This ending is unfathomably difficult, especially when you're mentally and physically drained from the rest of the sonata. It brings Boris Giltburg, Daniil Trifonov, Yulianna Avdeeva and even Yuja Wang to their technical limits. The only pianist I've seen/heard play this bit live at full tempo whilst remaining technically accurate is Evgeny Kissin.
You can’t be referring to Yuja Wang’s performance of this sonata at her Berlin recital. Cuz it was very articulate and precise. Didn’t seem to be at her “limit” or even close.
Yeah did you see the other vid of...freak i forgot his name...DAN-danili??? He played this in his 40 min performance and it was..MUCH CLEANER THAN THIS SHIT LOL
SUCH an INSANELY WONDERFUL piece and Kate Liu keeps us on the edge of our seats... Go listen to her Spanish Rhapsody at the Tchaikovsky Competition back in the day... it's OFF THE CHARTS fabulous!
I have heard many versions of this sonata- the only pianist to accurately nail every single note in this passage while keeping the anxiety flowing at the same time is Alexander Melnikov
- Get born with elite genetics for motor skill, reflexes, memory, language processing, etc. - Have a personality with high attention to detail, diligence, perfectionism, artistic appreciation, and composure under pressure - Have your talent discovered in early childhood - Be fortunate enough to have good instruction and opportunities for advancement -........... - Profit
That just looked painful, but my technique is far from being tension free, especially my octaves, and she played with a lot of energy, had good use of arm weight, and it seemed very exciting, but I just wonder if she was in any pain while she played? Just remember that if you're playing piano (or really just doing anything), and it physically hurts while you're doing it, then you most likely have bad technique and you're doing it wrong. Not only do we want people to play the piano and have fun and genuinely enjoy, but we also want them to be able to play in a healthy and sustainable way so they can play their whole life long! ❤️
U absorb the shock with loose wrists and having strong core and knuckle support from ur hands, so no I don’t think she was in any sort of pain. She would not be able to achieve her level of sensitive control if she had painful tension.
Yuncham is a legend, so this is no shade to him, but the Van Cliburn did her dirty by not sending her to the finals. Juries will always penalize a sensitive, expressive woman artist for missing notes yet forgive a man for missing just as many notes if not more
She missed some notes... 😅 Now seriously, what a show! Not perfect, not 100% accurate, but still a show, live in concert. That's what happens when stamina meets very good technique... and it's live!
Trust me Carlos... THE REALLY BIG pictures was there in spades.... NO one can play this much on the edge without a few minor sacrifices... and it PAYED OFF!!!!
@@scintilical9442 "only by first mastering the piece can you then play it with the utmost of passion, if you concentrate solely on technique you have nothing to spare for interpretation." - me just now
nothing to do with prokofiev... it should be classical precision all the way to the end - the last phrase is completely tongue in cheek and marked 'f' not 'ff,' the supposed 'triumph' of the arpeggios before are actually a parody of the fallacy of triumphalism - every articulation should sound and be biting (particularly the dashed notes) not just a mess. This is not a barnstorming ending but actually one of the most sarcastic and terrifying things ever written
As a composer, I hope not to live enough to see any of my pieces being interpreted by pretentious people like you. Better be forgotten than reviewed with such belligerence. Not that I'm any good anyway.
