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Ashish Xiangyi Kumar
Приєднався 5 кві 2007
I upload videos of (classical) music, synchonised with the score. I try to find the best recordings, with a deliberate bias towards post-1990 stuff that isn't too well known. Then I try to say something about the music which will make you like it more. That's basically it!
www.patreon.com/AshishXiangyiKumar
www.patreon.com/AshishXiangyiKumar
Chopin/Glazunov, Franchomme: Etude Op.25 No.7 (Gabetta/Chamayou, Weilerstein/Barnatan)
Sometimes things are just beautiful, you know? You can say a lot about them, but the most salient musical fact is that the first note makes you stop breathing, and when the work ends you’re not sure if you ever let that breath go.
So it is with these two arrangements of Chopin’s 25.7 for Cello and Piano. Most days of the week I like Glazunov’s a little more, but they both work perfectly on their own terms, despite how different they are.
Glazunov changes things up a fair bit - since the cello now takes over the LH the piano gets an entirely new LH, which neatly anticipates the dotted motif you hear in the cello at 1:07 (the first occurrence of the motif is at 0:35). The piano also gets to echo a beautiful motif in the cello (1:21), although I think the decision by Gabetta/Chamayou to leave this out at 2:59 is entirely justified - it makes the harmonic change and the subsequent pause so much more effective. Glazunov also significantly simplifies the rapid LH runs originally for the piano when the move into the cello, which gives those runs a cleaner and more forceful melodic shape. But the most magnificent change Glazunov makes is the expansion of the registral space at 3:23, as the piano’s melody leaps up and becomes fortified in octaves, while the cello is left to reign the bass. It’s such a simple but powerful effect - have two instruments occupy a similar range, and then pull them apart suddenly.
Franchomme’s changes are much more modest - in fact for large parts his arrangement is essentially identical to Chopin’s original, except that the cello takes over the LH. But this too produces wonderful results - the rumbling LH scales are almost exactly preserved (except at 7:18, where Franchomme has to tread water around a low C for a bit to compress the scalar range into something manageable for the cello) and heighten tension very well. And at one point I think Franchomme clearly outdoes Glazunov - that’s in the dreamlike passage at 7:30, which is also the bit I love most in the original etude. Glazunov opts to use this passage (2:07) to have the cello gradually rise above the piano semiquaver melody; a lovely and rather playful manipulation of register. But Franchomme nails the actual feeling of the passage, to my ear. He gives the descending semiquaver line to the cello, while the piano takes the upper melody. And here, he actually does give the piano new notes deep in the bass, which add a richness almost like a pizzicato reverberation.
So in the end: a more reverberant, “wide-open” arrangement with the Glazunov, and a bleaker (but no less emotionally intense) intimacy from Franchomme. The gorgeous playing here is in line with these qualities - Gabetta is consistently lyrical, with semiquaver passages that build in momentum before cresting; Weilerstein is (especially in the quiet sections) much more parlando (“spoken”), with more time for gaps, tapers, and portamenti between notes - you can almost hear the tip of the bow navigating the strings. Gabetta’s tone is warm, natural; Weilerstein is more piercing, her vibrato faster and more plaintive.
0:00 (Glazunov) - Gabetta/Chamayou
5:13 (Franchomme) - Weilerstein/Barnatan
So it is with these two arrangements of Chopin’s 25.7 for Cello and Piano. Most days of the week I like Glazunov’s a little more, but they both work perfectly on their own terms, despite how different they are.
Glazunov changes things up a fair bit - since the cello now takes over the LH the piano gets an entirely new LH, which neatly anticipates the dotted motif you hear in the cello at 1:07 (the first occurrence of the motif is at 0:35). The piano also gets to echo a beautiful motif in the cello (1:21), although I think the decision by Gabetta/Chamayou to leave this out at 2:59 is entirely justified - it makes the harmonic change and the subsequent pause so much more effective. Glazunov also significantly simplifies the rapid LH runs originally for the piano when the move into the cello, which gives those runs a cleaner and more forceful melodic shape. But the most magnificent change Glazunov makes is the expansion of the registral space at 3:23, as the piano’s melody leaps up and becomes fortified in octaves, while the cello is left to reign the bass. It’s such a simple but powerful effect - have two instruments occupy a similar range, and then pull them apart suddenly.
