This beautiful young man plays as if he has lived with this music as long as Arrau or Brendel. A splendid experience, just awesome, and thank-you Julien!
It honestly is one of the best interpretations of this masterpiece. Julien is a fantastic pianist, so dedicated, so serious. Truly a Benediction dans la solitude of todays pianism.
Sublime... demonstrating precisely what Maria Joao Pires documentary expresses. Pianists are not robots bound by the score. Like life, it ultimately comes down to how we express ourselves. This young man has a wonderful career ahead of him.
I haven't heard this in some time now, and after listening again, it is still breathtaking in it's beauty, played masterfully. This piece is deceptively difficult. I must go back and spend more time with it. Best Regards Julien.
HOW REFRESHING TO HEAR THAT PLAYING MUSIC IS AN EXPRESSION OF WHO YOU ARE AS AN INDIVIDUAL AND /////NOT///// ABOUT TECHNIQUE. AS IN ART AN IMAGE IS OPEN TO MANY POINTS OF VIEW.....Deeply felt Julien ....Thank you this performance.
Val Lamon beauty nor sublimity confer elevation from muck.. Beethoven’s 9th symphony was enjoyed at Hitler’s birthday in 1942. th-cam.com/video/2itdv1aEpG4/w-d-xo.html
Thank you-have never heard this before but it is so very beautiful, so reflective, so gentle on the soul and yet cathartic at the same time. Cathy Jones.
This is by far the most beautiful, moving and musical performance of that lovely piece that I have ever heard or could reasonably hope to hear, and - pace Messrs Young and 'lonelywolf67' - I think the tempi and dynamics are completely consistent with and justified by the music, irrespective of whatever instructions appear in the score. A revelation.
I didn't know that a piece of Liszt was named "Bénédiction de Dieu dans la Solitude"...J'aime votre façon de jouer, qui est loin de la majorité des virtuoses qui , selon mon humble avis, font ressentir davantage une "course", une "compétition" qu'une interprétation , lorsqu'ils jouent...Magnifique...
Immensa I cannot get over the fact that this magical, mesmerizing music was composed by technician Liszt... where was this other-worldly music when Liszt was a young man........
Its not the first time ive listen to this video but strangely enough I felt a shift in my environment this time. like a real mysterious shift, it felt amazing. it was like arriving at home, like i had no worries. why am i feeling this now, don't know but i just want to thank you for that 💜
Thank You So Much. This melody has been stuck in my head for 45 years. All I knew was Liszt+ God and I went to Google and got to your beautiful perfect performance.
Magnífico. El fraseo y el canto pianístico generan un ambiente celestial. Una muestra evidente de formidable agógica y dinámica. El intérprete le hace honor al espíritu de la obra: la bendición de Dios en la soledad. Muchas gracias.
Só mesmo um animal pode dar um dislike nesse pianista. Melhor interpretação dessa peça já feita. Acho que nem Liszt tocava com tanta suavidade (o pianíssimo). Simplesmente magnífico!!!!!
When I saw your name I realised you were one of the members of Maria Joao Pires' Partitura project. Exchanging ideas about phrasing, expression and overcoming technical difficulties in a productive but sensitive environment is essential if you are serious about achieving the best in yourself. It doesn't matter if you are highly proficient in your instrument or just a beginner we can take on board the good advice of experienced professionals like yourself or Maria, without letting pride consume us, allowing it to rear its ugly head. I have played the Piano since I was six and took Grade 8 when I was 11 but ill health took over so now I am trying to get back to the same level of proficiency.My very best wishes,Helena.
He missed a few notes but the performance was so beautiful that it doesn't begin to matter. Maria Joao Pires has certainly done a wonderful job of training her protege.
