The older I get and the more classical guitarists I hear, the more I appreciate Yamashita's approach to playing. Here is a musician with a real, coherent, vision of the music he plays, not just someone who reproduces a received paradigm. His sense of drama and his extraordinary spontaneity result in performances filled with so much more life than the vast majority of classical guitarists. He seems to get to the very heart of a piece and create it anew with each performance. It's true that his nails click against the strings and that his tone can occasionally have a rough edge to it, but what does mere technical etiquette matter compared to artistic intuition and spontaneity of expression. I'd rather hear his wild, untamed, raw brilliance than any amount of the insipid, anodyne slush that so often seems to constitute the accepted approach to classical guitar.
I get the impression that he simply accepted that the strings are going to crack out when he pushes them, and that's the sound of the guitar. If his guitar was more dynamic he would have had better tone, but few guitars can handle being pushed that hard.
Classical guitar somehow become the duodenum or appendix of music where the most retrograde of superuptight white men collect, the seed hulls and chaff of musical history, angry they are so marginal.
A lot of people disagree with this interpretation of the music and they are by no means required to like the way Yamashita plays, but I wish people would stop mistaking their difference of taste with what they presume to be Yamashita's lack of musicality. I often disagree with his interpretations as well, but seeing him live was one of my more memorable concerts. Few musicians play with as much conviction and skill in executing their visions as Yamashita. He is truly a gift to this world.
I agree he is a gift, which I accept with gratitude. I would be pleased if the 'comments are turned off' could be activated - then we would be spared the useless, vacuous opinions of these 'experts' who think they know better than all of us. These people are overbearingly arrogant.
Well said, sir. God can play this piece and there will always be an asshole or two who will find something to criticize. If anyone has something negative to say about this performance, please, show us your rendition.
People disagree about this interpretation? About what movement? The third? It's an Allegro Solemne, it's not to do a lot of dinamics, like almost everyone who plays this piece does. For myself its one of the best interpretation I ever heard.
@@seymourtompkinsTo me Azabagic’s performance made it about his excellence in playing according to a certain convention and was not at all engaged with the composition. Everything was homogenized into an oversmooth “tone” that is more about legato than actual tone color. I would love to have his technique! But I would be hungry for an expanded world of music . . .
@@katebloggs8243 Interesting impression, Kate. I can understand how he can be perceived that way. I agree, sometimes perfect technique can (ironically) work against a performance, making it sound sterile , flat, or academic. In this case, I love his performance, but I have experienced your reaction to other players on other occasions (they played so 'perfectly', I almost fell asleep). Btw, which player does this piece justice, to your ear ?
@@seymourtompkins Barrios himself! Wow!! I found it incredibly varied in so many surprising, subtle ways. It felt more “guitaristic” and yet individual than maybe any other guitar playing of any other piece I have heard. For me, so much of classical guitar performance is a kind of signifying more than anything else, and it is a source of great disappointment. There is so much potential to the repertoire and instrument, yet I feel like most guitarists are slavish and limited to an idea. I love Yamashita’s version, too, and feel like it is the closest in deep approach. And by approach I mean a kind of exploratory freedom that parallel’s Barrios’s, not meaning that the interpretations were the same. I felt as convinced of his version as Barrios. Both felt so deeply realized and true to the same inner pattern but with different flowers off that invisible root. I just listened to Alexander-Sergei Ramirez playing the piece and quite liked it, though I think it is dwarfed by the level of imagination/invention in Barrios and Yamashita. Speaking of perfect technique, I am agog over Raphael Feuillatre, but had similar thoughts about his performance of Catedral as Azabagic’s. I am grateful to John Williams for championing Barrios, but his performance sounds like it was transcribed by Segovia.
