based - for me the op 23 prelude occupies the same emotional space as his 2nd piano concerto, luminous beauty with melodies that often have that stepwise, slavonic mannerism coupled with an idiomatic harmonic sense. One that is constantly opening up and rising, always giving out as if its trying to open out everything it has for the listener.
FABULOUS! The introductory commentary was fascinating and your performance as ever, Cole, was just exquisite. I loved your anecdote about how Rachmaninoff drew Ruth Slenczynska’s attention to the apple blossom to help shape her interpretation and playing of this Prelude. I have read how these Op. 23 Preludes composed between 1901 and 1903 were fuelled by recollections of his own childhood - the joys of a privileged upbringing, but especially the trauma of being twice uprooted from it (once because of the spendthrift habits of his father; and then owing to failure in all his exams through his own laziness!). However, the product of these elements was an intense nostalgia and you can really hear that in this sighing, lyrical E flat Prelude, where we see Rachmaninov demonstrate his mastery of decorative accompaniment. Thank you so much for the pleasure you give in these uploads: real musical treasure!
Love your detailed analysis on Rachmaninoff pieces including the first piano concerto! I'm waiting for the second part of Kapustin's first sonata too! Always enjoying your work!
What a beautiful piece, so reminiscent of his 2nd movement of 2nd piano concerto, heart-wrenching and nostalgic... I think, having a story, or images, or an emotion attached to music is a quite popular and useful method in teaching, whether it relates to dynamics, tempo, etc. Thank you for another super interesting upload and wonderful performance!
I love your discussions on these Rachmaninoff pieces! I loved how you shared the story about Ruth and Rachmaninoff. Your videos are so useful for piano students! :)
Beautifully played. And I have listened to several performances, as I am in the middle of learning this (at the edge of my current ability). Ashkenazy is also brilliant but his style is not useful for me as I couldn't hope to play that way. Others don't (for me) make so much sense of the musically difficult last section (before the coda), so not so useful. Your interpretation is much more coherent, beautiful, and helpful.
More or less playing it now. The comments about the apple trees in bloom really work for me. The image feels really right, for the first half of the piece at leats. I still think bars 23ff are the best part of your performance. I am thinking of Ashkenazy though as more the way I want to play the last 10 bars... he slows down a bit there and voices that part really nicely. The first 22 I have my own ideas now, though, of course to add to those I heard...🙂
@10:12-@10:26 is devastatingly beautiful. The only time he writes triplet sixteenths in this prelude if im not mistaken. Thanks for the introduction; i will surely give it a go soon. Have you played his Lilacs for solo piano? Makes you wonder what he was thinking of when composing that ;P “…In their fragrant clusters/My poor happiness blooms.”
I love Lilacs, and there is a fairly interesting story connected to it... Maybe a future video! Thanks Ceasar! (I love that moment in the Prelude as well)
I remember struggling with this; It never convinced me as a piece. Having listened to your performance, I still feel the same, so maybe I didn't play it as ineptly as I thought! I think your room acoustic may be difficult with this piece: to my ear, it sounds rather over pedalled.
based - for me the op 23 prelude occupies the same emotional space as his 2nd piano concerto, luminous beauty with melodies that often have that stepwise, slavonic mannerism coupled with an idiomatic harmonic sense. One that is constantly opening up and rising, always giving out as if its trying to open out everything it has for the listener.
FABULOUS! The introductory commentary was fascinating and your performance as ever, Cole, was just exquisite. I loved your anecdote about how Rachmaninoff drew Ruth Slenczynska’s attention to the apple blossom to help shape her interpretation and playing of this Prelude. I have read how these Op. 23 Preludes composed between 1901 and 1903 were fuelled by recollections of his own childhood - the joys of a privileged upbringing, but especially the trauma of being twice uprooted from it (once because of the spendthrift habits of his father; and then owing to failure in all his exams through his own laziness!). However, the product of these elements was an intense nostalgia and you can really hear that in this sighing, lyrical E flat Prelude, where we see Rachmaninov demonstrate his mastery of decorative accompaniment. Thank you so much for the pleasure you give in these uploads: real musical treasure!
Love your detailed analysis on Rachmaninoff pieces including the first piano concerto! I'm waiting for the second part of Kapustin's first sonata too! Always enjoying your work!
Yes, I got a little sidetracked on the Kapustin, but it's almost there!
Thank you for your nice work Cole!~
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What a beautiful piece, so reminiscent of his 2nd movement of 2nd piano concerto, heart-wrenching and nostalgic... I think, having a story, or images, or an emotion attached to music is a quite popular and useful method in teaching, whether it relates to dynamics, tempo, etc. Thank you for another super interesting upload and wonderful performance!
Thanks for this.
I love your discussions on these Rachmaninoff pieces! I loved how you shared the story about Ruth and Rachmaninoff. Your videos are so useful for piano students! :)
What a gorgeous treat this is. Well played
As always, amazing videos with great analysis’! Do you have any plans of analyzing the 3rd piano concerto?
Beautifully played. And I have listened to several performances, as I am in the middle of learning this (at the edge of my current ability). Ashkenazy is also brilliant but his style is not useful for me as I couldn't hope to play that way. Others don't (for me) make so much sense of the musically difficult last section (before the coda), so not so useful. Your interpretation is much more coherent, beautiful, and helpful.
More or less playing it now. The comments about the apple trees in bloom really work for me. The image feels really right, for the first half of the piece at leats. I still think bars 23ff are the best part of your performance. I am thinking of Ashkenazy though as more the way I want to play the last 10 bars... he slows down a bit there and voices that part really nicely. The first 22 I have my own ideas now, though, of course to add to those I heard...🙂
@10:12-@10:26 is devastatingly beautiful. The only time he writes triplet sixteenths in this prelude if im not mistaken. Thanks for the introduction; i will surely give it a go soon. Have you played his Lilacs for solo piano? Makes you wonder what he was thinking of when composing that ;P “…In their fragrant clusters/My poor happiness blooms.”
I love Lilacs, and there is a fairly interesting story connected to it... Maybe a future video! Thanks Ceasar!
(I love that moment in the Prelude as well)
I remember struggling with this; It never convinced me as a piece. Having listened to your performance, I still feel the same, so maybe I didn't play it as ineptly as I thought! I think your room acoustic may be difficult with this piece: to my ear, it sounds rather over pedalled.