Chopin Ballade No.4 f-minor

[marik]

Live from Russia, October 26, 2007.

[kony O]

excellent performance.

though a little heavy handed at times?

thoroughly enjoyable.

[rachfan]

Hi marik,

I listened to the ballade twice.  Masterfully played.  Bravo!

[allthumbs]

Wow, awesome, I wish I could play like that!

allthumbs

[michel dvorsky]

Your interpretations are so dramatic and effective.  Much rubato, but the line is always so well maintained. 

You make this old warhorse sound so fresh.  We're lucky that you share your masterful playing with us.

[Essyne]

Phenomenal, as always.

Happy playing.

[tds]

i really enjoyed it. thank you. tds

[slobone]

The opening of this piece always makes me think that it starts in the middle of a sentence, as if you walked into a room while somebody was already talking.

Superb, brilliantly played. You have great control and get a beautiful sound from the piano. And you have something interesting to say at all times.

LATER: I just watched several performances on Youtube and I like yours even better. I hadn't realized this piece was so difficult. It's easy to fall into the trap of not enough energy (Zimerman), too much rigidity (Richter), or too much aggression (Berezovsky).

You have the ability to make it sound like you're continually discovering new musical ideas as you play. I love that in performances of Chopin, or anybody, really. Horowitz had that same quality.

[general disarray]

Remarkable pacing, phrasing . . . and so beautifully sung.  I've heard this piece to death (my own pathetic version echoing most in my head), but this scrapes the barnacles off and gives the Ballade back its poetry.  Bravo, maestro.  That fat, rounded Russian tone of yours is a most welcome sound!

[would you be in residence in the NYC area, say, beginning this October?  Do you take private students?  I know an accomplished pianist who would gladly audition to be your student.]   

[thalberg]

This was a world-class performance.  It had everything- originality, taste, lush tone, refinement, interesting inflections, singing phrasing.... I was fascinated the whole time.  Your fioratura variation was so gorgeous and poignant I could not believe it.  And for a live performance, this was remarkably problem-free. 

This excellent playing did not surprise me because I have learned to expect such things from you.  That is why I always download your recordings!

[alhimia]

Dear Marik,

Your Ballade sounds excellent and in many ways very professional. You show a lot of drama and passion where it needs to be and you managed to get many different sounds, colors, moods and great dynamic range in this demanding piece.

There are, however, a few intsances where I feel it gets a little bit too intellectual and too serious. There I miss some feeling of improvisation and spontaneity.  You make a lot of ritardando in for example  the section where the  first theme appears . It seems if you try to calculate almost every note. I would do that a little bit less. Also I would play a slightly faster tempo in this section and the one startting from bar 80. I think this shouldn't be played too serious (although the general character of the piece is quite dramatic, which you express very well).

The section that starts from bar 100 sounds brillant!

From bar 152 it sounds very  dramatic and passionate which I think fits very well with the content of this section. However I feel passages can sometimes be a little more legato  and the sforzandos a bit softer, but maybe it's also the piano or the place of microphone.

The coda is excellent too.

Good work!

Best,
Alhimia

[goldentone]

At 3:40 when the transition begins, the music is nigh breathtaking in its beauty.  I was listening to this every night for awhile.  The world would be the poorer without your playing.

[marik]

I completely forgot I posted it... in any case, thank you all for your kind words about my playing.
I learned it when I was young and after that have not played it in ages. Not long ago I had a terrrible dream I had to go on a stage and play this piece having a distinct feeling I don't know it...
Sometimes I have those weird dreams, when I know I have to go on stage and play a piece I haven't played in ages... that was the same with this Ballade, with Tchaikowsky 1st Concerto, and esp. terrible dream with Rachmaninov 3rd.
Usually, after those I go to practice the pieces like crazy, to get rid of that feeling...

There are, however, a few intsances where I feel it gets a little bit too intellectual and too serious. There I miss some feeling of improvisation and spontaneity.  You make a lot of ritardando in for example  the section where the  first theme appears . It seems if you try to calculate almost every note. I would do that a little bit less. Also I would play a slightly faster tempo in this section and the one startting from bar 80. I think this shouldn't be played too serious (although the general character of the piece is quite dramatic, which you express very well).

I think this is a very good observation. When I listened it back I had exactly the same feeling.
I always think the tempo is a matter of acoustics and remembering it back, the hall was very spacious, with a great sustain (mabe not so much felt in the recording) clearly asking for some slower tempi than I was used to (and could handle), which could perfectly explain a slower than my usual tempi.
This piece is so hard in term of accomodating to acoustics and "hall feeling". It feels like every time it should be felt through and adapted to new conditions again and again. In fact, this piece is so personal that it is born only on stage and only in that particular situation, which we live through only ones... That's why it is possible to play it only very limited number of times on stage. 
There is no wonder of that feeling of being "too intellectual", when in fact it is just a mere strugle with paricular situation in that particular hall.

