.

[m]

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[phil13]

 

I've never heard it played that fast before. It's incredible, the control you have.

It IS, however, a little blurry, but that could just be because it's in a concert hall, live.

Phil

[zheer]

 That was really out-standing, the tempo the musicality the tecknics the use of rubato and pedal was spot on, almost as good as Ashkenazy who happens to play it very well. 

[daniel patschan]

Marik - unbelievable ! Let me ask you something: are you a famous pianist who just doesn´t want to show his real identity in this forum (e.g. Scherbakov or something like that) ? Really a super performance. 23 years - that makes me some new hope for my Chopin Opus 10.1 project.

[pianowolfi]

Marik - unbelievable ! Let me ask you something: are you a famous pianist who just doesn´t want to show his real identity in this forum (e.g. Scherbakov or something like that) ? Really a super performance. 23 years - that makes me some new hope for my Chopin Opus 10.1 project.

I don't think he's Scherbakov. He sounds differently. But Scherbakov and he had the same teacher, Lev Naumov, as I found out by reading some of his posts.

[daniel patschan]

Yeah, Scherbakov sounds dryer, more puristic. The same teacher - interesting.

[piano121]

Astounding performance indeed. Your tecnique if fantastic. I´ve heard many professional performances of this piece much slower. You play it very fast! I have no idea how to achieve that, because I don´t play Chopin etudes yet. But certainly, as a listener, it´s quite interesting music! 

[teresa_b]

WOW!!!   

That is simply fabulous, Marik.  I wish I could play like that--I am working on Beethoven PC 4 and even the few (and slower!) double thirds in that have me sweating. 

Loved it!
Teresa

[le_poete_mourant]

Very impressive.  My only criticism would be that there are a bit too many rubatos and liberties taken wth the tempo.  I would prefer it to be one tempo throughout, particularly when you slow down at the beginning of the upward chromatic thirds.  (M. 5, 9, etc.) 

By the way, I love the fact that you recorded it live.  That takes chutzpah. 

[quantum]

I don't think that its that there are too many rubatos, but rather that the style of rubato used tends to stop the flow of the music sometimes. 

Try to incorporate rubatos within a consistent pulse.  Allow for phrase starts and ends, but don't apply so much that the pace of the piece is constantly altered.

[pianistimo]

toward the end you play it more as i hear it in my head.  the bass growing as a sort of 'growl' underneath the treble which in my head starts softer and isn't even noticable until the crescendo upwards.  but, what do i know.  i've not played that many chopin etudes. 

somehow, i like the stability of more bass at the beginning.  it gives a sort of foundation for the rh.  of course, someone might say that it is not an accompaniment - per se - and that it sounds better as debussy or ravel would play it.  in that case, i rest my case.

as i personally understand chopin - he had a very dexterous lh and it could pass for the rh easily.  but, even so - i hear a storm brewing.  without the storm - the twister cannot spin off.

[Motrax]

That was really quite something! I do agree with the others about the rubato though, as it does tend to halt the flow of music more than it helps. One more picky point I have is that in the section right before the final one (with LH melodies in C# minor/G# minor, and E major/B major), the LH could be emphasized better. I've always heard this as one of the most beautiful melodies in Chopin's music - very few people bring this out and that always bothers me. But these are just small points; overall, it's a wonderful job!

I'm working on it myself... I was wondering if you have any advice on practicing the second iteration of the RH descent in Bb major (right before that big two-hand diminished chord descent). While the rest of the piece is improving steadily, that one section is simply staying at a very slow, choppy tempo.

[rob47]

by far the most original interpretaion I have ever heard! very refreshing to hear this incredible performance.

 

[tds]

bravo!!

[PaulNaud]

You can hear the melody in the left hand!
The thirds are played legatissimo!
The leggierissimo in the score was strictly adhered to!
All nuances are played in accordance with the piano score!
This performance is very close to Chopin thought!
BRAVO BRAVO BRAVO a thousand times !!!

[liszt-essence]

As for all the praise: Indeed.

It's a very nice peformance.

However..

Why so fast? If you'd play it a bit slower..

But that's just my personal taste.

[jakev2.0]

Bravo. 

[Mozartian]

wow, awesomeness. Bravo!

