Molto bravo Francesco, considerando la difficoltà di queste variazioni. Peccato in alcune di queste il suono non sembra da Brahms, il quale esige una densità armonica decisamente maggiore, ma potrebbe essere un limite nella registrazione. Complimenti, vista anche l'età dell'interprete. Tecnica di prim'ordine!
Je...n'...ai...pas...COMPRIS!!!!!Cauchemardesque ou tout bonnement génial ??????? Une chose est sure, la dernière variation est Gèniale. Par la Beauté de son chant,son raffinement,elle devient, sous les doigts d'un LIBETTA enfin redevenu lui mème,un pur joyau de tendresse! MAIS AVANT ,,QUE c'est il passé ???Ha! certes on entend TOUTES les notes, Faut-il alors que je révise mon instinct musical pour me dire: Je n'ai jamais encore,à mon age (76) écouté BRAHMS comme il fallait, je me trompais????Pourtant,ses glissendi sont sublimes!!!!!!!!!!!!!!!!!!!!!!!!!.
This dazzling performance gets extra bonus points because of that glorious piano and concert hall. Do we know where and what? I couldn't see a name on the piano. Fazioli maybe?
I have loved this man too much . I hear automation and no stress on the music's qualities. The trill study I think I'm more exciting and relish in the textural differences . Libetta , though never boring presents nothing new nor any privileged philosophy about Brahms here. Just another opus 35played quickly. Forgettable. Really, what musician would play them as if each was in same tempo with same mood barely changed . Catholicity I Brahms even though he was a classicist is better avoided. Nothing speaks to me . Maybe it's my amateurishness. I would play each as a different musicworld and rightly i believe with tempi ranging from largo to prestissimo! Now to Sokolov and Pogorelich. Amazing so many pianists can do octave glissandi on the deep bedded pianos of today!!!
It definitely is your amateurishness mixed with your knowledge of “privileged philosophy” whatever the heck that is. Some musing are best left to private journals. You said it best “ nothing speaks to me “ Understatement !
Il principale problema di Libetta è che suona tutto "uguale", allo stesso modo. Qui, poi, se la prende anche con molta calma. Peccato, i mezzi ci sarebbero pure.
Pero le variazioni mica sono una gara per showman. Sono cosi tante le "cose" da mettere in luce; basti ascoltare lo stregone Arrau o lo stesso lunare Pogorelich
It's the Verdi Theatre in Bussetto, the town that Verdi was born in.
Semplicemente straordinario...
GREAT GREAT GREAT piano playing... !
Superb performance!!!! Bravissimo!!!!
x's 1000
Magnífico Libetta!!!
Only Brahms !
Only Brahms could have given us this !
Brahms is so astonishing
grande studio...prodigiose mani...Bravo !
Holy crap that is an amazing hall....................
Meravoglioso
Amazing!
Bravo! Bravo!
Bravissimo..
wow
Molto bravo Francesco, considerando la difficoltà di queste variazioni. Peccato in alcune di queste il suono non sembra da Brahms, il quale esige una densità armonica decisamente maggiore, ma potrebbe essere un limite nella registrazione. Complimenti, vista anche l'età dell'interprete. Tecnica di prim'ordine!
holy shit !
Je...n'...ai...pas...COMPRIS!!!!!Cauchemardesque ou tout bonnement génial ??????? Une chose est sure, la dernière variation est Gèniale. Par la Beauté de son chant,son raffinement,elle devient, sous les doigts d'un LIBETTA enfin redevenu lui mème,un pur joyau de tendresse! MAIS AVANT ,,QUE c'est il passé ???Ha! certes on entend TOUTES les notes, Faut-il alors que je révise mon instinct musical pour me dire: Je n'ai jamais encore,à mon age (76) écouté BRAHMS comme il fallait, je me trompais????Pourtant,ses glissendi sont sublimes!!!!!!!!!!!!!!!!!!!!!!!!!.
bravo
Tüylerim tiken tiken oldu
and... (other then this piece is impossible to play) he uses the pedal soo darn well...
yes. did you find it?
This dazzling performance gets extra bonus points because of that glorious piano and concert hall. Do we know where and what? I couldn't see a name on the piano. Fazioli maybe?
BearAZ probably a Bosendorfer
try alexander gavrilyuk
? bravo cmq..
I have loved this man too much . I hear automation and no stress on the music's qualities. The trill study I think I'm more exciting and relish in the textural differences . Libetta , though never boring presents nothing new nor any privileged philosophy about Brahms here. Just another opus 35played quickly. Forgettable. Really, what musician would play them as if each was in same tempo with same mood barely changed . Catholicity I Brahms even though he was a classicist is better avoided. Nothing speaks to me . Maybe it's my amateurishness. I would play each as a different musicworld and rightly i believe with tempi ranging from largo to prestissimo! Now to Sokolov and Pogorelich. Amazing so many pianists can do octave glissandi on the deep bedded pianos of today!!!
It definitely is your amateurishness mixed with your knowledge of “privileged philosophy” whatever the heck that is. Some musing are best left to private journals. You said it best “ nothing speaks to me “ Understatement !
Il principale problema di Libetta è che suona tutto "uguale", allo stesso modo. Qui, poi, se la prende anche con molta calma. Peccato, i mezzi ci sarebbero pure.
mah...
Pero le variazioni mica sono una gara per showman. Sono cosi tante le "cose" da mettere in luce; basti ascoltare lo stregone Arrau o lo stesso lunare Pogorelich
io lo trovo straordinario e anche unico ...e poi e' cosi bello !!
Exactly equality in mood, emotion, temperament no good in this music!
@@antonellomatturris5732 I need this translated!