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rosie
Приєднався 9 лис 2015
i'm making score videos until i get bored
request pieces/recordings in my comments and i'll see what i can do
request pieces/recordings in my comments and i'll see what i can do
Edward Elgar - Symphony No. 1 (Arr. Sigfrid Karg-Elert)
English composer Sir Edward Elgar came from a large family of modest means. As a piano tuner and organist, Elgar’s father could provide his son with basic exposure to music, but there was no money for formal training. Recognition came slowly for Elgar, and the sustained effort it took to write a full-fledged, uncommissioned symphony was not possible for a composer piecing together a living through freelancing and teaching. With the resounding success of his Enigma Variations in 1899, Elgar, already in his forties, could finally seriously consider tackling the genre.A hint towards his approach and the pressure he felt in composing his first symphony can be seen in a class lecture Elgar gave in 1906. He was discussing the Brahms symphonies, which were universally revered in England at this time:
I hold that the symphony without a programme [or story-line] is the highest development of art…. Some writers are inclined to be positive that the symphony is dead. Perhaps the form is somewhat battered by the ill-usage of some of its admirers…but when the looked-for genius comes, it may be absolutely revived.
Elgar followed his own lead, eschewing a storyline in his symphony, simply writing that “there is no programme beyond a wide experience of human life with a great charity (love) and a massive hope in the future.” The work enjoyed wildly enthusiastic responses from audiences and received over 100 performances during the year after its premiere.
First movement: the opening movement is lush and wide-ranging. To help you track its structure, keep the two main themes in mind: the opening noble melody accompanied by a slow, steady walking bass, and the soaring, craggy second theme that comes in suddenly after a brief orchestral pause.
Second movement: as in the first movement, there are two starkly contrasting themes here. The first is a scurrying line in the violins, followed by a gruff march in the violas, and the second is a series of lighthearted skipping and whistling tunes featured in the flutes and then the clarinets. As the movement winds down, the scurrying violin theme reappears in slower and slower form, until it morphs into the radiant theme of the third movement, which follows without break.
Third movement: this is one of Elgar’s finest achievements, a noble and moving adagio that ends in hushed intimacy.
Fourth movement: fleeting references to the first movement’s noble opening theme in the mysterious, slow beginning are finally allowed to bloom in the powerful conclusion, where it reappears in fully adorned triumph for a glorious denouement.
(Jon Kochavi)
0:00 - Andante. Nobilmente e semplice - Allegro
21:13 - Allegro molto-
29:37 - Adagio
41:34 - Lento - Allegro
Composed in 1908, transcribed in 1909.
pf: Mark Bebbington
original audio: ua-cam.com/play/OLAK5uy_nQ9OElMog07PjGxalv-AS3xoPtUWDA-ac.html
I hold that the symphony without a programme [or story-line] is the highest development of art…. Some writers are inclined to be positive that the symphony is dead. Perhaps the form is somewhat battered by the ill-usage of some of its admirers…but when the looked-for genius comes, it may be absolutely revived.
Elgar followed his own lead, eschewing a storyline in his symphony, simply writing that “there is no programme beyond a wide experience of human life with a great charity (love) and a massive hope in the future.” The work enjoyed wildly enthusiastic responses from audiences and received over 100 performances during the year after its premiere.
First movement: the opening movement is lush and wide-ranging. To help you track its structure, keep the two main themes in mind: the opening noble melody accompanied by a slow, steady walking bass, and the soaring, craggy second theme that comes in suddenly after a brief orchestral pause.
Second movement: as in the first movement, there are two starkly contrasting themes here. The first is a scurrying line in the violins, followed by a gruff march in the violas, and the second is a series of lighthearted skipping and whistling tunes featured in the flutes and then the clarinets. As the movement winds down, the scurrying violin theme reappears in slower and slower form, until it morphs into the radiant theme of the third movement, which follows without break.
Third movement: this is one of Elgar’s finest achievements, a noble and moving adagio that ends in hushed intimacy.
Fourth movement: fleeting references to the first movement’s noble opening theme in the mysterious, slow beginning are finally allowed to bloom in the powerful conclusion, where it reappears in fully adorned triumph for a glorious denouement.
(Jon Kochavi)
0:00 - Andante. Nobilmente e semplice - Allegro
21:13 - Allegro molto-
29:37 - Adagio
41:34 - Lento - Allegro
Composed in 1908, transcribed in 1909.
pf: Mark Bebbington
original audio: ua-cam.com/play/OLAK5uy_nQ9OElMog07PjGxalv-AS3xoPtUWDA-ac.html
Переглядів: 1 334
Відео
Dietrich Buxtehude - Passacaglia in D minor, BuxWV 161 (Arr. August Stradal)
Переглядів 3 тис.2 місяці тому
pf: Meilin Ai original audio: ua-cam.com/video/SdxpsEPwdg8/v-deo.html
Charles Gounod - Ave Maria (Meditation after Johann Sebastian Bach)
Переглядів 3,2 тис.3 місяці тому
Composed in 1853, transcribed in 1858. 'Prelude, BWV 846' composed in 1722. pf: Roberto Prosseda original audio: ua-cam.com/video/OXb1qxQ4XCs/v-deo.html
Johann Sebastian Bach - Organ Concerto in A minor, BWV 593 (Arr. August Stradal)
Переглядів 20 тис.3 місяці тому
Under the banner of 19th-century aesthetics, we have the 'Concerto in A minor' by Bach-Vivaldi BWV 593 transcribed by the Bohemian virtuoso August Stradal (1860 - 1930). This represents a double betrayal, for the concerto (Op. 3 No. 8 from Antonio Vivaldi’s L'estro armonico) had already been transcribed for organ by Bach and published by Peters in 1852. Stradal’s transposition from the organ to...
