not sure why so many dislikes but check out stephen hough's version. its the undisputed best

Listen to Arrau. It's pretty similar to this. My favourite....

Echoherb Probably because he's not Lang Lang LOL!

Who is Lang Lang???

Who is Lang Lang???

Who is Lang Lang???

The dislikes are from jealous, no talent troles. They're barking dogs. Ignore them, and don't feed them.

Val Lamon beauty nor sublimity confer elevation from muck.. Beethoven’s 9th symphony was enjoyed at Hitler’s birthday in 1942. kzfaq.info/get/bejne/aM-kl9lixqvUd2g.html

check out stephen houghs

@@grosejay Rushed and bombastic.

Always there, just had the so called classicists getting in the way with their narrow criticisms.

obrigado :)

The transcendental power of music

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HI dylonely

thank you Nick!

pro tip : watch series on flixzone. I've been using it for watching lots of of movies during the lockdown.

@Zander Brody yea, have been watching on flixzone for since november myself =)

@@zanderbrody1847 222222a

merci ! :)

Michelle Mostovlanski lololololol

Everyone did most likely. The human brain works in mysterious ways 😂

Franz Liszt ♥️ 🇭🇺🐂🍷(Love, Hungary, Bull's Blood Wine.)

I read the title OK, then (rather sleepily) read your comment as: "I read the title as Julien Libeer plays Liszt... what is wrong with me..." and was wondering what the problem with that was.... :-)

Marquis De Sade Sad indeed, but Jin & BTS have ... and so do I

Dear Sir. I understand the spirit of your observation, but as far as objective parameters are concerned, I want to draw your attention to the fact that the Budapest edition (agreeably a reliable source for Liszt's full work) marks "poco à poco animato il tempo" from bar 87 on, over "rinforzando molto e sempre piu appassionato" in bar 120 and literally "accelerando" in bar 126. Liszt explicitly writes "Tempo I (Moderato)" after the climax fermata in bar 148. Maybe I have pushed the tempo a bit too much to your taste, but there's definitely a textual justification for the overall idea of what you call a radical accelerando. Anyway, thank you for your critical observation, it's always healthy to have ones ideas put into question. J

GulliverMusic First, let me say, Julien, how impressed, and indeed, flattered I am that you have taken the time to respond personally. That alone singles you out as a person and an artist of exceptional savvy. Mark my word - to date I've never been wrong, either as a pianist, competition adjudicator, or critic when it comes to predicting big careers - that a distinguished one indeed awaits you. As for this work, which I had the fortune to study with Arrau and Ernst Levy in Morges, whose approach to the Benediction could not have been more different, you are literally correct. However, there is a little thing, which in the household of aesthetics we refer to as the "philosophical razor" that suggests the simplest solution is often the best, and that context prevails.While an accelerando, even in the absence of specific metronomic instructions, can be viewed mechanistically as an instruction to speed up, that is hardly all there is to it. Liszt himself, in his master classes ( at least according to the accounts of his best students Von Bulow and also to hose of Alexander Siloti, with whose daughter, Kyriena, I studied) , protested any interpretation that failed to account for the overall arch and meaning of a given work in favor of mechanical exigencies. By no means do I want to suggest that the letter of the score ought be ignored; God forbid. But the tempo indications that Liszt provides in this score, which are consistent with the work's overall teleology and breadth, are best served, in that particular passage, without undue exaggeration, "Accelerando" and "piu appassionato" find themselves within the context of "poco a poco" , not the other way round. Rather than trouble you with a discussion of all this here, you might be interested to read my book on Liszt, published by Amadeus Press, where I move into this subject at length and in detail. As for the title of the film, Technique Does Not Exist, I would take issue with the mesmerisingly gifted Maria Joau Pires, who in my view misstates, though does not misrepresent the concept, most likely in consequence of a perhaps less than authoritative command of the English language. To claim any such thing is not only misleading, it is a logical impossibiltiy. In fact, Ms Pires defines it herself early on in the film, but then protests that such a definition is essentially void. Such semantic waxing is irrational and fails to grasp the substantive dimensions of the issue, to wit, that technique, which is only an approach to solving a given problem, ought not be confused, as it so often is, with the physiological mechanics of playing, whatever the instrumentarium. Indeed, in the fullest Greek sense of the word, as Nietzsche observed, technique accounts for a great deal more, and includes the interpretation and adjudication of balance, rhythm, contrast, "color", affect and affective nuance, the understanding of voice leading and its significance within the whole, phrase periodicity, etc. Students refer to technique naively, imagining it to be the measure of how fast and deftly one can move their fingers and arms; that is not technique, but folly. If that is what Ms Pires was getting at, she is correct, but she would be well advised to re-think her way of describing it, lest she continue to leave an impression that is precisely the opposite of that which she means. By the way, I've sent you a message privately that might interest you.

Julien, It's a shame you must deal with mentalities such as this in you professional life.

It's interesting to see how one can evolve from an arrogant smartass to an arse-kissing smartass in only 2 messages.

@@MorbidMayem John Bell Young is an....interesting character. He passed away a couple years after writing his comment, but was well-known for many years before that for being vitriolic on the Internet. He got into a vicious debate with Valentina Lisitsa a few years back. I won't say more about him because he's no longer here to speak up for himself, but it's a little startling to see his name in a YT comment thread.

Well yeah, but how many more years had Arrau lived with this piece when he recorded it? (Assume you are speaking of the Philips recording from the '70's) Otherwise, let the young Julien have his place in the sun. He is very talented. :)

A un certain niveau d'authenticité les comparaisons n'ont plus beaucoup de sens. La présence de l'invisible en soi n'est pas de l'ordre de la suffisance ou de l'insuffisance...mais de la vérité mystérieuse.

Adam Czarnowski Please learn how to spell “judgment” before making petty criticisms. This is a lovely and valid interpretation of an amazing work by Liszt. We don’t always agree with every artistic choice made in performances, but I certainly look forward to reviewing your performance of this work for comparison.

@@orlandocfi Now you've taught me spelling can I teach you manners?

Adam Czarnowski Sure...let me know when you’ve learned some for yourself.

@@orlandocfi Touche'