It's how pedal might be shown to someone learning how to pedal - not lifting up with the hands and losing sound A, and not holding too long and bleeding sound A and sound B together.
Coupled with the emergence of the piano proper as we know it today the 1800s must’ve been both exciting and competitive. In a world where we can swipe left and right and extol the virtues of the most accomplished and celebrated composers of yore we should also applaud those who did what they could with what little they had in the shadow of giants. Instead of bashing this and that composer maybe we should ask ourselves what we will leave behind that future generations may consider worthy of interpreting on any given classical instrument.
Seriously, someone took the time to learn this utterly derivative treacle? At 6:15 Sgambati attempts to recreate the magic atmosphere in the central section of Chopin's C# minor Scherzo, but merely comes off as silly and pseudo-profound.
You're right, dude. Only Chopin is allowed to write a chorale followed by arpeggios. No other composer is allowed to do that. Oh shit! 8:13 is he copying Un Sospiro?! What a absolute fool! A total clongdongulus! Arpeggios between the hands with melody notes above them is the sole property of Liszt! God damn!
Despite the composer's indication in the score, I don't see how anyone could make that D flat prelude sound "tranquillo." He didn't really write a tranquil piece. In the second prelude, I assumed all those boring rolls and tremolos were just part of a slow, middle section and that the piece would end more as it began. Thanks for your good work in bringing us this curiosity, but, all in all, I'd say it was a letdown.
@Lunar Orbit John Field's influence has nothing to do with it. He influenced Chopin, certainly, for the Nocturnal form and atmosphere, but Chopin's language was powerful enough to create his own world of expression. This is not at all the case with Giovanni Sgambati... In any case, this argument does not hold water, because in art, there is no revolution but evolution (cf Bartok). So the "big" and "small" composers will "pick" from others, then there are the composers who are inspired and transform, and the others who "steal" and transform nothing...
@Lunar Orbit Your remark is good, but you apply logic to what I say, when it is not a question of logic, but of a deep understanding of metamorphosis. It has those who copy and those who transform, and this is true for all arts. After you understand it or not....
Sgambati had his own style (very modern i would say), but those are studies, some are even variations on Chopin's themes. Please listen his other music before writing.
6:44 I've been playing piano for 20+ years and have not once seen pedalling notated like that... it looks amazing!
I agree, it should always be notated like that
I see you everywhere in the comments!
It's how pedal might be shown to someone learning how to pedal - not lifting up with the hands and losing sound A, and not holding too long and bleeding sound A and sound B together.
Alberto Williams editions are also with that notation
The beginning of the main theme of the second etude reminds me of Chopin’s 8th prelude
A while back I played the Gavotte by Sgambati. Charming piece. It is good to hear decent recordings of his etudes, which are equally as charming.
Sounds like chopin love it 😍
i like it
Coupled with the emergence of the piano proper as we know it today the 1800s must’ve been both exciting and competitive. In a world where we can swipe left and right and extol the virtues of the most accomplished and celebrated composers of yore we should also applaud those who did what they could with what little they had in the shadow of giants.
Instead of bashing this and that composer maybe we should ask ourselves what we will leave behind that future generations may consider worthy of interpreting on any given classical instrument.
I like how those etudes sounds easy to play but sheets looks hard
Effect like this is in every etude so i'm not surprised
I like your videos. I also compose but I think I'm bad. Your videos are great, same as your compositions. Greeting from Mexico.
thenameisgsarci What program do you use to make these videos? Would love to know!
I use Windows Movie Maker.
Seriously, someone took the time to learn this utterly derivative treacle? At 6:15 Sgambati attempts to recreate the magic atmosphere in the central section of Chopin's C# minor Scherzo, but merely comes off as silly and pseudo-profound.
Worse, someone also actually took the time to make this video, cause he doesn't give a damn.
You're right, dude. Only Chopin is allowed to write a chorale followed by arpeggios. No other composer is allowed to do that. Oh shit! 8:13 is he copying Un Sospiro?! What a absolute fool! A total clongdongulus! Arpeggios between the hands with melody notes above them is the sole property of Liszt! God damn!
Despite the composer's indication in the score, I don't see how anyone could make that D flat prelude sound "tranquillo." He didn't really write a tranquil piece. In the second prelude, I assumed all those boring rolls and tremolos were just part of a slow, middle section and that the piece would end more as it began. Thanks for your good work in bringing us this curiosity, but, all in all, I'd say it was a letdown.
no inspiration, Chopin hacking
@Lunar Orbit John Field's influence has nothing to do with it. He influenced Chopin, certainly, for the Nocturnal form and atmosphere, but Chopin's language was powerful enough to create his own world of expression. This is not at all the case with Giovanni Sgambati... In any case, this argument does not hold water, because in art, there is no revolution but evolution (cf Bartok). So the "big" and "small" composers will "pick" from others, then there are the composers who are inspired and transform, and the others who "steal" and transform nothing...
@Lunar Orbit Your remark is good, but you apply logic to what I say, when it is not a question of logic, but of a deep understanding of metamorphosis. It has those who copy and those who transform, and this is true for all arts. After you understand it or not....
Sgambati had his own style (very modern i would say), but those are studies, some are even variations on Chopin's themes. Please listen his other music before writing.
Agitato reminds me of Chopin’s prelude op. 28 no. 8