@@seymourtompkins I should clarify about Azabagic’s Catedral. I did not get the sense it was about showing off, and I am able to see past technique, so while I think your point is probably true about most, I was not thrown by his technique, and I felt his interpretation was about service to an ideal that is about a certain tradition of beauty of tone production and “European” “aristocratic” imaginings. Almost an ideological goal, I think, and always in service of that goal, which the compositions serving as the vehicle/excuse for another demonstration of blue blood.
A acentuação, a dinâmica e o fraseado nessa execução são incríveis e praticamente imbatíveis. Composição maravilhosa de Barrios x execução impecável de Yamashita.
It's not easy to play the first movement slowly and still remain smooth because the notes fade quickly. He did a good job here. The last movement is also excellent. He played it quickly but at times paused at the right times to add excitement. Lesser players go the last movement like they are practicing a scale.
For those knocking down on his musicality, just consider this. I grew up listening to my father’s LP of Vivaldi, four seasons. So that recording must be in 1960s or even older. And guess what, any “modern/current” rendition of the same piece doesn’t sit well for me. They feel too fast. Fine to dislike his speed but that shouldn’t be confused with him lacking musicality as he has a passion which he express through his range, not the range people were used to before him. I can understand why large portion of the world of classical guitar rejected him. He was and still is just way ahead of time
Musicians enjoy and understand music more than the average listener, so while slower paced music often isn't stimulating enough for people in the modern age, musicians can feel that playing faster takes some quality away from the music. *This is written from perspective of someone who's been learning classical guitar for over 5 years. I'm pretty sure something like rock music might sound better faster etc
Maybe the allegro just goes against the performance practices because few people in the world are even able to make it sound so aggressive, this is an insanely delicate piece on the left hand, playing it feels like surgery and knowing this guy was able to get this sound out of these notes is just incredible and makes listening to this very exciting. Other interpretations may be beautiful and more familiar with barrios pieces but listening to him play it is like hearing the piece for the first time its a real thrill.
Great man, great musician and great composer Agustín Barrios! El Paganini de la guitarra de las selvas del Paraguay. A awesome performance by Yamashita.
My father played this beautiful music.... My father's name is teacher Sérgio de Pinna, classical and Popular guitarist here from Rio de Janeiro, Brasil, my father has several guitar compositions for one and two guitars of unprecedented .🙏🙌
Eu imagino que até Agustin Barrios diria, Kazuhito executa essa peça de "bravura" melhor do que eu. Linda, perfeita execução. Velocidade, sentimento, tempo, alturas do som, arpejos, tudo perfeito. Fiquei fascinado, que assustei, "uai, já terminou?". Grato.
He played the third movement with energy. Every note was like a bullet shooted off. Although he played incredibly fast, which didn't harm the stability and the control of the dynamic of the melody.
This performance is so *clean*, incredible! Not only that but his control over the dynamics, voice leading, power and rubato are just incredible. This is my favourite performance of this piece yet (and I've heard hundreds!)
I shook his hand and was surprised at how soft and gentle his handshake was. Listening to him play one would imagine a very strong and dominant handshake. Not so.
All I can say is that he saves a lot of money not having to hunk a grand piano around the world. Lucky there aren’t too many of him, it would put piano makers out of business.
Absolutely perfect when playback speed is set at 0.75, like most versions by great performers. The last movement is "Allegro SOLEMNE": it imitates Bach's music and evokes the awe of visiting a magnificent cathedral. There is nothing solemn or awe-inspiring about visiting a cathedral at galloping speed. Agustín Barrios had to cram a rather long piece onto the very short recording time of a 78rpm side: this is we have this "original" version that serves as a reference and has been imitated by all the great players who brought Barrios to Europe, North America and Eastern Asia, starting with John Williams, but musicians should not let technology think in their place: stylistically speaking this is not a good idea to match the speed of the original recording. What should be matched is the tempo indication.
