Kemal Gekic plays Chopin op 25 no. 12 etude - live 2002
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- Опубликовано: 31 май 2008
- Kemal Gekic playing Chopin's op. 25/12 etude from a 2002 recital in Japan. The most beautiful interpretation of this piece, in my opinion.
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This is one of the best interpretation of this piece if not the best on the internet.
In my opinion this is one of the most brilliant versions of this piece, bravo!!!
So creative yet true to the spirit of the work.
The more I listen, the more I love this interpretation.
Thank you for sharing this special interpretation with us
Ok I've reached my conclusion and I can say this man is a brilliant genus of a pianist. His interpretation is by far one of the best on the planet. Now it make all the sense in the world to me. I just wish there was a visual of him playing this piece like the other he has posted.
Use your ears.One decodes music with the EARS!!Fuck the visuals.
merveilleuse interprétation ,une autre vision,une autre peinture.
Une mine d'or,ce musicien!
HEARD YOUR PERFORMANCE IN MIAMI BEACH WHEN YOU PLAYED FOR THE FIRST TIME.
INCREDIBLE PERFORMANCE OF THIS ETUDE, THE BEST OF ALL PIANISTS, THANK YOU FOR POSTING.
IN LOVE WITB YOUR PERFORMANCES!!
I love his interpretation here. Never thought I'd hear the tempo taken so slowly but it makes sense to me. Bravo!
I am an amateur attempting to learn this piece because it's harmonies have become part of my soul. Gekic's interpretation has also become my favorite, not because of his melodic liberties, but because of his artful variation in dynamics and pedaling. After the unusual intro he launches into a more traditional interpretation with the smoothest grandiose arpeggios of any performance. Most Ocean Etudes are pleasingly powerful, but too monotonous. In Gekic's hands this piece springs to life!
Awesome long hold at the end!
I'll have to listen to this again. I left stunned and bewildered at the same time I am left breathless.
This is gorgeus on Gekic's hands! It's played sooo emotively! I mean, the etude IMO expresses fear at the beginning, and he just makes it sing with marcatos (0:18) and the comforting lullaby from 0:29 to 1:00 shelters like it has to. The 1:00 part lets the same fear in and it develops superbly. The transitions from A to B and from B to A are perfect (ABA form). The end is pure triumph. Wow. He is a genius.
Sooo independent, unbelievable! Every note MAKES SENSE!
Marvellous: he doesn´t play an "etude" but a chorale. A little bit a reminescence of Cortot´s version from 1934?
Wolfgang Möller Yes, I know, a great Artist!!
This is a great performance, full of fatasy, drive and intellect: it has everything! Great example artistry of the highest level, which is so scarce these days. Bravo!
Wonderfully musical. I really love THE PERSONALITY in pianists.
Wow! Breath-taking! Bravo!
absolutely beautiful
wow it's so beautiful... you can really hear the ocean
Excellent! I hadn't been particularly gripped by any of the Gekic recordings I've heard before, but this is superb.
He has invented a whole new piece out of this.
I love this interpretation
his voices are so clear, and the crescendos add lots of power to this ocean. a brilliant preformance
I agree.
I love it!
A most personal performance indeed!
so good!!
Yes, you can actually buy the CD of the recital from US Amazon. it is one of the great piano recitals IMO.
Really fabulous, I wonder if it doesn't supplant me regarding Grégory Sokolof's version... Truly extraordinary❤❤❤
Simply unequaled.
This is such a strange interpretation of this piece. When I first heard it I thought it was awful.
Now I think it may be true genius. Such control. Such balance. Wow. I'm rethinking what I think of this piece.
best performance of this fantastic etude!
I've never heard so this piece played with so much nuance! Very interesting indeed.
WOW!!! IM INSPIRED!!! AMAZING!!!!!!!!!!!!! I cant believe how unique it sounds!
A true Turkish delight. Kemal Ataturk-the father of modern Turkey,would have been very proud.He plays this with great personal passion and great feeling at every turn..Bravo! TY-K.
