Превосходное исполнение!

THIS ONE is the greatest recording of all time.

Hey everyone - After more than a week of editing (tempo, pace, dynamics, articulations, etc) and playing the final MIDI product using my Yamaha digital keyboard sound, I’m excited to finally share my virtual performance of Chopin’s Andante spianato et grande polonaise brilliante, Op. 22. The notes in MIDI were originally sequenced/input live by Robert Finley. It has been such a fun ride going through one of my favorite Chopin pieces. For the keyboard visualization here, ChatGPT recommended a nice soft blue color for the Andante spianato and then a gold color for the polonaise. The gold HSL looked a bit weird so I opted for Polish flag colors instead. This was a great test for me in preparations of Chopin’s full first piano concerto that I will be mixing in MIDI with my upcoming project, to hopefully be completed by the end of the summer in September. Stay tuned for that and I hope you all enjoy this rendition of Chopin’s Andante spianato et grande polonaise brilliante, Op. 22.

Today marks 1 year since this titan of classical piano performance left us. May we all continue to revisit the moments of divine musicianship he left us. Thank you, Andre. We still miss you and are grateful that you shared time and space with us all.

It's great to be able to play the piano like you do. How do your left arm fit into the keys to play? I wonder if you could use a fake finger made of a harder rubber and wrap tightly around your arm to achieve a similar effect to a real finger.

26:30秒の所どうやってだしてるんだ？ 理解できないすごすぎるこんな音だせるの他いるのかなだれか

Great!

THE BEST PERFORMANCE! BRAVO! 👏👏👏

WAYNE! Tremendous job of tweaking! Thank you!

My god, thrilling!

Happy Independence Day 🇺🇸 I arranged and recorded a few traditional American songs last night to mark today - these were recorded separately as my best take for each piece, and I unfortunately had to record via my iPhone built-in mic because my Yeti mic didn’t want to be detected (it was earlier in the day for One Summer’s Day). There is a fun history behind these arrangements as back in 4th grade at Los Molinos, my class teacher (Mrs. Decker) used to start everyday teaching us traditional American songs with herself playing the classroom upright piano. And for 5th grade, my class was part of this cool school choir (me included) singing When Johnny Comes Marching Home and Anchors Aweigh. Both were really fun experiences which I am remembering in this piano video for today. I hope you all enjoy this video and have a fabulous, safe, restful, and celebratory holiday today 🎹

… I always cry at 16:37 🥰

Hey everyone - I have been wanting to record Joe Hisaishi’s “One Summer’s Day” from Spirited Away over the summer and finally did so today on a summer’s day with my updated mic placement. I am still undecided whether I want to stick with this new mic placement sound or not or return to my old placement. I hope you all enjoy this nevertheless and have a good rest of the day!

Excellent re-mastering. Thank you for a wonderful job.

Perché non traducete dall’inglese?

Fantastico !! It was recorded in 1 - 3 August, 1973 in The Great Concert Hall.

辻井さんの演奏は、今は亡き大ピアニスト Van Cliburn氏の演奏に匹敵します。私が 大好きな奏法です。

Hey everyone - this latest remastered audio of American pianist William Kapell is part of my long-term non-commercial project (dubbed the Kapell Stereo Series that you can find on my KZbin channel) to remaster as many of his recordings in stereo as I can in consideration of the Haas Effect. The Haas effect of 1949 states that when one sound is followed by another with a delay of approximately 40 ms or less (below humans’ echo threshold), the two are perceived as a single sound. This provides an opportunity to stereoize the original mono audio without any artificial editing unless minimal editing is needed for some original files. What you hear in this one and all my videos is the original audio except in stereo. I choose specifically William Kapell due to his incredible artistry and musicality, for someone whose life was tragically cut short right before the beginning of the stereo era due to a plane accident coming home from abroad. I will also at some point remaster recordings by other notable pianists who recorded in the pre-stereo era. Hope you all enjoy this beautiful live rendition by William Kapell from 1953 of Scarlatti’s famous Sonata in E Major, K. 380 🎹

Hey everyone - I was looking through past competitors of piano competitions, with the ongoing Bachauer International Piano Competition in Salt Lake City (USA), and I came across Minoru Nojima of Japan who recently passed away in 2022. This is one of the most compelling renditions of the famous Liszt’s “La Campanella” that I’ve ever heard. Nojima made his debut at age 10 with the NHK Symphony, well before him participating in the 1969 Van Cliburn International Piano Competition and placing second behind Cristina Ortiz of Brazil. Although Nojima did not record extensively, he did tour in the U.S., Europe, and Asia with many orchestras, chamber recitals, and solo recitals. At the time of his passing Nojima was serving as president of the Tokyo College of Music. I encourage you to check out the full bio via my video descriptions. Hope you all enjoy this stunning rendition of Liszt’s La Campanella performed by Minoru Nojima.