[PaulNaud]

I'd like to add something here. I listened to Ashkenazy and Pollini to compare.
What I like from Marik's performance is the musical quality from start to finish. There is also a melancholy characteristic of Chopin music that is palpable when listening to this interpretation.
One more time BRAVO!!!!!!!!!!!!

[el nino]

sensational! bravo! very inovating and techinally brilliant

[ganymed]

very admirable it is my goal to play those etudes who long do you play piano already?

[amitmis]

My first live experience after working on it on and off for about 23 years.

Very well played, but...

I just this Etude (!).

 

[m19834]

Sometimes it seems to me that, how I feel about the instrument and everything that has been my journey and the aspects of it all which have been and are my desires, would be either very difficult or perhaps even impossible for most individuals to truly relate to, let alone actually understand.  And, it is one thing to have individuals not understand, who just don't know what it means to have a deep desire about most anything in life.  But then it seems that for somebody who has a network of musician and pianistic friends, who has studied with the best pedagogues in the world, who has direct ties with a profound tradition and seemingly so much already within grasp, it is difficult for me to imagine somebody like that understanding, too -- and, I mean, not just to be capable of recognizing some characteristic within another individual such as myself, but to actually know what it feels like to have that desire yet the quest be seemingly so entirely different.  

Of course, it is nearly impossible for me to comprehend your path, as well, and when I am faced with an individual who seems to currently be and for a long time has been surrounded by such artistic wealth, I feel as though I am peering at and observing some creature from an entirely different world than my own.  I don't know the nature of that world, but I know that I will just never actually be within it ... at least not in the same ways.  For whatever reason, that is a jagged little pill to swallow.  However, I do know -- at least in part -- the nature of a journey, and I believe I know enough about life now to know that it is seemingly full of ups and downs and twists and turns, and there must be some element to the artistic path that you have traveled which requires some form of soul searching, of turning yourself inside out, of re-evaluating everything you have ever known and experienced.  I believe that probably nobody fully escapes this if they are to truly find gold, but perhaps the seeming source(s) of that kind of push for growth is different ... I don't really know, but many things would tell me it is just probably so.

It is currently out of my realm to fathom a path of 23 years (on and off ) spent on something like this, and probably even more years than that if you count any preparation work that occurred before you first touched this etude.  I suspect that the reason it has been "on and off" wasn't in whims and fancies, but rather conscious decision after conscious decision, with a particular goal always in mind.  How does that work ?  I know, that can't be answered most likely, at least not exactly.  But, I assume that we are talking micro adjustments over years, which perhaps sometimes brought about large results, or maybe brought about only small ones.  Is that what it's like ?  And, I am curious, how many times does a piece like this get set down out of a need to just personally grow ?

I know, I am talking into some form of an abyss now, but for personal reasons, I am willing to do so.  Though I already very much enjoy this recording and your playing as has been recorded, I look forward to somehow growing further so as to better appreciate it for everything it represents.

[pytheamateur]

I know this is an old thread but I just wanted to check something with members in the know.

Has the legendary Marik disappeared from the forum?  It looks like he also took down all his recordings?  Any reason why?

[pianowolfi]

I know this is an old thread but I just wanted to check something with members in the know.

Has the legendary Marik disappeared from the forum?  It looks like he also took down all his recordings?  Any reason why?

Well there were some people who thought they could beat him with their "professional" knowledge, in all probability they were just envious, and pulled out all the stops of their internet mockery experience and their overblown ego. One of them has left since, the other one seems to have another account here, again, after having been banned several times.

[marik1]

Well there were some people who thought they could beat him with their "professional" knowledge, in all probability they were just envious, and pulled out all the stops of their internet mockery experience and their overblown ego. One of them has left since, the other one seems to have another account here, again, after having been banned several times.

Hi Wolfi,

Actually, I did not particularly care about those individuals. The main reason was the management of this particular board was not able to take care of all that mess here at the time. I sent a few private messages to Johan, but he whether left them without response, or just refused to acknowledge that there was a problem here, pretending nothing has happened, so I decided I have much better things to do in life than waste my precious time with fighting with all that nonsense...  

Best, M

[pianowolfi]

Marik, you back? Wonderful!