Felix Petyrek - Variations and Fugue in C major
Переглядів 2,2 тис.3 місяці тому
Composed in 1921. pf: Kolja Lessing original audio: ua-cam.com/video/4vu1Nf-x8Wk/v-deo.html ua-cam.com/video/3tdpxZczjSk/v-deo.html
Franz Liszt - Tasso: lamento e trionfo (Symphonic Poem No. 2), S. 96 (Arr. August Stradal)
Переглядів 1,3 тис.3 місяці тому
Composed in 1854. Personal note: I'm really happy to be finally releasing this video! I've been searching for the score since last year's 'Hunnenschlacht' video, and with the help of @vallieplushie I was able to obtain it. Thank you very much 💜 Hopefully I can find 'Prometheus' soon and complete the set pf: Risto-Matti Marin original audio: ua-cam.com/video/3DGBSgAj6eI/v-deo.html
Ludwig van Beethoven - String Quartet No. 13: V. Cavatina (Arr. Charles-Valentin Alkan)
Переглядів 2,7 тис.3 місяці тому
The Cavatina (short aria) is the heart and soul of Op.130, and one of Beethoven’s most deeply personal and intimate slow movements. The music is profoundly simple and pure, revealing with the utmost clarity Beethoven’s sense of humanity, and perhaps, his depiction of the fragility of life. Karl Holz, who was the second violinist of the Schuppanzigh Quartet, reported that Beethoven “wrote the Ca...
Wolfgang Amadeus Mozart - Piano Concerto No. 20 (Arr. Charles-Valentin Alkan)
Переглядів 53 тис.4 місяці тому
Alkan’s fascination with the technical aspects of the art of transcription shines through this element of his output, perhaps never more brightly than in his transcription for solo piano of Wolfgang Amadeus Mozart’s (1756-91) D minor Piano Concerto. This brims from start to finish with piano writing of startling inventiveness and originality, which is only heightened through familiarity with th...
Sigismond Thalberg - Le départ (Romance en forme d'étude), Op. 55
Переглядів 5584 місяці тому
Composed in 1844. pf: Stanley Waldoff original audio: ua-cam.com/video/10lqX2Z9LHc/v-deo.html
Charles-Valentin Alkan - Jean qui pleure et Jean qui rit (2 Fugues)
Переглядів 4934 місяці тому
The inspiration for 'Jean who weeps' and 'Jean who laughs' appears to come from the same source as his later 'Esquisse op.63 no.39 Héraclite et Démocrite', the weeping and laughing philosophers, namely Voltaire’s poem 'Jean who weeps' and 'who laughs'. This unity of opposites reflects the familiar faces representing the Greek muses of tragedy and comedy, Melpomene and Thalia staring down from m...
Arnold Bax - The Poisoned Fountain
Переглядів 3315 місяців тому
'The Poisoned Fountain' was another of the works Bax wrote for Ethel Bartlett and Rae Robertson in the 1920s. It was first performed by them in June 1928. A composer who often evoked the sea in his music, Bax was good at watery textures, in such works as Winter Waters, Nereid, and a host of sea-pieces. At the outset Bax instructs his pianos to play quite independently of each other and the very...
Arnold Bax - Hardanger
Переглядів 3135 місяців тому
Most of Bax's two piano music was written in the late 1920s for the husband and wife piano duet team of Ethel Bartlett and Rae Robertson. Dated May 1927, 'Hardanger', a short encore piece, was first performed by them in February 1929. Bax writes 'with acknowledgements to Grieg' on the score, and in one letter refers to it as his piece of Grieg. In it Bax emulates the style of Grieg's folk-style...
