Richard Kastle Hungarian Rhapsody No. 2 Liszt Streetwise Recording

[profdezik]

I am discovering this pianist . Great even if I dont agree with the interpretation .... Maybe i am jealous, I am a pianist too ..... so...... He is great

[binkymagnus]

The Jimmy McNulty of pianism, perhaps?

[caskett7lu]

really amazing:x

[difluorethane]

lovely ending!!!

[lacrymosa85]

have my babies richard kastle

[zitadelle2012]

I like it

[MasterMorty]

you mean, you are the manager? or you know the manager?

[L4RSLink]

Best ending evah!!!!!

Respect.

[mikecaffey]

@L4RSLink The ending is a classic test of virtuoso skill.

[jangartack]

Weird.

[costellopianist]

that's nice information, no wonder he was lucky so he played on franz's piano:D, wat i meant is that all liszt's pieces are played in 2 defferent ways (in general) by all pianists, if u wanna know for example "la campanella" some poeple played it with full pedal tuned while other editions have it approximatly with no pedal...maybe wat u meant bout devil in his piano was bout the intense and strong sound with the big chords and by the way this is the best ending i've heard (including rach's)

[OrangeSodaKing]

I'm just curious: what's the fastest that those descending octaves can be played before the failure rate becomes 100%?

[Laudan08]

@OrangeSodaKing Look at Hamelin's version.

[Gutelimpa]

His friska is very good, only thing I dislike is the beginning, and he goes a little slower at some spots.

Still, one of the best friskas I've heard.

[phantom4087]

Pachmann could play a phrase with such delicate beauty and attention to detail that no pianist will ever again possess. Obviously, your definition of passion is quite different from mine own.

[Manx123]

Ad hominem attacks ≠ Convincing argument

[gogoshkakinkladze]

Gentlemen stop clucking like old hens!!! Richard keep playing BRAVA!!

[addeex1]

So you think a piece is better if it´s hard? :S

[mattpgrein]

2:42-3:05. inhuman. wtf. i can listen to this all day. but you guys still suck.

[ikkejick]

just amazing. Copac85, I'm waiting to hear your version.

[addeex1]

Haha yeah xD I´m really getting tired of him^^

[mattpgrein]

Give up the argument. The music makes it for you.

[copac85]

LISZTS HARDEST NOTES LIVE

VLADIMIR HOROWITZ -In this house of mirrors, Horowitz confuses listeners by increasing the difficulty on passages that arent that hard, but he simplified the descending octaves. 8:29

DENNIS MATSUEV -No illusions. Missing notes in octaves #9-#16. From #33 to #53 there is a chain reaction of wrong notes 9:00

MAKSIM MRVICA -After missing hundreds of notes, he plays the last page slowly, misses octaves #9 and #10. At #29, he starts missing one after another. 9:19

[copac85]

DESCENDING OCTAVES CONTINUED

MARC HAMELIN -Simplified -not hammered. He loses control of the rhythm between #33 and #57 after he bumps #33. Ends on wrong beat, didnt finish off all the notes in the phrase 11:43

LANG LANG -Plays version with simplified ending

GYORGES CZIFFRA -Missing notes, leaving notes out, finishes on wrong beat. 8:30

IGNACE PADEREWSKI -Plays slow, faking with hands together, missing notes all the way down.9:33

EARL WILD -Misses almost all of them from #33 to #57 9:15.

[copac85]

LIVE VERSIONS OF THE DESCENDING OCTAVES

ADAM GYORGY -Plays it as written. At #29 he starts a chain reaction of about 27 missed octaves or about 50 wrong notes. 4:09

ALICE SARA OTT -She changes speeds, playing the hard part slower. Domino effect of wrong notes starts at #33. She leaves notes out skipping ahead to #53 for easy ending. 9:18

DIMITRIS SGOUROS -The trouble starts octave #9, he continues missing through #57.

RICHARD KASTLE -Misses #9. The rest is perfect. Streetwise post :12

[brain1012]

I still think a mistake isn't necessarily missing any set of notes, nor simplifying any passages of songs, nor even losing rhythm.

A mistake is in the philosophy of your music, and even then, it's very subjective.

I can tell you ABSOLUTELY, though, that putting as much emphasis on accuracy of notes as you possibly can in a song is NOT the way to think of music. It shows that you lack the attention of musicality towards the piece.

Shouldn't music grow and live, rather than stay the same?

