One of today's greatest Rachmaninoff performers - such depth, drama, and intensity - yet exquisite. Lugansky's articulation and voicing and polish is unmatched. Few pianists play a set of the Rachmaninoff Preludes or Etudes, but what an experience they are. Chopin Etudes are acceptable and many pianists play a book of them - but virtually none play Rachmaninoff's Preludes or Etudes. And just for that and the extraordinary level of Lugansky's playing - we are very fortunate.
He makes it all look so easy to play! Pure genius, all from memory and effortless playing! Rachmaninov is extremely difficult to play!!! Thanks for sharing this video! :-)
I WOULD NOT REFER TO THIS PERFORMANCE AS EFFORTLESS, ANYMORE THAN I WOULD REFER TO ALL OF THE GRUELLING PRACTICE REQUIRED TO MASTER THESE IMMORTAL PRELUDES AS EFFORTLESS. AND ESPECIALLY TO BE RESPECTED IS THE PROFOUND EFFORT EXPENDED BY "THE MASTER OF MELANCHOLY AND BARD OF INTIMATE MOODS" DURING THEIR COMPOSITION.
Russian Romantic music is unparalleled in its sophistication and tonal grandeur, and in my opinion, none can top Rachmaninoff's artistry. And this performance by Gaspady Lugansky is in another plane; his stupendous interpretation of the music is on a par with Rachmaninoff's otherworldly composition.
Sergei Rachmaninoff, 13 Preludes Op. 32: No. 1 in C major (Allegro vivace) 0:00 No. 2 in B flat minor (Allegretto) 1:11 No. 3 in E major (Allegro vivace) 4:19 No. 4 in E minor (Allegro con brio) 6:35 No. 5 in G major (Moderato) 12:00 No. 6 in F minor (Allegro appassionato) 15:15 No. 7 in F major (Moderato) 16:35 No. 8 in A minor (Vivo) 19:05 No. 9 in A major (Allegro moderato) 20:51 No. 10 in B minor (Lento) 23:57 No. 11 in B major (Allegretto) 29:53 No. 12 in G sharp minor (Allegro) 32:24 No. 13 in D flat major (Grave - Allegro) 35:00 Encores: Frederic Chopin, 12 Etudes Op.10: No.8 in F major "Sunshine" (Allegro) 41:35 Waltzes Op.64 No. 2 in C sharp minor (Tempo Guisto) 44:15
Lugansky is a genius trained in the old Russian school with its emphasis of artistry as well as technique. What is most notable about his playing is the clearness and conciseness, the phrasing and inner melodies that is very much in the Rachmaninov tradition. I envy his hands. My right was injured and I can only stretch a 10th. So on pieces like the polyrhythms in the F major I "cheat" by hitting the second note an octave higher. I no longer expect to play these preludes like this because (1) I'm a senior and (2) unwilling (or unable) to spend 6 hours a day practicing. So i play the ones I can- No 1, no2, the F Major, etc.
Regarding the #13, Rachmaninoff never played it "in the West," which I assume means outside of his Homeland. Why is a mystery to me.He never recorded it either, and even deeper mystery. It is my favorite of his preludes, a work so powerful and profound that it is impossibke to conceive of mortal man going beyond this. It was the perfect conclusion for Rachmaninoff's adventures with preludes. Can you imagine the audience reaction if Horowitz had chosen to conclude with this piece during his return recital in Moscow! The dramatic, all powerfull bell-tolling finale is chilling. Sounded like hand grenades were going off within the piano. Lugansky was really playing from the mountaintop on this one, so loud that perhaps even the composer himself heard him in the great wherever!
I’m currently studying this masterpiece. I think here lugansky lose some details but I know his attempt to render the progressive overload of notes and sonority. but 2 things are also important and in his performance and here I have no evidence of this: 1. tempo. rachmaninov wrote ‘grave’. it is martial, those chords and cromatisms takes time to vibrate in the space so you have to slow down a little bit without turning the expression into a rush. 2. the richness (probably a technical lack due the live recording and the video conversion). most parts are formed by layers of different voices and in his performance I miss most of the important themes that came across the piece. in many chords there are ‘quotes’ of the first prelude and expecially those ‘echos’ and notes must be clearly expressed. it is an orchestral work not a solo piece. this piece is very hard (level 9 - difficult is from 7 to 9) and many pianists can’t manage it well and they don’t perform it in public, but most of them turn all this complexity in flat virtuosity and they run expecially across the final part in grave even if only in the last few bar of the 8 impossible he wrote ‘poco più vivo’. this piece is not harder then the rach3 cadenza but it requires different skills) here the real difficulties are not in the speed (we can rush all around but it is wrong to do so) but with the micro-voices inside the major chords. this prelude can’t be played after all the 12, because it requires a great concentration and a pianist can’t rush ti end the cycle. this prelude must be performed as ‘the big one’ of op.39. it close the circle. it is one of the most higher peaks of his writing. it is epic, grave, solenne, a monument. not just an ‘emotional’ run.
