Lilya Zilberstein continues to be the best in a fine field of serious pianists. I count myself blessed to have become her friend. She is truly supernatural... divine.
Fantastic !!! I am overwhelmed. I just saw her the day before in yesterday in Pilsen (Czech Republic) on Thursday, November 5, 2015, playing that concert. She's so sensitive, yet also accurate - just great !
We just had the magical pleasure of seeing Zilberstein perform this last night in Door Co. Wisconsin at the Peninsula Music Festival''s finale. I am embarrassed to say I had not heard of her before. Within two minutes I whispered to my wife that we were in the presence of one of the world's greatest pianists. The technical perfection, combined with such strength and passion, was reminiscent of Vladimir Horowitz. To then see that she had performed the Rach 3 at La Scala.... I felt like the gods indeed blessed us in being able to experience her close up.
My later (female) piano teacher who studied at the Vienna Academy before the war wouldn't believe that a woman could play a concerto of Rachmaninov because of the physical resources that requires... Watching such a smashing performance, she would have said there's some voodoo witchcraft at work...
Why not attribute this inspiration to God, the Divine Creator of all things, rather than voodoo witchcraft, for Heaven's sake. I cannot conceive of voodoo witchcraft being behind any great classical music masterpiece, or the God-gifted artists who perform them.
Why not attribute this inspiration to God, the Divine Creator of all things, rather than voodoo witchcraft, for Heaven's sake. I cannot conceive of voodoo witchcraft being behind any great classical music masterpiece, or the God-gifted artists who perform them.
Lilya has done a great job, as always. She has such wonderful soft hands and that makes her touch so warm and deep. But as she said in the interview - " music comes from the heart it's not the matter of hands so much" - though I think they play a role as well.
I recently heard Yuya Wang play this in Frankfurt and she completly crapped it. How uplifting to hear such marvellous performance from Lydia Zilberstein. She for sure knows that more is needed then just pressing as many keys as fast as possible to bring this music accross the right way.
At the beginning the speaker is telling that " domenica in concerto ( sunday in concert ) is going to show the third concert of Rachmaninoff. Than is telling that the orchestra at Teatro la Scala ( in Milan ), is directed by spanish Rafael and that the piano player is Lilya. Than we have an introduction of the life of Rachmaninoff. He is born in Russia in 1973 and died in 1943 at Beverly Hills. He became just few days earlier American.
Magnificent. This concerto flows through Ms. Zilberstein's fingers like silver. Such clarity of notes. 50:16 the glorious beginning of the end. Ms. Zilberstein has total command of this masterpiece by the beloved Rachmaninoff.
I have arrived here after listening to a YT video of 30 different pianists playing the same difficult coda/cadenza in this piece of music (at the 45:10 mark). I was startled by how different this lady's treatment of the coda is from all the others: she stands head and shoulders above the rest. The reason is not hard to discern: unlike all the others you can hear every individual note in the coda. A composer's musical notes are his or her children, and all the exponents of the music should lift up every note of their performances to give them equal importance. Upon listening to Lilya's crystalline rendition of this whole concerto I am not disappointed. Each note sings with a beauty of its own, yet in harmony with the rest. This will henceforth be the only artist whose sensitive and sympathetic interpretation of the composition I will listen to.
@@ast360audio I listened to that extract: awesome as you say, and reinforced by the expression on her face in the music immediately following - total mastery. The only other woman I can think of capable of handling such music this way is Valentina Lisitsa. Have you noticed how many performers (as seen by their facial expressions) allow the music to lift them up as though they are in chariots riding into the sky? These two women are the opposite: they take the music as a lion tamer handles a whip: no rushing for effect, but deliberate and purposed. They do not let the music carry them along; they carry the music along by bringing out its optimum beauty. It is a subtle difference.