Incredible!

Hey everyone - here is the full final mix in realistic MIDI of John Williams’ “Bugler’s Dream and Olympic Fanfare” ahead of the Paris Games. In keeping with my own tradition, I mix Olympics music in MIDI by John Williams for every edition of the Games, with this time the Bugler’s Dream and Olympic Fanfare. A fun and wild ride with the mixing process as always. One thing I didn’t do was save my files from Tokyo 2020 ‘21 (more importantly my mixing session) in a proper place, so I did the full mixing from scratch. I will have this year’s session properly saved so we will see how the mix of this piece will be like in 4 years from now ahead of LA 2028. For Milano Cortina 2026 (Winter Games), I will be working on another piece by John Williams to be determined. This 2024 mix highlights the glockenspiel, a texture that is a staple of John Williams’ music in general (especially his Harry Potter ones). For those who have seen video footage of Paris from my previous video, they are also included in this one if you scroll to the second half. This wraps up my MIDI mix of Olympics music for now until 2026. I’m currently also working on an upcoming piano video as I re-adjust my mic placement to update the sound so stay tuned! 🇫🇷

Hey everyone - in keeping up with my tradition from Rio 2016 of mixing Olympics music in MIDI by John Williams, I am once again uploading a new mix of one of my favorites (Olympic Theme and Fanfare). I started using public domain videos for Tokyo 2020 (‘21) to go along with the music and I am continuing this here for Paris 2024. This is only half of the music as it’s extremely hard finding good public domain videos; and having visited Paris (and Tokyo), I always wish I could’ve taken more videos and pictures. I was not a fan of taking pics back then, but I definitely know its importance nowadays for memory keeps. Paris was/is more than what’s shown here (as with Tokyo) but I nevertheless hope you enjoy this latest MIDI mix along with a rough visual overview of Paris 🇫🇷

Hey everyone - NBC had the same opening theme section format 4 years later for the Sydney 2000 Olympics, the first Olympics that I remember pretty extensively. Their opening segment in 2000 as a whole had an upgrade with James Earl Jones’ first appearance as narrator along with compelling background music. I cannot upload the whole segment due to copyright but I encourage checking out the intros that NBC had done in this one and over the years. In this theme section at the end of the segment, I paired it up once again with the original unpublished stereo file for the Olympics coverage theme (Bugler’s Dream) that was used but not in good quality from the original primetime broadcast. I also remastered the stereo file for this 2000 edition to sort of update the sound. In 2004, NBC kept the opening segment format with narration but discontinued this theme section and switched to a similar but shorter one throughout the Games from then on. Hope you enjoy these re-creations of the theme segment from Atlanta 1996 (via my profile) and Sydney 2000. Stay tuned for another Olympics theme video 🇫🇷

Do you have his January 31, 1963, performance of the same Liszt E-flat Concerto?

プロコさんは何でこんなヘンテコリンな曲を作ったんだろう😮何で演奏家は演奏するんだろう？演奏出来るならしてみろ!したるわ！みたいな感じなのかな🥺辻井さんの演奏で一番好きです

Hey everyone - To follow-up from yesterday, all NBC videos archived and uploaded onto KZbin from 1996 are in mono (and it’s possible our local broadcast was also in mono), so I did some digging to see if there was actually a stereo version of the NBC Olympics opening theme or not from the time. NBC studio was already in stereo after making the transition from mono in 1988 for the Seoul Olympics. It turns out the original file (from 1992) was in stereo and this track you hear here was released as part of an internal CD not available to the public. Their version, as I remember, was different from the official Bugler’s Theme/Olympic Fanfare in that we only hear the timpani in the beginning and not the cymbals and tubular bells. This theme was, of course, re-used in 1996 and 2000. This is probably the closest to hearing that Dolby Surround (tag you see on the bottom right). Hope you all have fun with this one and I am looking forward to the upcoming Paris Games 🇫🇷

Imo, no one plays this concerto the way Watts does. I have the album with him and Bernstein, and I heard André play it live in 1980 and 2006. All three offerings reveal the growth and maturity and deep love for the music. I am celebrating André Watts today on the 78th anniversary of his birth, and the reality of his transition still touches me today as much as it did on July 12th of last year. Again, I still say thank you, sir.❤❤