[copac85]

Anyone can miss a note. The others that are not faking lose control and miss about 50 notes in a row. They are clearly not qualified to play this piece.

The other pianists are clearly trained to fire out the same signals over and over. They can't create custom made signals and send them out when necessary. That's why threy can't play this. Kastle's website explains situation that created these poorly trained pianists and points to evidence of their chronic failure.

[twooffour]

I thought it'd be cool if you answered my other inquiries, too (about the form, other composers etc.), but, oh well.

But hey, thanks for the tip.

Although, pretty much the first time I sat down to try realizing some of my compositional ideas, I began with outlines, subsequently going more and more into detail (and it paid out) - it's something you always tend to forget.

When hitting a "wall", I find it also important to stop writing and look inside the mind, rather than...

[twooffour]

... just trying different variants in case some might sound good.

The problem - PATIENCE. Frustration. Same problems with practice, actually - can't just accept that some transition or movement needs a while of conscious practice to get into your motoric memory, no, you want it NOW.

So, thanks for reminding!

However, this is just an amateur mouthing off about things without too much serious experience, so maybe you'd like to go back to my other questions instead? :)

[twooffour]

"The creative challenge of developing a memory prediction framework that processes thousands of times more info than is in the score."

Hm, sure centuries ago when it wasn't yet "removed from the curriculum", no one was talking about "memory prediction frameworks" processing information like a mixing soundboard?

So it's the process of calculating/polishing a structure with the destination, result and all variables inside your mind?

As opposed to the other extreme, i.e. just writing down...

[twooffour]

... as you go along, mostly for "lack of better ideas"?

K. I just don't get why it has to be for an orchestra and be in the "sonata allegro form"?

What about 4 part fugues, for piano only? :)

Also, how does writing a symphony/sonata in allegro/rondo/whatever form require a "walking mixing soundboard" to compose?

Why can't a symphony be composed in the "usual" way, i.e. studying the form and working on the score? Just asking.

[twooffour]

It sounds VERY exciting, and missing one note shouldn't be counted as a failure by Kastle's standards :)

But maybe he seems to fuck up at the very end - I'll look at that closelier in a short time...

[twooffour]

I did read that particular blog, but I'm particularly inquiring what "creative challenges for composers" it were which were "removed from the curriculum".

I mean, a century ago or so, there certainly wasn't a program for students to "wire together their cortext", so what kind of "creative challenges" were removed exactly?

In understandable terms from a compositional point of view, if possible.

I just don't quite get it...

[yelvaberry]

What exactly did Kastle do that this guy did not? watch?v=Q9ySWaEb-wA

[twooffour]

Why can't you just say "I don't know exactly" so I can stop waiting for your response? Would make things easier, you know...

[twooffour]

I asked you about COMPOSERS, not "pianists" - cause THAT is pretty damn obvious.

[twooffour]

Awesome, why not listen to Beethoven, Chopin or Liszt as well - after all, they were "on par" with Kastle, right?

I asked for an ELABORATION, if it wasn't clear enough.

The obvious objection is "how can there be no creative challenge for a composer, if the act of composing IS a creative challenge in itself??".

Now while I do consider such a question a bit naive, I STILL don't get what Kastle means there.

So either you explain, or you flat out admit that you don't know. No problem :)

[twooffour]

Ah, now I start to get what you meant when talking about "separation"... I read that old blog again:

"He informed me of the policy in the composition department that precluded me from having piano lessons or even access to a practice room. It was forbidden for composers to play the piano."

Dunno how it is, or was, in Julliard or wherever Kastle studied - in German music universities, contending composition students are REQUIRED to have instrumental skills (esp. the piano).

[twooffour]

Whatever problem described there (provided it was real in the first place) was LOCAL, certainly not global.

Also, please explain to me what exactly he means by "creative challenges for composers" - I might be grasping what he means there, but then again, maybe not.

Do YOU happen to understand??

[CopsHateMe]

would the urtext version of hungarian rhapsody have the right ending?

[JPizzle1490]

Why do both Caffey and Kastle use Horowitz as an example of a faker ( i believe I saw Caffey say once of Horowitz that he was "over-rated with limited technique) yet they both make sure to cite that one of Kastle's teachers took from Horowitz in Kastle's bios? Either reject or embrace him. Don't use his name and then trash talk him. The poor guys not even alive to defend himself.