@@ast360audio I made a supplemental reply, but it somehow got wiped out so I lost 20 minutes saying more to share with you. I was trying to say that if you compare Lilya's treatment of the music at 15:01 (and the bars following) with others' handling of it: I singled out Sara Daneshpour's handling of it at her 5:52 (as an example), there is no comparison: she misses the spirit the music is trying to convey and I cannot bear to hear it, though this lady is also a master of her instrument and overall plays the concerto beautifully. (It is at the video link: ruclips.net/video/WDCFFKaKkec/видео.html.) To a high degree Lilya Zilberstein forces the orchestra to the music's proper pace, in contrast to the interplay between the orchestra and other soloists.
@@davestrickland8378 I've just listened to DANESHPOUR , solid but lack that "QUID" that U noticed. I want to say a technical-audio note: click the right mouse botton on the video NERD STATHISTIC (the last voice that appears). CONTENT LOUDNESS -7,8 dB in DANESHPOUR -3,3 dB in ZILBERSTEIN what does it mean? simply that RUclips ALGORYTHM has reduced a lot of frequencies (not only bass). RIEQUALIZING audio means to change the real record. This is because they prefer to have a "CENTER LEVEL" of DB, LUFS etc... if U pass from a spoken audio to RACH 3 or to other sound, the level is the same. I often publish remasters, restored music, new edit etc, and before uploading every job I did I personally control that the level in dB is perfect so that nothing will manipulate the very important relations of frequencies. OF COURSE LIVE IS THE TOP !!!
@@ast360audio You are obviously well versed in the technicailities of reproducing music for listeners. I only saw the windwo with your -3.3 dB by accident. I simply use my media player's own settings to adjust for sound quality. My point comparing two performer's treatment of the same music passage was concerning the pace of the music: Daneshpour fouls up the mood here simply because she suddenly decides to sweep through like an express train instead of pausing to reflect. Overall, a strong soloist master of the music will be able to command the whole orchestra towards matching the pace, and the rubato, of the music. On your mention of remastering music, the clearest example I have encountered in my own experience is an eastern European edition, using its own artists, of J N Hummel's piano trios, quartets and quintet. These are so good I cannot listen to other editions and derive the same fulfilment from them. (Cannot remember the edition involved - my disks are not with me: I think the company is Czech.)
All the 6 Gavrilov Mogilevsky Sokolov Ashkenazy Malcuzynsky Eresko Rachmaninov 3 concerto is on the youtube.Natalia Trull i heard in a concert is not in the youtube.Natalia Trull playing Chopin scherzo no 1 Mozart piano concerto 22 Prokofjev piano concerto 3 are in the youtube
It was more than breathtaking. I almost needed an oxygen mask to get me through the performance! Lilya owns this concerto. Never have I heard such crystalline articulation, not to mention the power behind it all. Check out 49:27 (can anyone say they have heard it like that before)? I love the way she paces the climaxes at the end of the last mvt. Utter perfection. She looked very charming in the interview - I only wish I understood Italian (any chance for subtittles, Askdhg?
she is happy to be in Italy, her first big success was in Bozen. and she enjoy to play for italian audience. This is quite everything they say. there are few details I didn't report but it's everything that matters. Cheers.
I don't really know if this part is properly correct. But it seems that the narrator wants to say that Sergey was used to perform a masterpiece composed in one city and that sometimes it didn't happen. and that is the case of this big opera that we are going to hear ( the famous Rach 3 ). Rachmaninoff composed this piece when he was 37 in the summer of 1909. than he moved for his first show in the USA. Sergey actually played this opera in new york for the first time and Gustav Maler
This in reply to Padureski1's question about first movement cadenzas. This concerto's cadenza is unusual in that there is a brief orchestral accompanyment during the cadenza. The first part of thecadenza begins at 19:52. and goes through 21:23--it develops the first theme. Between 21:23 and 22:01 there is a brief orchestral accompanyment--the flute, oboe, clarinet and French horn each playing the first theme in succession. The second part of the candenza begins at 22:01 and develops the second theme. Rachmaninoff originally wrote a different section between 19:52 and 20:33. It's very chordal and it is what David Helfgott plays in SHINE. Rachmaninoff himself said it was too hard and wrote an alternate version which is what Lilya plays on this video. It's very fast and not so chordal. In the score, the original is published as the primary and what she plays is designated as an ossia. Horowitz preferred the version Lilya plays. I personally prefer the original.
