OMG! Finally. Is been 35 years since i first heard this piece. In 1983 i was 15years old and living in cedar rapids, Iowa. I visited Des Moines, Iowa for a piano competition. While their a vituroso pianist who's name was "High C" a man i think was in his 70's played for us all. He wow'd us with his vituroso skill and mastery of the piano. I remember coming up to him after he finished and he played this piece. I fell in love with it right then and their. He said. It was written by a woman. I later forgot the name of the piece and the composer for years i thought it was clara Schumann. I searched through her music for years and never found this piece but today. I stumbled across it on youtube and found it was not by clara at all. 35 years of searching is over. As a good pianist. I will practice this piece ans play it i rememberance of High C.
A little funny thing I noticed with the sheet music is that it starts with a fully written out bar of 4 beats, rather than just the 8th-note pickup... maybe a deliberate indication to have a few moments of silence before beginning the piece?
The opening melodic phrase is likely borrowed from Charles-Marie Widor's Organ Symphony No. 5, opus 42, Andante Cantabile (2nd mvt.), composed in 1879.
This piece kind of reminds me of Chopin's ballad no.2 - because of contrasting emotional and thematic materials between the first and the second section
What? You are surprised by the excellence of the pianist, or the composer -- a renown fantastic woman composer whose father would not let her enter the Paris Conservatory at the time, so she was set back -- but prevailed to become a distinguised composer! Why are you surprised?
I have very mixed feelings about this performance. I find it very beautiful, almost ravishing - except for one problem that, unfortunately, I find rather serious. The pianist has this habit of often playing the notes in the two hands not quite together - usually the left hand a bit before the right, I think. I don't know if it's deliberate, perhaps intended to be expressive, or quite unconscious. A lot of pianists do it, and I have even occasionally caught myself doing it before I deliberately stopped it - so I wonder if there is an inherent tendency to do it. (It is a matter of puzzlement to me that I have occasionally done it myself, even though I think it's bad, and I'm in no doubt whatsoever that I shouldn't do it.) But whatever the reason, it really is not a good effect. It really spoils a performance and sounds overly mannered, especially when appearing a dozen or two times in succession - it is almost always better to play notes exactly together that are meant to be, and find other means to be expressive. It's a pity, because, other than this, it is a beautiful performance. I love the way the performer uses the pedal - makes the piece seem a lot more luscious and atmospheric than I would have expected for a piece of this sort.
It's a very common decision to play notes like that in romantic era pieces. It easily becomes a habit though, and at that point it can it often sound dull and trite.
Thanks for pointing this out. I have to be careful too in my performances regarding this 'mistake'. To sum it up: It's an effect. Effects are never satisfying when applied too obviously.
It's called the "breaking of the hands," -- playing the right hand melody note slightly after the left bass note for expressive effect. It is common on old recordings, then it was frowned on for quite a while, more recently it seems to be accepted in Romantic music if done discreetly.
@@rogerknox9147 I can't seem to accept it even discreetly. But why do people do it? Why is it considered expressive? And why the right hand after the left and rarely if ever the other way around?
@@michaeledwards1172 The goal is voluptuousness not precision. It is like a "strum" on the guitar strings beginning with the lowest, except here only 2 notes are involved. On the piano it tries to loosen the rhythm and point up an important melody note (such as the first note in a phrase) while hoping that creating a bit of fog with the pedal will prevent it from being obvious. You seem to listen precisely and the only suggestion I'd have is to turn down the bass a bit to reduce the clash.
![Chaminade - 6 Études de concert, Op. 35 (Audio+Sheet) [Viner]](http://i.ytimg.com/vi/cKvhuv29yLs/mqdefault.jpg)
![Chaminade - 6 Études de concert, Op. 35 (Audio+Sheet) [Viner]](/img/tr.png)
OMG! Finally. Is been 35 years since i first heard this piece. In 1983 i was 15years old and living in cedar rapids, Iowa. I visited Des Moines, Iowa for a piano competition. While their a vituroso pianist who's name was "High C" a man i think was in his 70's played for us all. He wow'd us with his vituroso skill and mastery of the piano. I remember coming up to him after he finished and he played this piece. I fell in love with it right then and their. He said. It was written by a woman. I later forgot the name of the piece and the composer for years i thought it was clara Schumann. I searched through her music for years and never found this piece but today. I stumbled across it on youtube and found it was not by clara at all. 35 years of searching is over. As a good pianist. I will practice this piece ans play it i rememberance of High C.
Q
After 10 years I finally found another piece of cecile chaminade so I know how you feel. Did you end up learning this piece?