This particular work gave a remarkable meaning to my life. When I was 25 I stopped playing the piano and this work took me back to it. Not as a professional, however, but as someone who understood that music had always been and forever will be a part of me. I still remember the first time I heard this piece performed by my fellow countryman Jorge Bolet, and now, after listening to it performed by Mr. Libeer, I felt compelled to write this comment. There is a strong connection between music and God’s existence. God, in the absolute sense, in the mystery within our conscience and mind. Thoughts and beliefs are just the surface in front of this work, as it is so much deeper than that. For me, the first part is any one of us looking for the meaning of life, surrounded and helped by our love, kindness, will, and sense of plenitude. The short middle section, in particular, could very well be the death of the ego. Finally, there’s the mystical experience: being in the “Presence of God.” This simple but beautiful phrase is followed by a dialog between the creator and its creation-both equal. Following this experience, an eternal sense of openness and freedom is found within ourselves. Freedom from the known and freedom from tradition; a freedom to live our lives knowing that music can very well save us from a meaningless existence.
bravo à Julien libérer c est un très grand artiste il a travaillé avec maria joao pires et à a mon humble avis hérite de la délicatesse de toucher du piano de maria joao pires je souhaite a Julien libérer une vie riche de musique et de découvertes un grand bravo
Good performance of a sublime masterpiece of the romantic piano canon, but what's with the camera-work? Where was the need to change camera direction every four-five seconds??? A common problem with modern "directors". Distracting and utterly damaging the enjoyment of the piece. Back to art-school for these mediocrities. Julien deserved better treatment!
Your play is excellent in sonority, clarity, depth of emotion. But at some place I find the need to give full phrase to each hand, or to put it differently, the need to make the conversation between the left and the right hand clearer, i.e. not to be blurred in the fastest tempo. It is my thesis: The longer the aftervibration is, the deeper and higher the climax will be. The aftervibration deepens or elevates the climax afterwards! In my view all the remaining from after the climax to the end(i.e. from 13:28 to the end) can be considered as an aftervibration. And you are almost perfect, but still you are supposed to keep consistency or steadiness with respect to your touch or emotion expressions, your attitude, and the posture. That means a little undulation is permissible, but no significant shift in magnitude, intervals or scales or any other aspect. In this regard the shift in scales is admissible, but to be perfect, you would better keep your head steady and even keep your eyes quite straight to make the aftervibration as it is.
Beautifully played, overall, although I can see no justification for the radical accelerando he makes in the climax of the first section. The work's ecstatic aesthetic notwithstanding, Liszt offers no such instruction; and while it would be equally wrongheaded to keep every bit of it slavishly enchained, it is no less wrongheaded to nearly double the rate, as Libeer does for several bars. Doing so serves only to attenuate musical tension between the notes, or what the Russians call intonatsiia, while conveying that tension- holding back - within the context of the tempo the composer indicates is much more exciting.
Dear Sir. I understand the spirit of your observation, but as far as objective parameters are concerned, I want to draw your attention to the fact that the Budapest edition (agreeably a reliable source for Liszt's full work) marks "poco à poco animato il tempo" from bar 87 on, over "rinforzando molto e sempre piu appassionato" in bar 120 and literally "accelerando" in bar 126. Liszt explicitly writes "Tempo I (Moderato)" after the climax fermata in bar 148. Maybe I have pushed the tempo a bit too much to your taste, but there's definitely a textual justification for the overall idea of what you call a radical accelerando. Anyway, thank you for your critical observation, it's always healthy to have ones ideas put into question. J
GulliverMusic First, let me say, Julien, how impressed, and indeed, flattered I am that you have taken the time to respond personally. That alone singles you out as a person and an artist of exceptional savvy. Mark my word - to date I've never been wrong, either as a pianist, competition adjudicator, or critic when it comes to predicting big careers - that a distinguished one indeed awaits you. As for this work, which I had the fortune to study with Arrau and Ernst Levy in Morges, whose approach to the Benediction could not have been more different, you are literally correct. However, there is a little thing, which in the household of aesthetics we refer to as the "philosophical razor" that suggests the simplest solution is often the best, and that context prevails.While an accelerando, even in the absence of specific metronomic instructions, can be viewed mechanistically as an instruction to speed up, that is hardly all there is to it. Liszt himself, in his master classes ( at least according to the accounts