Mr. Boduch, do you happen to know where Rachmaninoff is quoted as having said the original cadenza was too hard? The composer is on record as having enthusiastically approved Gieseking's performance of the d minor, which uses the original cadenza. If you can find it, Mr Benko and I will gladly acknowledge your assistance in the book we are writing on Rachmaninoff, Hofmann and the Third Concerto. Many thanks. FC
There are many other performers of this concerto that I like but I'm ashamed to admit of all the artists you mentioned, the only one I am familiar with is Ashkenazy (I have his Rach 3). I will look to see if I can find performances by the rest on you tube.
gustav maler was the director of the orchestra. Than is starting to speak de burgo ( the director of this event ) and he is telling that Rachmaninoff was huge, he had big personality and that you can understand immediately his music. Sometimes Sergey becomes rhetorical thanks his progression and our time doesn't agree with this. Different from 50 years ago. but there are great masterpiece. The narrator is telling that this piece is very difficult and many piano player refuted to perform
ANOTHER Rachmaninoff No 3 performance of great distinction. The dry--ish acoustic showcases this pianist's often breathtaking articulation...but NEVER at the expense of lyrical romanticism. Interestingly, part way through the first movement, i was POSITiVE she would eschew the 'Ossia" cadenza, and go for the original...and she did... Beautifully, closing it with great power. One of Ms Zilberstein's techniques reminded me of the wonderful pianist Jorge Bolet. I'm referring to the slight delay between right and left hand whilst landing on a chord..that very slight delay, that for me, allows the composer's great harmonic gifts to "open up." The 2nd movement was beautiful, the section near the end I have nicknamed the "grand valse" played at the perfect tempo, not rushed, but with awesome sparkle. I do wish the orchestra could have a wee bit more "vibrant" at the climax. In fact, I felt there were several times I would have liked a littles less "classical" presentation from the orchestra, and bit more good old fashioned Russian passion. Just a very small nit pick, as the conductor, his orchestra and soloist made beautiful music as one. The 3rd movement tempo..perhaps i n another pianists hands would have felt maybe a couple of "clicks" leisurely, but felt like quite enough in THIS artist's hands. Again, beautiful pedaling, articulation, and little. original touches, especially on the closing pages. If a rubato can be "thrilling", her's were. This is true Rachmaninoff, left hand counter melodies given their due, performed with great passion by all. Anton, thank you for posting this.
Sergey had big hands and that's why he wrote some very hard part. Stravinsky defined Rachmaninoff " un cipiglio alto 2 metri ". Then there are compliment to Lilya because he will perform this piece perfectly. Than she is telling that not everything depends on the hands. 100% depends from hart and without sensibility it's impossible to play. Lilya played this concert with different orchestras a lot of time all around the world. She says she knows everything that she could even direct.
Than he is starting to say that during his life, Sergey was extraordinary and brilliant. ( it's quite complex translate everything ) the speaker said that Rachmaninoff was inspirited by Russian Tchaikovsky. When he was 20 years old he had already begun to perform in Russia and in other country and often his masterpieces were born in the city where he was used to work.
Simply indescribable. Fantastic. I can see the soul of Rachmaninov in the face of Lilya Zilbersteinem at 51:00 - Simplesmente indescritível. Fantástico. Eu posso ver a alma de Rachmaninov na face de Lilya Zilbersteinem em 51:00
yowzephyr It's "Panorama" from Tchaikovsky's "Sleeping Beauty". Hans Vonk conducting. Now shut up. (Wonderfully used here. For we do indeed see a panorama. Excellent way to start this video!)
