Yes, some very interesting ideas for interpretation here. It's all presented in a bit of a contrived over-deliberate way, but I'll definitely bear some of these alternate counterpoints more in mind the next time I play it...
@@HeartofthePiano Right. And it doesn't matter AT ALL what the COMPOSER's intentions are. You poor soul to think that THIS is a proper performance of this masterpiece.
For some money is no object, for maestro Kemal technique, dexterity are no object,... With which inner voice are we going to keep which bored finger busy today?
Oh god this is awful. What is this man thinking?? Let's have a little more left hand at 1:13 and a little more inner voice at 1:24. Same at 2:10 - please pound the inner voice more. We can't quite hear it. It needs to slow down more at 3:00. That is the funeral march section. More alto at 3:36 please. After all, it is the principal melody. Please add four French horns to the inner voice at 4:12. That was clearly Chopin's intention. At 4:53, please add trombone and tuba to the left hand. We can't quite hear that either. 5:58 is ridiculous. The pounding of the secondary voice at 7:30 is criminal. The entire spectacle is ridiculous. It is first year college level at best. This piece is way beyond this pianist. Try one of the less challenging mazurkas or preludes. On second thought, stop playing the piano and learn something from what Nadia Boulanger said: "As performers, you have to play with honesty, not to express yourselves but to give expression to the work; not to try to say my Beethoven Sonata, my Chopin Scherzo, but a Scherzo, not even by Chopin, a Scherzo that was given Chopin to write and that no longer needs Chopin to be a masterpiece. It no longer needs a performer, or a listener. It needs nothing. It is just floating in the air, ablaze with light. Then, you look at it or you don't." Clearly, this man doesn't. He needs a psychiatrist.
Very original version different from most of the others: he makes us hear a lot of notes in the left hand that most pianists don´t do .
glad you heard this too -- the acoustics in the church are not the best - but the Bosendorfer has a sound of its own which Kemal brings out so well.
Yes, some very interesting ideas for interpretation here. It's all presented in a bit of a contrived over-deliberate way, but I'll definitely bear some of these alternate counterpoints more in mind the next time I play it...
@@HeartofthePiano Right. And it doesn't matter AT ALL what the COMPOSER's intentions are. You poor soul to think that THIS is a proper performance of this masterpiece.
I was there that night when he played for several hours, sorry they weren't all taped but this is the best...
I joined his workshoped in 2007 and 2008 summer seasons. He has unbelivable technique and musicality. He plays like he sing a song...
Are you joking?
beautiful performance
Dear Kemal, what a great sound!
For some money is no object, for maestro Kemal technique, dexterity are no object,... With which inner voice are we going to keep which bored finger busy today?
💘💘💘💘💘💘💘💘💘💘💘💘❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤❤ Kemal Gekic
❤🎉❤
Oh god this is awful. What is this man thinking?? Let's have a little more left hand at 1:13 and a little more inner voice at 1:24. Same at 2:10 - please pound the inner voice more. We can't quite hear it. It needs to slow down more at 3:00. That is the funeral march section. More alto at 3:36 please. After all, it is the principal melody. Please add four French horns to the inner voice at 4:12. That was clearly Chopin's intention. At 4:53, please add trombone and tuba to the left hand. We can't quite hear that either. 5:58 is ridiculous. The pounding of the secondary voice at 7:30 is criminal. The entire spectacle is ridiculous. It is first year college level at best. This piece is way beyond this pianist. Try one of the less challenging mazurkas or preludes. On second thought, stop playing the piano and learn something from what Nadia Boulanger said: "As performers, you have to play with honesty, not to express yourselves but to give expression to the work; not to try to say my Beethoven Sonata, my Chopin Scherzo, but a Scherzo, not even by Chopin, a Scherzo that was given Chopin to write and that no longer needs Chopin to be a masterpiece. It no longer needs a performer, or a listener. It needs nothing. It is just floating in the air, ablaze with light. Then, you look at it or you don't." Clearly, this man doesn't. He needs a psychiatrist.