![Luis Kolodin](/img/default-banner.jpg)
- Видео 532
- Просмотров 256 685
Luis Kolodin
Бразилия
Добавлен 31 май 2012
20th century removed the sex appeal of classical music due to standardization of performance-style, repertoire, clothes and even piano colors.
I research historically oriented performance, old-school piano playing styles and non-standard repertory.
Are you ready for a mind-boggling musical experience? Let me show you that... PIANO IS SEXY!
I research historically oriented performance, old-school piano playing styles and non-standard repertory.
Are you ready for a mind-boggling musical experience? Let me show you that... PIANO IS SEXY!
Tchaikovsky - 2 Pieces, Op.10
1. Nocturne (0:00)
2. Humoresque (4:15)
On a 1917 Steinway Stretch-A A3
To be continued:
tinyurl.com/379vxb42
2. Humoresque (4:15)
On a 1917 Steinway Stretch-A A3
To be continued:
tinyurl.com/379vxb42
Просмотров: 12
Видео
Ary Barroso - Canta Maria
Просмотров 212 часа назад
On a 1917 Steinway Stretch-A A3 To be continued: tinyurl.com/379vxb42
William Gillock - Dancing in a Dream
Просмотров 334 часа назад
On a 1917 Steinway Stretch-A A3 To be continued: tinyurl.com/379vxb42
Tchaikovsky - Valse-Scherzo, TH 146
Просмотров 407 часов назад
On a 1917 Steinway Stretch-A A3 To be continued: tinyurl.com/379vxb42
Liszt - Carrousel de Madame Pelet-Narbonne, S.214a
Просмотров 449 часов назад
On a 1917 Steinway Stretch-A A3 To be continued: tinyurl.com/379vxb42
Tchaikovsky - Romance, Op.5
Просмотров 5314 часов назад
On a 1917 Steinway Stretch-A A3 To be continued: tinyurl.com/379vxb42
William Gillock - Deserted Plantation
Просмотров 2216 часов назад
On a 1917 Steinway Stretch-A A3 To be continued: tinyurl.com/379vxb42
Ary Barroso - Foi ela!
Просмотров 3319 часов назад
On a 1917 Steinway Stretch-A A3 To be continued: tinyurl.com/379vxb42
William Gillock - Fountain in the Rain
Просмотров 1821 час назад
On a 1917 Steinway Stretch-A A3 To be continued: tinyurl.com/379vxb42
Bach-Rachmaninov - Gavotte en Rondeau
Просмотров 4914 дней назад
Bach-Rachmaninov - Gavotte en Rondeau
William Gillock - Happy Birthday to You
Просмотров 16914 дней назад
William Gillock - Happy Birthday to You
William Gillock - Journey in the Night
Просмотров 3421 день назад
William Gillock - Journey in the Night
William Gillock - New Orleans Nightfall
Просмотров 3028 дней назад
William Gillock - New Orleans Nightfall
That sweater defeats the purpose of sweaters
😂
👏👏🙂↕️
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Ive played Elusive phantom as a child☺️😃
That's great! I love Maykapar. Soon I'll prepare a children cycle of him.
Beautiful. Tchaikovsky is one of my favourite composers
He's great! Im preparing Romance Op.5 right now
So beautiful !!❤
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👏👏👏😎
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🎉🎉🎉👏👏
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That's beautiful.
Bravo Maestro!
Maravilhoso
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O João "adorou" essa música 😊
🤭
It seems to me, Mr. Kolodin, that you are not quite right! The piano is not sexy, it is VERY sexy, its sound leads to a moment of abrupt completion of psycho-emotional arousal
Hehe I thought you were a Brazilian pretending to be foreigner... Sérgio is quite a common name in Brazil. That's why I said "Sérgio??? 🤔" It seemed suspicious. Hehe
@@LuisKolodin No, no, dear! I live very far from Brazil. I have friends living in Sao Paulo, but I can't fly to them. They invite me all the time, and I am a shameless person..., I just promise.
@@LuisKolodin Good luck! It's night for you and you need to rest! Good night, dear!
Such a nice song and performance! 💯
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Amazing pianist you are....very difficult piece...
Thank you. But this is one of the easiest ones of classical music, in fact. It's quite comfortable for the hands and there are hundreds of much harder ones.
