This is virtually the only performance on youtube where the artist dares to play this piece at the right tempo. It's very, very difficult to play it that slowly because the piece becomes much more exposed and mistakes become that much more apparent. Nevertheless, this was a simply wonderful performance. It will no doubt always be one of my favorites. My thanks to Alice Sara Ott.
@@davisatdavis1 Let's talk on a very topical topic: "Equal Rights", equal rights between a man and a woman. Imagine: a male pianist plays this Ravel work, in the same hall. To attract the attention of the public, this male pianist followed Alice's example and stepped on the stage barefoot. Nature gave him feet of size 12 (46). Dear ...167, what do you write in your comment? And if a pianist - a man enters the stage with a bare back? THE INDEPENDET (**) Michael Church "...The hall was full - vigorous marketing, plus her trademark bare feet and scarlet ball-dress, had seen to that - but the performance itself was miserably charisma-free."
@@georgescancan7503 uhmm did you respond to the wrong comment? What I said has nothing to do with equal rights. I was agreeing with the fact that it's very brave to play Le Gibet at the correct tempo marking because every little mistake could be heard. Due to the exposure of each note when playing slowly, I don't play slow pieces like this.
@@davisatdavis1 THE INDEPENDET Culture > Classical > Reviews Alice Sara Ott, Queen Elizabeth Hall Michael Church Wednesday 23 November 2011 16:21 Every year the international piano circus requires a new pin-up: last year’s was Yuja Wang, this year it’s Alice Sara Ott. This 23-year-old German-Japanese had a charmed early life studded with competition triumphs which started when she was five, and her debut Liszt recording was a miraculous meld of power and precision. Her subsequent Cds of Chopin waltzes and Beethoven sonatas suggest her touch needs to mature a little. This Southbank recital was her London solo debut. We knew from her concerto appearance at the Proms that she would play barefoot - for a better symbiosis with the pedals - but when she tripped onstage like a Vestal virgin in a skimpily-clinging white shift, one realised why the house was packed. The evening was a marketing triumph before she’d even played a note. Her first foray had a bright playfulness which perfectly suited Mozart’s rarely-performed ‘Variations in D on a Minuet by Duport’. This late work runs the familiar Mozartian gamut of variation-moods, and Ott characterised each with coltish charm. Then came the ‘Sonata in C major Op2 No3’ with which the young Beethoven announced both his keyboard virtuosity and his ground-breaking originality as a composer. The first movement was smart as a whip, and the tumbling, somersaulting Scherzo was deft in the extreme, but the Adagio - one of those early middle movements which adumbrate the great slow movements of Beethoven’s maturity - made all the right gestures but somehow stayed detached, rather than getting inside the composer’s mind. Ott revealed serious limitations with the Chopin Waltzes which opened the second half. The A flat major ‘Grande Valse Brillante’ had heel-clicking elegance, but the lovely A minor one which followed it was shorn of all its plangent poetry. The ‘Minute’ waltz was suitably frisky, but the ravishingly dreamy C sharp minor one turned out frisky too. Meanwhile Liszt’s ‘Harmonies du soir’ and ‘Chasse-neige’ - which ought to have been near-polar opposites - emerged alike over-pedalled, while his richly suggestive ‘Rigoletto’ paraphrase became a mere firework display. Beethoven’s ‘Fur Elise’, her first encore, sounded oddly like Chopin; her second, Liszt’s ‘La Campanella’, was circus stuff. All fine in its way - and Lang Lang had better watch out - but for now this young woman’s artistry has a curiously Teflon quality.
@@georgescancan7503 @ Staffan Olofsson Dear Olofsson, you write "love letters" to Alice in the video where Alice plays a concert No3 by Beethoven. This mediocre, narcissistic, arrogant person by the name of Alice made every effort to remove all the comments she disliked in the video where she performs Beethoven's concert number 3. But this next trick of this "star for one day" does not change anything, this video demonstrates the weakest performance of this brilliant work of Beethoven. Any inhabitant of our planet with a musical education can see it. But people who are looking for "attractive girls" on the Internet are completely delighted with Alice - she caresses their eyes with her appearance, her unnatural behavior as an actress of a provincial theater. This is not Beethoven, this is a cheap show "a la Hollywood"! I am very ashamed because the French are participating in this cheap show. This person, infinitely in love with herself, hiding under the name Karl Peter, writes enthusiastic comments about herself, calling herself "a new genius young pianist"! This person has completely lost control of her head!
