Відео

So many strong words... But where are the arguments?

@@JérémyPresle there’s no argument since it’s all made up by Wim. You can hear the historical recording made by then super old Francis Plante who studied with Liszt and had heard Chopin live. He didn’t play anything remotely close to the bullshit whole beat. He was almost 90 by the time of the recording and still didn’t play anything that would support BS Wim. So would you believe somebody who was really close to the great Liszt and Chopin or just a cult leader like Wim?

Because cranks shouldn't be given the time of day and more energy than the actual experts in the field.

You did not understand my remarks anent your comment on my video. I called attention to your lack of musical qualifications as disqualifying your opinions regarding the Wim Winters cult. If you hold this to be “aggressive” and “intolerant”, then you have a problem. Try writing a letter to a professional musicological or medical journal and expect to get a hearing. Music is no different: you are out of your depth and out of line-and I simply said so.

@@danielwaitzman2118 I hate to have to advise you, but you are a tedious, arrogant, self-opinionated bore. Musical qualifications is a term so general as to mean almost nothing. How about taking the time to listen to the Bach-Busoni Chaconne....I have listened to perhaps 100 versions...each executed by someone with "musical qualifications". They are all very different, played at different speeds, with different accents and different touch....and which musical qualification qualifies correctness? Don't bother wasting any more of my patience.

@@currawong2011 By your own admission, you are not a musician. Why then should we listen to you? Why should you have an opinion on this matter at all? Would you take your car for repair to someone who knows nothing about cars? Or go to a dentist who knows nothing about teeth? It is as if you WANT to be scammed. Wim thrives on the likes of you-you are to be pitied.

@martingauthier7377, quote: «But to give the double beat a try is fair enough». IMO - the theory is only interesting to those without knowledge. Those who us who know something understand that the theory as presented by Wim Winters has never been able to work over time. Hm…….but what about those who have knowledge, but still support the theory? My guess: They are not interested in placing the music in a historical context, they are only concerned with music being played at moderate tempos. Wim Winters proves with their own play that the theory is not correct. Moreover - the theory loses to logic.

Logic? Applied to music? Ahahahaha. That's the problem. Music has esthetics, emotion, technique, tradition... Logic? Form, style, influences: sure. Compositions based on logic are like precursors to A.I. :-) Northrop Frye talks about where logic sits in literature as art ( _The Educated Imagination_ _Anatomy of Criticism_ ) and the parallel with music as art can be easily drawn. Cheers,

@yesjeaurond4937. Logic helps us to expose the WBMP’s weak credibility. Wim Wintes performs several of Bach’s two-part inventions faster than Beethoven’s piano sonatas, allegro movements. It is illogical, therefore we understand that Beethoven’s allegro should be played faster than Bach’s inventions. And so Wim Winters himself proves that the idea of BMP cannot be historically correct. When esthetics, emotions, technique, tradition do not rovide the necessary answers, logic can be effective.

@@JimiHendrix-es4lv Wim advocates what all pianists consider as sight reading tempo.

I played the too, it happened the same to me, kind of. I could play that 88 tempo most of the time, but not when there are some challenging leaps, but it's guess it's ok, that extra millisecond makes it extra expressive 😊

Do we really think Chopin imagined his etudes played at today’s tempi ? I seriously doubt. Sounds like cartoon circus music today

@@paulcapaccio9905 Yes! And he took the effort to tell us that a quarter note happens X times each minute. Virtuosity was a thing. And if people think Chopin etudes are too difficult in that tempo, god they will have a bad time playing XX composers like Scriabin, Ravel, Messiaen etc etc...

@@goncalocurto I’m still not sure about tempi today . We have gotten so fast that the music suffers greatly. At some point musical content must not be compromised because we can train kids to play Chopin and Liszt etudes when they are mere children

His sources are pretty much exclusively "some pieces are too hard if you play them at the noted tempo". Many of Liszt's students made recordings. All of them played single beat. As did Brahms.

You’ve wasted your precious time studying bullshit. Time could be spent much better at the instrument or elsewhere.

