Brava, Mateja! You have outdone yourself here, if that is even possible. This is another beautiful piece that brings back wonderful memories from my childhood, when my mother played it to perfection, as You have here. Najlepša hvala, draga moja... 💖⚘
I consider this performance one of the best with Artuto Benedetti Michelangeli , guitarist Marcus Tardelli end Anne-Julie Caron , marimba. The tecniche of this young musician is very professional ever his expression. The resulting notes are transformed into images and impression that reach the soul.
It’s a good pianist for sure but don’t get how you can compare this to michelangeli. There are a lot of basic mistakes that can be found like unrequired rubato that completely destroy the rythm or the acceleration who are way too dry because she did not articulate correctly. And you’re not suppose to have so many change of tempo, just like it is said in the first two pages, it’s supposed to be « regulier et sans sécheresse ».
@@szdxw Dear Sir, your comments expressed of the execution of Mateja Grasic seem a little eccessive to me.Mateja is a young pianist who is embarking on a path of growts,it will not be long to assert their skills thanks to his talent. Mateja arouses strong emotions in me like when I listen to A.B.Michelangeli. Regardless of ……’ And you’re not suppose to have so mano change of tempo…..’ ……’ unrequired rubato’……..‘destroy the rythm’…..etc. It may even be true, just as it also true that the passage in question depicts the arduous ascent to the full conquest of knowledge ‘ The top of Parnassus’, the top that the young Mateja is facing with so much passion and spirit of sacrifice. As you know, the ‘ top of Parnassus’ is a race that opens, grows and fall…..and this justifies the many changes of weather. A race that all’osso you to se the apex(the top) but, at the same time, doesn’t offer the fullness of achievement. Example: in the last notes of the piece in ‘ Tres anime’ ‘ we hear a significant ‘ crescendo’ and the we fall back towards more serious keys with a sudden ‘staccato’. …….’ It dose not offer the fullness of attainment’. I think it is important to emphasize that Debussy’s music is not only beautiful, but also ‘versatile’ and consequently open to multiple interpretations. The ‘ Children’s Corner’ Debussy composed these is embarking on
The ‘Children’s Corner’ Debussy composed these piece for his Chochou few-year- old daughter. Debussy influenced guitarist Marcus Tardelli from Brazil and also Anne- Marie Caron (Marimba) I would recommend you listen to the ‘ Gradus ad Parnassum’ on youtube. I consider their interpretations more engaging then some established pianist. This validates that Debussy’s music (not all) is ‘versatile’ music. I wonder: Whats sense would music have if not excite or even cry for the listene? MERRY CHRISTMAS and HAPPY NEW YEAR to you and your family. Giovanni Tombolato ( ITALY)
@@giovannitombolato6505 my point is that it should be versatile only when it’s « animé » since this piece is the story of a child doing technical work like hanon, ( supposed to be « regulier et sans sécheresse ») and who begins « to dream » (anime, crescendo and expressif) before going back to the exercices (repetition of the first part). The « très animé » part is the end of this rêverie and lead with the crescendo to that impatient fortissimo staccato made by the child who, annoyed by all this, ends theses boring exercises in a brutal and « immature » way. Just like if the staccato was the « nah» of a this kid.
@@szdxw With particolar attention I read the comments and critical judgmants referring to the interpretation of the young pianist we know. I appreciated reading the ‘agonica’ - anime’- of a child who, playing with constructions, creates ambitions projects ( anime’ crescendo ed espressivo). How I appreciated the ‘ Tres anime’’ which puts an end to the boy’s dreams with the ‘crescendo’ symbolizing the the boy’s irritation for exercises done unwillingly. The ‘ Top of Parnassun’ is also significant: …..a race that opens, grows end folls in ‘Tres anime’’ which a sudden ‘ staccato’. All of this is further confirmation of how Debussy’s music is ‘ IS REALLY ADAPTABLE’. And therefore it is ready for multiple interpretations, with respect the ‘agogic’ indications given in the score. Impressionist composer try to express their moods with music, the impressions that reality aroused in their mind and all this is highly subjective even for those who interpret. Greetings from Italy.
I really like your interpretation. How you managed to capture the very subtle differences in dynamics in F-major and f-minor arpeggios or your ballanced rubato in the Bb-major part. It makes me feel like this piece is a living, breathing organism. To me it is the essence of Impressionism. Listening to it was pure pleasure. Thank you.
Thank you Mateja. Compliments and my sincere goods wishes for active artistic again.
The way you play this makes the melody flow so well… it is not repetitive or imposing like other renditions I have heard
Brava, Mateja! You have outdone yourself here, if that is even possible. This is another beautiful piece that brings back wonderful memories from my childhood, when my mother played it to perfection, as You have here.
