Thanks, I may have to come back it again one day in better sound on my grand piano. However, I think the dud sound hits a kind of sweet spot - between letting the spirit of the performance come through while also helping to conceal the imprecisions :-)
i think this recording may be my favorite of you playing. when i listen to you play, i imagine someone in pain, and i really like how you didn't pound away as much as some other performers. great job.
Great job, you captured the spirit of the piece, which is all a composer can ask for. You had a little Ervin/Vlad moment at the end where the piano was humming, nice. I love the comment where Scriabin's recording is 2nd, lol! Most think that fast and loud is the way to play this piece, so thanks for the refresing change. My 'teachers' comment is this, Horowitz plays softer than you do, lol.
One 'trick' is to leave out some left hand notes in the 2 against three. I think Horowitz ends up only playing crotchets. Personally I play all the quavers in the first two bars then a crotchet followed by two quavers after. The 2nd quaver isn't too obvious, but the 4th is part of an important motif that Horowitz shouldn't really have omitted. I explained a few of his tricks below if you're interested. John Bell Young's masterclass on here is very good.
Cheers. I added a couple of notes within one or two octaves there. I nicked it from Horowitz (approximately speaking) but I never analysed exactly what he does. I think I put an a in the middle of e resolving the D sharp. In truth, this piece isn't technically that bad (except a few spots) if you think about the sound. It's harder to play unmusically then with the right type of sound (unlike a lot of Beethoven which can be the opposite).
You've blown me away with this performance of Scriabin's Etude in D minor! I think I can say this is the best recording on RUclips, of the "amateur" Pianists. I agree with busoniliszt about John Beel Young. Also, I like your performance of this piece better than his. Very good job.
Cheers, I've been playing it on and off for ages and I've worked out a lot of tricks that are usually missed (except by Horowitz, of course). It's not actually that hard to do them if you know the idea. Funnily enough John Bell Young mentions all of the same things on his masterclass here. I think sharpness in the two note descending bass motif is essential. Almost everyone plays it very slackly. I also pedal the preceeding quaver through the low D sharps, for a much bigger sound.
Well, I don't know about any of that but his masterclasses are certainly very good. He succeeds in being both very musically informative and systematic (not at all in the unmusical way that word can suggest).
Also, during the repeated chords Scriabin marks long melody notes. If the chords are loud then the melody notes are swamped. If the chords start softer the long notes ring (+ you can do a massive cresc after). Even in the 2 against 3 he marks them (I didn't manage to show them here). H's basics are from the core of the piece. I can imagine a different performance based on these but I can't stand to hear the piece when these ideas aren't understood.
Thanks. Horowitz and Sofronitsky are great (although Sofronitsky is very variable- I don't think much of his live performance of this piece). Have you ever come across the performance of the 6th sonata? I'm eager to find a copy but it's very rare, from the Scriabin museum.
Good luck with it. Have a look a John Bell Young's masterclass on here. He makes some excellent points about tightness of the dotted rhythm and avoiding accents on the resolution (the Esharp to Dsharp in the first group etc.). Did you think I meant Scriabin in the 6th? That's Sofronitsky, I mean.
I'll try sometime. I have an ipod mike that would do a much better job but my computer doesn't seem to like any video editing so I couldn't combine them. I'll get a new computer eventually and try it.
Elegant! The playing I mean, not the dressing gown, although I believe de Pachmann once performed in a dressing gown he claimed was worn by Chopin! But yes, I do like your performance very much. The recording (??) of Scriabin himself playing this is "wing tipped with silver, jet black and of gold" like a butterfly flying to its lover. Best wishes your way....
No, I've worked out many things that Horowitz does that most performers miss. I'm not saying this performance is comparable in quality. For one thing, the descending bass motive (marked with an extra stem) is usually played very limply. Horowitz always makes a single tight gesture out of it. I've made an effort to do the same. Most pros I've heard play with a massive gap in the middle of this motif.
Sad audio, but very interesting and promising your playing style, relaxed but intense at the same time. You leave the listener (or at least me) in the condition to wait a re-recording with better equipement and piano, more respectful of your talented conception and playing. The most sincere congratulations, Sandro. P.S. not requested, my favourite recorded versions of this piece: 1) Sofronitkzy 2) Scriabin 3) Horowitz all these three are near each other in aestethic quality
Very moving performance, liked the extra rubato in the middle section. The downside is the recording quality. When possible, record it again for us to enjoy a cleaner sound.
Really nice playing! My main comment... let your first LH notes set the tempo, then follow through with the right hand. This will become clear if you count along with your LH opening, then see what happens when the RH enters. The piece should take off at the outset, in accordance with your LH introduction. Launch into it fearlessly... you can do it easily!
