Your videos are really helping with my writing. I don't have a hope of ever being able to play these pieces myself, but you're giving me valuable insight into how they are constructed. Thanks!
I, for one, feel extremely grateful for the unique person that you are! 🙏 I listened to both recordings. They are different but I like them both. To me, the earlier recording sends sparks flying from the piano. Today's recording seems more nuanced and generous. It's interesting to listen to the two, side by side. I'm glad that they both exist. I love this channel! and I listen to your posts many times over. (it takes me that long to absorb everything). Thank you for contributing this music together with your insight. It's a meaningful gift for all of us listeners.
I’m working on this piece now, so this comes quite in handy! This is the closest thing to a tutorial on RUclips for this piece so thanks for uploading this! What’s fascinating to me is, everyone was preparing me to be ready for a struggle with the left hand portion of this piece, yet it’s not the left hand part I am finding difficult, but the right hand! The alternating octaves and thirds in the right hand are the hardest things for me.
Yes, I agree! A great practice technique here is to practice the octaves and thirds blocked together (playing 4 note chords), and staccato, from slow to as quickly as possible. That will build up the feel for the chord positions in your hand.
Thank you Peter! Well to be fair, I think he was trying to work from home, and when you can't choose when to hear the pianist next door, I can understand it could becoming exasperating. I'm glad to no longer have that problem!
I have never enjoyed this prelude: it sounds so "notey". Your performance here is very close to the tempo I selected when I played it years ago. Earlier this evening, I re-listened to Jorge Bolet's 1988 performance of the third concerto: he plays with great expansiveness and glorious lyricism, and, for once, the piano part doesn't sound over-written, or like an opportunity for a pianist to show what he or she can do. I think one could play this prelude a bit more slowly still: those wretched octave/third sextuplets could sound clearer, however, at a slower tempo I don't think the middle section would work.
Bravo, Cole! Thank for sharing, both your performance and your personal context. Two thoughts; for me Rachmaninov can never be performed too slow. There is so much to hear in the texture and counter melodies that is only discernible when performed at a slower tempo;
Hi Cole! Fantastic performance of my absolute favorite of all Rachmaninoff's preludes. The falling two-note motif between 9:00 and 9:01 (and again, even more wonderfully, at 9:28) always struck me as pure Brahms, and you can't miss the cheeky (?) allusion to Beethoven's Fifth at 9:23 (which Rachmaninoff also cited in his song "Fate," though more openly). But your tempo seems perfect. The performance I'm most familiar with is Vladimir Ashkenazy's, and I don't think he's much faster than you, but this brings out a lot of the soulfulness of the piece. And it's always great to grow, so bravo!
It's interesting that Rachmaninoff disliked Brahms' music so much. I've often also thought that there was a certain amount of influence there-at least from a technical perspective!
@@TheIndependentPianist Where did you get that information? I never heard anyone say that Rachmaninoff didn't like Brahms' music, only that Tchaikovsky did.
@@SpaghettiToaster I was looking up some old comments and saw your question, sorry I missed it before. I believe I read about that in Nathan Milstein's autobiography-which I suppose one should take with a grain of salt in any case. Then I think also David Dubal quoted Horowitz remarking on Rachmaninoff's mixed feelings about Brahms in "Evenings with Horowitz. " It seems not to have been the kind of open hatred that Tchaikovsky expressed towards Brahms, rather more of an ambivalence, or a feeling that Brahms was a composer with great potential who didn't fully realize that potential in his large compositions.
