Потрясающий мастер-класс, спасибо огромное маэстро Андрасу Шиффу и девушке Юле. Прекрасная пианистка, уверена в её дальнейшем росте, удачи 🍀 Ну а профессор …., нет слов ❤, так подробно всё объясняет, я преисполнена благодарности💞💞, почти исчезающая культура преподавания: неспешно, всеобъемлюще, обо всём по-настоящему. Боже…., я благодарю своих педагогов за то, что я понимаю А.Шиффа 🤲
Can't get enough of this man's masterclasses. A true connoisseur of the musical endeavour, fully dedicated to understanding the works of the genius men who walked this earth before him.
It is admirable how Sir Andras Schiff shows her the basics of Schumann’s Fantasie. Above all this Fantasie has got a sublime delightful and slightly tragic sensitivity that it is almost impossible to express by pianists in their starting phase. Since S. Richer demonstrated it the standard has gone up so much.
"These are just minor details." he says. I find myself, now and then, looking at the flowers. I'm so in awe of Mr. Schiff. It could not have been easy for this young lady to go through this. I like the way he gives praise where ever possible. Ah jeez...how interesting to just listen and watch.... There are so few people quite like him on this planet..sigh.. And yes, he makes a joke..:)
Yes, imagine knowing so much that you can critique such small little details. I think on the contrary, that this young lady felt honored that such a great musician invited her to be taught a lesson by him.
We witness here one of the greatest lessons about the science of art. Breathtaking and unbelievably inspiring. Many many thanks to the master and his student for this Sternstunde der Bildung durch Musik.
Julia - you’re a terrific pianist - this was a very mature, very musical performance with no weaknesses - lovely tone, even sound, beautiful timing, phrasing, long lines, natural sounding rubatos etc - a truly commanding performance- I hope you are playing for many audiences.
There’s always room for improvement. Thank god she does’t have this attitude. She is a great student to her teacher, a fast learner - humble but also confident.
I appreciate how Andras Schiff says "organic" around 56 minutes. I appreciate "organic" and "instinct" in this 1st movement. I like "there is no rubato here" at 1:00:55. I like "very good" at 1:03:00: it took me 4 seconds to agree! I like "sound like silver" at 1:07:55. I also agree with Andras Schiff at the end about not using una cord so it "sounds like silver".
Unbelievable performance! That was absolutely amazing, Julia. How you maintain your composure through the whole thing, I cannot fathom. That Steinway was quite a sonorous one...I'm curious if you liked the tone or if you would've preferred one with a slightly sharper tone?
I also like the way Andras Schiff says to follow your instinct at around 44-45 minutes. That's my approach also: some instinct that you will develop over time.
Never heard this piece until she played it. Without knowing it I sensed that it was way too limpid with too many long spaces. Schiff's direction pulled and pulled and forced her to tighten every last nut and bolt. He knew the piece inside out and so he could give clear directions. He is not as well known for his Schumann, but he certainly knew this piece. What he taught her, as you could see, is that there was a story in the music and he directed her to understand how the narrative kept on changing. And so the music would have to adapt. In her first run through she really knew the music well but not the story. Schiff helped her see much deeper into this music. A delightful and highly romantic masterwork that I should have heard earlier. Wonderful craftsmanship from Schumann. A fantastic master class.
44:28 , What sir Andras Schiff talks about using the left thumb to bring out the middle voice is exactly the same how Murray Perahia demonstrated in other masterclasses, and he is such a genuine artist.
one must be such a great pianist already to be worthy of being guided by such a master musician of course ... wonder why Andras Schiff didn't mention that himself? (or did he and i just missed it?)
Love the way Schiff understood the stories and the narrative, and their difference, particularly when he says she could think about whatever story ending she wants, just not thinking about the piano. Also loved about left hand a bit bvefore the right and how a passage sounded "too normal." Wonderful - music is not just printed notes on a page.
pls somebody explain where this " Ich liebe dich, Du liebst mich" comes from. Perhaps it was from a note that Schumann wrote on his original handwritten partiture. Mozart had done something similar, writing in the margin of his Klavierstueck , I believe KV 400, " Sophie " and Constanze" at some particular moving part of the music
This fantasy is a monster both technically (physically) and musically. I don’t know whether the technique needed is more difficult than the musicality needed to understand it and interpret it.😊
Yes, music must always have FLOW. After you find all the notes, you must exert absolute control over the rhythm. That's all there is to it. Logic - not just notes without direction. Frans Bruggen always said, RHYTHM is by far the most important element.
