What a delightful performance. Bravo! He captures Bolcom's picture of a playful spirit perfectly. I wouldn't mind having this happy poltergiest in my home!
This mini-debate was, anyway, very welcome and highly instructive. I'm glad my friend Olivier's performance of this piece played as a trigger for it. Thank you gentlemen
@hyktmbe This is a live performance and I'm sorry there is no recording of this piece by Olivier Cazal other than this video. But thank you for the nice comments
Very well done. Does anyone know of where I could find a video or recording of Bolcom's "Dream Shadows" though? I found two thirds of his ghost rags quite easily (Graceful Ghost and Poltergeist) but I haven't been able to locate the third. I have the music for it and want to hear it before I start practicing it.
I particularly enjoy musical compositions that skirt (or fall into) dissonance as this piece does. Compare to Tres Divertimentos (sobre temas de autoes olvidados) - #2. Muy dolce, by Xavier Montsalvatge.
I find it funny that some people on the classical side try to paint ragtime as a very "simple" music (in some ways it is), and occasionally belittle the musical talent and education of the composers (sometimes disregarding the actual education of the ragtime classicists). On the jazz side, they focus only on ragtime AS classical music ("classic ragtime") and use that as a negative quality, completely disregarding the many fine POPULAR rags which were never intended to be played as written!
Look, I know that you are well-meaning in your comment and you like the older rags. It's just that I've seen scores that use the usual enharmonic misspellings of notes and chords (which, admittedly, can be easier for me to read in some cases), and then I've seen scores like Joplin's, where every chord is spelled correctly, and he even uses double-flats (and maybe double-sharps) where necessary. He also does classical things like restating thematic material.
I thought that was Joplin who did that already? And Joseph Lamb, and James Scott, and Paul Pratt and Artie Matthews, and Harry C. Thompson, and good lord, a whole slew of vintage composers. Certainly, Bolcom was just about the first to take it into the realm of modern CONTEMPORARY classical music.
I've studied Graceful Rag which should be somehow easier..I'd like to learn this as well but .. wow... However i believe Bolcom is difficult to read, but once in the finger is not so hard to play... my impression with only 1 piece
YES I completely agree, for me it's because he writes in keys that are horrible to read, like Gb and Cb.... come on man why make it so complicated lovely music tho
I still don't know what you mean by more schooled. They are certainly more difficult and use more modern classical techniques and harmonies, many of which appeared after Joplin's time. If you mean Bolcom was practically the first serious modern classical composer to write ragtime, even before the classical music establishment started taking ragtime seriously, then I agree with you.
Anyway, I'm not trying to wage a virtual war here with this well-meaning person or classical music people in general, just crystallize and refine my opinions until I can post them on a blog somewhere. I'll quit wasting space and let others listen to and comment on this superlative performance.
I would love to see your version. This score is almost impossible to read, although I suppose if you are one of the dozen or so living that can play Sorabji, it's probably child's play for you. But for the rest of us mere mortals it kicks our ass... unless you're lucky enough to just read and memorize the notes and not give a damn about the theory... but I memorize pieces by analyzing them and this one is WAYYYY over my head.
That's a really funny comment orgaboi, I laughed hard. But if you're serious, from where does this piece derive? We'll need titles and composers (and dates if possible).
Plays the spots off it. SO much more zesty and wicked than anyone else's, and he has a lot of fun with it (and us!).
What a delightful performance. Bravo!
He captures Bolcom's picture of a playful spirit perfectly. I wouldn't mind having this happy poltergiest in my home!
i love this stuff. the pianist has a great connection with his audience. very impressive piece, too.
Wow. With Halloween coming up, this might be a good tune to play for the little candy snatchers to listen to. Mr. Cazal, bravo.
The raised eyebrow at 2.25 ! Can't imagine a more perfect performance of this piece.
Yes 😂 reminds me of Horowitz playing the Carmen variations with a raised eyebrow
The best, simply sublime. Thank you Mr. Cazal
now finally, I get the pleasure to hear a great pianist! Thank you very much...made all the difference.
