I'm super happy that you present Stenhammar. Especially this sublime piece that has been with me for 40 years now. To me it's a mystery that we don't hear Stenhammar's d minor concerto played more often. We don't even hear it often in Sweden. Have you ever played on the instrument at Waldemarsudde? It was often used by Stenhammar when he visited Prince Eugen.
Tack! I agree. I heard the D minor concerto in Gothenburg a few years ago actually! And I know Martin Sturfält has played it in recent times also (and in Japan!). I have not played at Waldemarsudde but I have seen collegues playing there in my facebook feed.
@@SonataSecrets, Martin Sturfält seems to be the only one playing it. I heard him play it in Berwaldhallen 2-3 years ago. You need to visit Waldemarsudde! 🙂
@@SonataSecrets I can relate. I've tried to record videos with both voice and piano and the piano basically drowns out my voice in the recording, even when I'm playing quietly.
Hello ! I'm a audience from China. I am now a college student working on a project on the three Fantasia op.11 by Wilhelm Steinhammer. I saw your video on Steinhammer.Since there is almost no research data in China, could you recommend some information about Wilheim Steinhammer? It is even better if it can be read directly on the web.
Can you give any tips on how to master the left hand? How do you get it flowing like that when you "switch" from an interval to an arpeggio (mainly theme A)
Well, the interval is the starting point, and then the arpeggio follows in one motion. I think of the interval as just one node in the arpeggio. Hard tp explain without demonstrating...
I haven't heard Stenhammar before, but, he sounds similar in several ways to 3 composers I know well, those being Liszt, Shostakovitch, and Beethoven. This is what I hear in each of the composers: Stenhammar: Melody determines the modulation and harmony in general, it doesn't really feel like the harmony is the base in anything but register, Very melodic, even in powerful moments Liszt: Powerful moments sometimes drown out the melody in their turmoil, Melody can be hard to see amongst all the octaves and larger intervals, Right hand and left hand play equal roles in accompaniment and melody, Lots of direct distant key modulations(such as B minor -> C minor), more sheer virtuosity than motivic development Shostakovitch: Very much similar to Beethoven, especially in powerful moments, though his piano music tends to not be so octave heavy as Beethoven's Beethoven: Can be as lyrical and melodic as Mozart when he wants to be, Tons of octaves, especially in the left hand, even at quiet dynamics, Melody often boils down to 1-3 motives used over and over, Multiple themes based on a single motive, Harmony clearly being the base, determining the melody to an extent, Diminished 7th modulations where it isn't quite clear where the old key stops and the new key begins, Sudden change in dynamics, especially piano to forte and vice versa, Frequent use of pedal points, even when doing a creschendo, Frequently ends an Allegro with a final Presto moment
I don't hear so much Shostakovich in Stenhammar, but definately the other two. And as I say in the video, I hear a lot of Brahms, take for example his Ballade Op 118 no 3, or Rhapsody Op 119 no 4. They're similar in the way the harmony is spread across the piano specifically, and treading in that harmonic mediant terrain.
Thanks Joram! Yes, I will do a batch of Brahms, probably after Christmas. He's actually in my top 5 composers, but I've just been too busy to cover other ones...
Thank you for introducing this piece and the composer to me! The theme had me hooked even from the first time you played it.
This is an amazing piece and a composer that I'm not familiar with at all. Thanks for this!
I love this piece
It’s first time I hear this composer (I think that he’s not popular here in Brasil). Thanks a lot, it’s poweful music ❤❤
I'm super happy that you present Stenhammar. Especially this sublime piece that has been with me for 40 years now.
To me it's a mystery that we don't hear Stenhammar's d minor concerto played more often. We don't even hear it often in Sweden.
Have you ever played on the instrument at Waldemarsudde? It was often used by Stenhammar when he visited Prince Eugen.
Tack! I agree. I heard the D minor concerto in Gothenburg a few years ago actually! And I know Martin Sturfält has played it in recent times also (and in Japan!). I have not played at Waldemarsudde but I have seen collegues playing there in my facebook feed.
@@SonataSecrets, Martin Sturfält seems to be the only one playing it. I heard him play it in Berwaldhallen 2-3 years ago.
You need to visit Waldemarsudde! 🙂
Yeah, that would be great to do some time in the future!
I really loved that. I havent heard of it before.
You are awesome teacher 👌👍
Excellent tutorial - what a great channel! (Hilsen fra København....)
Tack så mycket! :)
Very cool
Your mic is much better these days! Much easier to hear what you are saying.
Yes, I've got new mics now :D (It's not the easiest setup with voice and piano though, still learning how to mix it properly...)
@@SonataSecrets I can relate. I've tried to record videos with both voice and piano and the piano basically drowns out my voice in the recording, even when I'm playing quietly.
Hello ! I'm a audience from China. I am now a college student working on a project on the three Fantasia op.11 by Wilhelm Steinhammer. I saw your video on Steinhammer.Since there is almost no research data in China, could you recommend some information about Wilheim Steinhammer? It is even better if it can be read directly on the web.
Can you give any tips on how to master the left hand? How do you get it flowing like that when you "switch" from an interval to an arpeggio (mainly theme A)
Well, the interval is the starting point, and then the arpeggio follows in one motion. I think of the interval as just one node in the arpeggio. Hard tp explain without demonstrating...
I haven't heard Stenhammar before, but, he sounds similar in several ways to 3 composers I know well, those being Liszt, Shostakovitch, and Beethoven. This is what I hear in each of the composers:
Stenhammar: Melody determines the modulation and harmony in general, it doesn't really feel like the harmony is the base in anything but register, Very melodic, even in powerful moments
Liszt: Powerful moments sometimes drown out the melody in their turmoil, Melody can be hard to see amongst all the octaves and larger intervals, Right hand and left hand play equal roles in accompaniment and melody, Lots of direct distant key modulations(such as B minor -> C minor), more sheer virtuosity than motivic development
Shostakovitch: Very much similar to Beethoven, especially in powerful moments, though his piano music tends to not be so octave heavy as Beethoven's
Beethoven: Can be as lyrical and melodic as Mozart when he wants to be, Tons of octaves, especially in the left hand, even at quiet dynamics, Melody often boils down to 1-3 motives used over and over, Multiple themes based on a single motive, Harmony clearly being the base, determining the melody to an extent, Diminished 7th modulations where it isn't quite clear where the old key stops and the new key begins, Sudden change in dynamics, especially piano to forte and vice versa, Frequent use of pedal points, even when doing a creschendo, Frequently ends an Allegro with a final Presto moment
I don't hear so much Shostakovich in Stenhammar, but definately the other two. And as I say in the video, I hear a lot of Brahms, take for example his Ballade Op 118 no 3, or Rhapsody Op 119 no 4. They're similar in the way the harmony is spread across the piano specifically, and treading in that harmonic mediant terrain.
Beautiful piece, and amazing video! You have a new fan! Would you maybe do some Brahms in the future? - Joram
Thanks Joram! Yes, I will do a batch of Brahms, probably after Christmas. He's actually in my top 5 composers, but I've just been too busy to cover other ones...