I played no. 4 & 12 when I broke a finger in my RH. Was a blast. Didn't get to the tempo like the performer in the video, but the 12th etude vastly improved my technique for octaves, jumps, and large chords (and was fun as hell). As for the 4th etude, I believe if you can play it up to tempo, Chopin's revolutionary becomes a walk in the park.
U play always forte when the score says piano. Theres no difference between piano and forte. Everything is heavy, there r no contrasts, no nuances. It sounds like overpracticed music. Very strange. This way of playing gives you a bad, forced, square-sounding sound. Here the piano almost squeeks, its pushed to the edge of sound possibilities, but it should sing. In moszkowskis times in german speaking countries and in poland pianos with viennese action were the standard and most common type of pianos in use. They give really soft and singing tone, and this is impossible to play on them forcibly. This music was written for such standard of playing and piano sound.
Yes, thank you for putting it so well. In addition, the overly heavy performance denuded these pieces of fiendishly virtuosic fleur they would've inflicted had the playing been nuanced. The effect is quite the opposite, and the rendition wasn't virtuosic at all, more like an average music college sophomore. To give a glimpse of how lively and vital these etudes might have sounded, you should listen to the complete cycle of Moszkowsky Op.72 by Ilana Vered (on this very channel, if I'm correct), or selected ones by Horowitz played as encores.
![Moszkowski - 15 Etudes de Virtuosité, Op.72 (1903) [Audio + Score]](http://i.ytimg.com/vi/AVGKbmKA6Lc/mqdefault.jpg)
![Moszkowski - 15 Etudes de Virtuosité, Op.72 (1903) [Audio + Score]](/img/tr.png)
1. 0:03
2. 2:02
3. 4:05
4. 6:02
5. 8:00
6. 11:51
7. 13:51
8. 16:42
9. 19:08
10. 20:37
11. 22:00
12. 25:38
Let me know if you are going to start with any of these ones and tell me which one, good luck everyone!
12 is awesome
I played no. 4 & 12 when I broke a finger in my RH. Was a blast. Didn't get to the tempo like the performer in the video, but the 12th etude vastly improved my technique for octaves, jumps, and large chords (and was fun as hell).
As for the 4th etude, I believe if you can play it up to tempo, Chopin's revolutionary becomes a walk in the park.
Going to start with 9
@@apoorva_ihow is it? Do you enjoy no.9?
hard but fun @@nousernamewhatsoever
Lovely, and thanks for the extensive programme notes.
Left hand? Very impressive
Amazing music 🎹👏
The name of the pianist who did all that work is not worth mentioning??? Anyway... It is French pianist Alain Raës!
Thank you ❤
16:43 19:00
18:15
These don’t seem easy
They are not
U play always forte when the score says piano. Theres no difference between piano and forte. Everything is heavy, there r no contrasts, no nuances. It sounds like overpracticed music. Very strange. This way of playing gives you a bad, forced, square-sounding sound. Here the piano almost squeeks, its pushed to the edge of sound possibilities, but it should sing. In moszkowskis times in german speaking countries and in poland pianos with viennese action were the standard and most common type of pianos in use. They give really soft and singing tone, and this is impossible to play on them forcibly. This music was written for such standard of playing and piano sound.
Yea, this performance is a mess. The pianists is simply playing it to finish it, no musically property.
確かにフォルテ多めに聞こえますが、そこまで悪い演奏とは思えませんよ。
We are eagerly awaiting your interpretation!
@@sirdicaudore ok. Wait.
Yes, thank you for putting it so well. In addition, the overly heavy performance denuded these pieces of fiendishly virtuosic fleur they would've inflicted had the playing been nuanced. The effect is quite the opposite, and the rendition wasn't virtuosic at all, more like an average music college sophomore.
To give a glimpse of how lively and vital these etudes might have sounded, you should listen to the complete cycle of Moszkowsky Op.72 by Ilana Vered (on this very channel, if I'm correct), or selected ones by Horowitz played as encores.
Bad