Once I drove for ten hours alone in a car, some urgent trip, and all there was in the car was a CD of Sokolov performing the Schubert Impromptus, among other things - I did not turn it off even once nor switched to a radio station for the whole ride, no matter how tired I was.
I wonder if you’re still out there, but I have found the exact same cd at a thrift store, I find that funny. Maybe our paths we’re meant to meet at some point.
BRAVO! That brings back memories. I learned this piece as a teenager way back in the 1970's. I didn't find it as technically demanding as, say, Beethoven's Waldstein Sonata but I love the melodic twists and turns. It remains one of my favorite concert pieces.
by far the most beautiful interpretation of this piece i have ever heard; i used to feel that the piece, while essentially lyrical and quintessential Schubert, is a bit long and repetitive and does not maintain my interest throughout; however in this performance, with its varying moods, tempi, dynamics etc, i find it totally engaging
He plays it so differently. He doesn't stick to all the markations that Schubert put in the notes. He also switches tempo all the time. He captures Schuberts soul, with all its moodswings, much better than other pianists i heard with this overly romantic piece though!
I absolutely agree with the first part of your message, where you talk about the text. And I can't agree with your about Sokolov's understanding of Schubert's music. In my opinion, here we are dealing with a clear example of disrespect for the composer's intentions, a deep misunderstanding of the score. And as a result of all the above-an incredibly pretentious performance, which is completely unacceptable for Schubert's music as a whole.
@@AlexPashkov chill its schubert Impromptus not your. Unless you play it its hard to talk about how it should be. Music is speaking and interpretion as well. This is what composers want
@@tadalamond7957 I’ll try to upload my performance of op 90., so you’ll understand what I meant...and basically I was talking about respect to the text itself, since I didn’t have chance to ask Schubert himself,- all what we have it’s just text he wrote...and music is speaking, really it does, only through the composer...check up Richter´s and Michelangeli ´s sayings about that subject.
@Rei Chin First of all, the tempo marking.Allegro molto moderato sounds like adagio here. The beginning of the piece has a certain genre source - it is one of Schubert's many marches, possibly with military Napoleonic overtones.If we had orchestrated this piece, no oboist would have been able to play the first phrase in one breath at such a slow pace.( Unless Celibidache is invited to conduct ). Speaking of orchestration, it is worth to mention that the pianist only leads the upper voice well in chords, but completely neglecting to pay attention to the middle voices and bass, which is sometimes simply not heard. The phrasing is full of dubious deviations from the tempo, tending more to the music of Rachmaninoff or Scriabin. In General, there are a lot of details. Everything has a touch of speculation and artificiality, as is often the case in Sokolov's playing...And I don't want to say I don't like him, I just think he looks pale here. I love his recording of the second Saint-Saens concert. But his readings of Schubert's music seem to me ponderous, devoid of flight, and, alas, very far-fetched.
@Rei Chin I know what You're talking about.I am also very pleased that our discussion does not go beyond the bounds of decency, because here on UA-cam such dialogues often end in mutual insults. Same like You, I have not yet found a vivid performance of this opus. Many years ago, I heard it performed by Vladimir Nielsen, my teacher, and that was the best one. But as far as I know, there is no recording of this concert. It seems to me that you mistakenly consider tempo deviations to be a form of romantic interpretation of this piece. Schubert is certainly a romantic composer. But his romanticism is contained in the circle of his images, not in tempo designations. I find Brendel's rendition of this work insufficiently romantic. In addition, speaking of tempos, it seems to me that Sokolov chose the tempos very well in the second and third impromptu, because the second one is usually performed too fast and the third one is too slow. In General, in my position it is very difficult to “just enjoy someone's performance”, since I am a concert pianist myself. Whether I like something or not, I have to analyze it, because I'm learning all the time.
I am not sure I have ever heard something so beautiful as I did between around 5:30 and around 6:45, with this undescribable moment at 6:13. the switch in color. I cant put it in words.
Не у кого нет в мире такои чуствительний и вырозительный звук как у маестро соколова, он гений, он бог музыкалних мелизмов и вобше он супер ❤❤❤❤❤❤❤❤❤❤❤❤❤❤
Thank you Schubert for composing this music, and thank you Grigory Sokolov for playing is so well. I can see in the public at 4:36 a women sitting with her hands like in a prayer. That is the way I also want to approach this music.