Also almost every pianist accents the D sharp after the E sharp (and just about every note in the right hand) This is too lumpy. Horowitz creates a smooth legato line without compromising drama by dropping in the right places. He also knew to drop the repeated chords down to forte to prevent the line being swamped. This is vital to get any sense of additional build to a true climax.
It's in the score though. I don't copy Horowitz. He gets essential 'units' correct. There are many ways to go from there. The bass motif is marked in and there's no question that a two-note motif should come with a gap in the middle. It really is 'incorrect' to allow a pause there. It doesn't have to be as wild as with Horowitz but any stop or failure to bring out both notes is a failure to respect how it's consructed.
Yeah, I'd like to hear him play this. I'm sure he'd give a decent shape to the melodic line, without the misplaced accents that make so many performances so offensive.
I think the comment of chad410 was about my reply about your performance, czriffra1980. Well, chad, you're a great Scriabin Pianoplayer, so why wouldn't you try? :-)
Birmingham, UK. The sound could be better but I think the playing comes across fairly clearly. Might try a mini-disc sometime. Regarding the comment below, I do feel that your playing is too 'terraced' in terms of dynamics, rather than layered with simulataneous levels of volume and distinction from accompaniment parts (like those with the most interesting sound). You're welcome to be critical of any of my films.
I sent my last comment one second before this one. Now I understant what you mean when you refered to your performance relative to Horowitz's. However I stand by my opinion that this is not the only way to play this piece.I've heard other interpretations from pianists that have created a different sound for the piece and I also enjoyed their musicality, though it was not the same as Horowitz's.
wow thats really good! the only thing id say is at the section starting at 1:40, i cant really hear the difference between the triplets and 16th notes. but thats a small problem, on the whole it sounds great. like everyone else says, try to get some better audio!
What do you mean exactly? He has a very competent technique, but I can't say I have been as impressed by his musicality. He needs to listen to more old recordings.
"I've worked out a lot of tricks that are usually missed (except by Horowitz, of course)." This means, that usually, only Horowitz and yourself do not miss those "tricks". Or maybe you meant to say something else? You probably meant to say something else... I hope you meant to say something else.
In which case, you are mearly trying to copy his interpretation, at least parts of it. However, this does not necessarily mean that interpreting this motif differently than Horowitz is a bad thing as you are implying. Those "tricks" you talk about are an artistic choice chosen by Horowitz to create a certain sound with which you agree and I also find them very musical and appropriate. But this is not the only way to play this piece. (cont.)
shows a lot of potential to be really 1st class with more work. A tuned piano and better recording equipment would also help with the overall quality,but I expect you already know this.
Well, he seems to get plenty of viewers so I thought I might as well put it there. I do indeed find it rather annoying when people claim to respond to the 'emotional' nature of his playing when limited musical range isn't wide enough to put much true feeling across. Sadly he has rather few musical ideas and not much polish in his sound.
Cheers. I don't think I've heard that one. Horowitz's performances are the best I've come across. I recently heard Sofronitsky for the first time but it's quite a disappointment, in fairness.
That's an interesting comment from the guy that believes 'nothing is right or wrong' and plays everything at half-tempo. Perhaps I didn't contort my face enough like a gay porn star or squirm around enough with my body, compared to you?
'Same crappy' inability to offer any interesting opinions on the playing, 'different day'. If your knowledge is so limited that you can't single out any of the many flaws here to criticise, why bother?
The sound quality matches this piece well
This homemade recording is the BEST op.8 no.12 i've heard!!!
Thanks, I may have to come back it again one day in better sound on my grand piano. However, I think the dud sound hits a kind of sweet spot - between letting the spirit of the performance come through while also helping to conceal the imprecisions :-)
Don't understand why so many dislikes, this is probably one of the best renditions I've heard!
It is a semitone down and out of tune. Though the performance is very good
Loved it.
Superb. Absolutely superb.
WOW! that was great! that realy surpised me i watched about 20 other people play this piece on stage and they werent evenc lose to what you did BRAVO!
votre jeu est magnifique!!il mérite un meilleur enregistrement,ceci dit sans vouloir vexer celui qui l'a réalisé.
merci beaucoup!
i think this recording may be my favorite of you playing. when i listen to you play, i imagine someone in pain, and i really like how you didn't pound away as much as some other performers. great job.
The fact that I play this song makes me think you are on a completely different level!
By "best recording on RUclips", I mean the recordings of this study... Just to be clear. :-)
Amazing rendition!!!!