Yes. Just look up "Historical Evidence of Tempi in the 18th and 19th Centuries" and you'll find a whole research paper on the topic with examples. (Spoiler alert: they didn't play in whole beat)

Yes, it's been done. And, no, it doesn't support Wim's hypothesis.

Do you have any proof of your ' as fast as possible' theory? I have never heard many of Beethoven piano works played as fast as possible. I don't know how Wim would figure out how to play a Chopin waltz as many have no metronome marking. He needs guidance and none is given.

Oh, please. What Wim is really saying is, hey I don’t have to achieve a professional standard of playing, if I can convince everyone that an amateur level is authentic.

rand503. In a couple of weeks, I hope to present two videos, where I want to reach people like you - debaters with little knowledge. It is important to reach out to you so that you do not continue to spread ntrue and manipulative information to more and more people. It happens that Wim Winters both manipulate and censors to strengthen credibility. Because you do not have enough knowledge to expose the manipulations, it is important that you receive more balanced nformation. «Every thing must be played as fast as possible». «As fast as possble» only applies where the composers write «prestissimo». Only then should it be played as quickly as possible. «Prestissimo» is not often seen compared to the many other terms for pace, therefore it is not a big problem. As you should know, Wim Winters has an agenda, he believes in a theory that tells about a different understanding of the metronome numbers. Therefore, it is important for him to tell you that music was played mich slower + - 200 years ago. But is it true? Here are a few lines from the book «Beethoven» written by Maynard Solomon. We read: «Beethoven was concerned to maintain his preeminent position and regarded any accomplished pianist as a potential rival. In mid-1794 he wrote to Eleonore von Breuning of his «desire to embarrass» and « revenge myself on» the Viennese pianists, some of whom are my sworn enemies». The book also tells us that Beethoven was invited several times to private homes to compete against other pianists. Here we get to know the mentality of over 200 years ago. Mentality? Yes - he human urge to compete! For almost 3000 years, people have competed in the Olympic Games. But the pianists back then did not compete in wrestling or discus, no, they competed on the piano. The keys were their sports arena! For the pianists, it was important to compose so technically demanding that it was considered almost impossible to play. And that can well be the explanation for the «impossible» metronome numbers. But what was the point? Again - the pianists competed! It was about impressing other pianists, music critics and a large audience. «IMO, there is no music in the cirtuoso pieces, it’s just a ridiculous cascade of fast runs!» Anyway, it was part of the music culture back then, whether we like it or not. But not everything was to be played at fast paces. Don’t you know that the composers piano sonatas also have slow movements or slow sections? It is here that the composers give the pianists ample opportunity to express emptions and moods - it is here that the pianists could really shine with their improvised musical expressions. Rand503, if you are interested, I can give you several examples that show that Wim Winters is not qualified to tell anyone what is possible to play - for others. You also get examples of his misinformation and manipulations.

@rand503. «Thank you» I can’t take it anymore! I am sick and tired of domments from people who don’t even know 1% about what is being discussed. Dear rand, you know that 10+10=20. But then you see UA-cams videos with a mathematician who succeeds in convincing many thousands of people that 10+10=19. And what happens? Well, several of us try to tell you many thousands that that mathematician is manipulating you. And what happens next? Yes, you criticize us who try to tell you that 10+10=20 is still true. Then you understand why we are sick and tired. But you are very lucky, because I am in good mode today, so I am taking my time to give you some basic knowledge. Therefore, find yourself something snacks, sit in the comfy chair, and we’ll stared! Quote: «Every thing must be played as fast as possible». No, we are not saying that. But Wim Winters convinces people that the composer’s MM numbers should be interpreted so that the tempo is half as fast as we think they should be today. In doing so, he succeeds in falsifying our music history for all of you who are being manipulated, and that is what we are criticizing. Wim Winters is right about this: Many performances do not reach the composer’s tempo in single beat. The explanation will come in my next comment if you want to know more. Quote: «Everyone knows that Chopin and Beethoven should be played as fast as possible!» No, that is not correct. (don’t forget to enjoy your snacks) We say that the composer’s MM numbers should be respected, it is not the same as shouting for a prestissimo in all pieces! Quote: «Its the only way you can prove you are a virtuoso!» There is nothing wrong with the pianists pursuit of the virtuosic, because it was exactly the same thing the pianists did for + - 200 years ago too! Now we open a book about Beethoven, written by Maynard Solomon, and ther we read: «Beethoven was concerned to maintain his preeminent position and regarded any accomplished pianist as a potential rival. In mid-1794 he wrote to Eleonore von Breuning of his «desire to embarrass» and «revenge myself» on the Viennese pianists, some of whom are my sworn enemies». We also read that Beethoven was invited several times to private homes to compete against other pianists. This is what Wim Winters doesn’t tell you - there was a strong competition among the pianists 200 years ago also. This explains many of the «impossible» fast tempi that we find in the piano literature of the days of Czerny, Beethoven, Liszt, Chopin, Alkan, Henselt, Kalkbrenner, Hummel and others. I will continue if you ask for it.