I disagree. I like musicians who use rubato very sparingly. For example, I'm quite sure Schiff would play this piece quite straight. The student on the other hand emphasizes every first beat and "shapes" the phrases with the same mannerism every time. It gets annoying to listen to, and doesn't magically make the music expressive. But this is subjective of course. If you like this kind of gushing phrasing, you're lucky because everyone seems to do it nowadays. Stay on first beat forever while preferably making an expressive gesture, rush through third and fourth, apply to every piece.
Not many may share my opinion but if you check out the masterclasses of Robert Levin it is on another level. Non patronising, witty, humourful, and lots of engagement that includes the audience and very very educational.
The 1st movement is tonally and musically hard to sound "right". And to sound "right" the tempo has to be just right. I believe over time, you will sound "right", you need more time to internalize it. I especially like the 2nd time you play it after 20 minutes, b/c the tempo just feels right => it sounds right.
0:13 ".... who is of Hungarian origin - you can't help that ..." If you didn't know he himself is from Hungary then you might think - as I did at first - just how rude that sounded!
I have a couple of Middle-European friends. This seems to be a standard style of delivering a gentle witticism for them. Especially if your normal approach is one of kindly courtesy.
Must be quite off-putting to have Andras Schiff peering over once's shoulder whilst playing...😕 She coped with the immense pressure extremely well-a masterclass is very different from giving your own recital.
Her playing blooms under his guidance. Passages that were a little flat and uninteresting in her opening performance come wonderfully alive when played in response to his instruction.
Julia, you play excellently, as the maestro said. And it seems you are a good sport and can be coached (some people can't. Most?). My problem with the maestro's coaching is that he stays at a detail level, generally music playing-technical but here in cultural context sense as well. I watched several of his masterclasses. To not necessarily play the notes in a chord simultaneously is an age old one in piano playing history. Such things really need to be taught in music school or conservatory. My general problem with Schumann and earlier is the Steinway D - I love their sound, but before being allowed to play this music, I feel, you ought to demonstrate your ability to play the piece on a fortepiano. A Conrad Graf of the 1835-1838 time will be available. Schumann's favorite piano and many limitations as well as a different sound character. When maestro asks for half pedal IMO he implicitly tells you to sound more like the fortepiano. When doing a masterclass it is imperative to include such "details" or else we are left with a sitcom. The art-music social context in which this Germanic composer worked os another one. Maestro demonstrates deep knowledge of that culture and era. To "get" Schumann better, read some Schiller, Goethe and Grimm. Listen to related songs and, more important, folk and children's songs of the time - to build an understanding of the mysical idiom of the time. With 8 children at home, a Schumann and his Clara Wieck, great musical communicators, will have used music and song a lot. I saw a masterclass with Nikita Magaloff, who did not tell his students to play like himself but opened their eyes: "try to play these bars as a fugue" about a section in a piece by Chopin. Student played the notes excellently before. Knowing that Chopin played Bach, as pianist exercise, everyday should have put the student on alert. Same noted, different accents. Knowing a Mazurka is a dance, originally, points to its syncopation to the second or third beat in the metre. It also points to metronome precision of the left hand - dancers can kill you if you miss the beat, except when you slow down/accelerate with them as dance effect. That metronome precision was why Chopin played Bach everyday. In short, all the advice has a common denominator that was left implicit here. The journey of deepening the understanding of what we read. That is the essence, not the invisible intenational game of playing faster, louder whilst not hitting the wrong keys. "Ezcellent".
Two impressions. When I listen to the performances given here I feel great inner joy, some kind of ecstasy and no word would ever be able to describe this wonderful joy. Now there are descriptions in many words about the technical frames which have been used by the composer. Why ? I ask myself. If I was an Indian, loving music, but not familiar with the Bach system of music with notes having a fixed structure would I ever understand these descriptions ? Similarly if I see an Odissy dance and get speechless about the unique elegance of movements which no western dance has ever aspired to reach and then hear how an Indian dance expert describes with many words how each movement of the body and the 36 different expressions of the face have to get related I get totally disturbed because my inner impression is far from any intellectual leveled understanding. What I want to say is that art presented in music or any other field is beyond any description in words. I can live without it although I had when a child specific Harmonielehre training. In its essence great Schiff teaches on how to improve our inner joy and for this I feel immensely grateful.