Bolcom captures both a 1920's aura and the unsettling feel of a "noisy ghost" in his music. It's not easy, and Mr. Cazal does a very nice job, indeed!
i still remember listening to this song 10 years ago x)
This is on par with Hamelin's rendition. Simply excellent. Best performance of this out there.
This mini-debate was, anyway, very welcome and highly instructive. I'm glad my friend Olivier's performance of this piece played as a trigger for it.
Thank you gentlemen
BRAVO!!! GREAT PERFOMANCE!!!
He is now my FAVORITE PIAnist!!!!!!!!!!
Terrific! Thanks for posting. I was not familiar with Bolcom so I had better get busy.
@hyktmbe This is a live performance and I'm sorry there is no recording of this piece by Olivier Cazal other than this video. But thank you for the nice comments
Fantastic performance! The interaction part with the audience at the end is just brilliant! Would love to buy the audio version of this track :-).
Very professional. Great playing.
Excellent! Love it.
greatest pianist of our time in my opinion
Hold my beer said Hamelin
Very well done. Does anyone know of where I could find a video or recording of Bolcom's "Dream Shadows" though? I found two thirds of his ghost rags quite easily (Graceful Ghost and Poltergeist) but I haven't been able to locate the third. I have the music for it and want to hear it before I start practicing it.
Enjoy: ua-cam.com/video/aDfARMcZy9A/v-deo.html
I particularly enjoy musical compositions that skirt (or fall into) dissonance as this piece does. Compare to Tres Divertimentos (sobre temas de autoes olvidados) - #2. Muy dolce, by Xavier Montsalvatge.
I didn't even mean to watch the whole thing...
I find it funny that some people on the classical side try to paint ragtime as a very "simple" music (in some ways it is), and occasionally belittle the musical talent and education of the composers (sometimes disregarding the actual education of the ragtime classicists). On the jazz side, they focus only on ragtime AS classical music ("classic ragtime") and use that as a negative quality, completely disregarding the many fine POPULAR rags which were never intended to be played as written!
Look, I know that you are well-meaning in your comment and you like the older rags. It's just that I've seen scores that use the usual enharmonic misspellings of notes and chords (which, admittedly, can be easier for me to read in some cases), and then I've seen scores like Joplin's, where every chord is spelled correctly, and he even uses double-flats (and maybe double-sharps) where necessary. He also does classical things like restating thematic material.
I thought that was Joplin who did that already? And Joseph Lamb, and James Scott, and Paul Pratt and Artie Matthews, and Harry C. Thompson, and good lord, a whole slew of vintage composers. Certainly, Bolcom was just about the first to take it into the realm of modern CONTEMPORARY classical music.
I've studied Graceful Rag which should be somehow easier..I'd like to learn this as well but .. wow... However i believe Bolcom is difficult to read, but once in the finger is not so hard to play... my impression with only 1 piece
YES I completely agree, for me it's because he writes in keys that are horrible to read, like Gb and Cb.... come on man why make it so complicated
lovely music tho
I still don't know what you mean by more schooled. They are certainly more difficult and use more modern classical techniques and harmonies, many of which appeared after Joplin's time. If you mean Bolcom was practically the first serious modern classical composer to write ragtime, even before the classical music establishment started taking ragtime seriously, then I agree with you.
2:23
:)
진짜 이걸 치네…
Anyway, I'm not trying to wage a virtual war here with this well-meaning person or classical music people in general, just crystallize and refine my opinions until I can post them on a blog somewhere. I'll quit wasting space and let others listen to and comment on this superlative performance.
Bring on Harold Lloyd!
lol 2:23 XD
what about keith jarrett ? :)
Drop the tempo down just a third!...
firstly, he doesnt even play it musically (thats not subjective). Secondly, he looks so uneasy when he is playing, creates a bad aura
I would love to see your version.
This score is almost impossible to read, although I suppose if you are one of the dozen or so living that can play Sorabji, it's probably child's play for you. But for the rest of us mere mortals it kicks our ass... unless you're lucky enough to just read and memorize the notes and not give a damn about the theory... but I memorize pieces by analyzing them and this one is WAYYYY over my head.
Totally unoriginal piece.
That's a really funny comment orgaboi, I laughed hard. But if you're serious, from where does this piece derive? We'll need titles and composers (and dates if possible).