actually he does a great job of separating the voices at this extreme tempo. i think its completely in the character to play this piece very fast. Unlike the vocal version, there is no consistent singing line, because of the constant rhythms that need to be played, super difficult, barati does it perfectly.
I like the speed. Take a look at the story behind the original lieder: it's an atmosphere of PANIC! You are riding on a horse, rushing forward, the child is SHRIEKING about getting attacked, the father goes FASTER, etc... You need a sense of chaos and speed. And notice how he slows down A LOT at the end, to signify the death of the child. It's because he went so fast initially, that he could effectively make this contrast.
To all those thinking he's playing it like it was a race or just to show off his skills, you should all be aware of just how difficult this piece is to play and should also understand what its about. Im sure you have heard it differently many times but appreciate his rendition of it. Its truly amazing.
There's no need for that kind of talk. Don't confuse roboticism with accuracy. Hahn is known to have practiced the violin since her childhood by playing the music of J.S. Bach, a composer whose entire period, though fascinating, was marked by the art of fugue, square melody, counterpoint and the creation of modern harmony. I'm sure both Hahn and Barati know their strengths and weaknesses and I'm sure either would think before making a backhanded remark on each other's expression and accuracy.
This is so fantastic. I can't believe that anybody would try to criticise it. I'm sure most people slating this performance couldn't do any where near let alone better.
The Wikipedia article "Erlkönig (Schubert)" includes a vocal performance of the whole poem along with the poem itself in both German and English. This really helped me understand this piece.
Thanks are due to the cameraperson for concentrating on Barati's hands. This piece requires phenomenal fingering, and Barati executes it all with amazing virtuosity.
I love his playing! his technical ability let people ignore the difficulty of the piece, and enjoy the original music of schubert, this most of the violinists can not do.
Keep that in mind that after some level in violin, there is not such a thing that more speed is more talent. Hahn or any other top class violinist can also play just like this. But it is the matter of expressing the feelings. Hahn has her own way to do that, and Kristof also have his'. You may like one of them more, but I think it is not true to compare them in terms of skill.
Показати більше Hahn and Kristof are different WORLDS ... he is not a cut above her, and not two ... this is a completely different level (if only this can be called a level ...) He plays in the same breath, not paying the listener's attention to enormous technical difficulties. This is the most free and at the same time the most collected performance in terms of concentration, the completion of Hahn to bring out the entire complexity of the given work. And this is not a peculiarity of the interpretation, it’s just a weaker possession of the instrument ... like that, everything is prosaic. I emphasize once again that Kristof’s performance is the best on TH-cam, this is the standard, and it’s unlikely that anyone will be able to perform this work more freely and easily P.S. I apologize for my English, as I write through a translator
@@roaschmo I like your explanation and point of view, but be careful: with your interpretation, we can say that, for example, Menuhin performed the scherzo-tarantella also not musically
ok... let's be clear. there IS such a thing that more speed is more talent at this level... If you listen, top players even at the highest level make many mistakes (intonation, bowing... phrasing... ). This level of mastery over an instrument is truly rare (I can think of only 2, maybe 3 other recorded violinists who can think about doing this). Now, I agree that there's the thing about musicality (though I think here as well, I think Kristof is brilliant), but rest assured, Hahn cannot play at this speed and she does not have mastery of this level
as a fellow violinist myself i would say in my own personal opinion, that technically thie version is way better and it expression is way more differenciated than hahns
@animeimport "horse could run so fast probably it would have died in half an hour" And how fast exactly is it running here? It's not just the horse running, it's also the panic and chaos of the situation. I'm sure if the story is about Seabiscuit running free on a beautiful open plain, the music would be less intense no matter how fast the horse actually runs.
@animeimport The fast frantic parts: running home on horseback The soft notes near the end: "Son, wake up. Are you okay?" (my paraphrasing) The loud, dramatic final notes: "Shit! Son is dead... *cue dramatic music* " Not everything has to be a cute polished scratch-less sound. If you are depicting butterflies and birds on a picnic, then sure, but not in this scenario. That's why I like this interpretation. He goes beyond the technique to paint the story behind it.
