![WBB Piano](/img/default-banner.jpg)
- 21
- 35 373
WBB Piano
เข้าร่วมเมื่อ 22 ก.ค. 2021
Original arrangements and recordings of rare and exceptional piano music
Friedrich Kiel - Duet for solo piano, Op. 18 No. 3
Friedrich Kiel (1821-1885) - Duet for solo piano, Op. 18 No. 3 (1860)
If you were a German composer in the mid-nineteenth century, chances are you wrote at least several pieces of music in “canon-form” or “canon-style,” where a melody is chased by its twin that lingers just a few steps behind. It is easy to see why the vogue for canons arose from the same German musicians who prized academic fugue-writing as a show of skill and knowledge: canons are clever like witty plays on words, they pose a tricky set of problems for the composer who must harmonize beneath a mirror-like texture, yet when they are well-done, canons can be exceptionally pleasing and accessible (unlike most fugues) even in one hearing.
Cross this academic fad with a popular domestic genre at the time, the song without words, where a solo pianist imitates one or two singers with keyboard accompaniment, and you get something like this piece by Friedrich Kiel. Kiel was far from the first or last to contribute to the the solo piano canon-duet microgenre; Mendelssohn, Alkan, and Fauré (whose Romance sans paroles in A-flat is probably the most famous one) were among the crowd of composers who wrote fine examples. The formula is nearly identical in all of them-a brief introduction, a simple accompaniment, two voices spinning out a few minutes of catchy material, and a symmetrical coda.
Subscribe for more rare piano music, obscure classical piano gems, and original first recordings.
#classicalpiano #classicalmusic #pianomusic
If you were a German composer in the mid-nineteenth century, chances are you wrote at least several pieces of music in “canon-form” or “canon-style,” where a melody is chased by its twin that lingers just a few steps behind. It is easy to see why the vogue for canons arose from the same German musicians who prized academic fugue-writing as a show of skill and knowledge: canons are clever like witty plays on words, they pose a tricky set of problems for the composer who must harmonize beneath a mirror-like texture, yet when they are well-done, canons can be exceptionally pleasing and accessible (unlike most fugues) even in one hearing.
Cross this academic fad with a popular domestic genre at the time, the song without words, where a solo pianist imitates one or two singers with keyboard accompaniment, and you get something like this piece by Friedrich Kiel. Kiel was far from the first or last to contribute to the the solo piano canon-duet microgenre; Mendelssohn, Alkan, and Fauré (whose Romance sans paroles in A-flat is probably the most famous one) were among the crowd of composers who wrote fine examples. The formula is nearly identical in all of them-a brief introduction, a simple accompaniment, two voices spinning out a few minutes of catchy material, and a symmetrical coda.
Subscribe for more rare piano music, obscure classical piano gems, and original first recordings.
#classicalpiano #classicalmusic #pianomusic
มุมมอง: 271
วีดีโอ
Anton Rubinstein - Fantasy for two pianos in F minor, Op. 73
มุมมอง 7K21 วันที่ผ่านมา
Anton Rubinstein (1829-1894) Fantasy for two pianos in F minor, Op. 73 (1864) (00:00) I. Lento-Allegro con fuoco (F minor) (13:18) II. Moderato-Allegro vivace (A♭ major) (19:52) III. Andante con moto (12 variations) (F minor, ends F major) Bradley Berg, two pianos The brothers Anton and Nikolai Rubinstein were monarchs of Russian Romantic-era pianism. Unlike most European countries by the mid-n...
Theodor Kullak - Nachtgesang (Night-Song) for piano, Op. 92 no. 2
มุมมอง 7K28 วันที่ผ่านมา
Theodor Kullak (1818-1882) Nachtgesang (Night-Song) for piano, Op. 92 no. 2 (1854) From a set of two piano pieces titled "Violets" Bradley Berg, piano Theodor Kullak's modern reputation mainly rests on his pedagogical exercises and editorship of Chopin's complete works, but an examination of his music reveals a highly refined Romantic pianist-composer who possessed solid craftsmanship and a fla...
