POON Tiffany | M. Ravel - La Valse, Stage I
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- čas přidán 28. 04. 2017
- POON Tiffany performs M Ravel - La Valse at the Arthur Rubinstein Piano Master Competition (Month, Year, Tel Aviv).
The Arthur Rubinstein International Piano Master Competition is an international piano competition specializing in the classical music championed by Arthur Rubinstein. The competition has being held every three years in Tel Aviv, Israel since 1974. Subscribe for more classical piano music videos:
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www.arims.org.il - Hudba
I really hope she wins , GO TIFFANY !
i even feel like you could give yeol eum son a run for her money on this one 😆
LOL
thunder1909 You don't think so? 😂 It's ok. Yeol Eum Son will always be the best
William she didn't even get past the first round ...
thunder1909 OMG ur kidding
graceful beautiful & charming waltz... well done!
La migliore interpretazione che abbia mai sentito. Ricca di sfumature, di chiaroscuri, di passione, di vita...Bravissima!!!
Bravo !!! Perfect!! Go Tiffany!
What's with the like/dislike ratio? I enjoyed the performance a lot :)
I think the music is not easy to understand or enjoy especially if not previously exposed to it and the dislike could be for the composition itself maybe.
The dynamic range is because of the recording not her fault. Even when she plays the strongest chords it has the same dynamics as the soft passage it can happen only because something wrong with the recording
La valse by Ravel is based on the tale of the macabre "The Masque of the
Red Death" by Edgar Allen Poe. This accounts for the piece's violent end
as well as the disturbing elements and uncertain harmonies in the piece. Tiffany Poon in her playing conveys well the opulent and decadent scene of the masquerade ball of the story.
This is just false. It is, as it's title suggest, a tribute to the waltz.
Many connect the ending to World War given the cataclysmic change it brought to society and how Ravel himself experienced some of the horrors of the war, Ravel himself denied this connection and there's evidence that an ending of this style was planned before the war even begun. Ravel said of the piece "This dance may seem tragic, like any other emotion... pushed to the extreme. But one should only see in it what the music expresses: an ascending progression of sonority, to which the stage comes along to add light and movement."
Personally I do think the piece reflecte a great feeling of nostalgia and tragedy, and I do think Ravel's rough experiences of the 1910s did color this piece even though it isn't a programmatic depiction of the Great War.
This is one of Ravel's most misunderstood works*, and most pianists play this piece way too fast and over-driven, IMHO. Tiffany plays it like it was intended by the composer: a Waltz, odd mix of Emil Waldteufel (Viennese) and Frederick Chopin (French), to be played with dignity, elegance and gaiety. Although in certain aspects this version is better than the one Tiffany recorded for her channel, (especially the sound), it also has some minuses: Oddly, the tempo is almost dragging on certain segments; there are plenty of "Neighboring Notes" (In Tiffany's own terms), especially towards the end, and yes, she HAS an occasional problem with the RIGHT pedal. I am a hardcore fan of Tiffany Poon, but truth has to be said (and I can see on her facial expression that she was not happy with herself either). As I write this 2 years after this recording however her career is taking off, and I look forward to hear her playing "La Valse" again in the future, because she got the right concept.
*The story of Ravel's "La Valse" can be read on Wikipedia.
Debatable when you account for the extensive level of hemiolas and other rhythmic patterns that act as deviances from the captivating Waltz theme.
I am a fan as well, and I agree. This is a tough piece to pull off. She's young and she's good and best of all she wants the music! I have heard this played so fast and I think, "this is a waltz, you want me to break my neck?". I far prefer her striving to bring us Ravel.
Very musical but lacking in architecture.
She can't hope to progress in international competition unless solving the problem with the pedal.
I agree! she uses the soft pedal way too much in order to compensate for her poor dynamic range
the soft pedal is mainly used to change the colors, not specifically to make the sound softer alone; her dynamic ranges are terrific. Plus, she's only 20 and she can play La Valse. That's already impressive. And she learned this piece in 3 weeks. Of course, there's always room for improvement, but being able to participate in this prestigious competition is already a huge leap itself. Not just anyone gets to audition and make it to the preliminaries.
she has brilliant dynamic range, with or without the demper pedal...
You guys should stfu and go away rather than disliking. It's not like she'll notice your comments anyway.
There is no “problem” with the pedal. And the una corda changes color, not volume
Another Yikes...