Do you mean prelude 3 no 2

Yes

Rachmaninoff concerto no 3?

I believe it’s Murray Perahia! One of the best live performances on KZfaq is him playing Beethoven’s “Appassionata” Sonata in F Minor, op. 57! He is an absolutely incredible musician!

@@tylerneilson7771 Thank you!! I'll have a look at him!!

Care to explain?

@@vipinbhat6971 Piano work with hammers hitting strings, you can only control the speed of the hammers which result to the sound volume and nothing else, tone is an illusion created by the use of pedals and mastery of the "pauses" between the notes like Rubinstein would say.

@@vipinbhat6971 well said. for those who are still confused or are on the fence, I'll go into more detail. if you adamantly believe in the existence of tone then I don't hold that against you. ok let's dig in. first let's define the term 'tone quality’. when used in the context of piano performance it means the timbre created by the technique used to play. timbre is the attributes of a sound-wave separate from it’s pitch, duration and volume. I’ll ignore duration for now. the pitch is determined by its frequency and the volume is determined by its amplitude. all notes played on classical instruments produce sound waves that contain a many different frequencies all sounding as one. the listener hears this collection of frequencies as the lowest frequency called the fundamental because the brain process the other frequencies as qualities of the note rather than as notes of their own (partially because they have much lower amplitudes but that’s not the only reason). the other frequencies are called overtones and they are always in the same pattern called the harmonic series. if you want to learn more wikipedia has a some great articles about it. the amplitudes of the overtones and the ratios between these amplitudes are what creates timbre. most classical instruments provide the musician with huge control over their timbre. for example on the violin: the angle of the bow, the pressure of the bow, the distance from the bridge, the part of the bow you use, and a lot of other factors affects the presence and volumes of the overtones. I don’t want to open another can of worms but violinist can also control the volume while the note is being played as well as use vibrato. which gives them two more very effective tools for musical expression. not many sane pianists claim they can do this on the piano though. on the piano the only non-trivial way to change the amplitudes of the overtones is how fast the key is depressed which is directly correlated to how loud the note is. there isn’t this direct correlation on most other instruments but on the piano the louder the note is the greater the amplitudes of the overtones. not only that but overtones will also be louder compared to the overall note. this is why when you hit a note very hard on a big piano the colour of the note changes from soft and blanket-like to booming and overwhelming or harsh, depending on if you like the music and if you're in the mood to be screamed at by a piano. there are a number of other factors with small and varying levels of efficacy including the use of the pedals, the rest of the notes being played, not fully depressing the note (called playing above the escapement), and dubiously, accelerating or decelerating as you depress the note (this is almost impossible to do and will have little to no effect). I wouldn’t have a problem with people believing they can control tone colour on the piano if it weren’t the cause of lots of toxic aspects of classical piano culture. many pianist use it to justify deluded arrogance about their own ability and to put down insult and abuse other, usually less experienced pianists. I have seen many times, first hand, insecure piano teachers tear apart someone's piano playing often with an audience, badly humiliating them and making them believe they are useless at piano. I have met lots of pianists who are so deluded that they regard any piano playing other than a handful of professionals, themselves, and their students to have an unpleasant tone and won’t forget to mention this whenever they hear someone play. I didn’t mean to end on a negative note but we’re here now. I hope this comment is useful to someone

One more thing to mention for if you experiment with trying to change your tone colour. In the effort to listen very closely to the sound you're producing, you might lean forward and tilt your head. This will change the tone colour for you as the sound waves will enter your ears from a different angle and refract slightly

This thread contains lots of different bits of disinformation. For instance, the correlation between total volume and strength of upper partials absolutely does exist in most if not all instruments and even sounding bodies. But the most important one is, people say only speed of the hammer can be controlled, and forget about its acceleration. There’s a simple test for this: go to a grand piano, depress the sustain pedal, and play the same thing once legato, once staccato. This will show you that tone does exist. Finally, the point of this video was not about tone in the sense that you guys are using the word. The point of this video was the need for dynamic phrasing, the need for playing dynamics musically even when the score has them static. If Josh had simply used any word other than tone - such as “force” or “volume” - you would have agreed. You are allergic to the word “tone” because you swallowed a theory that oversimplifies the physics of piano playing, and that’s your problem.

Oh good, I am now waiting for your demonstration, on your Steinway grand, of how playing in different keys doesn’t affect the sound. That will be super enlightening.