7:33 emotional climax of the piece, music has slowed and diminished so much its almost stopped dead in its tracks and this guy rips the fattest cough I ever heard lol
This is a lovely rendition at a challenging tempo. Ravel marks the eighth note at 69 and Ott plays between 50-55 per eighth. I have always found the piece to be quite evocative and mysterious.
I still prefer Argerich, but this is absolutely an amazing Le Gibet Wonderful tempo, most pianists are trying to get to the gallows asap- rushed ones feel ignorant of the piece. Lisssten to the difference here.. stellar performance
Let's talk on a very topical topic: "Equal Rights", equal rights between a man and a woman. Imagine: a male pianist plays this Ravel work, in the same hall. To attract the attention of the public, this male pianist followed Alice's example and stepped on the stage barefoot. Nature gave him feet of size 12 (46). Dear ...167, what do you write in your comment? And if a pianist - a man enters the stage with a bare back? THE INDEPENDET (**) Michael Church "...The hall was full - vigorous marketing, plus her trademark bare feet and scarlet ball-dress, had seen to that - but the performance itself was miserably charisma-free."
searching for sounds from the deep space-time hidden there by impressionist Maestro ... seems to be an ideal occupation for Poetry, which for a short time forgot about the revolution ... and so ... wyszukiwanie dźwięków z głębokiej czasoprzestrzeni ukrytych tam dawno przez Maestra impresjonizmu... wydaje się być idealnym zajęciem dla Poezji, która na krótko zapomniała o revolucji... a więc...
Can someone please tell her that bars 12/13 are notated and played exactly the same way as bars 17/18! Also there there is another bell b-flat in bar 35 and no syncopation in bar 38. And 8a bassa in the original score isn't there in bar 42, it's one octave above, otherwise it would not make sense to have slurs of 8a bassa to the next bar of the previously played octave This is highly annoying, because it's obviously sloppy reading of the score. I really like the tempo, but seriously, someone should really re-study the score with her.
This is a toxic pointless and useless remark.Just call her and tell her but in private, why trolling her, this is really mean....you feel better now ? spitting out your poison , try to get known for a good reason or stay where you belong...I won't offend you telling you where...this woman is a really very promissing wonderful musician, I doubt you are. Music is "what happens betwen two notes" , these are only mistakes by learning, your dogmatic approach does not serve music.
@@Vostro4690 I noticed the "bells" were a little off but I thought it was her interpretation of it and it gave it almost a new feel but kept the old spirit. I loved it. This coming from someone who is rather new into the classical world so what do I know really lol
Music is how it makes one feel. Technicality is nothing if the feeling is absent. Obviously, from the numerous positive reviews, this pianist is provoking something good within her listeners. Brava!
This is virtually the only performance on youtube where the artist dares to play this piece at the right tempo. It's very, very difficult to play it that slowly because the piece becomes much more exposed and mistakes become that much more apparent. Nevertheless, this was a simply wonderful performance. It will no doubt always be one of my favorites. My thanks to Alice Sara Ott.
I agree, thata why I rarely play slow pieces.
@@davisatdavis1
Let's talk on a very topical topic: "Equal Rights", equal rights between a man and a woman. Imagine: a male pianist plays this Ravel work, in the same hall. To attract the attention of the public, this male pianist followed Alice's example and stepped on the stage barefoot. Nature gave him feet of size 12 (46). Dear ...167, what do you write in your comment? And if a pianist - a man enters the stage with a bare back?
THE INDEPENDET (**)
Michael Church "...The hall was full - vigorous marketing, plus her
trademark bare feet and scarlet ball-dress, had seen to that - but the
performance itself was miserably charisma-free."
