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  • GREAT!

    nobody no one would ever come to play the first triplets in that way, except the creator himself.

    very "ritenute", first F, then P, rallentando, and a full F chord. that's a great vision of playing. other pianists always play them in the same way, everyone is similar to other ones.

    how boring

  • Lisitsa sucks and Rach rules, end of discussion

  • @Spudboy41 agree

  • I love how lisista's version has become a youtube staple, dont you guys own any records? even lugansky plays it better than she does, not hating just sayin'

  • It's so amazing that we have access to the great composers playing their own music that since became the staple of piano repertoire: Debussy, Rachmaninov, Prokofiev. This is an incredible gift to the authenticists out there. Nothing will inform your reading of the music better.

  • I was really surprized when I heard 1:31. I didn't know it could played like that

  • wow...

  • Is there any question this is how it should be played? This is Rachmaninoff, listen and learn :-))

    Either they did not hear Rach's performance or chose to ignore it, but nothing current is on the same planet, not Lisitsa and not Lugansky.

  • I prefer Rachm. version. This is how it should be played

  • I like so much Rach. Very nice ;)

  • Fine playing! But it's not the master playing...

  • Nice!

  • Why do people put fake recordings on youtube? This is not Rachmaninoff playing. It sounds nothing like him and I know all his recordings extremely well.

  • Comment removed

  • @pianiplunker It's Rachmaninoff playing from the Complete Recordings set. There is also a piano roll of this.

  • @pianiplunker if you took 2 seconds to look up the ampico recordings, this is one of them, i have a copy

  • Wonderful playing. If only SR could hear how Lugansky plays these pieces. I am reminded of SR's reported effusive reaction to Horowitz. Lugansky's recording of this is on YouTube.

  • I didn't immagine this etude like that! I was rearly surprised when I heard this version!

  • I think this is great! The melody is clearly played.

  • Best version in youtube,but for me ,lisitsa plays it to fast and do not make this piéce sining.

  • i wanna hear him play at his FASTEST with that peice in the modern world modern piano recording as Valentina Lisitsa. I wanna see if he could play it faster than her!

  • @juaniluco888 Rachmaninov is one of the best pianiste in the 20 th century.

  • @juaniluco888 yeah because we all know faster means better lol.

  • What the hell is with this error shit?!!??

  • Beautiful!

    Ron.

  • The madest piece of rachmaninov, i love it

  • debussy84 - rachmaninov was one of the greatest pianists of all time; a clear rival of horowitz, hofmann, lhevinne and the like. he could create immense sonoroties and tonal colours with his colossal technique. he was infallible, and his tone was golden, you fool

  • amazing . this piece almost sounds funny when you listen to his version. whereas lisitsa is litterally terrifying you.

  • I think the best comment here is by "uchartchristian" when he says we do not need a better version of this...absolutely and totally agree :-))))

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  • @ChrisWatch ... and thats why this etude is called ``red little riding hood´´

  • Serge Koussevitsky asked whether Rachmaninoff would select a group of études for Ottorino Respighi to orchestrate. The commissioned orchestrations would be published by Koussevitsky's firm and Koussevitsky would conduct their premiere. Rachmaninoff responded favorably, selecting five etudes from 33 and 39. Respighi rearranged the order of etudes, but was otherwise faithful to the composer's intent. He gave each etude a distinct title from the programmatic "clues" Rachmaninoff had given him.

  • @TheF1PinkVoltaDream Rachmaninoff:"I don't believe in the artist that discloses too much of his images. Let them paint for themselves what it most suggests.

  • Rachmaninoff did set the standard for his own works interpretations pretty high , don t you think?

    To compare is possible but with the right respect to the composer and his intentions of interpretations as he had all the technical skills necessary to realize what he wanted to realize.... I think we don t need a "better" version of this....

  • Beautiful, extraordinary!

    If only Lisitsa and others listened to Rachmaninoff's performences, but I think how they perform comes down to ability - mastery and clarity, in being able to show tone and color - and Rach is unmatched in all respects of performence :-)

  • I wouldn't be so sure about that...he is often cited as having preferred other pianists' interpretations of his works over his own.

  • Yes, Rach said he preferred Horowitz and BM's interpretations - but for me it is still Rach's performence. Maybe Richter and Gilels would also do this justice, but hearing VL was a downer.