[twooffour]

"faking Liszt and performing Liszt"

Since we're talking about Hamelin again - even provided that he doesn't lift his hands just as high as Kastle, using that as a "faking accusation" after that "fountain water" excuse for an uneven run is plain absurd.

Careful with the delete button there, mike :)

[twooffour]

"Also, faking Liszt and performing Liszt are not the same. Faking doesn't count."

A "performing musician" is someone who performs ready works by other composers. PERIOD.

How well they do the job, or if they play Liszt or one of the countless other composers out there, doesn't either.

Taking the conversation out of context by misusing semantics, eh, mikecaffey? I see what you did there :)

[twooffour]

How well they do the job, or if they play Liszt or one of the countless other composers out there (:p), *doesn't matter for this categorization.*

If, at a usual classical music conservatory, you've chosen to study the "piano" rather than "composition", you're rather on the way to become a "performing pianist" rather than "composer" - simple as that.

Whether you then "fake" or "fail" at some passages or when composing (e.g. when you're out of ideas), is a separate question.

[twooffour]

"Lets dismiss the simple minded compositions that don't take years to create."

How long a composition takes to create doesn't matter.

It looks like you have no point here. "Oh, well, it's 10 etudes or some chamber sonata, not a symphony, and oh btw, he probably just wrote it in a day..."

No, that's EXACTLY how your responses sound.

[twooffour]

By "performing pianist", I mean a pianist who performs other composer's works - as opposed to composition or improvisation.

Guys such as Gould, Leslie Howard or Hamelin are mainly known for performing classical repertoire, yet also published own compositions - hence the quote signs.

"Writing a cadenza or a ditti for 3 trumpets, doesn't count."

Yea, let's dismiss compositions for their genre and instrumentation - the only valid form of composition is a symphony. I got it :)

[twooffour]

"Liszt and Kastle demonstrate that they have an extensively developed memory prediction framework that produces a lot of myelin sheath."

That has ABSOLUTELY NOTHING to do with my point whatsoever.

Reciting your old rhetorics from Kastle's blogs for the 1000th time doesn't have any value - if you want to prove that Kastle, of innumerable contemporary composers, is the only "valid" one, do that with a reference to some analysis or at least a decent appeal to authority.

[twooffour]

Or are you trying to make ME laugh by using ludicrous arguments such as "this composition doesn't count because it's a sonata / quartet rather than a symphony"?

[twooffour]

Ah, I understand.

"performing pianists" such as Hamelin, Gould or Leslie Howard *included*

[twooffour]

I don't get K's description on his site - what exactly is wrong with Cziffra's recording, again?

In detail?

[twooffour]

There are MANY composers today, "performing pianists" such as Hamelin, Gould or Leslie Howard.

To whom exactly is Kastle "superior" in this regard?

[twooffour]

"A page and a half of comments is too much."

No, it's not :)

You might as well decide to keep your entire comment section to one page only, and anything transgressing this limit (*cough* indepedent of content *cough*) gets deleted - how about that? :)

[Isayiwill]

If you mean that Kastle is part Hungarian because some of his ancestors were immigrants from Hungary, it's not relevant at all, if you don't believe in genetical memory. Suffice it to say that Cziffra may have had an advantage by being a Hungarian, maybe even by being a Gypsy, whereas Kastle as a 100% American pianist may have had a lot to catch up with as regards the genuine East European folkloric feeling beneath the Jimi Hendrix effects... which of course does not contradict what you said.

[JPizzle1490]

I don't understand how you can make that argument. I can buy the argument that Cziffra misses notes. However, Cziffra was a countrymen of Liszt and his lineage as a pianist can be drawn back to Liszt. The entire set of Hungarian Rhapsodies are based on Hungarian folk themes or are at least meant to be played in that style. As a Hungarian, Cziffra probably had a pretty clear idea of how to interpret the music of his own country. Believe or not, sometimes appropriate to read in between the lines.

[Isayiwill]

Which tests? I was only making it up... What would you call that, imagery or imagination? BTW funny word, what's the corresponding verb? Imagine, as for 'imagination'?

[JPizzle1490]

I don't care about correct noes anymore. Now that I've heard more than just the very ending performed by Kastle I'm done with giving this whole argument a chance. It's solid playing, of that there can be no doubt, but I would much rather listen to, for example, Cziffra. It is much more exciting and engaging playing. One of my favorite sections 1:24 - 1:52 is just plain boring in Kastle's version. Sorry. I'm sure I just don't have the mental capacity to hear that Kastle is superior. Lol.

