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Jane Ahmon
Приєднався 30 сер 2007
Channel for memories of my family but also a music channel where I upload original High Quality score videos of the best recordings of famous pieces by underrated pianists.
Chopin Nocturne Op 48 No 1 in C Minor by Christopher Ahmon Studio Recording
As the runner of this channel and a 16 year old amateur classical pianist myself, this is my first recording of me playing in two and a half years, since June 16 2022 when I posted me performing Chopin’s Nocturne Op. 9 No 2, and this is the direct sequel to that. I started learning this piece in July 2023 and learnt the entire piece with a teacher but stopped practicing this piece as I started with other ones. This is my favourite nocturne and is known as being the hardest. The doppio-movimento is extremely emotional and has a tragic atmosphere in it that slows into a tearful ending.
NOTES
At school, I decided to repursue this piece for a concert that happened quite recently. It was very good but had too many wrong notes to display onto this channel so I re-recorded on my yamaha upright piano around 10 times before I created one to my satisfactory. (Even though this has a couple wrong notes with the one starting in the RH the only one really standing out and annoys me for that matter). To start off, I really like the length of the performance; It is almost as long as my favourite recording by Lugansky but not too long, but slower than the famous Seong-Jin Cho recording because I wanted to express the melody slower in the first section.
The beginning I played expressively, not like a robotic pendulum, and tried to not make the LH too loud, and mantaining voicing in the LH.
My second favourite performance by Vadim Chaimovich certainly inspired me to play like the way I did in the first section, with the added top voicing in the LH, which I believe adds a beautiful contrast. For example, at 0:39 and the chords starting at 1:41. I also think the low bass C octaves in the LH were played wonderfully. The second was quiet and dark and the third was the perfect loudness.
The second section is difficult to play because of the voicing, timing, octaves, and broken chords. I believe I did a good job with the voicing in the RH the whole time. Undoubtably, the most unfortunate part about the performance during the second part was not even related to the playing; yet my dad entering the study and distracting me. Sorry for the rustling of the cat litter bag! At least it didn’t affect the playing. The octaves were played nicely but could be more legato and smoother like at 3:49 and more emphasis on the chords proceeding the octaves so the difference is larger. The downward octaves were not a problem as the accuracy was precise but the brief part where the LH is only playing chromatic octaves was surprisingly hard and I think I missed the A natural.
Not to mention, one of the only parts where I improvised the score was right after the trill, where I played the c one octave lower to add emphasis to the LH after the RH chord phrase. The second part where I improvised was what Chamovich did at 5:44 playing one G instead of the octave; however I wished I played the note louder than I did. The third part was what Traum did in this synthesia recording at 1:00 playing a single low d flat.
Lastly, the doppio movimento is the hardest section where the voicing is very tough to play with correct dynamics. I think the octaves in the LH right before it started should have had cleaner pedal, and there is unfortunately one wrong note in the RH when i started but it is not significant because I did press the c but also a c sharp. The voicing was not perfect throughout the whole movimento but it was well apparent.
The most emotional part of the whole piece starting at 5;20 is very well executed in my opinion and I don’t like it when pianists play this part too quietly or without emotion. Lugansky played this part the best IMO as he highlighted the LH octaves like I did here and I added a piece of LH voicing at 5:23. The part at 5:32 is an absolute nightmare because of the thick RH voiced chords played at a high tempo and the jumps but I am glad what I was able to achieve even despite the fact I wish it was a little faster.
The final ending chord had some intricate and unique voicing all though it was never my intention. i don’t count it as a mistake ;)
THANK YOU FOR WATCHING AND SUPPORTING. Feel free to use this recording as you wish as long as you give me credit.
Feel free to comment down your thoughts and praise if any.
I am currently working on Liszt Reminiscences De Norma and Liszt B Minor Sonata. The Norma will be uploaded in January at the earliest and the Sonata sometime in 2025.
NOTES
At school, I decided to repursue this piece for a concert that happened quite recently. It was very good but had too many wrong notes to display onto this channel so I re-recorded on my yamaha upright piano around 10 times before I created one to my satisfactory. (Even though this has a couple wrong notes with the one starting in the RH the only one really standing out and annoys me for that matter). To start off, I really like the length of the performance; It is almost as long as my favourite recording by Lugansky but not too long, but slower than the famous Seong-Jin Cho recording because I wanted to express the melody slower in the first section.
The beginning I played expressively, not like a robotic pendulum, and tried to not make the LH too loud, and mantaining voicing in the LH.
