The deep basses in the beginning, the marvelously executed broken chords, the evolving dynamics, and then the delicate yet distinctive frasing between the different voices: waw!
The execution of the second section is one of the most serene I have found amongst the many performances of this pieces. There are also many tasteful voicing choices throughout. As for the third section, while not exactly to my taste I could certainly find someone liking it, especially with the way it churns out a tormented, frenetic race to the end. Overall a great interpretation in its own right. Nice work, Maestro!
Thank you for your response. The mid part requires that serenity, indeed. It was a rare moment from which I could keep focus on tranquility and the essence. When I performed it live for an audience, the tempo was faster, lacking that delicacy and dreamy polyphony. It was a very disappointing and sloppy performance. When I perform for an audience, I almost die on stage. Muscles get blocked, heart beat in overdrive, hands shake and sometimes I feel suicidal. I understand that the doppio movimento may not align with your personal taste, but tastes can evolve over time. I strongly believe that this interpretation is the most accurate and true to the piece. It conveys agitation, frustration, pain, and a longing for divine assistance. Unlike many pianists, I immerse myself fully when I record a piece. I select compositions that I have mastered to the point where they feel as if I had written them myself. However, there are numerous pieces and composers that I choose not to record. The Fourth Ballade is the only piece that I will include in every concert. You can listen to my recording of it here. It represents my greatest achievement and embodies the essence of my being.
Truely excellent!!! I've played this for over 50 years and always seeking * that perfect performance *. Outstanding, sounds like a Steinway if I'm not mistaken. I did this with Adele Marcus, famed Juilliard School teacher in Masterclass many years ago. Your interpretation / recording, I can say, the finest I have heard -
Hello Eddie, thanks so much for the appreciation for my passion. It is not Steinway but Yamaha CFX. I am now studying 4th Ballade in which I take the same "Sofronitskyesque" freedom and play how I exactly feel it. But first I will upload 2 smaller Chopin: Waltz op. 64 nr 2 and Etude op 10 nr 3 as I don't find any other interpretatuon satisfying. Besides that it is 150years Rachmaninoff and I will practice more obscure works. Did you listen to Elegie? Have a great day, greetings from Ghent, Belgium
@@michieldpiano j'ai beaucoup apprécié vos précédents enregistrements, en particulier la valse de Méphisto et la nocturne 48 N°1; mais attention, pour la 4è ballade, vous avez de redoutables concurrentes; il me faudra être émerveillé, sinon je serai critique (très relatif en tout cas, car j'apprécie toujours la diversité des interprétations, avec laquelle la fréquentation de You Tube m'a familiarisé) Tenez le coup et continuez votre magnifique travail, nonobstant vos problèmes de santé.
On Es Ban's posting of 18 performances of the last section of this Nocturne you commented that yours was the best performance. Quite a boast, I thought to myself, so I listened to your performance, and I have to agree with you. You follow Chopin's dynamic markings, your rubato is at times extreme yet always subtle, just as Chopin's is reported to have been, and your tone has the delicacy Chopin's contemporaries admired. I have been working on this piece for several years--I'm more comfortable in the German repertoire--and you have achieved most of what I aspire to. Now I'll have to listen to your 4th Ballade, another piece I have grappled with for years. One quibble: Chopin marks a cresc to ff at m. 72, and you dim. to a p. I would go with Chopin here, since the chord is such a surprise. But it's nice that you let us hear the G added to the last chord in the bass. (G is the first note in the melody--surely not an accident.) Such tiny details are the essence of Chopin's music, and we know he obsessed over every note he composed. Who are you? Where are you? Who did you study with? Why have I never heard of you?
Thank you so much for listening! I agree on your remarks (that doesn't happen often). It means you also understand the score. Strangely enough, I only looked at the score once, the rest I received through the spirit of Fryderyk. This Nocturne for me has the same amount of Sturm und Drang one can find in Schumann's music. Please consider listening to my rendition of Kreisleriana. Robert Schumann gave it to my soul when I was in psychiatry. I play this piece always different as I am not a programmed robot like most pianists of today. Sometimes my fortes are con tutta forzas and I shred tears and shout. Somehow I feel that I am too sensitive to perform. Fear and demons control my existence. I am bipolar and "autistic" blablablablabla and suicidal of course! My bio: Michiel Demarey was born in 1986 in Veurne. From a young age, at the age of five, he became fascinated with the piano after his kindergarten teacher introduced him to it. Although he was self-taught, he quickly learned to play pieces by ear. However, at the age of six, he was involved in a cycling accident, which left him unable to read or write sheet music for many years. Despite these challenges, Michiel continued his musical development. He underwent intensive music theory training at Kunsthumaniora in Ghent, where he built his skills in reading and writing musical notation. Later, he studied piano at the conservatory under the guidance of Vitaly Samoshko, who had won the first prize in the Queen Elisabeth Competition. Michiel also participated in various masterclasses, where he gained valuable insights from renowned masters such as Vitalij Margulis, Leon Fleisher, and Viktor Merzhanov. Over the years, Michiel has developed a distinctive and free playing style, reminiscent of pianists from the past. He has also developed a particular affinity for the art of improvisation. His interpretations are infused with emotion, showcasing his love for the Romantic period. Especially, his specialty lies in the works of Robert Schumann, Fryderyk Chopin, and Rachmaninoff, and this is clearly evident in his passionate performances. In addition to his focus on teaching and his solo career as a pianist, Michiel has also devoted his talents as an accompanist for various choirs. He is currently active as a pianist with the Gospel Choir "From Within," Wisper choir workshops, and the male choir "Singhet Scone." Although Michiel rarely gives concerts due to the stress and sensitivity he experiences, he nurtures the dream of moving a large audience with his music. On his UA-cam channel, recordings of pieces such as Schumann's "Kreisleriana" and Chopin's "4th Ballade" can be found. He hopes that his music can touch and inspire others, and continues to strive for new ways to share his artistic vision.