In any case, I greatly appreciate your comment.

Best, M

[opus10no2]

My comment, like any great work of art, was open to subjective interpretation.

I fail to see why it was censored.

[fnork]

A very moving performance, I listened to it several times. It's very well constructed, and you manage to maintain the simplicity in the music and at the same time having it very singing and with rubato. Bravo! And thanks for sharing with us!

There were a few details I was thinking about, but I will listen to it once more and see if I still feel the same way. Overall, the performance is world-class.

[enderw20]

I completely forgot I posted it... in any case, thank you all for your kind words about my playing.
I learned it when I was young and after that have not played it in ages. Not long ago I had a terrrible dream I had to go on a stage and play this piece having a distinct feeling I don't know it...
Sometimes I have those weird dreams, when I know I have to go on stage and play a piece I haven't played in ages... that was the same with this Ballade, with Tchaikowsky 1st Concerto, and esp. terrible dream with Rachmaninov 3rd.
Usually, after those I go to practice the pieces like crazy, to get rid of that feeling...

I think this is a very good observation. When I listened it back I had exactly the same feeling.
I always think the tempo is a matter of acoustics and remembering it back, the hall was very spacious, with a great sustain (mabe not so much felt in the recording) clearly asking for some slower tempi than I was used to (and could handle), which could perfectly explain a slower than my usual tempi.
This piece is so hard in term of accomodating to acoustics and "hall feeling". It feels like every time it should be felt through and adapted to new conditions again and again. In fact, this piece is so personal that it is born only on stage and only in that particular situation, which we live through only ones... That's why it is possible to play it only very limited number of times on stage. 
There is no wonder of that feeling of being "too intellectual", when in fact it is just a mere strugle with paricular situation in that particular hall.

In any case, I greatly appreciate your comment.

Best, M

Marik,

This was an excellent performance! I was just curious, how long were you playing before you attempted this piece, and how long did it take you to play it at a level that you felt comforatable performing it in public?

[concerto_love]

hiyaaah! Wonderful!

[marik]

My comment, like any great work of art, was open to subjective interpretation.

I fail to see why it was censored.

Sorry, but I fail to see what comment you are talking about, what kind of great work of art you mean, and what was censored

[mephisto]

Sorry, but I fail to see what comment you are talking about, what kind of great work of art you mean, and what was censored

He made some childiss comment about how this recording made it obvious to him why you weren't a famous pianists. He's a idiot.

[opus10no2]

He isn't famous.

Do his recordings not reveal why?

Am I saying they are bad? No.

Even if I were, am I only entitled to an opinion if it's positive?

[enderw20]

He isn't famous.

Do his recordings not reveal why?

Am I saying they are bad? No.

Even if I were, am I only entitled to an opinion if it's positive?

Is this because he wasn't impressed by Grynyuk's octaves?

[opus10no2]

No.

[kelly_kelly]

Somehow I have never been satisfied with other recordings of this piece. Yours is the first that has truly inspired me. Thank you!

He isn't famous.

Do his recordings not reveal why?

Am I saying they are bad? No.

Even if I were, am I only entitled to an opinion if it's positive?

Of course you are entitled to your own opinion. But you are not entitled to express it in such a rude way.

On second thought, I should have followed Marik's signature...

[marik]

He isn't famous.

Do his recordings not reveal why?

Dear Opus10No2,

Apart from the fact you are crossing any ethical borders and taking way too much liberty going into such personal matters, I am just not sure what do you mean.
But since we are on the topic, let me tell you it does not take much to become famous. There are three things needed:
1) Lots of money
2) Good manager
3) To know a little bit to play.

In order to become famous it takes a certain type of personality, with certain type of ego, ambitions, and burning desire. Unfortunately (or fortunately), I never had either--the reason after playing over 200 concerts a season I just dropped out the race loooong ago, made other choices in life, and don't have any ounce of regret.
There were times when I did not practice for years and sold my instrument, just later to realize that in the end, piano playing is still an important part of my life. In fact, as always, you are way off in your deductions, and whether you like it or not I am quite famous... just in other fields, albeit one or another way somewhat musically related.

As a side note, FYI, I play the instrument not to become famous, but this is one of the ways for me to self-express, to be honest with myself and others, and one of the ways to become a better person--this is what I believe in and try to follow to the best of my abilities, as in my mind, even the idea itself is already some little drop of good will to make our crazy world at least a little bit better place.

I gladly admit, this is not what the modern world wants and how it functions, and most likely such nonsenses are not even in the consiousness of many, but this is already not my problem, and is a topic for completely different discussion...