@mkurnat This is a story about a life-and-death moment for a child (who dies near the end), while the father rushes home FRANTICALLY on horseback. There is momentum, chaos, speed. It's not a pretty little bel canto opera moment. You need a bit of that "scratch," that TENSION. You might think this is over-doing it, and that's fine, but you can't just dismiss this as unthoughtful, mindless "showing off" without acknowledging the background of Schubert's original lieder.
holy crap! this is the most articulate and clean performance of this piece i've ever heard. this is exceptional playing. thank you for the post. are you able to put up the Paganini performance?
In response to people saying that the speed is part of the story, I'm afraid you're wrong. The grand caprice is a story of the Elf King coming in different forms to try to lure away a child. His father then is there to protect him, hence three different voices needed to be used. The high-pitched boy, a low, angry voice for the father, and multiple pleasant kind voices for the Elf King, trying to lure the child away (e.g., at 1:19 there's a clear "dialogue" between the Elf King and the boy, until the father comes in). However, by playing it so fast and as a performance piece, many musicians leave behind the key item of distinguishing the voices from each other, turning the story into any old show off piece. That's why hahns version is so much better, because she focuses on the right things.
ZiggyTheDawg Who cares? Music is music. If it touches souls and gets the performer's ideas and interpretations across, then the job is done. No one knows what Ernst was thinking when he transcribed this; you only wrote about what Schubert was intending as he composed the music. Truth is, Ernst didn't have to transcribe it extremely difficult if he just wanted to portray what Schubert exactly wanted. Also FYI, this was performed as an encore after the first Paganini Violin Concerto. You may have your "two cents" about how the music is intended to be played, but in reality you would be lucky if you can even perform as half as well as this guy.
Ok, some people here are criticizing the speed of this performance, claiming that Hahn's performance is more correct, or accurate or whatever... but let's face the truth, this guy plays the violin superbly! And besides the speed, he's accurate, expressive, phrases well, his tone is beautiful and can play triple stops with incredible quality. I'd pay twice the price to listen to him than to listen to Hahn, who's undoubtedly a top class violinist in terms of accuracy, but can be booooring.
@likemyviolin such a great point. he's playing the MUSIC as it should be played. So often, with these transcriptions, the musicality is lost in the technicality, and it so happens, that in the lieder, it is intended to be hurried. Bravo to you.
I've noticed many people commenting on how it doesn't sound "nice". Do they even know what the music is about? Its' not a nice text!!! Its dark, desperate, the Erlkoenig was a hiddeous little character. Barati does superbly here. The music is not easy in the least bit. Its not even difficult. Along with other pieces by Ernst and Pagannini's music, these are some of the most challenging bits of violin repertoire! Before you knock it, see if you can get to that level of performance first.
BTW, you are an outstanding violinist. Don't pay any attention to comments from certain wannabees. I really like the way you negotiate yourself through difficult passages without looking like you are laboring. Your Wieniawski F sharp minor is a tour de force.
sziasztokkk!!! én csak anynit tudok modnani hoyg én szerény véleményem szerint jelen pillanatban nagyon de nagyon ritka az olyan hegedűs mint a baráti kristófff!!!:))de ez az én véleményem!!!!!ja ha van még fel vételed tőle az utolsó koncertjáról itt az akadémián ami volt meg köszönném ha tennél fel:)előre is köszi
Speed is better for this piece because it more correctly shows the nature of the piece. It is supposed to be violent, and the speed helps to convey that
However I don't believe a lot of speed is actually necessary to make this piece tense. Hahn's is slower, yes, but it's the relentless triplets and the harmonies that actually provide the tension and fear in this piece. By playing slower, but at a more consistent pace, I think Hahn actually managed to convey the story and dialogues more effectively. You may notice how 'slow' Hahn is going at the beginning, but you soon adjust and are dragged into the amazing drama Schubert/Ernst have put into the music.