[twooffour]

Here's my last issue with that article (for now :d):

"A classical pianist can excite a crowd like a rock star, providing that they can play these notes. Remember, Franz Liszt was the first rock star."

The excitement the stereotypical "rock star" causes in his audience isn't necessarily (true) technical achievement, it's also (if not even more) his personality / stage behavior and looks plus some noisy sound, flashlights and the loud "party atmosphere" of some rock concerts.

[Isayiwill]

Reply to you other comment that's no longer visible here: That's an advanced method to challenge the listener's imagery. By leaving out or suppressing some of the notes and dislocating others, the listener's human filter has to fix it by means of imagery. The method was developed at Penn University, originally to help the development of artificial music understanding of computers.

[twooffour]

Also, why exactly are you both using the word "imagery"?

Imagery, for all I know, is the cumulative term for all metaphor, simile, symbolism etc., and I don't see anything on these topics in your comments or Kastle's blogs.

I think "imagination" would be more correct in this context :)

[Isayiwill]

#2

..applied on a visual character, such as a cartoon-fellow, an animal or a detail in a landscape, that's also a type of imagery (metaphoric) However, I'm not the right person to discuss English semantics, and I think Mikecaffey could have been a little more helpful than just to refer to Richard Kastle's website.

[Isayiwill]

I think 'imagery' in this case means the ability to deliberately 'hear' or visualize well-known existing sounds or images that are not actually present; your wife's voice, your granparents' doorbell, your favourite recording of the HR2 and so on. To imagine is more to invent things that don't exist yet or to foresee a series of events. Imagery is a good tool for imagination. Also, if you happen to think that a certain element of a musical work seems to have an 'identity' that could be...

[ladyvigilante]

hey, mike of the caffey thanks for putting up the list of pianists that don't fake. it's nice to see you complementing someone. By the way I love the video comparing Kastle, Cziffra, and Lang Lang. Would love to see more like it, maybe Kastle, Hamelin, and Horowitz?

[Isayiwill]

I'll try. That was a long time ago, but the series should be well-known considering the subject. I haven't even looked for it on Youtube. I can't remember the number of 'episodes' or the origin of the telecast; as I recall it Rubinstein frequently shifted between languages.

[Isayiwill]

Because they don't play HR2 on Youtube? OK, you're off the hook concerning this particular selection of pianists, aswell as the other hundreds or thousands whose recordings of HR2 you have yet to dissect.

As for Rubinstein, I remember a series of interviews in the mid 70s, during one of which he spoke about faking and admitted that he was a great faker himself, comparing the art of virtuosity with the skills of an illusionist.

[Isayiwill]

On Waldstein:

I think playing the original 2nd mov was a good thing to do. That's how public attention to generally overlooked issues in music should be drawn. Trying to insult people's intelligence and taste by pointing out that everyone of their piano heroes as a cheap faker is not the way. It must have felt good to do something of some significance for once. I mean for him - you would't know of course... BTW it's always a thrill finding lost or barely known original versions.

[Isayiwill]

If he didn't endure for six years to feed his arrogance?

BTW, interesting facts about the Waldstein, I didn't know that. I found info about the missing movement at the Wikipedia of all resources. Known as Andante Favori, it seems. I must test it in its original context.

[Isayiwill]

Very revealing. Poor Davis, cursed with a fucking miracle of a student who already knew everything and in addition outskilled him by lightyears. Who wouldn't get envious? What would you have done in his shoes? Right, fight the bastard while you have the oppurtunity, intimidate him, make sure he can't even play a decent 1st mov of the 'moolight sonata' when you're done with him!

Or could it be that Davis was trying to take the arrogant prick down so he'd actually be able to learn something?

[Isayiwill]

You're absolutely right about the prelude, and you've proven that there are no right or wrong opinions. The prelude is way too fast and rushy, the tempo is lacking in consistency and pulse. Yet to me the total disaster at the end is the biggest problem. After the first mishit, he loses it all, simply unable to get anything right. He even confuses the internal order of the bars. At the closing ascent, he replaces the 10 beats with 6 improvised ones. He must have been drunk or worse...

[Isayiwill]

#2

As for the B-minor sonata, the number of mistakes may not impress, but since they concern some very fundamental bass notes, they are of far greater significance than some missing or extra notes in the 'octave scramble' of HR2. (That's MY opinion, it doesn't mean yours is wrong)

When the main theme reccurs (in anonther key), he ALMOST gets it right, but he has to 'pause and regroup' as you used to put it.