+yowzephyr Why did you tell this person to shut up, you infernal trolling Jackass! The person simply asked a legitimate question. Lucky for you I am not operating this channel, for I would have your arrogant, aggressive, arse kicked off the you tube channels so fast your head would be spinning for the rest of your life!
Há algo de maravilhamento na interpretação de Lilya. Notas na medida certa. Uma a uma, sem a preocupação de cumprir o seu papel de virtuose em detrimento ao valor da obra. A obra está em primeiro plano. No caso de Martha Argerich sinto que a preocupação de manter o seu brio como interprete supera o valor da obra. Lilya supera com simplicidade o seu papel de virtuose valorizando a obra e nao a si mesma.
I was going to say that from the elbows down to the fingers both Martha and Lilya look the same but then again as Lilya says..." forget the hands its all from the heart!
Question for you. Not to sound ignorant, but how many "cadenzas" are in the first movement of the D-minor concerto. It was always my impression that the cadenza occurred around seven or eight minutes into the first movement but now I'm hearing that it's later on. Given the definition of a cadenza, how has this been decided?
pad, there were 2 cadenzas written by the composer..both occur at exactly the same place..the artist chose the original..many feel this cadenza aligns more with the overall structure.The "Ossia" (alternate) cadenza is linger, more powerful, and is now the one usually played by both male and female pianists.There are many versions on RUclips with the Ossia cadenza.
@@IMAWriterRobJ Thank you. I have many versions of this wonderful piece and all artists use the original except for Rachmaninoff himself who uses the shorter cadenza. I much prefer the original.
I like the most Rachmaninov 3 players 1.Andrei Gavrilov the cadenza is the best second tone 2.Evgeny Mogilevsky 3.Grigory Sokolov the only onr who try to make an art of this Rachmaninov 3 4.V.Ashkenazy the most volcano piano sound 5.Witold Malcuzynski 6.Natalia Trull the most beautiful piano sound 7.Viktor Eresko the most furious one Rachmaninov 3
Очень медленный темп 1 части. И немного не ровно играет, то быстрее, то медленнее. Не хочу ничего плохого сказать про пианистку, отношусь к ней с уважением, но факт остается фактом. Не хватает движения в главной теме. Например как тут - ruclips.net/video/SOBX-89Xh0c/видео.html или тут ruclips.net/video/QZNfCiIlVok/видео.html
Lilya Zilberstein continues to be the best in a fine field of serious pianists. I count myself blessed to have become her friend. She is truly supernatural... divine.
What a superb performance and the audience should be on their feet, this woman deserved a standing ovation no question !!!!!
Fantastic !!! I am overwhelmed. I just saw her the day before in yesterday in Pilsen (Czech Republic) on Thursday, November 5, 2015, playing that concert. She's so sensitive, yet also accurate - just great !
No theatricality, but pure musicality. Most satisfying.
We just had the magical pleasure of seeing Zilberstein perform this last night in Door Co. Wisconsin at the Peninsula Music Festival''s finale. I am embarrassed to say I had not heard of her before. Within two minutes I whispered to my wife that we were in the presence of one of the world's greatest pianists. The technical perfection, combined with such strength and passion, was reminiscent of Vladimir Horowitz. To then see that she had performed the Rach 3 at La Scala.... I felt like the gods indeed blessed us in being able to experience her close up.
8:55 is a good place to start.
This piece of music transcends beauty. If I ever feel down, I listen to this piece of music to lift my spirits!
I am sure this is the best version of this concert after having heard lot of interpretations from different pianists and orchestras
Power & clarity. Speed without rush. Every melody and rhythmic motif fully expressed and articulated. Awesome!
yes the only interpretation which is not a race
Fantastic performance. Bravissimo!!!
