วีดีโอ

Analysis: EXPOSITION 00:02 - Introduction, in the "wrong key" of D Major. Shifts a semitone down to C# Major 00:09 - Theme 1 in F# Minor, sharp and slightly ominous in nature. Features quick trills, and razor-sharp accents 00:22 - "Tutti" section in F# Minor. Polyrhythms, syncopations, and grace notes create a slight challenge in this passage 00:36 - Solo passage in D Major based on Theme 1, although more optimistic and with a gentle sense of humor. Shifts to Bb Major in 00:50 01:05 - Theme 2 in the relative major of A. Lyrical and elegant in nature 01:47 - Twirling, almost dizzy transition, featuring extended use of 3-against-2 rhythm 02:03 - Theme 3 in A Major. Light and bouncy, with the trills being based on Theme 1. Shifts to C# Minor and features a new melody at 02:16 02:43 - Theme 3 but with gigantic chord trills. The leap technique is more amplified than before 02:57 - Transition with brilliant fingerwork on both hands 03:24 - Return of "Tutti" in D Minor DEVELOPMENT 03:38 - Introduction but lower by an interval of a third 03:45 - Theme 1 in D Minor. Steadily rises, causing more tension 04:26 - Transitionary passage, with a lone but beautiful melody in the right hand and ominous murmurs of Theme 1 in left hand RECAPITULATION 05:46 - Introduction, again in D Major 05:54 - Right where we would expect Theme 1 to enter, Theme 2 enters instead in the parellel major of F# 06:09 - Theme 1, combined with elements of Theme 2 06:23 - No Tutti passage this time. Instead is a chopinesque cascade that to me, sounds like quiet sobbing that slowly dies away 06:32 - 05:02 06:43 - Transitionary octaves that sound pretty modern for its time 06:56 - Theme 4 in F# Minor. Sparkles added everywhere. One of the most difficult passages in all of Romantic Literature, with extremely delicate textures, uncomfortable fingering, large left hand leaps, all while trying to balance the 3-against-2 rhythm. (Hamelin plays the left hand an octave higher in 07:15, creating an even more sparkling effect) 07:24 - Flowing, dreamy transition, with voices added to the left hand in 7:27 (Although Hamelin doesn't seem to bring this out as much) 07:37 - Tutti plays in the subdominant of B Minor, with the melody in the bass, giving it a mysterious, unsettling atmosphere 07:50 - A brilliant solo in F# Major that combines both the Tutti and Theme 1 08:05 - Transition based on the introduction CODA 08:13 - Theme 1, with the downbeat repeatedly playing on the lowest C# on the piano 08:25 - The infamous con brio passage. As if Theme 4 wasn't already difficult by itself, Alkan adds octaves on every downbeat in the left hand. (The left hand octaves themselves are based on an inversion of Theme 2) 08:56 - A majestic octave passage, combing 6:43 with elements of 07:50 09:14 - Pentatonic scale (although Hamelin here plays it as a glissando) cascading down to a F# chord ends the piece.