of his best students Von Bulow and also to hose of Alexander Siloti, with whose daughter, Kyriena, I studied) , protested any interpretation that failed to account for the overall arch and meaning of a given work in favor of mechanical exigencies. By no means do I want to suggest that the letter of the score ought be ignored; God forbid. But the tempo indications that Liszt provides in this score, which are consistent with the work's overall teleology and breadth, are best served, in that particular passage, without undue exaggeration, "Accelerando" and "piu appassionato" find themselves within the context of "poco a poco" , not the other way round. Rather than trouble you with a discussion of all this here, you might be interested to read my book on Liszt, published by Amadeus Press, where I move into this subject at length and in detail. As for the title of the film, Technique Does Not Exist, I would take issue with the mesmerisingly gifted Maria Joau Pires, who in my view misstates, though does not misrepresent the concept, most likely in consequence of a perhaps less than authoritative command of the English language. To claim any such thing is not only misleading, it is a logical impossibiltiy. In fact, Ms Pires defines it herself early on in the film, but then protests that such a definition is essentially void. Such semantic waxing is irrational and fails to grasp the substantive dimensions of the issue, to wit, that technique, which is only an approach to solving a given problem, ought not be confused, as it so often is, with the physiological mechanics of playing, whatever the instrumentarium. Indeed, in the fullest Greek sense of the word, as Nietzsche observed, technique accounts for a great deal more, and includes the interpretation and adjudication of balance, rhythm, contrast, "color", affect and affective nuance, the understanding of voice leading and its significance within the whole, phrase periodicity, etc. Students refer to technique naively, imagining it to be the measure of how fast and deftly one can move their fingers and arms; that is not technique, but folly. If that is what Ms Pires was getting at, she is correct, but she would be well advised to re-think her way of describing it, lest she continue to leave an impression that is precisely the opposite of that which she means. By the way, I've sent you a message privately that might interest you.
@@MorbidMayem John Bell Young is an....interesting character. He passed away a couple years after writing his comment, but was well-known for many years before that for being vitriolic on the Internet. He got into a vicious debate with Valentina Lisitsa a few years back. I won't say more about him because he's no longer here to speak up for himself, but it's a little startling to see his name in a YT comment thread.
Well yeah, but how many more years had Arrau lived with this piece when he recorded it? (Assume you are speaking of the Philips recording from the '70's) Otherwise, let the young Julien have his place in the sun. He is very talented. :)
A un certain niveau d'authenticité les comparaisons n'ont plus beaucoup de sens. La présence de l'invisible en soi n'est pas de l'ordre de la suffisance ou de l'insuffisance...mais de la vérité mystérieuse.
Sorry to everyone below, but after hearing the first couple of pages, I have to dislike. His tone is too much at the start and his phrasing too ordinary to maintain anyone's attention for long. It is too casual and artificial. This is wrong. Where is the religious fervour? Why also does he dress up like a doll?
Why all the pointless hesitations, massive ritards and general lack of forward momentum? The piece disintegrates into a series of episodes played like this. The accelerando merely confirms the failure of judgement made playing the opening in such a self -indulgent fashion. One hopes this style of playing isn't the result of Pires teaching.
Adam Czarnowski Please learn how to spell “judgment” before making petty criticisms. This is a lovely and valid interpretation of an amazing work by Liszt. We don’t always agree with every artistic choice made in performances, but I certainly look forward to reviewing your performance of this work for comparison.
This beautiful young man plays as if he has lived with this music as long as Arrau or Brendel. A splendid experience, just awesome, and thank-you Julien!
It honestly is one of the best interpretations of this masterpiece. Julien is a fantastic pianist, so dedicated, so serious. Truly a Benediction dans la solitude of todays pianism.
Sublime... demonstrating precisely what Maria Joao Pires documentary expresses. Pianists are not robots bound by the score. Like life, it ultimately comes down to how we express ourselves. This young man has a wonderful career ahead of him.
Simply gorgeous. Such purity and grace. Extraordinary, especially for a young musician. I think it's my favorite performance.
Wonderful transparent harp-like sound at the beginning with a belcanto left hand. I believe these were the qualities of Liszt's playing himself.
One of the best performances I have ever heard of this beautyful composition.
I haven't heard this in some time now, and after listening again, it is still breathtaking in it's beauty, played masterfully. This piece is deceptively difficult. I must go back and spend more time with it. Best Regards Julien.