@@cmyskinsfan Prokofiev sonata 8, one of the war sonatas written in dedication to the woman he was having an affair with at the time. But as with all Prokofiev, it’s sardonic and tongue in cheek all the way to the end. It was written in conjunction with his 5th symphony (in the same key) which ends in a similarly bizarre way. As with all Prokofiev - the devil is in the detail, it is not just a triumphant ending, it’s far more than that
Very sloppy compared to Giels, Richter & Gavrilov ... this is supposed to be a parodical march and those notes should be as accurate and fanatic as machine gun turrets. This is just very bad example of using muscle ineffectively and get fatigued really quick. P.S. This is my favorite War Sonata, good that I picked this instead of the other two for the exam. You need to fist the piano (Col Pugno) with No.6, but this sonata is up and beyond that mwhahahahaha
Maybe it is not so clear (this passage is freaking difficult to play without any wrong notes) but the passion and the energy is there.. And of course there is a lot of pressure since it is a major piano competition (it is not a recording for a cd).. Anna Genushene's rendition (who won the 2nd price in this competition) was much slower with a bunch of wrong notes in the end. You can check the last 2 minutes here: ruclips.net/video/gj-B053I3rU/видео.html&ab_channel=TheCliburn Also, you can check another rendition from Kate here which i think is better: ruclips.net/video/77sGvq0P8fc/видео.html&ab_channel=GrandPianoSeriesNaplesFlorida Yes, Gavrilov's is amazing, no doubt, but it is a recording of the piece and not a competition: ruclips.net/video/ncOJTGjrgMs/видео.html&ab_channel=AndreiGavrilovCultureChannel
@@bpat74 great difference Between the " live " and a studio-recording so j bought in 70 Gaspard -Ravel by superb Martha Argerich but disappointing in live with this piece with the same Martha Argerich in 1977 at Marseille Opera ; and more difficult in Competitions : comparison is only from a morron or Jealous tiny pianist .
@@purpleowl2075 Yes I can lol, I won't dare to play in that speed for exam and competition tho (see the full comment 😉). Obviously, she have practiced and should have known whether it is worth risking to play in full speed when playing Andantino before Vivace, come prima. She take the bet and failed, that is what distinguish her from those virtursos. Virtursos dare to take the risk while have the mental power to stay focused, or they don't, in order to stay in accuracy if they are not in best shape. If I were her and know that I am running out of physique, I would slow down a bit while playing the finale. The judge probably not gonna catch that and it is a minor issue compare to this.
You're free to like or dislike whatever you please. I very much enjoy hearing Prokofiev's sonatas, and briefly played a few. If you're in a certain frame of mind, the emotion they convey is powerful. Maybe even too intense if one isn't careful to take it in moderation. Many people can't relate to the level of torment conveyed by these pieces, though.
Well it's a 30 min piece and your listening to the last min devoid of context. The 1st and 2nd movements are just as beautiful as the best of Debussy, Chopin and the like. Start with the 2nd movement.
I never liked Ravel a bit, not at the slightest. Don't mention Bolero or that dumbass piano concerto shit in G and the other for left hand, let alone the pavane, I hate his piano concertos. If it not so obvious, I don't know why people keep losing their mind around them, however whatever -supposed to be good piece- of him is so normal to my ear. Prokofiev in the other hand, I appreciate him. I love some of his works, don't take me for a plain, I could fall in love with madness when I hear it. And I did, multiple times in fact. The thing is, this level of craziness dries the music out and I look here and there for a stamp that defines the beauty of the piece, some new harmony at least, some beautiful melody if my expectations skyrocket. But nah screw that sonata no. 8 it's just like Ravel concertos for piano, trash. Edit: This Sonata is 'Awesome'
I actually think the opposite, I like most of ravel's works and can't really hear more than just noise in prokofiev pieces. Btw, ravel's concerto in g major is on of my favorite pieces ever so I can't really understand how you would say that it is *that* bad but I can also understand that ravel might be weird sometimes to hear, but prokofiev is even more so I'm a bit confused with what you just wrote.
The piece you mentioned are his most wide-range public pieces, so it makes sense you could dislike them. However one can't deny the importance and modernity or Ravel's pieces, he quite literally invented the impressionist piano technique with his Jeux d'eau before even Debussy's Images.