👏👏👏👏
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Thanks for sharing
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Very elegant, and with (again) a more viennese accentuation, but the frivolous and charming french mood is always evident... bravissimo Luis, beautiful performance!
Very "silly" (frivolous) waltz, isn't it? Even more than the first one. Hehe
@@LuisKolodintypical expression of an epoch... probably more inclined to humor, happiness, and also to brilliant and " mondain" feelings... I think that the brilliance of the Waltzes and in general of so many salon-like Pieces after 1850 could be the result of the prolonged tendency and even of the need of light feelings that in classicism had found their realization into the scherzos and the last movements of the piano Sonatas... Romanticism has brought such an importance only to very dramatic, or poetic, or troubled feelings...so, the brilliant feelings have searched their way into the musical forms across important and light Repertoires....
@alessandropelizzoli6613 I guess a waltz NEEDS to be superficial music. It's part of the style. The more complex waltz I'm aware is Chopin's Op.69 slow waltz, with lots of chromatism, a very audacious harmony for a waltz. Too "serious". Then there are the parodies made by Ravel. And it comes to my mind the highly modern approach of Francisco Mignone's Valsas de Esquina. Those were street music (corner waltzes, played at the corner OF the street) but with daring harmonies and virtuoso modern piano writings (sometimes harmonies can ressemble Schoenberg, in specific passages, though the musical content is very popular). I guess the most modern Valsa de Esquina is the last one, which unfortunately I didn't study yet. You completely loose the reference of measures and beats in that sumptuous piano writing. But besides those, waltz needs to be simple and superficial.
@@LuisKolodinare you sure that superficial things are really so superficial? Nothing Is more useful than...superficiality ( to quote in my own words Oscar Wilde...). And i have to disagree about the Need to be superficial as a feature of the Waltz...there are so many important Waltzes with a Deep and particular meaning ( Chopin Op 34 n 2, Tchaikowski Valse Sentimentale, Sibelius Valse Triste etc....).
@alessandropelizzoli6613 SAD/SLOW waltzes. And they can't barely be danced as waltzes, they are stylized. No judgement. Would superficiality be bad at all? Just a matter of taste. Pop music is usually very "superficial". I like complexity and structural developments (as a kid, I avoided Durand 1st waltz in my book because it seemed too simple hehe) but sometimes people just want to cheer with pleasant music.
Here we are not so distant from the various similar Pieces by Chaminade ( Pierrette, Air de Ballet, and others...), always playing with the idea of a sort of re-creation of the post- Baroque and Rococò ideals, but in a very linear and polished way... Interesting piece, and very good performance, bravo Luis.
Chaminade is way more creative regarding themes and piano writing, though. As I told you, last year I became ADDICTED to recording her. Hehe I simply couldn't stop. Hehe
@@LuisKolodinoh yes, a bit more creative...but i think that her creative potential was only expressed through a certain inventiveness in harmonization, while here with Durand we are a bit less advanced in history and so the style is obviously more " classic" and less adventurous in Harmony... You know, i' m not a Great fan of Chaminade, but i think that some Pieces by this Composer remains good, as the Toccata and the Etudes de Concert ( especially the renowed Automne and Fileuse...). Also la Lisonjera Is a pleasant work. The rest of her production is quite trivial ( horrible, to me, the Lolita, and some other Pieces that now i don't remember....)
Yes, I know. I found her etudes (and also the real waltzes) extremely non proportional regarding technical difficulty x musical content. 🤣 Too ungrateful. So I didn't even try them. 👀
Bravo...👏
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Nice ! 🎉
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Intense and profound, as a pray should be, very essential in its structure, and so in its contrapuntal writing, but interesting in Harmony and in its emotional content. Beautiful performance bravo Luis!
This song is for mezzo soprano with piano accompaniment. It has no transcription for piano solo. I played both parts and tried to differentiate them though timbres/attack/dynamics. I guess it worked, since it seemed to you it was contrapuntual. Hehe (contrapuntual, but different instruments)
@@LuisKolodincontrapuntal in the ancient meaning of " punctum contra punctum", referring to the movement among the Melody and the bass ( not singing or thematic bass line, so...contrapuntal in a very archaic and " Easy" way)....