My later (female) piano teacher who studied at the Vienna Academy before the war wouldn't believe that a woman could play a concerto of Rachmaninov because of the physical resources that requires...
Watching such a smashing performance, she would have said there's some voodoo witchcraft at work...
Why not attribute this inspiration to
God, the Divine
Creator of all things, rather than voodoo
witchcraft, for
Heaven's sake.
I cannot conceive of voodoo witchcraft being behind any great classical music
masterpiece, or
the God-gifted
artists who perform them.
Why not attribute this inspiration to
God, the Divine
Creator of all things, rather than voodoo
witchcraft, for
Heaven's sake.
I cannot conceive of voodoo witchcraft being behind any great classical music
masterpiece, or
the God-gifted
artists who perform them.
Lilya has done a great job, as always. She has such wonderful soft hands and that makes her touch so warm and deep. But as she said in the interview - " music comes from the heart it's not the matter of hands so much" - though I think they play a role as well.
awesome, lovely harmony, thx this concert
definitely one of the best versions of rach3!
I recently heard Yuya Wang play this in Frankfurt and she completly crapped it. How uplifting to hear such marvellous performance from Lydia Zilberstein. She for sure knows that more is needed then just pressing as many keys as fast as possible to bring this music accross the right way.
Your choice of the word "crapped" is inspired, seeing the non-lady performer you are referring to. I always replace the 'g' in her name with a 'k'.
At the beginning the speaker is telling that " domenica in concerto ( sunday in concert ) is going to show the third concert of Rachmaninoff. Than is telling that the orchestra at Teatro la Scala ( in Milan ), is directed by spanish Rafael and that the piano player is Lilya.
Than we have an introduction of the life of Rachmaninoff. He is born in Russia in 1973 and died in 1943 at Beverly Hills. He became just few days earlier American.
Magnificent. This concerto flows through Ms. Zilberstein's fingers like silver. Such clarity of notes. 50:16 the glorious beginning of the end. Ms. Zilberstein has total command of this masterpiece by the beloved Rachmaninoff.
I watched her playing this concerto in Mexico City in 2014. It was a knock out performance.
Everything she plays is very very serious taken...Very precise,very inspiring,very deep thought....
I have arrived here after listening to a YT video of 30 different pianists playing the same difficult coda/cadenza in this piece of music (at the 45:10 mark). I was startled by how different this lady's treatment of the coda is from all the others: she stands head and shoulders above the rest. The reason is not hard to discern: unlike all the others you can hear every individual note in the coda. A composer's musical notes are his or her children, and all the exponents of the music should lift up every note of their performances to give them equal importance. Upon listening to Lilya's crystalline rendition of this whole concerto I am not disappointed. Each note sings with a beauty of its own, yet in harmony with the rest. This will henceforth be the only artist whose sensitive and sympathetic interpretation of the composition I will listen to.
what about the power at 49:23 ? AWESOME !
@@ast360audio I listened to that extract: awesome as you say, and reinforced by the expression on her face in the music immediately following - total mastery. The only other woman I can think of capable of handling such music this way is Valentina Lisitsa. Have you noticed how many performers (as seen by their facial expressions) allow the music to lift them up as though they are in chariots riding into the sky? These two women are the opposite: they take the music as a lion tamer handles a whip: no rushing for effect, but deliberate and purposed. They do not let the music carry them along; they carry the music along by bringing out its optimum beauty. It is a subtle difference.
@@ast360audio I made a supplemental reply, but it somehow got wiped out so I lost 20 minutes saying more to share with you. I was trying to say that if you compare Lilya's treatment of the music at 15:01 (and the bars following) with others' handling of it: I singled out Sara Daneshpour's handling of it at her 5:52 (as an example), there is no comparison: she misses the spirit the music is trying to convey and I cannot bear to hear it, though this lady is also a master of her instrument and overall plays the concerto beautifully. (It is at the video link: ruclips.net/video/WDCFFKaKkec/видео.html.) To a high degree Lilya Zilberstein forces the orchestra to the music's proper pace, in contrast to the interplay between the orchestra and other soloists.
