Merci, c'est la mission de cette chaîne. Si par hasard vous êtes à Paris, je serais curieux de savoir s'il existe une dédicace à ce compositeur à l'adresse où il habitait lorsqu'il l'a écrit et qui figure sur la première page de son deuxième concerto. Je ne sais cependant pas s'il était suffisamment connu pour de tels honneurs.
I hope your great efforts will inspire concert performers and orchestras to branch out from the endless repetition of the concert repertoire and give some of these delightful works an airing. I know they struggle against audience unfamiliarity but there's no reason why they can't insert some of these works into concerts with more renowned works - after all, they do it all the time with modern works/composers, which often have MUCH less audience appeal and charm than these older works. But it takes efforts like yours to help resuscitate interest in these neglected works. Thoroughly enjoying your efforts. Thank you.
Yes, for me the ideal concert lineup would be a mix of all three - a famous piece by Mozart, Beethoven, Chopin, Brahms, Rachmaninov, etc. to draw the crowds, something modern to give new composers exposure, and something long forgotten like the works I've been featuring. It seems that orchestras, much like radio stations, have long succumbed to the "Top 40" mentality that began with pop music, and sadly now exists with classical as well. Side note, I just noticed your name - are you by any chance related to a composer named Christoph(e) Beck? Either one - there's a modern Canadian composer Christophe Beck who is mostly known for film scores, notably several prominent Disney properties) and German composer Christoph Friedrich Beck (1758-1832) whose concerto was actually the first one I transcribed on this channel. I was trying to figure out if those two were related.
@@Darrel_Hoffman No, sadly not related to either of them. I only recently became aware of the earlier Christoph through your version of one of his piano concertos. There is a bit more available from Franz Ignaz Beck, also a classical period composer, but I haven't found much of any great excitement there, that I could see. Yes, I agree that it's nice that modern composers get some sort of airing, but, on the whole, I don't think they really care too much about what the general audience thinks - they long ago crept into their own little dilettante world - so as long as the new style works aren't too preponderant in any concert program, it's fine. Expanding the MASSIVE range of older works, which certainly DO (or COULD) have audience appeal, would be a greater service to music, I think, because I do sense some degree of boredom among concert goers where I am, and there's just too much wonderful music which is badly neglected.
I agree that a lot of modern stuff sounds like someone just recorded their cat running up and down the keyboard, but there definitely are some modern composers who write stuff that is also pleasant to listen to. Most of the really good ones seem to end up writing film scores because that's where the money is these days for that style of music. There's still a lot of good stuff being written in classical/romantic style that never makes it to the concert halls. Many of them self-publish here on UA-cam, or Bandcamp, SoundCloud and the like. Of course it's usually simulated performances like mine because it's hard to get a real orchestra interested in lesser-known composers, whether old or new, for reasons stated above.
I am relatively certain that Nicolay would've heard the works of Mozart, so it's quite likely he was influenced by them. If nothing else, they were both familiar with J.C. Bach, who wrote the sonatas on which Mozart's earliest concertos were based (the ones you have to look for - as much as Mozart's middle and later concertos are beloved, hardly anyone seems to play the first 5 all that much).
Thanks, more to come. Not from Nicolay - these two are the only concertos he wrote that I know of. But my next few releases are from around the same time period.
That would be because it is. See disclaimer in the description. The purpose of this channel is to create simulated performances of never-recorded works, in the hopes of maybe inspiring a real orchestra to perform and record them. Obviously a real performance would be far superior, but this is better than nothing at all.
Possibly? They are both Austrian, and Nicolay was born 14 years before Mozart, though it's possible they began composing around the same time since Mozart famously started very young. (Though Mozart's early concertos were not entirely his own - he merely orchestrated works by J.C. Bach and others. Still impressive for his age, of course.) However, Nicolay was living in Paris for much of his musical career. I'm not sure how well travelled his works were, since he's obviously much less well-known.
Thank you very much for rescuing this music from oblivion. A wonderful composition of elegance and beauty. Blessed be The Composer!
Thanks for listening, more to come.