On UA-cam he is the most overrated pianist, quite undeserving in the unquestioning adulation he receives. For my money the most underrated living pianist is Bronfman. I don't hate Sokolov btw. I just find him too eccentric to be taken seriously as a top pianist. In particular I tend to loathe his baroque playing, which I find mannered and indulgent
@@marksmith3947 Perhaps he is overrated, but I do think it is important to consider we have lost a lot of literature and practice regarding classical and romantic performance. In the early 20th century, pianists played Bach (baroque music) like Liszt; this is likely due to the overwhelming amount of support the audience had for romantic performance practice (which still manages to be practically lost), with little observation of how the piece should be played. Perhaps Sokolov plays from those generations of pianists (though I do observe he is quite some younger). I suppose there is a lack of classicism in Sokolov's music that you may find unpalatable, yet I think if you listen with an open mind and open ears this could be a wonderful interpretation. Music can cater to an audience, and I think he succeeds in catering to the audience he intended for their wonderful receptions. His interpretations of Russian music may be more enticing to you for his eccentric qualities. He has quite a good recording of Prokofiev's eight sonata and Rachmaninoff's third concerto. I too enjoy Bronfman's music, though I do not think he is the giant that Sokolov is.
Какие вы все умные, какие специалисты. А мне повезло: я НЕ специалист. Я просто люблю классическую музыку и выбираю для прослушивания по принцыпу : нравится/не нравится и сама музыка, и исполнение. Я не раздваиваюсь в своих ощущениях на анализ и восторг.
voici une bonne leçon pour ceux qui croient que la technique est tout . Sokolov nous démontre comment mettre la technique au service de l'execution des volontés du compositeur....et aussi qu'il faut avoir une CULTURE immence ....
What sensitivity?? Sokolov is a brilliant pianist, but here he is really hacking and butchering this. Poor Schubert must be turning over in his grave. .
@@sheana2005 My criticism is that this overall performance is a disaster in interpretation of Schubert. There is no point in nitpicking measure by measure which appears to be how Sokolov approached Op 90 while losing an overall perspective of the piece--refer to my other comment on this. .
For once, a real interpretation, complete and compelling! If you are sick of plastic mass-produced 'careful and proper' interpretations，Sokolov gives you a powerful individual perception of a piece. 😮
Tenía 17 años viviendo en Londres, cuando césar el madrileño vio el piano y durante 10 minutos empezó a tocar la pieza de Schubert! Nadie lo interrumpió y todos en silencio escuchando. Al final le pregunté que como se llamaba el autor y dijo Shubert, compre el disco de la coleccion Naxos y desde ese día de vez en cuando la sigo escuchando
Какая дикость - за несколько тактов до окончания музыкального произведения врезается реклама!!! Эти "новые люли" заточены под 0 и 1 и понятия не имеют о СОДЕРЖАНИИ и Целостности восприятия любого творения человеческой мысли!
@@stonefireice6058I find that a very strange comment. You can like Sokolov or not but it's impossible to deny that he is so personal in his performance choices that he strains the eccentricity meter
Alfred Brendel would no doubt think this 'romanticising in the Russian manner', to use his phrase, but surely both approaches can be considered valid in today's world of huge concert halls and the pianos built to fill them. While Sokolov may not rigidly adhere to every mark of the score, for me he magically links this late work, written in the midst of 'Winterreise', with Schubert's teenage 'hit', 'Erlkonig'; gripping and thoroughly persuasive.
That's actually right. I understand that he release and prepares, but I also think could be less hands floating in the air. Even the best pianists can still be rightly criticised, they are still mere humans who need to progress and changes like all of us. I was listening to him twice live, was of course amazing, but 2nd time it distracted me his hands gymnastics. And it makes everything looks to elite wise and maybe also intimidating for some. It should always look natural, not intimidating, for people who looks for inspiration. I thought then, he is after a recital surely half dead, for the effort he puts into the keys. Of course it's not like this, but it looks like. Anyway... still great guy.