Quite right. There is an even earlier recording of a complete Beethoven symphony, again no.5, in 1911 from the Odeon Talking Machine Company, Berlin. You can also find it on YT (sometimes with the date 1910). There is a very recent article in the Journal of the American Musicological Society (no. 76, Spring 2023), James Hepokoski, "“Listen and Be Amazed!”: Odeon, Künneke, and the First Recordings of Complete Symphonies", available FREE online (thank you, JAMS) that will tell you all about it. The tempi are of the same order as Nikisch's. And then there is the wonderful recording of Richard Strauss, Berlin 1928. Links back to Beethoven: Strauss as a young man was Assistant to Hans von Bülow, who was a pupil (also later son-in-law) of Franz Liszt, who in 1823 at the age of 11 met Beethoven.

I was about to make just this point, but you have done it better than I could have.

Many commented on tempo changes from classical to romantic times. Including Wagner in his "On Conducting"...

Transmission is a weak thesis because the conductors had other, greater pressures upon them: the critics, the ticket buyers (a new thing) that they had to wow, and their own opinion about the tempi. Also, transmission is a kind of playing telephone... Exact reproduction often fails. For solid economics and fashion arguments, see Grampp, _Pricing the Priceless: Art, Artists and Economics_ (Basic Books, 1979). And for paradigm shift, Kuhn's _The Structure of Scientific Revolutions_ still holds its own---supported by so many, including Ian Hacking. Metronomes are scientific instruments. Their use is not intuitive. The first users may well have used them as they would have pendulums. Cheers,

@@yvesjeaurond4937 Transmission is not solely about conductors and concerts; those were merely examples. It encompasses the musicians who engaged with the music of the Classical period daily, whether through performance or regular practice. Many young musicians from the Classical period who lived into subsequent decades would not have noticed significant changes in tempo, such as pieces being played twice as fast as they had performed or practised them. This concept extends beyond professional orchestral musicians to include amateurs as well. Since Beethoven drew his last breath, there has not been a single day when an amateur pianist somewhere in the world hasn’t played one of his compositions. Using the Beethoven tempos familiar to us, concert pianist Seymour Bernstein (born 1927) learned his interpretations from teachers like Alexander Brailowsky (born 1896), who in turn was taught by Teodor Leszetycki (born 1830). In just three musical generations, we trace a direct link from the Classical period to the present day, akin to artisans passing their skills and interpretations to apprentices. Of course, this process of personal transmission has involved thousands of other pianists and musicians, going far beyond the influence of conductors aiming to please audiences. If there had been a significant change in tempo during the 19th century, it would have been recognised as a major event and passed down as critical knowledge to subsequent generations.