[Isayiwill]

Even given that none in the 20th c. before Kastle got it right on record, the errors that you MC proved are in most cases neglectable, they don't ruin the over-all musical experence. Here are a few examples of errors and mishits that IMO indeed are disastrous, the recordings yet issued by HMV and being well acclaimed until this day:

watch?v=_CLYvsX88gU, time code2:20-2:34 and from 2:44 and forth a real fuck-up.

watch?v=e5Z64lf4zvY&feature=re­lated 1:32-1:45.

Just to set the standards...

[Isayiwill]

I guess you have to fix the word 'related'. Don't know what happened.

[yellingLoL]

The octaves aren't difficult. Both hands are making the same motions and hitting the same notes. The alternating octaves at the end of Mephisto Waltz are more difficult because the hands are moving in seperate directions. Where is Kastle's recording of Mephisto Waltz? How about Cziffra's transcription of Flight of the Bumblebee or Chopin's octaves etude? There are so many other pieces that are arguably more difficult than this Rhapsody.

[yellingLoL]

To think that being able to play some octaves proves someone to be a better pianist than others is immature and just goes to show how little you know about music and piano in general. Your argument of accusing other pianists of faking and missing notes holds absolutely no weight unless you took all of the recordings to a sound technician to have them professionally tested, rather than relying on evidently adept ears.

[thunder1909]

Well said my friend, well said.

[issrenn]

Hey mike by insulting people and trying to make them look bad your just makeing yourself and richard castle look much worse.

[Trendall]

As much as Richard Kastle is a complete cunt, I do like this extract and would like to hear the whole recording.

[ironspokes]

brilliant!!!!!!!!!!! to listen to you people pick this dude apart is mind boggling. LISTEN to it for WHAT it IS NOT for what you want it to be. its BRILLIANT!!!!

[keebr]

wow, very very nice. I bet he couldn't play Synaphai though.

[CodyNelsonMusic]

It is a pretty good recording. I don't like Horowitz' version as much as the original, and I don't like it as much as when Horowitz plays it, but overall. I think it was a decent performance. I can't play it that good yet.

[TICC0R]

No pianissimo at the beginning of the octaves.

[georgecziffra]

The octaves at the end are a mess and it sounds like he plays them together at one point.

[StoudemireSTAT]

hang on, does the horowitz arrangement even have the ascending octaves?

if not, how do you know lang lang/horowitz couldnt play them, as i've never seen them try to play the original, only the horowitz arrangement.

if it doesnt include the ascending octaves, i bet lang lang could play them :)

soz bout the grammer lol, I'm tired and couldn't be bothered doing proper grammer.

[CopsHateMe]

u know, how come mikecaffey never posts the whole song and only parts of it or the ending?

[gliccstudios]

Kastle's arrangement of the piece is absoulutely brilliant! I like his cdenza a lot where he combines the different channels of melodies. Absoulutley amazing!

[ClassicSteinwayJonas]

what about horowitz?

[Raffzeee]

Kastle is the most outstanding and resplendent musical prodigy of the common era. He is greater than Bach and Beethoven...he effortlessly surpasses Mozart and Chopin. His cognitive ability even outshines Einstein and Hawkins, and his fingering technique brings us unrivalled and perfected pleasure to all who arent grievously abhorrent of him they are merely hateful and jealous (Jesus Christ suffered a similar plight).

[hellomate639]

Oh really?

I bet I could out-reason him any day.

Greater than Bach and Beethoven?

My ass. You are Richard Kastle. You talk like he does in interviews, and you support him too well. Furthermore, I could list a lot of pianists that are greater than he is.

By the way, he(you) should wear normal clothes: he(you) look(s) like a gay dominatrix.

[TrackMeIoI]

So.. You're saying Richard Kastle = Jesus?

"he effortlessly surpasses Mozart and Chopin."

Here's a story to tell you who Mozart is. A long time ago, there was such a beautiful piece that people decided it was not meant to be played outside, so they locked the song in a church to be only played it in church. Then a child came to church with his father, and the child made a perfect copy of the piece. Song had 9 melodies and Mozart, at the age of 14, copied the whole thing. No mistakes.

[AllegroMusica14]

Alright, thanks. I'm sure that the real Kastle isn't nearly as arrogant.