I am amazed that you hear tuning problems. I am a professional violinist with a highly trained ear and I don't hear any intonation problems at all. If you mean the minor ninths, those are in the music.
I do like this version because fast = awesome. Still, I am in love with Hilary Hahn's version, it has honestly "gripped" me in a way that music never ever has before.
you hear the "scratchy" sound because the mike is very close... but it IS needed if you want to fill a big hall...the scratches get eliminated with the distance...
"This piece isn't really meant to be phrased"... This is one of the greatest songs in the history of music. It should probably be phrased, even though it is arranged out of its original context.
actually there's an arrangement for orchestra and soprano, there's a video of Anne Sofie Von Otter and the chamber orchestra of europe doing it...it's actually quite nice. Though the "father's" lines aren't quite as literal, the child's crying is very effective in a soprano register. Also, the Erlkonig parts are done really well by von Otter. But I do love the song in it's original setting with baritone, I just really like that arrangement.
I agree, but I was responding to someone (I think he deleted his comment in the meantime) who said that this version was a lot faster than the original version for voice by Schubert. And that's simply not true. Also, not only being able to distinguish the voices is critical, but also to maintain the energy and momentum displayed in this piece- like the underlying steps of the horse. And that's lost if you play it too slow, in my opinion.
hilary hahn kills this piece. you can't even compare hers with this. to me, personally, shes plays it like an etude. all slow and to me that take away from the piece. it doesn't flow at all when i watch her play it. and i've seen her perform it like as well. i recording i have is of gidon kremer. anyone hear his interpretation?
Do you really think he plays it with that much ease? His bow is all over the place and you can see the tension in his face and his right arm is locked most of the time, creating a forced sound. Have you heard the recording by Leila Josefowicz? Also, if they haven't taken it down, you can watch Hilary Hahn playing it on the Verbier site.
Leila Josefowicz's version is what i can call a good fast version which could maintain the evenness although her version also includes some scratchy notes too unlike the Hahn's version
I posted my opinion of Barati vs Hahn on this piece with a video of my own (watch?v=P5Bt466brW4), so if any of you would like to discuss the comparisons with those who have already commented, please do so! The more educated points of view, the better, in my opinion. Thanks for posting this, likemyviolin - an excellent performance by Barati.
well the essence of this piece to achieve that polyphonic sound, since Ernst revolutionized polyphonic playing. So far I think he's got it. Stop arguing about it's too fast.
@mkurnat i don't know. this is an encore, it's not like it was rehearsed it for a different purpose. if i were giving an encore, i would want it to be showy but that's just me.
yeah this piece is extremely difficult. i love how you all are critiquing and what not. i think this is the best performance on youtube. i'm not a fan of hilary hahn. i think she plays way to safe. look at the passion in this video and look at hilary's. i just cannot even compare the two. he has sooo much excitement and passion. and i like what he does with it musically. it is very musically refreshing to hear it with a diff interpretation.
@likemyviolin You know this isn't even fast. Idk if you were responding to someone who said it was really fast, perhaps in comparison to Hilary Hahn's, but if you go listen to the Lieder by Schubert, some interpretations are indeed this fast. If you use Schubert's piece, the piece that this piece is based on, as a barometer, Hahn's rendition is much slower than Barati's interpretation is fast.
This is really good, it’s not only faster but more exiting. He brings out the melody Hillary Hahn is accurate but really boring, just playing the notes
This piece is originallt a duet between father and son. The son is being taken away by the erlking from the father...to die of course. To point is that there is a lot of drama in this duet and was written with the intent of drama in mind, which we need to be able to hear...which we don't. The tempo is also slower. I admit that I definitely couldn't play this, especially since I don't really play violin. I feel like this was interpreted very well here though.