Wilhelm Stenhammar - Late Summer Nights, I. Tranquil and suave (scrolling piano score)
มุมมอง 75หลายเดือนก่อน
Wilhelm Stenhammar (1871-1927, Swedish) Sensommarnåtter (Nights of Late Summer) No. 1, Tranquillo e soave Bradley Berg, piano The piano suite "Late Summer Nights" dwells not on the endless light of Scandinavian summers, but on the lingering shadows casted by frozen twilights across the region's dramatically remote landscapes. Stenhammar's music aspires to polished classicism, relishes the warmt...
Ignaz Moscheles - Pastorale in the Organ-Style for piano, Op. 135
มุมมอง 328หลายเดือนก่อน
Ignaz Moscheles (1794-1870) Pastorale im Orgel-Style, Op. 135 (1860) Bradley Berg, piano A neo-Baroque love letter to the style of Bach, composed by an early-romantic pianist in the twilight of his career. Subscribe for more of the best obscure piano works, rare piano recordings and hidden piano gems. #classicalpiano #pianomusic #pianosolo
Alfred Grünfeld - Spanish Serenade, Op. 37
มุมมอง 7Kหลายเดือนก่อน
Alfred Grünfeld (1852-1924) Spanish Serenade, Op. 37 (1889) Bradley Berg, piano Alfred Grünfeld enjoyed a position as one of the most sought-after salon pianists in fin-de-siècle Vienna, when light and showy piano music ubiquitously wafted through social gatherings of the aristocratic elite. He could charm with his wit in conversation just as much as with his limpid performances at the piano. ...
Alkan's Tropical Fever Dream for piano four hands (Sérénade Op. 74)
มุมมอง 229หลายเดือนก่อน
Alkan's Tropical Fever Dream for piano four hands (based on the solo piano Sérenade from Les Mois, Op. 74 No. 5) Arranged April 19-20, 2024 by Bradley Berg Alkan's Sérénade from Les Mois, Op. 74 has been begging for a remix since 1840 (I'm not the first to think of it). I thought it would sound great with the Brazilian textures from the third movement of Milhaud's Scaramouche.
Woldemar Bargiel - Gigue for piano four hands, Op. 29
มุมมอง 5222 หลายเดือนก่อน
Woldemar Bargiel (1828-1897), AKA Clara Schumann’s half-brother Gigue for piano four hands, Op. 29 (1864) Bradley Berg, secondo and primo Instrument: 1852 Streicher (Pianoteq) #pianoteq #classicalpiano
Ignaz Moscheles - Grande Sonate Symphonique No. 2 for piano four hands, Op. 112
มุมมอง 3232 หลายเดือนก่อน
Ignaz Moscheles (1794-1870) Grande sonate symphonique No. 2 for piano four hands, Op. 112 00:00 I. Andante patetico - Allegro agitato 13:40 II. Andante espressivo 19:24 III. Scherzoso alla tedesca antica. Allegretto 23:47 IV. Introduction al finale. Andante patetico, tempo 1º 25:44 Finale. Allegro con brio Bradley Berg, primo and secondo 1849 Érard piano (Pianoteq) On December 13, 1836, Chopin ...
Ferdinand Hiller - Operetta without Text for piano four hands, Op. 106
มุมมอง 2922 หลายเดือนก่อน
Bradley Berg, piano four hands (1852 Streicher piano modeled by Pianoteq) Ferdinand Hiller - Operetta without Text for piano four hands, Op. 106 (1864) 00:00 I. Ouverture 07:57 II. Romanze des Mädchens 10:50 III. Polterarie 13:35 IV. Jägerchor und Ensemble 17:19 V. Romanze des Jünglings 20:01 VI. Duettino 23:53 VII. Trinklied mit Chor 29:09 VIII. Marsch 33:57 IX. Terzett 36:47 X. Frauenchor 39:...
