In Paris, we loved Ivo with a passion. Each time he came to perform at Pleyel, we waited patiently, all of us! until he would appear after the performance, and he always did come out. The love that was expressed, and the deep reverence, was so strong, we all wanted to take him on our collective shoulders and carry him through the night, up the Champs Elysees, in a triumphal march of celebration.
Well, as far as Ondine goes ( I haven't listened yet to the whole work in this performance and I want to save it!), this is a musician of phenomenal gifts, bringing a refinement, intelligence and spirituality to this extraordinary work. I remember all the hype around Pogorelich at the time of the Chopin competition and I thought then that it must be another manufactured sensation - until I, as all of us did - actually heard this pianist in this work and others. I realise that life is cruel and this person has suffered greatly and fortunately survived, so please give him your thanks for the incandescent quality of his playing, his musicianship and his courage. I find it is interesting that the demands of Gaspard de la Nuit seem to attract the very best of those who are brave enough - and love the piano enough - and who are prepared to work the many, many hours it will take even to begin to arrive at a stage where it begins to come alive. If you are at the start of that journey, my advice to you is to carry on - the eventual rewards are immense and you will never see the piano in quite the same way. I don't think I have ever heard a really serious pianist who hasn't brought something very special to this masterpiece, from the first (courageous!) interpreters through to the latest. One extra bit of information: I was coached for a session by Valdo Perlemuter on this in 1982, and he was extraordinarily generous in offering various alternative ways round certain things, all of which he marked in blue marker pen on my score - which I still treasure! Perlemuter even told me me (and I am sure he told many others) that there were some errors in the original Durand score (this was was the only one available at that time, and they held the copyright); the most notable being the change in the right hand pattern in the 5th complete bar, and adding an extra octave in the C major 6th arpeggio - which many pianists do anyway. His repeated phrase, "Ravel told me..." held the entire class in a state of fixed breath! Now that there are Henle Verlag and other publishing houses who have been able to assemble such details, Perlemuter's advice has been taken, and it is interesting that the most recent performers incororate them, and even the older ones, such as the matchless Argerich, who have taken them on board. I have been so inspired listening to the many wonderful performances of this on youtube, and I wish I had had this resource when I was a student.
word. fucking untouchable, this performance actually brought me to tears, as melodramatic as that sounds. i'd compare it to Kogan performing Tzigane. they "left blood on the floor" so to speak.
You are right. His later recording after along layoff does not match this - which is as you say is the definitive recording. I still cannot understand how Ravel could conceive something which he could scarcely play! Whilst composing does his ear render a Pogorelich sound? All the other difficult pieces were written by top pianist composers.
There has never been anyone like Pogorelich at his height. I saw him perform this twice in San Francisco and it brings tears to my eyes to revisit those astounding and entirely magical performances. Sheer poetry sustained by impeccable technique. This is, for my lifetime, as well as this piece will ever be played. He is the only pianist I've ever heard who completely understands -- and prepares for -- the ravishing climax at 6:50.
The thing I adore about Pogorelich is how he approaches the music from the inside out - like a composer. He never fails to reach me and I feel that between him and Alfred Cortot, there's little else to be said. It's all too wonderful! Phillip Wilcher
This piece is beautiful, but the interpretation... It's really amazing. I can't help having this song in my head every day, it doesn't want to stop. This is the most beautiful interpretation of one of the most beautiful piece of all time, Ravel and Pogorelich are both genies.
I heard Pogorelich play Gaspard here in Sydney many years ago. He wrapped the audience up in the magic and warmth of his sound. It was incredible. I sometimes struggle not to say he is the greatest pianist of our time. But for me,truthfully, he is - he tells me things I need to hear. Bravo Ivo! You are much loved!
Ivo has such fantastic control of the melody; able to let it sing and be heard without bull-horning it or killing it with the background. Mostly excellent precision. And very tasteful and moving interpretation. It's a very nice performance. Nice upload, spokoinoi.
I love this piece... and I LOVE this recording! He just conveys the entire impressionistic feeling of the piece- the entire atmosphere of mystery and far away beauty.