My second favourite performance by Vadim Chaimovich certainly inspired me to play like the way I did in the first section, with the added top voicing in the LH, which I believe adds a beautiful contrast. For example, at 0:39 and the chords starting at 1:41. I also think the low bass C octaves in the LH were played wonderfully. The second was quiet and dark and the third was the perfect loudness.
The second section is difficult to play because of the voicing, timing, octaves, and broken chords. I believe I did a good job with the voicing in the RH the whole time. Undoubtably, the most unfortunate part about the performance during the second part was not even related to the playing; yet my dad entering the study and distracting me. Sorry for the rustling of the cat litter bag! At least it didn’t affect the playing. The octaves were played nicely but could be more legato and smoother like at 3:49 and more emphasis on the chords proceeding the octaves so the difference is larger. The downward octaves were not a problem as the accuracy was precise but the brief part where the LH is only playing chromatic octaves was surprisingly hard and I think I missed the A natural.
Not to mention, one of the only parts where I improvised the score was right after the trill, where I played the c one octave lower to add emphasis to the LH after the RH chord phrase. The second part where I improvised was what Chamovich did at 5:44 playing one G instead of the octave; however I wished I played the note louder than I did. The third part was what Traum did in this synthesia recording at 1:00 playing a single low d flat.
Lastly, the doppio movimento is the hardest section where the voicing is very tough to play with correct dynamics. I think the octaves in the LH right before it started should have had cleaner pedal, and there is unfortunately one wrong note in the RH when i started but it is not significant because I did press the c but also a c sharp. The voicing was not perfect throughout the whole movimento but it was well apparent.
The most emotional part of the whole piece starting at 5;20 is very well executed in my opinion and I don’t like it when pianists play this part too quietly or without emotion. Lugansky played this part the best IMO as he highlighted the LH octaves like I did here and I added a piece of LH voicing at 5:23. The part at 5:32 is an absolute nightmare because of the thick RH voiced chords played at a high tempo and the jumps but I am glad what I was able to achieve even despite the fact I wish it was a little faster.
The final ending chord had some intricate and unique voicing all though it was never my intention. i don’t count it as a mistake ;)
THANK YOU FOR WATCHING AND SUPPORTING. Feel free to use this recording as you wish as long as you give me credit.
Feel free to comment down your thoughts and praise if any.
I am currently working on Liszt Reminiscences De Norma and Liszt B Minor Sonata. The Norma will be uploaded in January at the earliest and the Sonata sometime in 2025.
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Відео
Medtner Piano Concerto No. 2 in C Minor Op. 50 - Nikolai Demidenko Live 1990 Belfast (SCORE)
Переглядів 32928 днів тому
A phenomenal recording of Medtner’s second piano concerto, one of the hardest in piano repertoire. Both insanely difficult musical and technical difficulties which push the limits of the pianist. Medtner is a notoriously difficult composer to play but his music, likewise his concertos, and underrated and have luscious melodies and are very rewarding to play. This is the first Medtner score vide...
Mozart Lacrimosa Requiem in D Minor K626 (Martha Yudina) Saltykov Transcription (Score)
Переглядів 1 тис.Місяць тому
The first thing that one will notice when they listen to this, especially if they have listen to the original Lacrimosa, is the slower tempo, which contrasts to the faster tempo that Mozart wrote for this piece. The slower tempo is the biggest reason why this interpretation is my favourite. It allows everything, the piano, piece, to breathe and makes the listener rather emotional. It adds more ...
Mozart Fantasia in D Minor played by Maria Yudina K397 (Score)
Переглядів 2,2 тис.Місяць тому
This old recording by Russian female pianist Maria Yudina and what I sincerely think to be the greatest recording of this majestic piece. First of all, I love the rubato in begining the pedal usage which is powerful. Her long break before 0:47 her slow playing and voicing and love that she plays it more staccato-like compared to others. She uses a lot pedal but I never thought it blurred the mu...
$10000+ In Cash Counting Mixed Bills Brick USD ASMR Playing Motivation $5000 in Fifties $3000 Fives
Переглядів 6632 місяці тому
$100 in ones $382 in twos $2970 in uncirculated fives $460 in tens $0 in twenties $5000 in fifties $1500 in hundreds 934) Good luck on your financial journey, save a lot, and be frugal!
Brahms Paginini Variations Op. 35 - Micheal Ponti (Score) Live 1971
Переглядів 2522 місяці тому
My all time favourite Brahms piece, and I believe to be the greatest set of variations ever written for piano, with Liszt famously saying Brahms paginini variations are better than his. This piece is a monumental challenge and one of the hardest pieces in standard repotoire and a piece I would never ever attempt that require exceptional voicing, finger dexterity, precision, speed, complex polyr...