I don't think one can extrapolate the Lieder version (accompanied either by orchestra or piano) to the solo violin. If it is played too fast, the various voices interspersed within the music cannot be effectively differentiated, and to be able to distinguish the voices is critical in Erlkonig - or it loses its drama which Goethe has masterfully crafted. In fact, it will lose the drama more readily than if the music is played a tad slower but with every part audible.
that dude in the suit in the first row back there, looks like he's thinking about his company's latest merger project or something. he seems completely impervious to the fact that there's a violinist performing unbelievable feats right in front of him.
That remark is most unkind. So, he was hardly moving. This is a good thing! For all you know, he might have been concentrating hard on the performance.
Kremer is good.. I have to say though... Hilary Hahn is wonderful and clean.. I loved her performance, but Barati is great too. He takes it pretty fast and manages to play it more or less in tune and with passion i think this performance is great.. and.. DO YOU KNOW HOW DIFFICULT THIS IS?! haha
granted, this performance is not anticeptically perfect. BUT Mr. Barati does superb job of creating textures and feelings of fear (something Ms. Hahn in her virtuoso interpretation does not quite accomplish). I actually think this is a tour de force especially after performing the Paganini!!
I wonder if YOU have ever heard the damn song. This is the exact tempo I choose when I'm singing the baritone version of this. The other versions are WAY too slow. Listen to a good voice version of the Erlkönig, like Fischer-Dieskau or Kipnis, and then compare the violin version by Hahn. You'll fall asleep.
![Schubert - Der Erlkönig [魔王] (complete version.)](/img/n.gif)
actually he does a great job of separating the voices at this extreme tempo. i think its completely in the character to play this piece very fast. Unlike the vocal version, there is no consistent singing line, because of the constant rhythms that need to be played, super difficult, barati does it perfectly.
Yes
YÖSSS
@@DanielKurganov Oh hi sir, how are you?
If you can play it slowly, you can play it quickly
Twoset violin 😉
Fuck Yeaaahhhhh
Twosetter XP
Jan Yuen Especially from 1:20 !))))
He pales compared to Hilary Hahn, i didn´t like it sounds out of tune!
F*ck off TwoSet Violin fan
Stop repeating the two same jokes
I like the speed. Take a look at the story behind the original lieder: it's an atmosphere of PANIC! You are riding on a horse, rushing forward, the child is SHRIEKING about getting attacked, the father goes FASTER, etc...
You need a sense of chaos and speed. And notice how he slows down A LOT at the end, to signify the death of the child. It's because he went so fast initially, that he could effectively make this contrast.
The best explanation and understanding of this piece that I have found so far...
I loved how he slowed down the stops. Adds so much more to the piece
THIS SHOULD HAVE MILLIONS OF VIEWS!
Would you believe that there is a conspiracy theory about that...?
@@fiddledotgoth yees, because ling ling's only promote hilary hanh only. 😂
@@pallandi4964 but ling ling wannabees loves all musicians who did their best, not only hilary hahn..
To all those thinking he's playing it like it was a race or just to show off his skills, you should all be aware of just how difficult this piece is to play and should also understand what its about. Im sure you have heard it differently many times but appreciate his rendition of it. Its truly amazing.
There's no need for that kind of talk. Don't confuse roboticism with accuracy. Hahn is known to have practiced the violin since her childhood by playing the music of J.S. Bach, a composer whose entire period, though fascinating, was marked by the art of fugue, square melody, counterpoint and the creation of modern harmony. I'm sure both Hahn and Barati know their strengths and weaknesses and I'm sure either would think before making a backhanded remark on each other's expression and accuracy.
This is so fantastic. I can't believe that anybody would try to criticise it. I'm sure most people slating this performance couldn't do any where near let alone better.
The Wikipedia article "Erlkönig (Schubert)" includes a vocal performance of the whole poem along with the poem itself in both German and English.
This really helped me understand this piece.
Thanks are due to the cameraperson for concentrating on Barati's hands. This piece requires phenomenal fingering, and Barati executes it all with amazing virtuosity.
I love his playing! his technical ability let people ignore the difficulty of the piece, and enjoy the original music of schubert, this most of the violinists can not do.