Sorry to break it to you that there's no "should" or "must" in music, if that's how he sees it, all we can do is appreciate what he delivered, at most say we "disagree" No one is in the place to rightly judge an artist
@@zeinmrshd3037 Sorry to disappoint you, but art is both subjective AND objective. Tradition exists, facts exist, tempo markings exist: this is called “culture”. You’ve heard the term before, haven’t you? If this were not the case there would be no need for music teachers and music lessons to transmit the secrets of interpretation. An appropriate physical training with the support of a competent team of physiotherapists would be sufficient to produce virtuoso performers, and music performance would be an Olympic sport, not an art.
Gentle snow! Peace and beauty! Profound majesty! The notes rain down! Brimstone pours forth! Hurricanes hurtle! Thunder rolls across the sky! HAIL Yamashita! Great God! To hear the guitar wielded thus…
Ive heard hindreds of people play this and apartvfrom Raphael Rabello who played as a warm up exercise.. haha...this has to be one of the most dynamic versions ever recorded. I shall go back and listen to barrios himself to see what he did with this, did Yamashita get inspiration from the greatest composer guitarist for clasdical guitar.
This is the best interpretation of this often performed piece. However, I would enjoy hearing Yamashita perform it on a different guitar than the Ramirez he is using here.
I was just a child when the stars fell from the skies, but I remember how we built a cannon to destroy them and in turn, how that cannon brought war upon us. War was an abstract idea, nothing more than a show on T.V. As a child, I always saw it y happening on some faraway land, until on that final day of summer
In term of interpretation, david russel's version is I think more beautiful. But technically.. woow !! In classical guitar catagory... 'Yamashita' is 2nd to none.
A single-note line of the first movement could not be played so slowly and with so many nuances as this performance unless you could produce a clear tone and execute it with conviction.
God can play this piece and there will always be an asshole or two who will find something to criticize. If anyone has something negative to say about this performance, please, show us your rendition.
Очень интересная подача.... ни разу в таком темпе исполнение не слыхал, впечатляет. А вот 3-я часть малость с перебором по скорости и агрессивности. Мне как-то по восприятию ближе Эдсон Лопес и Дэвид Рассел.
Funny how people always say John Williams is all about technique rather than musicality… this is technically amazing. But the clarity and tone compared to Williams of the opening movement is nowhere close for me.
The Allegro is shaped and executed brilliantly, the best I've heard. The prelude, on the other hand, is somehow disappointing, given the high expectations one usually have with Yamashita.
AS SPEED, EXCELLENT........BRILLIANT TECHNIC........BUT SOMETIMES MUCH MORE SPEED KILLS THE BEAUTY OF THE MUSC........HERE, IT HAS BEEN A SHAW OF SPPED......!
![Pictures at an Exhibition (Modest Mussorgsky) Kazuhito Yamashita [Guitar] 展覧会の絵（ムソルグスキー）山下和仁 [ギター]](http://i.ytimg.com/vi/DjOQ69JjTRo/mqdefault.jpg)
The older I get and the more classical guitarists I hear, the more I appreciate Yamashita's approach to playing. Here is a musician with a real, coherent, vision of the music he plays, not just someone who reproduces a received paradigm. His sense of drama and his extraordinary spontaneity result in performances filled with so much more life than the vast majority of classical guitarists. He seems to get to the very heart of a piece and create it anew with each performance. It's true that his nails click against the strings and that his tone can occasionally have a rough edge to it, but what does mere technical etiquette matter compared to artistic intuition and spontaneity of expression. I'd rather hear his wild, untamed, raw brilliance than any amount of the insipid, anodyne slush that so often seems to constitute the accepted approach to classical guitar.
I get the impression that he simply accepted that the strings are going to crack out when he pushes them, and that's the sound of the guitar. If his guitar was more dynamic he would have had better tone, but few guitars can handle being pushed that hard.
Classical guitar somehow become the duodenum or appendix of music where the most retrograde of superuptight white men collect, the seed hulls and chaff of musical history, angry they are so marginal.
"insipid, anodyne slush" is a very unexpected wording. Stealing it.