Onde vc aprendeu essa técnica maravilhosa?
Fiz conservatório e tive aulas com Amilcar Zani depois. E ele, por sua vez, com Conrad Hansen.
Muito lindo 😍
Maravilhoso seu trabalho! Parabéns!! Você é de onde? Prazer em conhecer!!
São Paulo
Muito bem! Grande estilo!
😎
A very gracious Chaconne, conceived as a simple pseudo- imitation of the " leger" baroque style, as practised in the Salons, as Chaminade did, and not a real and strict construction in polyphonic style...a pleasant piece, very well performed, bravo Luis, thanks for the discovery!
This is not a chaconne (variations after a theme, or bass sequence). Do you have any idea why Chaminade and Durand did like that? Chaminade Sonate is not a sonate either. The only thing is that it reminds a baroque style. Was that common practice at that time, maybe? Later I realized Debussy Passepied is not a passepied too. Passepied is not 4/4.
@@LuisKolodinexact. As i noticed in my comment this was a quite common way to approach Baroque imitation but revisited into fin de siecle Salon style... Some critics tended to see in this trend (practised by Chaminade, First Debussy, but mainly a great Number of other composers of that epoch and inclined to Salon-like ways, but also for example by the Grieg of his Holberg-Suite...) a sort of anticipation of the real and more accomplished (but also original) way to approach the antique style used by the First "Modernistic" Composers ( like Casella, Respighi, and then Ravel, and also the many others from the decades 1920-'40. History had its ways to introduce new ( and ancient) things....
Have not heard that in a very long time. Thanks for playing it.
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Quite virtuosic, and surely french at its best (even if the rhytmic accents, the phrasing,at the beginning are closer to viennese models), this "divertissante" Valse Is full of changeable Spirit, very Rich from the expressive point of wiew. Bravo Luis, very good performance, thanks!
Thank you. I guess I ll stick with his First three waltzes, then some other salon pieces. And all the other cycles I need to finish (Gillock, Arthur Lourié, Schoenberg, Miguez, Lorenzo Fernandez, Kjerulf, Ary Barroso, Tia Amélia... 😬)
The most and (probably) only known and regularly performed Composition by A.Durand.... a pleasant Valse, really quite " classical" and clear in its sonority and allure....One of the favourite by the young and very young "virtuosos", bravo Luis, fascinating performance! Do you have in mind to play all the others Valses by Durand?
Yes! At first I only wanted this one, because it reminds Gillock Waltz Etude and Holiday in Paris. It was in my first book of piano pieces as a child though it always seemed to me as a minor piece. Hehe But then I checked on IMSLP and Durand was a salon composer. So I 'll do a small cycle of him. Maybe not all 6 valses, because some of them seems boring. Maybe only the better ones. Sure there will be no.2 and another one. But I can change my mind.
This nostalgic Little piece seems a derivation, a variation of some melodic cells from the Valse- Etude....interesting! Bravo Luis, sensitive performance!
Exactly! Slow waltz Etude 🤣 but this stands out as a really catchy piece.
Nice performance ! Thank you so much for sharing !
Im glad you enjoyed it 🤗
Not only a Sonatina conceived in absolutely classical style but... I have to say that It sounds closer to strictly fortepiano' s world and language: this Sonatina could have been written by a Dussek or Haydn, or even young Beethoven, but not by Mozart. Here and there some rustic elements and also some ironic and piquant tendencies in the sound general conception more properly linked to that musical world, and not to the stylish elegance of Mozart... This seems a Little cousin of the Op 79 by Beethoven... Bravo Luis, excellent and idiomatic performance, full of the right taste!
I studied historically informed performances... "Taste" is a very common word in those treatises, a word I often fear haha In the Pandemy I was reading Roseblum book and I came across she saying Dussek has a dense writing just like Beethoven. Then I recorded a sonatina by him, but I could never find a work in a thicker piano writing the way she suggests. Do you recommend something?
@@LuisKolodinin this precise moment i don't have in mind the correct opus numbers but as i can remember the mature Sonatas by Dussek have that quite dense and thick style ( a Better Word, instead of taste, ah ah, i understand what you mean) in the structured Harmony and polyphonic writing that brings them close to a certain way to conceive the sound of the piano as Beethoven had....