Hey everyone - it’s summer which means the Paris 2024 Olympic and Paralympic Games are around the corner! For every 2 and 4 years, summer and winter athletes around the world come together to compete at the highest and most competitive level ever. It’s always so fun following the Games and Paris is looking to be very promising this year 🇫🇷 My first memories of following the Olympics were from Atlanta 1996, though very vague, seeing Muhammad Ali lighting the cauldron while shaking (from his Parkinson’s) and also with this NBC intro theme for everyday when coverage for the Olympics began. There’s music for everything on TV but this intro theme stood out to me as a kid at the time. NBC sadly changed the presentation in 2004 and discontinued altogether in 2016. Hopefully they bring it back this year? (fingers crossed) Searching, video clips from the time (like this NBC intro segment) were all in mono and I wonder how things would’ve sounded in stereo from nowadays. I recreated the intro theme (Bugler’s Dream) in MIDI years ago in time for Pyeongchang 2016 and kept up with the tradition for the Tokyo Games (paired up with this intro footage), but I re-did the mix recently because my audio from 2021 wasn’t good. There’s one thing someone said which stuck with me, and I find this to be more relatable as I explore, which is that the natural-ness factor disappeared as TV turned from analog to digital fully in 2009. Things look a bit fake with digital - there was this unique beauty in the analog days with presentation that probably will still not be replicated today, both visually and audio-wise. I wish I could find a clearer video of this stunning 1996 NBC Olympics intro segment, but I hope you enjoy this re-creation and look forward to the Paris Games in a few weeks from now!

Great.... Love the New York Phil... such a great sound...

Hey everyone - I had been trying to update my home mic position this morning to get a more direct piano sound, and I’d like to share this “Always With Me” from Spirited Away that I recorded (audio only) to test the sound. I’m still deciding whether I should stick with a mic position I’ve been using for a few years now or if I should work with this new mic position. I hope you all enjoy this rendition of “Always With Me.”

辻井君が、ピアノを愛していることが、動画で本当に感じます❤

Odov portyat... Paki maqrvi... Bnavorutyun uje chunen...

put his stamp , over and over, so many pieces..the music was personal to him,it always showed

Awesome!

Great performance of a beautiful piece.

Hey everyone - I’m uploading my latest Chopin Etude project, his beautiful Op. 10 No. 3 in E Major. This one was sequenced live in high quality once again by Prof. Katsuhiro Oguri, unfortunately the only MIDI file of the Etudes from him - he is technically capable but must have been focusing on other works. I made modifications again to lower the velocity (volume) again of the MIDI notes to reduce the harshness that a loud note would produce from my Yamaha keyboard. The Op. 10 No. 3 Etude is a nice major key emotional contrast sandwiched between two quicker ones of minor keys No. 2 (A minor) and No. 4 (C# minor). Stay tuned for more Etudes to come and I hope you all enjoy this 🎹

辻井君の事は以前から知ってましたが、クラシックに無知な私が辻井君の演奏を何となく聴いてみると… 感動で😢😢😢 カンパネラでした。 それが切っ掛けとなり、ハマってしまい毎日何曲も聴いています。 他のピアニストも聴いてはみたけど、心に響く何かが違ってて、兎に角音が綺麗で惹き付けられます。 64歳になったこんな私に楽しみにを与えてくれてありがとう😂 死ぬまでに一度　生演奏を聴くのが夢になりました✨ 神様の贈り物です❤ 身体に気をつけて世界中に感動を送って下さい。

at the age of 79!!!! incredible!

Wonderful presentation. Emotional yes. Perhaps even more analytical. 🎉🎉🎉Coincidentally I just did Sonata No 3 Op. 58 IV Finale in B Minor and would love your opinion. ❤

Hi everyone - I’m uploading another Chopin Etude today, his Op. 10 No. 8 in F Major. Both Op. 10 Nos. 4 and 8 are quite on the extreme end in the emotional context. The No. 4 Etude (in C# minor) evokes a fiery, almost rebellious tone but the No. 8 Etude (in F Major) evokes a tone of cheerfulness that latches onto the opening trill of a high C note. I forgot to mention last night about popular nicknames (not Chopin’s) assigned to each Etude of Op. 10 and Op. 25: The Op. 10 No. 4 Etude is nicknamed “Torrent” while the Op. 10 No. 8 Etude is nicknamed “Sunshine.” You can imagine how those two words are applied to the pieces as you listen to them. I believe the MIDI file I worked on for this Etude was recorded live (by Anousone Kitisa) unlike yesterday’s that seemed to have not been live based on the consistency/inconsistency of velocity (volume) for each note. Therefore for my modifications with this Etude, I only smoothened things out and applied some ritardando towards the end. This was a pretty good performance of the Op. 10 No. 8 Etude from the keyboard end. My choice of green color for the keyboard visualization in these videos (if not recommended by ChatGPT) is a homage to one of my favorite music anime Forest of Piano - Piano no Mori. The series is still on Netflix if anyone is interested. I hope you all enjoy this - I’m looking into other Chopin Etudes at the moment so there might be more coming, stay tuned!

