Slightly unrelated but whats the most beautiful piece youve heard this month or even this year And then whats the most relentless, driving piece youve heard this month
I love how tremolos only appear in The Serpent's Kiss as it elicits the image of a rattlesnake rattling. Same with the clicking, it makes me think of how snakes stick their tongue out even if they dont make a clicking noise
Old Adam Section 1, D-flat major 0:00 strain 1 (ends in B-flat minor), first repeat 0:15 strain 1, second repeat 0:29 strain 2 (ends in D-flat major) 0:48 strain 1, modified 1:02 strain 2 Section 2 (trio), G-flat major 1:20 strain 3 1:36 strain 3, modified Section 3, G-flat major 1:51 strains 4 and 5, first repeat 2:21 strains 4 and 5, second repeat The Eternal Feminine Section 1, A-flat major 2:55 strain 1, first repeat 3:31 strain 1, second repeat 4:08 strain 2, first repeat Section 2, D-flat major 5:57 introduction 6:06 strain 3, first repeat 6:25 foreshadowing of The Serpent’s Kiss 6:38 strain 3, second repeat Section 3, D-flat major 7:12 introduction - uses tune from strain 3 7:18 strain 2, modified and extended The Serpent’s Kiss Section 1, D minor - exposition 8:08 strain 1, first repeat 8:17 strain 1, second repeat 8:26 strains 2 and 1, first repeat 8:44 strains 2 and 1, second repeat 9:03 strain 3 9:12 strain 3, upgraded 9:21 strain 4 - uses tune from strain 3 of The Eternal Feminine 9:35 ending of section 1/introduction of section 2 Section 2 - development 9:39 part 1, D minor - uses material from strains 1 and 3 10:06 part 2 - modulating bridge 10:40 part 3, B minor - uses tune from strain 4 (originally from strain 3 of The Eternal Feminine) 11:09 callback to Old Adam 11:23 part 4 (stoptime), D major, first repeat - piano tapping 11:45 part 4 (stoptime), D major, second repeat and ending of section 2 - tongue clicking Section 3, D minor - recapitulation 12:20 strain 1 12:29 strain 2, downgraded 12:37 strain 1 Section 4, D minor - coda 12:49 part 1 13:19 part 2, first repeat - uses material from strains 3 and 1 13:28 part 2, second repeat 13:37 part 3 - uses tune from strain 4 (originally from strain 3 of The Eternal Feminine) 13:48 scary chord, followed by callback to strain 1 of The Eternal Feminine 14:00 final outburst Through Eden’s Gates Section 1, C major 14:07 introduction 14:14 strain 1 14:52 strain 2, first repeat 15:27 strain 2, second repeat 16:03 strain 1 Section 2 (trio), F major 16:43 strain 3 16:56 subtle callback to that tune from strain 3 of The Eternal Feminine and strain 4 of The Serpent’s Kiss 17:17 strain 4 Section 3, C major 17:53 introduction, modified 18:00 strain 1, modified
This comment gave me a different outlook on this piece. I already loved it, don't get me wrong. -- but I didn't realize that themes from Old Adam and The Eternal Feminine were used in Serpents Kiss. Its so obvious now, but had failed to pick up on it before. So.. Thank you!! I feel like I have a more in depth view of this piece.
Classical pianists are always too stiff when they swing - I get that it could've maybe been scored more accurately (given that it's for classical performance) but, still... Otherwise, very well played --- lovely dynamics and clarity!
@@DavidArdittiComposer These are "rags" - essentially the earliest jazz stylings. The left-hand syncopation says it all: it was meant to be swung i.e. long/short 'oom-pa' rhythm. It's something even jazz pianists struggle to truly master, as there are different 'feels' associated. I was just saying that classical pianists tend to be too stiff and end up spoiling the swing, as is the case with this rendition. Other than that, I also think it was well played in every other respect.