@@davestrickland8378 I've just listened to DANESHPOUR , solid but lack that "QUID" that U noticed. I want to say a technical-audio note: click the right mouse botton on the video NERD STATHISTIC (the last voice that appears).
CONTENT LOUDNESS
-7,8 dB in DANESHPOUR
-3,3 dB in ZILBERSTEIN
what does it mean? simply that RUclips ALGORYTHM has reduced a lot of frequencies (not only bass). RIEQUALIZING audio means to change the real record. This is because they prefer to have a "CENTER LEVEL" of DB, LUFS etc... if U pass from a spoken audio to RACH 3 or to other sound, the level is the same. I often publish remasters, restored music, new edit etc, and before uploading every job I did I personally control that the level in dB is perfect so that nothing will manipulate the very important relations of frequencies.
OF COURSE LIVE IS THE TOP !!!
@@ast360audio You are obviously well versed in the technicailities of reproducing music for listeners. I only saw the windwo with your -3.3 dB by accident. I simply use my media player's own settings to adjust for sound quality. My point comparing two performer's treatment of the same music passage was concerning the pace of the music: Daneshpour fouls up the mood here simply because she suddenly decides to sweep through like an express train instead of pausing to reflect. Overall, a strong soloist master of the music will be able to command the whole orchestra towards matching the pace, and the rubato, of the music. On your mention of remastering music, the clearest example I have encountered in my own experience is an eastern European edition, using its own artists, of J N Hummel's piano trios, quartets and quintet. These are so good I cannot listen to other editions and derive the same fulfilment from them. (Cannot remember the edition involved - my disks are not with me: I think the company is Czech.)
Her Playing was notable for the wide dynamic range, variety of tone colors, emotional depth and dazzling virtuosity. Magical!!!
saw here playing this piece with maestro Kitaenko in Zagreb (November 2014), simply amazing:D
All the 6 Gavrilov Mogilevsky Sokolov Ashkenazy Malcuzynsky Eresko Rachmaninov 3 concerto is on the youtube.Natalia Trull i heard in a concert is not in the youtube.Natalia Trull playing Chopin scherzo no 1 Mozart piano concerto 22 Prokofjev piano concerto 3 are in the youtube
Emocionante,emotivo,conmovedor concierto ,Lilya la mejor versionando Rach 3.
Beautiful!
It was more than breathtaking. I almost needed an oxygen mask to get me through the performance! Lilya owns this concerto. Never have I heard such crystalline articulation, not to mention the power behind it all. Check out 49:27 (can anyone say they have heard it like that before)? I love the way she paces the climaxes at the end of the last mvt. Utter perfection. She looked very charming in the interview - I only wish I understood Italian (any chance for subtittles, Askdhg?
Wonderful!
Extremely beautiful...each note can be heard...not to much slow and not to much fast...very russian performance ....lovely
she is happy to be in Italy, her first big success was in Bozen. and she enjoy to play for italian audience.
This is quite everything they say. there are few details I didn't report but it's everything that matters.
Cheers.
Found Gavrilov playing first movement of Rach 3 on you tube. Enjoyed it very much.
I don't really know if this part is properly correct. But it seems that the narrator wants to say that Sergey was used to perform a masterpiece composed in one city and that sometimes it didn't happen.
and that is the case of this big opera that we are going to hear ( the famous Rach 3 ).
