Magnifique. Une musique “éclectique”, diraient certains. Mais comme ces affleurements de “styles” divers de la musique de la deuxième moitié du vingtième siècle (Boulez peut-être, mais plutôt de sa deuxième ou troisième manière, les souvenirs d’harmonies de Messiaen, les rhythmiques de Ligeti...) sont transcendés par une “complexité en douceur” riche, qui nous transporte. Ce compositeur, dont toutes les œuvres que j‘ai entendues m’ont plu - et dont j’ai entendu trop peu d’œuvres.. Puis le pianiste, Robert Fleitz, mû par un seul désir, pur : la clarté, pour que les beautés de la composition, innombrables, puissent parler pour elles-mêmes, passer spirituellement aussi..
Wonderful! Very entertaining, refreshing, elegant, even downright encouraging. I'm already looking forward to the way this is going to reemerge in my sleep. Major musical experiences of mine often do so at least via shorter snippets, typically gaining additional profundity. How the pianist lifts his hands, in the end, and pulls them away is great fun to watch. And it isn't even ridiculous. The looks of his movements will certainly affect your perception of the artwork.
Hello Hans, thank you so much for this fabulous comment! I am very pleased that you like this performance so much, this piece is delightfully mysterious and offers ever unfolding possible universes. I am glad to hear that my physical presence is insightful to the listening experience. Thanks for watching!
@@RobertFleitz I have indeed heard a few snippets of someone playing the piano paranormally, today, even though not while sleeping but only half asleep. I was awake enough to wonder if what I heard could qualify as a fulfillment of my expectation given that it wasn't in my sleep - and now I'm awake enough to see that I must have been dozing because I otherwise could not have heard such a thing. Those were high, energetically played notes in the end of some figure, much like I had heard them shortly before and hence, most probably triggered by some performance of yours. Responsible may also have been an account of yours of part I of Dylan Mattingly's _Achilles Dreams of Ebbets Fields_ to which I have listened a little.
Il me faut revenir sur cette vidéo pour m'en imprégner. Du temps que je composais, c'est peut-être l'œuvre que j'aurais voulu atteindre moi-même. Elle eût été un bon maître même si je serais resté très loin derrière. A côté des sonates de Boulez, c'est beaucoup plus lisible. Une succession de moments, très profonds, très humains, intrigants, très énergique sans être agressif.
I finally decoded what I did way back then, and I'm pretty sure I played it in this formation: 0:00 Phi 1:25 Theta 3:07 i briefly mix both Delta and Phi 3:12 Pi 4:43 mix of Pi and Delta to Delta 5:30 transition from Delta to Sigma 5:45 Sigma (starting from one of the outer cells of that page) 8:16 transition from Sigma to Xi 8:45 roughly Xi to the end This might be slightly off with the exact timings, as I recall taking a deliberately fuzzy approach, trying to emphasize the transitions and the "escape points" between movements and leaning into his direction that you can mix two etudes together. Thanks Jihye for this question!!
Wonderful!! Thanks so much Robert! (It's mind boggling..and my eyes are so tired these days, but it would be fun for me to at least try to tackle this..:)) @@RobertFleitz
Magnifique. Une musique “éclectique”, diraient certains. Mais comme ces affleurements de “styles” divers de la musique de la deuxième moitié du vingtième siècle (Boulez peut-être, mais plutôt de sa deuxième ou troisième manière, les souvenirs d’harmonies de Messiaen, les rhythmiques de Ligeti...) sont transcendés par une “complexité en douceur” riche, qui nous transporte. Ce compositeur, dont toutes les œuvres que j‘ai entendues m’ont plu - et dont j’ai entendu trop peu d’œuvres.. Puis le pianiste, Robert Fleitz, mû par un seul désir, pur : la clarté, pour que les beautés de la composition, innombrables, puissent parler pour elles-mêmes, passer spirituellement aussi..
very good
Wonderful! Very entertaining, refreshing, elegant, even downright encouraging. I'm already looking forward to the way this is going to reemerge in my sleep. Major musical experiences of mine often do so at least via shorter snippets, typically gaining additional profundity.
How the pianist lifts his hands, in the end, and pulls them away is great fun to watch. And it isn't even ridiculous. The looks of his movements will certainly affect your perception of the artwork.
Hello Hans, thank you so much for this fabulous comment! I am very pleased that you like this performance so much, this piece is delightfully mysterious and offers ever unfolding possible universes. I am glad to hear that my physical presence is insightful to the listening experience. Thanks for watching!
@@RobertFleitz I have indeed heard a few snippets of someone playing the piano paranormally, today, even though not while sleeping but only half asleep. I was awake enough to wonder if what I heard could qualify as a fulfillment of my expectation given that it wasn't in my sleep - and now I'm awake enough to see that I must have been dozing because I otherwise could not have heard such a thing. Those were high, energetically played notes in the end of some figure, much like I had heard them shortly before and hence, most probably triggered by some performance of yours. Responsible may also have been an account of yours of part I of Dylan Mattingly's _Achilles Dreams of Ebbets Fields_ to which I have listened a little.
Il me faut revenir sur cette vidéo pour m'en imprégner. Du temps que je composais, c'est peut-être l'œuvre que j'aurais voulu atteindre moi-même. Elle eût été un bon maître même si je serais resté très loin derrière.
A côté des sonates de Boulez, c'est beaucoup plus lisible. Une succession de moments, très profonds, très humains, intrigants, très énergique sans être agressif.
Bravo! I loved it! (In what order did you perform these? I am trying to find exactly where the Phi is.. :))
I finally decoded what I did way back then, and I'm pretty sure I played it in this formation:
0:00 Phi
1:25 Theta
3:07 i briefly mix both Delta and Phi
3:12 Pi
4:43 mix of Pi and Delta to Delta
5:30 transition from Delta to Sigma
5:45 Sigma (starting from one of the outer cells of that page)
8:16 transition from Sigma to Xi
8:45 roughly Xi to the end
This might be slightly off with the exact timings, as I recall taking a deliberately fuzzy approach, trying to emphasize the transitions and the "escape points" between movements and leaning into his direction that you can mix two etudes together.
Thanks Jihye for this question!!
Wonderful!! Thanks so much Robert! (It's mind boggling..and my eyes are so tired these days, but it would be fun for me to at least try to tackle this..:)) @@RobertFleitz