My pick for the best performance of the piece on TH-cam and among the best I've heard anywhere.
check out stephen houghs
@@grosejay Rushed and bombastic.
HOW REFRESHING TO HEAR THAT PLAYING MUSIC IS AN EXPRESSION OF WHO YOU ARE AS AN INDIVIDUAL AND /////NOT///// ABOUT TECHNIQUE. AS IN ART AN IMAGE IS OPEN TO MANY POINTS OF VIEW.....Deeply felt Julien ....Thank you this performance.
No idea who he is and this is the first time i heard this piece. Straight to favourites 😍
No words for this beauty... The best interpretation of this masterpiece I've ever heard, totally clear - simply heavenly...
I don't know which idiots disliked this, but I think this is the best interpretation I have heard. Looking forward for your other works!
not sure why so many dislikes but check out stephen hough's version. its the undisputed best
Listen to Arrau. It's pretty similar to this. My favourite....
Transportive writing by Liszt and beautiful interpretation by Julien Libeer ... this is excellence ... bravo!
Absolutely perfect interpretation with a great respect of the spirit on this magnificent composition! You have all my admiration
And respect!Bravisimo
What a magical touch! Beautifully played. Extraordinary! Thank you!
Full body goosebumps during this masterpiece.
music of such supreme beauty and sublime substance is what the world needs to elevate it from the muck
Val Lamon beauty nor sublimity confer elevation from muck.. Beethoven’s 9th symphony was enjoyed at Hitler’s birthday in 1942.
th-cam.com/video/2itdv1aEpG4/w-d-xo.html
Why the hell does does this have so many dislikes? This is an absolutely beautiful rendition.
Echoherb Probably because he's not Lang Lang LOL!
Who is Lang Lang???
Who is Lang Lang???
Who is Lang Lang???
The dislikes are from jealous, no talent troles. They're barking dogs. Ignore them, and don't feed them.
beautifully played. meditative performance. maybe the best interpretation of this music.
Beautiful music played beautifully by a young inspired musician. Truly the "Blessing of God in Solitude" (english translation).
Julien knows what musical performance means. The important legato in the context, plastic "con gracioso" .Proportions and so on!
Thank you-have never heard this before but it is so very beautiful, so reflective, so gentle on the soul and yet cathartic at the same time. Cathy Jones.
What a divine momentum...
This is by far the most beautiful, moving and musical performance of that lovely piece that I have ever heard or could reasonably hope to hear, and - pace Messrs Young and 'lonelywolf67' - I think the tempi and dynamics are completely consistent with and justified by the music, irrespective of whatever instructions appear in the score. A revelation.
Enjoyed this interpretation very much! Congratulations!
love it! thank you for sharing!
This is a wonderful performance! Thank you for sharing your talent. It's mystifying that this video has received an inordinate number of dislikes.
I am in love with your recording, Mr. Libeer. You speak to the soul. You must be quite a remarkable person.
Quite lovely. Really superlative playing. Enjoyed this performance immensely.
He looks like someone from a Botticelli painting. His touch is so soft and magical.
I didn't know that a piece of Liszt was named "Bénédiction de Dieu dans la Solitude"...J'aime votre façon de jouer, qui est loin de la majorité des virtuoses qui , selon mon humble avis, font ressentir davantage une "course", une "compétition" qu'une interprétation , lorsqu'ils jouent...Magnifique...
Absolutely grandiose. The best!
Wonderful phrasing and expression.Thank You Fore Sharing This....
Immensa
I cannot get over the fact that this magical, mesmerizing music was composed by technician Liszt... where was this other-worldly music when Liszt was a young man........
Always there, just had the so called classicists getting in the way with their narrow criticisms.
Stunning performance.
I have never heard such a pure and impressive Benediction before! Absolutely amazing performance!!! :D
Bravo, monsieur. C'est beau et très bien joué.
Deze uitvoering slaat alles Julien. Eenzame hoogten.
Voor mij de mooiste interpretatie die ik ken maestro.
Magnifique de pureté et de spiritualité . Dans la ligne de Bolet ou Arrau, avec une touche de fraîcheur en plus...