Bravo!!!
wow, havent heart the melody so clearly by anybody till now ^^
BRAVO!
Very interesting interpretation ! Fresh,modern at the same time forceful ideas...1:02 & 1:29 ! .. LOVED it ..I respect all musicians(classical..) with RISK & POSITIVE IDEAS ! Thanks for audio AntonioDGO !
wow.
yeah he's phenomenal in this
The suggestion of tension that is such an important part of this piece is there from the beginning, but the all out menacing quality only shows up after you get a false sense of security that it might turn into a rather harmless if beautiful sounding interpretation. Then, it hits. Hard. Not to mention the unique voicing. ingenious. :)
I like this. It's a different type of ocean from many other versions.
Hehe! Okay. Chopin has ways of getting my imagination going. Add the way it's performed in there and I get mental images, feelings, even scenes I can describe.
Here goes. Gather around the campfire, Capri is going to put a little story to this particular performance.
**
It's a lonely, desolate, tired ocean. Something in its gently rolling waves seems to be sad, like something you might even feel sorry for. It's not something you can explain or understand. And it isn't something that can be ignored, however silly you think you are to pity an ocean.
The waves seem to sigh, moan, and sing wistfully as the music transitions from C minor to major.
You can't seem to bring yourself to leave. So you pick up a few stones and toss them in. The ocean seems to sigh with relief as you keep it company.
As you get a false sense of security, the music goes from C to A Flat major, suddenly becoming stronger, bolder, giving you a glimpse of how dangerous it might be if you hang around. Glad as you might be to see the ocean no longer sad, the waves are more vigorous now, and the last stone you threw almost resulted in the ocean pulling you in along with it. So you are torn between feeling assured things are going to be okay, and a nagging sense that this entity probably doesn't have the best intentions for you, even if you showed it some kindness. That's where the A Flat major section finishes, and the music transitions via whispered double tritone arpeggio to a slight pause before the ominous waves gently begin rolling with a G major arpeggio, and the suspense starts growing.
Something definitely feels not quite right. You back off. The ocean, or whatever entity you like, advances. You retreat. It advances again. This happens enough to confirm your suspicion that this ocean wants you all to itself, alive or dead.
Feeling disoriented, you suddenly realize you have only one route out of there, and you run for it just as the now really menacing ocean wave/monster almost grabs you. You utter a terrified scream as you are missed by a hair. The little smudged high note at this first climax adds a fine depiction of sheer terror via musical scream.
You get away this time, and the ocean wave/monster fumes with rage in a series of deep short frustrated growls as the music returns to the beginning theme. Completely absent is the initial sadness - this ocean is furious for letting you get away. It continues to pound and storm as you shudder, reflecting on how fortunate you were to get out of there in time.
But this ocean isn't through yet.
someone else arrives as you barely recover from the fright and the ocean is calming down. Whoever they are, laugh and taunt, getting too close to the ocean, daring it to catch them.
But it will not be mocked.
Suddenly, the waves intensify and quicken to the final climax, knocking the scoffer off their feet, sending them headlong into and beneath the waves.
So if you come out alive, you are still a witness to a less fortunate person's demise in a wave of terror, and the ocean/monster couldn't be more triumphant and satisfied.
Evidently! This is an authentic ocean, because ocean don't must to be a wild and noise. Ocean is a monumental mystery.
This is honestly an amazing quote.
I love this ocean (..btw 1.05 sounds exactly like Fanny Bloomfield playing Nocturne 48.1)
Thanks for uploading! I am a BIG fans of Kemal Gekic, of course and Liszt!!!
I love his Etudes d'exécution Transcendante very
much! and he is truely a Lisztian as well!