@@iamwhatiam6281 I've played this prelude live and I absolutely agree with what you say here. It is a grossly underrated and sometimes misinterpreted prelude which is really damn hard. I remember in a masterclass a pianist making me swing my arms from side to side to truly understand what he meant when he wanted me to make the heavy sound of bells (I'm from somewhere where churches aren't really a thing, so I've never heard bells like the ones Rachmaninoff thought of). Hearing the prelude rushed is a huge shame in this regard. Beautiful piece; performing this on stage was one of the most fulfilling performance experiences of my whole life without a doubt. Ashkenazy playing this prelude is in my opinion a sublime interpretation; he seems to really get Rachmaninoff in general.
Looks like this concert was dedicated to the legendary Russian pianist Tatiana Nikolayeva and one of Lugansky’s mentors. That certainly seems to be her picture on stage. Am I wrong?
Extraordinary to hear and see Lugansky playing these preludes. Too bad there is no commercial recording. Together with his Erato disc of the first 11 preludes it would have made a terrific alternative to Ashkenazy's complete set on Decca.
Benchmark interpretations.Lugansky is the greatest living interpreter of Rachmaninoffs solo piano music.Its to bad he cant get a conductor like Valiery Giergev when he plays the Concertos.
В рахманиновских фортепианных миниатюрах Н. Луганскому нет равных! В него вселился дух Рахманинова, не иначе...Умнейший, глубочайший пианист современности!.. А вот шопеновские бисы понравились меньше, ибо сыграны были "рахманиновским" звуком, на мой взгляд...
Он все играет таким звуком. Даже в том же Рахманинове есть очень удачные находки , а есть и откровенная игра в лоб ( в той же b-moll'ной прелюдии). Что уж поделать - так учат в Московской консерватории. Как по мне так Плетнева в этом репертуаре никто не смог превзойти.
Ian Hobson holds an unchallend position as an interpreter of Rachmaninov, and he Ís a great Alchemist of the piano embodying the musical aesthetics of Rachmaninov
@@juliuscaesar7906 The CD version is very good indeed with beautiful tension build up; My new favorite though may be Yuja Wang's live version, very spontaneous and expressive.
RACHMANINOFF NEVER PERFORMED THE MIGHTY FINAL PRELUDE OF THIS SET AFTER HE LEFT RUSSIA. DURING ALL OF MY RESEARCH ON THE COMPOSER I NEVER FOUND ANY INFORMATION ON WHY. HE TOOK HIS REASONS TO HIS GRAVE. HOROWITZ NEVER RECORDED IT.
One of today's greatest Rachmaninoff performers - such depth, drama, and intensity - yet exquisite. Lugansky's articulation and voicing and polish is unmatched. Few pianists play a set of the Rachmaninoff Preludes or Etudes, but what an experience they are. Chopin Etudes are acceptable and many pianists play a book of them - but virtually none play Rachmaninoff's Preludes or Etudes. And just for that and the extraordinary level of Lugansky's playing - we are very fortunate.
Величайший современный музыкант! Ярчайший дар художнической каждыйраз неповторимой свободы, цельности, масштабности!!! Яркая драгоценная планета Музыка- сотворенная, творимая- и ревностно оберегаемая исполнителем!
In my opinion best Rachmaninow performer ever
You are so right! These are exquisite! And for me, Lugansky gets Rachmaninoff's music the most!
0:00 : prelude 1
1:12 : prelude 2
4:19 : prelude 3
6:35 : prelude 4
12:00 : prelude 5
15:15 : prelude 6
16:36 : prelude 7
19:05 : prelude 8
20:52 : prelude 9
23:57 : prelude 10
29:52 : prelude 11
32:23 : prelude 12
35:00 : prelude 13
He makes it all look so easy to play! Pure genius, all from memory and effortless playing! Rachmaninov is extremely difficult to play!!! Thanks for sharing this video! :-)
I WOULD NOT REFER TO THIS PERFORMANCE AS EFFORTLESS, ANYMORE THAN I WOULD REFER TO ALL OF THE GRUELLING PRACTICE REQUIRED TO MASTER THESE IMMORTAL PRELUDES AS EFFORTLESS. AND ESPECIALLY TO BE RESPECTED IS THE PROFOUND EFFORT
EXPENDED BY "THE
MASTER OF
MELANCHOLY AND BARD OF INTIMATE
MOODS" DURING THEIR COMPOSITION.
imo, the world's greatest living concert pianist. He is absolutely flawless. Beautiful perfection.