Its not the first time ive listen to this video but strangely enough I felt a shift in my environment this time. like a real mysterious shift, it felt amazing. it was like arriving at home, like i had no worries. why am i feeling this now, don't know but i just want to thank you for that 💜
The transcendental power of music
0
Beautiful music, wonderfully played. Thank you.
Interprétation ravissante!
Dear Julien, I've heard this by so many and yours is my go-to recording. It's played so beautifully. Liszt would be proud I'm sure. Thanks
thank you Nick!
Beautiful interpretation!
Thank You So Much. This melody has been stuck in my head for 45 years. All I knew was Liszt+ God and I went to Google and got to your beautiful perfect performance.
Wow, that was great man! Awesome! Keep it up, I hope to hear more!
Zeer mooie troost en aanmoediging voor ons leven. Het raakt de ziel. Bedankt.
De toute beauté. Merci pour cette performance de ce chef-d’œuvre.
HI dylonely
What a wonderful recording, bravo Sir.
Haunting, melodious, brilliantly captivating. Etched it's way deep in mind & heart.
Magnífico. El fraseo y el canto pianístico generan un ambiente celestial. Una muestra evidente de formidable agógica y dinámica. El intérprete le hace honor al espíritu de la obra: la bendición de Dios en la soledad. Muchas gracias.
Só mesmo um animal pode dar um dislike nesse pianista. Melhor interpretação dessa peça já feita. Acho que nem Liszt tocava com tanta suavidade (o pianíssimo). Simplesmente magnífico!!!!!
top classical music ~ braviiiiiiiiiii ~ bravissimo dear Julien Libeer ~
When I saw your name I realised you were one of the members of Maria Joao Pires' Partitura project. Exchanging ideas about phrasing, expression and overcoming technical difficulties in a productive but sensitive environment is essential if you are serious about achieving the best in yourself. It doesn't matter if you are highly proficient in your instrument or just a beginner we can take on board the good advice of experienced professionals like yourself or Maria, without letting pride consume us, allowing it to rear its ugly head. I have played the Piano since I was six and took Grade 8 when I was 11 but ill health took over so now I am trying to get back to the same level of proficiency.My very best wishes,Helena.
This is magnificent.
Magnifique !!!
Well done. Bravo!
A unique interpretation. One we can relax and luxuriate in.
J'adore c'est trop beau, merci beaucoup
pro tip : watch series on flixzone. I've been using it for watching lots of of movies during the lockdown.
@Zander Brody yea, have been watching on flixzone for since november myself =)
@@zanderbrody1847 222222a
He missed a few notes but the performance was so beautiful that it doesn't begin to matter. Maria Joao Pires has certainly done a wonderful job of training her protege.
what a talent!
great playing!
Fijn pianospel voor zo een toch jonge pianist! Gefeliciteerd
Wondermooi ! Julien bedankt ...
Bravo!!!
Van grote schoonheid... Julien.. Liszt komt tot mij met dank aan jou! Heb hem verafschuwd werkelijk!
Fantastiskt fin tolkning! Pianot sjunger och andas, utsökt dynamisk balans mellan stämmorna.
When I listen to this piece, I really don't feel the need for whatever analysis....
wonderful
Absolutely Romantic !
This particular work gave a remarkable meaning to my life. When I was 25 I stopped playing the piano and this work took me back to it. Not as a professional, however, but as someone who understood that music had always been and forever will be a part of me. I still remember the first time I heard this piece performed by my fellow countryman Jorge Bolet, and now, after listening to it performed by Mr. Libeer, I felt compelled to write this comment. There is a strong connection between music and God’s existence. God, in the absolute sense, in the mystery within our conscience and mind. Thoughts and beliefs are just the surface in front of this work, as it is so much deeper than that. For me, the first part is any one of us looking for the meaning of life, surrounded and helped by our love, kindness, will, and sense of plenitude. The short middle section, in particular, could very well be the death of the ego. Finally, there’s the mystical experience: being in the “Presence of God.” This simple but beautiful phrase is followed by a dialog between the creator and its creation-both equal. Following this experience, an eternal sense of openness and freedom is found within ourselves. Freedom from the known and freedom from tradition; a freedom to live our lives knowing that music can very well save us from a meaningless existence.