@@santiagocaldeira7555 I'm sorry, I wrote like a huge reply, but my stupid phone decided to die all of a sudden.. So instead I'll make a summary of what I wrote! Main points: I don't like Ravel's Progression, it's either so subtle, almost repetitive or so perfect that it looks as if it needs some more additional movements, his short pieces never satisfy fully... However. Speaking of the instrumentation, he really pulls them excessively, they get muddled, and the worst part the sentence goes on as if it makes sense. When it doesn't. More deeply into the issue, there was a wide jazz influence at the time, on top of that the struggle to build up a unique identity as a composer, it sounds to me almost his music is very experimental, very abrupt transitions, colors unpleasing the ear, which could be forgiven if it were for the sarcasm, if that was the main goal which isn't, I admit that in Ravel's works there is too much whimsicality even if subtly as in its essence, to make it clearer, just as having Stravinsky's music celebrative in its """essence""", hope you get the point. This goes for the advantage of Ravel, but it just makes me frown upon his andantes and adagios... he's not a pure romantic, I know that he is a surrealist, but seriously every three seconds I need a script of 5 pages to understand what the music is talking about, Ravel absolutely draws a painting of the setting the music is trying to give off, into everyone's mind, even me, but to me again I find it initially interesting and then I lose everh clue, it's just like a novel/play, you begin with a weird setting, the music definitely speaks for itself, and then the characters start interacting, inner thoughts and god knows what too, the setting is sizzling and in an amorphous bulk of sounds and impressions it drifts away. However the worst part is when he tries to bring the soft side of his music, it's hypnotizing, won't lie, but again, it's not romantic, neither childish nor grieving as you'd expect but something else that tells joy in a quite skeptical manner, at least it sounds to me like that. Nevertheless, let's be honest you be going on a trip, and you choose to listen to his works, bet nah, Ravel's music is rarely done for the sake of musicality, it pisses me off, now let's draw some lines between Ravel and Prokofiev, you remember the sarcasm I mentioned, that you get a lot of it from Prokofiev, but the latter almost always gives a base to which you could draw your own references and imagine whatever, a witch's house, a brother in arm, a hopeless lover revolting life, whatever I said. Prokofiev understood too many shades of musicality, his works are finesse if he pleases to show them as so, and these jolts of realism he adds up reflecting his own preferences to make the compostion complete, I could here fall in love with the music most of the time, Prokofiev diversity, I find very astounding. Ravel makes so far I could tell the mindset of a person who has to make "Magic Realism", or better be said, he pulls from that all the fairy side, not the whimsicality though, and thus brings to the table the very origin of these thoughts, it's very profound, experimental indeed, but it's not the music that lies. The ear and the human-mind don't like these things, they don't just happen to drop in mind, these thoughts. I still don't know what's the very special thing about the Concerto in G, I really want to know what you find interesting in it! Best wishes!!
@@arielorthmann4061 I don't like 75 percents of Debussy's works, yes there are these wonderful hits but still. I know Ravel's repertoire, I heard most of his pieces, but never till the end. That one Quartet is so good, the pieces that sound like debussy are fine as well, the list goes on, but quite honestly there are more piano concertos that deserve to be known," I would've never preferred Ravel's more than Delius's or Poulenc's..Tcherepnin.etc.." (that's to be put as a side note, these composers by the way have such underrated wonders, that I'd recommend for everyone to go listen to now) But yeah he contributed to music I won't deny it.
You talk about: ' When the demon takes over:' as if 'the demon' is real and as if everybody is supposed to know what you think you mean by it. Then you talk about: 'So this just happened at the last Van Cliburn competition....' and then post a video of Kate Liu performing the finale of the Eighth Piano Sonata of Sergei Prokofiev at the Van Cliburn. But obviously that didn't 'just happen'. Kate Liu just did it, herself, as anyone can see. Now a connoisseur of the piano repertoire might say that Kate Liu's performance here is shockingly slipshod. However, most audiences will agree that this is an infamously difficult passage of piano music, and that Liu's energy is of such an intensity that it invites if not permits a certain amount of technical lassitude. Recall if you will some of Horowitz's more thunderous passages; often the mistakes are the best part. Unfortunately, such intensity apparently also invites the unqualified commentary of emotionally unstable types such as yourself, with your transparent attempt to distract from the performer's achievement and reflect it onto yourself, by means of your own invented supernatural entities and happenings. And then finally you say: 'Excuse me????' as if you are personally present at Liu's recital and have authority to pass your unqualified commentary over it, and as if quadruple question marks is the punctuation style of a well-balanced mind. I will not excuse you. You don't know what you're talking about. And I don't like you.
The only artist I know who really can play exactly everything in this sonata is a Sibelius Software.