Charles-Marie Widor: Suite in B minor for piano, op. 58
มุมมอง 9K3 หลายเดือนก่อน
Bradley Berg, piano Charles Marie-Widor (1844-1937) Suite en si mineur pour piano, op. 58 (first published 1887) I. Moderato (00:10) II. Scherzo. Allegro pesante (10:22) III. Recordare. Andantino (16:15) IV. Final. Allegro con brio (18:12) THE SUITE: Widor composed the monumental piano suite that would become his 58th opus in between two equally monumental symphonies for organ, the 7th and the ...
Gounod: String Quartet No. 2, Allegretto (transcr. by Bradley Berg for piano solo)
มุมมอง 815 หลายเดือนก่อน
Gounod: String Quartet No. 2, Allegretto (transcr. by Bradley Berg for piano solo)
Charles-Marie Widor: Dans les Bois pour piano, Op . 44
มุมมอง 351ปีที่แล้ว
Charles-Marie Widor: Dans les Bois pour piano, Op . 44
Fauré/Bonis - Clair de lune (piano solo)
มุมมอง 5212 ปีที่แล้ว
Fauré/Bonis - Clair de lune (piano solo)
Edvard Grieg - Kivlemöyerne: Gangar (Slåtter)
มุมมอง 572 ปีที่แล้ว
Edvard Grieg - Kivlemöyerne: Gangar (Slåtter)
Jelly Roll Morton - Creepy Feeling (James Dapogny trans.)
มุมมอง 4552 ปีที่แล้ว
Jelly Roll Morton - Creepy Feeling (James Dapogny trans.)
Beautiful.
どことなく、ショパンのポロネーズやショパンのボレロの香りがする(ボレロはスペインの様式だけど)😊
This is a masterpiece, the Forte Piano rapreset the demonic nature (the Forte low bass sounds) and the angelic nature (the piano high soprano sounds), so Anton Rubistein that had this ambivalent nature was a master of Pianoforte instrument as Beethoven, moreover there is the romantic melody, and the romance rapresent the Cosmos, that as Dante said "L'amore che move il sole e le altre stelle"(The love that moves the sun and the other stars). Is my opinion in this piano piece there is even the loops of the cosmic discomusic.
_Epic!_
What a mess.
Personally I don’t like this piece. It feels aimless and uninteresting and not unmusical for me. Still I heard you played both the piano and edited them together. And for that you did wonderfully, very impressive bro :)
After playing Brahms' Fantasy in F minor with Clara Schumann, Rubinstein decided to write his own work. Brahms was famously critical of Rubinstein and each detested the other, so Rubinstein's work attempted to explore a very different soundscape. It is certainly a piece which is best appreciated live, containing as it does effects which are lost in a one dimensional recording. It would be very satisfying to hear Lesley Howard (who also appears playing this work on You Tube) and another top quality performer in a good quality studio recording. Although it is wonderful to hear this work at last (there are no recordings) this reading does not perhaps explore the changes in tempi and dynamic which might have given the performance more character and depth. It is still a remarkable achievement in a work which requires the greatest skill in execution.
Highly appreciated. Rubinstein‘s music needs to be played with the fire and energy of his own reported style, which is sadly missed in many recordings of his works - not so in this one! The 3rd mov. Variations are outstanding and would make a brilliant concert piece on their own, certainly among the best of Rubinstein‘s piano works. 2nd mov. is also charming, only 1st mov. is too repetitive and not as strong in melodic invention. To hear a musically and formally entirely convincing work, try 4th piano sonata op100 or the 4-hands sonata op89 - both criminally underrated!
Couldn’t agree more with your assessment! 3rd movement is the most compelling by far. I love the four hands sonata too. Thank you!
This is very noisy and unmusical; crap,really. Predictable at every turn.
No
This is very noisy and unmusical; crap,really. Ot only that but predictable at every turn.
I was only familar with Widor as composer of Organ music! Wonderful Lisztian virtuoso fireworks mixed with later French Romantic harmonies and exoticism. Très intéressante et agréable!
Best piece for 2 pianos in the Romantic era! Listened to this 5 times today already, no kidding.
