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The first pianist

I think Schuman was crazy.

Khatia is similar to those talentless metal guitarist who wants to play as fast as they can to prob superiority

Krystian is King

Absolutely not.

I don't know why, but this selection of moments, in each piece, with their respective reactions, are inexplicably significant to me.

Ivo Pogorelich = liberté, c'est ma version préférée, je l'ai écoutée des centaines de fois, elle me mets dans un état second. N'est-ce pas cela la définition de l'art ? Mais dans cette version : th-cam.com/video/Q-tGUpF18ew/w-d-xo.html

Thanks! After 204 attempts I no hit her on NG+7 with a level 150 Great Stars charged attack build!

Show respect for Lang Lang!

Loved Zimerman, Yuja, and Alice Sarah Ott. Lang Lang seems to me to do a disservice to Chopin as to so much else he butchers.

Of course Kissin should be in this list?

I will always vote for young Master Alexander Malofeev… his star continues to rise. 🎶

Chopin's GREATEST musical moment the best? (Nocturne op. 48 no. 1, "doppio movimento") : TH-cam: Frédéric Chopin // Nocturne in C minor, Op. 48, No. 1 (Vadim Chaimovich) 04:44

Schiff pulled a Gould

Sokolov's slow moving coup ❣️🥇

Chopin has beautiful melodies, but his main skill is not his melodic writing - it is his harmonies! Therefore, these faster performances only serve to muddy and therefore disrespect his vision IMO

I guess everyone agrees that Jan was bad 😅

Idk why this method is so unknown lol by far the easiest way to dodge waterfowl in my experience

I believe Pogorelich lends the piece a haunting, melancholy tone. It is eccentric, yet deep and sentimental. His rendition allows the listener to sense a rush of deep despair and wonder. I do not have a biased preference, as all renditions here each have a delicate element not present in other interpretations.

Rubinstein it's just better.

KISSIN & KHATIA !!!!!!!!!!!!!

Do not say god, no one able to be like god!!

Everyone listens to the octave leaps in the right hand but ignores the left hand! Pianists (including me) tend to get paranoid about audible fluffs in the right hand, but then end up fluffing the left hand instead (or as well).

this song Alexis Weissenberg is better.

absolutely Yundi and Zimerman are the best

Now I need the whole Argerich recording!

Please add Perlemuter next time!

Lang lang rushes it, horrible

For me, I like Yeol Eum Son the most, I like the deliberate and precise way she attacked the keys.

la chiarezza e la forza di Richter sono impressionanti, n.1 sempre!

I am a big fan of Martha Argerich, but for this piece, I would have to go with Seong-Jin Cho. This piece needs to be played with more restrain. Martha's version is too fiery.

For me , Weissenberg , hands down __ precision , clarity and above all making MUSIC !

Sofronitsky's is just incredible

Lot of them don't play the p nuance, the sort of bird singing becomes too loud and unclear. A bit the same problematic like in Liszt feux follets or etude transcendante 10.

GODOWSKY and HOFMAN for me

No, this is not the most difficult section of the piece! The most difficult, technically (in terms of sound and articulation) and musically, is the only climax of the entire work that comes right after this section. Comparing performances of this section by so many pianists is utterly pointless. Horowitz plays safe, wisely (because of his age) in this section, but clearly stands out at the climax, making it a real, staggering climax like no one else.

I love how Kobrin (my teacher!) doesn’t exactly go for speed, but for sound. He produces a very organ-like sound here (and in the rest of Book I), which is better than just blowing through this

Inimitable ❤

After listening each and every one of them, in my opinion, the truly very best interpretation of this nocturne is from a pianist named David Fray. He just sounds perfectly right. I would love Yuncham Lim to play it. He has such an incredible talent. Hope someday he will.

Holy shit, I got her with 8 flasks left, It was this move all along that was fucking me when she gets to like 40% thanks, It was on ng+ cause the first time I beat her with summons and I felt dirty af

To be honest, I don't really like any of them. Almost all play so hard, the piano almost becomes non-musical. And the fast ones so fast, I don't even know if the key action can keep up. And it doesn't help that the dynamics are so high, it's probably clipping the microphones. I have heard one excellent version though, with the playing and recording equally superb. It's Pollini (surprise! lol). th-cam.com/video/5rfle8wSwJM/w-d-xo.htmlsi=mxWD3kFtF2eDYl2y

5:19 the discord notif lol

Why isn't there Hayato Sumino :0 ?

It's easy to have good voicing when you play like a mouse. Hofmann completely misses the mark by sacrificing the intensity of the build up for the sake of 'muh voicing' (his words, not mine). It would be great if pianos had infinite volume and no matter how loud you played, you could still make the voicing even louder, but that's just not possible. There's a limit to volume, so in order to 'voice' as dramatically as he does in a forte, the accompaniment is inherently going to be mezzo piano. I'd take the voicing getting drowned out a little over the complete lack of intensity and the agitation of a Buddhist monk on xanax.

Rubinstein, Hofman and Yundi Li

The fifth one looks d like she literaly watching her own performance and sey to herself wtf did I just played

Just be better than yesterday and that's it

Alexei Sultanov

Both Ivo Pogorelich’s version and Josef Hofman’s version are very emotional… Pogorelich’s version seems that someone is yearning for confessing his heart to his love one, but he is unable to do so because he himself is in the hell…Hofman’s version is like telling a story about the old good days and those memories will last forever even they are slowly turning into colorless… I personally actually like Tiffany Poon’s interpretation the most. That feels like all the good old memories are fading away but the lingering sadness never stops. But here did not show Poon’s version. I would say Poon’s version is a combination of Yundi Li’s version (regret) and Yuja Wang’s version (tenderness). That is a combination of the expression of grief, regret and tenderness. Poon’s sentimental touch is unique. I find Vladimir Sofronitsky’s expression very gentle too. I don’t agree that this section has to be played with “clean and clear” notes. I feel like the “unclear” expression is more accurate to show the ambiguous, ambivalent and struggling feeling within the melodies.

１）Arturo Benedetti Michelangeli (18:33) ２）Krystian Zimerman (00:00) ３）Maurizio Pollini (02:55)