彼が10代前半で出てきたとき、多くの同業者を怯えさせた。もう少し下手だったら絶賛されたはずなのに、彼の場合完全に怯えさせた。その結果国内のコンクールでは常に誰も納得させない2位。国内では1位になれないのに世界最高峰のパリコンでは1位を獲った。利害がぶつからないからである。孤高の天才とは彼のためにある言葉だ。
A lot of people disagree with this interpretation of the music and they are by no means required to like the way Yamashita plays, but I wish people would stop mistaking their difference of taste with what they presume to be Yamashita's lack of musicality. I often disagree with his interpretations as well, but seeing him live was one of my more memorable concerts. Few musicians play with as much conviction and skill in executing their visions as Yamashita. He is truly a gift to this world.
Thank you. He's the Horowitz of the guitar.
I agree he is a gift, which I accept with gratitude. I would be pleased if the 'comments are turned off' could be activated - then we would be spared the useless, vacuous opinions of these 'experts' who think they know better than all of us. These people are overbearingly arrogant.
Well said, sir. God can play this piece and there will always be an asshole or two who will find something to criticize. If anyone has something negative to say about this performance, please, show us your rendition.
@@zyaffee And Horowitz was also criticized by many for his interpretations!😉
People disagree about this interpretation? About what movement? The third? It's an Allegro Solemne, it's not to do a lot of dinamics, like almost everyone who plays this piece does. For myself its one of the best interpretation I ever heard.
Best played version of this piece. Incredible dynamics and power.
I agree wholeheartedly.
山下和仁の演奏には真の感動が有る。プロの中でもただ上手いだけの演奏者が多い中で、彼は正真正銘のマエストロと言ってよい。彼の音楽はギターの技巧を越えたものを持っている。
他のギタリストの代わりは何人かは居るが、山下和仁氏の音は唯一、彼のみでしか生み出せない物。もはや其処が異質な世界になりますね。
まったくそうですね。アンコールに何回も応えて頂いたコンサートを懐かしく思い出します。お優しい方ですね。
１０代の演奏です。
アルバム大聖堂からのものです。1楽章２楽章３楽章のすべてがテンポがよく、全体としてのまとまりを感じます。
音色はクリアで山下の個性を感じます。
音楽性が素晴らしく、従来のギタリストが実現出来なかった演奏をされてます。画期的な演奏です
People refuse to believe that there is an actual best classical guitarist. This is him.
No, there is one. IMO, his name is Denis Azabagic. Listen to him play the piece and it's game-over, to me.
@@seymourtompkinsTo me Azabagic’s performance made it about his excellence in playing according to a certain convention and was not at all engaged with the composition. Everything was homogenized into an oversmooth “tone” that is more about legato than actual tone color. I would love to have his technique! But I would be hungry for an expanded world of music . . .
@@katebloggs8243 Interesting impression, Kate. I can understand how he can be perceived that way. I agree, sometimes perfect technique can (ironically) work against a performance, making it sound sterile , flat, or academic. In this case, I love his performance, but I have experienced your reaction to other players on other occasions (they played so 'perfectly', I almost fell asleep). Btw, which player does this piece justice, to your ear ?
@@seymourtompkins Barrios himself! Wow!! I found it incredibly varied in so many surprising, subtle ways. It felt more “guitaristic” and yet individual than maybe any other guitar playing of any other piece I have heard.
For me, so much of classical guitar performance is a kind of signifying more than anything else, and it is a source of great disappointment. There is so much potential to the repertoire and instrument, yet I feel like most guitarists are slavish and limited to an idea.
I love Yamashita’s version, too, and feel like it is the closest in deep approach. And by approach I mean a kind of exploratory freedom that parallel’s Barrios’s, not meaning that the interpretations were the same. I felt as convinced of his version as Barrios. Both felt so deeply realized and true to the same inner pattern but with different flowers off that invisible root.