@@mitchellwooldridge5118 I am aware of what ragtime is and of what swing is in jazz. Ragtime (certainly the classic ragtime of the pre-1914 era) should not generally be swung, but played exactly as written (at least to judge from the evidence of recordings and piano rolls of the era). Is what you are criticising here the execution of the dotted semiquaver followed by demisemiquaver groups in no 1? This player has played them pretty 'sharp', whereas I agree others might have relaxed them into a long-short triplet pattern. This being quite 'modern' music, this may have been what the composer intended, but I am not sure. Did the composer ever record his pieces himself? Then we could know what he intended. There's no note on the score saying he does not intend the exact rhythms notated.
@@DavidArdittiComposer Look, my opinion is subjective - so, there is a fair amount of bias and subjectivity to my statement. I think the question of whether or not ragtime should be played straight or swung is not as cut and dry as you'd suggest. Its origins derive from African influence into western classical music stylings - very much about the 'dancing'. It's difficult to quantify how the swing doesn't quite work (for me). I'm not sure if it is do with the rhythmic groupings - the way they're written - although certainly a more triplet-oriented approach would probably fix the problem. IMO, those 4-note octave pickups every few bars in No. 1 are supposed to create more of a fluid stride-like effect in the way the split and connect the syncopated parts but they end up breaking the rhythmic flow, the way he plays them. Anyway, I didn't mean to offend anyone's sensibilities. I like the discourse - especially where jazz meets classical music is concerned. On your point of it being a modern piece - Bolcom wrote some amazingly zany pieces. Marc-Andre Hamelin's interpretations swing beautifully with the right amount of restraint and grace - worth checking out!
@@mitchellwooldridge5118 I agree that there are fine graduations in this. There's a good video on Adam Neely's channel where he answers the question 'How, exactly, do musicians swing?', using the latest research on what actually happens. Listening to No. 1 here again I agree that the way the LH is played doesn't seen quite right, and I think this is because the main beat following the dotted figure is fractionally delayed by the very diligent attempt to play the dot exactly, where it would have been better to err the other way and bring the beat forward. I am reluctant to be critical though as I couldn't do so well. I haven't heard much Bolcom, so I am grateful for your recommendation to listen to Hamelin's recordings.
There's no way the rhythm and piano section on the 3rd rag is only performed by one person. You don't have enough time between the keys and percussion. NVM I just went to see a live performance of this pianist and he is super fast and fluid. Very impressive. Good pieces!
I was actually thinking the 3rd rag looked very fun to try and play until that part. Absolute headache and I don't think I'd be able to make it sound as good...
@@therealtruetwelfth798 He sure is as good as they come. His sound control and dynamics are superb. I actually thought this might be a concert pianist even though I've never heard of him... Must be fun having a friend that absolutely "destroys" the piano 😂
Slightly unrelated but whats the most beautiful piece youve heard this month or even this year And then whats the most relentless, driving piece youve heard this month
The serpent's kiss really slaps ! Let it not be more popular so that way it still stays a secret underrated gem
100% AGREE
it is really interesting the texture, the harmony, the rhythm. Sounds fresh!
yes cool part. heel stomp and tongue sounds? how is that kind of sound made stomping heel :o
Slightly unrelated but whats the most beautiful piece youve heard this month or even this year
And then whats the most relentless, driving piece youve heard this month
@@supasayajinsongoku4464 has to go to Medtner's 3rd piano concerto! Astoundingly profound and dramatic.
Endlessly inventive and true to the spirit of later ragtime
'No heel stomps', 'perhaps a little faster', Now! let go!'
Fantastic!
Chuckled at "loco (or stay up if you like)"!
I love how tremolos only appear in The Serpent's Kiss as it elicits the image of a rattlesnake rattling. Same with the clicking, it makes me think of how snakes stick their tongue out even if they dont make a clicking noise
Pianist has a great control of the dynamics. Bolcom’ s publishers are protective of his work, so if you like this, I would DL it.