I doubt you know better than Sokolov - one of the greatest musicians of all time - how he should best go about maximising the quality of his performance. Schopenhauer wrote 'Talent hits a target no one else can hit; genius hits a target no one else can see.' The targets that Sokolov hits in his music making really are beyond my comprehension - the perfect delineation of many lines, each with there own dynamics and tonal qualities being just one example. It would follow that the physical means he uses to go about hitting these targets might also allude my/our current understanding - that is, without actually asking him. I have several theories of why he moves his hands so expressively but none are conclusive. One thing i think is certain though: if it wasnt purely in the service of the music, he wouldn't be doing it.
Ray & Salvation -- not sure you're right. His hand motions may help him to achieve this wonderfully limpid & coloristic playing that never sounds stiff & jerky--even when playing quick chord changes with dotted rhythms, demi-staccato, w/ a minimum of pedal. My impression from listening to many live performances is: he is much more concerned with projecting his concept tonally & musically, & communicating to the audience--as opposed to mere visual tricks.
If you have conditioned yourself over the years that a certain tone could only be realized with a certain physical gesture, then yes, of course, you could not achieve that fluidity in playing without that exaggerated movement of your hands. An association has been established. The point is, in principle, that association is not necessary. Rubinstein and Horowitz were never "stiff and jerky, yet were very physically economical (as much as their emotions could possibly allow). As to the matter of whether the physical life of the pianist is a mode of communication to the audience (just as the music itself is), that's a very sad reality that we witness more and more. I don't want anyone to pantomime to me what Schubert is all about. I only want the music to do that. It is true though that a lot of the audience would not agree with that. So give them what they want, I guess. Why only pay for sound when you could get sound and vision?!
He's the best living pianist. Period. 🙏
One of the very few pianists whose mannerisms don't get on my nerves. He is at the service of music,not the other way around..
For me, his mannerisms are endearing.
This interpretation of Schubert by Sokolov took my breath away! He’s truly a Remarkable masterful Pianist.
Sokolov should be cloned a few thousand times. He’s a unique talent. Schubert that’s Breathtakingly beautiful! Profound!
If you clone him he wouldn’t be unique anymore, yeah?
PoweredbyPlants True. But so what? More people could enjoy his wonderful music making.
@@syourke3 for this we have recordings.
@@HomeCookgabriele Recordings don’t excite me the way great live performances do.
agreed! :)
He plays from the heart. Wonderful.
Once I drove for ten hours alone in a car, some urgent trip, and all there was in the car was a CD of Sokolov performing the Schubert Impromptus, among other things - I did not turn it off even once nor switched to a radio station for the whole ride, no matter how tired I was.
I wonder if you’re still out there, but I have found the exact same cd at a thrift store, I find that funny. Maybe our paths we’re meant to meet at some point.
⁰
⁰
⁰
It's too wonderful for words!
I agree!!!
Brilliant Sokolov ❤️
BRAVO! That brings back memories. I learned this piece as a teenager way back in the 1970's. I didn't find it as technically demanding as, say, Beethoven's Waldstein Sonata but I love the melodic twists and turns. It remains one of my favorite concert pieces.
Comparing something to the great Waldstein on a technical level is quite a high standard
Exactly the same with me in the 1970s. What a nostagia.
I cannot believe youtube interrupts this beautiful performance for commercials after ONE MINUTE of music
You should rent UA-cam " P R E M I U M " ! It is without interruptions - but you must pay for it (e.g. 12 Euro the month).
@@wolfgangklofat594 In your f* world in which money is over everything else, yes.
Sokolov plays wonderful.He paints a whole landscape here.
un gasato
by far the most beautiful interpretation of this piece i have ever heard; i used to feel that the piece, while essentially lyrical and quintessential Schubert, is a bit long and repetitive and does not maintain my interest throughout; however in this performance, with its varying moods, tempi, dynamics etc, i find it totally engaging
It is indeed long and difficult to sustain. But in a great performance like this one it is a masterpiece.
@@galanis38 agreed!
Its so beautiful, thank you maestro.
deficit di sonno
THIS PIECE IS FREAKING AMAZINGGGGG
The full touch and thick or delicate tone of voice that remains unchanged even as one grows older do not stop.
He plays it so differently. He doesn't stick to all the markations that Schubert put in the notes. He also switches tempo all the time. He captures Schuberts soul, with all its moodswings, much better than other pianists i heard with this overly romantic piece though!
I absolutely agree with the first part of your message, where you talk about the text. And I can't agree with your about Sokolov's understanding of Schubert's music. In my opinion, here we are dealing with a clear example of disrespect for the composer's intentions, a deep misunderstanding of the score. And as a result of all the above-an incredibly pretentious performance, which is completely unacceptable for Schubert's music as a whole.