EXCELLENT There is nobody like him today.
Yes, he is the one
For me it is the best pianist in history
Amazing!!! Moving to hear such a mind and heart playing this music - and those encores!!! Pure love!
The Chopin waltz at the very end has me totally covered in goosebumps.
Me too, uncanny!
Это- шедевр! Один из самых любимых и популярных пианистов!💞👏🌹🌹🌹🌹🌹
Sublime ! Out of this world.
Bravo maestro!Uzivala sam u svakom tonu!
Russian Romantic music is unparalleled in its sophistication and tonal grandeur, and in my opinion, none can top Rachmaninoff's artistry. And this performance by Gaspady Lugansky is in another plane; his stupendous interpretation of the music is on a par with Rachmaninoff's otherworldly composition.
Sergei Rachmaninoff,
13 Preludes Op. 32:
No. 1 in C major (Allegro vivace) 0:00
No. 2 in B flat minor (Allegretto) 1:11
No. 3 in E major (Allegro vivace) 4:19
No. 4 in E minor (Allegro con brio) 6:35
No. 5 in G major (Moderato) 12:00
No. 6 in F minor (Allegro appassionato) 15:15
No. 7 in F major (Moderato) 16:35
No. 8 in A minor (Vivo) 19:05
No. 9 in A major (Allegro moderato) 20:51
No. 10 in B minor (Lento) 23:57
No. 11 in B major (Allegretto) 29:53
No. 12 in G sharp minor (Allegro) 32:24
No. 13 in D flat major (Grave - Allegro) 35:00
Encores:
Frederic Chopin,
12 Etudes Op.10:
No.8 in F major "Sunshine" (Allegro) 41:35
Waltzes Op.64
No. 2 in C sharp minor (Tempo Guisto) 44:15
Lugansky is a genius trained in the old Russian school with its emphasis of artistry as well as technique. What is most notable about his playing is the clearness and conciseness, the phrasing and inner melodies that is very much in the Rachmaninov tradition. I envy his hands. My right was injured and I can only stretch a 10th. So on pieces like the polyrhythms in the F major I "cheat" by hitting the second note an octave higher. I no longer expect to play these preludes like this because (1) I'm a senior and (2) unwilling (or unable) to spend 6 hours a day practicing. So i play the ones I can- No 1, no2, the F Major, etc.
thanks for telling us
Regarding the #13,
Rachmaninoff never played it
"in the West," which I assume means
outside of his Homeland. Why is a mystery to me.He never recorded it either,
and even deeper mystery. It is my
favorite of his
preludes, a work so powerful and profound that it is impossibke to conceive of mortal man going beyond this. It was the perfect conclusion for Rachmaninoff's adventures with preludes. Can you
imagine the audience reaction
if Horowitz had chosen to conclude
with this piece during his return
recital in Moscow!
The dramatic, all
powerfull bell-tolling finale is
chilling. Sounded like hand grenades were going off within the piano. Lugansky
was really playing
from the mountaintop on this one, so loud
that perhaps even the
composer himself
heard him in the
great wherever!
I’m currently studying this masterpiece. I think here lugansky lose some details but I know his attempt to render the progressive overload of notes and sonority. but 2 things are also important and in his performance and here I have no evidence of this: 1. tempo. rachmaninov wrote ‘grave’. it is martial, those chords and cromatisms takes time to vibrate in the space so you have to slow down a little bit without turning the expression into a rush. 2. the richness (probably a technical lack due the live recording and the video conversion). most parts are formed by layers of different voices and in his performance I miss most of the important themes that came across the piece. in many chords there are ‘quotes’ of the first prelude and expecially those ‘echos’ and notes must be clearly expressed. it is an orchestral work not a solo piece.
this piece is very hard (level 9 - difficult is from 7
to 9) and many pianists can’t manage it well and they don’t
perform it in public, but most of them turn all this complexity in flat virtuosity and they run expecially across the final part in grave even if only in the last few bar of the 8 impossible he wrote ‘poco più vivo’. this piece is not harder then the rach3 cadenza but it requires different skills) here the real difficulties are not in the speed (we can rush all around but it is wrong to do so) but with the micro-voices inside the major chords. this prelude can’t be played after all the 12, because it requires a great concentration and a pianist can’t rush ti end the cycle. this prelude must be performed
as ‘the big one’ of op.39. it close the circle. it is one of the most higher peaks of his writing. it is epic, grave, solenne, a monument. not just an ‘emotional’ run.