Efrem Zimbalist - Concert Fantasy on Rimsky-Korsakov's Opera 'Le Coq d'or'
Переглядів 2,5 тис.5 місяців тому
Opera premiered in 1909, fantasy composed in 1921. vn: Antal Zalai pn: József Balog original audio: ua-cam.com/video/QK2eaw4wlbY/v-deo.html
Richard Strauss - Der Rosenkavalier, Op. 59: Waltzes (Arr. Otto Singer)
Переглядів 2,5 тис.5 місяців тому
Richard Strauss - Der Rosenkavalier, Op. 59: Waltzes (Arr. Otto Singer)
Franz Liszt - Fantasy and Fugue on 'Ad nos, ad salutarem undam', S. 259 (Arr. Ferruccio Busoni)
Переглядів 8 тис.7 місяців тому
Franz Liszt - Fantasy and Fugue on 'Ad nos, ad salutarem undam', S. 259 (Arr. Ferruccio Busoni)
Sydney Smith - Fantasy Brillante on Verdi's Opera 'Un ballo in maschera', Op. 10
Переглядів 1,3 тис.7 місяців тому
Sydney Smith - Fantasy Brillante on Verdi's Opera 'Un ballo in maschera', Op. 10
Sydney Smith - Fantasy Brillante on Verdi's Opera 'La traviata', Op. 103
Переглядів 6 тис.8 місяців тому
Sydney Smith - Fantasy Brillante on Verdi's Opera 'La traviata', Op. 103
Sydney Smith - Fantasy on Wallace's Opera 'Maritana', Op. 207
Переглядів 6388 місяців тому
Sydney Smith - Fantasy on Wallace's Opera 'Maritana', Op. 207
Sigismond Thalberg - Grand Caprice on Bellini's Opera 'La sonnambula', Op. 46
Переглядів 1,7 тис.8 місяців тому
Sigismond Thalberg - Grand Caprice on Bellini's Opera 'La sonnambula', Op. 46
I've been raised to really appreciate the music from that genre.
1:06
Charming piece! Would you be so kind and advise me where to look for the score?
digitalcollections.nypl.org/items/a50d693a-1d15-bbef-e040-e00a18063e67
The transcription is great, although the Busoni like bass doubling is a minus. If you want to see masterful transcription of a Bach violin work to piano, check this out. see the incredible development of the left hand harmony. ua-cam.com/video/2cYQDR8fgFg/v-deo.htmlsi=hwN6VDaIbeZ1umea
Very beautiful. I had never heard of Wallace before. I've subscribed!!
How to add a fugue after this piece?
brahms🥹
Why? It was necessary to turn Vivaldi into Rachmaninoff?
Amazing! (altho a bit much)
Jean qui rit basically started my Alkan listening streak for up to six months.
What a great ending too
O inicio parece o hino nacional do brasil!🇧🇷
Holy, what sound
1:24
I’m aching that there’s no video of this
5:40 drunk Beethoven🤢
an insane cadenza🎉
Aweful and nothing like the organ version nor vivaldi's original. It's just pounding.
Disagree.
absolutely sublime composition
Not my favorite cadenza, not very inspired in the spiritual sense. Dazzling technique though
you must be an alien to be able to play this piece
Gottschalk was of creole descent, being partly black through his grandmother, or so I've read - which might explain his views towards the abolition.
Wow that sounds amazing!! Do you have the notes for this?
Grandiose ❤
È possibile avere, anche a pagamento, la partitura di questa magnifica trascrizione?
Gorgeous. Full of real motion.
ウェーバーと初期のアルカンを混ぜた様な作風
Yo lingling performed this no joke check desc
There’s a completely different piece with the same exact name and composer and arranger, yet, I can’t find it at all. ua-cam.com/video/Py4cIBs_NFQ/v-deo.htmlsi=IAqrJ9T22gvw4OV3
arranged by chris lobdell www.sheetmusicnow.com/products/ave-maria-p276696
Yo! This was performed by my boy, Yi Chung Huang!
Elegy to R. Schumann?
I bought the CD when it was comparatively new. Still one of my favorite Alkan pieces and Hamelin performances. One of a kind. Untouchable.
19:19 woah
Nice.
Very organ like. The piano can’t begin to issue forth the power of a pipe organ but this arrangement comes as close as anything could.
ぶらぼー
This is not neo-Baroque, and it is played without style or articulation, not really in tempo, either. This is a tricky piece, in that without the right approach, you cannot bring out its substance.
I can't understand how someone who plays like this can be considered a major figure and have major positions. There are just no musical standards when it comes to the harp.
Can someone recommend some soft/chill Lydian pieces
Pls can someone make a Synthesia video out of this
Nice.
Is it really playable..?
I played this on my own
Simply piano second lesson 😂
If only more cadenzas used a similar idea from another piece like this - Beethoven would 100% approve as he does this himself within different movements of the same work. I want more!
Bro, Alkan is a mephisto. U know what I mean.
Arruinaste una hermosa obra...
No
Не слишком ли медленный темп???
I still don't understand why Alkan was so underrated and very much less known than others
Because he is just a mephisto: enhanced edition
First Mozart and now chopin 😆
Woefully uninspired. I don't think that sort of arrangement works without the harmonic density of late 19th/early 20th century languages. Turning an allegro into an andante is bad enough in itself, offering so little inventivity in the musical writing as compensation is inexcusable. Same-era "monstrosities" such as Busoni's Fantasia Contrappuntistica at least sound and feel like a real composer's work, not a (mediocre) arranger's. Thank you for the video, though.
カデンツァはいただけませんでした。オーケストラ部分の編曲は慎重に行わなければならならず。🎼の上のF音より↑は慎重に使わなければなりません。モーツァルト時代弦の音以外でFis以上の音はほとんど使われてないはずです、
È più bello dell'originale . Complimenti a chi l'ha trascritto per piano, e a chi lo sta suonando così bene .