@alessandropelizzoli6613 that's great, I'll check those I didn't want to be philosophical about taste. I really appreciate your review and sure we share some common taste, since we dislike the same pianists (crazy woman and so on hehe) In old treatises in Baroque period they usually we the expression "good taste", but that's totally subjective. Otherwise the crazy woman wouldn't have so many fans, right? However you can use this expression with me, no problem. Hehe I didn't want to be picky, I was just remembering those treatises... I'm very happy my interpretation can match the right taste for someone.
@@LuisKolodinoh yeah, don't think about It, i had understood and moreover i completely agree, because " good taste" Is something changing through the centuries, and across the Styles developed by the various Composers... Every case, you know...the Crazy female Pianist was admired and depicted in music by the Great Alkan....so She used to have Great Fans! Ah ah ah pardon me, obviously i' m joking.... P.s. we share the "taste" not only about her, but also for many french ( and of derived from french School) pianists: the Tagliaferro, and many others, the love for the french musicality....and then the love for Chopin and Liszt!
@@alessandropelizzoli6613there's something I need to tell you. When I first heard about Tagliaferro, I was at the conservatory, in my teens. My teacher would teach me Tagliaferro piano school technique. That was TERRIBLE! Tagliaferro didn't know how to teach piano 😂 there are documentaries on RUclips that she confirms this herself. 😂 The moviments she recommends make NO SENSE AT ALL. I would do her gymnastics daily (there's a vídeo of her doing these gymnastics she invented for piano. She was in her 90s preparing for a recital). I would listen to her performances only much later. They were amazing. I analyzed how controlled her tempi were, yet her way of playing was very much alive, no fear of being sharp and aggressive when needed. She was totally against fast playing per se. (She was against piano competitions too). Her technique didn't work for me. Not even for my cousin (an amateur dentist who plays marvelously) not for my future teacher who studied with her directly. My teacher then went to Germany and had classes with Conrad Hansen (there are a dew recordings of Hansen... One of them is Beethoven 4th with Furtwangler). That technique worked great. It was very comfortable and natural, based in synchronizing music tension/relaxation with body owns natural tension/relaxation movements. Despite some divergence in playing styles... Because I myself consider the German style too restricted. I like contrasts, dynamics, rubatos... Hehe
Muito agradável esse ritmo 😊
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Interesting work, very well structured despite the short length of the movements... It Is a quite manneristic Composition to my ears, the First movement recalling vaguely the style of Prokofiev, the second One a bit of french modern School, the final a touch of Kabalewski....but It Is pleasant as a whole, and It Works well even as a non-didactic piece, bravo Luis, refined interpretation in every detail!
I'd glad you enjoyed it! Sure it sounds French, and I hadn't linked the tonal liberty with Prokofiev, but you're right! It's modern beyond pedagogical intentions, for sure. This is his most interesting sonatina, in my opinion.
❤
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Excellent!!😊
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Very gracious, and with a good and idiomatic writing for the piano, very useful as an introduction to some typical structures of various Romantic studies of the great Chopin and Liszt... Bravo Luis, beautiful and expressive performance, thanks!
Yeah! I'd say mainly Liszt, for the crossing hands arpeggios.
@@LuisKolodina Little touch of "Un Sospiro"
@alessandropelizzoli6613 exactly! But I can't remember large and fast apeggios in Chopin's works, while they are less rare in Liszt's.
@alessandropelizzoli6613 interesting enough, It's not a common feature in Alkan works neither. The only exception is first piece from first Recueil des Chants.
@@LuisKolodinused with another musical purpose ( independance of the 5th finger, and flexibility of the hand, with also the capability to create an harmonious sonority...) but there are also in Chopin, without the divisions between the hands, but also with large extentions ( Op 25 n 1)
One of the most played pieces by Gillock....especially by young students trying to impress their listeners! But it is right, because of the beauty of this piece in itself, and for a certain allure, typical of little virtuosity for new aspirant virtuosos.... A tenderly romantic waltz, suspended between lyrical and whirling tendencies, a touch of countryside brought into the noisy cities....bravo Luis, personal interpretation, and a pleasant choice, among the short gems by Gillock!
Really? Gillock was totally new to me. Never heard it before 2024.
