Total Members Voted: 45
i'm forward.I learned half of it, and stopped for other music.But I remember that I learned that half of the piece up to tempo pretty quickly.
this is a common fallacy regarding 10/2. it's like saying you learnt half of the octave section of the hungarian rhapsody #6, in which case i wouldnt doubt you could played it at cziffra speed.
Just like op 10 no 1, if you can nail the first half, you can nail the second half.
To illustrate it, listen carefully to V. Lisitsa's 10/2. She starts fast and is quite consistent in the 1st half. But in the middle section you can distinctly hear the moment when her hand got tired and stiff. Immediately a couple passages completely slipped. The last half she already plays much slower, and it sounds like on an auto-pilot. And she is a true virtuoso, with a quite formidable technique! Actually, I am quite surprized she posted such a performance, which is very far from perfection. And if 10/2 is not perfect, then it does not count (same goes for 10/1).
i think she posted that performance (along with the other 23 from a single recital) in response to some reviews for her dvd that commented on the audio/video syncronisation problem hence suggesting excessive editing. she was a bit pissed by this evidently
So, what did she prove?
That she could play them without editing.
Thierry,Thanks for clarification. The problem is that she DID NOT... at least in my book. It seems that she is more impulsive type, and as a result her lack of calculation greatly affected consistency. Should she think more carefully, she might probably do it quite easily.
He can say that comfortably and I can't ... you all guys have a problem, and I think it is jealousy.
i'm sure he played more years than you doand thierry13, you are just full of show off bullshit.
I am yet to hear Thierry13's performance of 10-2 in the audition room...O master Thierry, do you think our ears are too profanous to enjoy your music?
I didn't ever say I would learn it. Did everybody learnt every piece they ever found "not that hard"? gimme a break. You pissed me off so the countdown has begun NOW.
My teacher taunted me after my lesson... "You see that 13-year-old girl? That etude is easy for her. She doesn't know it's supposed to be hard."
For the record, I find 10/7 much, much harder than 10/2.
Way too easy for me, I sightread it under 2 minutes with 98% accuracy, this is just laughable for pianists who can't play it when they have been learning for over 2 years.That etude is so easy, I don't get why people think it's so hard!
Also I can't do the A minor, Op. 10, No. 2. Richter told me he could never do it, either."
The op 10 no 2 etude is the same thing throughout. The first half is like the second half.Just like op 10 no 1, if you can nail the first half, you can nail the second half.
Totally wrong. First of all for the fatigue reasons described by Marik. But second, and perhaps more importantly, op 10/2 is NOT the same thing througout. Sadistically, the hardest part begins just when you might feel like resting for a second, at bar 19 and it lasts until bar 35. It demands some of the most spectacular finger contortions in the piano literature; in contrast, bars 1-19 and 35-to- end are much more fluid.
Incidentally, I happen to find the B section of this étude much, much easier than the A sections.
...which once again proves--never ever believe what greatests say. I have Richter's live recording of 10/2 straight after 10/1... Well, he could do it... better than anybody I ever heard.I have also this recording - the fact that one likes Richter does not automatically mean his is "the best recording of 10-2 ever made" (or something like that). One can hear that he fights against the piece, he is definately fighting. He almost doesn´t make it. His problems are not so obvious as it´s the case with Freire`s recording, but his rendition is (tecnically and musically speaken) clearly below the ones of Lugansky, Gavrilov, Anievas, Browning, Yokoyama, Li, Berezovsky (the one on the latest live CD), Kosuge, and Wunder. Unfortunately.
It is very unfair to compare this live recording to studio ones.That´s of course true. In a live situation you have to play - whether you like it or not, but in the studio you can sleep for an hour and then do the next piece. In this respect and with the regard that he played 10-2 so well right after the very taxing 10-1 means a lot.
One more thing: i was referring to a recording published by Philipps, it´s called "authorized recordings" or something like that.
Oh man, there is another one !? Can it be purchased somewhere ? Some of the older Richter recordings show his power much more than their later counterparts (the Liszt h-Moll sonata and of course Feux Follets come into my mind).
It is on "Richter in Prague" set of 15 CDs. As far as I know, it is out of print (at least was a few years ago, for some copyright infrigement, IIRC). Check ebay--I saw it a few times there.
Octaves are different, because they involve some tension.
Ho so because I've been playing for a year I can't think other etudes are harder. That's a funny thing.