what about the power at 49:23 ? AWESOME !

@@ast360audio I listened to that extract: awesome as you say, and reinforced by the expression on her face in the music immediately following - total mastery. The only other woman I can think of capable of handling such music this way is Valentina Lisitsa. Have you noticed how many performers (as seen by their facial expressions) allow the music to lift them up as though they are in chariots riding into the sky? These two women are the opposite: they take the music as a lion tamer handles a whip: no rushing for effect, but deliberate and purposed. They do not let the music carry them along; they carry the music along by bringing out its optimum beauty. It is a subtle difference.

@@ast360audio I made a supplemental reply, but it somehow got wiped out so I lost 20 minutes saying more to share with you. I was trying to say that if you compare Lilya's treatment of the music at 15:01 (and the bars following) with others' handling of it: I singled out Sara Daneshpour's handling of it at her 5:52 (as an example), there is no comparison: she misses the spirit the music is trying to convey and I cannot bear to hear it, though this lady is also a master of her instrument and overall plays the concerto beautifully. (It is at the video link: kzbin.info/www/bejne/jXWmd3mBlrCem8U.) To a high degree Lilya Zilberstein forces the orchestra to the music's proper pace, in contrast to the interplay between the orchestra and other soloists.

@@davestrickland8378 I've just listened to DANESHPOUR , solid but lack that "QUID" that U noticed. I want to say a technical-audio note: click the right mouse botton on the video NERD STATHISTIC (the last voice that appears). CONTENT LOUDNESS -7,8 dB in DANESHPOUR -3,3 dB in ZILBERSTEIN what does it mean? simply that KZbin ALGORYTHM has reduced a lot of frequencies (not only bass). RIEQUALIZING audio means to change the real record. This is because they prefer to have a "CENTER LEVEL" of DB, LUFS etc... if U pass from a spoken audio to RACH 3 or to other sound, the level is the same. I often publish remasters, restored music, new edit etc, and before uploading every job I did I personally control that the level in dB is perfect so that nothing will manipulate the very important relations of frequencies. OF COURSE LIVE IS THE TOP !!!

@@ast360audio You are obviously well versed in the technicailities of reproducing music for listeners. I only saw the windwo with your -3.3 dB by accident. I simply use my media player's own settings to adjust for sound quality. My point comparing two performer's treatment of the same music passage was concerning the pace of the music: Daneshpour fouls up the mood here simply because she suddenly decides to sweep through like an express train instead of pausing to reflect. Overall, a strong soloist master of the music will be able to command the whole orchestra towards matching the pace, and the rubato, of the music. On your mention of remastering music, the clearest example I have encountered in my own experience is an eastern European edition, using its own artists, of J N Hummel's piano trios, quartets and quintet. These are so good I cannot listen to other editions and derive the same fulfilment from them. (Cannot remember the edition involved - my disks are not with me: I think the company is Czech.)

Listen to Weissenberg’s recording!