m (→by Synthesia (midi)) |
m (→by Miloš Katanić) |
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<center>{{#ev:youtube|xEQVcuee81E|400}}</center> | <center>{{#ev:youtube|xEQVcuee81E|400}}</center> | ||
+ | |||
+ | == by Jenny Lin == | ||
+ | |||
+ | To the point. | ||
+ | |||
+ | <center>{{#ev:youtube|5v5Y6lMpWZ0|400}}</center> | ||
== by Andrew Chubb == | == by Andrew Chubb == | ||
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== by Coversart == | == by Coversart == | ||
+ | |||
+ | Classic. | ||
<center>{{#ev:youtube|JCQWo7SB4BQ?t=230|400}}</center> | <center>{{#ev:youtube|JCQWo7SB4BQ?t=230|400}}</center> | ||
+ | |||
+ | == by Zachar Laskewicz == | ||
+ | |||
+ | Irregular. | ||
+ | |||
+ | <!--<center>{{#ev:youtube|L8Dm1okzJ-c&t=62|400}}</center>--> | ||
+ | <center>{{#ev:youtube|L8Dm1okzJ-c|400}}</center> | ||
+ | <center>{{#ev:youtube|GOA8VwYnLRg?t=48s|400}}</center> | ||
+ | |||
+ | == by Librecuarteto == | ||
+ | |||
+ | Modern. | ||
+ | |||
+ | <center>{{#ev:youtube|gTmQonvQpf8|400}}</center> | ||
+ | |||
+ | == by Da Capo Chamber Players == | ||
+ | |||
+ | Orchestratic. | ||
+ | |||
+ | <center>{{#ev:youtube|iVDRui02vzo|400}}</center> | ||
== arrangement by Robert Moran == | == arrangement by Robert Moran == | ||
− | In a category of its own, to very nice | + | In a category of its own, to very nice effects. |
<center>{{#ev:youtube|ynr0UP06QoE|400}}</center> | <center>{{#ev:youtube|ynr0UP06QoE|400}}</center> | ||
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== by Miloš Katanić == | == by Miloš Katanić == | ||
− | + | For accordion & cello, still by Robert Moran. | |
<center>{{#ev:youtube|YQTj72_iijE|400}}</center> | <center>{{#ev:youtube|YQTj72_iijE|400}}</center> | ||
+ | |||
+ | == by Kamilė Čekauskaitė == | ||
+ | |||
+ | All accordion: | ||
+ | |||
+ | <center>{{#ev:youtube|NL5FvCi9-1g|400}}</center> | ||
+ | |||
+ | == by Mie Miki == | ||
+ | |||
+ | Piazzolastic. | ||
+ | |||
+ | <center>{{#ev:youtube|DKZvQHjxejI|400}}</center> | ||
+ | |||
+ | == by Floraleda Sacchi == | ||
+ | |||
+ | At the harp: | ||
+ | |||
+ | <center>{{#ev:youtube|cFWm-ouPWOg|400}}</center> | ||
+ | |||
+ | == by Mario Falcao == | ||
+ | |||
+ | Faster harp: | ||
+ | |||
+ | <center>{{#ev:youtube|p8fPAKt2uwA|400}}</center> | ||
+ | |||
+ | == By Petridisch == | ||
+ | |||
+ | Psychedelic. | ||
+ | |||
+ | <center>{{#ev:youtube|5_ofc9a06aI|400}}</center> | ||
== by Olivia Belli == | == by Olivia Belli == | ||
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<center>{{#ev:youtube|o_NHpMK3EUs|400}}</center> | <center>{{#ev:youtube|o_NHpMK3EUs|400}}</center> | ||
+ | |||
+ | == By Awder Abdul == | ||
+ | |||
+ | Dexterous. | ||
+ | |||
+ | <center>{{#ev:youtube|eI40QO9cFHU|400}}</center> | ||
== By Franco Meoli == | == By Franco Meoli == | ||
Line 102: | Line 166: | ||
<center>{{#ev:youtube|Ft9TjlycOWA|400}}</center> | <center>{{#ev:youtube|Ft9TjlycOWA|400}}</center> | ||
+ | |||
+ | == By Anthea Trevelyan == | ||
+ | |||
+ | Converging. | ||
+ | |||
+ | <center>{{#ev:youtube|NBteRymsR6E|400}}</center> | ||
+ | |||
+ | == By Barry Power == | ||
+ | |||
+ | Careful. | ||
+ | |||
+ | <center>{{#ev:youtube|nl0t1yYk4_I|400}}</center> | ||
+ | |||
+ | == by CronkitePercussion == | ||
+ | |||
+ | Bassy. | ||
+ | |||
+ | <center>{{#ev:youtube|GQD2dkTe_7Y|400}}</center> | ||
== By star3xpress == | == By star3xpress == | ||
Line 108: | Line 190: | ||
<center>{{#ev:youtube|jq5uYTDHESM|400}}</center> | <center>{{#ev:youtube|jq5uYTDHESM|400}}</center> | ||
+ | |||
+ | == by Kris Kolb == | ||
+ | |||
+ | Aging. | ||
+ | |||
+ | <center>{{#ev:youtube|DhbGxFJvqlg|400}}</center> | ||
+ | |||
+ | == By piano id == | ||
+ | |||
+ | Learning. | ||
+ | |||
+ | <center>{{#ev:youtube|utiGNFgN3OM|400}}</center> | ||
== by Synthesia (midi) == | == by Synthesia (midi) == | ||
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<center>{{#ev:youtube|m-VN_IDd8IA|400}}</center> | <center>{{#ev:youtube|m-VN_IDd8IA|400}}</center> | ||
+ | |||
+ | == by WishPiano == | ||
+ | |||
+ | Visual. | ||
+ | |||
+ | <center>{{#ev:youtube|kdqhLWafWIM|400}}</center> |
Modern Love Waltz is a favourite composition for the piano by Philip Glass.
The best version (to my taste) is the underrated one by Nicolas Horvath.
It has much more emotion and interpretation than the usual renditions, which are mechanical, cold and rigid. This might have been the intention of the composer, who may have pursued a "modern", clockwork-orangy feeling. But Horvath's interpretation, which is, in stark contrast, full of waves, piano-forte and passion, makes the piece (again, in my humble opinion) so highly above the others as to render these almost amateurish, in comparison. This is a strange feeling because I also like very much the other interpretations, but this is like comparing greatness with perfection. If you managed to read till this point, may I suggest you listen to the list below skipping the first one over, and listening to it last. This should give you the kind of "shock" I had when I stumbled upon Horvath's version, after much familiarities from the other versions.
A slow, mechanical (typewritter style) interpretation, which maybe is the standard for this song:
Similar in style to Jeroen Van Veen but much faster, also with a bit more passion.
More passion but still rhythmed by the mechanical interpretation, probably sought by the composer.
More dancing.
More classic.
To the point.
Human (poor-quality sound recording)
Closer to Horvath's style, but slower.
Very fast!
Classic.
Irregular.
Modern.
Orchestratic.
In a category of its own, to very nice effects.
With marimbas, giving it a touch of Aguas de Amazonia. Arrangement also by Robert Moran.
For accordion & cello, still by Robert Moran.
All accordion:
Piazzolastic.
At the harp:
Faster harp:
Psychedelic.
Reverberating...
Toyish
with strings
Dexterous.
A home recording.
Converging.
Careful.
Bassy.
Hurried.
Aging.
Learning.
Literal.
Visual.