Jesus is the only way. We have all sinned and deserve Hell. Sins that may seem small in our eyes are big in God's and are worthy of Hell, such as lying lusting and stealing. But if we repent and trust only in Jesus, he is faithful and will save us from Hell and give us eternal life in Heaven. Trust in Jesus! John 3:16 Romans 6:23❤😊

I like it a little bit more andante...but it is a very beautiful piece of music...as all the cycle....here i hear some strange notes sometimes

I’m playing July now, it’s lovely

🇺🇾👑❤️

i love Ginzburg's

Wow that's my Son, he played Bach so beautiful when he was very young. www.youtube.com/@stkopiano

2:33 the harmonic progression from here on is stunning

Nice

I was really amazed to realize that was a live performance. what a control -what a superb technique - what a virtuoso the man is especially at the torrent of 8:40 .Bravissimo maestro Sgouros.

❤❤❤

Beautiful prelude.

One of my favourite pieces by Franz Liszt; first time to hear it performed so exquisitely well. Though I love the orchestral version also, the 'meaning' of it all is best 'consumed' in the way Benjamin Grosvenor brings this Sonata to life... Thank you so much...!!!

2:08

Wow, that Presto sounds like something Alkan would write!

Lord, KZfaq interrupts this miraculous piece with advertising commercials. How ignorant and disrespectful.

Where "Fantasys" frequently improvised back then or am I just thinking about a particular piece? What is the history of fantasy?" Have you heard some of Fernando Sol fantasy

Somewhat sedate....

I find measures 27 through 33 different, almost out of place.

Very painful for me to read the score and listen the performance at the same time in this video , the pitch in this video doesn’t match to the score as shown , it’s G minor to me not F sharp minor

boring

So we here the godlySchumann Fantasy,the Chopin Fantasie and not this. O would crawl threw a sewer to hear Schumanns 3 sections. This Mendelssohn fantasia never gets played. And that is as it should be.

Interesting Hewitt plays staccato at measure 55. I've listened to another performance where the bass clef notes were played staccato much earlier say around measures 9 through 13 and, at the same time, playing the treble clef notes smoothly. Interesting. I don't recall seeing any staccato symbols. Maybe that has something to do with the music as it sounded on a harpsichord.

Excellent video by the way!

Great performance ! Thank you for the upload.

The first notes of the 116th measure don't sound right.

Why is the A in measure 22 a natural?

4:52

Adds in the middle of a piece like this! How RIDICULOUS!

Sounds somehow wrongly initially, as if a beginning would be chopped off, and we landed straight in the middle of a piece (in its coda, i.e. a recapitulation of a theme). That shows, that she's not a composer after all. If her pieces seem prone to such architectural glitches. Which is a pity, because her melodic imaginations and their realization for piano are very likeable here 👍 But it also shows, that having pretty melodic ideas are not enough. Structural traits of a piece are not something for only professors and their students, but they really have an effect on how a piece succeeds also for the average 'consumer'.

This is by far the best performance of this beautiful piece I've found. It was also the first I heard, and my first exposure to Giltburg's fantastic playing! I'm not generally a massive Rachmaninoff fan, but this is a condensing of everything I like in his music into a compact and absolutely exquisite composition. Just got my copy of the music yesterday and boy, it's deceptively difficult to even stumble my way through! Many thanks for sharing this.

I love that Perahia completely plays without pathos.

is it just me or is this recording like a half step up from the key signature?

un jeu beacoup trop détaché! sur la partition il y a des liaisons! c'est tres laid...

Speechless. The word " beautiful" isn't strong enough to express how I fell

I was finally able to appreciate this masterpiece only after hearing Grimaud's passionate performance. I have a feeling that even professional pianists who recorded this beautiful yet very complicated piece sometimes do not grasp what really is going on.

I enjoyed a lot.❤

5:52 - I generally love Mendelssohn but much of this piece has this aimless ‘virtuosity’ of 32nd note arpeggios and broken triads that remind me of a gr 8 conservatory exam. I’m hoping Felix himself - the prodigious genius that he was - was able to wince slightly over this thematically weak piece - as much as he may have swelled with pride over his Em violin concerto. All praise to the performer - less to the performed.

Why all this rubato?

Great performance! I love listening to the piece of music and following the score at the same time.

5:37 allegro con moto 7:51 presto

Hearing this for the first time, it made me think of Mendelssohn's Scottish Symphony (#3).

Brilliant, live feel to a piece Felix M. probably wrote because he had nothing better to do, when he might probably have waited for more inspiring melodies, such as he found in Midsummer Nights Dream.

I know why this composition is hardly played: problems w/ the composition.

Stunning performance. Mendelssohn is an underrated composer for the piano.

*WOW!*

Im a young pianist only 14 and i got this piece because i finished 5 grades of piano last year and now im in cycle spécial in france but i dont have to much time to study and looking at THISSS masterpiece i dont know how im going to finish this 😢😢😢

Как можно скачать но ы ?

bravo.

Wow, I didn't know that composition by Mendelssohn yet (it's wonderful to be able to constantly learn about something new in the realm of classical music, even as a professional!). I have to say, this is a remarkable piece of music. As always with Mendelssohn, it doesn't look very complex on the paper, but it's so rich in texture and structure and cross-connections and reference and consequence and instrumental technique. The form is intriguing and unique and so organic, but so difficult and hard to master--and master it he did, Mr. Anton Kuerti! It's astonishing how he managed to combine virtuosity and clarity. The tempo of the 6/8 is breathtaking, but you hear every note, and he is still able to add every nuance of phrasing and articulation. He knows the score, he has really studied it in depth and doesn't just deliver the right notes, but knows how to interpret them with purpose and respect for the composer's will and intend. I'm a fan! Bravo! By the way: I wonder what Wim Winter's approach to this Fantasy would sound like ... It would perhaps be a solemn Adagio even with the ending part. To be honest: Anton Kuerti clearly shows that it's possible to play fast and articulate at the same time and that there is a musical meaning and a very distinct affect and character in haunted, breathless and fast music that would be missing hurtingly if Wim Winter's double beat theory were true and fast music wouldn't exist.

Stunning performance ❤😂❤