I hesitate. Should I just comment on what you play in this upload, or should I also comment on what you say before you play? Of course, I have to comment on both elements because . . . well, because I can and I want to! The Rachmaninoff B-flat Major Prelude from 1903 is a truly majestic composition - music that seeks to project the power and bravura of the virtuoso pianist. The English musicologist, Professor Geoffrey Norris, notes how this Prelude is rhythmically complex with its contrasting thunderous left-hand ostinato played against a jagged right hand melodic line. To perform the Prelude successfully, the virtuoso pianist must possess considerable left-hand endurance to maintain a consistent legato throughout the piece. As you are a virtuoso pianist, Cole, this you achieve with apparent ease (the result, no doubt, of years and years of dedication and commitment to practice to gain such mastery and superb technical proficiency). That might make you a fabulous pianist . . . but not necessarily a fabulous musician . . . After listening to this 2022 performance, I then went to your recording uploaded in October 2019. Yes, the performances are different. Most noticeably tempo. Both are quite spectacular - and I love them both. I'm sure some people will happily make a judgement (objective? subjective?) as to which they believe is the superior performance. As an aside, for an analogy, I love cheese (just as much as Ben Gunn from "Treasure Island"!). If you asked me to choose between Roquefort or Stilton in my pack of cheesy cards, the Roquefort would definitely be the Queen of Diamonds - edgy, refined; think delicate veins on a high forehead - whereas the Stilton would have to be the King of Hearts - a smooth operator with a crusty smile and a penchant for ascots and cummerbunds! So which cheese do I prefer the most? I couldn't make a preferred choice . . . just as I cannot decide which of your two recordings I prefer as both, like the cheeses, are perfection for me and belong in the same pack! So, how do you come over to your followers and subscribers in this video? More relaxed, more confident, more sure of yourself as a person and a musician - and in particular, a pianist with something to say. It's clear that you've outgrown wanting to please others in your performances by giving them what you think they want; now you give them what you want to give, revealing what the music says and means to you. Always informed, of course, and exquisitely balanced and nuanced - but also genuine, honest and from deep within your heart. We couldn't wish for any more from you, Cole. You reference that your journey through life has over the last few years presented you with challenges and heart-ache. Hopefully also joy and fulfilment. Such is life in all it throws at us. But like a good cheese, you are now ripe and mature and of the fullest flavour. And my appetite for your playing continues to grow, as it does for cheese! Bravo to you!
Thanks Graham! I love that cheese analogy! I too am a "cheese fan," although I don't think I am quite at your level. As long as my playing doesn't bring to mind the aroma of Limburger I'll be happy!
@@TheIndependentPianist Haha! There'd only ever be a "stink" if you forgot to upload on a Friday! When I'd finished 'mincing' you, there would be more hamburger than Limburger as a consequence! (Only joking - I remember the bandage on the thumb for a few weeks after your accident with the vegetable peeler!)
There's something Berliozian about this prelude (especially the 'ridiculous expanded cadence' @11:43 - Roman Carnival much?). This led me down the rabbit hole of seeing if Berlioz ever wrote anything for solo piano; turns out he did (well harmonium but close enough!): Sérénade agreste à la madone sur la thème des pifferari romains, H 98 Hymne pour l'élévation, H 100 Toccata, H 99 Anyway thank you for introducing this Rach to me. Incidentally I went to hear Bronfman play the 3rd last night w/LA Phil and it was spellbinding as one would expect (his encore was Chopin Op. 27, No. 2!). I agree completely about revisiting pieces and simply wanting to not gloss over the notes; somehow the character of a piece is brought in relief. If this translates to being slower in tempo then so be it! I'm glad you get affirmations of your art from this channel - the INDEPENDENT pianist.
Very interesting Ceasar! I would love it if there was more "native" piano music from Berlioz. He is certainly one of my favorites. He would introduce odd phrase expansions kind of like that as well! Great observation.
It's not possible to play as fast on an electronic keyboard even when it has a weighted action. Don't worry about it. Sounds good. Do you play all the other preludes? The Rachmaninoff sonata?
That did occur to me-although I kind of think it might even have more to do with the added nerves in a live concert-I always seem to play faster than I intend to in concerts. Oh well, whatever the case, thank you for the vote of confidence! I have played a generous handful of the Preludes and Etudes, also some of the Moment-Musicaux-but I haven't played either of the solo Sonatas-I did do the cello sonata, but that doesn't count I assume :-). Is that a request?