Realmente... A bênção de Deus na solidão... Que coisa sublime ❤😔
obrigado :)
tres bien joue, merci comme c est beau
magnifique
...*in awe*
bravo à Julien libérer c est un très grand artiste il a travaillé avec maria joao pires et à a mon humble avis hérite de la délicatesse de toucher du piano de maria joao pires je souhaite a Julien libérer une vie riche de musique et de découvertes un grand bravo
Belle interprétation !
merci ! :)
9'39" HEAVEN
Prachtige gevoelige vertolking!
I would play it exactly like this, if I ever could...
fabuleux
Divino....
thesy iscritto by far the bestia performance offerte triste piace i ha è evergreen hard. thanks
What’s the story behind this ?btw this is so beautiful
For anyone looking for the full documentary, here's a link that currently works:
th-cam.com/video/OEA64RU8xF0/w-d-xo.html
Joué avec une très belle sensibilité metci
Is it just me or the tempo is slowed down or perhaps it's the right tempo?
Le tempo is perfect------
Pour soigner le mal à l’âme !
Good performance of a sublime masterpiece of the romantic piano canon, but what's with the camera-work? Where was the need to change camera direction every four-five seconds??? A common problem with modern "directors". Distracting and utterly damaging the enjoyment of the piece. Back to art-school for these mediocrities. Julien deserved better treatment!
Your play is excellent in sonority, clarity, depth of emotion. But at some place I find the need to give full phrase to each hand, or to put it differently, the need to make the conversation between the left and the right hand clearer, i.e. not to be blurred in the fastest tempo.
It is my thesis: The longer the aftervibration is, the deeper and higher the climax will be. The aftervibration deepens or elevates the climax afterwards!
In my view all the remaining from after the climax to the end(i.e. from 13:28 to the end) can be considered as an aftervibration. And you are almost perfect, but still you are supposed to keep consistency or steadiness with respect to your touch or emotion expressions, your attitude, and the posture. That means a little undulation is permissible, but no significant shift in magnitude, intervals or scales or any other aspect. In this regard the shift in scales is admissible, but to be perfect, you would better keep your head steady and even keep your eyes quite straight to make the aftervibration as it is.
Sublime piece played beautifully but the piano for a Steinway was harsh.
Who else is here because of Spiral: the Bonds of Reasoning?
Giacomo Leopardi era coetaneo Alphonse De la Martin
Oui je me demande vraiment pourquoi il a autant de "disllike" c'est complètement injustifié !
Beautifully played, overall, although I can see no justification for the radical accelerando he makes in the climax of the first section. The work's ecstatic aesthetic notwithstanding, Liszt offers no such instruction; and while it would be equally wrongheaded to keep every bit of it slavishly enchained, it is no less wrongheaded to nearly double the rate, as Libeer does for several bars. Doing so serves only to attenuate musical tension between the notes, or what the Russians call intonatsiia, while conveying that tension- holding back - within the context of the tempo the composer indicates is much more exciting.