@@iamwhatiam6281 I've played this prelude live and I absolutely agree with what you say here. It is a grossly underrated and sometimes misinterpreted prelude which is really damn hard. I remember in a masterclass a pianist making me swing my arms from side to side to truly understand what he meant when he wanted me to make the heavy sound of bells (I'm from somewhere where churches aren't really a thing, so I've never heard bells like the ones Rachmaninoff thought of). Hearing the prelude rushed is a huge shame in this regard. Beautiful piece; performing this on stage was one of the most fulfilling performance experiences of my whole life without a doubt. Ashkenazy playing this prelude is in my opinion a sublime interpretation; he seems to really get Rachmaninoff in general.
Such a fitting ending to his absolutly amazing preludes!
-- Une superbe interprétation. --
Прекрасный🌹
Looks like this concert was dedicated to the legendary Russian pianist Tatiana Nikolayeva and one of Lugansky’s mentors. That certainly seems to be her picture on stage. Am I wrong?
Yes . Nikolayeva
@@nevskixx Thank you. I was wondering who it was.
The greatest Rachmaninov player alive.
Fantastisch! Chapeau!
check out that encore!! :-O
Merveilleux L.Marie
Extraordinary to hear and see Lugansky playing these preludes. Too bad there is no commercial recording. Together with his Erato disc of the first 11 preludes it would have made a terrific alternative to Ashkenazy's complete set on Decca.
A new Lugansky record is out this month, the 24 preludes this time :-) Can't wait. Label: Harmonia Mundi.
Benchmark interpretations.Lugansky is the greatest living interpreter of Rachmaninoffs solo piano music.Its to bad he cant get a conductor like Valiery Giergev when he plays the Concertos.
They've never played together?
@@helenlundeberg played many times ( the last one just a few days ago ).
В рахманиновских фортепианных миниатюрах Н. Луганскому нет равных! В него вселился дух Рахманинова, не иначе...Умнейший, глубочайший пианист современности!.. А вот шопеновские бисы понравились меньше, ибо сыграны были "рахманиновским" звуком, на мой взгляд...
Он все играет таким звуком. Даже в том же Рахманинове есть очень удачные находки , а есть и откровенная игра в лоб ( в той же b-moll'ной прелюдии). Что уж поделать - так учат в Московской консерватории.
Как по мне так Плетнева в этом репертуаре никто не смог превзойти.
UA-cam звук не передаёт в полном его об"ёме.
На том концерте была.
❤
Bravissimo
Ian Hobson holds an unchallend position as an interpreter of Rachmaninov, and
he Ís a great Alchemist of the piano embodying the musical aesthetics of Rachmaninov
Отлично 👍
number 5 is beautiful. I'd recommend the amazing book on Rachmaninoff by Max Harrison.
Pourquoi cette photo d'une femme installée sur la scène avec un bouquet de fleurs, et de qui s'agit-il ? Merci pour vos réponses !
NOBLESSE. .linette
지인호 진짜..
ㅎㅇㅎㅇ
0:58 it's so refreshing.... AAAAAAAAAHHHHHHHHHH...............
Wonderful prelude no.10 opus 32, starting at 24:00.
I can't seem to find any CD recording of this opus 32 by Lugansky, sadly.
Any hint anyone?
Me neither, I guess he only recorded Op. 23.
OK, the record is coming! Should be out this month, 24 preludes. Hallelujah.
Nikolai Lugansky - Rachmaninov - 24 Preludes [2019]
@@juliuscaesar7906 The CD version is very good indeed with beautiful tension build up; My new favorite though may be Yuja Wang's live version, very spontaneous and expressive.
Guess he studied with Nikolayeva.
Lumière
Unbelievable. Applause is premature, understandably so...
And that bored audience! Either they are spoiled because there are so many great Russian pianists, or they just can’t grasp the greatness of Lugansky?
RACHMANINOFF
NEVER PERFORMED
THE MIGHTY FINAL
PRELUDE OF THIS SET AFTER HE LEFT RUSSIA. DURING ALL OF MY RESEARCH ON THE COMPOSER I NEVER FOUND ANY INFORMATION ON WHY.
HE TOOK HIS REASONS TO
HIS GRAVE.
HOROWITZ NEVER
RECORDED IT.
Solo la tecnica non basta...
To Putin
Вот это ебашилово, не Стравинский но тож ок