Pianists today tend to perform this piece as if it were a horse race, completely missing the point. Ohlsson's performance is among the very few that reflect the majesty of this crowning achievement of the fantasia form, and lyricism that is pure Schubert. Ohlsson allows the Wanderer to breathe and unfold before the listener. The second section, opening with the somber wanderer theme followed by awakening passage work leading to the cascading fully chorded octaves is a triumph. All closes with dazzling arpeggios woven into one of the rare fugues written in the romantic era. Thank so much for posting!
I don't find the "dazzling arpeggios" at the end come anywhere close to Richter's for sheer thrill. Schubert's "surprise" ending only makes sense if the "first" ending is huge, fast, and dramatic--not the case here. Here the "surprise" ending seems to simply flow from what precedes it.
Found his style different than the Brendel which was played slightly faster. Garrick at times looked displeased with his performance and something did sound different in the left hand around 12:00-12:20 mark. Brendels interpretation seemed effortless.
Wow! I am in two minds whether to share a contrary view, given the comments of adulation. But sometimes I think that for balance it is important to risk it. Suffice to say, not to my taste - (the performance, specifically) - too plodding & heavy handed for me - and, again for me, does not convey the understanding of the sweep of the piece as a whole. Which I guess just goes to show how different we all are. And I generally like Garrick Ohlsson.
Very stable... I have thought that he was nothing except for the fact that he was the prestigious Chopin competition winner in the past times. But his play has philosophy and solid style here. He can try to play Brahms, Beethoven, Bach... etc. Chopin is also nice for him but he consumed it too often.
Actually the dactylic rhythm is misinterpreted: one stressed and two unstressed has been replaced by three stressed and in the end its too heavy, too stressed, lacking abandon, IMO.
@@leomiller2291 I agree that he doesn’t butcher but sounds stilted and like he has studied different things to do with the piece (e.g., notes to emphasize, use of staccato, etc.) and throws them in. I don’t hear the piece as a whole.
A thoughtful, powerful perfomance, with stupendous left-hand playing.
PERFECT, Maestro! Thank you SO much! SO strong! SO very Schubert!
Geweldige uitvoering. “Wanderer” Ohlsson heeft ons heel veel laten zien.
Excellent, great!! He plays Scriabin piano concerto as none can do it. Here in Schubert is magnificent. Thanks Garrick!!
Pianists today tend to perform this piece as if it were a horse race, completely missing the point. Ohlsson's performance is among the very few that reflect the majesty of this crowning achievement of the fantasia form, and lyricism that is pure Schubert. Ohlsson allows the Wanderer to breathe and unfold before the listener. The second section, opening with the somber wanderer theme followed by awakening passage work leading to the cascading fully chorded octaves is a triumph. All closes with dazzling arpeggios woven into one of the rare fugues written in the romantic era. Thank so much for posting!
I don't find the "dazzling arpeggios" at the end come anywhere close to Richter's for sheer thrill. Schubert's "surprise" ending only makes sense if the "first" ending is huge, fast, and dramatic--not the case here. Here the "surprise" ending seems to simply flow from what precedes it.
And even in 1993, at 78 years old, Richter's performance has more oomph.
Great commentary all hit the mark. Love Garrick here. Jorge Bolet played this beautifully as well.
Bloody Wonderful!
00:24 01-Allegro con fuoco ma non troppo
06:46 02-Adagio
14:24 03-Presto
19:55 04-Allegro
0:42 nice save lol😂
Wow. On a par with Pollini. Gorgeous playing and musicality. :-)
Found his style different than the Brendel which was played slightly faster. Garrick at times looked displeased with his performance and something did sound different in the left hand around 12:00-12:20 mark. Brendels interpretation seemed effortless.
Richter's also seems effortless. I agree that Ohlsson seems to be working hard.
That's characteristical from American pianists. I think Katchen, Graffman and Kapell approaches are somehow alive in Ohlsson hands
I ❤ it
Thank you my dearest and sleep tite,good night.
Giant hands!!!
Der Wanderer is on the top of difficult
진짜 너무너무 좋다
ㄹㅇㄹㅇ
Wow! I am in two minds whether to share a contrary view, given the comments of adulation. But sometimes I think that for balance it is important to risk it. Suffice to say, not to my taste - (the performance, specifically) - too plodding & heavy handed for me - and, again for me, does not convey the understanding of the sweep of the piece as a whole. Which I guess just goes to show how different we all are. And I generally like Garrick Ohlsson.
I agree 100%!
Very stable... I have thought that he was nothing except for the fact that he was the prestigious Chopin competition winner in the past times. But his play has philosophy and solid style here. He can try to play Brahms, Beethoven, Bach... etc. Chopin is also nice for him but he consumed it too often.
Actually the dactylic rhythm is misinterpreted: one stressed and two unstressed has been replaced by three stressed and in the end its too heavy, too stressed, lacking abandon, IMO.
This is one of the most difficult pieces in the piano literature. The fact that it is rarely played and that Ohlsson butchers it attest to that fact.
Herman Ingram He doesn't "butcher" it:
@@leomiller2291 I agree that he doesn’t butcher but sounds stilted and like he has studied different things to do with the piece (e.g., notes to emphasize, use of staccato, etc.) and throws them in. I don’t hear the piece as a whole.
It's technically lacking