robintranter, quote: «…if the metronome was designed to put an end to any doubts about what tempo a composer e.g. Beethoven wanted his music to be played at, why is there so much controversy over this subject». Sorry, but the answer will annoy you. If everyone who wanted to write comments here had to document an education in classical music, WW would hardly gain followers. But because anyone can comment, even those who don’t know, he gets thousands of followers, and that’s why we have this controversy, this endless discussion. Those who don’t have knowledge don’t listen to the musicologists because Wim Winters is very good at manipulation. Sometimes he also censors comments. Whoever is right in their argument does not need to manipulate or censor. So why does Wim Winters have to manipulate and censor? Wim Winters, quote: «The best argument FOR the WBMP are the thousands of metronome marks that nobody every will be able to play and we simply ignore». Wim is not qualified to tell you such a thing, and he confirms it himself. Here are some examples: AuthenticSound (AS) «A Unique Description of Franz Liszt Practicing…» A reply: «Lang Lang…what a joke». WW: «Hmm…wish I had his technique though…» So Lang Lang has a better technique than Wim. But around the world we find many virtuosos, who better than WW know what’s impossible to play. Therefore, his main argument is of no value. I will continue in a couple of days.

Putting aside journey lengths, then and now, and the strange idea that the pace of life was slower (what does that even mean - people walked half as fast, their heart-beat was around 40?), those sonatas of Beethoven and Mozart intended for early-stage students are immeasurably easier than those intended for performance by themselves or by other experienced and accomplished musicians. They are still played successfully by young students today, at the same speeds (though probably not as well) as a Pollini or a Yang. Of course not all pupils would have gone on to play up to the level of the top virtuosi, then or now. But some of them made it. Carl Czerny, for instance, and Ferdinand Ries, of Beethoven's students. Wim's research is severely limited by his WB theory, which prevents him from exploring anything that contradicts it, and is by no means sound. Certainly he is enabling people to attempt works far beyond their capabilities with the comforting notion that snail-speeds are 'authentic'. I much preferred it when he was introducing people to the works, mostly quite manageable by amateur pianists and intended for them, of composers like J.C. Bach and Muzio Clementi, or showing how Mozart and Haydn and even Beethoven sounded on the clavichord.

robintranter, part II. AS, Beethoven sonata opus 14/1. Reply: «Oof, this first movements really falls apart completely. Another great example of how double beat doesn’t work!» WW: «yeah, how about the fact that in SBT it isn’t even playable…» After a little hour on YT I can present this list of pianists who play the first movement faster than SBT, which Wim Winters says is unplayable. All the pianists play the repetition. WW, double beat tempo: 13:43 SBT: 6:51 M. Korstick 5:45 A. Fischer 5:50 I. Levit 6:05 R. Buchbinder 6:11 Jumppanen 6:15 Sokolov 6:18 Yokoyama 6:31 L. Schwizgebel 6:32 Barenboim 6:45 Robintranter, quote: «…My point is, their concept of tempo was very different from ours, their pace or life muh lower….» That’s right, we live more hectic in our time, but it doesn’t affect the pace of music, and I explain it like this: Nowadays, most people listen to pop and rock, not classical. Because we live in a time of great stress, most pop and rock-music should be played in fast tempi, , but that is not the case. Most of pop and rock is performed in fairly moderate tempi. We know that pianists played very quickly + - 200 years ago, it is explained by man’s urge to compete. In the book «Beethoven» written by Maynard Solomon, we read: «Beethoven was concerned to maintain his preeminent position and regarded any accomplished pianist as a potential rival. In mid-1794 he wrote to Eleonore von Breuning of his «desire to embarrass» and «revenge myself on» the Viennese pianists, some of whom are my sworn enemies». We also read that Beethoven was invited several times to private homes to compete against other pianists. The extremely fast MM numbers confirm a music scene with competition. It was about doing to impress pther pianists, music journalists and audiences. Robin Tranter, if you want to participate in the debate and be respected, you need to turn your back on WW. I can go on and on with a number of examples, but I have some other things to do. But wait! . ..to my delight, I found this in WW’s video: My «Immoral Tempo Allegations…» 2:30, «….and I take that etude in such a different - even claiming that it’s a really hitorical tempo. I should change those titles…» He’s not saying he’s abondoned the theory, no, he’s not saying that. But he acknowledges that he perhaps went too far in claiming that his performances of Chopin’s etudes were historically correct. This is gratifying by Wim Winters! There he took a step in the right direction. I hope that he takes even more steps in the right direction, lest thusands of ignorant people be fooled into believing in a theory that has never been able to work the way WW presents it. And once again, I mention the kids here at YT. A number of videos show children, 7-12 years old playing Chopin’s etudes much faster than double beat tempo. We know that Chopin was around 20-22 years old when he composed the etudes. He had 10 more years to reach a virtuoso level, and Wim said Chopin played much slower than the kids! Totally illogical! Remember - it was a competition between the pianists, several old sources tell about it. And then you should be smarter than Wim and realize this: Chopin’s etudes in double beat tempo wouldn’t impress anybody!

