Oops I accidentally cut myself off in the middle of the sentence- was just announcing my upcoming concert in Vienna 😅🥳 playing all Chopin Ballades there and other pieces - tickets & info here: https://www.annique-piano.com/event-details/annique-gottler-x-wien

Hey thanks for the roast🤣, honestly wasnt expecting much considering i learned the whole thing using synthesia (i dont even know how to read notes💀) and funny enough i recently watched your ballade 1 interpretation and got motivated to learn this piece (well just this section really) so it wasnt a coincidence that i happened to be learning this aswell😅. Really appreciate the feedback! It wasnt harsh at all in my opinion, very very constructive and helpful for anyone out there learning this section aswell. anyways keep up the great work✨️

I think you were spot-on, particularly with the need for expressive shaping rather than non-stop fortissimo.  I think your tips will definitely help him.  I think you could have emphasized more of the issue with the pedal needing changes between conflicting chords.  (btw, "half" rhymes with "laugh", and the "L" is silent.)

These videos are gold dust. It is so refreshing to have playing roasted so expertly. To speak on behalf of others learning this piece naively prematurely, I am definitely making a bunch of these "mistakes" too. But I think that's what makes tackling a piece like this so productive - there are sooo many little subskills and mechanical-cognitive lessons that the piece teaches compared to something that may be easier to execute. Being able to do repeated octave scales in crescendo could easily be a Hanon exercise, but doing so with a lightness and intention behind each one puts you so much more in touch with the expressive potential of your hands. I'd recommend anyone tackling this piece simply to have more fun with it dynamically, both to preserve energy and build up strength organically (rather than putting it all in the arms) - since you're playing it slower anyway, be goofy about the intentions of each phrase, swing it or syncopate the hands a little. I think keeping it loose is the most important thing rather than cementing movements into marble just for the sake of replicating the sound of recordings (which is a good skill too! but IMO not as sustainable for getting you through a piece). Either way brava!

TBH the polyrhythm not being perfect has a nice artistic human quality to it.  Bravo 👏

Chopin: The coda is il piú forte possibile Liszt: this is my favorite thing 😂

Seong Jin Cho and Zimerman play this piece pretty well, you guys should check their performance

10 first seconds... I felt your energy and fun vibes of video and i subedddddd❤❤

Do me do me do me...I sent you Träumerei.

Sending in music that Annique is playing.... that takes guts for one thing. Try half-pedalling and flutter-pedalling this section. It will clear out the mud that Annique criticized.

I agree with everything Annique said here.

For the 3:4 part, try "I would like some apples", it works for most of the people

❤❤

I’m an elementary music teacher. I wouldn’t at all consider myself a pianist - I play enough of it that little kids think I’m great, but that’s about it. I respect the craft and I enjoy watching your content. I’m just a trombone player. 🤣

Gotta say your critiques don’t sound at all harsh to me. This is my experience studying piano at university:

I finish playing an assignment slow as molasses.

Instructor: “Wow.”
Me: “I’m sorry.”

Hi can you please please help me out whenever I play musically demanding pieces my left hands wrist becomes tense and I keep on having swan finger idk why and also as someone with a keyboard which doesn't support touch sensetive keys how shall I practice dynamics plss I love music more than my life help!

1:19
By the way???

1:09 oops

Just a quick heads up, I assume concert announcement part is just cut off and it jumps straight into the video😊

Objectively speaking, you were not too harsh. You explained the good first, and then precisely explained how it could be better.

The player's pedaling is way too much (imagine that in a large concert hall). I really wish I could see how you're pedaling trickier passages to see the different techniques, similar to your recent pedaling video. (Great teachers do say, "pedal with your ear" (vs. your foot), but I need to see how people are actually using their foot, too. Otherwise, good pedaling remains a bit of a mystery sauce - similar to how harmonica players cover their instrument with their hands so we can't see what they're physically doing when playing crazy sounds you can't figure out.)

Kudos to the submitter, BTW. It takes real courage to have your best playing roasted by a pro.

1:09 btw you're what?