@@georgescancan7503 uhmm did you respond to the wrong comment? What I said has nothing to do with equal rights. I was agreeing with the fact that it's very brave to play Le Gibet at the correct tempo marking because every little mistake could be heard. Due to the exposure of each note when playing slowly, I don't play slow pieces like this.
@@davisatdavis1
THE INDEPENDET
Culture > Classical > Reviews
Alice Sara Ott, Queen Elizabeth Hall
Michael Church
Wednesday 23 November 2011 16:21
Every year the international piano circus requires a new pin-up: last year’s was Yuja Wang, this year it’s Alice Sara Ott.
This 23-year-old German-Japanese had a charmed early life studded with competition triumphs which started when she was five, and her debut Liszt recording was a miraculous meld of power and precision. Her subsequent Cds of Chopin waltzes and Beethoven sonatas suggest her touch needs to mature a little.
This Southbank recital was her London solo debut. We knew from her concerto appearance at the Proms that she would play barefoot - for a better symbiosis with the pedals - but when she tripped onstage like a Vestal virgin in a skimpily-clinging white shift, one realised why the house was packed. The evening was a marketing triumph before she’d even played a note.
Her first foray had a bright playfulness which perfectly suited Mozart’s rarely-performed ‘Variations in D on a Minuet by Duport’. This late work runs the familiar Mozartian gamut of variation-moods, and Ott characterised each with coltish charm. Then came the ‘Sonata in C major Op2 No3’ with which the young Beethoven announced both his keyboard virtuosity and his ground-breaking originality as a composer. The first movement was smart as a whip, and the tumbling, somersaulting Scherzo was deft in the extreme, but the Adagio - one of those early middle movements which adumbrate the great slow movements of Beethoven’s maturity - made all the right gestures but somehow stayed detached, rather than getting inside the composer’s mind.
Ott revealed serious limitations with the Chopin Waltzes which opened the second half. The A flat major ‘Grande Valse Brillante’ had heel-clicking elegance, but the lovely A minor one which followed it was shorn of all its plangent poetry. The ‘Minute’ waltz was suitably frisky, but the ravishingly dreamy C sharp minor one turned out frisky too. Meanwhile Liszt’s ‘Harmonies du soir’ and ‘Chasse-neige’ - which ought to have been near-polar opposites - emerged alike over-pedalled, while his richly suggestive ‘Rigoletto’ paraphrase became a mere firework display. Beethoven’s ‘Fur Elise’, her first encore, sounded oddly like Chopin; her second, Liszt’s ‘La Campanella’, was circus stuff. All fine in its way - and Lang Lang had better watch out - but for now this young woman’s artistry has a curiously Teflon quality.
@@georgescancan7503 @ Staffan Olofsson Dear Olofsson, you write "love letters" to Alice in the video where Alice plays a concert No3 by Beethoven. This mediocre, narcissistic, arrogant person by the name of Alice made every effort to remove all the comments she disliked in the video where she performs Beethoven's concert number 3. But this next trick of this "star for one day" does not change anything, this video demonstrates the weakest performance of this brilliant work of Beethoven. Any inhabitant of our planet with a musical education can see it. But people who are looking for "attractive girls" on the Internet are completely delighted with Alice - she caresses their eyes with her appearance, her unnatural behavior as an actress of a provincial theater. This is not Beethoven, this is a cheap show "a la Hollywood"! I am very ashamed because the French are participating in this cheap show.
This person, infinitely in love with herself, hiding under the name Karl Peter, writes enthusiastic comments about herself, calling herself "a new genius young pianist"! This person has completely lost control of her head!
Alice ..ce pays aux merveilles existe vraiment en vous ecoutant. Merci
I heard this piece the first time as part of the soundtrack for the movie "The Hunger". This is done to perfection by Alice Sara Ott! Kudos!
This, and *Lakmé* by Délibes
7:33 emotional climax of the piece, music has slowed and diminished so much its almost stopped dead in its tracks and this guy rips the fattest cough I ever heard lol
This is a lovely rendition at a challenging tempo. Ravel marks the eighth note at 69 and Ott plays between 50-55 per eighth. I have always found the piece to be quite evocative and mysterious.