@@LuisKolodinyes, if you search for this piece on the web, on YT, you Will find so many videos with this Little gem played by very young pianists....
내가 치고싶었던 곡이네요 고마워요...
🤗
A companion piece of the " Alt-Wien" by Godowsky...only on a smaller scope, with a very intimate atmosphere....bravo Luis, fascinating little thing.
It should be Etude in form of Waltz today, but I asked for pizza and had little time left! Tomorrow then 😎
@@LuisKolodinah ah ah, not the Saint-Saens Etude ( en Forme de Valse...) i think...in fact, in that case, it could take a very long time...but, who knows? You' re a virtuoso, of your special league, but...a virtuoso....Saint-Saens could be ready in a while!
@alessandropelizzoli6613 I play the Saint-Saëns one. I recorded it 15 years ago on my Grotrian. It is in my other channel... You may search for "Felipe sarro etude waltz" or luis sarro. I intend to re-record it on my grand piano as soon I have more free time. And maybe a little Saint-Saëns cycle (valse chalant, souvenir d'ismalia which sounds like Coldplay clocks... Hehe Le Cygne has been done already)
@@LuisKolodintres bien! Alors tu es oblige' a le etudier de nouveau ( une petite reprise, seulement...)...et a nous proposer le meme de toute facon! Bravo Luis!
@alessandropelizzoli6613 ah ouais
Because of the particular historical position of Gillock this melancholic Waltz seems not to be a real French "Valse Triste", coming up from the Belle Epoque, but a strange link between That Type and the filmic romantic style used in the '70 and ' 80 of the ' 900 in making soundtracks for long motion pictures, and not necessarily of historical reconstruction... A blend, in few words, between his modern new-romantic style ( as Gillock has invented himself, a sort of neo-romantic inclined to some "pop" procedures, derived from contemporaries ballads) and real intention to imitate an historical genre ( of sad Waltzes It was plenty the period across late ' 800 and the first decades of 1900). Interesting and pleasant, very good and stylish performance, bravo Luis.
I didn't know Valse Triste was a genre itself. The only one I know of is by Henrique Oswald. To me it was equivalent to a "slow waltz". Maybe Luiz Levy may have written some too. (At that time, France was the center of the world, so everyone would immitate French style, arts and culture)
@@LuisKolodinoh yes, It Is possible, about Levy, and It' s true about France.... Moreover we have to Say that many Composers of south - American origins and culture are quite good " imitators" of many aspects of French pianism ( as i've been able to notice listening to the Composers you' ve proposed in your Channel!)
99% of my favorite pianists (including Brazilian ones) are from the Cortot lineage from Paris. But regarding composers, I think most of the most famous ones are late romantic. That was the period where everything cultural was happening in France. Brazilian elite would send their children to study in France, due to lack of Brazilian instituions. I don't think this is true for the late 20th century and nowadays. Today focus is on USA (Boston, Julliard School, so on)
For example... Even Portuguese language tried to imitate French at that time. Not Brazilian Portuguese, but European portuguese has French R and lots of extreme contractions. We do have a little French R in Brazilian Portuguese though.
@@LuisKolodinfascinating things!
Is this in the same key as Reflets dans l'eau? The opening sounds similar
I never played "Reflets..." but I just checked and yes it is. Db major
@LuisKolodin I had a feeling!! Thanks!! That's one of my favourite compositions. Nice job on this one with voicing and dynamics
Thank you! I do intend to study Reflets... some day. But I have went with early Debussy, Pour le Piano and Mouvement so far.
@@LuisKolodin mouvement is fantastic!!! Hope to hear your performance.
@Bigblackpiano you know... It strikes me... It sounds so much like Villa-Lobos. Really! Hehe
Hey there! Just wanted to give you a heads-up that I sent you an important message. Please take a moment to check your messenger inbox, message requests, or spam folder. Thank you! 🙂
Yes, impressionistic tendencies, some similarities with the watery writing by Debussy and Ravel, and also some vaguely oriental nuances, so it all sound very captivating and surely rich in magic sensations....excellent performance, bravo Luis, thanks!
Im glad you enjoyed it 😎
Very interesting and also somehow sophisticated Nocturne, with qualities we could define as impressionistic and surely not of chopinesque derivation.... Excellent and sensitive performance, bravo Luis!
