I got to know this piece via the Weissenberg recording and it didn't strike me as rushed.
It's a question of what you're accustomed to-other recordings i've heard since,seem more leisurely in comparison. A great piece like this can withstand a range of approaches.
Have any of you people actually bothered to look at the score? Check the metronome mark. It's in fact quite a bit faster than Weissenberg plays it. Ok, of course with music of this kind and of this period it would be almost rare to play two consecutive beats in the same tempo, but still. You are all far too quick to judge! Don't just rely on the recordings you know best! Get the score, study it, practise it and reach you own conclusions. As Weissenberg has done..
I think that a pianist of the experience of Weissenberg should use the restroom before coming into the concert hall. This would prevent him from having to rush at such extreme pace to be able to finish and reach the toillete before wetting his pants.
Even younger artists can play better than this guy. He does not have a hint on the tempo of the piece. He plays so mechanical, like a machine. No passion! Completely destroys Shumman inspiration.
I'm frankly appalled at how this obviously accomplished pianist races through this masterpiece as if he's late for an appointment. The rapid pace doesn't allow the work to breath, nor the listener to catch his breath.
I kind of agree, but one never knows what to expect from this unpredictable pianist . It's not just the pacing but the melody fails to sing out. Listen to his two Bach partitas on DG (not angel/EMI version) to hear another example of extreme tempi and compulsive rushing. Whatever. I get the feeling Weissenberg goes with the inspiration of the moment, as I don't see how anyone in his right mind could make up such a plan to play Bach like this ahead of time. But one never knows.
I don't like his interpretation. It's to fast and it isn't played in the original Robert Schuhmann style. More like Bach. There are better records of the Arabesque...
Right! :) Why would piano players think that, if they're good and they CAN sing a tune fast, they SHOULD do it? It seems that there's no feeling about it anymore...
Schumann habitualmente agrupabas sus piezas para piano en series, como con su Albumblätter (Autumn Leaves), Carnaval, y Kinderscenen (escenas de la infancia).
Arabesque de 1839, sin embargo, es la pieza única en su opus 18.que tiene forma de rondó, que termina con una coda exquisita.
RIP
arrangeur55 1 month ago
well said.
I got to know this piece via the Weissenberg recording and it didn't strike me as rushed.
It's a question of what you're accustomed to-other recordings i've heard since,seem more leisurely in comparison. A great piece like this can withstand a range of approaches.
quelbop 1 month ago
Have any of you people actually bothered to look at the score? Check the metronome mark. It's in fact quite a bit faster than Weissenberg plays it. Ok, of course with music of this kind and of this period it would be almost rare to play two consecutive beats in the same tempo, but still. You are all far too quick to judge! Don't just rely on the recordings you know best! Get the score, study it, practise it and reach you own conclusions. As Weissenberg has done..
Eichenwald144 1 month ago
0:55 omg! no! no! STOP! give this guy a speeding ticket.
freeridermaster0987 4 months ago
I think that a pianist of the experience of Weissenberg should use the restroom before coming into the concert hall. This would prevent him from having to rush at such extreme pace to be able to finish and reach the toillete before wetting his pants.
Ernesto7608 8 months ago
Even younger artists can play better than this guy. He does not have a hint on the tempo of the piece. He plays so mechanical, like a machine. No passion! Completely destroys Shumman inspiration.
ivannrico 9 months ago
@ivannrico oh, yes you can't be more right. I even had to press stop 0:55. it was awful
mmyylleenn 8 months ago
<3
lelevich47 10 months ago
sehr schön
lelevich47 10 months ago
I'm frankly appalled at how this obviously accomplished pianist races through this masterpiece as if he's late for an appointment. The rapid pace doesn't allow the work to breath, nor the listener to catch his breath.
waywardtycoon 1 year ago 4
@waywardtycoon
I kind of agree, but one never knows what to expect from this unpredictable pianist . It's not just the pacing but the melody fails to sing out. Listen to his two Bach partitas on DG (not angel/EMI version) to hear another example of extreme tempi and compulsive rushing. Whatever. I get the feeling Weissenberg goes with the inspiration of the moment, as I don't see how anyone in his right mind could make up such a plan to play Bach like this ahead of time. But one never knows.
cchris874 11 months ago
A beautifully, unaffected performance.
lourak 1 year ago
original, creative vision of this music. more interpretors like him should be around.
CaptainBluebear08 1 year ago
I don't like his interpretation. It's to fast and it isn't played in the original Robert Schuhmann style. More like Bach. There are better records of the Arabesque...
yannikweese 1 year ago 3
Il joue à la perfection tout ce qu'il approche. La pièce parait facile et pourtant, rien de ce que SCHUMANN a laissé pour le piano n'est facile.
MrTIRILLY 1 year ago
Fantastic !!
arthurtwoshed 1 year ago
so beautiful
pligana 2 years ago
Wonderful,but a little bit fast.
Ellinidara 2 years ago
Right! :) Why would piano players think that, if they're good and they CAN sing a tune fast, they SHOULD do it? It seems that there's no feeling about it anymore...
kilkulu 2 years ago
@Ellinidara agree
yiyiku 1 year ago
The part at 0:01 to 6:14 was sooo good!
LIANG14 2 years ago 11
@LIANG14 so, you didn't like the part from 0:00 to 0:01?
vecernicek2 1 month ago
un Maestro!!!
nairigrigorian 2 years ago 3
Wonderful! I'm so happy I got to hear him at his recital in Portland!
UncleNathan 2 years ago
Magnífica interpretación.
Schumann habitualmente agrupabas sus piezas para piano en series, como con su Albumblätter (Autumn Leaves), Carnaval, y Kinderscenen (escenas de la infancia).
Arabesque de 1839, sin embargo, es la pieza única en su opus 18.que tiene forma de rondó, que termina con una coda exquisita.
MirthaLuzFacundo 2 years ago
soulful
sepidehtje 2 years ago
Awesome interpretation!
TheClassicalFun 2 years ago 4