Franchomme’s changes are much more modest - in fact for large parts his arrangement is essentially identical to Chopin’s original, except that the cello takes over the LH. But this too produces wonderful results - the rumbling LH scales are almost exactly preserved (except at 7:18, where Franchomme has to tread water around a low C for a bit to compress the scalar range into something manageable for the cello) and heighten tension very well. And at one point I think Franchomme clearly outdoes Glazunov - that’s in the dreamlike passage at 7:30, which is also the bit I love most in the original etude. Glazunov opts to use this passage (2:07) to have the cello gradually rise above the piano semiquaver melody; a lovely and rather playful manipulation of register. But Franchomme nails the actual feeling of the passage, to my ear. He gives the descending semiquaver line to the cello, while the piano takes the upper melody. And here, he actually does give the piano new notes deep in the bass, which add a richness almost like a pizzicato reverberation.
So in the end: a more reverberant, “wide-open” arrangement with the Glazunov, and a bleaker (but no less emotionally intense) intimacy from Franchomme. The gorgeous playing here is in line with these qualities - Gabetta is consistently lyrical, with semiquaver passages that build in momentum before cresting; Weilerstein is (especially in the quiet sections) much more parlando (“spoken”), with more time for gaps, tapers, and portamenti between notes - you can almost hear the tip of the bow navigating the strings. Gabetta’s tone is warm, natural; Weilerstein is more piercing, her vibrato faster and more plaintive.
0:00 (Glazunov) - Gabetta/Chamayou
5:13 (Franchomme) - Weilerstein/Barnatan
Переглядів: 20 090
Відео
Balakirev: Islamey (Jando, Pogorelich, Kantorow, Gavrilov, Berezovsky)
Переглядів 48 тис.9 місяців тому
Islamey is one of those works (like Schumann’s Toccata, or Liszt’s better paraphrases) whose very substantial musical merits tend to be obscured by the virtuosity of its writing. It’s not uncommon to hear people complaining that it’s loud, messy, repetitive, or some unpleasant mixture of these qualities. And there’s a certain logic to this: Islamey employs a very unusual series of textures for ...
Beethoven: Choral Fantasy, Op.80 (Barnatan, Shelley)
Переглядів 78 тис.9 місяців тому
Is this work kitsch as hell? Well, yes. Do its seams show? Well, sometimes. Is it one of the most joyous, life-affirming, indispensable things Beethoven ever wrote? Also yes. There possibly is no other work (Bolero, perhaps?) that illustrates how silly it can be to think of music as ink on a page, or even ideas in the head, because so much of what is in here that looks ordinary (even crude) is ...
Beethoven: Sonata No.2 in A Major, Op.2 No.2 (Korstick, Levit, Pletnev)
Переглядів 184 тис.Рік тому
The general impression of the Op.2 No.2 is that it is a lithe, graceful thing. This belies, however, its radical (even parodic) tendencies. For a start, the sonata is fiendishly difficult. Stock classical-era devices (arpeggios, scales) are pushed here to silly extremes (and lovely effect). The most infamous example is the impossibly-fingered RH descents at mm.84 and 89, but you also have the t...
Liszt: Bénédiction de Dieu dans la Solitude (Hough, Korstick)
Переглядів 119 тис.Рік тому
Liszt’s Benediction of God in Solitude is a marvel: a tender, luminous testament to Liszt's underappreciated lyric abilities. For flat-out beauty few things match it. It’s also a masterclass in textural writing - just count at all the ways the main theme is decorated: An inner-voice arpeggio underneath a measured trill (right at the beginning); a semi-measured arpeggiated chord with emphasis on...
