10:58 I cried. Seriously Alkan, why did you put the melody of "Aime-moi" (=Love me) at the end of your piece "Morte" (=Death). It rang a bell 3s after the melody happened and I was like... Tears shed. God.
Alkan also includes the main theme of Le Vent at the end. He seems to end this 3rd piece of Op. 15 with a curtain call of the main characters of all 3 pieces. This is similar to the "curtain call" of the all the players that happens at the end of the Liszt B minor sonata. And who was the dedicatee of Alkan's Op. 15? It was Liszt! ;-)
Bloody hell, there's some pretty inventive notation for 1837! Does anyone know where this score is from? Mistakes like the clef changes (e.g., at 9:24) make me think it's not a professionally engraved manuscript. But 5:37, 7:39, and 8:50 are quite impressive.
These works, however, did not meet with the approval of Robert Schumann, who wrote: "One is startled by such false, such unnatural art ... the last [piece, titled Morte (Death), is] a crabbed waste, overgrown with brush and weeds ... nothing is to be found but black on black"
I simply have to laugh. Laugh at Schumann that is. Never liked him from the start of my piano and music lessons. In my opinion, music of Romantism is all about being chaotic. The whole "Dreamy, romantic and fantasitc" theme of the romantic music started all with namely Hector Berlioz, who is probably one of THE most influential composers of the Romantic era. And his most "famous" work, the "Symphonie Fantastique", is said to be created while he smoked some opium, which is almost too ironic in my sense. So, in an era where torturous repetition of notes and chords, exaggerations in the flow of melody, and pathetic attempts to recreate an illusionary world through music is the norm, Schumann finds this particular piece as "overgrown with brush" and wants something clean? Bach's works of harmony, Mozart's (, and Schoenberg's), these are "clean" music. I personally like Alkan because his music has at least something humane in it and if my head doesn't really follow, my heart can relate to his music. So much about my respect for Schumann, which wasn't really existent anyway. But of course, this is my personal opinion and my personal collection of knowledge, which, in no way, represents truth to a 100%. But what is truth anyway.
CitMyself You're entitled to your opinion! Which is more than what I can say for Schumann, who never seemed to clarify that in his criticisms. Maybe it just got lost in history, but his stuff is still pretty cruel lol.
I admire Alkan, but I do have to say that most of his works are bland and colorless. His harmony is bad most of the time. But Morte is an inspired art work. It may not be the richest piece out there (none of Alkan's work is) but I like ultra romanticism of it. Better than this, only Le Vent. I respect Schumann's opinion, he was a far, far superior artist than Alkan, but maybe Alkan's bad harmony and no melodic sense really hurt him. In the end, I love both composers and recognize that they're just different. Brahms and Tchaikovsky hated each other's work and they were both great (and their birthdays were the same day, I bet you fuckers didn't know that, huh?) :D
For my taste is this piece interpreted with too much fortissimo, and with some weird tempo choices. Considering Alkan purposefully didnt write anything, as an interpret I would choose something defferent. So for haters, colorless doesnt have to be just the composer. But it is indeed a big achievment to finish studying the piece. So bravo!
For exemple at 1:28 he misses a half rest (wich is supposed to be long according to the tempo he choose). I only noticed when I watched the score, but that didn't chocked me when listening.
+Harry Andruschak This is inspired by Dies irae (not the mozart one) Franz liszt also created a piece called Totentanz which starts of kinda similar. Even The shinings theme is very insipired by Dies irae
The opening theme on which it is based is from the Gregorian Chant, Dies Irae, which was composed some time in the range 600 CE - 1295 CE. Wikipedia lists 38 prominent pieces that use it
Too much tempo variation (faster when easier and slower when thicker) in imitation of Hamelin's recording. It annoys me. Alkan is supposed to be deep and warm, not fast and noisy.
I love this piece! You can really feel the emotions in the music
10:58 I cried. Seriously Alkan, why did you put the melody of "Aime-moi" (=Love me) at the end of your piece "Morte" (=Death). It rang a bell 3s after the melody happened and I was like... Tears shed. God.
Alkan also includes the main theme of Le Vent at the end. He seems to end this 3rd piece of Op. 15 with a curtain call of the main characters of all 3 pieces. This is similar to the "curtain call" of the all the players that happens at the end of the Liszt B minor sonata. And who was the dedicatee of Alkan's Op. 15? It was Liszt! ;-)
@@ZeldaMarshall and lizst 2 ballad is inspired by la vent
So underrated
J'ai beaucoup aimé cette pièce. Et maintenant, quelle lourdeur.
