My opinion of this is clearly higher than that of most people here. I think considering a certain cultural gap and the prevailing taste in orchestration in late 19th century Germany, Klindworth delivered a surprisingly fun and still "Alkanian" orchestration. Quite a bit better than the uninspired orchestration in both of Alkan's own Concerti di Camera, if I'm honest.
You simply cannot beat or replicate the original. And I'm not a fan of the liberties Klindworth takes with the original music. That said, some of the arranging and orchestration is high-quality. When all's said and done, I'm glad it was recorded, as it makes you appreciate all the more Alkan's conception and his compositional mind. I would just LOVE it if his orchestral Symphony was one day discovered. And there are also arrangements/orchestrations of this and other Alkan works by Eric Chisholm (Symphony and Concerto); Mark Starr (Concerto, Symphony, Ouverture, Le Festin d'Esope, and other smaller works), and Thibault Perrine (Le Chemin de Fer). There are probably others too.
I'm just baffled by the extent to which the finale is butchered, considering the overall beautiful quality of the transcription and orchestration. It would be one thing if it were successful regardless, but it's not even close. I am truly mystified as to what possessed him to amputate the triumphant final statement of the first theme in major (literally the end goal of the entire piece, THE culmination of everything) and blur over the final chords with that bizarrely wayward descending brass line. This sounds harsh but this choice was so alien to the original and so disappointing that I couldn't help myself.
@@wilh3lmmusic I've made one, but it turned out to be more difficult for the second pianist than what is customary for such reductions, so I'm busy reworking it.
In every conceivable key. Ask me I've retyped this whole score on Finale and I had to jump through hoops to change from Horn in E to E-flat to F, to D and so on, and so on...
@@SisselOnline late romantic composers onward think horn players don’t want to look at accidentals even though putting a horn in E means thinking in B major. At this point I’d rather just read something in concert pitch. The old roots of horn writing may never completely die.
Not a huge fan of this arrangement. I do love the originally solo piano piece but I think it needs an arrangement, but the orchestration here is a little dull, only a few steps up from Chopin. Still, thank you for uploading! So cool to at least see some attempt at it, I didn't know it existed
crazy to my ears how the original solo piano version sounds like magic but this orchestration/arrangement (albeit high quality) just sounds mostly like generic classical music
I tend to agree, although you would still recognise Alkan's unique musical voice in this orchestral garb I think.
6 місяців тому+5
Where was Ravel when we needed him? I found this arrangement quite weak. Once the piano starts, it takes over the show and the orchestra just fills the harmony, no novelty there.
Klindworth was a partner of Xaver Schwarwenka in the Berlin Conservatory they founded, and this sounds not unlike late lisztian piano concertos like Scharwenka's own.
It's a shame he didn't orchestrate the other 2 movements. This is an absolute joy to listen to.
My opinion of this is clearly higher than that of most people here. I think considering a certain cultural gap and the prevailing taste in orchestration in late 19th century Germany, Klindworth delivered a surprisingly fun and still "Alkanian" orchestration. Quite a bit better than the uninspired orchestration in both of Alkan's own Concerti di Camera, if I'm honest.
This is incredibly great!
Adding this to fave 1800 piano concertos thanks for the score
This is extremely beautiful. Liszt could've collaborated with Alkan to orchestrate his works!
Liszt didn’t orchestrate his own works either
You simply cannot beat or replicate the original. And I'm not a fan of the liberties Klindworth takes with the original music. That said, some of the arranging and orchestration is high-quality. When all's said and done, I'm glad it was recorded, as it makes you appreciate all the more Alkan's conception and his compositional mind.
I would just LOVE it if his orchestral Symphony was one day discovered. And there are also arrangements/orchestrations of this and other Alkan works by Eric Chisholm (Symphony and Concerto); Mark Starr (Concerto, Symphony, Ouverture, Le Festin d'Esope, and other smaller works), and Thibault Perrine (Le Chemin de Fer). There are probably others too.
I wonder what a faithful transcription of this orchestration back to a piano would look like
I'm just baffled by the extent to which the finale is butchered, considering the overall beautiful quality of the transcription and orchestration. It would be one thing if it were successful regardless, but it's not even close. I am truly mystified as to what possessed him to amputate the triumphant final statement of the first theme in major (literally the end goal of the entire piece, THE culmination of everything) and blur over the final chords with that bizarrely wayward descending brass line. This sounds harsh but this choice was so alien to the original and so disappointing that I couldn't help myself.
Same feeling!
@@wilh3lmmusic I've made one, but it turned out to be more difficult for the second pianist than what is customary for such reductions, so I'm busy reworking it.
打ち負かす?いやいや、これはアルカンによる後世に編曲の楽しさを残してくれた物と捉えた方が良いです
だってアルカンはわざわざ交響曲や協奏曲と言うタイトルを付けたのだから..
それとラヴェルやリストらの編曲の達人達は打ち負かそうと言う気持ちではなくリスペクトしていたはずだ
Hyped up
Just confirms my bias again that good pieces have good horn parts. Thanks Sissel
Hahaha
I doubt it's a really good piece :D
@@SisselOnline bahahaha
In every conceivable key. Ask me I've retyped this whole score on Finale and I had to jump through hoops to change from Horn in E to E-flat to F, to D and so on, and so on...
So true lol
Like what Glinka does for constantly changing Horn in E to Horn in Eb just for a chromatic scale
@@SisselOnline late romantic composers onward think horn players don’t want to look at accidentals even though putting a horn in E means thinking in B major. At this point I’d rather just read something in concert pitch. The old roots of horn writing may never completely die.
Not a huge fan of this arrangement. I do love the originally solo piano piece but I think it needs an arrangement, but the orchestration here is a little dull, only a few steps up from Chopin.
Still, thank you for uploading! So cool to at least see some attempt at it, I didn't know it existed
crazy to my ears how the original solo piano version sounds like magic but this orchestration/arrangement (albeit high quality) just sounds mostly like generic classical music
Well, true
I tend to agree, although you would still recognise Alkan's unique musical voice in this orchestral garb I think.
Where was Ravel when we needed him? I found this arrangement quite weak. Once the piano starts, it takes over the show and the orchestra just fills the harmony, no novelty there.
Agree! Though no one arranged it to orchestra so far other than this one qaq
Klindworth was a partner of Xaver Schwarwenka in the Berlin Conservatory they founded, and this sounds not unlike late lisztian piano concertos like Scharwenka's own.
NoIce
21:50
Who are the performers?
Piano: Dmitry Feofanov
Orchestra: Razumovsky Symphony Orchestra
Conductor: Robert Stankovsky
Have filled those info to the description w
@@SisselOnline thanks
Unofficial Foralkan Empire Theme Song
誰が現代のラヴェルになるのか..時の精査が教えてくれるでしょう..
この作品をリストが編曲してくれていたらアルカンの知名度は格段に上がっていたかもしれません