I hate it when violinists keep bragging about their skills
I can't believe I just saw Barati playing this, live, just 10 hours ago..
AMAZING
Best Performance of this piece 👏👏
Wow, I almost stopped breathing, to not to miss a nuance from the performance. Perfect violin, perfect hands, perfect performance!
best interpretation ever! This is a REAALLLLLLLLYYYYY hard song...and this guy just dominates!!!
He is really ‘in the zone’ concentrating. This is fiendishly difficult to play.
Perfect playing and understanding of the piece. Highest level. Great instrument.
Keep that in mind that after some level in violin, there is not such a thing that more speed is more talent. Hahn or any other top class violinist can also play just like this. But it is the matter of expressing the feelings. Hahn has her own way to do that, and Kristof also have his'. You may like one of them more, but I think it is not true to compare them in terms of skill.
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Hahn and Kristof are different WORLDS ...
he is not a cut above her, and not two ... this is a completely different level (if only this can be called a level ...)
He plays in the same breath, not paying the listener's attention to enormous technical difficulties.
This is the most free and at the same time the most collected performance in terms of concentration,
the completion of Hahn to bring out the entire complexity of the given work.
And this is not a peculiarity of the interpretation, it’s just a weaker possession of the instrument ... like that, everything is prosaic.
I emphasize once again that Kristof’s performance is the best on TH-cam, this is the standard, and it’s unlikely that anyone will be able to perform this work more freely and easily
P.S. I apologize for my English, as I write through a translator
@@roaschmo I like your explanation and point of view, but be careful:
with your interpretation, we can say that, for example, Menuhin performed the scherzo-tarantella also not musically
ok... let's be clear. there IS such a thing that more speed is more talent at this level... If you listen, top players even at the highest level make many mistakes (intonation, bowing... phrasing... ). This level of mastery over an instrument is truly rare (I can think of only 2, maybe 3 other recorded violinists who can think about doing this). Now, I agree that there's the thing about musicality (though I think here as well, I think Kristof is brilliant), but rest assured, Hahn cannot play at this speed and she does not have mastery of this level
as a fellow violinist myself i would say in my own personal opinion, that technically thie version is way better and it expression is way more differenciated than hahns
@animeimport
"horse could run so fast probably it would have died in half an hour"
And how fast exactly is it running here?
It's not just the horse running, it's also the panic and chaos of the situation. I'm sure if the story is about Seabiscuit running free on a beautiful open plain, the music would be less intense no matter how fast the horse actually runs.
I like the speed. I think, it fits the underlying poem. With the speed of Hilary Hahn's version, the words would be unnaturally slow.
I admire the clarity of the harmonics on that speed !!
@animeimport
The fast frantic parts: running home on horseback
The soft notes near the end: "Son, wake up. Are you okay?" (my paraphrasing)
The loud, dramatic final notes: "Shit! Son is dead... *cue dramatic music* "
Not everything has to be a cute polished scratch-less sound. If you are depicting butterflies and birds on a picnic, then sure, but not in this scenario. That's why I like this interpretation. He goes beyond the technique to paint the story behind it.
@mkurnat
This is a story about a life-and-death moment for a child (who dies near the end), while the father rushes home FRANTICALLY on horseback. There is momentum, chaos, speed. It's not a pretty little bel canto opera moment. You need a bit of that "scratch," that TENSION.
You might think this is over-doing it, and that's fine, but you can't just dismiss this as unthoughtful, mindless "showing off" without acknowledging the background of Schubert's original lieder.
holy crap! this is the most articulate and clean performance of this piece i've ever heard. this is exceptional playing. thank you for the post. are you able to put up the Paganini performance?
I think both this version and one I watched with Ms. Hahn, are outstanding.
