i always played this with my right hand resting easily in my lap throughtout - and it tiik real disipline to learn to do that, but I think it is best for the performance.
I am a passionate pianist and I recently broke my hand. It completely killed me to learn that my recital will be in about a month. I had so many other pieces planned, and I thought that there was no way I could play in the recital.
You changed that for me. I WILL indeed play in my recital, and I will be playing this piece thanks to you. You have made my recovery a bit less miserable. Thank you.
@computerdborbo --- at this point in the cadenza you either hold on to something or wear a seatbelt on the piano bench. One would not want to end up in the front row of the audience face down!
There is so much tension on his fingers. I don't see complete relaxation. His phrasing is just not right. About his fist? Ridiculous. Sorry. I do not like it at all.
@toomuchmoretolearn --- I believe we have much to learn from you in this regard. Would you be so kind as to post your own performance of this work so that we may see what you mean precisely?
also, what is that fist supposed to mean around 2:30 :-) i would try to put the expression in the music there, not in the fist :-)
i also think the trill around 3:10 is too fast... especially since the cadenza part is played quite slowly... technically someone with one hand couldn't hold the piano during that section anyhow :-)
i love this piece although this performance i find a little mechanical. it sounds too careful... i'd rather hear a few more mistakes, but some more fire in the middle section.
this helps me realize something about this piece. this wasn't composed as a trick for the left hand at all. it was composed because the left hand was all that was needed. a very big difference, and makes it all the more beautiful to me.
Perhaps you could post video of how you would interpret the piece since I am not quite certain what you mean by "flow". I am sure that Tony would also be interested in a constructive video response. I have several audio recordings of Tony performing this piece, the fastest performance time was about 6'23" . IMHO many pianists rush through this piece: it is not an etude, but a Nocturne. Tony let's it breathe a little here.
wilbur: I have learned SO much from watching Antonio here! I have played this piece like a clumsy clod for about five years now and he taught me the correct way to play it. From playing the big bass octaves at just the right volume and tempo, to playing those shimmering high treble trills with the correct fingers to get the most even flow...he is absolutely amazing!
I am certain that Tony appreciates this. I have learned a lot from Tony through recording him and just hanging out with him. I am, however, a bad piano student and I should follow your lead. Best regards.
Sure, the performance is on the slow side, but I strongly agree with you about pianists rushing the piece. I wonder if part of this is a desire to make sure no one doubts their left-hand technique. I think this performance highlights the contemplative quality of a lot of Scriabin's early music, and the piece gains from that. It's more a case of letting the music have its say and less about "My God, did he really do all that with just his left hand?" Very nice performance. Flow? Whatever.
I agree that a nocturne shouldn't be rushed, but this tempo is a little too slow for my ear none the less. Also, the broken chord at :17, I believe loses its impression when all 3 keys are played broken, if you can't stretch it, I think you should play the A alone and the Gb and Db together, it conveys the message better that way, imho. Thanks for posting and giving me a chance to ponder.
Thank you for the intelligent observation. Tony can play an unbroken chord here as I've seen him do it and asked him about this. He just likes the chord broken. It's an interpretive thing.
i always played this with my right hand resting easily in my lap throughtout - and it tiik real disipline to learn to do that, but I think it is best for the performance.
theburb08 4 months ago
ah!!!
omgtkseth 4 months ago
I am a passionate pianist and I recently broke my hand. It completely killed me to learn that my recital will be in about a month. I had so many other pieces planned, and I thought that there was no way I could play in the recital.
You changed that for me. I WILL indeed play in my recital, and I will be playing this piece thanks to you. You have made my recovery a bit less miserable. Thank you.
thenumber1mags 1 year ago
i don't understand why most of pianists who play this piece, place their right hand on the piano when performing the part at 2:46
computerdborbo 1 year ago
@computerdborbo --- at this point in the cadenza you either hold on to something or wear a seatbelt on the piano bench. One would not want to end up in the front row of the audience face down!
wilbur1960 1 year ago
Definitely the best rendition I've heard.
xxxxcensoredxxx 1 year ago 2
I have to say of all the Scriabin Nocturnes on the Tube, this is my favorite version!!
Bravo Iturrioz!
morrisonillini 2 years ago
There is so much tension on his fingers. I don't see complete relaxation. His phrasing is just not right. About his fist? Ridiculous. Sorry. I do not like it at all.
toomuchmoretolearn 2 years ago
@toomuchmoretolearn --- I believe we have much to learn from you in this regard. Would you be so kind as to post your own performance of this work so that we may see what you mean precisely?
wilbur1960 1 year ago
also, what is that fist supposed to mean around 2:30 :-) i would try to put the expression in the music there, not in the fist :-)
i also think the trill around 3:10 is too fast... especially since the cadenza part is played quite slowly... technically someone with one hand couldn't hold the piano during that section anyhow :-)
jbweimar 3 years ago
i love this piece although this performance i find a little mechanical. it sounds too careful... i'd rather hear a few more mistakes, but some more fire in the middle section.
jbweimar 3 years ago
this helps me realize something about this piece. this wasn't composed as a trick for the left hand at all. it was composed because the left hand was all that was needed. a very big difference, and makes it all the more beautiful to me.
harvardkarbodie 3 years ago
Amazing! Thank you for posting this.
judesim 3 years ago
beautiful, and so is this guy.
squirrelbobby 4 years ago
Magnificent tempo and tonal control which opens the depth and artistic width of the music.
jpstenino 4 years ago
A bit to slow, but yet still nice
syrokal 4 years ago
I agree. It's too slow; it needs to flow a bit more.
jwang32 4 years ago 2
Perhaps you could post video of how you would interpret the piece since I am not quite certain what you mean by "flow". I am sure that Tony would also be interested in a constructive video response. I have several audio recordings of Tony performing this piece, the fastest performance time was about 6'23" . IMHO many pianists rush through this piece: it is not an etude, but a Nocturne. Tony let's it breathe a little here.
wilbur1960 4 years ago
wilbur: I have learned SO much from watching Antonio here! I have played this piece like a clumsy clod for about five years now and he taught me the correct way to play it. From playing the big bass octaves at just the right volume and tempo, to playing those shimmering high treble trills with the correct fingers to get the most even flow...he is absolutely amazing!
jjp009 4 years ago
I am certain that Tony appreciates this. I have learned a lot from Tony through recording him and just hanging out with him. I am, however, a bad piano student and I should follow your lead. Best regards.
wilbur1960 4 years ago
Sure, the performance is on the slow side, but I strongly agree with you about pianists rushing the piece. I wonder if part of this is a desire to make sure no one doubts their left-hand technique. I think this performance highlights the contemplative quality of a lot of Scriabin's early music, and the piece gains from that. It's more a case of letting the music have its say and less about "My God, did he really do all that with just his left hand?" Very nice performance. Flow? Whatever.
jurmu11 3 years ago
I agree that a nocturne shouldn't be rushed, but this tempo is a little too slow for my ear none the less. Also, the broken chord at :17, I believe loses its impression when all 3 keys are played broken, if you can't stretch it, I think you should play the A alone and the Gb and Db together, it conveys the message better that way, imho. Thanks for posting and giving me a chance to ponder.
SalQrazy 3 years ago
Thank you for the intelligent observation. Tony can play an unbroken chord here as I've seen him do it and asked him about this. He just likes the chord broken. It's an interpretive thing.
wilbur1960 3 years ago
/watch?v=M9A37Y6U3HI
this one's my favorite version of this piece.
morendo23 3 years ago