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dshurwkjsmleann
Приєднався 26 сер 2021
Strauss: Burleske in D Minor (Goerner)
Along with Liszt’s Totentanz and Franck’s Symphonic Variations, Strauss’s Burleske in D minor is the best non-piano concerto ever written. We are facing a work which fully reflects the young Strauss, with that sense of virtuosity, vigor and heroism; but it’s also very sliding, exciting and easy to listen.
It should be a parody of Brahms’s second piano concerto, a joking tribute which, in fact is called “burlesque”. Here, like in Brahms, we don’t have a classic conception of the soloist accompanied by the orchestra, but we have a more important role of the orchestral textures and the single instruments, like the timpani which open and close the work.
We have a big “first movement” in sonata form, with two main themes (D minor at 00:20 and F major at 02:08), a development (05:38) and a recapitulation (D minor theme at 08:59 and D major theme at 10:20), after which there is a cadenza (15:36) and eventually a coda (17:50). There is a great thematic variety, despite the fact that all the themes are closely related to one another, as in Liszt’s B minor sonata.
Goerner has a corret playing of this piece. Virtuosistic passages are played with discretion and elegance.
It should be a parody of Brahms’s second piano concerto, a joking tribute which, in fact is called “burlesque”. Here, like in Brahms, we don’t have a classic conception of the soloist accompanied by the orchestra, but we have a more important role of the orchestral textures and the single instruments, like the timpani which open and close the work.
We have a big “first movement” in sonata form, with two main themes (D minor at 00:20 and F major at 02:08), a development (05:38) and a recapitulation (D minor theme at 08:59 and D major theme at 10:20), after which there is a cadenza (15:36) and eventually a coda (17:50). There is a great thematic variety, despite the fact that all the themes are closely related to one another, as in Liszt’s B minor sonata.
Goerner has a corret playing of this piece. Virtuosistic passages are played with discretion and elegance.
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Відео
Bach: Toccata in D Minor BWV 913 (Janssen, Savary)
Переглядів 6 тис.2 роки тому
Among the seven Bach toccatas, the D minor one is the only which have an organistic form of writing in some parts. The first bars are a “pedal solo” used in baroque organ literature, the beginning of the “arioso” section (00:49, 14:04) might seem one of those register and atmosphere changes in a Bach’s organ preludes. Otherwise we have a typical keyboard toccata in four sections: a “toccatistic...
Bach: Toccata in D Major, BWV 912 (Deljavan, Schiff)
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Bach's Toccatas are basically fantasies, with an unlimited range of themes of all form and character. In D major toccata the recitativo's improvisatory style is alternated with more schematic and contrapuntal parts: after a brief introduction we have an Allegro, characterized by a playful and redundant theme; then we have a meditative recitativo, which introduces a more schematic and imitative ...
Bach: Toccata in F Sharp Minor, BWV 910 (Mndoyants, Peterson)
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Bach’s F Sharp Minor Toccata in a good example of his mastering in using the counterpoint. After a brief introduction in the toccatistic style, we have a noble adagio in a rhythm of a sarabande. The first of the fugues is marked ‘Presto e staccato’ and its pointed subject no more than a descending scale with a short cadential trill attached, after that, we have a rather startling section in whi...
Bach: toccata in C minor, BWV 911 (Broberg, Janssen)
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Bach's C minor toccata is divided into three sections: we have a prelude in "toccatistic" style, then we have a ruminative adagio of imitative counterpoint, full of yearning dissonances and based loosely on the rising harmonic minor scale, and finally, a three-voice fugue with a double exposition, in which Bach demonstrates his mastery to the fullest. C minor has long been one of the most iconi...
Schumann: Humoreske, Op. 20 (Seong-Jin Cho)
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Among all Schumann's piano works, the Humoreske has a magnificent writing creativity. Each theme contrasts with the one before it, and the composition is a continual stream of fresh and varied ideas without a moment of silence. In a letter to Clara Wieck Schumann wrote that he had been “sitting at the piano and composing and writing and laughing and crying, all at the same time” speaking about ...
16:06
0:27 Allegro 2:45 Adagio 4:42 Fugue 9:19 Gigue-like Conclusion
So beautifully delicate
5:33-5:38 oh my God..
I am always in the mood for Bach, always. Beautiful. :)
is google crazy to place an in the middle of a musical performance? Is this their thank you for closing my ad blocker?
Fantastic work. Are you familiar with Florent Schmitt's "Symphonie Concertante" ?
this recording is kind of irritating
Not familiar with the name "Slatterbrekk." Who is he? Can't find him on Amazon.
fis moll=adur
no words... phenomenal.
The Paganini piece begins ( should begin, we have to Say...) with a clearly marked PP ( while FF must be used only for the melodic bass line!)... And in fact all pianists don't do in this manner, no One part from ABM, probably...