@@TheIndependentPianist I for one would love to hear more (in particular op 16 no 6, op 32 no 10 or 12, op 33 no 5 to name a few), but I'd personally also like some more Brahms (Op. 10 comes to mind). Your analysis and performance is as always a great gift to the community, keep it up!!
Also i've always wondered where the music from your intro is from? Its always struck me as deeply beautiful and if it is indeed your own composition i want more of it!!
@@TheIndependentPianist Are you familiar with Rachmaninoff's Dflat Major prelude (Op.32 No.13)? It's written as a somewhat cyclic conclusion to his cycle of preludes. Seeing as you're familiar with quite a few of them I think it'd be interesting to see if you could shed some light on its writing and references to other preludes. I find something new in the work each time I revisit the score at my keyboard. There aren't many amazing recordings of it out there, and all the recordings I've heard miss the (transposed) call back to Op.3 No.2 (Csharp Minor prelude)'s main motif within the choral's inner lines right at the start (it's even hinted at on most scores). The solo piano sonatas are EXTREMELY dense thematically, especially the first - barely any filler material. Would be hard to analyse them without missing something, though there are fairly decent thematic analysis of them hidden within the descriptions of some youtube uploads already. The second piano sonata also has two editions (1913 original, and a cut-down 1931 edition to bring performance times closer to 20 minutes), pianists often mix passages from either edition in their interpretations making studying recordings a bit interesting. I could write for hours about either sonata lol Anyway, here's Rustem Hayroudinoff's notes on the first piano sonata (and some on the second). onyxclassics.com/docs/ONYX4181long%20note.pdf
@@okb0ss336 Those all sound like great suggestions. I'll add them to the list! The opening is from Earl Wild's Etude after Gershwin's "Liza." Unfortunately I can't take credit for it!
Your videos are really helping with my writing. I don't have a hope of ever being able to play these pieces myself, but you're giving me valuable insight into how they are constructed. Thanks!
I, for one, feel extremely grateful for the unique person that you are! 🙏 I listened to both recordings. They are different but I like them both. To me, the earlier recording sends sparks flying from the piano. Today's recording seems more nuanced and generous. It's interesting to listen to the two, side by side. I'm glad that they both exist. I love this channel! and I listen to your posts many times over. (it takes me that long to absorb everything). Thank you for contributing this music together with your insight. It's a meaningful gift for all of us listeners.
I’m working on this piece now, so this comes quite in handy! This is the closest thing to a tutorial on RUclips for this piece so thanks for uploading this! What’s fascinating to me is, everyone was preparing me to be ready for a struggle with the left hand portion of this piece, yet it’s not the left hand part I am finding difficult, but the right hand! The alternating octaves and thirds in the right hand are the hardest things for me.
Yes, I agree! A great practice technique here is to practice the octaves and thirds blocked together (playing 4 note chords), and staccato, from slow to as quickly as possible. That will build up the feel for the chord positions in your hand.
There are no words that could describe how much this piece amazes me. Great performance!
Also, I can’t believe that a neighbour would complain about your practicing. I would give my eye teeth to hear my neighbour playing as you do.
Thank you Peter! Well to be fair, I think he was trying to work from home, and when you can't choose when to hear the pianist next door, I can understand it could becoming exasperating. I'm glad to no longer have that problem!
The tempo is correct and played very clearly. Good job.
I have never enjoyed this prelude: it sounds so "notey". Your performance here is very close to the tempo I selected when I played it years ago. Earlier this evening, I re-listened to Jorge Bolet's 1988 performance of the third concerto: he plays with great expansiveness and glorious lyricism, and, for once, the piano part doesn't sound over-written, or like an opportunity for a pianist to show what he or she can do. I think one could play this prelude a bit more slowly still: those wretched octave/third sextuplets could sound clearer, however, at a slower tempo I don't think the middle section would work.