I just listened to Alexander-Sergei Ramirez playing the piece and quite liked it, though I think it is dwarfed by the level of imagination/invention in Barrios and Yamashita.
Speaking of perfect technique, I am agog over Raphael Feuillatre, but had similar thoughts about his performance of Catedral as Azabagic’s. I am grateful to John Williams for championing Barrios, but his performance sounds like it was transcribed by Segovia.
@@seymourtompkins I should clarify about Azabagic’s Catedral. I did not get the sense it was about showing off, and I am able to see past technique, so while I think your point is probably true about most, I was not thrown by his technique, and I felt his interpretation was about service to an ideal that is about a certain tradition of beauty of tone production and “European” “aristocratic” imaginings. Almost an ideological goal, I think, and always in service of that goal, which the compositions serving as the vehicle/excuse for another demonstration of blue blood.
The most impressive thing is actually how still he is
The best guitarist, a wonderful musician
A acentuação, a dinâmica e o fraseado nessa execução são incríveis e praticamente imbatíveis. Composição maravilhosa de Barrios x execução impecável de Yamashita.
Elite player, one of the all time greatests
高速ミスタッチは神業もの その粒の揃った音は聴き手を疲れさせないばかりか魅了する。
Sharp execution and very beautiful❣️
Interpretación magistral y excelsa.
Sin duda, una de las mejores versiones.
¡¡Viva Barrios!!
It's not easy to play the first movement slowly and still remain smooth because the notes fade quickly. He did a good job here. The last movement is also excellent. He played it quickly but at times paused at the right times to add excitement. Lesser players go the last movement like they are practicing a scale.
彼こそ、天才中の天才。
素晴らしい演奏をありがとうございます。
For those knocking down on his musicality, just consider this. I grew up listening to my father’s LP of Vivaldi, four seasons. So that recording must be in 1960s or even older. And guess what, any “modern/current” rendition of the same piece doesn’t sit well for me. They feel too fast.
Fine to dislike his speed but that shouldn’t be confused with him lacking musicality as he has a passion which he express through his range, not the range people were used to before him.
I can understand why large portion of the world of classical guitar rejected him. He was and still is just way ahead of time
Musicians enjoy and understand music more than the average listener, so while slower paced music often isn't stimulating enough for people in the modern age, musicians can feel that playing faster takes some quality away from the music.
*This is written from perspective of someone who's been learning classical guitar for over 5 years. I'm pretty sure something like rock music might sound better faster etc
This man is an unbelievable musician... Prodigious and imaginative... Truly a genius of our modern era.
This guy is a Black Belt in classical guitar... This is a beautiful round kick to the face
Uhf no habia oido una asi..increible la expresion y matices...uhfff teeeerriiblee...un maestroooi
Maybe the allegro just goes against the performance practices because few people in the world are even able to make it sound so aggressive, this is an insanely delicate piece on the left hand, playing it feels like surgery and knowing this guy was able to get this sound out of these notes is just incredible and makes listening to this very exciting. Other interpretations may be beautiful and more familiar with barrios pieces but listening to him play it is like hearing the piece for the first time its a real thrill.
so beautiful. precious performance.
that was stunning, I hope to meet him one day.
The Voice of the Guitar - K. Yamashita!!!!
My father has always been an admirer of yours. I also always listen to your recordings.
Great man, great musician and great composer Agustín Barrios! El Paganini de la guitarra de las selvas del Paraguay. A awesome performance by Yamashita.
My father played this beautiful music.... My father's name is teacher Sérgio de Pinna, classical and Popular guitarist here from Rio de Janeiro, Brasil, my father has several guitar compositions for one and two guitars of unprecedented .🙏🙌
Congratulations to your father, Marco ! How lucky you are to have each other !
He is Sviatoslav Richter of the guitar
I have long time felt the same, although I would say Richter is a little greater.