Liszt: Années de pèlerinage, Year 2 - Italy, S.161 (Piemontesi, Gorus)
Переглядів 69 тис.2 роки тому
Compared to Year 1, the second book of the Années de pèlerinage is less focused on textural intricacy, more lyrically concentrated - the three Petrarch sonnets, the centerpiece of the set, all contain stunning melodies which integrate harmonic colour in really fun ways. Book II’s works are also considerably more expansive: only one of them can be called a miniature, and this book’s counterpart ...
Chopin: Fantasy in F Minor, Op.49 (Tacchino, Rubinova, Avdeeva)
Переглядів 67 тис.2 роки тому
Possibly the most un-fantasy-like single-movement fantasy ever written. So much of what makes this masterwork tick is essentially anti-spontaneous: large-scale tonal organisation, structured repetition, subtle motivic anticipation. (That said, it’s worth noting Chopin rather made a habit out of gainsaying genre expectations: his Barcarolle isn’t a barcarolle, the Scherzi aren’t even remotely fu...
Alec Sievern: Prelude No.1
Переглядів 64 тис.2 роки тому
Once in a while you come across a work that’s such a absolute and immediate joy to listen that it’d be criminal not to share it: this is one of them. (When I finally got around to listening to the file Alec sent me I think I was only 20 seconds in when I told myself this had to go on the channel.) What’s so great about this prelude? In short: it manages to stuff a huge variety of ideas into jus...
Liszt: Vallée d'Obermann (Pace, Korstick)
Переглядів 62 тис.2 роки тому
A masterclass in thematic transformation from the first book of Liszt's Années de pèlerinage. Texturally, lyrically, and harmonically, there’s so much wonderful stuff going on in here it’s easy to overlook how taut and ingeniously put-together VdO is. In short: a single theme (in minor) gets major-ised, and then its major and minor versions become treated as different themes in a four-part form...
Liszt: Dante Sonata (Nakamatsu, Khozyainov, Korstick)
Переглядів 57 тис.2 роки тому
A stunner of a work. The Dante Sonata is basically a massive set of thematic transformations on two (linked but very different) themes, interleaved within a sonata form. The efficiency of the musical engineering here is insane - all the music here is derived, more or less, from just a chromatic scale and a descending tritone motif, and yet the result is 16 minutes of music which traverses huge ...
Chopin: Barcarolle in F# Major, Op.60 (Volodin, Dong-Hyek Lim, Zayas)
Переглядів 73 тис.2 роки тому
This isn’t a barcarolle. I mean, sure, it’s in the name, but if you’ve actually listened to this and thought, “What a lovely Venetian gondola-song,” you’re insane. The Op.60 is really Chopin’s 5th Ballade - and it probably ranks alongside the Op.52. (I know only one water-based description of this work that doesn’t reduce it to kitsch, from Iwaszkiewicz: “We walk on water into nothingness.”) Th...
