many decades ago, I think it was his first recital in the west, at Carnegie Hall. It was a bravura rendition, quite wonderful. He owned it. But no longer. Zlata has taken his place. Bravissimo!
@@carlrichards49 Zlata also plays the Etudes Tableaux superbly with an abundance of fresh new insights.
Brilliant !!!
Rachmaninoff’s piano writing often gives the effect of having been transcribed from a work with more instruments! There is a such a great variety of textures, effects, layers and voices. To the extent that in a poor performance it can sometimes come across a bit overstuffed and dense.
I love Chochieva’s playing because, in her hands, Rachmaninoff becomes almost sheer - she really separates out those voices - she can somehow conjure a solo singer, distant bells, a rippling stream, a military drummer, and curtains of rain, all at once! You can listen to any voice individually, and hear them weaving in and out of each other, like chamber musicians. Her polyphonic voicing and pedal control is extraordinary.
I also think she’s a great storyteller, her structure and pacing is always spot-on, making complete sense of huge pieces like the Chopin variations and the first sonata, which can be meandering and shapeless in others hands. She leads you through these hallways and landscapes with so much confidence and artistry, never showing off, just allowing Rachmaninoff to be fully revealed.
I also like that she’s not afraid of taking risks, her performances are different each time, teasing out different perspectives, giving the music life and spontaneity rather than feeling static and safe.
I would love to hear her play more Medtner - the things she could do with his sonatas...!
@@miamipianofestival Not at all. Just an enthusiastic amateur. Thank you for showcasing all the tremendous musical talent through your festival, and on youtube. I hope you and all your musicians weather the pandemic...
@@sfd373 0
Одна из самых талантливых пианисток нашего времени, ее игра отличается яркой индивидуальностью, глубиной, красочностью и техническим совершенством!
The touch of an angel
Sublime
Блискуче, темпи - відповідні , артикуляція - безподобна, стильово ! По Рахманіновськи ! 10,11, 13, інтермецо, 18, 19 (!!!) особливо блискуче ! Браво !
the best
Прекрасная исполнительница!
Thank you!
01:20 Variation 1. Poco piu mosso
01:58 Variation 2. L'istesso tempo
02:31 Variation 3. Tempo di Minuetto
03:07 Variation 4. Andante
03:47 Variation 5. Allegro (ma non tanto)
04:06 Variation 6. L'istesso tempo
04:25 Variation 7. Vivace
04:49 Variation 8. Adagio misterioso
05:30 Variation 9. Un poco piu mosso
06:27 Variation 10. Allegro scherzando
Изумительно глубоко и тонко воспроизводит гениальную композицию Рахманинова! К тому же безупречно по всем техническим аспектам. Очень рекомендую послушать все её записи, особенно полную запись этюдов Шопена! Не могу забыть её выступление в камерном зале Konzerthaus в Берлине в прошлом году.
Zlata is a musicians pianist, she gives every note meaning. I would love to hear her play Rachmaninoff's 2nd and 3rd piano Concerto's.
Incantevole!
Wonderful interpretation. I think she should have played in Carnegie Hall with better audience to enjoy such great performer as Zlata. She probably could have better reached the high point and the lyrical section of this giant painting, if she wouldn’t have been distracted by the noise from the audience. Thank you for this gift
Haha she clocked the whisperer in the audience at 7:48
And other rude distractions on at least 3 occasions ,during a most challenging and complex piece .I hope her glares were noted .I felt for her.
What happened to the audio/video sync?
Don't know whence R's Corelli-reference. These particular folía-variations are based on the ones by Antonio Martín y Coll (1709). Which sound more beautiful in the original. Still - great playing.
The folia theme is thought to originate in the 1500s in Portugal or the Canary Islands. And around 150 composers have done work on the theme. Extraordinary!
The Corelli reference reflects the state of knowledge on the subject of early music in R's time, hardly a mystery. As to sounding more beautiful--when someone compares an apple to an orange and rates the orange as failing to taste like an apple, all they have really communicated is a clear picture of their lack of knowledge of fruit. A sad reminder of the type of mind that infested the world when Rachmaninoff was alive, materially constraining Rachmaninoff's output to the too-few treasures we got.
Strong static in the microphone.
Русская тайна Супер !!!!
It's a commanding performance, but the notes don't quite s u f f e r enough! Try André Watts for a truly agonizing experience ... Thanks for posting.
!