What an amazing set of pieces. I'm definitely going to learn it.
Nice, the third one is probably my favourite.
lol
Love the *stop chorus* especially 🎉
And Let's Go 😂
i remember seeing "old adam" in one of the piano books i played out of in middle school
fun times
Old Adam
Section 1, D-flat major
0:00 strain 1 (ends in B-flat minor), first repeat
0:15 strain 1, second repeat
0:29 strain 2 (ends in D-flat major)
0:48 strain 1, modified
1:02 strain 2
Section 2 (trio), G-flat major
1:20 strain 3
1:36 strain 3, modified
Section 3, G-flat major
1:51 strains 4 and 5, first repeat
2:21 strains 4 and 5, second repeat
The Eternal Feminine
Section 1, A-flat major
2:55 strain 1, first repeat
3:31 strain 1, second repeat
4:08 strain 2, first repeat
Section 2, D-flat major
5:57 introduction
6:06 strain 3, first repeat
6:25 foreshadowing of The Serpent’s Kiss
6:38 strain 3, second repeat
Section 3, D-flat major
7:12 introduction - uses tune from strain 3
7:18 strain 2, modified and extended
The Serpent’s Kiss
Section 1, D minor - exposition
8:08 strain 1, first repeat
8:17 strain 1, second repeat
8:26 strains 2 and 1, first repeat
8:44 strains 2 and 1, second repeat
9:03 strain 3
9:12 strain 3, upgraded
9:21 strain 4 - uses tune from strain 3 of The Eternal Feminine
9:35 ending of section 1/introduction of section 2
Section 2 - development
9:39 part 1, D minor - uses material from strains 1 and 3
10:06 part 2 - modulating bridge
10:40 part 3, B minor - uses tune from strain 4 (originally from strain 3 of The Eternal Feminine)
11:09 callback to Old Adam
11:23 part 4 (stoptime), D major, first repeat - piano tapping
11:45 part 4 (stoptime), D major, second repeat and ending of section 2 - tongue clicking
Section 3, D minor - recapitulation
12:20 strain 1
12:29 strain 2, downgraded
12:37 strain 1
Section 4, D minor - coda
12:49 part 1
13:19 part 2, first repeat - uses material from strains 3 and 1
13:28 part 2, second repeat
13:37 part 3 - uses tune from strain 4 (originally from strain 3 of The Eternal Feminine)
13:48 scary chord, followed by callback to strain 1 of The Eternal Feminine
14:00 final outburst
Through Eden’s Gates
Section 1, C major
14:07 introduction
14:14 strain 1
14:52 strain 2, first repeat
15:27 strain 2, second repeat
16:03 strain 1
Section 2 (trio), F major
16:43 strain 3
16:56 subtle callback to that tune from strain 3 of The Eternal Feminine and strain 4 of The Serpent’s Kiss
17:17 strain 4
Section 3, C major
17:53 introduction, modified
18:00 strain 1, modified
This comment gave me a different outlook on this piece. I already loved it, don't get me wrong. -- but I didn't realize that themes from Old Adam and The Eternal Feminine were used in Serpents Kiss. Its so obvious now, but had failed to pick up on it before. So.. Thank you!! I feel like I have a more in depth view of this piece.
Is there a difference between a strain and a phrase? Or a section?
At 9:21, there's a quote from "Gee, Officer Krupke" (Bernstein's "West Side Story").
cool pieces. well played!
What a nice song min seok!
Well this is awesome
Happy and fun!!
The left hand of the first one has similarities to Liszt's TE 7
good
Classical pianists are always too stiff when they swing - I get that it could've maybe been scored more accurately (given that it's for classical performance) but, still... Otherwise, very well played --- lovely dynamics and clarity!
Maybe it’s not meant to be a ‘swing’ piece? I though it was played beautifully.
@@DavidArdittiComposer These are "rags" - essentially the earliest jazz stylings. The left-hand syncopation says it all: it was meant to be swung i.e. long/short 'oom-pa' rhythm.