[AllegroMusica14]

Mike, is Richardkastlemusic ACTUALLY R. Kastle?

[Purenicotine]

This goes against my taste, being an incomplete version of hungarian rhapsody. You should place the rest of the piece with as much importance as the ending. That being said, I am blown away by the perfection of definition being performed in this piece. Perfection to the mark. I hear microscopic inconsistencies with all virtuosos of today and the past, but I hear none here. Absolutely remarkable.

[Purenicotine]

But I've got to say, his page is pretty damn hilarious.

[composebob91x2]

Ok, caffey also deleted that last comment. It said that, by a predictable pattern, I meant that the segment plays the same four motions sixteen times without changing their order. For some reason, caffey doesn't seem to think of that as a pattern. Not only is it predictable to an outside person, but the musician has it memorized, hence the entire piece becomes predictable, and the myelin sheath becomes of almost no consequence.

[composebob91x2]

I'm sorry for changing my name, but caffey blocked my other one, and erased over 20 of my comments because he couldn't argue with them.

[composebob91x2]

First of all, the myelin sheath has nothing to do with how fast your hands can move, it has to do with how fast the signal goes. In cases where the motion is a pattern, such as the ending of this, The myelin sheath is almost inconsequential.

[Purenicotine]

The faster the signal goes, the faster your hands move, dumbass. Myelin also increases accuracy of definition of what the signals are telling your body to do. Hence perfection.

[Rlaw2222]

thats BS

[agrandb]

no digai que el tamaño del piano afecta y que por eso la interpretacion de hamelin es pobre...encuentro que las interpretaciones de hamelin, rachmaninoff, horowitz, etc son infinitamente superiores a la de kastle

no creo qu liszt al escribir pensara en el tamaño del piano, fuera de la cantidad de teclas que tenia disponible...pensaba en musica

y ademas no encuentro que aqui exista un climax muy imprecionante, honestamente me aburro con esta interpretacion de la rapsodia

[composebob91]

The distance is the same on every keyboard. Hamlin simply keeps his hands lower so that he can play more accurately do to his speed. I think it is a much better interpretation because with this particular theme, the speed gives it much more power. This is not the case with all themes. Hamlin also reaches a greater range with his dynamics.

[composebob91]

Then i guess i was just listening @ a low volume. that being the case, he only gets down to about mf at the quietest. Pianos have a much larger range of volume than he is allowing it, and it's a shame that anyone would waste the abilities of such a versatile instrument.

[composebob91]

And he is not the only one who can play it "correctly." Marc Andre Hamlin *does* stagger the notes on the last part, as well as just about anyone else who plays it. And just because he has studied with people who have studied with famous people doesn't mean he has a talented bone in his body. If mikecaffey deletes these, I will simply post them to every video in the related videos tab.

[composebob91]

Mikecaffey graciously deleted my first comment because he doesn't know how to form a rebuttal to an argument, so here goes again. First of all, the extent of his dynamics goes from mp to mf. Secondly, It's not expressed very well, he keeps the same tempo through the whole thing. The only reason his last part sounds any different from, say, Marc Andre Hamlin, is because he plays it so slowly that it no longer has the effect it should, because he doesn't have the abilities necessary.

[composebob91]

Oh, and he doesn't know what an expression is.

[gainweighttoday]

I agree about the rock-sound, no wonder -for instance Ervin Nyiregyházy played an old baldwin. It has tha sound of a stratocaster. When he was young he had extraordinary technique, and even better expression ability, but only few recordings survived. Playing Liszt is a very sophisticated problem.

[gainweighttoday]

I saw Liszt's pianos, and it's playable.

Jeno Jando has a complete Liszt recording with it. I see his Bösendorfer and Chikering in the (old) academy of music in Budapest (Hungary), which Liszt founded.

[gainweighttoday]

spellig...sry

[reaperman2004]

Really... wow - not bad... Didn't think a piano like Liszts would survive this long (while being played by random people since he died).

Especially with the way Liszt played as well... I thought he would have worn the poor thing out.

[gainweighttoday]

Liszt had many pianos, and also had the money to maintain them. The Chickering -as I remember was restored 20? years ago, and has an incredible sound. I1ve never heard his Bösendorfer yet.

[reaperman2004]

HAAAA HAAAA HAAAAA.....

OH BOY THATS RICH....