I saw him play Gaspard de la Nuit, which he had just recorded for DG, at the RFH in 1981: utterly perfect: spine-tingling, electric, magical, atmospheric by turns, fearsome in its virtuosity and ferocity, but always clear, musical and never over-pedalled or blurred even in the thickest writing or noisiest climaxes. I don't think I will ever hear any live performance of Gaspard which will equal it, let alone surpass it. Not a wrong note, clangorous chord or octave, or muddied passage anywhere.
*Pogorelich in his prime! His performance of Ondine is gorgeous. I particularly like how he brings out voices in pieces (important ones!) that I've never noticed before. A bit less pedal than we usually hear in performances of Ondine, but it works beautifully!*
I heard Pogorelich play this here in Sydney in the early 80s. It was pure magic, the stuff of Shakespeare! His sound wrapped the audience up in his care for the music so much that you could hear a pin drop. For me he will forever remain one of the greatest musical minds of our time.
The first time Ivo played in Paris, he was just a teen, it was at a Unesco concert, where also Yehudi played for the last time. Nobody had really known Ivo then, and it was love at first "ear". The crowd was stunned instantly, and that was the beginning of this everlasting love story between us Parisians and Ivo. I'd give a lot to have him still perform !
I have all the great recordings of Gaspard- but if I'm going to chose ONE to listen to these days it is Pogorelich. Yes, I know he does things that aren't in the score- but can you name another pianist who doesn't?? On so many levels- this is exceptional.
It sounds like there is a whole orchestra playing this piece!!!!! Pogorelich was a master of the piano, and Ravel's genius really shines through in this piece!!!
I have several recordings of Gaspard de la Nuit. But whenever I think about this piece, it is always Ivo Pogprelich that comes to my mind. What outstanding playing! He brings out every element of it and Ravel would have himself shed tears on hearing this guy. As beautiful as it can be!!
I first heard this on the radio, live from the Concertgebouw in Amsterdam. I was awestruck because of the unbelievable intricacy of the music and the sheer beauty of the vision Ravel and Pogorelich sketched.
Agreed! Chopin's foundation is Bach - unquestionably. The F minor Ballade! I adore the "antiquity" of Ravel and the "imagery" of Debussy...another world, yes!
@klavierflame These are the moments of concert-going that make it all worthwhile, aren't they? I saw the young Kit Armstrong, now a mature artist at 18, on Friday in St. George and he was truly phenomenal. His Bach and Liszt (two very different composers) have to be heard to be believed. Old fashioned legerdemain and great tonal beauty, married to exceptional musical intelligence and sensitivity, a rare and truly devastating combination.
THANK YOU for reposting this! I have idolized Ivo's DG recording of Gaspard for a decade. I find it to be the definitive version. Other versions sound sloppy and unsure comparatively. I felt such pleasure, thrill and satisfaction in finally SEEING Pogorelich play Ondine thanks to you! His technique seems strange at times - fingers held high & retracted while waiting to strike (3:23 for example). Yet his sound is strong, clear & precise.
+Katherine McDonald Certain pieces, you could say, almost came to "belong" to those who played them best. I felt nobody could ever play Chopin's 4th Ballade without the shadow of Richter looming over them, or play Rachmaninoff without Horowitz's ghost in the room. Now I feel that way about Pogorelich and Ravel's Ondine. If anyone ever played this piece more beautifully, I have yet to discover it.
It's when you hear something like this that you understand that music is something... more important than most, or maybe all, of the other cultural expressions the human beings could produce.
Some years ago I heard a wonderful performance of Ondine by Peter Frankl, a very fine, musicianly pianist, who sadly seems to be virtually forgotten. He achieved a seamlessness that eludes many rather too-percussive players.
i dont know what to say about Michelangeli's version of gaspard. a true merging of mechanism and music.when i heard it my jaw dropped. i will have to listen to Gibbons. his alkan is amazing. the roar in that concerto man....its incredible
I think it's a little erroneous to compare Ravel and Debussy, let alone Beethoven. They are all worlds apart - yes? From Neville Cardus: "The difference between Ravel and Debussy was as great as that bewteen a solid and an essence". I adore both. The imagery of Debussy and those lean clean-cut lines of Ravel - one is satin and the other silk.Both are fine tailors! Cheers and best now....
I had heard perhaps two versions before the Pogorelich version. Since then I've come to love the versions by Argerich and Michelangeli. I respect the Perlemuter reading of course. I assure you, my tastes are indeed 'horrible'. ;P Going to see Lisitsa in recital in two weeks.
