It is not wrong; just different. I have always had my doubts about the hand crossing which tends to create inaccuracies. It was a bold and daring tempo, but it was not 'way too fast'. It was an original and in some ways, well thought out performance which should provoke a great deal of thought in all who hear it.
@@JohnSmith-ei2pm When we(pianists) say something's played "way too fast", we don't usually mean that the tempo itself is wrong, but instead, that someone's playing it fast with shameful ineptitude. Even in the short opening, TONS of mistakes(wrong notes, articulation, dynamics etc) were made. She simply can't play at that tempo. And @Jarol Rivera, I just tried it out on the piano: doing handcrossing at that "daring" tempo was not difficult at all.
@ Frank Ch. When most learned persons say something they make an effort to be accurate, otherwise they would loose status and credibility. You refer to the 'short opening' by which I assume you mean as far as the entry of the second subject. My perception is that there are no wrong notes or perhaps she caught something that should not be there, but it is not obvious and nothing to justify your comments. There is only one dynamic and that is forte and she appeared to play in a manner not out of keeping with that. I am glad you find the hand crossing to be without difficulty and hope you realise that it is not enough to merely cross the hands but to play with control of both time and tone. This passionate and bold performance is not the best I have heard, but it does not merit the disparaging comments you have made.
@@JohnSmith-ei2pm I can't at all agree with what you said "My perception is that there are no wrong notes or perhaps she caught something that should not be there". No that's wrong. If you want details, sure let's dig into them. Bar1: inconsistent tempo. Too free. Bar3-4: cresc not obvious. Bar7: wrong note at the melody line. Bar9: first note wrong. Should be a short one. Bar10: multiple wrong notes, left hand wrong articulation, should be all stacc; also too loud, making the forte at bar11 less meaningful. Bar11: first note should be short. Bar12: exactly same as bar10, wrong notes, articulation and dynamic. Bar13: second note on right hand wrong. Hit a D instead of B, showing inadequate understanding of the harmonies. Also there was zero phrasing at the end of Bar13, but there starts the second subject so let's ignore that. Now feel free to iterate that this was "passionate and bold, no wrong notes", instead of "incompetent and lack of self awareness/control".
@@frankch2288 Your writing exhibits all of the characteristics you seek to attribute to the playing of Miss Wu. The recoding history clearly shows that the greatest interpreters have used variations of rubato, dynamics, accents and tempo. It has been their interpretation. It is nonsense to condemn a performance as having 'TONS of mistakes' on the ground that there was 'inconsistent tempo' or a crescendo 'not obvious'. In bars 10 and 12 it is physically impossible not to play the notes staccato. You may not like the pedalling, but that is another matter. Her playing is not note perfect, but nowhere are there 'multiple wrong notes' I suggest your hearing is not all it could be. It is clear that you do not like the playing of Miss Wu, but you are wrong to describe her playing as appalling and to use such disparaging and intemperate language. She has displayed ability and accomplishment and it is sad that you have failed to see any of it.
it does sound a bit like a galloping horse, with the right hand triplets
She was playing it wrong. You are supposed to cross your left hand over the right for the first 8 measures. And it was way to fast.
It is not wrong; just different. I have always had my doubts about the hand crossing which tends to create inaccuracies. It was a bold and daring tempo, but it was not 'way too fast'. It was an original and in some ways, well thought out performance which should provoke a great deal of thought in all who hear it.
@@JohnSmith-ei2pm When we(pianists) say something's played "way too fast", we don't usually mean that the tempo itself is wrong, but instead, that someone's playing it fast with shameful ineptitude. Even in the short opening, TONS of mistakes(wrong notes, articulation, dynamics etc) were made. She simply can't play at that tempo. And @Jarol Rivera, I just tried it out on the piano: doing handcrossing at that "daring" tempo was not difficult at all.
@ Frank Ch. When most learned persons say something they make an effort to be accurate, otherwise they would loose status and credibility. You refer to the 'short opening' by which I assume you mean as far as the entry of the second subject. My perception is that there are no wrong notes or perhaps she caught something that should not be there, but it is not obvious and nothing to justify your comments. There is only one dynamic and that is forte and she appeared to play in a manner not out of keeping with that. I am glad you find the hand crossing to be without difficulty and hope you realise that it is not enough to merely cross the hands but to play with control of both time and tone. This passionate and bold performance is not the best I have heard, but it does not merit the disparaging comments you have made.
@@JohnSmith-ei2pm I can't at all agree with what you said "My perception is that there are no wrong notes or perhaps she caught something that should not be there". No that's wrong. If you want details, sure let's dig into them. Bar1: inconsistent tempo. Too free. Bar3-4: cresc not obvious. Bar7: wrong note at the melody line. Bar9: first note wrong. Should be a short one. Bar10: multiple wrong notes, left hand wrong articulation, should be all stacc; also too loud, making the forte at bar11 less meaningful. Bar11: first note should be short. Bar12: exactly same as bar10, wrong notes, articulation and dynamic. Bar13: second note on right hand wrong. Hit a D instead of B, showing inadequate understanding of the harmonies. Also there was zero phrasing at the end of Bar13, but there starts the second subject so let's ignore that.
Now feel free to iterate that this was "passionate and bold, no wrong notes", instead of "incompetent and lack of self awareness/control".
@@frankch2288 Your writing exhibits all of the characteristics you seek to attribute to the playing of Miss Wu. The recoding history clearly shows that the greatest interpreters have used variations of rubato, dynamics, accents and tempo. It has been their interpretation. It is nonsense to condemn a performance as having 'TONS of mistakes' on the ground that there was 'inconsistent tempo' or a crescendo 'not obvious'. In bars 10 and 12 it is physically impossible not to play the notes staccato. You may not like the pedalling, but that is another matter. Her playing is not note perfect, but nowhere are there 'multiple wrong notes' I suggest your hearing is not all it could be. It is clear that you do not like the playing of Miss Wu, but you are wrong to describe her playing as appalling and to use such disparaging and intemperate language. She has displayed ability and accomplishment and it is sad that you have failed to see any of it.