Absolutely beautiful. It’s breathtaking haunting and poignant.
Esecuzione che sospende il tempo e che trasporta nel profondo dell'anima. Bravo.
Absolutely!
Gorgeous.
From 4:00 It's tears. 😭
7:33 this guy blew up
So Beautiful Alice!
Muy buena interpretación. Me gusta el tempo.
I still prefer Argerich, but this is absolutely an amazing Le Gibet
Wonderful tempo, most pianists are trying to get to the gallows asap- rushed ones feel ignorant of the piece. Lisssten to the difference here.. stellar performance
アリスさん さすがです❗️
心の中から 音が響き 圧倒的な 説得力です❗️
Let's talk on a very topical topic: "Equal Rights", equal rights between a man and a woman. Imagine: a male pianist plays this Ravel work, in the same hall. To attract the attention of the public, this male pianist followed Alice's example and stepped on the stage barefoot. Nature gave him feet of size 12 (46). Dear ...167, what do you write in your comment? And if a pianist - a man enters the stage with a bare back?
THE INDEPENDET (**)
Michael Church "...The hall was full - vigorous marketing, plus her
trademark bare feet and scarlet ball-dress, had seen to that - but the
performance itself was miserably charisma-free."
史実、事実、真実はどうあれ、在ったことを表現している音が祈りの中に響いているでしょうか。流石です。
Muy bonito ❤️
Bellissima interpretazione!
I have a feeling Christopher Larkin was inspired by this in composing for Hollow Knight.
omg same
Never got around to playing that, but this makes me want to
I always imagined he was more inspired by Chopin
searching for sounds from the deep space-time hidden there by impressionist Maestro ... seems to be an ideal occupation for Poetry, which for a short time forgot about the revolution ... and so ...
wyszukiwanie dźwięków z głębokiej czasoprzestrzeni ukrytych tam dawno przez Maestra impresjonizmu... wydaje się być idealnym zajęciem dla Poezji, która na krótko zapomniała o revolucji... a więc...
Fine‼
la meilleure
Very good!
Amor mio ❤❤❤CHILE
Deathly SLOW!
The concert stage is a little on the dark side
But so is the music, so it's appropriate.
As well it should be, since the music portrays a hanging.
Concerto pianoforte orchestra beethovenn
It fits the mood, although the color would fit Ondine better
2:56
咳P78
Finally, a decent performance.
アリスさん、この曲は難曲だぞ！ガンバレ！
不思議な国のアリスに不可能とう字は無い
Is this channel "Legit"?
Как заметил, смотря на последние записи, она как пианист-музыкант и художник не растет.
У нее серьезное заболевание обнаружили - рассеянный склероз!
non c'è magia.
Can someone please tell her that bars 12/13 are notated and played exactly the same way as bars 17/18! Also there there is another bell b-flat in bar 35 and no syncopation in bar 38. And 8a bassa in the original score isn't there in bar 42, it's one octave above, otherwise it would not make sense to have slurs of 8a bassa to the next bar of the previously played octave
This is highly annoying, because it's obviously sloppy reading of the score.
I really like the tempo, but seriously, someone should really re-study the score with her.
This is a toxic pointless and useless remark.Just call her and tell her but in private, why trolling her, this is really mean....you feel better now ? spitting out your poison , try to get known for a good reason or stay where you belong...I won't offend you telling you where...this woman is a really very promissing wonderful musician, I doubt you are. Music is "what happens betwen two notes" , these are only mistakes by learning, your dogmatic approach does not serve music.
@@Vostro4690 I'm constrained to agree. Few pianists, if any, have captured the spirit of this music as she has done here.
@@Vostro4690 I noticed the "bells" were a little off but I thought it was her interpretation of it and it gave it almost a new feel but kept the old spirit. I loved it. This coming from someone who is rather new into the classical world so what do I know really lol
Music is how it makes one feel. Technicality is nothing if the feeling is absent. Obviously, from the numerous positive reviews, this pianist is provoking something good within her listeners. Brava!
I hate these kinds of commentaries
I think you can do better....🤮