Absolutely! The later sonatas of Beethoven are some of the greatest works written. I think what neville Cardus said of Ravel and debussy was most atute. I understand what you are saying. Perhaps ravel and debussy are a little like Liszt and Chopin - I much prefer Chopin of course - he so closely aligned to Bach. Best wishes...
@nezyrr there is a video of him studying this with his teacher who tells him to think about crashing waves in these sections. how water builds up and seems to stop for a split second before crashing.
Ivo gives a mesmerizing performance, but I prefer Valentina who is spellbinding. She is technical and interpretive perfection. Yet, my favorite is still Minoru Nojima. I saw him do it in person and it was the single greatest performance I've ever seen. The audience could not clap at the end we were all so stunned. It seemed like forever before we burst into applause. Ron Russell Author of "Beethoven: Heaven's Voice"
Great video but spoiled by the ringing sound distortion. This can be if you have copied it from the source with a sampling frequency differing from 44.1 KHz. Then youtube resampled it to 44.1 KHz and that's what we hear. To avoid resampling, digitize it in 44.1 KHz and reupload. Check other movements of this piece.
@nezyrr I haven't studied the piece (I'm a trumpeter lol) but that's just what I saw him talking about with his teacher. Its in the first part of the Gaspard de la nuit Video They start talking about it at about 4:25
This is the most beautiful rendition of this Ravel that I have ever heard. It has long been a favorite, and , man, this is suuperb, and beyond reproach. As someone els e noted, ' It mad me weep!' Love it. Is a recording available - does any one know? ajbev1
@BlazeKenny Morbide, mystique, fantasque, anormale, imperceptible, fourbe, et plus tendre au monde, sombre dans l'abime et brillante lorsque la lumière brièvement la caresse... une Sirène....
je suis japonaise.homme.celibataire .35. Je ne comprends pas le français donc j'utilise un site de traducteur. J'aime cette musique. Mon vieil amoureux est-il une fée des eaux? Lorsque nous étions ensemble, nous sommes devenus étouffés et avons commencé à suffoquer dans le gaz suicide des briquettes. Sons N et D. Les deux gènes sont-ils dans A? Alfabed. ABC Initial ADN. OnDN. Je vois les mots du destin et je m'enfonce dans l'eau. あいみょん今夜このまま, comme ça ce soir. I'm4. Aimyon est pour quoi. Morceau d'amour 大塚愛クムリウタ。, Kumurauta. Il y a six mois, c'était rouge. 大二郎. Deux hommes. Le gros était Die大. La pensée continue jusqu'à la ballade numéro un de Chopin. Une robe rouge vif. Une chanson cachée au début de cette période. Pianiste du champ de bataille. Qui est Hitler? ラッドウィンプス愛にできる事はまだあるかい？Y a-t-il encore quelque chose que l'amour puisse faire? Est-ce moi-même de m'empoisonner? Pourquoi suis-je né? à miwaヒカリへ. Je chercherai toujours l'amour. Mon grand-père brésilien n'a pas non plus ce genre de relation. オッパッピー Le piano est faible, le cœur est fort. Est-ce la malchance que vous avez rencontrée lors du récital de piano?
The Deutsch Gramaphone recording is more luminary than the above performance. His Chopin Scherzi are stunning as well. I have his DVD recital and actually find his Haydn and Beethoven surprisingly dull. Still, when Argerich labels someone a genius; Our opinions carry little weight. Curious: which players do you most like?
Hoho, Arturo Benedetti Michelangelli's version is the best I know. Second would be Ravel playing it himself. But I love Ivo's above. Probably goes third, pushing Jean-Yves Thibaudet's version down a notch.
That doesn't mean there can't be different interpretations like you're saying. Examples from just the first page of this particular piece: lento ranges 40-60 bpm. "très doux et très expressif" does not give any quantitative detail about how to play. dynamics are relative and they also depend on the pianists and the piano i.e. there is no specifications about how much decibel a pianississimo has to be. Pedal notations are usually only used as a guidance, not an absolute rule to follow. etc.