  • I disagree with all y'all saying that he's the standard. He's not.  Not taking away his genius, but he wasn't the best pianist of all time, and thus, his playing cannot be. And he himself basically acknowledged that other pianists can interpret and play him works better than himself (Horowitz). If I write a really difficult piece and record it, does that mean my version would be better than Kissin's if he played it, or anyone else after me...i think we can agree that doesn't make sense.

  • @debussy84 Even if he wasn't "the best pianist of all time" he still understands his compostition better than anyone else and thus his performance of this piece is the most 'accurate" (the only case where you can use this word.) And besides, Rachmaninoff was an incredible pianist. Definetly ONE of the best, as there is no "best pianist".

  • I really like this in comparison to Lisitsa and Ashkenazy. The structure of the music comes out very clearly here, and not so much in those other versions. Everything seems to be in its proper place in this recording, the bass octaves keeping everything grounded at points where Lisitsa especially allows the frantic energy to take over. It's a real composer's interpretation, with *all* the connotations that come with that.

  • interesting! so THIS is how it should sound

  • It's rather how Rachmaninov WANTED it to sound. I don't think that an author plays a piece he wrote necessarily better than anyone, for the reason that follows. I believe music is very similar to a literature, because just as words are made out of letters, you get music out of the score. Poe's writings' translations into French by Baudelaire being known to be better than the original, I firmly think that in music the interpretation of a piece can be better than how its composer played it.

  • Such an eerie atmosphere here!

  • After listening to Lisitsas version and having the originals to compare, I have to say that hers sounds frantic. She should focus on the tempo rather than trying to be in a contest.

  • 0:30 is that Rachmaninovs voice?

    I know on the cd when you play this track it sorta has a wolf howling kinda.

  • Marvelous! Bewitching, wonderfully exotic harmonies. Devilish at times. Thanks Rach, for a fantastic ride. (I can't believe that Grove's could publish that infamously poor review of Rach's music in the 1950's. Wonder what that dummy reviewer's name is? Anyone know?)

  • the best performance of this piece!

  • (end of my comment.. part 3)

    At that point we may rather talk about coherence of the interpretation. Of course we can point failures when they are basic....but at that level of masters playing, I guess it is not relevant.

    We should be happy (and thankful) to delight ourselves with such masters of the piano and let our feelings coming out at each interpretation, in order to "travel" in our mind, soul and heart according to a new facet of the work that a performer reveals.

  • So how do you want a piece to be performed in only one way ?

    in another way, can we speak about Truth of the work ? Does this idea even exist ?

  • Sobriety, essence, terrific technic, style...all Rachmaninov singular qualities.

    When reading some comments here, I feel to say that there is the composer's listening/view and the performer's one (either the composer is himself a performer or not).

    The composer presents a "proposal" on a particular topic (as any artistic creator) according to his own. This proposal is then performed by a pianist who is made of his own everything (background, sensitivity, etc.).

  • i'm sorry but how can lisitsa's interpretation be better than rachmaninoff's? he wrote the piece! he knows exactly how it should sound, no one else does.

  • Kissins interp. is totaly rad dudes, check it out. I am not a big Kissin fan but he set the bar pretty high when he played this one.

  • He may have had the personality to write it, but not pull it off as well as others. Of course, that is then down to opinion. But personality issues are a big part in that one.

  • If rach was alive you could ask him, he said horowtiz played this 3rd concerto they way rach wanted it to be played, ( not the way he was able to play it) to say because somone created something there is no room for improvment is ... well close minded.

  • @123joshyy I agree that this is the best interpretation,but I don't agree the seconde point,sometimes performers can understands more the composer musique the composers do.

  • why cant we talk about rachmaninoff in the rachmaninoff and about lisita in her vid;

    I am tired of reading comments about her play in every version of this etude here.

    And for those who did not know :

    You can critizice artists without comparing them with another one..

  • Stunning technique and the way he controls the dynamics is fabulous. My only complaint is that the piano almost sounds out of tune because the recording is so old.

  • It's probably just due to the temperament of that era. There's not much of a difference between then and now, but still a slight one.

  • Lisitsa's performance is stunning but she almost stalls the piece at the beginning of the "march" section. Why does she pull back in tempo to such a degree? I understand "subjective" interpretation, but there is no indication of anything close to what she does in the score and, of course, Rachmaninoff himself only backs off slightly. Ditto Ashkenazy, Collard and others. Does anyone know the old Stanley Hummel performance on, I think, Ersta Records? It's just wonderful. Never issued on CD.