Again, I have to apologize for spelling mistakes.

@@geiryvindeskeland7208 Great comment (don't worry about the odd typo). I listened to that truly awful performance of Op.14.1, and saw the rest of Wim Winter's snarky reply "yeah, how about the fact that in SBT it isn't even playable. All the rest is just habit and opinion. As Dr Marten Noorduin once said: in tempo research, leave your taste at the front door please. And besides that: would you believe I released a recording if I wasn't pleased with the result. Yes, the universe of taste and insight not only turns around [the OP] ..." He was pleased with the result! He has certainly left his taste at the front door, supposing he had any to leave. He should have been rather more critical.

The terminology whole note, half note, quarter note, eighth note and so on is logical, easy to understand, and universal among speakers of Teutonic languages, in addition to citizens of the US. It also makes life easier for all those whose native language is not British English. I too use and relish the idiosyncratic British terminology (minim, crotchet, quaver!), but it is ridiculous to cut yourself off from global musicology because of insular prejudice. (Not that Wim Winters is in any sense a musicologist, but that is another matter ...) And at least, adopting the mathematical system avoids the endless confusions caused by Engish crotchet and French croche!

@@dorette-hi4j This is simply inaccurate in that the rest of the English-speaking world also uses the ‘idiosyncratic’ (not) terminology that is just ‘insular prejudice’ (ie the home of the mother language doesn’t follow German/US practice). As I’ve pointed out elsewhere, the mathematical terminology is *not* easier for Italians, French, Spanish and the rest as they too are ‘ridiculous’, suffer from ‘insular prejudice’ because they don’t follow your imagined (ie US) ‘global practice’ (it’s not*), and have a non-mathematical system from where the British one derived. My point about Wim’s talk was he lost most of his listeners by using in English, American-English terminology which is *not* widely understood outside the limited areas you mentioned, and that it would not have been difficult to say ‘crotchet or quarter note’ which listeners in French or Italian for example would have in their minds translated the English term rather than the American-English one. * One of the greatest of American musicologists of the 20th/21st century HC Robbins Landon who died in 2009 uses invariably the British terminology you so deride in his extensive writings, and he is not alone.

@@elaineblackhurst1509 I don't deride the British terminology. It is what I learnt. I enjoy its quirkiness, mixing terms derived from renaissance Latin with terms descriptive of the appearance of the note on the stave. I did not say that the terminology was ridiculous. I do think it is ridiculous (a) to suppose that not continually referencing them drives away listeners from the UK and its historical dominions, and (b) to be so offended by their omission that you give up the moment you realize that Mr Winter (whose native language is Dutch/Flemish) is using the other system.

@@dorette-hi4j You have the last word; you are clearly just reciting a well-rehearsed argument which does not address the points I have raised, nor acknowledge the reality of the geographical limitations of the mathematical terminology of note values. I simply suggested that the English note values be accorded equal status to the American-English ones because they are more widely used; you have a problem with that, and also fail to acknowledge that other major European languages similarly do not use the mathematical terminology. Anyone passing by will understand the point.

@@elaineblackhurst1509 I will, then. I do take your points. I just think you are wrong about intelligibility. Perhaps you would not like to admit that the variety of English that has become a universal language is American (US) English. I don't particularly like it either, but it is the way it is. Is it really easier for a Frenchman to remember that in English a blanche is a minim and a noire is a crotchet and a croche is a quaver, than to know about the fractions of a whole note? And would it not make discussions of musical matters rather cumbersome if every time a note value was mentioned you had to give both the UK and the US versions, on the off-chance that someone in Australia might not know the equivalences? How did a semi-breve become a whole note? Indeed, how did half a short become the longest note in common use? We have to go back four hundred years and more for answers to these questions.

