วีดีโอ

😢

since you went to the premiere, does it also has some electronic property?

@@wavechamber There was no fixed media, but she used electric guitar and a MIDI keyboard

Understandable. After all, the taste of music is personal stuff. I would be frantic to listen to such music and fall asleep to some Brahms-tbh, I already did.

Still, I must admit putting Poppe in an all-Brahms concert is absolutely an awkward move.

Couldn’t agree more! I was also there and left in the middle of the performance and came back for Brahms concerto. But this piece ruined it for me. I couldn’t focus on Brahms

The dynamic range is usually considerably compressed after post-processing for radio broadcasts. If only there was a live performance, it might sound different.

Still sounds better than most mediocre piano recordings.

​@@keinepartituren001you are fighting too hard lol :-)

@@AndreyRubtsovRU Я бы не стал спорить, просто выражаю своё мнение. Эти произведения я слушаю уже столько времени, что невозможно забыть потрясающие исполнения интерпретации, что делали Микеланджели, Гизекинг, Касадесюс, Любимов и другие… Но далеко не каждый пианист способен на такое впечатляющее воплощение. Поэтому я все же предпочитаю более красочную оркестровку вместо простой версии для фортепиано.

well look it was performed and recorded by a real professional orchestra, that is a formidable effort also while this isnt as great as I prefer, I wouldnt say this is at the level of an undergrad exercise Have you checked out Matthew Colins' orchestration of all Debussy prelude? His rendition is absolutely phenomenal

@@KinkyLettuce no significant difference to me.

I don't find Matthews' very convincing either. Debussy's orchestral technique is difficult to imitate. Listen to his song "Le jet d'eau" in its original piano version and then compare it with Debussy's own orchestration, made over a decade later. There is an extraordinary subtlety and inventiveness that most orchestrators are missing.

@@mrtchaikovsky that is true. Maybe Caplet came the closest, I don't know.

@@mrtchaikovsky and Debussy was also more Chabrier and the like inspired for his orchestration, so instead of trying to copy an 'impressionistic' style, maybe we ought better to emulate the aforementioned composers Debussy himself took as an example.

@@christophedevos3760 Well, Caplet had the advantage of being Debussy's personal assistant and having Debussy supervise some of his arrangements.

@@christophedevos3760 I'm not sure, there's a certain noisiness and vulgarity in Chabrier that Debussy never had. The problem with most Debussy orchestrations is that they follow the original score too closely, whereas Debussy in his own arrangements essentially recomposes the entire texture.

Thanks for pointing out!

@karllieck9064 you are too! 👎🏿

(von Rebecca Saunders, 2016-17)

Haha, good one

To nie je Haas?

@@patrikKako Nie je mi z toho zle, takže nie

Genau wie du

zweifellos, muss ich sagen!

dramatic

17:12 now you might know why I didn’t do so (not because I was lazy, believe me, definitely not)

​@@keinepartituren001 Yeah no i totally get that, this is an awful score to follow haha There actually is an interview (in german) with Poppe where he also mentions that even he himself had that problem of the notation not corresponding to what you hear while composing the piece, quite interesting imo th-cam.com/video/r9ds5oL3MrY/w-d-xo.html

@@sebastianzaczek Es ist nicht zu schwer, dranzubleiben (aus Zuhörersicht), da die größten Änderungen in Dynamik und Textur meist beim Umblättern passieren. Die Länge ist eigentlich das Knifflige. Trotzdem frage ich mich, ob Poppe die Grenzen der Musiknotation ausreizt, oder ob die Notation ihn begrenzt. Danke für den Tipp. Ich hab fast alle Interviews mit Poppe gesehen - und mein Favorit ist das, wo er über ‘Schnur’ spricht.