The same with me.

a wonderful quotation from the master!!

You got that right! My teachers would also condemn this, but there's something very gripping, sincere and incredibly eloquent about this performance!

Very true......

Well! Maybe the teachers are right but I am going to buy the CD / SACD / LP of this performance! (PS That is not THE Grumiaux?).

Your teacher would condemn it? But what would Brahms say?

I mean it is true that this Interpretation has something Special, but it is not Brahms and he didnt want it like this. Esspcially Kopatchinskaja Plays it like it is a piece by Fazil Say, but it is not. There are many Things that are just wrong played by her!

to me brahms is number one. i agree completely.

Mutter & Orkis is my favourite pairing for this piece.

i love Gioconda de Vito

@@obiessen Thanks for your mention, it led me to a pleasant discovery.

@@billmarrufo always nice to discover ,thank you ,

+william meredith i think patricia was right!

Oh doch - natürlich braucht Brahms Interpreten und Interpretinnen wie diese beiden.

haha true!! I think it's because of the gluing of different audio/video takes...it's not a "real" take...i mean, they record several times the same to make copy/paste in postproduction. For me, it's one of the curses of nowadays musicians...everybody is afraid of the "live" take (with its imperfections)...everybody pretending to be "perfect". On the other hand, the video needs always several takes to be able to edit it afterwards... A metaphor of the "lie" of the modern art form.

Don't see what courage it takes these days to talk about free speech and atheism. Right or wrong, he'd be quite courageous to openly advocate the censorship or traditional religion, especially within the artistic community. Don't you think?.

I doubt that anyone familiar with Turkish politics among other things would repudiate his personal courage.

I didn't write that he is not courageous, but that his advocating free speech and atheism does not demonstrate courage in today's world, especially among artists. Whether my point was valid or not, you did not address it at all. Read carefully... then respond with thought rather than just reflexes.

Well, I don't mean to be unkind, perhaps we are simply talking about a difference in playing styles. I do think that just because a given performer is widely acclaimed or popular does not mean he or she is a great chamber musician. When I studied chamber music with Gabor Magyar of the Hungarian Quartet, we were taught to work meticulously until we achieved precision and unanimity of phrasing. Listen to the signature declamatory chords at the end of the first subject of the last movement for example. (They reappear a lot) 14:57, 15:08, 16:50, 19:30, etc. Virtually every time the piano is as much a a 16th note ahead of the violin! They clearly have a slightly different feel for this melodic gesture. In my opinion they should have decided how they wanted to do it before they recorded it, heh. I noted several points where they seem a little out of synch: 15:25, 15:56, 16:33, 18:45, 19:03, 19:18, 19:20. You may not agree, but I basically feel Say tends to alternately rush or introduce little agogic emphases which are note particularly unmusical but which do not match Kopatchinskaja's phrasing. It just feels slightly like two soloists rather than one duo ensemble, if that makes any sense. For comparison you might listen to the Oistrakh Richter performance of this work, (recorded live, so no retakes possible) where despite the fact that they seem to not look at each other much at all, they manage to achieve impressive rythmic and phrasing unanimity. As I said, I like it, but they (like so many of today's musicians) could benefit from learning to submerge their individual habitual gestures and egos, and blend together.

Sorry, but this a false dichotomy. I am a proud member of the tradition of musicians who have been trained that the highest aim of the art of musical performance in the so called "classical" tradition, is to faithfully and powerfully reproduce the original inspiration of the composer. Toscanini was once asked if he had heard "Walter's 5th" (meaning of course Bruno Walter's performance of Beethoven's 5th Symphony). Toscanini replied " he shoud come to my concert and hear Beethoven's 5th!" It is absolutely not a question of some putative desire for "lack of adventure", on the contrary it is the desire for authentic musicality. This is not jazz. We don't go to a concert to see sexy trendy performers assert their individuality, we go to hear great works of art made vividly, powerfully alive. And we should expect them at a minimum to "play together" as I was taught as a youngster... The Berlin Philharmonic, the Tokyo String Quartet, or for that matter the Ensemble Intercontemporain did not all become famous because each member indulged their multiple individual inspirations.

Perhaps we are mostly in agreement. I definitely feel the performance standards of the great,musicians of the past are in danger of being lost or at least degraded. I too feel many performers today are simply going through the motions. I listened some more, and I have come to the conclusion that my criticism of this particular performance is really based on my dissapointment at Fazil Say's seeming self-absorption. He is mainly a composer and composers sometimes do not make the best performers... Of course we know the incomparable Vegh Quartet played with total conviction and intensity of expression. But they played as one... Cheers my friend!

binacaman ve o

Could you explain your point? In what ways is the last movement atrocious? Please provide hard facts rather than just a subjective and gross disqualification. Give us an example of a good performance in your opinion. I will honestly take my word back if indeed far better.

Idiot

Micahh. You are a sad little twerp.

Девочка старается, хочет донести классику в своей интерпретации, а не играть, как все. И у неё получается не так уж плохо,не судите строго...

I completely agree. She either plays pianissimo with a thin scratchy sound, or she thrashes the violin to death with completely over the top excessive weight and unpleasant rasps. She cannot seem to hold a phrase or line, so everything becomes successive episodes of disjointed, unconnected mini phrases. I just don't understand why she is so revered by some. I just find this whole performance unmusical.

Haters will hate.

Agreed. The pianist bangs away. The violin sound is loud but unfocused, or soft and anemic. Intonation issues. Constant “look at me, I’m so profound and passionate” gestures & mugging. Bashing away is not “passion”; it’s just flailing. I’ll take Hilary Hahn any day of the week. This is one of my favorite pieces, and they just steamrolled all over it. Not for me.