Scriabin: Etude No. 5, Op. 42 (Evgeny Kissin)

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Scriabin: Etude No. 5, Op. 42 (Evgeny Kissin)

Рет қаралды 90,954

Gogo

Күн бұрын

Undoubtedly Kissin's best recording of this piece.
(From the 2014 Verbier Festival.)

Пікірлер: 44

@Varooooooom Жыл бұрын

Kissin easily has the best recording of this piece, imo. There’s so much drama, tension, emotion, and story packed into it.

@adrianopiano5551 Жыл бұрын

🎉

@soumyadeepsarma6686 Жыл бұрын

In my opinion, Horowitz has the best recording, but this version is also very good

@Barichter74318 Жыл бұрын

@@soumyadeepsarma6686Same for me. I love the Horowitz recording more than anything but this is definitely one of my favorites

@StephenJackson1958 11 ай бұрын

Yes. As they're saying here: please please please listen to the Horowitz?

@Varooooooom 11 ай бұрын

@@StephenJackson1958 I already have, and I’m not a fan.

@ivelinyorgov3580 Жыл бұрын

What can I say? I’m speechless from the geniosity that Kissin brings out of this dramatic poetic piece

@ruben0_038 2 жыл бұрын

Beautiful singing melodic lines, which is quite hard to achieve in this piece. This may be my favorite recording.

@aidanm.1683 2 жыл бұрын

Kissin plays rach and scriabin in a way that is so monstrous. Its very deep in sound and growling and very interesting! I made this conclusion by listening to this and his rach 3 ossia cadenza

@trevjr Жыл бұрын

Such a great etude, I think I have always liked it a little more than the d#. He is a true Scriabinist, plays impetuously and irregular. Horowitz plays it louder and faster but Kissin creates music, I esp love his left hand bringing out the hidden melodies of the deep.

@daisyrainmark Жыл бұрын

Best performance of Scrician Etude No 5 Op 42 !

@eusebiusseo9809 Жыл бұрын

하나의 드라마나 영화같은...아름다운 키신의 연주. 감동입니다❤

@deadlysquad13 2 жыл бұрын

Thanks for upload! It was interesting to see both notes and pianist at the same time.

@Barichter74318 Жыл бұрын

So amazing! His playing of the parts from 1:15 and 2:17 are amazing. I love that in parts like 2:34 and 2:47, he doesnt start with forte but greatly cresendos into the climax a few seconds later

@ip100istp4 3 ай бұрын

정말 아름답다.. 아름답다 못 해 가슴이 너무 아픈 곡이에요.

@Askeys Жыл бұрын

Holy shit Kissin+score ❤❤❤

@Florestan1207 Жыл бұрын

En av de bästa versionerna, full av både kraft och sång.

@davidvoykin 5 ай бұрын

Incredible talent . Enjoyable and passionate performance.

@bartremmelzwaal5775 Жыл бұрын

2:02 damn Scriabin

@youngpaderewski3668 5 күн бұрын

Yeah, dude’s got a real nice touch.

@alvarojosetasconospina3583 Жыл бұрын

BRAVÍSSIMO..GRAXIEEE MONSEÑOR!!!¡¡

@Cubanbearnyc 10 ай бұрын

....Great artist !

@user-sg8cw3lc6z Жыл бұрын

2:02 fantastic

@martinstahle2006 3 ай бұрын

Dieses geniale Stück!

@MiguelAngelLaiz Ай бұрын

There is an important error in the way to name this piece (and many others). The correct way is: Etude Op. 42, No. 5. This is because numbers BEFORE opus number in a tittle indicate the place a particular piece occupies in the total list of that type of pieces composed by someone (i.e. etudes, sonatas, nocturnes...) However, numbers AFTER opus number in a tittle indicate the place a particular piece occupies in the list of THAT OPUS NUMBER (usually, an opus number means one or more pieces published together). Thus sometimes you have to use BOTH numbers and if you misuses the place of the number, you are not appropriate identifying the piece. Some examples: - Opus 42, by Scriabin comprise 8 etudes published at the same time: nº 5 of this collection must be defined indeed as Etude Op. 42, No. 5. On the other hand, Scriabin composed several etudes before this op. 42: one etude under opus 2 and 12 etudes under op. 8: Thus, our etude Op. 42, No. 5 is, in fact, the 18th etude composed by Scriabin, so it can be named also as Scriabin's Etude No. 18; and finally, it can be used BOTH numbers, named this piece as Scriabin's Etude No. 18, Op. 42, No. 5. This is not often used for Scriabin's etudes, but is commonly used in Beethoven's sonatas: i.e. Beethoven's Waldstein Sonata No. 21, Op. 53 (only this sonata in op. 53) and Beethoven's Moonlight Sonata No. 14, Op. 27, No. 2 (because Beethoven published TWO sonatas at the same time). In this case it is clear that it cannot be used Sonata Op. 27, No. 14!! thus you can correctly name this piece in THREE ways: Sonata No. 14; Sonata Op. 27, No. 2; Sonata No. 14, Op. 27, No. 2. Hope this long explanation will be useful.

@remsan03 Жыл бұрын

The #5 is such a show-stopper. If only it didn't look so scary on paper. Especially that recap. Yikes! Very Schumann Toccata-esque. The etude is like Scriabin's answer to Thalberg's Three Hands Technique.

@user-dn3qv2co1l 3 ай бұрын

Fast and perfect

@whyme9534 Жыл бұрын

do you use any specific software to do this kind of video?

@Emioteroalonso 4 ай бұрын

Por DIOS!

@evgenyryu8285 5 ай бұрын

슬픈 극락 .ᆢ 이승에선 이뤄질수없는걸 약속한 느낌

@thomgeo8073 2 жыл бұрын

Женечка послушалби чуть Рихтера

@nss4472 10 ай бұрын

Зачем? У него своё видение этого опуса с 1986, прекрасной юношеской записи из БЗК в Москве! Спасибо Анне Павловне Кантор! Она даже в каком-то отношении лучше, искреннее, органичнее, чем эта, хотя эта тоже шедевр...

@evgenytarasov2541 2 ай бұрын

А почему Рихтера? У Рихтера здесь какой-то проезд поезда получился. Несомненный эталон для меня исполнение Софроницкого от февраля 1960-года.

@evgenytarasov2541 2 ай бұрын

@@nss4472 Да, да. Тогда, возможно даже в отношении этого этюда, Вознесенский сказал, что ему страшно от того, что юный пианист понимает то, что по возрасту еще не положено понимать. (хотя могу ошибаться).