Haha, as somebody practice this piece as well, I agree with many of his interpretation.. although some parts I think it's personal taste and respect to the composor.. some are really about having an idea and stick to it.. and make every note part of the story... I felt like watched a whole movie with them. Hhh
Question from a music listener but not a performer: Are Maestro Schiff's directions and advice any more "right" than those that another excellent pianist might offer? Might not there be more than one equally valid interpretation?
Yes - the point of these masterclasses is to learn the thinking behind the way a great musician plays a piece. A good student will do their best to co-operate and learn and later will keep some bits they like and discard other advice.
Definitely. You go to teachers that you believe in or you don’t go to any if you don’t believe in any interpretation of anyone but your own. It’s very simple. We’re just watching this teacher and student class among many other classes
It takes a lot of insight and artistic maturity to forget that you rehearsed the piece 1500 times, and make a song out of it instead of a cascade of notes in muscle memory. Amazing to see how it started to become truly musical as they worked through it, whereas her first performance was more a string of notes. She's great technically but learning the notes is only half of it.
Masterclasses generally aren’t about ‘need’…obviously she’s already skilled and has her own ideas and interpretation. I’ll just go ahead and assume, that like so many females of all ages and all stages, your (perpetual) problem is with men, masculine ways of expression and ideations about ‘the patriarchy’. No one is putting Schiff on a ‘pedestal’, again, this is your self-serving ideation born out of your own negativity projected outwards. Schiff has done nothing to you personally (that we’re aware of)…apart from existing.
how does Sacha Baron Cohen say it ? Wawaweehah ! If Andras Schiff succeeds to improve on Julia Hamos interpreting Schumann Fantaisie no. 17, I don't wanna hear it.
I am all for criticism but she is a student and the whole point is inspiring and enabling. She will get better…hope the same applies to your playing, if you actually play that is.
![[柴犬ASMR]曼玉Manyu&小白Bai 毛发护理Spa asmr](http://i.ytimg.com/vi/0TsXQ7z2Dh4/mqdefault.jpg)
Schiff : no stay, i'm not going to make you stand up
Literally 30 seconds later : makes her stand up
I noticed that as well.
So?
@@markschneider8268 it’s ironic and funny XD
Потрясающий мастер-класс, спасибо огромное маэстро Андрасу Шиффу и девушке Юле. Прекрасная пианистка, уверена в её дальнейшем росте, удачи 🍀
Ну а профессор …., нет слов ❤, так подробно всё объясняет, я преисполнена благодарности💞💞, почти исчезающая культура преподавания: неспешно, всеобъемлюще, обо всём по-настоящему.
Боже…., я благодарю своих педагогов за то, что я понимаю А.Шиффа 🤲
Can't get enough of this man's masterclasses. A true connoisseur of the musical endeavour, fully dedicated to understanding the works of the genius men who walked this earth before him.
As an amateur pianist I have learned more about making music watching Schiff's master classes than anything else. Thank you Maestro!
I keep returning to this masterclass- the pianist has such a special way of playing and I’ve quite fallen in love with the piece
It is admirable how Sir Andras Schiff shows her the basics of Schumann’s Fantasie. Above all this Fantasie has got a sublime delightful and slightly tragic sensitivity that it is almost impossible to express by pianists in their starting phase. Since S. Richer demonstrated it the standard has gone up so much.
35 thumbs down on this video. Really? Excellent masterclass with a fine student and one of the greatest pianists/musicians of our time.
This fantasy is so gigantic. I can hardly imagine that Schumann wrote such superhuman piece.
Nice to hear that Julia has been chosen for Andras‘ Piano Class in Berlin. Well deserved.
He is an amazing teacher and despite how good she already is, she is very good at being taught.
Well said.
She has known him since her childhood, and is now being taught by him at the Barenboim-Said academy in Germany.
"These are just minor details." he says. I find myself, now and then, looking at the flowers. I'm so in awe of Mr. Schiff. It could not have been easy for this young lady to go through this. I like the way he gives praise where ever possible. Ah jeez...how interesting to just listen and watch.... There are so few people quite like him on this planet..sigh.. And yes, he makes a joke..:)
Yes, imagine knowing so much that you can critique such small little details. I think on the contrary, that this young lady felt honored that such a great musician invited her to be taught a lesson by him.
CcA
Stupendo
We witness here one of the greatest lessons about the science of art. Breathtaking and unbelievably inspiring. Many many thanks to the master and his student for this Sternstunde der Bildung durch Musik.
Julia - you’re a terrific pianist - this was a very mature, very musical performance with no weaknesses - lovely tone, even sound, beautiful timing, phrasing, long lines, natural sounding rubatos etc - a truly commanding performance- I hope you are playing for many audiences.