![Ravel-Gaspard de la Nuit-[Seong-jin Cho]✨](http://i.ytimg.com/vi/F61Zb9zIP-4/mqdefault.jpg)
![Ravel-Gaspard de la Nuit-[Seong-jin Cho]✨](/img/tr.png)
In Paris, we loved Ivo with a passion. Each time he came to perform at Pleyel, we waited patiently, all of us! until he would appear after the performance, and he always did come out. The love that was expressed, and the deep reverence, was so strong, we all wanted to take him on our collective shoulders and carry him through the night, up the Champs Elysees, in a triumphal march of celebration.
Well, as far as Ondine goes ( I haven't listened yet to the whole work in this performance and I want to save it!), this is a musician of phenomenal gifts, bringing a refinement, intelligence and spirituality to this extraordinary work.
I remember all the hype around Pogorelich at the time of the Chopin competition and I thought then that it must be another manufactured sensation - until I, as all of us did - actually heard this pianist in this work and others.
I realise that life is cruel and this person has suffered greatly and fortunately survived, so please give him your thanks for the incandescent quality of his playing, his musicianship and his courage.
I find it is interesting that the demands of Gaspard de la Nuit seem to attract the very best of those who are brave enough - and love the piano enough - and who are prepared to work the many, many hours it will take even to begin to arrive at a stage where it begins to come alive. If you are at the start of that journey, my advice to you is to carry on - the eventual rewards are immense and you will never see the piano in quite the same way. I don't think I have ever heard a really serious pianist who hasn't brought something very special to this masterpiece, from the first (courageous!) interpreters through to the latest.
One extra bit of information: I was coached for a session by Valdo Perlemuter on this in 1982, and he was extraordinarily generous in offering various alternative ways round certain things, all of which he marked in blue marker pen on my score - which I still treasure!
Perlemuter even told me me (and I am sure he told many others) that there were some errors in the original Durand score (this was was the only one available at that time, and they held the copyright); the most notable being the change in the right hand pattern in the 5th complete bar, and adding an extra octave in the C major 6th arpeggio - which many pianists do anyway. His repeated phrase, "Ravel told me..." held the entire class in a state of fixed breath!
Now that there are Henle Verlag and other publishing houses who have been able to assemble such details, Perlemuter's advice has been taken, and it is interesting that the most recent performers incororate them, and even the older ones, such as the matchless Argerich, who have taken them on board.
I have been so inspired listening to the many wonderful performances of this on youtube, and I wish I had had this resource when I was a student.
This is so beautiful to hear. Thank you for sharing. God bless. ♥️
Very wise words. I hope life has been treating you well
this is still the greatest interpretation of this piece. ever. no one will ever be able to play it better than ivo.
word. fucking untouchable, this performance actually brought me to tears, as melodramatic as that sounds. i'd compare it to Kogan performing Tzigane. they "left blood on the floor" so to speak.
You are right. His later recording after along layoff does not match this - which is as you say is the definitive recording. I still cannot understand how Ravel could conceive something which he could scarcely play! Whilst composing does his ear render a Pogorelich sound? All the other difficult pieces were written by top pianist composers.
@@alexkoh1673 listen to Lucas Debargue
Vlado Perlemuter, althought better is not the right expressions. Between the great interpreters there is no "better" imho.
there’s only one recording that can compare in my opinion, and it is by Benjamin Grosvenor
There has never been anyone like Pogorelich at his height. I saw him perform this twice in San Francisco and it brings tears to my eyes to revisit those astounding and entirely magical performances. Sheer poetry sustained by impeccable technique. This is, for my lifetime, as well as this piece will ever be played. He is the only pianist I've ever heard who completely understands -- and prepares for -- the ravishing climax at 6:50.
The thing I adore about Pogorelich is how he approaches the music from the inside out - like a composer. He never fails to reach me and I feel that between him and Alfred Cortot, there's little else to be said. It's all too wonderful!
Phillip Wilcher
This piece is beautiful, but the interpretation... It's really amazing. I can't help having this song in my head every day, it doesn't want to stop. This is the most beautiful interpretation of one of the most beautiful piece of all time, Ravel and Pogorelich are both genies.
best rendition of this piece
I heard Pogorelich play Gaspard here in Sydney many years ago. He wrapped the audience up in the magic and warmth of his sound. It was incredible. I sometimes struggle not to say he is the greatest pianist of our time. But for me,truthfully, he is - he tells me things I need to hear. Bravo Ivo! You are much loved!
my favourite interpretation, it has everything it needs. He's such a genius.
that glissando played as a scale is the best thing i have ever heard in anything by anyone.