Najlepša hvala, draga moja... 💖⚘
On par with the best. I really like this rendition!
Beautiful interpretation of this wonderful piece. Played with so much emotion and feeling. Absolutely loved it x
wow nice expression
I consider this performance one of the best with Artuto Benedetti Michelangeli , guitarist Marcus Tardelli end Anne-Julie Caron , marimba. The tecniche of this young musician is very professional
ever his expression. The resulting notes are transformed into images and impression that reach the soul.
It’s a good pianist for sure but don’t get how you can compare this to michelangeli. There are a lot of basic mistakes that can be found like unrequired rubato that completely destroy the rythm or the acceleration who are way too dry because she did not articulate correctly. And you’re not suppose to have so many change of tempo, just like it is said in the first two pages, it’s supposed to be « regulier et sans sécheresse ».
@@szdxw Dear Sir, your comments expressed of the execution of Mateja Grasic seem a little eccessive to me.Mateja is a young pianist who is embarking on a path of growts,it will not be long to assert their skills thanks to his talent. Mateja arouses strong emotions in me like when I listen to A.B.Michelangeli. Regardless of ……’ And you’re not suppose to have so mano change of tempo…..’
……’ unrequired rubato’……..‘destroy the rythm’…..etc.
It may even be true, just as it also true that the passage in question depicts the arduous ascent to the full conquest of knowledge ‘ The top of Parnassus’, the top that the young Mateja is facing with so much passion and spirit of sacrifice. As you know, the ‘ top of Parnassus’ is a race that opens,
grows and fall…..and this justifies the many changes of weather. A race that all’osso you to se the apex(the top) but, at the same time, doesn’t offer the fullness of achievement.
Example: in the last notes of the piece in ‘ Tres anime’ ‘ we hear a significant ‘ crescendo’ and the we fall back towards more serious keys with a sudden ‘staccato’.
…….’ It dose not offer the fullness of attainment’.
I think it is important to emphasize that Debussy’s music is not only beautiful, but also ‘versatile’ and
consequently open to multiple interpretations. The ‘ Children’s Corner’ Debussy composed these
is embarking on
The ‘Children’s Corner’ Debussy composed these piece for his Chochou few-year- old daughter.
Debussy influenced guitarist Marcus Tardelli from Brazil and also Anne- Marie Caron (Marimba) I would recommend you listen to the ‘ Gradus ad Parnassum’ on youtube.
I consider their interpretations more engaging then some established pianist.
This validates that Debussy’s music (not all) is ‘versatile’ music.
I wonder: Whats sense would music have if not excite or even cry for the listene?
MERRY CHRISTMAS and HAPPY NEW YEAR to you and your family.
Giovanni Tombolato ( ITALY)
@@giovannitombolato6505 my point is that it should be versatile only when it’s « animé » since this piece is the story of a child doing technical work like hanon, ( supposed to be « regulier et sans sécheresse ») and who begins « to dream » (anime, crescendo and expressif) before going back to the exercices (repetition of the first part).
The « très animé » part is the end of this rêverie and lead with the crescendo to that impatient fortissimo staccato made by the child who, annoyed by all this, ends theses boring exercises in a brutal and « immature » way. Just like if the staccato was the « nah» of a this kid.
@@szdxw With particolar attention I read the comments and critical judgmants referring to the interpretation of the young pianist we know. I appreciated reading the ‘agonica’ - anime’- of a child
who, playing with constructions, creates ambitions projects ( anime’ crescendo ed espressivo).
How I appreciated the ‘ Tres anime’’ which puts an end to the boy’s dreams with the ‘crescendo’
symbolizing the the boy’s irritation for exercises done unwillingly.
The ‘ Top of Parnassun’ is also significant: …..a race that opens, grows end folls in ‘Tres anime’’ which a sudden ‘ staccato’. All of this is further confirmation of how Debussy’s music is ‘ IS REALLY ADAPTABLE’. And therefore it is ready for multiple interpretations, with respect the ‘agogic’ indications given in the score. Impressionist composer try to express their moods with music, the impressions that reality aroused in their mind and all this is highly subjective even for those who interpret. Greetings from Italy.
Vous avez beaucoup de talent !
I really like your interpretation. How you managed to capture the very subtle differences in dynamics in F-major and f-minor arpeggios or your ballanced rubato in the Bb-major part. It makes me feel like this piece is a living, breathing organism. To me it is the essence of Impressionism. Listening to it was pure pleasure. Thank you.
Thank you, I'm glad you enjoyed it so much!