There’s always room for improvement. Thank god she does’t have this attitude. She is a great student to her teacher, a fast learner - humble but also confident.
Marvelous playing Julia! Also wonderful to hear Mr. Schiff's wise advice.
Courageous and very gifted young musician. Staggeringly brilliant older teacher and guide. Wonderful to watch and listen to. Thank you.
Time spent with Andras Schiff is always worth its name. Thank you. Still delighted by this video. All ceedots to Hamos for sharing jt
I especially like the way Andras Schiff asks to hear the "love duet" at around 31 minutes. That section should sound like an interesting conversation.
"I don't want to hear any piano playing..." Love Andras....only the best can sit with him to understand such a statement.
Beautifully done!
His artistry is another cosmos from that of others. One of the greatest readings of this work was by Leon Fleisher.
A great master delivering wisdom from a whole life's experience. Wonderful.
Really great video I learned a lot from this video !
Another wonderful masterclass by Schiff; a master and full of class 🎶
Wonderful. Beautifully played
Brava! Captivating, convincing and beautiful performance.
Beautiful playing and beautiful instruction ♥️
Exquisite playing. Such intuition for voicing and to allow the melody to prevail with quite a lot going on.
Thanks Julia Hamos , magnifique prestation de Schumann aux pianos , Julia Hamos merveilleuse
This is a level I can't even dream of. If I hadn't seen this I wouldn't believe it was real.
Me tooo😭😭😭
My congratulation Julia, excellent performance !
"Listen to Fischer-Dieskau", that is so relevant and unexpected.
Beautiful! Playing characters and interpretation very good!
sublime playing
Really great lesson.
Congratulations Julia, great playing.
Very interesting thanks !
Thank you for sharing.
31:10 lol
Je suis toujours fasciné par la recherche de l'exigence ultime. Vraiment instructif et passionnant !
Wonderful ❤️
She's an incredibile pianist, wow
I appreciate how Andras Schiff says "organic" around 56 minutes. I appreciate "organic" and "instinct" in this 1st movement. I like "there is no rubato here" at 1:00:55. I like "very good" at 1:03:00: it took me 4 seconds to agree! I like "sound like silver" at 1:07:55. I also agree with Andras Schiff at the end about not using una cord so it "sounds like silver".
Unbelievable performance! That was absolutely amazing, Julia. How you maintain your composure through the whole thing, I cannot fathom. That Steinway was quite a sonorous one...I'm curious if you liked the tone or if you would've preferred one with a slightly sharper tone?
I went from not liking this piece to liking it. I need to listen to Schumann more often.
I also like the way Andras Schiff says to follow your instinct at around 44-45 minutes. That's my approach also: some instinct that you will develop over time.
Never heard this piece until she played it. Without knowing it I sensed that it was way too limpid with too many long spaces. Schiff's direction pulled and pulled and forced her to tighten every last nut and bolt. He knew the piece inside out and so he could give clear directions. He is not as well known for his Schumann, but he certainly knew this piece. What he taught her, as you could see, is that there was a story in the music and he directed her to understand how the narrative kept on changing. And so the music would have to adapt. In her first run through she really knew the music well but not the story. Schiff helped her see much deeper into this music. A delightful and highly romantic masterwork that I should have heard earlier. Wonderful craftsmanship from Schumann. A fantastic master class.
He seems to think in terms of the story behind music in general. Much to be learned just from that idea. And is there a special Hungarian music gene??
fred houpt It is a great privilege to be able to get a glimpse of the Maestro’s deep understanding of music.
fred houpt She plays this piece amazingly well. Her take is different from Schiff's, and equally valid. I vote for Julia!!!!!!!!!!
She rushes the first mvmt too much
@@Janaceks_Dad I thought the same thing!
44:28 , What sir Andras Schiff talks about using the left thumb to bring out the middle voice is exactly the same how Murray Perahia demonstrated in other masterclasses, and he is such a genuine artist.
one must be such a great pianist already to be worthy of being guided by such a master musician of course ...
wonder why Andras Schiff didn't mention that himself? (or did he and i just missed it?)
Fantastic
Agree
Eine sehr gute Performance von der jungen Pianistin. Ich bin fast beeindruckt.
Love the way Schiff understood the stories and the narrative, and their difference, particularly when he says she could think about whatever story ending she wants, just not thinking about the piano. Also loved about left hand a bit bvefore the right and how a passage sounded "too normal." Wonderful - music is not just printed notes on a page.