In response to people saying that the speed is part of the story, I'm afraid you're wrong. The grand caprice is a story of the Elf King coming in different forms to try to lure away a child. His father then is there to protect him, hence three different voices needed to be used. The high-pitched boy, a low, angry voice for the father, and multiple pleasant kind voices for the Elf King, trying to lure the child away (e.g., at 1:19 there's a clear "dialogue" between the Elf King and the boy, until the father comes in). However, by playing it so fast and as a performance piece, many musicians leave behind the key item of distinguishing the voices from each other, turning the story into any old show off piece. That's why hahns version is so much better, because she focuses on the right things.
ZiggyTheDawg Who cares? Music is music. If it touches souls and gets the performer's ideas and interpretations across, then the job is done. No one knows what Ernst was thinking when he transcribed this; you only wrote about what Schubert was intending as he composed the music. Truth is, Ernst didn't have to transcribe it extremely difficult if he just wanted to portray what Schubert exactly wanted. Also FYI, this was performed as an encore after the first Paganini Violin Concerto. You may have your "two cents" about how the music is intended to be played, but in reality you would be lucky if you can even perform as half as well as this guy.
Barati - flawed brilliantly
Hahn - brilliantly flawed
ZiggyTheDawg a lot understand the story, unfortunately some translation was lost for a lot of people through this style of playing for this song
Ok, some people here are criticizing the speed of this performance, claiming that Hahn's performance is more correct, or accurate or whatever... but let's face the truth, this guy plays the violin superbly! And besides the speed, he's accurate, expressive, phrases well, his tone is beautiful and can play triple stops with incredible quality. I'd pay twice the price to listen to him than to listen to Hahn, who's undoubtedly a top class violinist in terms of accuracy, but can be booooring.
you're right. :)
Danilo Bonina 👋
The tempo is presto 152 bpm, so i'd say this is a pretty good tempo.
If she was boring she wouldn't fill the bigest halls in the world with people! Haha
@Clark Culver it doesn't have to do with the fact she is a woman. It has to do with the fact that she is unique
Wow, ive never heard it this fast, yet clear. This may be a fair representation of how Ernst would've played it.
This is so cool, the name say it all "great caprice" it has to be fast like this
This is wonderful. Amazingly expressive.
@likemyviolin such a great point. he's playing the MUSIC as it should be played. So often, with these transcriptions, the musicality is lost in the technicality, and it so happens, that in the lieder, it is intended to be hurried. Bravo to you.
he is a great player and very handsome too :D
I've noticed many people commenting on how it doesn't sound "nice". Do they even know what the music is about? Its' not a nice text!!! Its dark, desperate, the Erlkoenig was a hiddeous little character. Barati does superbly here. The music is not easy in the least bit. Its not even difficult. Along with other pieces by Ernst and Pagannini's music, these are some of the most challenging bits of violin repertoire! Before you knock it, see if you can get to that level of performance first.
I fully agree
He's a whole orchestra
this is absolutely fabnulous
As far as I know, Heifetz never recorded this thing. Manrico Padovani did and I think it's here on TH-cam.
"difficult" doesn't even come close with this transcription... brilliant performance!
holy mother of Ra! Cornel is right. articulation is incredibly clean. and to play it with such clarity at that tempo. awesome performance
Just genius
BTW, you are an outstanding violinist. Don't pay any attention to comments from certain wannabees. I really like the way you negotiate yourself through difficult passages without looking like you are laboring. Your Wieniawski F sharp minor is a tour de force.
HOLY CRAP so fast yet emotional
Wow, this gave me shivers
5 stars
even better than the hillary hahn version posted on YT. Awesome!!!
sziasztokkk!!!
én csak anynit tudok modnani hoyg én szerény véleményem szerint jelen pillanatban nagyon de nagyon ritka az olyan hegedűs mint a baráti kristófff!!!:))de ez az én véleményem!!!!!ja ha van még fel vételed tőle az utolsó koncertjáról itt az akadémián ami volt meg köszönném ha tennél fel:)előre is köszi
i watch this video religiously because i love it sooooo much!!!