Liszt: Années de pèlerinage, Year 1 - Switzerland, S.160 (Pace, Piemontesi)
Переглядів 78 тис.2 роки тому
Liszt: Années de pèlerinage, Year 1 - Switzerland, S.160 (Pace, Piemontesi)
Beethoven: Eroica Variations, Op.35 (Kikuchi, Katsaris)
Переглядів 96 тис.2 роки тому
Beethoven: Eroica Variations, Op.35 (Kikuchi, Katsaris)
Chopin: Polonaise-Fantaisie Op.61 in Ab Major (Yoshihiro Kondo, Kate Liu, Leonskaja)
Переглядів 193 тис.2 роки тому
Chopin: Polonaise-Fantaisie Op.61 in Ab Major (Yoshihiro Kondo, Kate Liu, Leonskaja)
Chopin: 24 Preludes, Op.28 (Pogorelich)
Переглядів 182 тис.2 роки тому
Chopin: 24 Preludes, Op.28 (Pogorelich)
Bach: Goldberg Variations, BWV 988 (Tharaud)
Переглядів 193 тис.3 роки тому
Bach: Goldberg Variations, BWV 988 (Tharaud)
Liszt/Gounod: Waltz from the Opera Faust (Leschenko, Thibaudet)
Переглядів 92 тис.3 роки тому
Liszt/Gounod: Waltz from the Opera Faust (Leschenko, Thibaudet)
Stravinsky-Agosti - Three Movements from The Firebird (Rana)
Переглядів 107 тис.3 роки тому
Stravinsky-Agosti - Three Movements from The Firebird (Rana)
Beethoven: Piano Concerto No.3 in Cm, Op.37 (Argerich)
Переглядів 493 тис.4 роки тому
Beethoven: Piano Concerto No.3 in Cm, Op.37 (Argerich)
Beethoven: Piano Concerto No.3 in Cm, Op.37 (Minnaar)
Переглядів 64 тис.4 роки тому
Beethoven: Piano Concerto No.3 in Cm, Op.37 (Minnaar)
Beethoven: Piano Concerto No.2 in Bb. Op.19 (Helmchen)
Переглядів 154 тис.4 роки тому
Beethoven: Piano Concerto No.2 in Bb. Op.19 (Helmchen)
Beethoven: Piano Concerto No.2 in Bb, Op.19 (Schwizgebel)
Переглядів 26 тис.4 роки тому
Beethoven: Piano Concerto No.2 in Bb, Op.19 (Schwizgebel)
Beethoven: Piano Concerto No.4 in G, Op.58 (Minnaar)
Переглядів 46 тис.4 роки тому
Beethoven: Piano Concerto No.4 in G, Op.58 (Minnaar)
Beethoven: Piano Concerto No.1 in C, Op.15 (Anderszewski)
Переглядів 150 тис.4 роки тому
Beethoven: Piano Concerto No.1 in C, Op.15 (Anderszewski)
Beethoven: Piano Concerto No.1 in C, Op.15 (Brendel)
Переглядів 176 тис.4 роки тому
Beethoven: Piano Concerto No.1 in C, Op.15 (Brendel)
Hi Ashish. Could you do an analysis on Schumann's humoreske?
The first movement is my daily mood. At the edge of insanity. It describes perfectly the feeling of having 36 missing assignments.
I can't get enough
24:32
Not sure if it's a coincidence, but the section of first key change from F minor to F major in the finale starts with F-A-E and the beginning melody is exactly the same as that of the slow movement of the FAE Sonata that he had worked with Schumann and Dietrich. Both composition were worked on at similar time as well.
I hear him vocalizing?
What I find interesting about this is sonata is why Beethoven preferred F sharp over G flat major. G flat major has the same number of flats, but you wouldn’t need double sharps because everything would be naturals instead.
❤❤❤
Grosvenor and Rana have set new standards for the Chopin scherzos. They have digested the golden age style and with the aid their sonic engineers have raised their iterations to heights of perfection that mat be unprecedented.
🇳🇴😞
25:09
La idea armónica que se subscribe de las notas si b - la - do - si ¤, es de una indefinitud tonal. Ésto es aprovechado por Lizst, compositor a caballo entre el romanticismo puro y el postromanticismo. Los choques disonantes, no es más que la prolongación de las disonancias que tienen las notas desnudas. Momentos + grandiosos + líricos, y todo el saber hacer de un compositor que ha sabido encontrar un buen filón para desarrollar su arte en 4 notas guerreras. 😅 ❤ 🎉
Thankyou
22:18 This section is my favorite moment in Beethoven’s early sonatas
Thank you for this wonderful score-video. I love the score you used. Can you tell me which edition it is?
those chords at 20:00 throw me off and give me chills in a good way
un jeu beaucoup trop "perlé" il faudrait contraster avec des passages liés, ça aurait plus d'allure que cette sorte de boite a musique!
