THANK GOD someone who finally plays the arpeggios as arpeggios and not block chords (1:08, 2:48, 3:21, 6:15)! I was going insane from seeing every single other pianist omit the arpeggios.
Cyprien Katsaris seems to absorb every note as if he immerses himself fully in the music, playing with his entire soul. His interpretations are like a journey into the very essence of the pieces - filled with passion, emotion, and incredible virtuosity. Each note feels alive, as though it’s being played not just by his fingers, but by his heart. This is more than just performance - it’s pure magic.
AKA How do you get to Carnegie Hall? (Standard answer applies; but it is obviously somewhat more complicated; see my reply to another comment in this thread.)
@@marinegrasselli2779 Well put; however I would add that like in any recipe, it’s not just the ingredients, but **how** they are combined to optimize the effects of each and achieve the best synergy. For example, you leave out one or two very critical aspects pertaining to **culture** specifically. In most cases of outstanding musicianship, the blossoming student had been encouraged by the parents to love music from a very early age and nurtured that love with either exposure to recordings or concerts or music-playing in the home, which the child absorbs and emulates, as they do learning language, which not only overlaps and is similar, but involves largely the same skills and faculties of the brain: inward symbolization and imagination according to grammatical patterns and structures, and developing physical transmissions of these ideas (through the vocal cords/mouth or hands). I believe that in learning language as in music, the young sponge-like and highly elastic and malleable brain with loads and loads of Virgin, unprogrammed neurons hungering for stimulation and the opportunity to order themselves and record and arrange sensory data, appealing patterns are perceived in the environment and the hungry brain (like a well developed but empty stomach) craves stimulation and the chance to perceive and create appealing patterns, like looking at fireworks and paintings -or hearing stories- and wanting to play with whatever materials these are constructed out of, just like with LEGOS or Tinker Toys. Notice how toddlers for example love and love to play with rhymes: the patterns thrill them. So you put all these together (including the “story” part; all music tells stories, has a strong narrative component), add the intense emotional aspect of the perception and communication, and you get early childhood musical passion and development. In the case of piano, it also involves, as Charles Rosen has observed, strongly liking the combination of wood and metal. If you look at a beautiful piece of furniture with beautiful wood and brass hardware, there’s something deeply appealing in the way the materials combine and complement each other, on a basic chemical and physics level. The contrasts and similarities. Or when you hit a nail into wood, or get a perfect strike of a golf ball with a wood club, with its metal shaft. The sound “crack!”, with under/overtones of metal “ping”) and vibration and feeling of penetration, going through the ball transforming its hardness into instantaneous softness)… all these are extremely similar the the physical aspect of playing a piano. Expose the child to Mozart and Chopin on the piano… and you’re likely to get some good effects!!! Final point I’d mention is harmony (the effects of different sounds combined in appealing ways) and dissonance and melody are appreciated and played with by the child, who probably connects these sensory experiences with her or his emotional counterparts of harmony and dissonance, and enjoys (and finds cathartic and uplifting, as we all do), the cycle of tension, dissonance and conflict being resolved in some sort of completion and wholeness, which in music is experienced every time a dominant note or chord is followed by its tonic, or similar dissonance resolutions are experienced. All music is based on this principle, which as with expanding LEGO play from two LEGOS from 2 to 4 to eventually hundreds or thousands becomes more and more gratifying, but based on multiplying the same effects as achieved with 2 LEGOS: creating order and harmony out of disorder.
Super playing - makes me smile big such a joyful piece!! Makes me want to practice this song so much... I'd be happy to play it even half as well as how you play it!!
First time I've heard you play this. I've been waiting for someone to do justice to the section just after the octaves, with the honor due to the composition - the slight rubato (more like an extra beat) on the "magic" note at the start of the descending line. I've told people to play this like it was a totally different piece, and not to just blast through it like it was rubbish waiting for the finale. Nobody seems to understand, but I'm glad to hear this done as you do. Thank you.
Fabulous, best I’ve heard and I’ve heard quite a few. Those that don’t like it should try to play it. See if you can make your fingers go fast enough to turn into a blurr and do it accurately.
I think this is the best interpretation of this piece I've heard. He really gets it. You can hear the song's soul in the dynamics of his interpretation.
@@marshan1226 i didn't, I don't know what happened. Anyways, u're too old for this, trust me, I can see that in the way you express yourself on the internet.
