Added: 5 years ago
From: MartinaSemenova
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  • At 2:00, Charles says that 'it is very clear to me that there is something very Hungarian about this music'. What does he mean? What is the link between this concerto and Hungary? Stephen's answer seem to agree-'yes it did go through my mind when...'

    So what is the link, apart from a Hungarian Orchestra playing here?

    Thanks

  • What is the link

  • hi is best man

  • Gulas !

  • not only a world class pianist, but a world class human being. No wonder his playing is so wonderful

  • "There's much more to it than just technique, isn't it?" - what an excruciatingly dumb question.

  • There aren't no dumb questions only dumb replies. This was a perfectly legit question to give Hough the chance to exploit.

  • Indeed, a very intelligent question, because, as we all know, other pieces by Brahms and other composers focus only on technique and not about music, so the fact that there's "much more than technique" to the 1st piano concerto by Brahms makes it quite special.

  • But ChrisMoonmadness brings up a good principle; of course there are questions with obvious answers, but Hough reveals interpersonal character by giving a thorough answer.

    And yes, there are pieces that focus "only on technique" as it were, including works by Brahms (Brahms-Paganini variations is a great example). These are celebrations of the virtuosic capabilities of the piano, and aren't shallow per se, but serve a different function.

    Prok 1/2 & Liszt 1 are concerti examples, too...

  • So you think that Brahms-Paganini-variations and Prok 1/2 and Liszt 1st piano concerto focus only on technique? That the only purpose of these pieces is for the performer to demonstrate his technique, that they aren't meant as musical pieces with expression and emotions? The only thing that serves this purpose is an exercise, and the pieces you mentioned are more than exercises, even if they are intended to be difficult (which I doubt except for the Brahms-variations). (continued...)

  • (...continued) Or do you want to tell me that, if you visit a concert where the 1st piano concerto by Liszt is played, the only thing you're interested in is the performer's technique, and not the music? Because this is exactly what Hazlewood implied with his question "There's much more to it than just technique". Of course the pieces you mentioned can be used as exercises, but then, EVERY piece can. The point is, a musical performance should never focus on technique, (continued...)

  • (...continued) however difficult (intentionally or not) the pieces may be, because if not, then it is not a musical performance.

  • @howdilydoodily: So all in all, to understand your point of view better, am I right in thinking that if Charles Hazlewood asked you if there was any more to the 1st piano concerto by Liszt than just technique, you'd answer with "no"?

  • Obviously not. Cut the sarcasm.

    So, you'd put Liszt 1 in the same class as Beethoven 4 or Brahms 2? Clearly there's a completely different mentality and function for the role of the pianist in those concertos.

    You're incredible. You're going to go to your grave thinking that interviewer's question was a horrific question, and you'd do nothing short of slapping him in the face for even asking it. Lighten up.

    The interviewer & Hough are considering the audience, increasing education for all.

  • Er, WTF?!? You'd put Liszt 1 in another "class" than Brahms 2? Then define what a "class" is. Yes, they are different pieces, but the "role" of the pianist is the same, the role of the pianist is a pianist, plain and simple, a performer, and not some kind of circus artist or something like that, both in Liszt AND in Brahms. Apparently you don't know much about Liszt (or music in general), because Liszt himself expressed his dislike for flashy showpieces. And even if a piece is rather bombastic,

  • the "function" of the pianist is not to show off his technique, because this has nothing to do with music, not with Brahms, nor with Liszt. If you want music, you listen to Brahms, Liszt, etc., and if you want someone who has made it their primary aim to demonstrate their gigantic technical abilities, you might want to check out Richard Kastle, who might just be the pianist for you. (In case you don't know him, he is a pathetic loser who thinks he is the best pianist in the world because he

  • is the only one who can play the ending of Liszt's Hungarian Rhapsody Nr. 2 without "cheating" (or so he says)). Yeah, this should satisfy you, a pianist who properly fulfills his function as a technical show-off, without any musical depth (because this clearly is not the purpose of this piece). Well, have a good day.

  • Your original comment unfortunately reveals YOUR ignorance. Others responded with positive connotations of such questions, so then you proceed to reveal your pretension.

    I mean, you're preaching to the choir. Dude, we're ALL watching Brahms 1. We ALL know there's more to the work than technique. So ask yourself, what is the interviewer's purpose in asking this question? There are many who aren't musicians who learn from Hough's responses. Educating a diverse audience is difficult.

  • And finally, about Hazlewood "educating" the audience, unfortunately the exact opposite is the case when it comes to the particular question regarding "technique", because he makes people (e.g. you) believe that there are indeed pieces that are only about technique, and Brahms' 1st piano concerto is special in that there is more to it than just technique (and frankly I'm surprised that Hough didn't point THAT out)

  • Haha 0:45, I've never met a humble performer!

  • at 1.09 he says its brahms at the end of the cadenza,apparently it was him on the bog with piles

  • Hough is a shape-shifting reptilian chitauri. He doesn't blink.

  • @parazsdavid

    Hough could be blinking away furiously when the camera is just on the interviewer!

  • @parazsdavid OMG!!!!! YOU'RE RIGHT, HAHAHA! :D

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