Someone's teaching me the... (sorry)

HAAAAA HAAAAAAAAAAAAAAAA.....

WOW... You are dillusional... You need to see a shrink??? Someones teaching me the wrong way??? I don't fucking think so!

And how were Liszt and Hendrix alike? (Did they both die of a drug overdose (you idiot.))

And your knowledge is wrong... People believed that Liszts skills were so good because HE (not his piano) was possessed by the devil.

Get your fucking facts right!

[pupusman]

And yeah, all the other people are right about that last chord. Quite frankly, it sounds like and old man who's sat down on the toilet and can't get back up - not exciting in the slightest.

[pupusman]

The problem is that 3:20 doesn't sound "sweeping" at all. Rather, it just sounds chunky and uneven, making Kastle's lack of control all the more apparent.

In my best estimation, he'd like that sparkling sound that Horowitz was so famed for - unfortunately, Kastle's foot is made of lead and, compounded with an insufficient hand technique, does a pretty uninspiring job of those basic runs. Nothing to be proud of my friend!

Ciao!

[kevinnnleal8]

so why is there no full version of kastle's rhapsody on youtube

[saynotokrypto]

Haha, there's a phrase you don't hear every day. "fucking staccato". He's right, though. The last measure is meant to be staccato, and that is NOT open to interpretation.

Oh and Mike? I can also play the descending octaves as can any pianist worth their salt, even if you did find some random recording of Cziffra botching a few measures. This piece is really not as difficult as you say.

But why the Parental Advisory warning? Does he curse in the middle of playing or something?

[pupusman]

Thanks for deleting my observation Caffey!

I shall reiterate: for someone who claims to have superior piano technique, Kastle demonstrates a surprising lack of control at 3:20 - this basic technique! The notes are all uneven and the run (a simple one) sounds all lumpy.

Funny how this short clip was posted to demonstrate his supposed technical mastery, yet it is glaringly apparent that his basic ability is very much in want.

[v3le]

everybody can be a composer... i just wonder how r kastle play the beginning of hr2

[ErnestoMex]

Absolutly unic i think

[gainweighttoday]

please reply to this...

If I find a pianist for you -who can play those notes will it soothe you, and will you accept that K i'snt the only one who can play that?

Ps:(I dont have enough knowledge to make fake video recordings)

[gainweighttoday]

What I dont understand is Why "lock up" the entire virtouso world in those descending octaves?I'm sure that lots of pianists can actually do that, and I'm also sure that Kastle goofed it up a few times also.I'm also sure that Cziffra could have played that too. The descending part isn't a technical question in the first place,it's a question of the state of mind and soul and the right place and time.I'm sure for instance Cziffra also had this a few times beside his (?) recordings.

[Student939393]

I have the score of horowitzs' transcription of that piece.

And he surley doesen't play the cadenza like this.

[AllegroMusica14]

How many pages is the transcription?

[gainweighttoday]

Can you play this piece?

[HUNTPIECENIGGA]

sounds like horowitz

[OrangeSodaKing]

I like this interpretation. it's pretty cool to listen to.

[mikecaffey]

Are you deaf? Your example, the beginning of the Friska. "Kastle plays exactly equal in tempo" That is not true. He begins at one speed and gradually gets faster.

[mikecaffey]

Energy? Listen at 2:00. Noone plays the chromatic chords with as much energy and ferocity. The light staccato at 1:00 is filled with energy.

Forced, too tight? 1:17-2:00 especially at 1:17 Within the adjustments to the tempo there is a free spirited sense of humor!

Dynamics? It is ineffective to suddenly drop the dynamics at :47, like the others. Kastle made the right choice to lower the volume at :53. Also, the contrast in volume is done just right at 2:22, growing quieter to 2:42.

[cziffrabeatskastle]

damn, that cadenza sounded uncannily like horowitz's cadenza...

[mikecaffey]

Kastle studied with Ivan Davis, who won the Liszt Competition and was also a student of Horowitz. Kastle pays tribute to Horowitz by playing the three melodies at once. He does it in a different manner, without Horowitz's adjustments to the harmony.

[weetabixharry]

That section around 3:00 is kinda cool. Haven't heard it like that before.

[CopsHateMe]

ZOMG richard kastle actually has muscles maybe that's why he's so good...

[hda10]

Банно-прачечный комбинат? Баним пользователей и стираем комментарии? Ну-ну.

[hda10]

Ёбаный стыд.