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Переглядів 3345 місяців тому
Absolutely jaw dropping performance of Ravel’s Gaspard de la Nuit, one of the most difficult ever piano pieces in standard repertoire. Every movement is phenomenal and is played in such a poetic manner. The ondine beginning chords in the RH, and the double note runs near the climax, both of which are very difficult and uncomfortable to play, have such a clear, and perfectly crystalline sound wh...
Liszt Funérailles S. 173 - Horowitz 1948 (Score)
Переглядів 3115 місяців тому
A stunning, dark, gloomy, sad, explosive, and powerful recording of Liszt Funerailles. Live performance by young Horowitz in 1948. He truly captures the essense in this piece, butg I am not sure why he skips many parts as I think it detracts from the performance. Still my favourite rendition. Recording used: ua-cam.com/video/DMRRwiVm6h0/v-deo.htmlsi=EcI4_qEKQ1KzrITd By Classical Rarities
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Переглядів 2,2 тис.5 місяців тому
I have no words. This is Liszt’s transcription of the legendary Beethoven Symphony No. 9, my favourite symphony, and is unanimously regarded as the most difficult Liszt composition he ever made. The piece is over an hour long, in this case 79 entire minutes, divided into four enormous movements, and the stamina, voicing, speed, clarity etc. required to pull this off for that amount of time is o...
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In my opinion the greatest recording of this mighty and famous Beethoven piece, well known for its genius and innovative jazz like part in the second and final movement. The piece is the final sonata written in 1822 and the final note is a satisfying c major chord. It is a perfect ending to the set of 32 sonatas and also his first sonata the first note is also a C. For the perfomrnace, it is ab...
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Beethoven Sonata No 29, Hammerklavier Sonata is undoubtedly one of the greatest sonatas ever written for piano and by Beethoven. Beethoven’s Viennese publishers announced the new sonata in 1819 as a work that “excels above all other creations of this master not only through its most rich and grand fantasy but also in regard to artistic perfection and sustained style, and will mark a new period ...
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Chopin Selected Waltzes - Op 34 No 1, No 14 Posth, Op 64 No 1&2, Op 42 No 5, Op 18 - Hofmann (Score)
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Chopin Nocturne Op. 9 No. 2, Op. 9 No. 3, Op. 27 No. 2, Op. 15 No. 2, Op. 48 No. 1 - Hofmann (Score)
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Chopin Nocturne 13 Op. 48 No. 1 in C Minor - Nikolai Lugansky (Score)
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Rachmaninoff Sonata No. 1 in D Minor Op. 28 - (Sean Botkin) (Score)
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Rachmaninoff Sonata No. 1 in D Minor Op. 28 - (Sean Botkin) (Score)
1:10:56
Among pianists whose performances are immortalised on record, there was none quite like the famous Ervin Nyiregyhazi of international reputation. In this performance, he shows that his reputation is well-deserved. There are many recordings, by many pianists, of this beautiful work, but none treat it quite like Nyiregyhazi. There is surely no other performance that can match this one in freedom of tempo, in power, and in imagination. The freedom of tempo to take the music at just the right speed that he can play it at, no matter that this entails taking it slower where there is rapid figuration he hasn't yet practised up to speed. The power deriving from his liberal use of the loud pedal, his disregard for pp markings, and, in ff, the occasional extra note or two in the bass. And, most clearly, the imagination --- when memory fails --- to keep going and make something up, or even skip a few inconvenient bars. His performance is truly unique, if I may be so bold as to express that hope. In the recording catalogue, it fills a much-needed gap.
Thank u so much
Out of curiosity have you heard Abram Shatskes with Svetlanov in this concerto? It’s little-known but probably my favorite recording, I would recommend it even over Medtner’s own performance
Your effort is appreciated
I noticed in the description you didn’t even mention Medtner’s recording of the concerto
@@DynastieArtistique That’s because I haven’t listened to it yet but I will
@@Janeahmon Tozer and Hamelin but not Medtner?? Jk but no seriously it’s essential to hear and definitely the best recording imo
I didn't know this one, very good find!
Excellent, very good performance =)
Looking forward to this one...
Thats great to hear! This is your favourite recording?
Thank you so much for posting this with the score. Two points. It's Maria, not Martha. You raise the question concerning the ending. It could never have ended in G, but only in D. As it is, Mozart (or Sussmayr?) falls back on an older tradition of ending it in D major with the raised third (Tierce de Picardie).