This ending is unfathomably difficult, especially when you're mentally and physically drained from the rest of the sonata. It brings Boris Giltburg, Daniil Trifonov, Yulianna Avdeeva and even Yuja Wang to their technical limits. The only pianist I've seen/heard play this bit live at full tempo whilst remaining technically accurate is Evgeny Kissin.
You can’t be referring to Yuja Wang’s performance of this sonata at her Berlin recital. Cuz it was very articulate and precise. Didn’t seem to be at her “limit” or even close.
@@DrDLL99 just listened to that and she played it very differently from when I heard her live. Yeah she played it much better in Berlin.
Ashkenazy nailed it
Kate is the only one who makes it perfect. Far better than Yuja Wang
Sergei Davdychenko the recent Tchaikovsky Competition winner blows it out the water. And he plays it effortlessly without even breaking a sweat
The marking on the page clearly says "Like a hot mess, out of control with great muscular strain and tension".
So I think it is perfect.
Yeah did you see the other vid of...freak i forgot his name...DAN-danili??? He played this in his 40 min performance and it was..MUCH CLEANER THAN THIS SHIT LOL
@@martinvanburen5727 cool😱 don’t care
@@themagicducc2777 lame
Wow, she must have had a lot of coffee that morning before the concert. That is sheer power.
SUCH an INSANELY WONDERFUL piece and Kate Liu keeps us on the edge of our seats... Go listen to her Spanish Rhapsody at the Tchaikovsky Competition back in the day... it's OFF THE CHARTS fabulous!
i cant find it , link?
This is just amazing. Kate has an unparalleled technique and a totally unique lyrical talent too
I have heard many versions of this sonata- the only pianist to accurately nail every single note in this passage while keeping the anxiety flowing at the same time is Alexander Melnikov
gavrilov?
@@williamnelson792 no
Kate Liu is my celebrity crush
How is this even possible i can’t even play a kazoo
😂😂 I think she practices 25 hours a day
@@pink_key I would only assume 💀😅
@@pink_key more like 40 hours!
@@julianmatthews5785 probably 60 hours
- Get born with elite genetics for motor skill, reflexes, memory, language processing, etc.
- Have a personality with high attention to detail, diligence, perfectionism, artistic appreciation, and composure under pressure
- Have your talent discovered in early childhood
- Be fortunate enough to have good instruction and opportunities for advancement
-...........
- Profit
That just looked painful, but my technique is far from being tension free, especially my octaves, and she played with a lot of energy, had good use of arm weight, and it seemed very exciting, but I just wonder if she was in any pain while she played?
Just remember that if you're playing piano (or really just doing anything), and it physically hurts while you're doing it, then you most likely have bad technique and you're doing it wrong.
Not only do we want people to play the piano and have fun and genuinely enjoy, but we also want them to be able to play in a healthy and sustainable way so they can play their whole life long! ❤️
U absorb the shock with loose wrists and having strong core and knuckle support from ur hands, so no I don’t think she was in any sort of pain. She would not be able to achieve her level of sensitive control if she had painful tension.
She did get focal dystonia but managed to overcome it though
0:25 onwards is my fav
I love her 😂♥️
daaaamn prokofiev why'd you have to go like that 😅
How great thou art
nice
I feel like if I don't share this the demon is going to get at me...
That one left me cold, I’m afraid
Faster ! Faster, dammit !!
How many hours to play this diabolical piece ? no enough : all the youth of a teenager and more : all a life in fact !
She came from gargantua, the planet from interstellar where their 1 hour is our 7 years on earth. So that explains her skills. Understandable 🤷♂️
Okay!? That's scary!
Clearly, she's just channeling Scriabin or Shostakovich or something like that. Or she was possessed. Either one.
I hope they cleaned the blood and chunks of fingernails off the keys before the next competitor took the stage.
Omg, she is demonic like Girl from The Ring movie...
Yuncham is a legend, so this is no shade to him, but the Van Cliburn did her dirty by not sending her to the finals. Juries will always penalize a sensitive, expressive woman artist for missing notes yet forgive a man for missing just as many notes if not more
Agreed. She deserved to be a finalist.
It‘s always also a question of luck to get to the final
BS. I was there and saw her and the others play. Simply, she was good, but not as good as many. She in no way deserved to win.
