MOTEL unleashes Chop Octs Polo!

34mins in - encore after da Shoe conc.

Predicktably legendary!

Did he go to Zhukov’s old barber?


da OCTZ in TRU MOTEL ZTYLEE!!! :gold: 8)

alzo rezpec da tazteful RANDOM INTERP IDEAZ in da otha lezz important partz :sunglasses:

Schumann ts one of those concertos where the orchestra is all you can hear outside of occasional spurts and interludes in most of hall…

This dude is like fuck off orchestra, choke on my throbbing passage work.

Also, aside from great octaves he is approaching sultanov ultra fortes which you never hear these days…

I love this dude.
He has a natural unpretentious “musicality” and superhuman technique with da tru refined tone, not the usual competition fare we get - those people should worship Motel’s giant nutsack in addition to their dayjob of selling dumplings on a street in Urumqi

hahahaahahah THA ZUPAH 8!!! WHUT A LEGEND

TRU thiz iz a mofo who zhud attempt tha pimp william tell ovahtur :lib:

We need this mofo to record all da octz classics first!

You’re right, not a lot whole of ultra fortes these days. Who are some of the ultra forte dudes past and present?

Da ho, gekic, richter, oddly Ruby from da 1964 Russia concert was bringing some big tone… that crazy guy that looks like a fish who won leads a while back’s ninth Symphony comes to mind

Lazar Berman too, and Garrick Ohlsson among today’s pianists. I’ve attended three concerts with him this week (no recordings) including two in Busoni’s elephant concerto, and that man not only peaks at but comfortably lingers at fffffffffffff for sustained periods of time! The only pianists I’ve heard something similar from is an obscure pianist called Pär Lund, and - 20 years ago - Sokolov.

This is randomly one of the big disappointments with the young generation emerging today IMO. Possibly excepting de la Salle I don’t think I’ve heard a proper fortissimo yet from any pianist born in the 80s or 90s.

Ohlsson’s a pretty big dude isn’t he?
Doesn’t surprise me that he can play at that volume.

Huge! I don’t know his exact dimensions but he’s easily 2m, and probably >150kg. Pär Lund there is around the same height and 130 kg, and has a grandfather with an olympic gold medal in wrestling…

I’ve probably mentioned this already, but I once asked Pär how he drew such a tremendous volume from the instrument, and his reply was somewhat surprising. He said he uses weight, and walked over to the piano and showed his arm simply falling down on the keys. It made me realize that reaching these sound levels - and I suspect especially sustaining them - isn’t just about “hitting as hard as you can”, but that there’s technique, philosophy and a good deal of practise behind it. But this is also bad news for a 40kg Yuja who simply won’t have the same weight to put behind the notes as Ohlsson who’s four times her size.

Jesus, that’s gigantic!
I randomly don’t like people playing loud, because I’m in the first row and I get my eardrums blown out.
For me, it’s not so much the maximum volume reached but how it’s reached.
In terms of who has the best crescendo, it’s definitely Freire, though Chamayou did an impressive one the other night (can’t remember which piece).

Hehe, it depends a little on the hall I think. The loudest playing I’ve ever heard was by an aging Michael Habermann in the 1990s, where I actually had to hold my hands over the ears in certain passages. But this was in a small and relatively poor hall acoustically - I don’t think he played as loud as it sounded - and I’ve never had a problem with it in the major halls. I like that dynamic range in a pianist, and ones who really project and play to the people in the back of the hall. That’s certainly a positive thing to say about Ohlsson, since he definitely had that “concert” sound of a pianist, which fills the hall and has a large dynamic stretch.

also, projection not just volume - it is actually more important how well one articulates tru. Alzo, thick pedaling in climaxes vs much dryer pedaling on passage work etc…

da Ho a bit of a undisputed maztah in sounding wikid in a large hall regardless of hiz shape dat day 8)

projection only matters to the plebs at the back of the hall :tm:

Hahaha I’ve heard sum mofos who sound blurry as fuck

In a small room 8)

I think it’s really important. I usually compare this with people speaking in public (since that’s after all what a pianist does, in a way) - if you don’t project the sound you come across like one mumbling a speech through while looking down on his shoes. If you project the sound however and play for the people in the back you come across loud and clearly, and the message of what your saying comes through much better. I randomly always adopt the same principle when speaking in public - I address the people in the back. And I learnt it from piano. :blush: :angry:sdc: :doc:

It’s too bad piano hasn’t taught me to go to bed in time as well :stop:

Wait till you start dating an insatiable chick who drags you to bed at 5pm