Hi everyone - I wanted to re-do a project I did in the past of one of my favorite Chopin etudes (Op. 10 No. 4 in C# minor) with my Yamaha keyboard sound this time. The project at that time utilized the NotePerformer piano sound which was not good so I hope this one would be a reasonable upgrade. The MIDI here was sequenced by Larry Ellis and I made some modifications to the file, including upping the tempo and lowering the velocity for some notes to avoid the harshness. I also upped velocity in a couple brief areas to highlight voicing. I chose this MIDI file specifically to render because Larry did an amazing job with the performance and dynamics. I hope you all enjoy this and that it would give a nice musical jolt for the day or night!

Hey everyone - I was surfing for more good piano MIDI files by Prof. Katsuhiro Oguri (and other people) and came across Béla Bartók’s Romanian Folk Dances, a suite of six short piano pieces (two of those that I remember playing as a kid). Bartók originally wrote this piece for solo piano in 1915 but later arranged it for the small ensemble. These pieces are based on Romanian tunes from Transylvania (not Hotel Transylvania) with specific titles for each movement: Stick Dance, Sash Dance, In One Spot, Dance from Bucsum, Romanian Polka, Fast Dance. I asked ChatGPT to come up with a unique color (a specific HSL) that it thinks represents each piece. They are reflected in my video as you listen to the piece: rich orange for Stick Dance, fresh green for Sash Dance, deep blue for In One Spot, soft purple for Dance from Bucsum, vibrant yellow for Romanian Polka, and bright red for Fast Dance. ChatGPT seems to like red to wrap up the piece because they also recommended red for the final movement (Golliwog’s Cakewalk) of Debussy’s Children’s Corner. My ongoing solo piano MIDI projects are part of a preparation for an upcoming major project as I attempt to mix Chopin’s two piano concertos (and other pieces as well) - there are good files available to mix for Chopin and I am excited to see how my Yamaha keyboard would pair with my NotePerformer sounds for both concertos. But before then, I still need to get used to editing and have a few more solo works coming up (including Chopin’s Andante et spianato et grande polonaise brilliante, Op. 22). For this file of Bartok’s Romanian Folk Dances, I had once again lowered the velocity for some notes so that you would not hear that harshness that is unrealistic in sound. I hope you all enjoy this and stay tuned for more 🎹

Hey everyone - I initially wanted to remaster William Kapell’s recording of the beautiful Schumann’s Romance in F# Major, Op. 28 No. 2 but it was distorted and stereo-izing it wouldn’t have made it sound better. I will revisit it at some point in the future. It seems like Kapell regarded the second movement of Mozart’s Sonata in B-flat Major (K. 570) as his favorite because he’s recorded this piece at least twice (one as part of the complete work and one as standalone). This one is the standalone version recorded on March 12, 1953 In the audio sense, the Adagio movement pairs well with a nice sense of space which I hope I was able to grasp a bit in the stereo-ization process. I will take a brief break from remastering as I return to my MIDI projects. Stay tuned for those and I hope you all enjoy this one.

たっっっくさんのピアニストの演奏を聴いていますが、辻井さんには「辻井伸行の世界」という独立した確固たる世界が成立していて、超越した世界観があると感じる。 小さな違いなど最も簡単に全部掻き消すことができる、圧倒的なパワー、推進力、そしてダイヤモンドのような音色。まさに類を見ないピアニストというタイプだと思います。 これからもたくさんの演奏が聴けますように… ますますのご活躍を祈ってやみません！

Absolutely beautiful. Thank you so much.

カペルというピアニストを正直聴いたことが無かったので、今探していた時のUPに感謝します。音質も良いですね。

Hey everyone - On this day 73 years ago, William Kapell was in the process of recording Chopin’s 3rd sonata. It was to be a total of three sessions, recording on May 19 & 21 of 1951 and June 23, 1952. His rendition remains one of my very favorites and I am very happy to present this in stereo utilizing the Haas effect. The Haas effect of 1949 states that when one sound is followed by another with a delay of approximately 40 ms or less (below humans’ echo threshold), the two are perceived as a single sound. This provides an opportunity to stereoize the original mono audio. Also in this video is Kapell’s lively rendition of Chopin’s Waltz in E-flat Major, Op. 18 recorded on June 24, 1952. I hope you all enjoy these two renditions, and stay tuned for more to come as part of my ongoing Kapell Stereo Series.

The first recording (and my favorite) of this Sonata I've heard was Richter's. Everywhere, I read that his tempo was considered to be unconventionnaly slow. I couldn't imagine it being faster until I heard this amazing performance from Rubinstein. It just makes sense.

FWIW, a very young Bud Herseth (Principal Trumpet) is seen at 24:56, 26:22 and 28:28.

Where was this recorded? This is definitely not Orchestra Hall in downtown Chicago nor Medianh Temple (the CSO’s alternate recording location), nor Ravinia Festival. This looks like a television studio. I’m guessing that this was recorded at the then brand new WGN Studio at 2501 West Bradley Place in Chicago. Does anyone know for sure?