All the best, M

[pianowolfi]

Dear Opus10No2,

Apart from the fact you are crossing any ethical borders and taking way too much liberty going into such a personal subject, I am just not sure what do you mean.
But since we are on the topic, let me tell you it does not take much to become famous. There are three things needed:
1) Lots of money
2) Good manager
3) To know little bit to play.
In order to become famous it takes a certain type of personality, with certain type of ego, ambitions, and burning desire. Unfortunately (or fortunately), I never had either--the reason after playing over 200 concerts a season I just dropped out the race loooong ago, made other choices in life, and don't have any ounce of regret.
There were times when I did not practice for years and sold my instrument, just later to realize that in the end, piano playing is still an important part of my life.

FYI, I play the instrument not to become famous, but this is one of the ways for me to self-express, to be honest with myself and others, and one of the ways to become a better person--this is what I believe in and try to follow to the best of my abilities.

I gladly admit, this is not what the modern world wants and how it functions, and most likely such nonsenses are not even in the consiousness of many, but this is already not my problem, and is a topic for completely different discussion...

All the best, M

Sure, I agree with all that Marik says, as far as it's possible to have a real impression of a person/artist over a forum/over the internet. The real artists don't need to be actually "famous". What makes a real artist is a hell of a lot about what marik says. And his recordings speak for themselves, anyway.

[general disarray]

To be famous takes an egotism that few people care to cultivate, thank God. 

Opus, you're so naive about the way the world works.  Your odd, Little-Nell-From-The Country assumptions that cream rises to top with no effort of its own is so, well, split off from reality.  You take the stance that if it's really that great, it will manifest itself spontaneously to the world.  Snap out of it, pal.  You have MUCH to learn. 

The finest "cream" is often quite at the bottom. 

Managing a career of any kind to achieve "fame" means an obsession with egotism and self-promotion.  It's what movie stars -- for one obvious example -- have to do on a daily basis and they have an army of publicists pushing their names and photos into print constantly.

Musicians, who want fame, must do the same.  Those who don't, aren't accorded "fame."  That doesn't diminish their fine artistry one iota

[opus10no2]

An artist without compromise rarely finds fame.

marik is clearly a very good pianist, I was just being intentionally provocative,  while stating I believe that his recordings are quite different from Lang Lang's, who happens to be the worlds most famous pianist.

[nilsjohan]

These are some of the comments which were previously removed:

opus10no2:

Now I know why you're not famous.

tds:

what is that supposed to mean?

opus10no2:

It's self-evident.

opus10no2, you are now letting us know that you by exactly the above statements meant:

I believe that his recordings are quite different from Lang Lang's, who happens to be the worlds most famous pianist.

If that's what you meant you should consider spelling out your thoughts in a more understandable way instead of trusting your fellow member's mind reading abilites, in order to avoid the discussions going off topic in this way as well as causing an unnecessary negative atmosphere.
Provocative comments are welcome but if you do not elaborate on them and share your opinions you are just causing frustration.

Even if I were, am I only entitled to an opinion if it's positive?

No, but if posting, please do share your opinion.

[opus10no2]

Maybe I intended a little frustration to be caused, and wanted a vitriolic response. It wasn't nice of me and I apologise, but perhaps this is only because I have been disrespected in the past by mr marik.

[michel dvorsky]

It wasn't nice of me and I apologise, but perhaps this is only because I have been disrespected in the past by mr marik.

When ignorance is called by its name, it isn't disrespect. It's honesty.

[thierry13]

When ignorance is called by its name, it isn't disrespect. It's honesty.

Sometimes people should accept that things aren't all kind and pretty. That's why I agree with you, and honesty should be accepted even if it's rude, as long as it is rational (something opus10no2 is not often).

[opus10no2]

Quote examples of me being ignorant/irrational.

[thierry13]

Quote examples of me being ignorant/irrational.

I don't think I can quote all of one person's posts in one post, can I?

[opus10no2]

1 would suffice.

[marik]

Maybe I intended a little frustration to be caused, and wanted a vitriolic response. It wasn't nice of me and I apologise, but perhaps this is only because I have been disrespected in the past by mr marik.

Dear Opus10no2,

I appreciate your apology, even though I did not ask for that.
As far as your feeling of being disrespected from my side, let me offer you some explanation.
As you might know, I have studied piano for many years of my life with some greatest minds and GREATEST TEACHERS of our time, including L. Naumov, L. Vlasenko, V. Gornostaeva, i.e. people with whom studied such pianists as Pogorelich, Radu Lupu, A. Sultanov, A Gavrilov, Pletnev, Toradze, Babayan, etc.
I also got an exhaustive training in music theory (including dictation, harmony, polyphony, contrapunctus, etc), musicology and music history, and pedagogy, and although my DMA is only in piano performance, my MM degree is in three disciplines. Needless to say, I still feel myself humble enough every ones in awhile to take lesson, even though lately I don't concertize frequently.

I however still give piano lessons myself and usually, by the age of 13-15 MOST of my students become accomplished pianists, meaning they play piano absolutely pr