Bloody hell, there's some pretty inventive notation for 1837! Does anyone know where this score is from? Mistakes like the clef changes (e.g., at 9:24) make me think it's not a professionally engraved manuscript. But 5:37, 7:39, and 8:50 are quite impressive.
Piano Telope Not only pretty inventive, but also unique. I haven’t seen publishing like this ever.
Good technic ! Bravo
12:11 that scared me
At the the beginning couple of notes.... Berlioz Symphony Fantastic...
11:15 Op.15-1 [나를 사랑해주세요] 초반부 등장
알캉이 이 곡을 작곡할때 세 곡을 하나의 스토리로 연결했다는 증거죠. 개인적인 생각으로는 사람의 일생을 표현한거 같기도 해요.
베토벤 소나타 28번에 3악장에서 갑자기 1악장 주제가 다시 등장하는 것과 비슷하네요.
starts at 00:09
These works, however, did not meet with the approval of Robert Schumann, who wrote: "One is startled by such false, such unnatural art ... the last [piece, titled Morte (Death), is] a crabbed waste, overgrown with brush and weeds ... nothing is to be found but black on black"
Love the bits and pieces of music history that people leave on the vids on my channel :)
I simply have to laugh. Laugh at Schumann that is. Never liked him from the start of my piano and music lessons. In my opinion, music of Romantism is all about being chaotic. The whole "Dreamy, romantic and fantasitc" theme of the romantic music started all with namely Hector Berlioz, who is probably one of THE most influential composers of the Romantic era. And his most "famous" work, the "Symphonie Fantastique", is said to be created while he smoked some opium, which is almost too ironic in my sense.
So, in an era where torturous repetition of notes and chords, exaggerations in the flow of melody, and pathetic attempts to recreate an illusionary world through music is the norm, Schumann finds this particular piece as "overgrown with brush" and wants something clean? Bach's works of harmony, Mozart's (, and Schoenberg's), these are "clean" music. I personally like Alkan because his music has at least something humane in it and if my head doesn't really follow, my heart can relate to his music.
So much about my respect for Schumann, which wasn't really existent anyway.
But of course, this is my personal opinion and my personal collection of knowledge, which, in no way, represents truth to a 100%. But what is truth anyway.
CitMyself You're entitled to your opinion! Which is more than what I can say for Schumann, who never seemed to clarify that in his criticisms. Maybe it just got lost in history, but his stuff is still pretty cruel lol.
I admire Alkan, but I do have to say that most of his works are bland and colorless. His harmony is bad most of the time. But Morte is an inspired art work. It may not be the richest piece out there (none of Alkan's work is) but I like ultra romanticism of it. Better than this, only Le Vent.
I respect Schumann's opinion, he was a far, far superior artist than Alkan, but maybe Alkan's bad harmony and no melodic sense really hurt him. In the end, I love both composers and recognize that they're just different. Brahms and Tchaikovsky hated each other's work and they were both great (and their birthdays were the same day, I bet you fuckers didn't know that, huh?) :D
I could agree with Shumann when it comes to a lot of Alkan's pieces, but this specific piece I find rather profound and one of Alkan's greatest works!
9:35
For my taste is this piece interpreted with too much fortissimo, and with some weird tempo choices. Considering Alkan purposefully didnt write anything, as an interpret I would choose something defferent. So for haters, colorless doesnt have to be just the composer. But it is indeed a big achievment to finish studying the piece. So bravo!
For exemple at 1:28 he misses a half rest (wich is supposed to be long according to the tempo he choose). I only noticed when I watched the score, but that didn't chocked me when listening.
Influenced by Chopin? With that Catholic tune at the start? A strange work, but hauntingly beautiful.
+Harry Andruschak This is inspired by Dies irae (not the mozart one)
Franz liszt also created a piece called Totentanz which starts of kinda similar.
Even The shinings theme is very insipired by Dies irae
It's not inspired by it, it is it.
Oliver Street wait which dies irae then, there are quite a few dies irae's
I see why you'd say that, but no; strictly Lisztian.
The opening theme on which it is based is from the Gregorian Chant, Dies Irae, which was composed some time in the range 600 CE - 1295 CE. Wikipedia lists 38 prominent pieces that use it
Too much tempo variation (faster when easier and slower when thicker) in imitation of Hamelin's recording. It annoys me. Alkan is supposed to be deep and warm, not fast and noisy.