It is quite the opposite of mannered: it is pure non-cerebral emotion. Just like Chopin's, Liszt's, Clara Schumann's students, I take freedom in interpretting the score and in many pieces I improvise. Every piece I record I posess like I wrote it myself. Many lost the essence of music and think that the score is like a Thora roll with strict rules. Does who follow the score exactly are bad musicians.
The deep basses in the beginning, the marvelously executed broken chords, the evolving dynamics, and then the delicate yet distinctive frasing between the different voices: waw!
You truly draw the listener into your beautiful soundworld, a place of unique pianism and always leave us your listeners in awe!
Marvelously played...Nuance is your strong suit Michael. Cheers !
Thank you very much!
@@michieldpiano My pleasure Michael 👍
Thank you so much for fulfilling the request! It is beautiful
I have also recorded 4th Ballade
The execution of the second section is one of the most serene I have found amongst the many performances of this pieces. There are also many tasteful voicing choices throughout.
As for the third section, while not exactly to my taste I could certainly find someone liking it, especially with the way it churns out a tormented, frenetic race to the end.
Overall a great interpretation in its own right. Nice work, Maestro!
Thank you for your response. The mid part requires that serenity, indeed. It was a rare moment from which I could keep focus on tranquility and the essence. When I performed it live for an audience, the tempo was faster, lacking that delicacy and dreamy polyphony. It was a very disappointing and sloppy performance. When I perform for an audience, I almost die on stage. Muscles get blocked, heart beat in overdrive, hands shake and sometimes I feel suicidal.
I understand that the doppio movimento may not align with your personal taste, but tastes can evolve over time. I strongly believe that this interpretation is the most accurate and true to the piece. It conveys agitation, frustration, pain, and a longing for divine assistance.
Unlike many pianists, I immerse myself fully when I record a piece. I select compositions that I have mastered to the point where they feel as if I had written them myself. However, there are numerous pieces and composers that I choose not to record.
The Fourth Ballade is the only piece that I will include in every concert. You can listen to my recording of it here. It represents my greatest achievement and embodies the essence of my being.
Absolutely amazing! Thanks for being an inspiration!!!!
I am very touched by your words! Thank you.
Bravo! What an impressive performance 👏🏻👏🏻
Beautiful!
Niesamowicie piękne! Incredibly beautiful played
Wow!
I have recorded 4th ballade.
Bacibaci ✨️ caro Michiel, toccata nell'anima fin dalla prima nota! 😢
Truely excellent!!! I've played this for over 50 years and always seeking * that perfect performance *. Outstanding, sounds like a Steinway if I'm not mistaken. I did this with Adele Marcus, famed Juilliard School teacher in Masterclass many years ago. Your interpretation / recording, I can say, the finest I have heard -
Hello Eddie, thanks so much for the appreciation for my passion. It is not Steinway but Yamaha CFX.
I am now studying 4th Ballade in which I take the same "Sofronitskyesque" freedom and play how I exactly feel it. But first I will upload 2 smaller Chopin: Waltz op. 64 nr 2 and Etude op 10 nr 3 as I don't find any other interpretatuon satisfying. Besides that it is 150years Rachmaninoff and I will practice more obscure works. Did you listen to Elegie? Have a great day, greetings from Ghent, Belgium
@Eddie de Cazalet I've recorded 4th Ballade! Cheers
@@michieldpiano thks. Will listen
🐐
travail magnifique, à la fois empreint de douceur (nocturne) et de passion
@Philippe HAZAËL-MASSIEUX
J'ai enrégistré 4ième Ballade. Il est sur mon channel
@@michieldpiano j'ai beaucoup apprécié vos précédents enregistrements, en particulier la valse de Méphisto et la nocturne 48 N°1; mais attention, pour la 4è ballade, vous avez de redoutables concurrentes; il me faudra être émerveillé, sinon je serai critique (très relatif en tout cas, car j'apprécie toujours la diversité des interprétations, avec laquelle la fréquentation de You Tube m'a familiarisé)
Tenez le coup et continuez votre magnifique travail, nonobstant vos problèmes de santé.