さすがとしか言いようが有りませんね。
Eu imagino que até Agustin Barrios diria, Kazuhito executa essa peça de "bravura" melhor do que eu. Linda, perfeita execução. Velocidade, sentimento, tempo, alturas do som, arpejos, tudo perfeito. Fiquei fascinado, que assustei, "uai, já terminou?". Grato.
Ele toca mais que todos nós juntos.
Absolute genius!
Yamashita-san's guitar gives voice to his soul!
Yamashita eres excelente ‼️👏🏆
incredible dynamic
Phenomenal.
❤❤ thank you
Fantastic!
He played the third movement with energy. Every note was like a bullet shooted off. Although he played incredibly fast, which didn't harm the stability and the control of the dynamic of the melody.
verzögernd und geheimnisvoll.
芸術は爆発だ。
山下の演奏にはそれがある。セゴビアにもある。
素晴らしい芸術です。
He is the best.
Yamashita, fukuda . Speeding ..emo, steady . Best version .
how beautiful ! ...
This performance is so *clean*, incredible! Not only that but his control over the dynamics, voice leading, power and rubato are just incredible. This is my favourite performance of this piece yet (and I've heard hundreds!)
Big musical hug from your friend and fan here from Rio de Janeiro Brasil. Marco de Pinna ☺🙏🙌
Amazing!
Это лучшее исполнение Собора Барриоса-Мангорэ, которое я слышал! Особенно впечатлила 3-я часть - супер скорость и виртуозность!...
Very little clicking and scraping in his touch. Even the shorter notes swell. Sounds so lovely.
역사상 최고의 대성당 연주!!!1985년에 테잎으로 사서 늘어지게 들었는데...유튜브에 좋은 음질로 올라와서 기쁘네요!!
Bravo!
가장 위대한 대성당 연주입니다..!!
Amazing
Thanks!!!!
Just great
Браво!!
I shook his hand and was surprised at how soft and gentle his handshake was. Listening to him play one would imagine a very strong and dominant handshake. Not so.
Perfect
All I can say is that he saves a lot of money not having to hunk a grand piano around the world. Lucky there aren’t too many of him, it would put piano makers out of business.
몇십년을 들어도 질리지 않는 최고의 연주입니다.1악장의 진중함,2악장의 장엄함,3악장의 믿기지 않은 스피드와 동시에 다이내믹함,마음을 조였다 풀었다 텐션의 범위가 극적입니다.이 사람을 뛰어넘을 기타리스트가 나올지 아직은 상상이 안됩니다.
Teknik ve müzikalite mukemmel
Absolutely perfect when playback speed is set at 0.75, like most versions by great performers.
The last movement is "Allegro SOLEMNE": it imitates Bach's music and evokes the awe of visiting a magnificent cathedral. There is nothing solemn or awe-inspiring about visiting a cathedral at galloping speed. Agustín Barrios had to cram a rather long piece onto the very short recording time of a 78rpm side: this is we have this "original" version that serves as a reference and has been imitated by all the great players who brought Barrios to Europe, North America and Eastern Asia, starting with John Williams, but musicians should not let technology think in their place: stylistically speaking this is not a good idea to match the speed of the original recording. What should be matched is the tempo indication.
Sorry to break it to you that there's no "should" or "must" in music, if that's how he sees it, all we can do is appreciate what he delivered, at most say we "disagree"
No one is in the place to rightly judge an artist
@@zeinmrshd3037 Sorry to disappoint you, but art is both subjective AND objective. Tradition exists, facts exist, tempo markings exist: this is called “culture”. You’ve heard the term before, haven’t you?
If this were not the case there would be no need for music teachers and music lessons to transmit the secrets of interpretation. An appropriate physical training with the support of a competent team of physiotherapists would be sufficient to produce virtuoso performers, and music performance would be an Olympic sport, not an art.
