S. Rachmaninov : Prelude op. 23 no. 5 in G minor (Berezovsky)
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- เผยแพร่เมื่อ 28 ม.ค. 2011
- The russian pianist Boris Berezovsky performs this prelude op. 23 no. 5 in G minor by Sergueï Rachmaninov.
Sergei Rachmaninoff completed his Prelude in G minor, Op. 23, No. 5 in 1901. It was included in his Opus 23 set of ten preludes despite having been written two years earlier than the other nine. It epitomizes Rachmaninoff's Russian nationalism, rich in full chords an evocative theme. Rachmaninoff himself premiered the piece in Moscow on February 10, 1903, along with Preludes No. 1 and 2 from Op. 23.
The Prelude's taut structure is in ternary form, consisting of an opening "A" section with punctuated sixteenth-note chords (marked Alla marcia), a more lyrical and melancholy "B" section with sweeping arpeggios in the left hand (marked Poco meno mosso), a transition into the original tempo, and a recapitulation of the initial march.
The Alla marcia section is in itself in ternary ABA form. Within the first three measures of the Prelude, Rachmaninoff introduces the unifying factors of the piece (notwithstanding the Poco meno mosso section). First, the chordal march of measure one; second, the fragment on the second half of the beat in measure two; third, the fragment on the second half of beat two in measure three.
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I remember writing it
Probably my favourite Rachmaninoff prelude! Really love this one.
I'm in love with Rachmaninoff's musical mind and heart.
It's so refreshing to hear a recording of this piece where the pianist doesn't just fly through it. The slow smoldering transitions and phrasing give it so much depth. Bravo maestro Berezovsky. Faster does not mean better.
I've played the piano for 9 years but stopped for 1 year, this was my last piece I've played, lol. It actually sucks to forget the pieces you love then go back listening to it trying to believe that you played that.
I can beer this, hold my play
I love the way he brings out the bass line!! He makes such a FULL and DEEP sound!!!
That ending smooth like a frictionless surface
0:44
Can't wait to experience the struggle of learning 😃
Im playing the song atm, and I realized just how wrong Ive been playing parts of the song. Especially the fact that Im dirtying up the song like crazy with the pedal.
This is a piece I both perform and teach to advanced students. There are many different interpretations of it online ranging from slower (as here), to extremely fast (Kissin). "Alla marcia" is key to an accurate performance: The "rat-a-tat" rhythm is imitative of a SNARE DRUM and needs to be brittle and unpedalled (at least in places where there are not underlying dotted crotchets, and the prevailing dynamic level is quiet). The second page needs especial care to avoid splashes: here the trick is to "springboard" off the quavers and land a fraction in advance onto the next "rat-a-tat" figurations. This may require segmented practice.
2:34
Ah this is my favorite version, I like hearing each individual notes and many other performances are so so fast that I can’t really enjoy all the beautiful notes of this pieceee ❤️
My favourite Interpretation so far. Not as rushed as many ones and I like the pedal use.
This is such an understated version of this song. I feel like people go so big and over the top with this one, and it is refreshing to hear it so close to what's written on the page.
I can only play up till
Very soft and calm interpretation, letting the crescendo live for love, with a perfect tempo associated with a slight rubato.
This piece is an amazing YES worth just an instant yes feeling when i am listening to this. Absolutely love it. And the middle was so romantic what created an amazing contrast with the earlier melody.
I was just listening to this performance in the background and the quality of playing is just astounding! Beautiful