Magnifique début
All praise to Julia Hamos.
So far, very good!
I like this dude!
Awesome
Bravo lui....ma brava anche lei!
pls somebody explain where this " Ich liebe dich, Du liebst mich" comes from.
Perhaps it was from a note that Schumann wrote on his original handwritten
partiture. Mozart had done something similar, writing in the margin of his Klavierstueck , I believe KV 400, " Sophie " and Constanze" at some particular moving part of the music
Sei BRAVISSIMA !!!!!!!!!
super, danke
4:40, 11:40, 13:56, 1:05:15
Bravissima!
"Doesn't this sound like a Liszt harmony? Which to me is not a compliment."
Sounding like Liszt is an insult almost as bad as saying someone sounds like Schumann
... maybe someone should turn her microphone on, otherwise a lovely, sensitive, passionate and intelligent interpretation. Very nice. 👍
No one:
8 year olds pretending to be cops: 20:14
Since she is of Hungarian descent, he is certainly even more sympathetic to her, one can feel almost fatherly approach here.
This fantasy is a monster both technically (physically) and musically. I don’t know whether the technique needed is more difficult than the musicality needed to understand it and interpret it.😊
Yes, music must always have FLOW. After you find all the notes, you must exert absolute control over the rhythm. That's all there is to it. Logic - not just notes without direction. Frans Bruggen always said, RHYTHM is by far the most important element.
I disagree. I like musicians who use rubato very sparingly. For example, I'm quite sure Schiff would play this piece quite straight. The student on the other hand emphasizes every first beat and "shapes" the phrases with the same mannerism every time. It gets annoying to listen to, and doesn't magically make the music expressive. But this is subjective of course. If you like this kind of gushing phrasing, you're lucky because everyone seems to do it nowadays. Stay on first beat forever while preferably making an expressive gesture, rush through third and fourth, apply to every piece.
Wolf: What are you disagreeing with?
That music should always have an agogical flow.
There's a difference between using tasteless rubato and maintaining the forward flow of the music.
Why do I waste my time arguing with amateurs.. Now I have a new year's resolution.
Not many may share my opinion but if you check out the masterclasses of Robert Levin it is on another level. Non patronising, witty, humourful, and lots of engagement that includes the audience and very very educational.
The 1st movement is tonally and musically hard to sound "right". And to sound "right" the tempo has to be just right. I believe over time, you will sound "right", you need more time to internalize it. I especially like the 2nd time you play it after 20 minutes, b/c the tempo just feels right => it sounds right.
0:13 ".... who is of Hungarian origin - you can't help that ..." If you didn't know he himself is from Hungary then you might think - as I did at first - just how rude that sounded!
I have a couple of Middle-European friends. This seems to be a standard style of delivering a gentle witticism for them. Especially if your normal approach is one of kindly courtesy.
Must be quite off-putting to have Andras Schiff peering over once's shoulder whilst playing...😕
She coped with the immense pressure extremely well-a masterclass is very different from giving your own recital.
Realy Great Pianists!!!
Regards!!!
Her playing blooms under his guidance. Passages that were a little flat and uninteresting in her opening performance come wonderfully alive when played in response to his instruction.
Julia, you play excellently, as the maestro said. And it seems you are a good sport and can be coached (some people can't. Most?). My problem with the maestro's coaching is that he stays at a detail level, generally music playing-technical but here in cultural context sense as well. I watched several of his masterclasses. To not necessarily play the notes in a chord simultaneously is an age old one in piano playing history. Such things really need to be taught in music school or conservatory. My general problem with Schumann and earlier is the Steinway D - I love their sound, but before being allowed to play this music, I feel, you ought to demonstrate your ability to play the piece on a fortepiano. A Conrad Graf of the 1835-1838 time will be available. Schumann's favorite piano and many limitations as well as a different sound character. When maestro asks for half pedal IMO he implicitly tells you to sound more like the fortepiano. When doing a masterclass it is imperative to include such "details" or else we are left with a sitcom. The art-music social context in which this Germanic composer worked os another one. Maestro demonstrates deep knowledge of that culture and era. To "get" Schumann better, read some Schiller, Goethe and Grimm. Listen to related songs and, more important, folk and children's songs of the time - to build an understanding of the mysical idiom of the time. With 8 children at home, a Schumann and his Clara Wieck, great musical communicators, will have used music and song a lot. I saw a masterclass with Nikita Magaloff, who did not tell his students to play like himself but opened their eyes: "try to play these bars as a fugue" about a section in a piece by Chopin. Student played the notes excellently before. Knowing that Chopin played Bach, as pianist exercise, everyday should have put the student on alert. Same noted, different accents. Knowing a Mazurka is a dance, originally, points to its syncopation to the second or third beat in the metre. It also points to metronome precision of the left hand - dancers can kill you if you miss the beat, except when you slow down/accelerate with them as dance effect. That metronome precision was why Chopin played Bach everyday. In short, all the advice has a common denominator that was left implicit here. The journey of deepening the understanding of what we read. That is the essence, not the invisible intenational game of playing faster, louder whilst not hitting the wrong keys. "Ezcellent".