Time well spent. Good to see fans of Rubinstein appreciating these videos.
This is so awful. I knew the bar was low for romantic era composers. But this guy somehow managed to limbo under it. What an excrutiating piece to listen to.
I am sorry to hear that there was nothing enjoyable or at least interesting for you in any of the three movements. Nonetheless, I appreciate you listening and taking the time to share your thoughts.
@@wbbpiano4431 If you are even kind to this guy, you must definitely be very soft-hearted haha! Thanks for uploading by the way
The two pianists play so similarly. It's strange it's like it's one person playing.
I guess it is one person? the info only lists one person. Bradley Berg. Did he record both parts and combine them?
The evenness is really incredible it almost becomes irritating.
You’re right. I combined both parts (played by me) to create the recording. As another commenter noted, I should have used two different pianos to differ their character. It was an experiment that I learned from.
@@wbbpiano4431 Well, you have amazing endurance to play all that and so precisely. :) And it's nice to hear such an unusual piece of music.
I have to admit to lots of takes and editing to thank for that, but thank you nonetheless and I appreciate you listening!
When the main theme starts, I can't help hearing "Here comes the bride!"
Such compositions must be performed on DIFFERENT instruments so that the sound differs in timbre. For example, use different brands of pianos. Otherwise, it turns out that the same instrument is repeating the same thing. A very interesting work that does not fit into the usual gradations.
Thank you for pointing that out. Yes, I experimented with that a bit and learned from this project. The next 2 piano recording will be better. Appreciate you taking the time to listen.
Vide sidéral
Une grande œuvre de ce compositeur si cruellement oublié et Bravo à Bradley Berg pour son interprétation aux deux pianos !
Amazing
in the 1860s, people didn't have a movie to go to. This is a movie in sound. Imagine it as a backdrop to something like "Metropolis." Huppertz score is available in a 150 page piano reduction that was probably played during some performances of the silent film. Rather than making snide remarks as someone from a modern era that has endless dazzling visual entertainment, have some imagination & listen more closely. This was the comic book hero movie or Harry Potter movie of the 1860s. That's what you're listening to.
Personally, I think of the first movement as a heroic “good vs. evil” narrative that ends tragically. I don’t always find Rubinstein’s thematic development compelling, but overall it was a very rewarding piece to explore and interpret. Thank you for listening. Speaking of movies, I hear a bit of the Star Wars Imperial March rhythm in the third movement (24:51)!
I didn't like Liszt's long, meaningless introductions. After hearing this piece, I begged for liszt
Lmao who changed the tempo to 69?
Widor himself
Based
That is beautiful!!!!!
I knew there would be a lot of Rubinstein hate in the comments. Same old, tired, dismissive remarks. In spite of that, I think this is a brilliant masterpiece for two pianos. This piece has that arcane beauty that elevates the soul and is prevalent in Rubinstein's more mature works. He shows here his mastery of the theme & variations form and the ability to weave intricate, interesting textures using two pianos. I've been aware of this piece via IMSLP; glad to finally hear a great recording. Thanks for sharing!
ロシアのドイツ的作曲家はチャイコフスキー以外知られていないのが悲しいですね、A.ルビシテインやフェリックスブルーメンフェリトなど、もっといますが悲しいですね
The World disagrees with you.
@@carlhopkinson That would appear to be the case by and large, lol.
Sheet music?
imslp.org/wiki/Spanisches_St%C3%A4ndchen%2C_Op.37_(Gr%C3%BCnfeld%2C_Alfred)
Granted, it's a Fantasy, so no rules apply. Nevertheless, it's a brutally repetitive piece that doesn't seem to go anywhere. Seven minutes before the music finally starts. Ugh.
I didn't like Liszt's long, meaningless introductions. After hearing this piece, I begged for liszt
@@pianista-mediocre Liszt n'est jamais "meaningless", bien au contraire!
Fantasias still have form. This does not. This piece is a joke.
@@Whatismusic123 looks like you and i got this reccomended to us at the exact same time!