@dorette, Wim Winters’s videos are suitable for those who do not have the knowledge to detect the many errors in WW’s videos. Wim Winters actually proves himself that there must be something wrong with his videos. In a video, he presents good performances of Bach’s two-part inventions, and he follows tempo ordinario, 60-80 heartbeats per minute. So far, everything is just fine! But in a number of Beethoven’s piano sonatas, allegro movements, they get fewer heartbeats per minute than the inventions! Beethoven’s Op 14 No 2, first movement, marked «allegro». There WW is down to 46 heartbeats per minute(0:27). This is of course not credible, it is completely illogic.

You can hear all the harmonies in single beat also. You happen to like sloooooooooooww music.

@@Pablo-gl9dj My heart beats 54 bpm, so yes, the slooooooower the better.

@@backtoschool1611 how profoundly unmusical can one be? Please read this very very slowly.

Your ears are just untrained.

​​@@Pablo-gl9dj The presenter mentions that we are reading the tempi of J. S. BACH incorrectectly!! THE METRONOME WAS NOT EVEN INVENTED IN BACH'S TIME!!

VallaMusic. I try to use logic when arguing against the theory that Wim Winters believes in. Here at UA-cam we find a number of videos of children, 7-12 years old, playing Chopin’s etudes much faster than double beat tempo. We know that Chopin was about 20 years old when he composed opus 10. He had about 10 more years to reach a high level of technical play, but WW want you to believe that Chopin played much slower than the kids!? Be aware of this: Chopin grew up in a time of fierce competition between pianists. So what do you think? Does the theory make sense?

@@geiryvindeskeland7208 good argument - I don't know the answer - i come at it more intuitively as a composer myself - so much is lost at faster speeds - the music becomes a blur - like colors of paint on a canvas that start to drip and run

VallaMusic, thank you for your response. UA-cam is an amazing medium, what we write reaches most of the world. We must show respect for the many who read our comments, therefore what we write must be true. VallaMusic, quote: « - so much is lost at faster speeds - the music becomes a blur…» Yes, there are many who make the same point - it is difficult to perceive the details of fast tempi, which is why people think that fast tempi are wrong, but maybe they are correct? The mistake people make is assessing the value of what they hear theough UA-cam. We can’t do that, UA-cam didn’t exist back then. The music was most often performed in the private homes, the audience was in the same room as the instruments, and therefore it was possible to perceive the details despitethe fast tempi. Unfortunately, in our time there are pianists who exaggerate the use of the sustain pedal, and then the music really becomes blur! We know that Chopin warned against excessive use of the sustain pedal. And we must never forget the significant differences between the instruments then and now.

people are just salty about Wim because he is famous, and they attack him to leech on him

EruannaArte. Wim Winters reached its position through manipulations and sencorship, among other things. For civilised people, there is no honor in reaching such a position by manipulate their followers. You apparently also lack knowledge and have therefore also been manipulated by Wim. The signature Liquensrollant has understood it better than you: «Wim has the advanage that most people(like me)don’t know enough to prove him wrong».

trust the science

“Neither do our ears”-that says it all.

The Premiere concert oft Beethovens 5th and 6th symphony and several other pieces in 1808 lasted 4 hours according to Johann Friedrich Reichhardt. If you sum up the durations of this pieces of nowadays performances you hardly reach 2h 45m.

@@tobiashaak3568 Yes, if the orchestra, pianist and singers perform non-stop. But guess what, this whole concert was reproduced several times in 2020. Esa Pekka Salonen with the London Phiharmonia, 4 hours 15 minutes. Louis Langree with the Cincinnati Symphony Orchestra, 6 hours - including a 2 hour dinner break. Do the math. Have you ever been to a concert of classical music? Nobody is claiming that throughout the nineteenth century everybody played exactly, or perhaps even very closely, at the metronome mark (when works had a metronome mark). What is clear from concert durations then, and from early recordings, is that the tempi were in the same range as they are nowadays and were during the twentieth century (there are always a small number of exceptions), and that range is very far from WholeBeat as advocated by Wim Winters.