It's something even jazz pianists struggle to truly master, as there are different 'feels' associated. I was just saying that classical pianists tend to be too stiff and end up spoiling the swing, as is the case with this rendition.
Other than that, I also think it was well played in every other respect.
@@mitchellwooldridge5118 I am aware of what ragtime is and of what swing is in jazz. Ragtime (certainly the classic ragtime of the pre-1914 era) should not generally be swung, but played exactly as written (at least to judge from the evidence of recordings and piano rolls of the era). Is what you are criticising here the execution of the dotted semiquaver followed by demisemiquaver groups in no 1? This player has played them pretty 'sharp', whereas I agree others might have relaxed them into a long-short triplet pattern. This being quite 'modern' music, this may have been what the composer intended, but I am not sure. Did the composer ever record his pieces himself? Then we could know what he intended. There's no note on the score saying he does not intend the exact rhythms notated.
@@DavidArdittiComposer Look, my opinion is subjective - so, there is a fair amount of bias and subjectivity to my statement. I think the question of whether or not ragtime should be played straight or swung is not as cut and dry as you'd suggest. Its origins derive from African influence into western classical music stylings - very much about the 'dancing'.
It's difficult to quantify how the swing doesn't quite work (for me). I'm not sure if it is do with the rhythmic groupings - the way they're written - although certainly a more triplet-oriented approach would probably fix the problem. IMO, those 4-note octave pickups every few bars in No. 1 are supposed to create more of a fluid stride-like effect in the way the split and connect the syncopated parts but they end up breaking the rhythmic flow, the way he plays them.
Anyway, I didn't mean to offend anyone's sensibilities. I like the discourse - especially where jazz meets classical music is concerned. On your point of it being a modern piece - Bolcom wrote some amazingly zany pieces. Marc-Andre Hamelin's interpretations swing beautifully with the right amount of restraint and grace - worth checking out!
@@mitchellwooldridge5118 I agree that there are fine graduations in this. There's a good video on Adam Neely's channel where he answers the question 'How, exactly, do musicians swing?', using the latest research on what actually happens.
Listening to No. 1 here again I agree that the way the LH is played doesn't seen quite right, and I think this is because the main beat following the dotted figure is fractionally delayed by the very diligent attempt to play the dot exactly, where it would have been better to err the other way and bring the beat forward. I am reluctant to be critical though as I couldn't do so well.
I haven't heard much Bolcom, so I am grateful for your recommendation to listen to Hamelin's recordings.
Wow
What a novel idea
Great video! Now, if you could find a good recording of the two piano version and make a score video of that, it would be even better…
banger
this song reminds me of graceful ghost rag…
any chance to hear that song you play?
heads up, this sheet music and recording have been copyright striked a good number of times in the past.
The third one sounds just like Prokofiev's Toccata.
4:02 pianist chooses to omit RH F natural. interesting...wonder if Bolcom made a typo!
he did play it
Starting 12:48 is the best
It's like a little fughetta haha
Is this real?
Yes.
le
notabl
There's no way the rhythm and piano section on the 3rd rag is only performed by one person. You don't have enough time between the keys and percussion.
NVM I just went to see a live performance of this pianist and he is super fast and fluid. Very impressive.
Good pieces!
I was actually thinking the 3rd rag looked very fun to try and play until that part. Absolute headache and I don't think I'd be able to make it sound as good...
It actually is, this sheet music is a solo arrangement of the piece. I’m playing it now
I’m friends with him and, as a pianist myself, I can tell you he’s as good as they come
@@therealtruetwelfth798 He sure is as good as they come. His sound control and dynamics are superb. I actually thought this might be a concert pianist even though I've never heard of him... Must be fun having a friend that absolutely "destroys" the piano 😂
Slightly unrelated but whats the most beautiful piece youve heard this month or even this year
And then whats the most relentless, driving piece youve heard this month
good