I'm a junior high school student, and I'm playing this.
omg it's so beautiful
(I'm from Taiwan：）)
If som1 playing this, too
like this!
I'm also Taiwanese! I want to learn this as well :D
@@resorcinolamide u can do this
What a beautiful piece. Now, I wish I had the skill to play something like this. I have played the piano for 15 years
A little funny thing I noticed with the sheet music is that it starts with a fully written out bar of 4 beats, rather than just the 8th-note pickup... maybe a deliberate indication to have a few moments of silence before beginning the piece?
Musica che ti entra dentro e non ti lascia più andare.... Ma è una gran bella prigione dove però ti senti libero..... Patrizia da Venezia
The opening melodic phrase is likely borrowed from Charles-Marie Widor's Organ Symphony No. 5, opus 42, Andante Cantabile (2nd mvt.), composed in 1879.
I fall in love when my teacher suggested me to play this piece..but im so bad in reading notes ahhh struggling hard to get the notes 😂😅
How was your progress? I'm learning this piece as well for a recital
I love you
Keep going.
The first part has strong hints of Schumann while the central part is very Lisztian... but overall very personal.
少しショパンやリスト、他の作曲家がよぎる場面はあるでしょうが、大前提として彼女の音楽は非常にアルカンチックなのです。そして彼女はロマン派の後期に位置するためリストやドビュッシーの様な印象派に近い書法さえ見せる事があります
This piece kind of reminds me of Chopin's ballad no.2 - because of contrasting emotional and thematic materials between the first and the second section
Same
彼女の音楽はショパンよりアルカンの方が近いです
Gorgeous and absolutely stunning. Her music should more renowned
Musique ravissante et si rare en écoute !
Wow!! A very great performance.
샤미나드...와...진짜 좋네요!!
Woah!!!! Love it
Qué alegría volver a escuchar -después de muchos años- esta hermosa melodía!
surprisingly good.
good job Chaminade
What? You are surprised by the excellence of the pianist, or the composer -- a renown fantastic woman composer whose father would not let her enter the Paris Conservatory at the time, so she was set back -- but prevailed to become a distinguised composer! Why are you surprised?
@@anngrogan2744 bro it's not that deep relax
@@anngrogan2744nobody said she was a bad composer
I am playing this!!!!!
Great! You must be be a good pianist if you are attempting this piece.
Is this a Yamaha CFX it was recorded on?
Sing sweet nightingale🎶
Does it have a spectrum??
2:34
I have very mixed feelings about this performance. I find it very beautiful, almost ravishing - except for one problem that, unfortunately, I find rather serious.
The pianist has this habit of often playing the notes in the two hands not quite together - usually the left hand a bit before the right, I think. I don't know if it's deliberate, perhaps intended to be expressive, or quite unconscious. A lot of pianists do it, and I have even occasionally caught myself doing it before I deliberately stopped it - so I wonder if there is an inherent tendency to do it. (It is a matter of puzzlement to me that I have occasionally done it myself, even though I think it's bad, and I'm in no doubt whatsoever that I shouldn't do it.)
But whatever the reason, it really is not a good effect. It really spoils a performance and sounds overly mannered, especially when appearing a dozen or two times in succession - it is almost always better to play notes exactly together that are meant to be, and find other means to be expressive.
It's a pity, because, other than this, it is a beautiful performance. I love the way the performer uses the pedal - makes the piece seem a lot more luscious and atmospheric than I would have expected for a piece of this sort.
It's a very common decision to play notes like that in romantic era pieces. It easily becomes a habit though, and at that point it can it often sound dull and trite.
Thanks for pointing this out. I have to be careful too in my performances regarding this 'mistake'. To sum it up: It's an effect. Effects are never satisfying when applied too obviously.
It's called the "breaking of the hands," -- playing the right hand melody note slightly after the left bass note for expressive effect. It is common on old recordings, then it was frowned on for quite a while, more recently it seems to be accepted in Romantic music if done discreetly.
@@rogerknox9147 I can't seem to accept it even discreetly. But why do people do it? Why is it considered expressive? And why the right hand after the left and rarely if ever the other way around?
@@michaeledwards1172 The goal is voluptuousness not precision. It is like a "strum" on the guitar strings beginning with the lowest, except here only 2 notes are involved. On the piano it tries to loosen the rhythm and point up an important melody note (such as the first note in a phrase) while hoping that creating a bit of fog with the pedal will prevent it from being obvious. You seem to listen precisely and the only suggestion I'd have is to turn down the bass a bit to reduce the clash.