@@scherzomazeppa726 I sense bad vibes from you
Was she in the previous Cliburn competition, too?
I think she's possessed by a evil piano ghost
She missed some notes... 😅
Now seriously, what a show! Not perfect, not 100% accurate, but still a show, live in concert. That's what happens when stamina meets very good technique... and it's live!
Trust me Carlos... THE REALLY BIG pictures was there in spades.... NO one can play this much on the edge without a few minor sacrifices... and it PAYED OFF!!!!
bro i fucking hate people who talk about missed notes. this isnt an etude for one to play correctly. this is a piece for you to express
Lol if you hear wrong notes you probably studied the piece a hecking lot. Note accuracy has to be like the fourth or fifth priority in this passage
Imagine having the talent to create this music from nothing
Это не то пальто! Слишком истерично для этого пулеметного марша!
A lot of extra movement.
music is not technic j talk here about Polkas-Circus , community where the Principal is Lang Lang with his smile and his Theater
she can't bear this speed, I suggest Gavrilov
This performance so unclear, many notes are missed
"To play a wrong note is insignificant; to play without passion is inexcusable." - Ludwig van Beethoven
@@scintilical9442 “to play so poorly even an untrained ear can hear the wrong notes is really bad too though”-me just now
@@roastymytoasty1707 there really aren’t that many missed notes, you are greatly exaggerating it.
@@scintilical9442 "only by first mastering the piece can you then play it with the utmost of passion, if you concentrate solely on technique you have nothing to spare for interpretation." - me just now
@@scintilical9442 Beethoven never said that. Do some research
nothing to do with prokofiev... it should be classical precision all the way to the end - the last phrase is completely tongue in cheek and marked 'f' not 'ff,' the supposed 'triumph' of the arpeggios before are actually a parody of the fallacy of triumphalism - every articulation should sound and be biting (particularly the dashed notes) not just a mess. This is not a barnstorming ending but actually one of the most sarcastic and terrifying things ever written
Bro who pissed in your cereal
As a composer, I hope not to live enough to see any of my pieces being interpreted by pretentious people like you. Better be forgotten than reviewed with such belligerence. Not that I'm any good anyway.
@@luizf.composer that’s why you’re no good!
Which piece is this?
@@cmyskinsfan Prokofiev sonata 8, one of the war sonatas written in dedication to the woman he was having an affair with at the time. But as with all Prokofiev, it’s sardonic and tongue in cheek all the way to the end. It was written in conjunction with his 5th symphony (in the same key) which ends in a similarly bizarre way. As with all Prokofiev - the devil is in the detail, it is not just a triumphant ending, it’s far more than that
This piece seems beyond her. Wang Yujia played it so much better, without missing any notes from the beginning to the end.
Aside from quibbles over the tempo, this version is FAR more musical: ruclips.net/video/ncOJTGjrgMs/видео.html. Or Kissin’s. This is just noise
Very sloppy compared to Giels, Richter & Gavrilov ... this is supposed to be a parodical march and those notes should be as accurate and fanatic as machine gun turrets.
This is just very bad example of using muscle ineffectively and get fatigued really quick.
P.S. This is my favorite War Sonata, good that I picked this instead of the other two for the exam. You need to fist the piano (Col Pugno) with No.6, but this sonata is up and beyond that mwhahahahaha
Maybe it is not so clear (this passage is freaking difficult to play without any wrong notes) but the passion and the energy is there.. And of course there is a lot of pressure since it is a major piano competition (it is not a recording for a cd).. Anna Genushene's rendition (who won the 2nd price in this competition) was much slower with a bunch of wrong notes in the end. You can check the last 2 minutes here: ruclips.net/video/gj-B053I3rU/видео.html&ab_channel=TheCliburn
Also, you can check another rendition from Kate here which i think is better: ruclips.net/video/77sGvq0P8fc/видео.html&ab_channel=GrandPianoSeriesNaplesFlorida
Yes, Gavrilov's is amazing, no doubt, but it is a recording of the piece and not a competition: ruclips.net/video/ncOJTGjrgMs/видео.html&ab_channel=AndreiGavrilovCultureChannel
@@bpat74 great difference Between the " live " and a studio-recording so j bought in 70 Gaspard -Ravel by superb Martha Argerich but disappointing in live with this piece with the same Martha Argerich in 1977 at Marseille Opera ; and more difficult in Competitions : comparison is only from a morron or Jealous tiny pianist .