​@@tobiashaak3568well of course it's 4 hours as that includes breaks for drinks chat and food.

@@tobiashaak3568 wow, do you seriously believe what you typed? Or what Wim told you to believe? Even a sheep has more brain than you.

sorry to say but the stupidity of this Wim is infinite lol take Maezel's metronome and the bell sound 2 that means for example you will hear a bell sound every time when the pendulum is at the right side or a full cycle = back and forth but he says back and forth is the note value So for a 2/4 composition that would imply that the note value 1/4 or quarter note is EXACTLY the same as the total bar because we use the bell sound for a bar , for a 2/4 you will chose 2 bell, for a 3/4 you will use 3 bell and so on it's like pure mathematics, seriously, you get 60 ticking sounds per minute exactly when you count the half swings, one cycle ... why in the world would a device that's perfectly based on this half swing suddenly counts in double swings ???? hahahahaha

Oh my God, Wim Winters tries to grab your attention through attractive video titles, he must be a cult leader! You have a weird logic 😂😂 Oh by the way, Wim just released Beethoven's 9 symphonies including the 9th with four singers. It is still time to back the kick-starter campaign 😉

@@JérémyPresle Wim’s latest video harks back to the Medicine Show of old. How can people fall for such tripe?

@@danielwaitzman2118 Wim raised over 7 000$, quite the success indeed. Hope it made your Christmas holy days better!

@@JérémyPresle So people do fall for such tripe. But carnival side-shows and snake oil salesman relied on a healthy percentage of suckers in the population. Plus ça change ... The OP's point wasn't so much the attention-grabbing title, as the rambling double-talk, making everything sound so much more weighty than it actually is. I would add the presentation of most of his videos: just him, behind a desk, in a subdued setting, looking straight at the camera as if he has you pinned down, talking in a professorial manner, seemingly authoritative, never engaging in true dialogue with anybody who disagrees with him. It is quite compelling, and very much the tactic of a cult-leader.

@@dorette-hi4j Thank you for reminding me how low Wim's opponents can fall...

wtf

Dangerous in what way? A threat to convention beliefs. And Unless you've seen every video on the subject by Wim Winters your character assination is based on what, your disagreement with him. I suggest a closed mind is more dangerous than your alledged claim of "sick imagination."

@@Renshen1957 kindly check your facts. Then check your spelling. And explain “character assination”, please.

@@danielwaitzman2118 As to my typing with my thumbs and misspelling, mea culpa, not that my message was any less clear for my heterographic content with the assistance of my pad’s previous spellcheck “correction”. (I had to copy paste for the next line. ) As to @antoniosilva7083 “This man is dangerous” and the “sick imagination” comments (the latter an accusations of insanity), where do you draw the line for character assassination @danielwaitzman? Do either of you play the piano? Do either of you possess superhuman powers to play repeated notes faster than a Steinway’s action/humanly possible or play a series of notes faster than the human ear can differentiate the individual notes? Etudes that exceed 22 notes per second and faster or J S Bach, all of the inventions at Czerny’s metronome marks indications in single beat. Some are possible but not everyone. And why would one want to attempt such when the possibility of injury, perhaps permanent injury (focal dystopia, a neurological condition that causes involuntary muscle contractions in the the body or repetitive stress injury, repetitive stress disorders, cumulative trauma disorders (CTDs), and a variety of other names? Which was never Czerny’s intent when he was giving a Tempo in step with Tempo Ordinario, as his preface mentions that the allegros were slower in J S Bach’s time. There’s been more than one concert pianist historically, and now recently so afflicted and they brought this on with a variety of composers they attempted (and didn’t achieve) playing all of Chopin, Beethoven, et al in Single beat, especially for the works that have yet to be recorded at such a speed but somewhere in between.

I've searched for this theory because I've watched a random guy in a short video talking about this theory in the Chopin op. 10-12. The amount of people agreeing is dazzling.