@@AlexPashkov chill its schubert Impromptus not your. Unless you play it its hard to talk about how it should be. Music is speaking and interpretion as well.
This is what composers want
@@tadalamond7957 I’ll try to upload my performance of op 90., so you’ll understand what I meant...and basically I was talking about respect to the text itself, since I didn’t have chance to ask Schubert himself,- all what we have it’s just text he wrote...and music is speaking, really it does, only through the composer...check up Richter´s and Michelangeli ´s sayings about that subject.
@Rei Chin First of all, the tempo marking.Allegro molto moderato sounds like adagio here. The beginning of the piece has a certain genre source - it is one of Schubert's many marches, possibly with military Napoleonic overtones.If we had orchestrated this piece, no oboist would have been able to play the first phrase in one breath at such a slow pace.( Unless Celibidache is invited to conduct ). Speaking of orchestration, it is worth to mention that the pianist only leads the upper voice well in chords, but completely neglecting to pay attention to the middle voices and bass, which is sometimes simply not heard. The phrasing is full of dubious deviations from the tempo, tending more to the music of Rachmaninoff or Scriabin. In General, there are a lot of details. Everything has a touch of speculation and artificiality, as is often the case in Sokolov's playing...And I don't want to say I don't like him, I just think he looks pale here. I love his recording of the second Saint-Saens concert. But his readings of Schubert's music seem to me ponderous, devoid of flight, and, alas, very far-fetched.
@Rei Chin I know what You're talking about.I am also very pleased that our discussion does not go beyond the bounds of decency, because here on UA-cam such dialogues often end in mutual insults. Same like You, I have not yet found a vivid performance of this opus. Many years ago, I heard it performed by Vladimir Nielsen, my teacher, and that was the best one. But as far as I know, there is no recording of this concert. It seems to me that you mistakenly consider tempo deviations to be a form of romantic interpretation of this piece. Schubert is certainly a romantic composer. But his romanticism is contained in the circle of his images, not in tempo designations. I find Brendel's rendition of this work insufficiently romantic. In addition, speaking of tempos, it seems to me that Sokolov chose the tempos very well in the second and third impromptu, because the second one is usually performed too fast and the third one is too slow. In General, in my position it is very difficult to “just enjoy someone's performance”, since I am a concert pianist myself. Whether I like something or not, I have to analyze it, because I'm learning all the time.
UNE TOTALE MERVEILLE: l"âme de cette fabuleuse musique, une des plus belles
I am not sure I have ever heard something so beautiful as I did between around 5:30 and around 6:45, with this undescribable moment at 6:13. the switch in color. I cant put it in words.
ditto for 3:52 to 4:16
3:53 I feel a new light is born
Yes. Same with me!
In the great film "AMOUR" of Hanecke is this Impromptu the central Piece, and Sokolov captures more than any other the essence of the meaning. Great!!
My personal favorite of all Schubert's impromptus
best living pianist on the planet
GOOD to KNOW that THERE are OTHER planets BESIDE ours
Have you booked your flight?
Не у кого нет в мире такои чуствительний и вырозительный звук как у маестро соколова, он гений, он бог музыкалних мелизмов и вобше он супер ❤❤❤❤❤❤❤❤❤❤❤❤❤❤
Игра, радующая душу и слух! Браво !
Mature, insightful and complete interpretation of this work. His touch is equaled only by Kissin. Bravo.
I can't agree or disagree with your comparison. I find kissin and Sokolov absolutely dissimilar pianists
Thank you Schubert for composing this music, and thank you Grigory Sokolov for playing is so well. I can see in the public at 4:36 a women sitting with her hands like in a prayer. That is the way I also want to approach this music.
His specutacular performance challenges the admiration of all ages
Маэстро, вы гений!!! Браво!!!
Cuanta inspiracion en esa composicion y en el performance !
Pure genius.
Игра похожа на молитву. Браво маэстро!!!
So beautifull
As stunning, as he plays. I just can not get over Guldas last recording.
Can you guide me to the performance that you’re speaking of?
¡Espléndida interpretación!
Just how can there be no comments about this performance1
The most underrated pianist. My favorite, above Andras Schiff, Martha Argerich or Krysian Zimerman. For my ears, absolutely the greatest.