Rette mich, Gott, rette mich
The greatest female pianist to have ever lived
Agree! One of a kind
The most shattering performance of the Lacrimosa ever.
01:03:09
the world is end
🔥
Grayson!! Thank you!!
Saltykov was Yudina's late fiancée. Thank you for the score!
Wonderful atmosphere
Also, is there a dude singing along in the background? I don't mind it.
they recorded over another piece. Sometimes the old piece can be faintly heard.
@@izaakthoms That makes a lot more sense.
There may have been one or two pianists who I prefer to Yudina, but there is no greater one.
The shriek at around 2:30 is quite alarming!
I've often wondered if Mozart was inspired by the famous Melodie (arranged for piano by Sgambati) from Gluck's Orpheus and Euradice ...
It's possible he was inspired from the original setting of the Gluck, but Sgambati was born well after Mozart's death, being a Liszt pupil.
@@farazhaiderpiano Sorry, didn't mean to imply that he was familiar with the Sgambati arrangement (I knew he was a Liszt pupil) - was just trying to clarify the specific Gluck melody I had in mind ...
@@iianneill6013 All good!
Wasn't expecting that added introduction, but defined the best interpretation of this I've heard
I absolutely love and hate this recording
It’s exactly that kind of day here, this is perfection :)
Greatest pianist? That question is just a matter of personal opinion. I've heard most every great pianist of the last 120 years in one way or another and I can't say I have an absolute favorite. I have a top 6 or 7 and Horowitz is certainly in that group. This is a stunning performance of this Fantasy. I've never heard anything quite like it. Horowitz has a way of playing like a force of nature . The visceral effect of his playing you never quite forget. Thank You for posting this amazing performance.
This arrangement emphasizes the influence of Schubert's "Wanderer Fantasy" on the Dante Sonata. I feel that Volodos had deep respect and love for the two Franz's (Liszt and Schubert, They had the same name !! ).
Possibly the most disturbing piece ever written jn the 19th century
스코어가 부조니께 없는데
Oops😦 didn't see the 5s💶
500$ in 20s💵 & 2000$ in 10s💷💷🤔
I totally agree with you and these, along with Goldberg and Diabelli, are the greatest set of variations for the piano. I also agree with Liszt who was gracious enough to recognise the greater work. They are insanely difficult and Ponti is wonderful.
Its better to faint 5 audiances than to impress 50 audiances
Couldn't get past the opening tempo and wrong notes
This is without doubt the most convincing performance of the Liszt B Minor Sonata. From the very first drum beats - which always irks me in EVERY other performance - Levy has the rhythmic measure of the piece. The first few notes are telling - most pianists don't seem to know what to do with them and jab listlessly (pardon the pun) at them without any conviction. But every single phrase in Levy has a finely drawn rhetorical shape and tremendous power when called for. I cannot imagine a greater performance .... other than the imaginary one in my mind of Nyiregyhazi's lost performance.
@@iianneill6013 Totally agree, thanks for your comment!! I agree that the first few measures are the most convincing than any other pianist. Many others play a light staccato (even Horowitz) but I think it works much better the way he does because it evokes a feeling right away.
babi wukup new jane's vid are avaliable
Haha. Very cool.
Underrated piece; shame it is so overshadowed by second sonata
This is one of the quintessential accounts of the potential dormant within unfashionable Liszt, to my mind
0:00 lizst turns into alkan lol
5:05 sounds like Wagner
Thank you for sharing these pieces you have a good channel
That's a nice gem of a recording
The Fantasie is slightly underrated in my opinion, better than the scherzi and better than at least one ballade
It's very difficult
Which ballade?
@@sebastian-benedictflore I have my own opinion, but I hope others will agree with the sentiment
@@marksmith3947 I just asked which ballade you think the Fantasie is better than, since you said "at least one ballade
From the era before his breakdown when VH was the greatest pianist born after 1900,, including modern pianists
Horowvitz... Michaelangeli... Pollini...
This is really good
ニレジハージの演奏好き❤
Leider kein Tempo di Marcia am Anfang! Das ist doch ein eindeutiger Hinweus!
Tempo di Marcia by Chopin is not literal
But the indication is not a marcia funebre…
@@radovanlorkovic3562 Marcia "Grave", do you expect a military march?
@@tammoton9494 No but neither a marcia funebre.
I don't know, I find it a bit a sloppy performance, I've heard better performances by Horovitz. Too much pedal in general i.m.o. and indeed some negligence in respecting certain musical indications.
Beautiful