Rachmaninoff composed this piece when he was 37 in the summer of 1909. than he moved for his first show in the USA. Sergey actually played this opera in new york for the first time and Gustav Maler
This in reply to Padureski1's question about first movement cadenzas. This concerto's cadenza is unusual in that there is a brief orchestral accompanyment during the cadenza. The first part of thecadenza begins at 19:52. and goes through 21:23--it develops the first theme. Between 21:23 and 22:01 there is a brief orchestral accompanyment--the flute, oboe, clarinet and French horn each playing the first theme in succession. The second part of the candenza begins at 22:01 and develops the second theme. Rachmaninoff originally wrote a different section between 19:52 and 20:33. It's very chordal and it is what David Helfgott plays in SHINE. Rachmaninoff himself said it was too hard and wrote an alternate version which is what Lilya plays on this video. It's very fast and not so chordal. In the score, the original is published as the primary and what she plays is designated as an ossia. Horowitz preferred the version Lilya plays. I personally prefer the original.
Mr. Boduch, do you happen to know where Rachmaninoff is quoted as having said the original cadenza was too hard? The composer is on record as having enthusiastically approved Gieseking's performance of the d minor, which uses the original cadenza. If you can find it, Mr Benko and I will gladly acknowledge your assistance in the book we are writing on Rachmaninoff, Hofmann and the Third Concerto. Many thanks. FC
the crown to Lilya with SilverStones.
one of the best Rach 3 i heard
Brava !!
There are many other performers of this concerto that I like but I'm ashamed to admit of all the artists you mentioned, the only one I am familiar with is Ashkenazy (I have his Rach 3). I will look to see if I can find performances by the rest on you tube.
gustav maler was the director of the orchestra.
Than is starting to speak de burgo ( the director of this event ) and he is telling that Rachmaninoff was huge, he had big personality and that you can understand immediately his music. Sometimes Sergey becomes rhetorical thanks his progression and our time doesn't agree with this. Different from 50 years ago. but there are great masterpiece.
The narrator is telling that this piece is very difficult and many piano player refuted to perform
ANOTHER Rachmaninoff No 3 performance of great distinction. The dry--ish acoustic showcases this pianist's often breathtaking articulation...but NEVER at the expense of lyrical romanticism. Interestingly, part way through the first movement, i was POSITiVE she would eschew the 'Ossia" cadenza, and go for the original...and she did... Beautifully, closing it with great power. One of Ms Zilberstein's techniques reminded me of the wonderful pianist Jorge Bolet. I'm referring to the slight delay between right and left hand whilst landing on a chord..that very slight delay, that for me, allows the composer's great harmonic gifts to "open up." The 2nd movement was beautiful, the section near the end I have nicknamed the "grand valse" played at the perfect tempo, not rushed, but with awesome sparkle. I do wish the orchestra could have a wee bit more "vibrant" at the climax. In fact, I felt there were several times I would have liked a littles less "classical" presentation from the orchestra, and bit more good old fashioned Russian passion. Just a very small nit pick, as the conductor, his orchestra and soloist made beautiful music as one.
The 3rd movement tempo..perhaps i n another pianists hands would have felt maybe a couple of "clicks" leisurely, but felt like quite enough in THIS artist's hands. Again, beautiful pedaling, articulation, and little. original touches, especially on the closing pages. If a rubato can be "thrilling", her's were. This is true Rachmaninoff, left hand counter melodies given their due, performed with great passion by all. Anton, thank you for posting this.
Stupenda 🤩 💥❤️♥️❤️🔥💪👏👏👏👏👏👏👏
magia, solo magia
🥺❤ INCREDIBLE.
Sergey had big hands and that's why he wrote some very hard part. Stravinsky defined Rachmaninoff " un cipiglio alto 2 metri ".
Then there are compliment to Lilya because he will perform this piece perfectly. Than she is telling that not everything depends on the hands. 100% depends from hart and without sensibility it's impossible to play. Lilya played this concert with different orchestras a lot of time all around the world. She says she knows everything that she could even direct.
Than he is starting to say that during his life, Sergey was extraordinary and brilliant. ( it's quite complex translate everything ) the speaker said that Rachmaninoff was inspirited by Russian Tchaikovsky. When he was 20 years old he had already begun to perform in Russia and in other country and often his masterpieces were born in the city where he was used to work.