Félicitations. Ce doit être une grande joie de raviver l'oeuvre d'un compositeur oublié. Bonne continuation
Merci, c'est la mission de cette chaîne. Si par hasard vous êtes à Paris, je serais curieux de savoir s'il existe une dédicace à ce compositeur à l'adresse où il habitait lorsqu'il l'a écrit et qui figure sur la première page de son deuxième concerto. Je ne sais cependant pas s'il était suffisamment connu pour de tels honneurs.
I hope your great efforts will inspire concert performers and orchestras to branch out from the endless repetition of the concert repertoire and give some of these delightful works an airing. I know they struggle against audience unfamiliarity but there's no reason why they can't insert some of these works into concerts with more renowned works - after all, they do it all the time with modern works/composers, which often have MUCH less audience appeal and charm than these older works. But it takes efforts like yours to help resuscitate interest in these neglected works.
Thoroughly enjoying your efforts. Thank you.
Yes, for me the ideal concert lineup would be a mix of all three - a famous piece by Mozart, Beethoven, Chopin, Brahms, Rachmaninov, etc. to draw the crowds, something modern to give new composers exposure, and something long forgotten like the works I've been featuring. It seems that orchestras, much like radio stations, have long succumbed to the "Top 40" mentality that began with pop music, and sadly now exists with classical as well.
Side note, I just noticed your name - are you by any chance related to a composer named Christoph(e) Beck? Either one - there's a modern Canadian composer Christophe Beck who is mostly known for film scores, notably several prominent Disney properties) and German composer Christoph Friedrich Beck (1758-1832) whose concerto was actually the first one I transcribed on this channel. I was trying to figure out if those two were related.
@@Darrel_Hoffman No, sadly not related to either of them. I only recently became aware of the earlier Christoph through your version of one of his piano concertos. There is a bit more available from Franz Ignaz Beck, also a classical period composer, but I haven't found much of any great excitement there, that I could see.
Yes, I agree that it's nice that modern composers get some sort of airing, but, on the whole, I don't think they really care too much about what the general audience thinks - they long ago crept into their own little dilettante world - so as long as the new style works aren't too preponderant in any concert program, it's fine. Expanding the MASSIVE range of older works, which certainly DO (or COULD) have audience appeal, would be a greater service to music, I think, because I do sense some degree of boredom among concert goers where I am, and there's just too much wonderful music which is badly neglected.
I agree that a lot of modern stuff sounds like someone just recorded their cat running up and down the keyboard, but there definitely are some modern composers who write stuff that is also pleasant to listen to. Most of the really good ones seem to end up writing film scores because that's where the money is these days for that style of music.
There's still a lot of good stuff being written in classical/romantic style that never makes it to the concert halls. Many of them self-publish here on UA-cam, or Bandcamp, SoundCloud and the like. Of course it's usually simulated performances like mine because it's hard to get a real orchestra interested in lesser-known composers, whether old or new, for reasons stated above.
Amazing 1st Movement, reminding me of Mozart´s first piano concertos. Bravo! The synthesizer sound works surprisingly delicious.
I am relatively certain that Nicolay would've heard the works of Mozart, so it's quite likely he was influenced by them. If nothing else, they were both familiar with J.C. Bach, who wrote the sonatas on which Mozart's earliest concertos were based (the ones you have to look for - as much as Mozart's middle and later concertos are beloved, hardly anyone seems to play the first 5 all that much).
Wonderful! I really enjoyed
Thanks, more to come. Not from Nicolay - these two are the only concertos he wrote that I know of. But my next few releases are from around the same time period.
@@Darrel_Hoffman Thank you. I am going to be enjoying your next works with pleasure.
This sounds like a synth version.
That would be because it is. See disclaimer in the description. The purpose of this channel is to create simulated performances of never-recorded works, in the hopes of maybe inspiring a real orchestra to perform and record them. Obviously a real performance would be far superior, but this is better than nothing at all.
Mozart influence?
Possibly? They are both Austrian, and Nicolay was born 14 years before Mozart, though it's possible they began composing around the same time since Mozart famously started very young. (Though Mozart's early concertos were not entirely his own - he merely orchestrated works by J.C. Bach and others. Still impressive for his age, of course.) However, Nicolay was living in Paris for much of his musical career. I'm not sure how well travelled his works were, since he's obviously much less well-known.