That smile at 1:03 is something wonderful
He's amazing. plays with such charisma
Eu sou leiga, mas muito sensível musicalmente e confesso que há muitos anos Cyprien Katsaris é o meu pianista preferido. Ele é soberbo.
Piękno muzyki Fryderyka Chopina to fenomen graniczący z cudem. Wspaniałe wykonanie, bardzo dziękuję.
interpretation divine, émotion indescriptible devant autant de talent et de maitrise.MILLE MERCI !!!!!!!!!
THANK GOD someone who finally plays the arpeggios as arpeggios and not block chords (1:08, 2:48, 3:21, 6:15)! I was going insane from seeing every single other pianist omit the arpeggios.
Bravo!👏👏👏👏👏👏👏👏👏👏👏👏👏👏
Cyprien Katsaris seems to absorb every note as if he immerses himself fully in the music, playing with his entire soul. His interpretations are like a journey into the very essence of the pieces - filled with passion, emotion, and incredible virtuosity. Each note feels alive, as though it’s being played not just by his fingers, but by his heart. This is more than just performance - it’s pure magic.
It is Katsaris’s master class.
Maravilha!!!
Hipnotizante.🇧🇷🇧🇷🇧🇷🇧🇷🇧🇷
This is only the second time in my life that I have heard this piece played properly. Bravo!
Try Lang Lang.
@@johndorch2333 no, he’s bad
@@Chorizo727 I don't agree.
@@shreekanthisaria784 Doesn’t mean much. Countless prodigies existed before and now. These days, he’s more of a flashy showman than a pianist.
@@Chorizo727literally the exact opposite.
Nothing amazes me more than watching a master of the keyboard at work. How do they do it?
We dont know, but its amazingg
Practicing is the key to success
passion, talent, but above all work
AKA How do you get to Carnegie Hall? (Standard answer applies; but it is obviously somewhat more complicated; see my reply to another comment in this thread.)
@@marinegrasselli2779 Well put; however I would add that like in any recipe, it’s not just the ingredients, but **how** they are combined to optimize the effects of each and achieve the best synergy.
For example, you leave out one or two very critical aspects pertaining to **culture** specifically. In most cases of outstanding musicianship, the blossoming student had been encouraged by the parents to love music from a very early age and nurtured that love with either exposure to recordings or concerts or music-playing in the home, which the child absorbs and emulates, as they do learning language, which not only overlaps and is similar, but involves largely the same skills and faculties of the brain: inward symbolization and imagination according to grammatical patterns and structures, and developing physical transmissions of these ideas (through the vocal cords/mouth or hands).
I believe that in learning language as in music, the young sponge-like and highly elastic and malleable brain with loads and loads of Virgin, unprogrammed neurons hungering for stimulation and the opportunity to order themselves and record and arrange sensory data, appealing patterns are perceived in the environment and the hungry brain (like a well developed but empty stomach) craves stimulation and the chance to perceive and create appealing patterns, like looking at fireworks and paintings -or hearing stories- and wanting to play with whatever materials these are constructed out of, just like with LEGOS or Tinker Toys. Notice how toddlers for example love and love to play with rhymes: the patterns thrill them.
So you put all these together (including the “story” part; all music tells stories, has a strong narrative component), add the intense emotional aspect of the perception and communication, and you get early childhood musical passion and development.
In the case of piano, it also involves, as Charles Rosen has observed, strongly liking the combination of wood and metal. If you look at a beautiful piece of furniture with beautiful wood and brass hardware, there’s something deeply appealing in the way the materials combine and complement each other, on a basic chemical and physics level. The contrasts and similarities. Or when you hit a nail into wood, or get a perfect strike of a golf ball with a wood club, with its metal shaft. The sound “crack!”, with under/overtones of metal “ping”) and vibration and feeling of penetration, going through the ball transforming its hardness into instantaneous softness)… all these are extremely similar the the physical aspect of playing a piano.
Expose the child to Mozart and Chopin on the piano… and you’re likely to get some good effects!!!