32:16 a cut 😠😠
Muy bien sitio para escuchar obras enteras para piano.
Classical music is one of the greatest wonders ever invented by man ...
06:25 - 2 часть начало 09:53 - тема среднего раздела
The climax is insane at 28:41
12:40 jeopardy?
I strongly prefer the Korstick performance: this is the way I play this piece (or imagine I play it!) - with deeply felt passion. Beethoven wasn't just writing music, he was pouring his heart out!
7:30 is one of my favorite moments
35:01-36:07 Look at the Sheet Music..and listen; it Looks and Sounds like a fairground ride, but the brakes have come off, it is out of control, and you plunge downwards into....
2:00 - 2 этюдичек
Holy spirit 😮😮 😬😬
@7:14 circle of fifths. Also @9:09, @9:36, @9:47, @10:26 (honestly a lot of Contrapuntus 4). Nice scales in C.5 (more lyrical, less chromatic). More circle of fifths @1:08:36 (C.13 also quite lyrical)
Every time I read the description (analysis) I realise how much I don't understand (yet)😂 For instance I know what the interval of a third is, but how do you see that this is a motif here?
Fue tan dificil encontrar este nocturno en youtube, ya que absolutamente todos los resultados de busqeuda apuntaban al op 9 no 2
En estos teléfonos. DESAPRENDEN. 🎶🎶🎶cada quien. pone lo que. NO saben. 🎶🎶🎶🎶🎶
En estos teléfonos. DESAPRENDEN. 🎶🎶🎶cada quien. pone lo que. NO saben. 🎶🎶🎶🎶🎶
Transcripción Lizst. ....Nadie más. ❤
Lizst transcripción. 💞🇲🇽México.Carmen.
Así transcripción de Lizst.
Carmen Reyes exelente obra. Lizst.
After I watched the anime Nodame I fell in love with the piano and orchestra
This light and clean piece does have an uplifting effect on my mood. I would definitely recommend listening to this if you are down or depressed. It does seem to lighten inner heaviness.
44:40 smb know which piece this theme resembles? Its my favourit ..
22:56 - The most breathtaking modulation in Movement 2.
L'esecuzione di Alfred Brendel del Concerto No. 1 di Beethoven è una dimostrazione straordinaria di come il virtuosismo tecnico e l'interpretazione emotiva possano convergere in una performance memorabile. Brendel affronta questo concerto con una profondità che va oltre la semplice esecuzione tecnica, esplorando le ricchezze emotive e strutturali dell'opera con una maturità che sfida le frequenti comparazioni con Haydn o Mozart. La sua capacità di far risaltare le peculiarità beethoveniane, come la dinamica audace e le improvvisazioni pianistiche, mostra un chiaro distacco stilistico che pone Beethoven in una luce rivoluzionaria. Le agilità nelle scale e nelle rapide sequenze di note sono gestite con una precisione che non smette mai di sorprendere, rendendo ogni movimento un tessuto di emozioni palpabili e tecnicamente esemplari. Brendel non si limita a suonare note; racconta una storia, quella di un Beethoven giovane ma già pienamente consapevole del suo genio irrequieto.
this is generally a great piece to teach beginners how the piano works
damn, Rachmaninov really brought out the man in rach(man)inov
Rachmaninov: Hmm…my second concerto wasn’t good enough…gotta make one that’s better. *suddenly whips out this concerto* now that’s the stuff.
Is it her playing or someone else’s😂😂
Trnscripsion de Franzs Lizs de la opera de Masaya Komein 😂.
20--------24. Mexico 👆🇲🇽🎶🎶🎶🎶🎶🤩
Mexico 🎶🎶🎶🇲🇽
HAS there EVER been a MIND as wondrous as BEETHOVEN'S ? 🙏