Often nicknamed the "trill" sonata for obvious reasons; from a concert a couple months ago in Florida.koji
My only suggestion: find a better audience.
That is a very insightful comment. One of the best pianists I've ever heard in my life is actually my piano teacher. There are many reasons that incredibly talented pianists choose not pursue fame. A lack of talent is not one of them.
Sidenote; this was on a hellaciously good Steinway with one of the best basses I've ever encountered (and had good karma--Argerich, Berman and Bolet had played it )koji
I don't think it's very good.The opening notes are too loud and nonchalant. In fact, the rest of the piece is lacking in the proper feel, with ridiculous loud thrusts, bland trilling, and boring development. The playing is immature. Flashy and mostly empty.While it's obvious you have great skill, you don't understand the music yet. I'm reminded of the critique of Rachmaninov's Scriabin "all Earth, no Fire".I wouldn't write such a harsh critique if I didn't respect your potential. Blaming audiences isn't the key, either. I wouldn't be clapping much, myself, and this is one of my top 5 favorite pieces, along with the 7th, the 5th, the 1st, and Rachmaninov's 2nd sonata (original).Actually, it does get somewhat better about half way through. It sounds like you've loosened up a bit and gotten into the piece more. It's still rather flat, though. There's a particularly odious spot near the end.I haven't heard Sofronitsky's, but I suggest studying the performances of both Horowitz and Taub. Sofronitsky, of course, is always worthy, too. Don't think I'm an arrogant git. I'm the first to admit I'm not a great pianist. But, I do completely believe I have a deep understanding of Scriabin's music.
Your extolling of Mr. Taub's performance tells me all I need to know about your "critique". Good day.koji
I haven't heard Sofronitsky's, but I suggest studying the performances of both Horowitz and Taub. Sofronitsky, of course, is always worthy, too. Don't think I'm an arrogant git. I'm the first to admit I'm not a great pianist. But, I do completely believe I have a deep understanding of Scriabin's music.
When you have a contract with a major label, let me know.I tried to be kind, by saying that I respect your potential. But, although you have technical skills, it's clear that your personality makes it impossible for you to develop the necessary interpretive skill to play this piece well. Superficial flash may win some listeners over, but it's not what Scriabin is about.
You have a deep understanding (or "familiarity", I suspect) of Horowitz's and Taub's interpretations of Scriabin's 10th Sonata.
Having a contract with a major record label does not make you the authority on how a piece should be played. There are thousands who can probably play this piece the way it should be played, and yet don't have a contract. Take Lang Lang for instance... I believe he tries very hard, but he has a lot more flash than the music deserves. He has a record contract. The thing that saves him, and indeed the thing that made him an overnight success is the fact that he learns pieces extremely fast, not that he can interpret them well.
What I'm hearing you say is that Koji cannot EVER play this piece well because of his personality?? That's just complete bull. Can you play this sonata any better? If not, then you have no business saying it's bad playing.Saying he has "potential" and then saying it's impossible for him to ever interpret it well sounds at best a contradiction and more likely a sign that you have no idea what you're talking about.
I will put my hand up and say i dont have a deep understanding of any composer, one should trust ones own instinct, and deside if he she likes or dislikes something on that bases, so we should not attac superstotion for voicing his opinoion, espetialy if its don in a polite way.
While it's true that getting a contract doesn't guarantee the highest quality, it's generally the case. You're right regarding Ogdon's Scriabin sonatas. They're atrocious.When someone is unwilling to heed anything but flattery, it's unlikely they'll improve.
I know people can't tolerate objective criticism and require a lot of ego-stroking, but the only way to improve is to be told the truth.
Attack me all you like. I stand behind my critique. You can even take issue with my assertion that I have a deep understanding of Scriabin's music. Keep blaming audiences.When you have a contract with a major label, let me know.
I tried to be kind, by saying that I respect your potential. But, although you have technical skills, it's clear that your personality makes it impossible for you to develop the necessary interpretive skill to play this piece well. Superficial flash may win some listeners over, but it's not what Scriabin is about.
PS: For all the people who sais things against superstition(sp): If he isn`t allowed to make a critique because he can`t play the piece than extremely few critics should be allowed to have their jobs. To play a piece isn\t the only way to understand the piece.I say this al though I dissagree with the critique.