On UA-cam he is the most overrated pianist, quite undeserving in the unquestioning adulation he receives. For my money the most underrated living pianist is Bronfman. I don't hate Sokolov btw. I just find him too eccentric to be taken seriously as a top pianist. In particular I tend to loathe his baroque playing, which I find mannered and indulgent
@@marksmith3947 Perhaps he is overrated, but I do think it is important to consider we have lost a lot of literature and practice regarding classical and romantic performance. In the early 20th century, pianists played Bach (baroque music) like Liszt; this is likely due to the overwhelming amount of support the audience had for romantic performance practice (which still manages to be practically lost), with little observation of how the piece should be played. Perhaps Sokolov plays from those generations of pianists (though I do observe he is quite some younger). I suppose there is a lack of classicism in Sokolov's music that you may find unpalatable, yet I think if you listen with an open mind and open ears this could be a wonderful interpretation. Music can cater to an audience, and I think he succeeds in catering to the audience he intended for their wonderful receptions. His interpretations of Russian music may be more enticing to you for his eccentric qualities. He has quite a good recording of Prokofiev's eight sonata and Rachmaninoff's third concerto. I too enjoy Bronfman's music, though I do not think he is the giant that Sokolov is.
@@ennui548 he has bad taste in many genres. He played the worst performance of Schubert op 90 I've ever heard.
best interpretation i prefer this to zimerman i had been loved
Amazing interpretation. The music of Schubert expressed in a perfect manner.
Какие вы все умные, какие специалисты. А мне повезло: я НЕ специалист. Я просто люблю классическую музыку и выбираю для прослушивания по принцыпу : нравится/не нравится и сама музыка, и исполнение. Я не раздваиваюсь в своих ощущениях на анализ и восторг.
voici une bonne leçon pour ceux qui croient que la technique est tout . Sokolov nous démontre comment mettre la technique au service de l'execution des volontés du compositeur....et aussi qu'il faut avoir une CULTURE immence ....
Bravo professor 🙏🏽
Magnifico!!!!
la migliore su youtube
Sokolov sings Schubert!
7:20 ✨✨✨✨
What incredible sensitivity!
What sensitivity?? Sokolov is a brilliant pianist, but here he is really hacking and butchering this. Poor Schubert must be turning over in his grave. .
@@deltasquared7777 Be specific in your criticism. Don’t make broad statements without evidence, as in “in measures x through y he did ___”.
@@sheana2005 My criticism is that this overall performance is a disaster in interpretation of Schubert. There is no point in nitpicking measure by measure which appears to be how Sokolov approached Op 90 while losing an overall perspective of the piece--refer to my other comment on this. .
🌹🌹🌹❤️❤️❤️ magical
Sokolov is a master of his musical craft
Sokolov and Pires see this differently and what they do with it is mesmerizing.
Nadzwyczajny, wyjątkowy
Espetáculo!
탁월한 해석 음악은 스튜디오가 아니라 현장의 소리만 의미가 있다는 멋진 연주자
정말로 최고의 연주
魂が肉体から解放されて天国に行けそうな気がする。
For once, a real interpretation, complete and compelling! If you are sick of plastic mass-produced 'careful and proper' interpretations，Sokolov gives you a powerful individual perception of a piece.
😮
Cool...
Tenía 17 años viviendo en Londres, cuando césar el madrileño vio el piano y durante 10 minutos empezó a tocar la pieza de Schubert! Nadie lo interrumpió y todos en silencio escuchando. Al final le pregunté que como se llamaba el autor y dijo Shubert, compre el disco de la coleccion Naxos y desde ese día de vez en cuando la sigo escuchando
6:29 that coughing beurk!
here is my Schubert impromptus 899 and klavierstucke d946 set (unfinished) - ua-cam.com/play/PLYUhuuvIrJm2TEe3l1XN3bh4URTu6r-wn.html
Какая дикость - за несколько тактов до окончания музыкального произведения врезается реклама!!! Эти "новые люли" заточены под 0 и 1 и понятия не имеют о СОДЕРЖАНИИ и Целостности восприятия любого творения человеческой мысли!
Whoa I just the Erlking a little before 5:00
Божественно !
Was this impromptu inspired by Rossini's opera La gazza ladra?