Ivo has such fantastic control of the melody; able to let it sing and be heard without bull-horning it or killing it with the background. Mostly excellent precision. And very tasteful and moving interpretation. It's a very nice performance. Nice upload, spokoinoi.
I love this piece... and I LOVE this recording! He just conveys the entire impressionistic feeling of the piece- the entire atmosphere of mystery and far away beauty.
I saw him play Gaspard de la Nuit, which he had just recorded for DG, at the RFH in 1981: utterly perfect: spine-tingling, electric, magical, atmospheric by turns, fearsome in its virtuosity and ferocity, but always clear, musical and never over-pedalled or blurred even in the thickest writing or noisiest climaxes. I don't think I will ever hear any live performance of Gaspard which will equal it, let alone surpass it. Not a wrong note, clangorous chord or octave, or muddied passage anywhere.
*Pogorelich in his prime! His performance of Ondine is gorgeous. I particularly like how he brings out voices in pieces (important ones!) that I've never noticed before. A bit less pedal than we usually hear in performances of Ondine, but it works beautifully!*
Breathtaking! A beautiful, dreamy piece ... it brings images of heavenly cascades and shimmering waters to mind. Extraordinary!
I heard Pogorelich play this here in Sydney in the early 80s. It was pure magic, the stuff of Shakespeare! His sound wrapped the audience up in his care for the music so much that you could hear a pin drop.
For me he will forever remain one of the greatest musical minds of our time.
nobody else even comes close.
Fenomenalna izvedba klavirista sa najvećim rasponom šake, zato i svira sa lakoćom dok drugima znoj od muke izbija, ha ha !! 💎💎💎💖
The first time Ivo played in Paris, he was just a teen, it was at a Unesco concert, where also Yehudi played for the last time. Nobody had really known Ivo then, and it was love at first "ear". The crowd was stunned instantly, and that was the beginning of this everlasting love story between us Parisians and Ivo. I'd give a lot to have him still perform !
Pogorelich and Cziffra are my favorite pianists to listen to because you hear things in both of their performances that you don't hear in others.
NEVERMIND this interpretation by Pogorelic is ravishingly beautiful. A pity some people do not listen to his brilliant recordings more often.
I like the way he handled the melody line, SO DREAMY!!!
I have all the great recordings of Gaspard- but if I'm going to chose ONE to listen to these days it is Pogorelich. Yes, I know he does things that aren't in the score- but can you name another pianist who doesn't?? On so many levels- this is exceptional.
It sounds like there is a whole orchestra playing this piece!!!!! Pogorelich was a master of the piano, and Ravel's genius really shines through in this piece!!!
I have several recordings of Gaspard de la Nuit. But whenever I think about this piece, it is always Ivo Pogprelich that comes to my mind. What outstanding playing! He brings out every element of it and Ravel would have himself shed tears on hearing this guy. As beautiful as it can be!!
this is hands down my favorite. the ambiance makes me teary.
fantastic playing!!! thanks for posting
This performance is magnificent. He makes it look so easy...
I first heard this on the radio, live from the Concertgebouw in Amsterdam. I was awestruck because of the unbelievable intricacy of the music and the sheer beauty of the vision Ravel and Pogorelich sketched.
Absolutely glorious, dynamics, tempo, rubato, everything spot on
The fact that this video have been uploaded in 2006 make it even more *a e s t h e t i c*
MONSTROUS HANDS .... so perfect...
Came back to cry again
my favorite interpretation!
his hands are enormous; must be nice to be blessed to that degree
caprivating. his sound is so smooth and fluid.
Luscious to listen to. Somewhat troubling to watch.
Every single movement is organic... Every single sound angelic...
Yes, There is no one that can equal IP 's Ravel. The balance between the left and right hand is utterly magical.
Agreed! Chopin's foundation is Bach - unquestionably. The F minor Ballade! I adore the "antiquity" of Ravel and the "imagery" of Debussy...another world, yes!