Can I have his Chopin Nocturne op48 No.1?
genial, se ha atrevido a innovar en la interpretación de este estudio. no digo que sea la correcta pero si es comercial! genial
@brassmonkeyjew He did change the score. Instead of playing the Low melodic notes, he transposes it an octave higher.
yea thanks to nikolaimedtner (one of my fav. players) coz I found her in his favorites and theoshow2 for posting. I never heard of her before either, seems there's only this one recording on utube
What the hell is he doing. Brilliant melodic discoveries but the liberties he is taking is, well, leave me speechless to say the least.
There is a master class dealing with this piece somewhere on RUclips. From what was suggested in that master class, this performer is doing what was suggested, not starting out really stormy, but quieter, and building up for an exciting ending. Structure wasn't compromised, and it can't be. You'd have to rearrange the notes and write a whole new piece for that.
speachless ... that's good
Gekic seems to introduce some extra, interesting, accents (and air pause).
@88Woland Kalmus? This is not the Chopin edition? Where can I get this score?
c'est très intéressant comme version, quelques notes un peu trafiquées par di par là, mais quelle merveille, ce début "piano", si doux, comme du velours.....
nice. can this be called the gekic transcription? (he added notes in there).
he doesn't... just the estimation
You sound like a combination of busoni, rachmaninoff and von sauer with some hofman sauce.
You must be specialist in chanelling big times
❤️
I have no idea what he does at 1:29 - 1:33, seems a bit of jibberish to me. other then that, this interpretation is awesome.
Sorry to burst your bubble paulostroff99 but Kemal Gekic is not turkish, he is Croatian. In fact him being from the former Yugoslavia, I am sure he does not want Kemal Ataturk-the father of modern Turkey and the consummator of the Armenian Genocide to be associated with him in the least, let alone proud of him.
hmmmmmmmmmmmmmm
I Think, he plays Kemal Gekic but he plays not what Chopin mean. It is free interpretation from "ocean".
Kemal Gekic is a very good technican on piano!
Very interesting interpretation! I like it much more than Lisitsa.
Dear berlioz1830, I'm still a maturing fickle-minded 13-year-old youth, so my tastes are changing every second!
Dear berlioz1830, I apologise if I sounded imprudent or aggresive, I had no intention to argue with you. However, what do you mean by "All the others who don't play like MP should be executed on the spot. only one interpretation should exist"?
LISTEN TO DINU LIPATTI
MrSkylark1 Lipatti didn't record this piece
OMG! How stupid and ignorant was I to say Lisitsa is better!
Too free, even for chopin... Some emotions and drama are always necessary... But this is too much... Also, there is to much contrast from the delicate intro and the reexposition, a lot of improvisation in this interpretation (if you dont believe me check the score), sorry, but there are other ways to gain attention for a good interpretation...
Second time around I figured it out for my ears. He sacrificed the over all structure of the piece for the sake of the melodic content. The melodic structure uphold the piece to a greater degree. Architecturally speaking it is not the same piece we have all come to recognize. It seems he changed the foundation and placed the walls at very odd angles. Melodically it is brilliant, but architecturally it suffers. It seems to me like a cartoon rendering of the Empire State Building with the ability bend down and look at it's feet. See I told you I am baffled by this rendering.
Pianist is a co-creator, not just a re-creator. The score is a text. Just like a theater play. Of course, it has to be convincing. But here we step into a subjective territory
Gekic does not really improvise much he plays according to the score except that he adds octaves to the first bass note of every passage from 2:14 to 2:36 which quite a number of other pianists like Horowitz, Cziffra do too.
HAHAHAH diz climate change interp 8-)
Insist, Too free, even for chopin... Some emotions and drama are always necessary... But this is too much... Also, there is to much contrast from the delicate intro and the reexposition... and what do you say about the change of tempo? He´s doing like the half of real tempo at the introductiond, a wrong conception of freedom... And please dont use the excuse of great pianist improvising, because they also do soo much sometimes...
A true massacre for sure
As far as Op. 25, No. 12 is concerned, Richter is better than this guy.
Thank you! Please tell me, Ronaldo or Messi ?
No.
Richter is not “ better” or “worse” than anybody , and his “guy” is quite a personality and a serious musician.