Great... 🙏🙏👍👍👍🙌🙌🙌🙌
どうして日本人は彼の音楽を聴かないのか？？？ まさに同時代の人なのに。
the best
すごい
It is like the cathedral is being struck by hurricane
hahahahaha
I take your comment positively, a hurricane of emotions.
Gentle snow! Peace and beauty! Profound majesty! The notes rain down! Brimstone pours forth! Hurricanes hurtle! Thunder rolls across the sky! HAIL Yamashita! Great God! To hear the guitar wielded thus…
The last movement is reputed to be a portrayal of bustling life outside the cathedral. Maybe it was a windy day. Certainly not too solemn.
Ive heard hindreds of people play this and apartvfrom Raphael Rabello who played as a warm up exercise.. haha...this has to be one of the most dynamic versions ever recorded. I shall go back and listen to barrios himself to see what he did with this, did Yamashita get inspiration from the greatest composer guitarist for clasdical guitar.
Bravo
The supreme!!!
This is the best interpretation of this often performed piece. However, I would enjoy hearing Yamashita perform it on a different guitar than the Ramirez he is using here.
Intelectually, I don't agree with his interpretation decisions. Experientially, it gives me the thrills and shivers.
yamashita bravo!!!!
I think there are few guitarists who can play the allegro at this tempo, but also with a strong tone.
Y con esa limpieza y musicalidad ✔
I assume that phenomenal guitar sound is a trusted old Ramírez?
いい
流石に音が素晴らしい❗
Agustín Pio Barrios por siempre... Hermoso
素晴らしい、素晴らしい、素晴らしい、ブラヴォー！
I was just a child when the stars fell from the skies, but I remember how we built a cannon to destroy them and in turn, how that cannon brought war upon us. War was an abstract idea, nothing more than a show on T.V. As a child, I always saw it y happening on some faraway land, until on that final day of summer
You deserve a medal for this comment
kudos
In term of interpretation, david russel's version is I think more beautiful.
But technically.. woow !!
In classical guitar catagory... 'Yamashita' is 2nd to none.
Comparisons are pointless - as are opinions on interpretation
既成の曲も弾くんだな。カテドラルは山下のお眼鏡にかなった！？
A single-note line of the first movement could not be played so slowly and with so many nuances as this performance unless you could produce a clear tone and execute it with conviction.
Chi e' il compositore di questa musica nipponica?
Agustin Barrios Mangoré a Paraguayan mystic guitar player.
Él vendrá al Perú :')
En Perú tienen a ese maestro que es Jesús Castro Balbi y que hace una interpretación, creo, mas sensible que la de Yamashita.
allegro solemne, not alegro soenne.
God can play this piece and there will always be an asshole or two who will find something to criticize. If anyone has something negative to say about this performance, please, show us your rendition.
Очень интересная подача.... ни разу в таком темпе исполнение не слыхал, впечатляет. А вот 3-я часть малость с перебором по скорости и агрессивности. Мне как-то по восприятию ближе Эдсон Лопес и Дэвид Рассел.
Funny how people always say John Williams is all about technique rather than musicality… this is technically amazing. But the clarity and tone compared to Williams of the opening movement is nowhere close for me.
👽
The Allegro is shaped and executed brilliantly, the best I've heard. The prelude, on the other hand, is somehow disappointing, given the high expectations one usually have with Yamashita.
You are deaf.
...
AS SPEED, EXCELLENT........BRILLIANT TECHNIC........BUT SOMETIMES MUCH MORE SPEED KILLS THE BEAUTY OF THE MUSC........HERE, IT HAS BEEN A SHAW OF SPPED......!
ＣＭがやたら多いですね。
Anche Yamashita scambia l'allegro solenne per il volo del calabrone!
Troppo velocemente...!! Corsa de formula uno.
I’m glad I finally found an interpretation I don’t like. I thought he was God himself but appears to be human after all. A great one though.
사람이 아닙니다
Allegro far too fast, sorry.
too fast... 10% slower would make so much more musical