@klavierflame These are the moments of concert-going that make it all worthwhile, aren't they? I saw the young Kit Armstrong, now a mature artist at 18, on Friday in St. George and he was truly phenomenal. His Bach and Liszt (two very different composers) have to be heard to be believed. Old fashioned legerdemain and great tonal beauty, married to exceptional musical intelligence and sensitivity, a rare and truly devastating combination.
for me the best ondine on you tube!!!
incedible how he manages the climax...
The torrent that's unleashed at 4:30 is sublime. Best Ondine I've ever heard (including his recorded version) by far. Subtle, masterful and ravishing.
THANK YOU for reposting this! I have idolized Ivo's DG recording of Gaspard for a decade. I find it to be the definitive version. Other versions sound sloppy and unsure comparatively. I felt such pleasure, thrill and satisfaction in finally SEEING Pogorelich play Ondine thanks to you! His technique seems strange at times - fingers held high & retracted while waiting to strike (3:23 for example). Yet his sound is strong, clear & precise.
Still the best Ondine benchmark! He has a tone of his own crystalline and full.
Magic....
I like his sounds!!!
wow! so beautiful !!!!!
+Katherine McDonald Certain pieces, you could say, almost came to "belong" to those who played them best. I felt nobody could ever play Chopin's 4th Ballade without the shadow of Richter looming over them, or play Rachmaninoff without Horowitz's ghost in the room. Now I feel that way about Pogorelich and Ravel's Ondine. If anyone ever played this piece more beautifully, I have yet to discover it.
predivno!
Pogorelich is the BEST!!!!!
It's when you hear something like this that you understand that music is something... more important than most, or maybe all, of the other cultural expressions the human beings could produce.
I've listened to a ton of different interpretations but this tops it all!
Some years ago I heard a wonderful performance of Ondine by Peter Frankl, a very fine, musicianly pianist, who sadly seems to be virtually forgotten. He achieved a seamlessness that eludes many rather too-percussive players.
thanks baby, I enjoyed it:)
ivo pogo!
this is angels talking..
@liszt80 This is the best gaspard interpretiation....and you have to listen it on the CD Ravel/Prokofiev....ist brilliant
Quite beautiful, he gets the tempo just right at the beginning which often gets played too fast in my opinion. lovely ending too
I think ravel would have wept at the sheer beauty of this performance
i dont know what to say about Michelangeli's version of gaspard. a true merging of mechanism and music.when i heard it my jaw dropped. i will have to listen to Gibbons. his alkan is amazing. the roar in that concerto man....its incredible
When Ivo was young, he played for the Gods.
Oh my... look at such each he plays!!
Wirklich erstaunende Aufführung!
Apologies for not keeping up-to-date. He used to be my favourite. I hope that he will come to London soon
Wow, you must've been an amazing prodigy! usually people learn "twinkle twinkle, little star", but you started big straight away ))
Genius.
I think it's a little erroneous to compare Ravel and Debussy, let alone Beethoven. They are all worlds apart - yes? From Neville Cardus: "The difference between Ravel and Debussy was as great as that bewteen a solid and an essence". I adore both. The imagery of Debussy and those lean clean-cut lines of Ravel - one is satin and the other silk.Both are fine tailors! Cheers and best now....
I had heard perhaps two versions before the Pogorelich version. Since then I've come to love the versions by Argerich and Michelangeli. I respect the Perlemuter reading of course. I assure you, my tastes are indeed 'horrible'. ;P Going to see Lisitsa in recital in two weeks.
Absolutely! The later sonatas of Beethoven are some of the greatest works written. I think what neville Cardus said of Ravel and debussy was most atute. I understand what you are saying. Perhaps ravel and debussy are a little like Liszt and Chopin - I much prefer Chopin of course - he so closely aligned to Bach. Best wishes...
lofi recording quality, but I know myself that playing was outstanding
The best Ondine so far.
@nezyrr there is a video of him studying this with his teacher who tells him to think about crashing waves in these sections. how water builds up and seems to stop for a split second before crashing.
the definitive Gaspard IMO
feminine and aquatic. Love it
Impossible ! < 33
unattainable performance ~
Ivo gives a mesmerizing performance, but I prefer Valentina who is spellbinding. She is technical and interpretive perfection.
Yet, my favorite is still Minoru Nojima. I saw him do it in person and it was the single greatest performance I've ever seen. The audience could not clap at the end we were all so stunned. It seemed like forever before we burst into applause.