Dear Sir. I understand the spirit of your observation, but as far as objective parameters are concerned, I want to draw your attention to the fact that the Budapest edition (agreeably a reliable source for Liszt's full work) marks "poco à poco animato il tempo" from bar 87 on, over "rinforzando molto e sempre piu appassionato" in bar 120 and literally "accelerando" in bar 126. Liszt explicitly writes "Tempo I (Moderato)" after the climax fermata in bar 148. Maybe I have pushed the tempo a bit too much to your taste, but there's definitely a textual justification for the overall idea of what you call a radical accelerando. Anyway, thank you for your critical observation, it's always healthy to have ones ideas put into question. J
GulliverMusic
First, let me say, Julien, how impressed, and indeed, flattered I am that you have taken the time to respond personally. That alone singles you out as a person and an artist of exceptional savvy. Mark my word - to date I've never been wrong, either as a pianist, competition adjudicator, or critic when it comes to predicting big careers - that a distinguished one indeed awaits you. As for this work, which I had the fortune to study with Arrau and Ernst Levy in Morges, whose approach to the Benediction could not have been more different, you are literally correct. However, there is a little thing, which in the household of aesthetics we refer to as the "philosophical razor" that suggests the simplest solution is often the best, and that context prevails.While an accelerando, even in the absence of specific metronomic instructions, can be viewed mechanistically as an instruction to speed up, that is hardly all there is to it. Liszt himself, in his master classes ( at least according to the accounts of his best students Von Bulow and also to hose of Alexander Siloti, with whose daughter, Kyriena, I studied) , protested any interpretation that failed to account for the overall arch and meaning of a given work in favor of mechanical exigencies. By no means do I want to suggest that the letter of the score ought be ignored; God forbid. But the tempo indications that Liszt provides in this score, which are consistent with the work's overall teleology and breadth, are best served, in that particular passage, without undue exaggeration, "Accelerando" and "piu appassionato" find themselves within the context of "poco a poco" , not the other way round. Rather than trouble you with a discussion of all this here, you might be interested to read my book on Liszt, published by Amadeus Press, where I move into this subject at length and in detail. As for the title of the film, Technique Does Not Exist, I would take issue with the mesmerisingly gifted Maria Joau Pires, who in my view misstates, though does not misrepresent the concept, most likely in consequence of a perhaps less than authoritative command of the English language. To claim any such thing is not only misleading, it is a logical impossibiltiy. In fact, Ms Pires defines it herself early on in the film, but then protests that such a definition is essentially void. Such semantic waxing is irrational and fails to grasp the substantive dimensions of the issue, to wit, that technique, which is only an approach to solving a given problem, ought not be confused, as it so often is, with the physiological mechanics of playing, whatever the instrumentarium. Indeed, in the fullest Greek sense of the word, as Nietzsche observed, technique accounts for a great deal more, and includes the interpretation and adjudication of balance, rhythm, contrast, "color", affect and affective nuance, the understanding of voice leading and its significance within the whole, phrase periodicity, etc. Students refer to technique naively, imagining it to be the measure of how fast and deftly one can move their fingers and arms; that is not technique, but folly. If that is what Ms Pires was getting at, she is correct, but she would be well advised to re-think her way of describing it, lest she continue to leave an impression that is precisely the opposite of that which she means. By the way, I've sent you a message privately that might interest you.
Julien, It's a shame you must deal with mentalities such as this in you professional life.
It's interesting to see how one can evolve from an arrogant smartass to an arse-kissing smartass in only 2 messages.
@@MorbidMayem John Bell Young is an....interesting character. He passed away a couple years after writing his comment, but was well-known for many years before that for being vitriolic on the Internet. He got into a vicious debate with Valentina Lisitsa a few years back. I won't say more about him because he's no longer here to speak up for himself, but it's a little startling to see his name in a YT comment thread.
Sorry, but Arrau's rendition is sooooo much better.
Well yeah, but how many more years had Arrau lived with this piece when he recorded it? (Assume you are speaking of the Philips recording from the '70's) Otherwise, let the young Julien have his place in the sun. He is very talented. :)
A un certain niveau d'authenticité les comparaisons n'ont plus beaucoup de sens. La présence de l'invisible en soi n'est pas de l'ordre de la suffisance ou de l'insuffisance...mais de la vérité mystérieuse.
Sorry to everyone below, but after hearing the first couple of pages, I have to dislike. His tone is too much at the start and his phrasing too ordinary to maintain anyone's attention for long. It is too casual and artificial. This is wrong. Where is the religious fervour? Why also does he dress up like a doll?
Why all the pointless hesitations, massive ritards and general lack of forward momentum? The piece disintegrates into a series of episodes played like this. The accelerando merely confirms the failure of judgement made playing the opening in such a self -indulgent fashion. One hopes this style of playing isn't the result of Pires teaching.
Adam Czarnowski Please learn how to spell “judgment” before making petty criticisms.
This is a lovely and valid interpretation of an amazing work by Liszt. We don’t always agree with every artistic choice made in performances, but I certainly look forward to reviewing your performance of this work for comparison.
@@orlandocfi Now you've taught me spelling can I teach you manners?
Adam Czarnowski Sure...let me know when you’ve learned some for yourself.
@@orlandocfi Touche'
Joué avec une très belle sensibilité metci