Chopin Scherzo No.1 Kaspar Uinskas, piano

Chopin Scherzo No.1

Category:

Music

Tags:

• Chopin
• Scherzo
• uinskas
• frederic
• chopin
• rommantic
• piano
• live
• concert
• performance
• virtuoso
• classical
• music
• cool

[lobo48ar]

Any faster and it would implode like a cluster of shapeles sound. What is the pianist trying to prove? It's not enough to have flawless technique.

[semprelegato]

woahhhh this is definitely not my favorite interpretation.. lol

[NordicHealer]

Very Exciting performance with also a lot of poetry. Why do the video makers always Cut Off the video before the audence has a chance to respond?? The completion of the whole performance is with the audience Response.

[grietuke]

is my favorite -scherzo. but I cant listen to these improvisations. Its difficult to understand why this way rushing pianist. does not allow music to flow. confuses everything. technique is a wonderful thing, but even more wonderful thing to play feelingly.

[addeex1]

If he wants it to be fast play it clear then -_-

[THAMSPX1]

Were there no generally accepted standards for performance practice, there would be no rational justification for the field of music criticism. I believe that most performers will agree that within that generally accepted standard of musical style appropriate for a composition, there are a multitude of ways a performer can imprint his individuality without distorting the composer's intentions. Perhaps you do not understand. Are you a performer?

[jsd4544]

Are they beyond dispute, do you think? In what way? Are you denying there to be a single correct view to the ideal performance--in which case you've undermined your claims to judge, as you've eliminated the possibility of your own standard--or are you claiming there to be one right view, whose justification is either self-evident or previously accomplished, for (this or any) performance? The latter, again, merely begs the question, and would thereby prove taste to be up for dispute.

[THAMSPX1]

You seem to be agreeing with me. My comments were intended primarily for the performer whom I have reached, and from whom I have received a kind response. I haven't the slightest wish to debate matters of musical taste which are beyond dispute. I would say that most performing artists approach music with the objective of discerning the composer's intentions. We are fortunate therefore that performance traditions are passed down to each generation and must be aware of them.

[jsd4544]

knowledge' as its means!" You might say. But then, we're back to the question-begging process of founding an ideal, again, aren't we?

[jsd4544]

Well, as they say, anything's possible, so let's suppose it is for the sake of argument. Why do you think that route, the one you used, to get to the idea you hold to be the ideal performance of this piece, is any more justified as such than, say, one come to by a pianist who, sitting down and reading the music, playing it to himself, and envisioning it privately, reached on his own, so to speak? Why should we dismiss this method of conceiving an interpretation?  "Because it lacks 'historical

[jsd4544]

"Oh surely that's the right way to the right performance, really! Don't be silly, etc." Well, supposing we decide not to put that notion to too much stress, and accept it mildly. But then, what do we really MEAN by the notion of "using 'historical knowledge' in order to obtain an ideal"? What do we mean by "historical knowledge" in this respect? At any rate, do you really think that THAT'S where your own idea, i.e. the one in your imagination by which you judge this performance, came from?