Simply indescribable. Fantastic. I can see the soul of Rachmaninov in the face of Lilya Zilbersteinem at 51:00 - Simplesmente indescritível. Fantástico. Eu posso ver a alma de Rachmaninov na face de Lilya Zilbersteinem em 51:00
brava! pura interpretacion..sola musica es en el forno
Someone please tell me what composition it is that is used for the intro of this video!
yowzephyr It's "Panorama" from Tchaikovsky's "Sleeping Beauty". Hans Vonk conducting. Now shut up. (Wonderfully used here. For we do indeed see a panorama. Excellent way to start this video!)
+yowzephyr Why did you tell
this person to
shut up, you
infernal trolling
Jackass! The
person simply
asked a legitimate question. Lucky for you I am not
operating this
channel, for I
would have your arrogant,
aggressive, arse kicked off the
you tube channels so fast your head would be spinning for the
rest of your life!
Há algo de maravilhamento na interpretação de Lilya. Notas na medida certa. Uma a uma, sem a preocupação de cumprir o seu papel de virtuose em detrimento ao valor da obra. A obra está em primeiro plano. No caso de Martha Argerich sinto que a preocupação de manter o seu brio como interprete supera o valor da obra. Lilya supera com simplicidade o seu papel de virtuose valorizando a obra e nao a si mesma.
I was going to say that from the elbows down to the fingers both Martha and Lilya look the same but then again as Lilya says..." forget the hands its all from the heart!
49:23 💯💯💯
mmmm, I love to here different pianists play this, they all do it differently.
tremendous, furioso
yeah, what's with the intro?
Pianiste impressionnante de la dimension d'un Gilels
Hint: Skip to the music at 9:06
Question for you. Not to sound ignorant, but how many "cadenzas" are in the first movement of the D-minor concerto. It was always my impression that the cadenza occurred around seven or eight minutes into the first movement but now I'm hearing that it's later on. Given the definition of a cadenza, how has this been decided?
pad, there were 2 cadenzas written by the composer..both occur at exactly the same place..the artist chose the original..many feel this cadenza aligns more with the overall structure.The "Ossia" (alternate) cadenza is linger, more powerful, and is now the one usually played by both male and female pianists.There are many versions on RUclips with the Ossia cadenza.
@@IMAWriterRobJ Thank you. I have many versions of this wonderful piece and all artists use the original except for Rachmaninoff himself who uses the shorter cadenza. I much prefer the original.
I'll have a look, thank you.
Andrei Gavrilov the cadenza second to none the best Rachmaninov 3
ホロビッツも好きですがリィヒャが好き。
Ma è a genova?
51:01 ここからの音、ここまでハッキリ弾く人初めて見た
I like the most Rachmaninov 3 players 1.Andrei Gavrilov the cadenza is the best second tone 2.Evgeny Mogilevsky 3.Grigory Sokolov the only onr who try to make an art of this Rachmaninov 3 4.V.Ashkenazy the most volcano piano sound 5.Witold Malcuzynski 6.Natalia Trull the most beautiful piano sound 7.Viktor Eresko the most furious one Rachmaninov 3
moving touching it is the heaven on earth not to.mention her Rachmaninov 2 piano concerto
Очень медленный темп 1 части. И немного не ровно играет, то быстрее, то медленнее. Не хочу ничего плохого сказать про пианистку, отношусь к ней с уважением, но факт остается фактом. Не хватает движения в главной теме. Например как тут - ruclips.net/video/SOBX-89Xh0c/видео.html или тут ruclips.net/video/QZNfCiIlVok/видео.html
Lilya is def. not from this planet. Not even from this part of the universe. :)
Very impressive, but I'll still stick to my Lazar Berman/Claudio Abbado version.
She’s playing it wrong
She didnt get the point.
I find Lilya's playing lacking in Rachmaninoff's color and depth, and not well integrated with orchestra.
Wonderful!