He's the one playing, but it was me feeling the intense 😂😂
it is a transcription of Schuberts Der Erlkönig, by Ernst for solo violin.
Speed is better for this piece because it more correctly shows the nature of the piece. It is supposed to be violent, and the speed helps to convey that
However I don't believe a lot of speed is actually necessary to make this piece tense. Hahn's is slower, yes, but it's the relentless triplets and the harmonies that actually provide the tension and fear in this piece. By playing slower, but at a more consistent pace, I think Hahn actually managed to convey the story and dialogues more effectively. You may notice how 'slow' Hahn is going at the beginning, but you soon adjust and are dragged into the amazing drama Schubert/Ernst have put into the music.
Gosh CLEAR HARMONICS and I know how hard that part is!!!! AND YET SO CLEAR & PURE HARMONICS O_O
I am amazed that you hear tuning problems. I am a professional violinist with a highly trained ear and I don't hear any intonation problems at all. If you mean the minor ninths, those are in the music.
I’m not a professional, but I play and have perfect pitch - it’s not the 9ths, my dude
I do like this version because fast = awesome. Still, I am in love with Hilary Hahn's version, it has honestly "gripped" me in a way that music never ever has before.
WOW! I didn't know this violinist! Amazing
Absolute Spitze! Erstaunlich! Schubert hin, Schubert her. Es gibt sie also doch, die geigenden jungen MÄNNER! Wo kann man ihn sonst hören?
Great musicianship, I really enjoyed your playng and... I want to study this, definitely!
Well, he's playing so quickly that he has to slow down to play the melody. Speed is not the problem, it's how choppy it is.
Thought that was the point
its not choppy to me
you hear the "scratchy" sound because the mike is very close... but it IS needed if you want to fill a big hall...the scratches get eliminated with the distance...
No problem, tube. (: She really draws you in. It is mesmerizing!
il nuovo zimmermann.....sei grande,,,farai parte dell olimpo dei grandi violinisti fra pochissimo....bravo ancora...
This Hungarian guy on top of the world!
"This piece isn't really meant to be phrased"... This is one of the greatest songs in the history of music. It should probably be phrased, even though it is arranged out of its original context.
actually there's an arrangement for orchestra and soprano, there's a video of Anne Sofie Von Otter and the chamber orchestra of europe doing it...it's actually quite nice. Though the "father's" lines aren't quite as literal, the child's crying is very effective in a soprano register. Also, the Erlkonig parts are done really well by von Otter. But I do love the song in it's original setting with baritone, I just really like that arrangement.
Still unbeatable.
I agree, but I was responding to someone (I think he deleted his comment in the meantime) who said that this version was a lot faster than the original version for voice by Schubert. And that's simply not true.
Also, not only being able to distinguish the voices is critical, but also to maintain the energy and momentum displayed in this piece- like the underlying steps of the horse. And that's lost if you play it too slow, in my opinion.
hilary hahn kills this piece. you can't even compare hers with this. to me, personally, shes plays it like an etude. all slow and to me that take away from the piece. it doesn't flow at all when i watch her play it. and i've seen her perform it like as well. i recording i have is of gidon kremer. anyone hear his interpretation?
Incredibile! Sublime!
Do you really think he plays it with that much ease? His bow is all over the place and you can see the tension in his face and his right arm is locked most of the time, creating a forced sound.
Have you heard the recording by Leila Josefowicz? Also, if they haven't taken it down, you can watch Hilary Hahn playing it on the Verbier site.
Leila Josefowicz's version is what i can call a good fast version which could maintain the evenness although her version also includes some scratchy notes too unlike the Hahn's version
I posted my opinion of Barati vs Hahn on this piece with a video of my own (watch?v=P5Bt466brW4), so if any of you would like to discuss the comparisons with those who have already commented, please do so! The more educated points of view, the better, in my opinion. Thanks for posting this, likemyviolin - an excellent performance by Barati.
well the essence of this piece to achieve that polyphonic sound, since Ernst revolutionized polyphonic playing. So far I think he's got it. Stop arguing about it's too fast.
