Truuuuu.
Fakk, dat Kapustin etude on ur channel iz pretty wicked 2
da unintended mofo iz back in ztyle tru
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I donāt think thatās the same dude. Not nearly as annoying.
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Ahahahaha da difference bein
Da unintended mofo write a full book dizcuzzin tech n hardezt zongz den dun demo zheeyat 
Da IP-MOFO cummah wiz 5 poztz den get down to bizniz 
Both ztyleez r equally valid
But clearly one iz a bit mo MOFO den de otha
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Wellā¦if da Zhoe fitzā¦
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Fuck awesome! Nod to the foot fetish community a nice touch as well!
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holy fuck!!!
Haha diz rare 88 brand
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Seiler! Deze are nice sounding 88s.
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Da leaps in da 20ans plus da fingerwork, pozz da hardezt movment in da Sonata, dependz on how good ur fingerwork iz.
Symphony 4th iz fast lik a bat outa hell.
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The tempo honestly wasnāt the problem for me - there were a few spots where I wasnāt quite strong enough, but aside from some blurriness there it entered Doc tempo pretty much on its own, but I was completely crushed under those double leaps. I have never practiced any passage in any work as much as I did with that - daily work over many months - but I never really was close. The choice I had was to either maintain tempo and be guaranteed to trip, roll and crash, or to lower (halve, really) the tempo at those bars and play it securely. Hamelin feels humane in the passage since he uses pedal and divides them up in groups, by which you can use an easier fingering, but how Libetta does what he does in the Naples video is beyond me.
Which precise passage is this ā can you snap/screenshot the bars? I confess Iām curious, and havenāt been able to locate it myself (unless Iām looking near the wrong repeat).
This one ā
Itās difficult no matter how you juggle it, but what I worked on for so long was to be able to play it like Libetta does (and like Alkan wrote it). Note the staccato on the first beat in the LH, and the legato between the second note and the chord. To achieve the effect you have to play the figuration 3-5-chord and be agile like a cat. What Iām almost sure Hamelin does is to play it 5-1-chord, which highlights the strong octaves/fifths instead of the initial bass note and gives the passage a different feel. His solution is also easier since he chops it up in four groups and allows a small break at each barline which gives you time to comfortably reposition the hands (note the octave-wide 1-1 jump in the RH there as well). I actually think Hamelinās solution makes more musical sense since this is what leads up to the climax of the section and it doesnāt hurt to tighten the spring a bit before the release, but you donāt get the same athletic and virtuosic effect as you do by just bursting through with accents on the bass notes Ć la Libetta/Alkan. To the ear the difference is as per below.
Libetta:
Hamelin:
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Thank you for this - very detailed and helpful, and I agree with you entirely: I far prefer Libetta here in execution, and that is the effect I would seek, even if (as you say) the alternative case could be made for Hamelin from a musical perspective. Yes, this one wouldnāt be easy to do properly! I do however wonder whether 5-5-chord might also work: that would save some distance when compared with 3-5-chord.
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Iād do 5-5-chord, 3-5-chord wouldnāt have even occurred to me. I also agree that Libās sounds better.
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Ahahahah no hardezt zheeyat evah dizcuzzion wud be cumplete wizout a
Zepp inztant ziterape demo on a collapzin 88
VERDICKT:
Truu inzanely difficult
or
2.5 ZEPPETZ out of 10
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ZEPPZCHOLAH did zum extenzive rezearzhez on da intended effect
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Ahahaha truuu da only unintended zheeyat wuz da lazt run
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You see that also in the Chopin Prelude B-flat minor l.h., though many pianists actually play it 5-1-chord
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Yes indeed. Most mofos play da octs 5-1 den leap to da chord. Diz randomly mo suited to da chop aesthetic
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Ahahaha in da choprel16 da 5-1-chord make zenze cuz da thumb iz perfectly pozitioned to rape da down beat
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