Sure. His Goldfish is even more impressionistic, btw. A tiny "Une barque sur l'océan" 🤣
@@LuisKolodini Will listen with pleasure!
Profound and simple Hommage at the same time, capturing some of the typical " melancholy" historically linked to Chopin ( even if It Is a bit generic thing...) but also some of the distinctive features of the Polish Master.... It Is quite interesting, at least for me, that so many times the Composers intentioned to write an " Hommage to Chopin", have chosen the form of the mazurka or the Waltz triple-time...It Is interesting because, in the general attitude of public and critics, Waltzes and Mazurkas by Chopin are quite neglected or ( even worse ...) considered as minor and unimportant genres... But all Composers choose Them. Bravo Luis, very good and expressive performance.
Hey, welcome back I've been quite impressed by Gillock's work. Some simple yet incredibly effective and creative music. Btw... When I was a teen, I remember listening to Nepomuceno Op.13 waltz for the first time... I was impressed at how Chopin alike it sounded. Quite contrary to Galhofeira, the last piece in Brazilian genre maxixe. Hehe
Btw... Chopin waltzes are pretty much conventional, despite some extraordinary ideas like the first grande valse brillante. But his mazurkas are complex and modern. Some passages are not tonal any more.
@@LuisKolodini obviously find the Mazurkas some of the highest music composed by Chopin, but, in my opinion Waltzes are not conventional at all, the perception of their hypotetic conventions in writing is due to an historical perspective: before the Chopin's Waltzes the French Waltz didn't exist, and the great Waltzes composed before Chopin's Revolution in this genre are the intimate works by Schubert or the beautiful ( but teutonic in his Bones) Invitation a la Valse by Weber... Chopin clearly invented the french Waltzes, piquantly written with so much colours and at the same time perfectly refined sense of Style... Then came along the amount of late- romantic imitators of Chopin, trying to reproduce the graceful and feminine allure of Waltzes as Op 34 n 1 or 3, the brilliance of Op 42, the poetry of Op 34 n 2 or the Op 64 cycle and so on... And this creates such a misunderstanding... Fauré, Saint-Saens, Dvorak, Grieg, Balakirev, all imitators of Chopin style in Waltzes, imitators of such a Great level ( and also, fortunately, of a certain good creativity) to give the sensation that those features ( created by Chopin) were common, or generally used by the other salon composers of Chopin's Era ( Goria, Prudent, Heller etc...). It was not so.
Indeed his waltzes (though conventional in harmony and form, I mean) are truly unique. They have a clear transparent chopinesque sound. No one ever wrote this way afterwards. (Nepomuceno came close... Hehe)
@@LuisKolodinChopin' s harmonic style was not conventional in every field of his output, not conventional in comparison to his contemporaries ( the harmonic outburst in Op 42, or the Extreme and continous changes in Op 64 n 3 prove this). Every case, i' ve listened to Nepomuceno Waltz Op 13, and i' ve found it a good work, with some hints at Chopin's Style but... I think his Waltz Is again closer to Grieg Style ( as we can find It in works as Op 1 or Humoresques Op 6) ... I esteem that the best derivations of Chopin's Style, generally speaking, in piano writing are those of Fauré ( very interesting and complex in his Waltzes) and all the First period of Scriabin. These two Authors are the highest tribute to Chopin's Art in piano Writing, even more ( but i think It Is obvious!) than Debussy ( apart from his Great Etudes in Chopin's Memory).
Nice piece ! Really a good work !🎉
Im glad you enjoyed it 🤗 when I read, it felt like I knew it from somewhere...
No sé, qué pensar de esto... Suena bien.. Muy bien.. Peto la escena, deja mucho que desear..
So don't think 🤷
this is definitely fine and i loved the second suite as well.
I need to finish 3rs suite soon. But I m feeling lazy about a problematic double note passage 🤣
@@LuisKolodin 🤓
did you see this Godowsky transcription. From a live resital in New York, 1975: ruclips.net/video/DpKeM_3Ck9A/видео.htmlfeature=shared
did you see this: ruclips.net/video/DpKeM_3Ck9A/видео.htmlfeature=shared a live performance from her New York recital in 1975. Too many great details and nuances. Loved it and wanted to share with you.