Feinberg Sonata No.6

[m]

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[rob47]

Nucking Futs!!!

Some great writing from a composer i never hear much of (this piece included) and the playing was just too good to be true! The material cohered nicely as i never felt the need to follow along with a copy of the score (as i do with many piece is dont know  )
thanks for the addition to my collection.

[mephisto]

Superb playing of this masterpiece. I am so glad that you acrually decided to play this forgotten sonata.

[quantum]

Cool!  Never heard this piece before, but I really like it.  Thanks for posting a lesser known piece, and great playing as well.   

[mara_]

magnifique!

[m1469]

I am currently listening to this as I type.  I have reached some interesting conclusions about myself, actually, after listening now a few times to this (a few times in each day over the last few days) and to some of your other recordings here.

hee hee... I was in the middle of typing, but then I got too captivated by what I was hearing to remember that I was supposed to be typing ... LOL.

Conclusions :

1.  With this piece and with your playing, I cannot just sit down and casually listen and then throw out a comment to you about this.  I find myself wanting to dim the lights and listen to this at night time, and I want to lay on the floor with my earphones on and let it become my entire world for ... timelessness.  I find myself in another world and it's as though absolutely everything else goes away.  I would like to listen to this for a month before I give more comments.

2.  Because of what I am hearing and experiencing through this, I am finding myself wanting to study music in a way that I have never studied it before.  I am not sure how this will all come out, but, it's going to prove to be very important in my growth, and somehow, in even just a few days, I am already changed.

3.  I find myself 'at home' in this music, and in your playing, and, I am not sure why.  I am not sure whether it's because I have never listened well enough before, and maybe I am growing and hearing things differently, or just that your playing really speaks to me like this -- perhaps it's all of that together.  I just don't have perspective on it yet, but I will.

Given the nature of this music itself, I find it somewhat strange, intellectually, that I feel so comfortable in it.  It feels like it is somehow my own skin -- and despite the somewhat disturbed tone, it is not actually disturbing but rather comforting to me.  I tremendously adore the music, and each time I listen, I just adore it more.

Something that I find absolutely fascinating about your playing is that it is sometimes as though I am watching a movie in 3D, where the images are actually coming right at me and seem as though they will actually hit me -- but you do this in sound.  Particularly striking to me right now are these sections at : 2:36, 2:39 and then in seconds preceding and proceeding these (well, on some level it seems quite ludicrous for me to even point out certain drops of water amongst such a sea, so forgive me if it is offensive to you).  It's incredible to me and makes me want to go to the piano and do something like that just to see if I can.

Thank you so much for sharing this with us, it is a precious gift .

[pianistimo]

marik, you seem to have no memory problems.  and, you have a good sense of interpretation of solid objects.  i see concrete.  a lot of it.  graffiti.  broken traffic lights.  harshness.  lackof sunlight.  stalled computers.  cell phones going unanswered.  dead car battery.  slashed tires.  body laying in the street.  perhaps a 14 year old who was riding to the corner store.  hard to believe this is 1913.

[nicco]

I'm baffled.

Marik, you are an amazing pianist.

[counterpoint]

This needs no comment - this is state of the art 

[mephisto]

This is not critisism(read what I wrote earlier), by why did you decide to play the 5-note pesante-theme like this?

[pianistimo]

i knew i would laugh when i came back to re-read this.  everyone sees something different that they want to get from this piece.  exactly how do you want to hear the five note peasante -theme?

[mephisto]

More furious an agitated. The same theme should also be played precipato later btw. But hey, marik is a much better pianist than me, and he knows what he is doing. So it is just a question.

[pianistimo]

oh, ok.  precipato. that's a new word for me. 

[jlh]

oh, ok.  precipato. that's a new word for me. 

That's because it's misspelled... Precipitato. 

[mephisto]

That's because it's misspelled... Precipitato. 

 

[pianowolfi]

I have come slowly tentatively closer to this thread and now I finally managed to start listening. Unfortunately I did not yet know this terrific sonata yet. Like always your playing is very inspired. I still don't get why you claim to be someone who hates practicing lol. Every time I listen to one of your recordings I have the distinct feeling of "That IS it, that's how it should be". Of course there is no "should" after all, but I don't know how to say this differently. Great composer, great piece, great pianist! 

[jlh]

Not at all!  Just think about this:  On Andrei Nikolsky's CD of Prokofiev's Sonatas Nos 5, 7 and 8, Arte Nova Records misspelled the last movement of no. 7.  The movement is called "III. Precipitato" but they spelled it "III. Precipato" on the disc... 

[mephisto]

 

[nepenthean]

Great performance of an incredibly hard piece.  Sonatas #5 and #7 are my favorites.  Anyone not familiar with this music should check out the complete Feinberg Sonatas on BIS.

[rachfan]

Hi marik,

Your playing of this piece is superlative. 

I've listened to several of your recordings, all of them displaying the highest degree of musicianship, musicality, technique, interpretation and artistry.  I've also pondered "how you do it" so consistently.  What all the listening experiences suggest to me is that once you read through a new repertoire piece, you very soon form a totality of concept for your performance--i.e., what you wish to achieve.  Many of us, on the other hand, build and develop the concept gradually through practice.  It seems that you then, in a natural way, coordinate all of the technical and physical aspects to serve the mental concept.  And, I'm guessing, that unlike some of us who are admittedly not virtuosi, you do it more in a holistic way, rather than deconstructing the piece into small, isolated "problem sections" for intensive practice. 

I'm amazed in a contemporary piece like this sonata--which is tonal, yet contains so much dissonance often unresolved, yet quite beautiful--that you can create so many tonal colors, degrees of dynamic variations and nuances to spin and maintain a captivating spell throughout to the very last note.  There again, I would guess this is where your early-formulated totality of concept comes into play.  I would also guess that after your initial sight-reading, that much of the piece is already memorized, although this is probably more difficult for contemporary works.  Perhaps my presumptions here are invalid; but however you do it, I'm extremely impressed!           

David