Amazing intepretation, great work as always :)
Thank you so much for sharing!!! I am an amateur pianist and your videos are immensely helpful! You're wonderful :)
Bravo, Cole! Thank for sharing, both your performance and your personal context. Two thoughts;
for me Rachmaninov can never be performed too slow. There is so much to hear in the texture and counter melodies that is only discernible when performed at a slower tempo;
Glorious!
Hi Cole! Fantastic performance of my absolute favorite of all Rachmaninoff's preludes. The falling two-note motif between 9:00 and 9:01 (and again, even more wonderfully, at 9:28) always struck me as pure Brahms, and you can't miss the cheeky (?) allusion to Beethoven's Fifth at 9:23 (which Rachmaninoff also cited in his song "Fate," though more openly). But your tempo seems perfect. The performance I'm most familiar with is Vladimir Ashkenazy's, and I don't think he's much faster than you, but this brings out a lot of the soulfulness of the piece. And it's always great to grow, so bravo!
It's interesting that Rachmaninoff disliked Brahms' music so much. I've often also thought that there was a certain amount of influence there-at least from a technical perspective!
@@TheIndependentPianist Where did you get that information? I never heard anyone say that Rachmaninoff didn't like Brahms' music, only that Tchaikovsky did.
@@SpaghettiToaster I was looking up some old comments and saw your question, sorry I missed it before. I believe I read about that in Nathan Milstein's autobiography-which I suppose one should take with a grain of salt in any case. Then I think also David Dubal quoted Horowitz remarking on Rachmaninoff's mixed feelings about Brahms in "Evenings with Horowitz. " It seems not to have been the kind of open hatred that Tchaikovsky expressed towards Brahms, rather more of an ambivalence, or a feeling that Brahms was a composer with great potential who didn't fully realize that potential in his large compositions.
I hesitate. Should I just comment on what you play in this upload, or should I also comment on what you say before you play? Of course, I have to comment on both elements because . . . well, because I can and I want to!
The Rachmaninoff B-flat Major Prelude from 1903 is a truly majestic composition - music that seeks to project the power and bravura of the virtuoso pianist. The English musicologist, Professor Geoffrey Norris, notes how this Prelude is rhythmically complex with its contrasting thunderous left-hand ostinato played against a jagged right hand melodic line. To perform the Prelude successfully, the virtuoso pianist must possess considerable left-hand endurance to maintain a consistent legato throughout the piece. As you are a virtuoso pianist, Cole, this you achieve with apparent ease (the result, no doubt, of years and years of dedication and commitment to practice to gain such mastery and superb technical proficiency). That might make you a fabulous pianist . . . but not necessarily a fabulous musician . . .
After listening to this 2022 performance, I then went to your recording uploaded in October 2019. Yes, the performances are different. Most noticeably tempo. Both are quite spectacular - and I love them both. I'm sure some people will happily make a judgement (objective? subjective?) as to which they believe is the superior performance. As an aside, for an analogy, I love cheese (just as much as Ben Gunn from "Treasure Island"!). If you asked me to choose between Roquefort or Stilton in my pack of cheesy cards, the Roquefort would definitely be the Queen of Diamonds - edgy, refined; think delicate veins on a high forehead - whereas the Stilton would have to be the King of Hearts - a smooth operator with a crusty smile and a penchant for ascots and cummerbunds! So which cheese do I prefer the most? I couldn't make a preferred choice . . . just as I cannot decide which of your two recordings I prefer as both, like the cheeses, are perfection for me and belong in the same pack!
So, how do you come over to your followers and subscribers in this video? More relaxed, more confident, more sure of yourself as a person and a musician - and in particular, a pianist with something to say. It's clear that you've outgrown wanting to please others in your performances by giving them what you think they want; now you give them what you want to give, revealing what the music says and means to you. Always informed, of course, and exquisitely balanced and nuanced - but also genuine, honest and from deep within your heart. We couldn't wish for any more from you, Cole. You reference that your journey through life has over the last few years presented you with challenges and heart-ache. Hopefully also joy and fulfilment. Such is life in all it throws at us. But like a good cheese, you are now ripe and mature and of the fullest flavour. And my appetite for your playing continues to grow, as it does for cheese! Bravo to you!