I especially love Slåttebrekk’s Marche des Davidsbündler contre les Philistins - he manages to get such a wonderful rhythm and texture without going overboard with staccato like most pianists do. Bravo!
Merci
Now i know where Rachmaninoff got his idea from 😉 19:00
9:30
Lo más impresionante de Bach al piano
17:19
I never thought I’d find a version of this that I prefer to Zimerman’s!
Florestan et Esebius deux personnages parfaitement Ying-Yang, tres chers à la litterature Schumannienne , un développement Musical quasi fractal incomparable, Pilier du Romantisme Musical , c est a mon sens un pleonasme de rajouter Allemand aprés Romantisme d un point de vue Historique... 🙏
Carmen Reyes. Carmen Reyes. B
15:06 Brahms Piano Concerto parody
That's reductionist. I don't agree.
15:53 Tristan und Isolde mocking
Again !
There are a number of great recordings of Schumann's Carnaval, but Evgeny Kissin's is not one of them. To hear what this really should sound like, listen to the recordings or performances by Martha Argerich, Claudio Arrau or (especially) the live performance by Arturo Benedetti Michelangeli from 1957 in London (on UA-cam).
No
Michelangeli's is the finest Carnaval I have heard
@@jasonhurd4379 good for you :D
Ouch. What an annoying composition!! No Contrast.
Change ears !
Martha makes a very good case for it....
It's a single movement piece and it's called "Burleske". Do the math
So intriguing the similarities of the Fugue which is actually a Gigue with the Gigue of the 5th French Suite in G Major❤
Nicely done. Richard Hamelin is one of the younger pianists on the world stage, but he's already made quite a reputation for himself.
Far too fast. Try Myra Hess..
So impressive
The haunting chromatic scales sound better on a harpsichord, this is serious business and not Mozart.
Bach is Bach...and Mozart is Mozart!
Lmaaaao
Just random ideas thrown together without thought.
finally someone said it!!!!!!!!
Kenneth/Kenny Broberg (1993-) 00:01 Toccata 01:05 Adagio 03:19 Fuga I. 05:47 Fuga II. ==== Ivo Janssen (1963-) 10:11 Toccata 11:07 Adagio 13:15 Fuga I. 15:42 Fuga II.
Par rapport à un Glen Gould c'est un peu nul l interprétation. Trop dans la légèreté.....,
à partir du moment où vous comparez qui que ce soit à Glenn GOULD vous êtes dans une impasse... GOULD se reconnaît généralement à la première écoute de quelques notes !
The slowdown then speed up drives me crazy
personal favorites: 1) Eusebius 2) Reconnaissance 3) Aveu
Aveu, in particular, is so Schubertian.
Sphinxes
As if you were a Jewish pianist playing in front of a german soldier in World War II, so that he would take pity on your life.
wtf is this comment lmao
@@Strawberryfreak Oh, it was a reference to a movie called the pianist. It's an autobiographical film of a Polish pianist named Władysław Szpilman during WW2. There's one scene where he gets discovered by a Nazi captain named Wilm Hosenfield, and he plays this exact piece to him. Wilm agrees to hide him and does so until the end of the war. It's a really good movie. I recommend you watch it.
@@ethanq8297 I WATCHED IT RECENTLY AND IT WAS GOOD! lol i forgot i even commented here but thanks for info haha
Von Bülow - obgleich hervorragender Pianist, der beispielsweise 1875 die Uraufführung des 1. Klavierkonzerts von Tschaikowski übernommen hatte - weigerte sich , das Werk einzuüben und erklärte: „Jeden Takt eine andere Handstellung - glauben Sie, ich setze mich vier Wochen hin, um so ein widerhaariges Stück zu studieren?" - Strauß komponiert gegen die Hand, daher ist das Stück technisch und auch rhythmisch sehr schwer. Großartig, wie Martha Argerich es spielt, auch mit dem geforderten "burlesken Witz" und der Brahms Parodie! Schade, daß man das Werk so selten hört. Der Grund ist wohl der oben genannte.
Argerich. Ultra technique and spontaneous musicality and razor sharp rhythmic agility.
Beautiful
쩐당
Carnaval turns crazy the mind..lovesit
1:36 30:02 30:56
It's not a fugue. It's a Tarentelle
indeed but it does take the form of a fugue
Or actually a Gigue; if you think about the G Major French Suite it all matches
allegro 00:28 adagio2:49 fuga 9:18
Il y a toujours ces alternances dans les toccatas pour piano de Bach
VERY TRUE TO THE ORIGINAL.
Very much like this version. Especially the codas, which are musical and not rushed. Bravo!!
Can anyone else literally hear the pianist breathing in this recording?
This version's fantastic!
I know right!
Ciao a tutti, sono Alberto. Studio pianoforte al conservatorio e sono molto interessato alla musica classica, in particolare modo alle composizioni di Chopin. Alberto.