The ads killed the final
If you use Chrome, change to Brave: the problem disappears.
@@hernana6689 im on iphone..
너무 아름다운데 외로운 느낌 😢
나는 이 해석이 미치게 좋다 내가 죽기전에 듣고자 할때 소콜로프의 이 연주가 되지 않을까 한다
Also he is the best in Bach.
I agree! He superseded Gould: instead of self absorbed genius we hear a master, bowing to the composer.
@@stonefireice6058I find that a very strange comment. You can like Sokolov or not but it's impossible to deny that he is so personal in his performance choices that he strains the eccentricity meter
god 3:12
Is this in Berlin?
탁월한 해석 터치가 살아있다
05:16
Ele deve estar mastigando uma bala de pimenta.
It doesn't really matter how good a pianist he is in comparison with others. Playing Schubert is not a competition.
What do you mean
아름다운 소리 섬세한 표현 잘하기는 하지만 소녀 감성의 순정 슈베르트 그 자체는 아님 하지만 에센바흐가 치는 슈베르트는 슈베르트 그 자체라는 느낌이 들게 한다
In. My. Opinion. Is. Even. Better. Than. Shura. Cherkassky
I was influence by Karl U.Schnabel interpretation that taught me. This's disrespected rendition. Pitiful for GS!
After a wonderful beginning this pianist looses the line - like often in his playing. Compare him e.g. with Brendel and Richter!
Agree. This is one of the worst Sokolov performances I've heard. He's also terrible --- very weird --- in the E flat major impromptu from the same set
Alfred Brendel would no doubt think this 'romanticising in the Russian manner', to use his phrase, but surely both approaches can be considered valid in today's world of huge concert halls and the pianos built to fill them. While Sokolov may not rigidly adhere to every mark of the score, for me he magically links this late work, written in the midst of 'Winterreise', with Schubert's teenage 'hit', 'Erlkonig'; gripping and thoroughly persuasive.
Schubert wrote different things. Shame for sokolov really.
If he concerned himself less with making a visual impression, he'd be even better. What's all that dancing with his hands? Play the music!!
That's actually right. I understand that he release and prepares, but I also think could be less hands floating in the air. Even the best pianists can still be rightly criticised, they are still mere humans who need to progress and changes like all of us. I was listening to him twice live, was of course amazing, but 2nd time it distracted me his hands gymnastics. And it makes everything looks to elite wise and maybe also intimidating for some. It should always look natural, not intimidating, for people who looks for inspiration. I thought then, he is after a recital surely half dead, for the effort he puts into the keys. Of course it's not like this, but it looks like. Anyway... still great guy.
I doubt you know better than Sokolov - one of the greatest musicians of all time - how he should best go about maximising the quality of his performance. Schopenhauer wrote 'Talent hits a target no one else can hit; genius hits a target no one else can see.' The targets that Sokolov hits in his music making really are beyond my comprehension - the perfect delineation of many lines, each with there own dynamics and tonal qualities being just one example. It would follow that the physical means he uses to go about hitting these targets might also allude my/our current understanding - that is, without actually asking him. I have several theories of why he moves his hands so expressively but none are conclusive. One thing i think is certain though: if it wasnt purely in the service of the music, he wouldn't be doing it.
Ray & Salvation -- not sure you're right. His hand motions may help him to achieve this wonderfully limpid & coloristic playing that never sounds stiff & jerky--even when playing quick chord changes with dotted rhythms, demi-staccato, w/ a minimum of pedal. My impression from listening to many live performances is: he is much more concerned with projecting his concept tonally & musically, & communicating to the audience--as opposed to mere visual tricks.
If you have conditioned yourself over the years that a certain tone could only be realized with a certain physical gesture, then yes, of course, you could not achieve that fluidity in playing without that exaggerated movement of your hands. An association has been established. The point is, in principle, that association is not necessary. Rubinstein and Horowitz were never "stiff and jerky, yet were very physically economical (as much as their emotions could possibly allow). As to the matter of whether the physical life of the pianist is a mode of communication to the audience (just as the music itself is), that's a very sad reality that we witness more and more. I don't want anyone to pantomime to me what Schubert is all about. I only want the music to do that. It is true though that a lot of the audience would not agree with that. So give them what they want, I guess. Why only pay for sound when you could get sound and vision?!
Youre talking ROT!!!