Thanks Graham! I love that cheese analogy! I too am a "cheese fan," although I don't think I am quite at your level. As long as my playing doesn't bring to mind the aroma of Limburger I'll be happy!
@@TheIndependentPianist Haha! There'd only ever be a "stink" if you forgot to upload on a Friday! When I'd finished 'mincing' you, there would be more hamburger than Limburger as a consequence! (Only joking - I remember the bandage on the thumb for a few weeks after your accident with the vegetable peeler!)
There's something Berliozian about this prelude (especially the 'ridiculous expanded cadence' @11:43 - Roman Carnival much?). This led me down the rabbit hole of seeing if Berlioz ever wrote anything for solo piano; turns out he did (well harmonium but close enough!):
Sérénade agreste à la madone sur la thème des pifferari romains, H 98
Hymne pour l'élévation, H 100
Toccata, H 99
Anyway thank you for introducing this Rach to me. Incidentally I went to hear Bronfman play the 3rd last night w/LA Phil and it was spellbinding as one would expect (his encore was Chopin Op. 27, No. 2!).
I agree completely about revisiting pieces and simply wanting to not gloss over the notes; somehow the character of a piece is brought in relief. If this translates to being slower in tempo then so be it! I'm glad you get affirmations of your art from this channel - the INDEPENDENT pianist.
Very interesting Ceasar! I would love it if there was more "native" piano music from Berlioz. He is certainly one of my favorites. He would introduce odd phrase expansions kind of like that as well! Great observation.
It's not possible to play as fast on an electronic keyboard even when it has a weighted action. Don't worry about it. Sounds good. Do you play all the other preludes? The Rachmaninoff sonata?
That did occur to me-although I kind of think it might even have more to do with the added nerves in a live concert-I always seem to play faster than I intend to in concerts. Oh well, whatever the case, thank you for the vote of confidence!
I have played a generous handful of the Preludes and Etudes, also some of the Moment-Musicaux-but I haven't played either of the solo Sonatas-I did do the cello sonata, but that doesn't count I assume :-). Is that a request?
@@TheIndependentPianist I for one would love to hear more (in particular op 16 no 6, op 32 no 10 or 12, op 33 no 5 to name a few), but I'd personally also like some more Brahms (Op. 10 comes to mind). Your analysis and performance is as always a great gift to the community, keep it up!!
Also i've always wondered where the music from your intro is from? Its always struck me as deeply beautiful and if it is indeed your own composition i want more of it!!
@@TheIndependentPianist Are you familiar with Rachmaninoff's Dflat Major prelude (Op.32 No.13)? It's written as a somewhat cyclic conclusion to his cycle of preludes. Seeing as you're familiar with quite a few of them I think it'd be interesting to see if you could shed some light on its writing and references to other preludes. I find something new in the work each time I revisit the score at my keyboard.
There aren't many amazing recordings of it out there, and all the recordings I've heard miss the (transposed) call back to Op.3 No.2 (Csharp Minor prelude)'s main motif within the choral's inner lines right at the start (it's even hinted at on most scores).
The solo piano sonatas are EXTREMELY dense thematically, especially the first - barely any filler material. Would be hard to analyse them without missing something, though there are fairly decent thematic analysis of them hidden within the descriptions of some youtube uploads already. The second piano sonata also has two editions (1913 original, and a cut-down 1931 edition to bring performance times closer to 20 minutes), pianists often mix passages from either edition in their interpretations making studying recordings a bit interesting. I could write for hours about either sonata lol
Anyway, here's Rustem Hayroudinoff's notes on the first piano sonata (and some on the second). onyxclassics.com/docs/ONYX4181long%20note.pdf
@@okb0ss336 Those all sound like great suggestions. I'll add them to the list! The opening is from Earl Wild's Etude after Gershwin's "Liza." Unfortunately I can't take credit for it!
❣️
based.