Ron Russell
Author of "Beethoven: Heaven's Voice"
Great video but spoiled by the ringing sound distortion. This can be if you have copied it from the source with a sampling frequency differing from 44.1 KHz. Then youtube resampled it to 44.1 KHz and that's what we hear. To avoid resampling, digitize it in 44.1 KHz and reupload. Check other movements of this piece.
I can't believe it!
His finger is like a feather!
rubato didnt styx have a song in the eighties mr rubato very cool!
is this on a cd or anything i can buy? this guy is really incredible
Nunca me había parecido tan fácil...ja ja ja
Es impresionante.
@nezyrr I haven't studied the piece (I'm a trumpeter lol) but that's just what I saw him talking about with his teacher. Its in the first part of the Gaspard de la nuit Video They start talking about it at about 4:25
looks like he brushed his hair between the 1980 chopin competition and the time this video was shot!!!
seriously. not that others aren't good (Michelangeli's is classic), but this will be one of those soon.
This is the most beautiful rendition of this Ravel that I have ever heard. It has long been a favorite, and , man, this is suuperb, and beyond reproach. As someone els e noted, ' It mad me weep!'
Love it. Is a recording available - does any one know?
ajbev1
@BlazeKenny Morbide, mystique, fantasque, anormale, imperceptible, fourbe, et plus tendre au monde, sombre dans l'abime et brillante lorsque la lumière brièvement la caresse... une Sirène....
💎
@Psychotraumatic I agree with your mistake, they are genies too!
there's a bonus track version she did. I prefer that version.
The first piano piece I've learned when I started... :-) Nice interpreted!
domemvs ?
je suis japonaise.homme.celibataire .35.
Je ne comprends pas le français donc j'utilise un site de traducteur.
J'aime cette musique.
Mon vieil amoureux est-il une fée des eaux?
Lorsque nous étions ensemble, nous sommes devenus étouffés et avons commencé à suffoquer dans le gaz suicide des briquettes.
Sons N et D.
Les deux gènes sont-ils dans A?
Alfabed. ABC Initial
ADN. OnDN.
Je vois les mots du destin et je m'enfonce dans l'eau.
あいみょん今夜このまま, comme ça ce soir. I'm4. Aimyon est pour quoi.
Morceau d'amour 大塚愛クムリウタ。, Kumurauta. Il y a six mois, c'était rouge. 大二郎. Deux hommes. Le gros était Die大. La pensée continue jusqu'à la ballade numéro un de Chopin. Une robe rouge vif. Une chanson cachée au début de cette période. Pianiste du champ de bataille. Qui est Hitler? ラッドウィンプス愛にできる事はまだあるかい？Y a-t-il encore quelque chose que l'amour puisse faire? Est-ce moi-même de m'empoisonner? Pourquoi suis-je né? à miwaヒカリへ. Je chercherai toujours l'amour. Mon grand-père brésilien n'a pas non plus ce genre de relation. オッパッピー Le piano est faible, le cœur est fort. Est-ce la malchance que vous avez rencontrée lors du récital de piano?
His Gaspard is the best before he went downhill in his career.
The Deutsch Gramaphone recording is more luminary than the above performance. His Chopin Scherzi are stunning as well. I have his DVD recital and actually find his Haydn and Beethoven surprisingly dull. Still, when Argerich labels someone a genius; Our opinions carry little weight. Curious: which players do you most like?
Hoho, Arturo Benedetti Michelangelli's version is the best I know. Second would be Ravel playing it himself. But I love Ivo's above. Probably goes third, pushing Jean-Yves Thibaudet's version down a notch.
Listen to Pascal Roge, his rendition is slightly faster but equally beautiful
His hands are like two spiders playing on their own accord.
@WackidWally2 nope. he does it several times in both ocatves
@Psychotraumatic I assumed. Don't worry, I wasn't making fun of you, just the comedic effect inadvertently created. xD
That doesn't mean there can't be different interpretations like you're saying. Examples from just the first page of this particular piece: lento ranges 40-60 bpm. "très doux et très expressif" does not give any quantitative detail about how to play. dynamics are relative and they also depend on the pianists and the piano i.e. there is no specifications about how much decibel a pianississimo has to be. Pedal notations are usually only used as a guidance, not an absolute rule to follow. etc.
3:50 starts the breakdown