Dude, the fact that she can play this at all is a huge freaking human achievement - go easy on her - can you play this?
@@purpleowl2075 Yes I can lol, I won't dare to play in that speed for exam and competition tho (see the full comment 😉). Obviously, she have practiced and should have known whether it is worth risking to play in full speed when playing Andantino before Vivace, come prima. She take the bet and failed, that is what distinguish her from those virtursos. Virtursos dare to take the risk while have the mental power to stay focused, or they don't, in order to stay in accuracy if they are not in best shape. If I were her and know that I am running out of physique, I would slow down a bit while playing the finale. The judge probably not gonna catch that and it is a minor issue compare to this.
Oh wait is that a dude ?
No
Why should anyone desire to play this piece?
we have a greater sensibility than most people
To say that you can
Stick to your chopin waltzes mate
@@null8295 You have the same sense that dogs have for each others excrement
Piano nerds, I bet nobody in the public there enjoyed this except some pianists who can "appreciate" this horrible performance.
It is very unpleasant to hear.
Listen to kissins interpretation
THIS is unpleasant? Wow.
agreed, sample Richter
Somewhat sloppy.
I don't like music like this; is it just me? It sounds cacophonous.
Basically it means you don't like Modern Classical Music( after 1900s/1920s ) or Atonal Music
You're free to like or dislike whatever you please. I very much enjoy hearing Prokofiev's sonatas, and briefly played a few. If you're in a certain frame of mind, the emotion they convey is powerful. Maybe even too intense if one isn't careful to take it in moderation. Many people can't relate to the level of torment conveyed by these pieces, though.
@@babygirl4169 Nah. They might like Debussy and Ravel
Well it's a 30 min piece and your listening to the last min devoid of context. The 1st and 2nd movements are just as beautiful as the best of Debussy, Chopin and the like. Start with the 2nd movement.
@@Ziad3195 Yes, you are correct. I do like Debussy but not really Ravel from what I've heard.
I never liked Ravel a bit, not at the slightest. Don't mention Bolero or that dumbass piano concerto shit in G and the other for left hand, let alone the pavane, I hate his piano concertos. If it not so obvious, I don't know why people keep losing their mind around them, however whatever -supposed to be good piece- of him is so normal to my ear.
Prokofiev in the other hand, I appreciate him. I love some of his works, don't take me for a plain, I could fall in love with madness when I hear it. And I did, multiple times in fact. The thing is, this level of craziness dries the music out and I look here and there for a stamp that defines the beauty of the piece, some new harmony at least, some beautiful melody if my expectations skyrocket.
But nah screw that sonata no. 8 it's just like Ravel concertos for piano, trash.
Edit: This Sonata is 'Awesome'
I actually think the opposite, I like most of ravel's works and can't really hear more than just noise in prokofiev pieces.
Btw, ravel's concerto in g major is on of my favorite pieces ever so I can't really understand how you would say that it is *that* bad but I can also understand that ravel might be weird sometimes to hear, but prokofiev is even more so I'm a bit confused with what you just wrote.
The piece you mentioned are his most wide-range public pieces, so it makes sense you could dislike them. However one can't deny the importance and modernity or Ravel's pieces, he quite literally invented the impressionist piano technique with his Jeux d'eau before even Debussy's Images.
@@santiagocaldeira7555 I'm sorry, I wrote like a huge reply, but my stupid phone decided to die all of a sudden..
So instead I'll make a summary of what I wrote!
Main points:
I don't like Ravel's Progression, it's either so subtle, almost repetitive or so perfect that it looks as if it needs some more additional movements, his short pieces never satisfy fully...
However. Speaking of the instrumentation, he really pulls them excessively, they get muddled, and the worst part the sentence goes on as if it makes sense. When it doesn't.