Final point I’d mention is harmony (the effects of different sounds combined in appealing ways) and dissonance and melody are appreciated and played with by the child, who probably connects these sensory experiences with her or his emotional counterparts of harmony and dissonance, and enjoys (and finds cathartic and uplifting, as we all do), the cycle of tension, dissonance and conflict being resolved in some sort of completion and wholeness, which in music is experienced every time a dominant note or chord is followed by its tonic, or similar dissonance resolutions are experienced. All music is based on this principle, which as with expanding LEGO play from two LEGOS from 2 to 4 to eventually hundreds or thousands becomes more and more gratifying, but based on multiplying the same effects as achieved with 2 LEGOS: creating order and harmony out of disorder.
What fantastic technique!
Very graceful play version here 🥰
Super playing - makes me smile big such a joyful piece!! Makes me want to practice this song so much... I'd be happy to play it even half as well as how you play it!!
First time I've heard you play this. I've been waiting for someone to do justice to the section just after the octaves, with the honor due to the composition - the slight rubato (more like an extra beat) on the "magic" note at the start of the descending line. I've told people to play this like it was a totally different piece, and not to just blast through it like it was rubbish waiting for the finale. Nobody seems to understand, but I'm glad to hear this done as you do. Thank you.
How about English grammar? It hurts my eyes and ears when grammar is ignored. German is dominated by very strict grammar. Thank you, madam/sir.
@@zuhairbakdoud1360 What are you talking about? Grammar? I don’t understand the context of your comment.
@@Oldman808 Neither 🤷♂️
@@zuhairbakdoud1360 shut up, you're very annoying. and when communicating in English, who is thinking about German adherence to grammar?? grow up
Chopin himself would be pleased - and maybe think: "THAT´s what I wanted with this!"
Amazing blessed talent
Sublime.
This is the best performance I ever seen. It's unbelievable. I think you are going to be my favorite pianist! 😊😊
Wonderful performance !
superbe !
Legendary pianists👍 like Martha argerich I hear PERFECTION in your music.. ✨
👏🏼👏🏼👏🏼👏🏼Maravillosa interpretación!
Bravo !!!! Thank you so much !!!
癖が強いですけど、何かドラマを感じるような演奏ですね！bravo！
Fabulous, best I’ve heard and I’ve heard quite a few. Those that don’t like it should try to play it. See if you can make your fingers go fast enough to turn into a blurr and do it accurately.
Bravo!
Bravísimo!!!!!!!!!!!!!!!!! 🎼🎹💐👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏
0:30
BRAVO!
Superb, as always!
Marvelous! You made my day!
勝手な想像だけど、カツァリスのポロネーズが一番ショパンが好きそうって思っちゃう。
❤
bravo
упоительно!
I think this is the best interpretation of this piece I've heard. He really gets it. You can hear the song's soul in the dynamics of his interpretation.
Esta polonesa está mucho más pulida que otras interpretaciones
Así es
Rubinstein is my favorite. he plays it less staccato and makes a flow like nobody else.
Thank you for telling me, I will report back soon.@@heikki4668
0:15 ！！！！！
Kaytq
Ka is the day we get a
Very talented.(By the way he looks like me😁)
6:15 he played only octaves without the notes in the middle in the right hand. Busted!
He wanted to end it in his own way simply
Ta
Some parts are too fast.
I disagree! This is one of very few performances I enjoy of this piece. One of very few performances that really have life inside it.
He is almost coming
nice performance, but does a concert pianist get paid enough for a haircut?
😂
who came here b/c of his hair?
Dont really like this one, feels like i cant breathe
@@marshan1226 i didn't, I don't know what happened. Anyways, u're too old for this, trust me, I can see that in the way you express yourself on the internet.
nqv do better
@@marshan1226 I'm sorry man, I didn't mean to send a monkey in a racist way
A rather matter-of-fact way to strike the opening Eb, less “heroique” than I’m used to
I don’t care for the rubato one little bit. Why do so many do the same? It spoils an otherwise flawless performance.
Listen to Busoni on piano roll, if you call this rubato. You will lose your mind…
tbh just feel something is absent.... don’t know what it is maybe it is the recording?...
No.
Yes!!
Technically great but lacking the Polish heart.
wrong soul.....
ich fühle nichts. Sry. Keine Seele
Technically he's GREAT! BUT...the tempo keeps changing. Not even..
I believe that's how Chopin used to play it. I think the changes in dynamics in this interpretation are marvellous.
No he just really mastered rubato technique
It’s called rubato
Oh to be an armchair critic. and what do you do ?