Jean Sibelius: Romance D-Flat Major, Op. 24, Nr. 9 - Vladislav Peysakhov, piano
ฝัง
- เผยแพร่เมื่อ 7 ก.พ. 2015
- For recordings of Vladislav Peisakhov, please visit:
vladislavpeisakhov.bandcamp.com/
---
CHECK OUT our website for more information and regular updates:
www.mengeliciousmoments.com
Or FOLLOW US on Facebook:
/ mengeliciousmoments
===================================
Please LIKE, LEAVE A COMMENT & SUBSCRIBE to our channel. YOUR support is what keeps US going!
===================================
Jean Sibelius (1865-1957): Romance D-Flat Major, Op. 24, Nr. 9
Audio & Video recorded live 22nd of January 2015
Paintings used:
"Auringonlasku" (end of 19th centruy) by Hjalmar Munsterhjelm
"Yöllinen purjehdus" (1890) by Frans Maexmontan
"Symposion" (1894) by Akseli Gallén-Kallela (depicted at the very right, Sibelius)
---
Vladislav Peysakhov lives and works in St. Petersburg, Russia. He studied at the Rimsky-Korsakov Conservatory under professors Khalfin, Nilsen and Svyatozarov.
Peysakhov has performed solo concerts since the age of 15 and has been heard with orchestras and leading musicians at St. Petersburg's premier concert halls, such as the Large Hall of the Shostakovich Philharmonic and the Glinka Academic Chapel, the House of Scientists of the Russian Academy of Scientists and the Anna Akhmatova Museum.
After the fall of the iron curtain, Peysakhov acted asa "musical ambassador" for Russia abroad, participating in diplomatic receptions and political events, performing a.o. for Mikhail Gorbachev and leading German politicians at the Russian Culture Forum.
Vladislav Peysakhov's talent is widely acclaimed in Europe. He has been called a "second Horowitz", "a dervish at the keyboard", "a musical enchanter", "an inexplicable phenomenon", "a multifaceted emissary of Russian culture" and "a top-notch virtuoso". His manner of playing has been called "perfect", "breathtaking", "magical", "enchanting" and even "erotic".
Vladislav Peysakhov continues to perform in Germany, Norway, Switzerland, the Netherlands and other European countries. He has dedicated more than 25 years of his life to working with students of St. Petersburg's leading music schools, such as the Rimsky Korsakov Conservatory special music school, the Glinka Choir School and the Herzen Pedagogical Universtiy. - เพลง
Our first piano video - despite recording under difficult circumstances. Hope you enjoy!
I love the tempo. Most pianist tend to play this piece too fast in my opinion, ignoring the passionate taste in the music. But this tempo really makes me feel the music a lot more.
I love the way the pianist attends to this piece. Just lovely.
Yes... I am using this interpretation of Romance to listen to, and to study
Many thanks, God bless.
An interpretation in the spirit of Jean Sibelius, so beautiful, in the right tempo, the dynamics, the ethos, all the feelings in this music, the singing... Mr. Peysakhov deeply understands the music of Sibelius and his era. Thank you so much!
Amazing!
Impressive
Awesome!
Bars 51 - 52, there is a dynamic crescendo and a rhythmic crescendo, neither of which can be done if one starts 51 already ff as fast as possible with the pedal floored. Sibelius starts bar 51 at only f, with a *cresc* possibile, yet even at the top does not mark a ff. Nowhere in the entire score does he call for a full out ff. Impossible to say what he would have thought of this rendition; he was noted for being picky about performers respecting his scores.
excellent interpretation. A great model for a student.
+donald cutler Thanks, I shall pass it on to the artist, I'm sure he'll be delighted!
Yes, this is great!
This would have been one of my absolute favorite interpretations of this wonderful piece, if not for the strange arpeggios through the piece, and a little bit of underlining the obvious too much. The cadenza started with unnecessarily eagerness, so that the build up to climactic intensity came too early (already at the octaves at 2:30). The ectatic climb, which should have an increasing intensity and speed, was now a single row of rumble, and the following cascade downwards, which have three accented "tipping point" notes, now ran trough without thought and the lovely feel of gravity taking over from the very top. Indeed the coming to the final dividing run was technically brilliant, but feeling just like a through play on full intensity and unnecessarily rushing.