Great job, you captured the spirit of the piece, which is all a composer can ask for. You had a little Ervin/Vlad moment at the end where the piano was humming, nice.
I love the comment where Scriabin's recording is 2nd, lol!
Most think that fast and loud is the way to play this piece, so thanks for the refresing change. My 'teachers' comment is this, Horowitz plays softer than you do, lol.
One 'trick' is to leave out some left hand notes in the 2 against three. I think Horowitz ends up only playing crotchets. Personally I play all the quavers in the first two bars then a crotchet followed by two quavers after. The 2nd quaver isn't too obvious, but the 4th is part of an important motif that Horowitz shouldn't really have omitted. I explained a few of his tricks below if you're interested. John Bell Young's masterclass on here is very good.
Cheers. I added a couple of notes within one or two octaves there. I nicked it from Horowitz (approximately speaking) but I never analysed exactly what he does. I think I put an a in the middle of e resolving the D sharp. In truth, this piece isn't technically that bad (except a few spots) if you think about the sound. It's harder to play unmusically then with the right type of sound (unlike a lot of Beethoven which can be the opposite).
Thanks very much. Have you heard his piano roll? You can never rely on them too much but its quite interesting.
You've blown me away with this performance of Scriabin's Etude in D minor! I think I can say this is the best recording on RUclips, of the "amateur" Pianists. I agree with busoniliszt about John Beel Young. Also, I like your performance of this piece better than his. Very good job.
Beautiful.I want to study this piece.
Cheers, I've been playing it on and off for ages and I've worked out a lot of tricks that are usually missed (except by Horowitz, of course). It's not actually that hard to do them if you know the idea. Funnily enough John Bell Young mentions all of the same things on his masterclass here. I think sharpness in the two note descending bass motif is essential. Almost everyone plays it very slackly. I also pedal the preceeding quaver through the low D sharps, for a much bigger sound.
Well, I don't know about any of that but his masterclasses are certainly very good. He succeeds in being both very musically informative and systematic (not at all in the unmusical way that word can suggest).
Also, during the repeated chords Scriabin marks long melody notes. If the chords are loud then the melody notes are swamped. If the chords start softer the long notes ring (+ you can do a massive cresc after). Even in the 2 against 3 he marks them (I didn't manage to show them here). H's basics are from the core of the piece. I can imagine a different performance based on these but I can't stand to hear the piece when these ideas aren't understood.
Thanks. Horowitz and Sofronitsky are great (although Sofronitsky is very variable- I don't think much of his live performance of this piece). Have you ever come across the performance of the 6th sonata? I'm eager to find a copy but it's very rare, from the Scriabin museum.
Good luck with it. Have a look a John Bell Young's masterclass on here. He makes some excellent points about tightness of the dotted rhythm and avoiding accents on the resolution (the Esharp to Dsharp in the first group etc.). Did you think I meant Scriabin in the 6th? That's Sofronitsky, I mean.
I'll try sometime. I have an ipod mike that would do a much better job but my computer doesn't seem to like any video editing so I couldn't combine them. I'll get a new computer eventually and try it.
Elegant! The playing I mean, not the dressing gown, although I believe de Pachmann once performed in a dressing gown he claimed was worn by Chopin!
But yes, I do like your performance very much. The recording (??) of Scriabin himself playing this is "wing tipped with silver, jet black and of gold" like a butterfly flying to its lover. Best wishes your way....
Very very good!
Bravissimo!
No, I've worked out many things that Horowitz does that most performers miss. I'm not saying this performance is comparable in quality. For one thing, the descending bass motive (marked with an extra stem) is usually played very limply. Horowitz always makes a single tight gesture out of it. I've made an effort to do the same. Most pros I've heard play with a massive gap in the middle of this motif.
Nicely done!
Sad audio, but very interesting and promising
your playing style, relaxed but intense at the same time.
You leave the listener (or at least me) in the condition to wait a re-recording with better equipement and piano, more respectful of your talented conception and playing. The most sincere congratulations,
Sandro.
P.S. not requested, my favourite recorded versions of this piece:
1) Sofronitkzy
2) Scriabin
3) Horowitz
all these three are near each other in aestethic quality
Very moving performance, liked the extra rubato in the middle section. The downside is the recording quality. When possible, record it again for us to enjoy a cleaner sound.
Really nice playing! My main comment... let your first LH notes set the tempo, then follow through with the right hand. This will become clear if you count along with your LH opening, then see what happens when the RH enters. The piece should take off at the outset, in accordance with your LH introduction. Launch into it fearlessly... you can do it easily!