1:05:02... history : )
Two impressions. When I listen to the performances given here I feel great inner joy, some kind of ecstasy and no word would ever be able to describe this wonderful joy. Now there are descriptions in many words about the technical frames which have been used by the composer. Why ? I ask myself. If I was an Indian, loving music, but not familiar with the Bach system of music with notes having a fixed structure would I ever understand these descriptions ? Similarly if I see an Odissy dance and get speechless about the unique elegance of movements which no western dance has ever aspired to reach and then hear how an Indian dance expert describes with many words how each movement of the body and the 36 different expressions of the face have to get related I get totally disturbed because my inner impression is far from any intellectual leveled understanding. What I want to say is that art presented in music or any other field is beyond any description in words. I can live without it although I had when a child specific Harmonielehre training. In its essence great Schiff teaches on how to improve our inner joy and for this I feel immensely grateful.
31:08
Haha, as somebody practice this piece as well, I agree with many of his interpretation.. although some parts I think it's personal taste and respect to the composor.. some are really about having an idea and stick to it.. and make every note part of the story... I felt like watched a whole movie with them. Hhh
Question from a music listener but not a performer:
Are Maestro Schiff's directions and advice any more "right" than those that another excellent pianist might offer?
Might not there be more than one equally valid interpretation?
Yes - the point of these masterclasses is to learn the thinking behind the way a great musician plays a piece. A good student will do their best to co-operate and learn and later will keep some bits they like and discard other advice.
Definitely. You go to teachers that you believe in or you don’t go to any if you don’t believe in any interpretation of anyone but your own. It’s very simple. We’re just watching this teacher and student class among many other classes
It takes a lot of insight and artistic maturity to forget that you rehearsed the piece 1500 times, and make a song out of it instead of a cascade of notes in muscle memory. Amazing to see how it started to become truly musical as they worked through it, whereas her first performance was more a string of notes. She's great technically but learning the notes is only half of it.
I don't get the othet half. I can rarely hear any difference, he is just talking and humming and nonsense to me. I don't understand
Did he actually(almost)crack a joke?!😁
Young students do not respect the metre; this is very common.
She doesn’t need him
She does not need a master class with Shiff. She’s fine on her own absolutely stunning performance forget about it, Shiff.
Masterclasses generally aren’t about ‘need’…obviously she’s already skilled and has her own ideas and interpretation.
I’ll just go ahead and assume, that like so many females of all ages and all stages, your (perpetual) problem is with men, masculine ways of expression and ideations about ‘the patriarchy’.
No one is putting Schiff on a ‘pedestal’, again, this is your self-serving ideation born out of your own negativity projected outwards.
Schiff has done nothing to you personally (that we’re aware of)…apart from existing.
how does Sacha Baron Cohen say it ? Wawaweehah ! If Andras Schiff succeeds to improve on Julia Hamos interpreting Schumann Fantaisie no. 17, I don't wanna hear it.
Pizzaland
Orban Viktor say hello András!
Wow...
Italia pizzaland, non fa ridere. Schiff poteva evitare questa orrenda battuta.
1:00:12 wrong note !
Her playing lacks breadth and sounds over excited at times.
I like Schiff. But not for Schumann. He should not talk about the Fantasie, so boring....listen to Horowitz at Carnegie Hall
Tired of the pedestal he’s on
Why does Schiff speak so monotonously, such contrast with his creativity and playing
She is talented enough to make Schumann sound like a good composer
The girl has heavy fingers, he called it too many fingers. It's music when he plays and noise when she plays. Schiff is incomparable.
Her playing is extremely rigid, rushed, choppy and harsh tone. There’s no music, maybe she’s very nervous..
can't help wondering how great of a pianist you are :-|
I am all for criticism but she is a student and the whole point is inspiring and enabling. She will get better…hope the same applies to your playing, if you actually play that is.