Nice performance... I wish I could play like that...
Beautiful👏thank you🌹💐🌷❤
this is incredible............
I've been playing this piece for 12 years......
..................
This guy probably learned in 12 seconds.
@mkurnat i don't know. this is an encore, it's not like it was rehearsed it for a different purpose. if i were giving an encore, i would want it to be showy but that's just me.
perfect..this is Erlkönig...that's all! ;) :P :)
yeah this piece is extremely difficult. i love how you all are critiquing and what not. i think this is the best performance on youtube. i'm not a fan of hilary hahn. i think she plays way to safe. look at the passion in this video and look at hilary's. i just cannot even compare the two. he has sooo much excitement and passion. and i like what he does with it musically. it is very musically refreshing to hear it with a diff interpretation.
Your right. Originally, it was a piece written by Shubert for singer and piano i guess
awsome
@likemyviolin You know this isn't even fast. Idk if you were responding to someone who said it was really fast, perhaps in comparison to Hilary Hahn's, but if you go listen to the Lieder by Schubert, some interpretations are indeed this fast. If you use Schubert's piece, the piece that this piece is based on, as a barometer, Hahn's rendition is much slower than Barati's interpretation is fast.
This is really good, it’s not only faster but more exiting.
He brings out the melody
Hillary Hahn is accurate but really boring, just playing the notes
This piece is originallt a duet between father and son. The son is being taken away by the erlking from the father...to die of course. To point is that there is a lot of drama in this duet and was written with the intent of drama in mind, which we need to be able to hear...which we don't. The tempo is also slower. I admit that I definitely couldn't play this, especially since I don't really play violin. I feel like this was interpreted very well here though.
Certifié intergalactique! 🌹
omfg his eyes r closed O____O"
but its still awesome!
wow...
Extraordinary! Its difficult enough to play on the piano.
lets hear you play it! i bet you have crowds coming to hear you.....
I don't think one can extrapolate the Lieder version (accompanied either by orchestra or piano) to the solo violin. If it is played too fast, the various voices interspersed within the music cannot be effectively differentiated, and to be able to distinguish the voices is critical in Erlkonig - or it loses its drama which Goethe has masterfully crafted. In fact, it will lose the drama more readily than if the music is played a tad slower but with every part audible.
I believe that is too fast, he looses the melody. He performs it like a Paganini etude! I love Hilary Hahn's version!
that dude in the suit in the first row back there, looks like he's thinking about his company's latest merger project or something. he seems completely impervious to the fact that there's a violinist performing unbelievable feats right in front of him.
That remark is most unkind. So, he was hardly moving. This is a good thing! For all you know, he might have been concentrating hard on the performance.
He plays with closed eyes!!!!
amazing!!!!!!!
Kremer is good.. I have to say though... Hilary Hahn is wonderful and clean.. I loved her performance, but Barati is great too. He takes it pretty fast and manages to play it more or less in tune and with passion i think this performance is great.. and.. DO YOU KNOW HOW DIFFICULT THIS IS?! haha
granted, this performance is not anticeptically perfect. BUT Mr. Barati does superb job of creating textures and feelings of fear (something Ms. Hahn in her virtuoso interpretation does not quite accomplish). I actually think this is a tour de force especially after performing the Paganini!!
GENIAL!!!!!
Of course he does. I don't know what you are talking about, honestly. He changes the character each time the voice changes.
I wonder if YOU have ever heard the damn song. This is the exact tempo I choose when I'm singing the baritone version of this. The other versions are WAY too slow. Listen to a good voice version of the Erlkönig, like Fischer-Dieskau or Kipnis, and then compare the violin version by Hahn. You'll fall asleep.
I'm not trying to be negative, I'm just giving my opinion. You agree with your opinnion and I'll agree with mine.
Awesome!!!!
E absolutamente genial ! Parabens !
i downloaded it online somewhere...
I enjoyed it more in 0.75x speed. Maybe Im dim!