Such an exhausting composition 🥴
That start is slapping on my face
😮
lovely 🫡
reminds me of a chopin nocturne
Which one?
No, it’s Liszt Song « Oh quand je dors »
so you're saying that some 19th century music sounds like some other 19th century music. OK.
ショパンはこれより少々旋律が凝っています、私はこの曲やアルカンの様にスッキリしている方が好きです。
@@spac3craf no, it reminds me of a nocturne because of the arpeggiated-ish accompaniment and the lullaby like melody that has improvisatory moments
What's the piece?
Ignaz Moscheles - Grande Sonate Symphonique No. 2 for piano four hands, Op. 112 th-cam.com/video/1ESNAv7Sxzo/w-d-xo.html This is from the development section in the first mvt
@@wbbpiano4431 Thank you so much!
0:45 is very Schumann (novelette no. 8 has almost exactly that in one of the first episodes). As a Schumann fan I love it! Edit: after I posted the comment I research the composer whom I didn’t know and surprise, surprise; he was the brother-in-law of Schumann!
I agree, you can find many “Schumann-lite” moments in Bargiel’s music, and for good reason! In my opinion, Bargiel always wrote in a very refined, proper style that, although never quite profoundly original, nevertheless retains a distinct charm.
Where can I find a pdf score?
imslp.org/wiki/Violen,_Op.93_(Kullak,_Theodor)
I was waiting for the voice to set in
The harmony in the beginning sounds very modern, would’ve never guessed it’s from 1852. To have the audacity to start the line with an A# and ending on a D# creating a Lydian/ Maj7#11 sound is really interesting.
It's tonic to dominant. Couldn't be more simple and traditional. The A-sharp in the melody is not a chord tone, but an accented melodic lower neighbor to the B, which is the chord tone. The D-sharp is then part of a dominant chord, which is over a tonic pedal. It's I to V. You're looking at it in terms of the chord labeling one finds in pop/jazz charts, but that is not applicable to most classical music.
@@nicholasfox966 how are you hearing the chord tones and how you feel it are completely applicable to classical music. Both lenses are equally valid if they strongly shape your emotional reaction to what you're hearing. A listener's reaction is not a matter of universally applicable theory. Its entirely personal.
@@spac3craf In one sense, you're absolutely correct and I agree. But observe that the original commenter didn't express a personal, subjective opinion--say, how the sonority in this piece from the 1850's **REMINDED** that person of sonorities they have heard in a completely different style and time period of music. Rather, the commenter made an objective assessment of the apparent "innovative" qualities of the music. That is not a personal opinion; that is an historical assessment. Unfortunately, this person is using an inapplicable analytical lens--a lens that would be completely foreign to the composer--to make the sweeping observation. I agree with you that you cannot argue someone out of their visceral reaction. That's personal. But we certainly can argue someone out of a false statement born out of an analytical misunderstanding.
This is incredible. Super grateful for this video!
Never heard of him before, thank you for posting
what is this?
Ignaz Moscheles - Pastorale in the Organ-Style for piano, Op. 135 th-cam.com/video/9FZbcz4r9AE/w-d-xo.html
Great discovery and beautiful ly executed
Thank you!
lovely whimsical nature <3
I totally agree!
Sounds like he 'borrowed' this pretty directly from Chopin's C minor prelude. th-cam.com/video/XeX4X_1_lo0/w-d-xo.html
I guess the rest of a 26 minute piece can be disregarded because it took inspiration from another's' work?
Terrible suggestion. That would be such a waste. @@loganm2924
Very nice, thanks!
I have only heard the Suite once before, in a recording by Australian pianist and composer Harold Fabrikant, and here I am reminded of what a superb work this is. Many thanks for bringing this revision to our attention. It cries out for a commercial recording on one of the recognised labels!
Absolutely fascinating stuff!
Wow! Have never heard this before, and I'm loving it!
This would make a superb encore for an enterprising duo! Well done on crafting such a unique take on Alkan's original!
Quite lovely! Love this! ❤
This is so good Im loving this
Wow😮