Such a satisfying encounter, Respighi's melodic and rhytmic sensitivity coming across with his master in St. Petersburg. Although it is a 1902 opus, I can feel his love to the Russian tradition.
@@steveegallo3384 Respighi went to St. Petersburg in the very year of this magnificent piece 1902. He learned from Rimsky-Korsakow, revered master of orchestration. The touch of RK can be recognized throughout Respighi's whole life and oeuvre. [Greetings from Pécs!]
@@csababekesi-marton2393 -- I never knew....Thank you! When I think of the Great Orchestrators -- Berlioz, Ravel, Rimsky, Respighi (I'd even add Tschaikowsky and Rakhmaninov) -- I didn't discern the Rimsky-Respighi connexion....BRAVO to you and to Pécs!
Wunderschöne Interpretation dieses kompakten und fein komponierten Quintetts im veränderlchen Tempo mit klarem Klang des technisch perfekten Klaviers sowie seidigen doch zugleich gut phrasierten Tönen vierer ebenso technisch perfekten Streichinstrumente. Der zweite Satz klingt echt schön und auch lyrisch. Die intime und perfekt entsprechende Miteinanderwirkung zwischen den fünf Virtuosen ist wahrlich ergreifend. Einfach wundervoll!
hi @Bartje Bartmans! Is there any chance you have the full score (PDF) to this work that you could send? That would be very helpul... Let me know, thanks!
Respighi was a student of Martucci (and Rimsky). Martucci promoted Wagner and Brahms in Italy. So yes Brahms, but even more so Martucci and to a certain extent Busoni.
@@bartjebartmans this makes a lot of sense, but similarities to specific Brahms pieces (not just a general influence) are clear, the first piano quartet or the first piano quintet, for example. The rhythmic instability is also a dead-on expression of Brahms' technique. There's also the fact that he was an academic model for composers for a couple of generations. Some of the minor ones never broke free of the influence--guys like Arthur Foote. But the Martucci connection is totally cool.
@@nancysikes and Brahms got it from Mozart. 1. Inequality of phrase-length 2. Co-ordination of heterogeneous characters to form a thematic unity. 3. Deviation form even-number construction in the theme and its component parts. 4. The art of forming subsidiary ideas. 5. The art of introduction and transition (Schoenberg, 1975) This goes straight to the heart of those aspects in Mozart's music - the muliplicity of ideas and the dexterity of their deployment and transformation - left Mozart's contemporaries in a confused and baffled awe.
H.C. Robbins Landon's Mozart Compendium pages 399/401: Cosi fan tutte is full of motivic cross-references which link the different parts of its span, but it remained very little regarded for nearly a century after its completion, till Mahler and Richard Strauss re-evaluated the score. Schonberg wrote: From Brahms [I learned] .... much of what I had unconsciously absorbed from Mozart.
![Béla Bartók - Piano Quintet, Sz23 (1904) [Score-Video]](http://i.ytimg.com/vi/gFoa5nFA--s/mqdefault.jpg)
![Béla Bartók - Piano Quintet, Sz23 (1904) [Score-Video]](/img/tr.png)
Splendid ! What a surprising (surprising for me in any case) magnificent piano quintet from Respighi. Thank you very much.
Respighi is so underrated 😭😭😭
No he definitely isn’t
Perhaps
One of THE most underrated! Definitely.
by whom??
@@mikepen918 *by who
Such a satisfying encounter, Respighi's melodic and rhytmic sensitivity coming across with his master in St. Petersburg. Although it is a 1902 opus, I can feel his love to the Russian tradition.
Csaba Békési-Marton -- Who was Respighi's "master of St. Petersburg"? [Regards from San Agustinillo!]
@@steveegallo3384 Respighi went to St. Petersburg in the very year of this magnificent piece 1902. He learned from Rimsky-Korsakow, revered master of orchestration. The touch of RK can be recognized throughout Respighi's whole life and oeuvre. [Greetings from Pécs!]
@TJ Joyce -- Thanks to your 'pro bono' work, counselor, @Csaba will probably get only 'time served' and a mild reprimand. Court Adjourned!
@@csababekesi-marton2393 -- I never knew....Thank you! When I think of the Great Orchestrators -- Berlioz, Ravel, Rimsky, Respighi (I'd even add Tschaikowsky and Rakhmaninov) -- I didn't discern the Rimsky-Respighi connexion....BRAVO to you and to Pécs!
@TJ Joyce You are absolutely right. Thank you for the correction.
Angelic rage, that's how I felt this strange queentête. Thank you for upload.
Allegro certainly reminds as if am passing through BRAHMS piano quintet.Great . Marvelous.Thanks with regards for uploading this masterpiece.
Wunderschöne Interpretation dieses kompakten und fein komponierten Quintetts im veränderlchen Tempo mit klarem Klang des technisch perfekten Klaviers sowie seidigen doch zugleich gut phrasierten Tönen vierer ebenso technisch perfekten Streichinstrumente. Der zweite Satz klingt echt schön und auch lyrisch. Die intime und perfekt entsprechende Miteinanderwirkung zwischen den fünf Virtuosen ist wahrlich ergreifend. Einfach wundervoll!
Absolutely delightful. I never knew this piece existed.
Brahms is everywhere all around!
New one for me. I like it! ⚡️👍🏻⚡️
WONDERFUL ~ thank you !!!
really nice... bravo!
2:57 - 2:58 that’s a mini-quote from the first movement Brahms’ Quintet, I don’t know if it’s intentional but it immediately drew my attention.
it occurs again at 8.17
my favourite
hi @Bartje Bartmans! Is there any chance you have the full score (PDF) to this work that you could send? That would be very helpul... Let me know, thanks!
I don't have the pdf anymore. Give me your email I can forward it to somebody who possibly can help.
Marvelous!
Beautiful
Awesome ❤️
Very good music, never mind the Russian influence, I could hear Brahms in the first movement especially..
Definitely what me felt like ,so moving masterpiece certainly having traces of BRAHMS
Respighi meets Brahms (not Rimsky-Korsakow).
Brahms!
Respighi was a student of Martucci (and Rimsky). Martucci promoted Wagner and Brahms in Italy. So yes Brahms, but even more so Martucci and to a certain extent Busoni.
@@bartjebartmans this makes a lot of sense, but similarities to specific Brahms pieces (not just a general influence) are clear, the first piano quartet or the first piano quintet, for example. The rhythmic instability is also a dead-on expression of Brahms' technique. There's also the fact that he was an academic model for composers for a couple of generations. Some of the minor ones never broke free of the influence--guys like Arthur Foote. But the Martucci connection is totally cool.
@@nancysikes and Brahms got it from Mozart.
1. Inequality of phrase-length
2. Co-ordination of heterogeneous characters to form a thematic unity.
3. Deviation form even-number construction in the theme and its component parts.
4. The art of forming subsidiary ideas.
5. The art of introduction and transition
(Schoenberg, 1975)
This goes straight to the heart of those aspects in Mozart's music - the muliplicity of ideas and the dexterity of their deployment and transformation - left Mozart's contemporaries in a confused and baffled awe.
@@bartjebartmans where can one read more about number 2 in your list?
H.C. Robbins Landon's Mozart Compendium pages 399/401: Cosi fan tutte is full of motivic cross-references which link the different parts of its span, but it remained very little regarded for nearly a century after its completion, till Mahler and Richard Strauss re-evaluated the score. Schonberg wrote: From Brahms [I learned] .... much of what I had unconsciously absorbed from Mozart.
Is this Piano Quintet unfinished?
gute Sendung