Beautiful I like your interpretation, 5/5
Also almost every pianist accents the D sharp after the E sharp (and just about every note in the right hand) This is too lumpy. Horowitz creates a smooth legato line without compromising drama by dropping in the right places. He also knew to drop the repeated chords down to forte to prevent the line being swamped. This is vital to get any sense of additional build to a true climax.
It's not a semitone flat. It's only slightly under concert pitch.
It's in the score though. I don't copy Horowitz. He gets essential 'units' correct. There are many ways to go from there. The bass motif is marked in and there's no question that a two-note motif should come with a gap in the middle. It really is 'incorrect' to allow a pause there. It doesn't have to be as wild as with Horowitz but any stop or failure to bring out both notes is a failure to respect how it's consructed.
Yeah, I'd like to hear him play this. I'm sure he'd give a decent shape to the melodic line, without the misplaced accents that make so many performances so offensive.
Amazing
I think the comment of chad410 was about my reply about your performance, czriffra1980. Well, chad, you're a great Scriabin Pianoplayer, so why wouldn't you try? :-)
Birmingham, UK. The sound could be better but I think the playing comes across fairly clearly. Might try a mini-disc sometime. Regarding the comment below, I do feel that your playing is too 'terraced' in terms of dynamics, rather than layered with simulataneous levels of volume and distinction from accompaniment parts (like those with the most interesting sound). You're welcome to be critical of any of my films.
I sent my last comment one second before this one. Now I understant what you mean when you refered to your performance relative to Horowitz's. However I stand by my opinion that this is not the only way to play this piece.I've heard other interpretations from pianists that have created a different sound for the piece and I also enjoyed their musicality, though it was not the same as Horowitz's.
You're a very good pianist!
Relaxed and beautiful, never forced sound.
What is your name, please ?
I don't understand the left-hand chord at 2:16 - it's not in the score but I hear Horowitz do that too. What's the story there?
wow thats really good! the only thing id say is at the section starting at 1:40, i cant really hear the difference between the triplets and 16th notes. but thats a small problem, on the whole it sounds great. like everyone else says, try to get some better audio!
What do you mean exactly? He has a very competent technique, but I can't say I have been as impressed by his musicality. He needs to listen to more old recordings.
That's me. Andrew Thayer.
Tus manos son una maravilla....
cuidado con el pedal-demasiado
un abrazo
Nairi
What do you mean exactly?
How do you know he's using different account names, by the way?
"I've worked out a lot of tricks that are usually missed (except by Horowitz, of course)." This means, that usually, only Horowitz and yourself do not miss those "tricks". Or maybe you meant to say something else? You probably meant to say something else... I hope you meant to say something else.
Who is "semi?" George CZiffra?? I don't think so.
In which case, you are mearly trying to copy his interpretation, at least parts of it. However, this does not necessarily mean that interpreting this motif differently than Horowitz is a bad thing as you are implying. Those "tricks" you talk about are an artistic choice chosen by Horowitz to create a certain sound with which you agree and I also find them very musical and appropriate. But this is not the only way to play this piece. (cont.)
shows a lot of potential to be really 1st class with more work.
A tuned piano and better recording equipment would also help with the overall quality,but I expect you already know this.
Fantastic! the closest version to your is horowitz's.
Well, he seems to get plenty of viewers so I thought I might as well put it there. I do indeed find it rather annoying when people claim to respond to the 'emotional' nature of his playing when limited musical range isn't wide enough to put much true feeling across. Sadly he has rather few musical ideas and not much polish in his sound.
have you heard Alexander Gavrylyuk play this? his is the best out there!
Try what?
@cziffra1980 one can use the imagination my friend and patterns in the play.
Klavir je rastimovan i za sekundu je nize!!!!!!!!!!!!! Lepota te etide je u tome sto je u dis-molu a ne u d-molu!!!!!! Inace nije lose...
Cheers. I don't think I've heard that one. Horowitz's performances are the best I've come across. I recently heard Sofronitsky for the first time but it's quite a disappointment, in fairness.
Did you just compare yourself to Horowitz?
Hey nice job
just get that piano tuned
@cziffra1980 one can use the imagination my friend and patterns.
Perhaps this performance is 'over-intellectualised' for you again?
That's an interesting comment from the guy that believes 'nothing is right or wrong' and plays everything at half-tempo. Perhaps I didn't contort my face enough like a gay porn star or squirm around enough with my body, compared to you?
'Same crappy' inability to offer any interesting opinions on the playing, 'different day'. If your knowledge is so limited that you can't single out any of the many flaws here to criticise, why bother?