Fine pianist with very, very strong technique (which I can say about a thousand different pianists), but I can't say too much more...how about...she has personality and she's ALMOST attractive (being blonde helps) and that's enough for most guys (I'd be willing to bet good money that the vast majority of her fans are male and for reasons other than anything to do with her playing).

Well, given that neither Horowitz nor Rubinstein recorded that piece, your suggestion is useless.

Below every YouTube video, there's a button that includes statistics having to do with the age and gender of the people who watch a video. You might want to check it out.

Below every YouTube video, there's a button that includes statistics having to do with the age and gender of the people who watch a video. You might want to check it out.

I wasn't aware of that, but I did take a look just now and turns out I was spot on. I wish someone would have taken that bet =p

Interestingly, Anton Nel's you tube video of "The Wanderer Fantasy" appealed to exactly the SAME demographic as Ms. Lisitsa's video of the Rachmaninov Prelude - based on the statistics provided. So perhaps it is OK that no one took you up on that bet.....

But we can compare the Rachmaninov's Prelude, which in the OP. Here is Horowitz playing it:

http://www.youtube.com/watch?v=cB_mNGFFrcI

Interestingly, Anton Nel's you tube video of "The Wanderer Fantasy" appealed to exactly the SAME demographic as Ms. Lisitsa's video of the Rachmaninov Prelude - based on the statistics provided. So perhaps it is OK that no one took you up on that bet.....

That doesn't surprise me, in the least. My point was in regard to VL, carey.

They cannot determine this for all users, and I would guess that what you see reported are the statistics for viewers with youtube accounts. When you set up a youtube account, you are asked to report your birthdate and gender. Thus, the statistics are calculated on a sample. In this instance, the degree to which the sample is a representative one cannot be determined.

While everyone is entitled to their opinion, very few people are qualified to critique a pianist of this caliber, especially some of the loudmouths on this forum.

Actually, while you may not agree with him, PW member Stores is indeed qualified to objectively critique a pianist of this caliber.

Actually, while you may not agree with him, PW member Stores is indeed qualified to objectively critique a pianist of this caliber.

and if that is indeed true, it is yet another reason why i would try to keep my friends whom i am trying to get interested in classical piano from finding this forum.

Are you saying that you know Stores personally and can vouch for his credentials?

and if that is indeed true, it is yet another reason why i would try to keep my friends whom i am trying to get interested in classical piano from finding this forum.

and if that is indeed true, it is yet another reason why i would try to keep my friends whom i am trying to get interested in classical piano from finding this forum.

Why? Because I'm frankly honest about things? Because I don't allow crap to filter through and permeate things? Because I believe the music/composer should come first and not the artist and his/her selfish ideas? Because I believe things should be done the right way? Because I believe there's more to music than just blind entertainment?

While everyone is entitled to their opinion, very few people are qualified to critique a pianist of this caliber, especially some of the loudmouths on this forum.

why do you consider the artist selfish but not the composer?

I'll not address the remainder of the post, because it's not important, but this I'll reply to.

It's the composer's work (I swear I want to insert a "duh" here). It's really just that simple. Would you grab a chisel and knock off part of Rodin's "Thinker" simply because you thought it would be a better sculpture? I rather doubt it (of course there's always the fear of finding yourself in the slammer haha!) Would you decide that "Hey, Monet, didn't quite add the right amount of (choose a color) to his "Impression: Sunrise"...let me fix that for him." Would you add another chapter to Dickens' "A Christmas Carol", because you felt it lacking a more fitting conclusion? Would you re-write one of the Gospels, because you FELT Jesus' story would work better this way or that? Maybe it would bring more young people to God, if Jesus threw in a little rap. Yeah that's it. The whole Bible world is too uptight and we NEED something like a little rap to break things down a bit. Let me just step to the back of the line when it's your turn on judgement day ok?
When the composer says "p" or "ff" or "Allegro" or "lento" or gives us any indication at all...there is a reason. Some composers give us very little or nothing at all and some give us incredible detail. It is our responsibility to interpret what the composer has left us on the page...THAT is what interpretation is about. Interpretation has nothing to do with what you or I think...who the helll are we and who cares what we think? Any day we feel we're in a better position to amend Beethoven (for example), then we need to step back and re-focus. The "but I think it sounds better this way" argument is crap and if that's the basis for one's argument then simply stop playing, because you defile not only Beethoven, but the sacrifice so many have made in their attempt to realise what he's said to us through his music.

By the way, I owe you, nor anyone else here any more a detailed reply/rebuttal than I normally give. If you don't like it...don't read it. Simple concept really eh?

I'll not address the remainder of the post, because it's not important, but this I'll reply to.

It's the composer's work (I swear I want to insert a "duh" here). It's really just that simple. Would you grab a chisel and knock off part of Rodin's "Thinker" simply because you thought it would be a better sculpture? I rather doubt it (of course there's always the fear of finding yourself in the slammer haha!) Would you decide that "Hey, Monet, didn't quite add the right amount of (choose a color) to his "Impression: Sunrise"...let me fix that for him." Would you add another chapter to Dickens' "A Christmas Carol", because you felt it lacking a more fitting conclusion? Would you re-write one of the Gospels, because you FELT Jesus' story would work better this way or that? Maybe it would bring more young people to God, if Jesus threw in a little rap. Yeah that's it. The whole Bible world is too uptight and we NEED something like a little rap to break things down a bit. Let me just step to the back of the line when it's your turn on judgement day ok?
When the composer says "p" or "ff" or "Allegro" or "lento" or gives us any indication at all...there is a reason. Some composers give us very little or nothing at all and some give us incredible detail. It is our responsibility to interpret what the composer has left us on the page...THAT is what interpretation is about. Interpretation has nothing to do with what you or I think...who the helll are we and who cares what we think? Any day we feel we're in a better position to amend Beethoven (for example), then we need to step back and re-focus. The "but I think it sounds better this way" argument is crap and if that's the basis for one's argument then simply stop playing, because you defile not only Beethoven, but the sacrifice so many have made in their attempt to realise what he's said to us through his music.

By the way, I owe you, nor anyone else here any more a detailed reply/rebuttal than I normally give. If you don't like it...don't read it. Simple concept really eh?

Beethoven's Cello Sonata op.69

One of Leonard Rose's frequent sonata partners was pianist Glenn Gould. Rose loved Gould's playing. "I still think his piano sound is one of the most beautiful piano sounds I've ever heard in my life!" One can watch them play together in a video of the Beethoven A Major Sonata. Watching them play together, one is struck by the electricity of their partnership, despite the fact that they were very different as performers. While Rose played with minimal excess motion and perfect poise -- the straight man -- Gould swayed, conducted, and muttered throughout the entire performance, but the combination is magical.

During the filming of that sonata, the producers asked Rose if he had memorized the music. The music stand was difficult to film around and they were hoping to get rid of it. Rose did have the piece memorized, but he thought that Gould would probably need to play from music. Gould said, "Oh, Leonard, do you want to play the piece from memory? I'll have it from memory tomorrow." And sure enough he did. Rose asked Gould how he did it, and Gould told him that he would lie in bed with the music and memorize it from there. "Glenn definitely is a kind of genius…."

When the composer says "p" or "ff" or "Allegro" or "lento" or gives us any indication at all...there is a reason. Some composers give us very little or nothing at all and some give us incredible detail. It is our responsibility to interpret what the composer has left us on the page...THAT is what interpretation is about... Simple concept really eh?

Barenboim ignores Mozart's forte-piano marking at m.12. Is this because Barenboim thinks he knows better than Mozart? Is this akin to taking a chisel to Rodin?