  • I feel like Lisitsa starts faster. So for her to pull back at the "march" makes sense.  Her opening is considerably faster. The march ultimately is about the same speed, but she pulls back. It's her interpretation.

    Personally, I love the way she pulls back at the march. But, you know, that's just my opinion. :)

  • Wow, is this Rach's intention ? I wonder what he would say if he saw Lisitsa, may be he would be surprised

  • why would he be?

  • Val's interpretation sounds very different. Maybe he would be surprised at how good it can sound =]]

  • I think this sounds very good already lol.

  • @bunnyoneedge I think he would have seen Lisitsa for what she is -- an empty virtuoso, unfortunately :-/

  • I think she plays this piece better than him.

  • @Theonedue Well, I'm sorry, but you are wrong.

  • Stating an opinion is wrong on a subjective issue without justfying your reason with rational qualitative evidence, sounds as though you are as unaware as a 5 year old.

  • @Theonedue Erm...unaware??

  • Unaware of any sense of music theory and asthetics realting to tonal harmony and interpretations. I think Lisitsa plays this better because it is speed up a bit, and sounds more haunting with the extra emphasis on the keys (she plays the intro faster and I believe with a cresendo). Also, at the part of the score where poco meno mosso is indicated, Lisitsa starts off slower than Rach, and builds it up gradually, and I even think follows the inital indication more thoroughly than Rach, who...

  • that Rach didnt think of. I even think Rach might have liked her interpretation better (mabey). So the balls in your court now.

  • And if you ask, I meant she adds to the harmony of the piece as far as dynamics go, not adding notes or anything like that.

  • begins that section of the piece rather fast (its harder to build up speed). Also when Lisitsa plays the whole piece faster, it sounds more forcefull, especially at the presto section of the piece where theres a streak of 16th note cords proggressing downwards (which is almost impossible to play at that tempo). Of course the original way the piece was played should be kept in mind over any interpretive suggestion, i think Lisitsa adds an innovative hallmark to the haunting harmony of this piece

  • @weikko79 Dude, ones personal opinion can't be wrong, it's what you think *FACEPLANT*

  • @bunnyoneedge Rachmaninoff was very good in composition, but in interpretation he admited that he sucks.

  • @trabalhosmanuais And where exactly did he admit this?

  • @weikko79 in a conversation with prokofiev (was when he played scrjabin very poorly). Rachmaninoff and prokofiev were very friends and since that day their friendship was over. - i'm sorry about my english.

  • @bunnyoneedge

    Who are you? How many accounts do you have working for you? There's no way that this would get +10 and then the next best comment in favor of this would get +6.

    Aside from whichever you think is better, people will always migrate towards the composer of a piece. Statistically speaking, your +10 doesn't make make much sense...

  • @bunnyoneedge He would probably say that she plays the middle section of his étude a bit too fast :D

    Composers often have had different intentions than what has become known as a contemporary interpretation of their pieces. It doesn't mean either one is wrong it just means it's different. The most apparent differences are noticed in the interpretation of his concertos.

    Different time, different interpretation. We should value all of them, especially that we have the composers interpretation.

  • @bunnyoneedge I would definitely agree! Absolutely! Lisitsa has modernized and harmonized her talent with Rachmaninoff's work in today's world.

  • @bunnyoneedge Maybe he could play it faster than Valentina Lisitsa, but thought that it wwas better when played like this, after all, he was the author!

  • @bunnyoneedge - I don't think he'd be surprised at all. Even though he plays it slower, the rhythm is rock steady, his beat is clear, and he makes more music out of it than Lisitsa does

  • When Rachmaninoff was asked what this etude was about he replied, "A story of little red riding hood.".

  • for realll?!?

  • indeed.

  • I agree. Even though my fave is still Lisitsa, I mean, this is Rachmaninoff himself! I mean, you can't deny this! :D

  • This is definitely my favorite interpretation of this piece. I've never heard anyone so clear.

  • Wow, I just found the Lugansky version. Another great!

  • Such details, such subtlity, such dynamics. As much as I like Valentina's fury, but Rach is Rach!

  • Very nice. Hearing it, though, convinces me that he would probably have liked Valentina's version very much.

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