Enchanting
Cudowna interpretacja…
Dziękuję. To mi poprawia dzień, bo nie mam się dobrze.
@@michieldpiano A mnie nastrój poprawia Twoja muzyka… Przepięknie grasz. Niezwykła wrażliwość… Dziękuję i z całego serca życzę Ci wszystkiego dobrego.
@@jacekpiotrowski607 Nagrałem też 4th Ballade. Może też chciałbyś to usłyszeć.
Verily, the greatest rendition ever, imho
thank you very much!
On Es Ban's posting of 18 performances of the last section of this Nocturne you commented that yours was the best performance. Quite a boast, I thought to myself, so I listened to your performance, and I have to agree with you. You follow Chopin's dynamic markings, your rubato is at times extreme yet always subtle, just as Chopin's is reported to have been, and your tone has the delicacy Chopin's contemporaries admired. I have been working on this piece for several years--I'm more comfortable in the German repertoire--and you have achieved most of what I aspire to. Now I'll have to listen to your 4th Ballade, another piece I have grappled with for years.
One quibble: Chopin marks a cresc to ff at m. 72, and you dim. to a p. I would go with Chopin here, since the chord is such a surprise. But it's nice that you let us hear the G added to the last chord in the bass. (G is the first note in the melody--surely not an accident.) Such tiny details are the essence of Chopin's music, and we know he obsessed over every note he composed.
Who are you? Where are you? Who did you study with? Why have I never heard of you?
Thank you so much for listening!
I agree on your remarks (that doesn't happen often). It means you also understand the score.
Strangely enough, I only looked at the score once, the rest I received through the spirit of Fryderyk.
This Nocturne for me has the same amount of Sturm und Drang one can find in Schumann's music.
Please consider listening to my rendition of Kreisleriana. Robert Schumann gave it to my soul when I was in psychiatry.
I play this piece always different as I am not a programmed robot like most pianists of today.
Sometimes my fortes are con tutta forzas and I shred tears and shout.
Somehow I feel that I am too sensitive to perform. Fear and demons control my existence.
I am bipolar and "autistic" blablablablabla and suicidal of course!
My bio:
Michiel Demarey was born in 1986 in Veurne. From a young age, at the age of five, he became fascinated with the piano after his kindergarten teacher introduced him to it. Although he was self-taught, he quickly learned to play pieces by ear. However, at the age of six, he was involved in a cycling accident, which left him unable to read or write sheet music for many years.
Despite these challenges, Michiel continued his musical development. He underwent intensive music theory training at Kunsthumaniora in Ghent, where he built his skills in reading and writing musical notation. Later, he studied piano at the conservatory under the guidance of Vitaly Samoshko, who had won the first prize in the Queen Elisabeth Competition. Michiel also participated in various masterclasses, where he gained valuable insights from renowned masters such as Vitalij Margulis, Leon Fleisher, and Viktor Merzhanov.
Over the years, Michiel has developed a distinctive and free playing style, reminiscent of pianists from the past. He has also developed a particular affinity for the art of improvisation. His interpretations are infused with emotion, showcasing his love for the Romantic period. Especially, his specialty lies in the works of Robert Schumann, Fryderyk Chopin, and Rachmaninoff, and this is clearly evident in his passionate performances.
In addition to his focus on teaching and his solo career as a pianist, Michiel has also devoted his talents as an accompanist for various choirs. He is currently active as a pianist with the Gospel Choir "From Within," Wisper choir workshops, and the male choir "Singhet Scone."
Although Michiel rarely gives concerts due to the stress and sensitivity he experiences, he nurtures the dream of moving a large audience with his music. On his UA-cam channel, recordings of pieces such as Schumann's "Kreisleriana" and Chopin's "4th Ballade" can be found. He hopes that his music can touch and inspire others, and continues to strive for new ways to share his artistic vision.
Nice
quand on s'est laissé tenter une fois, on y revient
Прекрасное исполнение!👏👏👏👏👏
mannered, swooning ritardandos even not written by Chopin
It is quite the opposite of mannered: it is pure non-cerebral emotion. Just like Chopin's, Liszt's, Clara Schumann's students, I take freedom in interpretting the score and in many pieces I improvise. Every piece I record I posess like I wrote it myself. Many lost the essence of music and think that the score is like a Thora roll with strict rules. Does who follow the score exactly are bad musicians.