More deeply into the issue, there was a wide jazz influence at the time, on top of that the struggle to build up a unique identity as a composer, it sounds to me almost his music is very experimental, very abrupt transitions, colors unpleasing the ear, which could be forgiven if it were for the sarcasm, if that was the main goal which isn't, I admit that in Ravel's works there is too much whimsicality even if subtly as in its essence, to make it clearer, just as having Stravinsky's music celebrative in its """essence""", hope you get the point.
This goes for the advantage of Ravel, but it just makes me frown upon his andantes and adagios... he's not a pure romantic, I know that he is a surrealist, but seriously every three seconds I need a script of 5 pages to understand what the music is talking about, Ravel absolutely draws a painting of the setting the music is trying to give off, into everyone's mind, even me, but to me again I find it initially interesting and then I lose everh clue, it's just like a novel/play, you begin with a weird setting, the music definitely speaks for itself, and then the characters start interacting, inner thoughts and god knows what too, the setting is sizzling and in an amorphous bulk of sounds and impressions it drifts away. However the worst part is when he tries to bring the soft side of his music, it's hypnotizing, won't lie, but again, it's not romantic, neither childish nor grieving as you'd expect but something else that tells joy in a quite skeptical manner, at least it sounds to me like that. Nevertheless, let's be honest you be going on a trip, and you choose to listen to his works, bet nah, Ravel's music is rarely done for the sake of musicality, it pisses me off, now let's draw some lines between Ravel and Prokofiev, you remember the sarcasm I mentioned, that you get a lot of it from Prokofiev, but the latter almost always gives a base to which you could draw your own references and imagine whatever, a witch's house, a brother in arm, a hopeless lover revolting life, whatever I said. Prokofiev understood too many shades of musicality, his works are finesse if he pleases to show them as so, and these jolts of realism he adds up reflecting his own preferences to make the compostion complete, I could here fall in love with the music most of the time, Prokofiev diversity, I find very astounding. Ravel makes so far I could tell the mindset of a person who has to make "Magic Realism", or better be said, he pulls from that all the fairy side, not the whimsicality though, and thus brings to the table the very origin of these thoughts, it's very profound, experimental indeed, but it's not the music that lies. The ear and the human-mind don't like these things, they don't just happen to drop in mind, these thoughts. I still don't know what's the very special thing about the Concerto in G, I really want to know what you find interesting in it!
Best wishes!!
@@arielorthmann4061 I don't like 75 percents of Debussy's works, yes there are these wonderful hits but still.
I know Ravel's repertoire, I heard most of his pieces, but never till the end. That one Quartet is so good, the pieces that sound like debussy are fine as well, the list goes on, but quite honestly there are more piano concertos that deserve to be known," I would've never preferred Ravel's more than Delius's or Poulenc's..Tcherepnin.etc.." (that's to be put as a side note, these composers by the way have such underrated wonders, that I'd recommend for everyone to go listen to now)
But yeah he contributed to music I won't deny it.
no. this is his best piano sonata period.
You talk about: ' When the demon takes over:' as if 'the demon' is real and as if everybody is supposed to know what you think you mean by it.
Then you talk about: 'So this just happened at the last Van Cliburn competition....' and then post a video of Kate Liu performing the finale of the Eighth Piano Sonata of Sergei Prokofiev at the Van Cliburn. But obviously that didn't 'just happen'. Kate Liu just did it, herself, as anyone can see.
Now a connoisseur of the piano repertoire might say that Kate Liu's performance here is shockingly slipshod. However, most audiences will agree that this is an infamously difficult passage of piano music, and that Liu's energy is of such an intensity that it invites if not permits a certain amount of technical lassitude. Recall if you will some of Horowitz's more thunderous passages; often the mistakes are the best part. Unfortunately, such intensity apparently also invites the unqualified commentary of emotionally unstable types such as yourself, with your transparent attempt to distract from the performer's achievement and reflect it onto yourself, by means of your own invented supernatural entities and happenings.
And then finally you say: 'Excuse me????' as if you are personally present at Liu's recital and have authority to pass your unqualified commentary over it, and as if quadruple question marks is the punctuation style of a well-balanced mind.
I will not excuse you. You don't know what you're talking about. And I don't like you.
I hope you’re trolling…