Analysis: EXPOSITION 00:01 - Theme 1 in the home key (labeled "quasi-trombe") opens the piece. Deceptive and slightly sarcastic. 00:46 - Theme 2 in E Major. More lyrical and tender in nature than Theme 1. Modulates by an interval of a third higher to G# Minor 01:22 - Transition, in Eb Minor 01:34 - Theme 3 in Eb Major, very heroic. Almost instantly shifts back to the parellel minor 01:57 - Tremolo passage, derived from Theme 1 02:24 - Brief Transition, with Theme 1 in the left hand 03:11 - Theme 4 in G# Minor. Chopinesque in nature. 03:54 - Transition back to 04:15 - Theme 1, which continues the runs at 03:54 05:42 - Theme 2 in B Major, which undergoes development and key changes 07:18 - Theme 2 in B Minor, with agitated chords in the left hand 07:50 - Codetta 08:06 - A fiendishly difficult passage, featuring quick leaps, 5-against-2 rhythm, and grace notes. Derived from Theme 1 08:47 - Based on 02:15 09:32 - Climax. Theme 3, now violent. Colossal left hand chords bounce around the low registers 09:44 - Theme 1, with the right hand delayed by a measure, creating some interesting counterpoint 09:55 - Theme 1, inverted in the right hand 10:10 - Theme 1, labeled "Tutti" DEVELOPMENT 10:33 - Theme 5, in G Major. Similar to Theme 4 in texture and atmosphere 11:19 - Excerpt from 8:06, but one semitone lower 11:24 - Modulation to Theme 5 in Ab Major, which modulates a third higher to C Major 12:05 - Whirlwinds of arpeggios transitioning to 12:12 - Theme 1, which switches back and forth between inversion and no inversion 13:01 - Theme 2 in Eb Major, modulating to 13:13 - Theme 2 as alternating triplets, modulating from Abm -> Ebm -> Eb -> G -> Gm 14:00 - Theme 1, inverted again 14:26 - Theme 2 in the right hand, melody from 13:25 in the left hand. Starts in C Minor but shifts to the parellel of C Major 14:53 - Theme 2 in E Major 15:27 - Theme 2, with an enormously long pedal note on G#. 16:41 - Climax. Theme 2, now glorious and magnified. Modulates from Eb to G#m 17:10 - 12:05 17:20 - Transition based on an inverted Theme 1 RECAPITULATION 17:50 - Theme 1, labeled "Tutti" (brief piano passage at 17:59) 18:16 - Theme 4, now in A Major 19:05 - Theme 1, in F# Minor. (Alongside 13:13 and 20:40, my favorite moment in the piece.) 19:36 and 19:47 - Based on Theme 5 20:40 - Echoing rendition of Theme 2, in G# Major 21:50 - 07:18 in C# Minor 22:33 - Small, quiet chorale, with hints of Theme 2 in the right hand. First appearance in E Major, second in G# Minor 23:37 - Codetta CODA 23:57 - Extremely long repeated note passage. Labeled "quasi-tamburo" 24:11 - A majestic Theme 1, with even more glorification at 24:19 25:02 - Theme 1, but stripped from almost all of its notes, with only a threadbare line remaining. Twirls around many registers 25:34 - Theme 2, in Ab Major 26:27 - A creepy Theme 3, with both hands playing at opposite registers of the piano 26:43 - Climax. Theme 3 in Ab Major. All hints of creepiness gone, only glory remaining 26:58 - 17:41 27:06 - Passage based on Theme 3 27:23 - Inverted Theme 1 in the parellel major of Ab 27:43 - One last echo of Theme 2, which descends to rapid octaves that transitions to 27:56 - The end. Theme 1 closes the movement.

1:22 3:16 13:14 14:26 18:21 19:06 22:35

1:49 3:54 8:30

23:57

1:49 2:08 3:23 3:54 4:57 진짜 너무 좋다 … 알캉의 진가는 아름답고 독창적인 선율이 나오는 부분인 것 같아요. 벅차오르는 이 느낌이 너무 좋아요.

알캉 환생시켜서 아믈랭이랑 피아노 대결 뜨게 하고 싶네요 ㅋㅋ

이걸 사람이 어케 치냐...

대소나타 4악장인 50대는 노년에 접어들어 기력이 쇠하고 인생을 마감하는 것을 표현한 노래라고 봐야합니다. 알캉의 대소나타는 1847년에 나온 작품입니다. 19세기때만 해도 전염병이 지금보다 더 창궐했던 시대였고 그때 전염병 걸리면 거의 죽는다고 봐야했던 시절입니다.(지금은 간단히 고칠수 있는 결핵 천연두 이런것도 그때는 불치병이었음) 저 당시 유럽인의 평균수명이 65세였습니다. 그나마 유럽은 당시에 의술이 발달했으니 이 정도지 동시대에 우리나라 조선은 왕이나 신하 양반조차도 평균수명이 53세였습니다. 농민들은 그보다 더 낮은 35세였고요.

노이즈 캔슬링하고 들으면 손톱소리 장난아니ㅣ네

알캉선생님 어디갔습니까...

This guy rush plays he not making it sound real nice

bars 187 have to be a misprint with the fingering right? that seems off.

Phénoménal..! Plus qu'une lecture de l'oeuvre. Une véritable incarnation. Merci. ❤

Pianist?

NaIce

The best interpretation ever! Hamelin absolutelly understood this Alkan's masterpiece. Thank you for this video, this interpretation is a little unfamous.

Alkan was absolutelly genius (but insane 😂) thank you for the uplouding!

This is great! My favourite interpretation of this piece on TH-cam. I am addicted to this piece, it's just absolutelly stunning and awesome piece full of joy, beauty, softness, drama, pensiveness and wisdom. And this piece has great form, I (as amateurish composer) really admire Alkan's way to edit, mix and perform themes and mainly in this piece. Every theme, motive, even every note has it's own place and they perfectly simbiosis with each other! Just peak of music!

Best performance ever. Hamelin is one of the greatest pianist ever! And Alkan is one of the most original and the best composers and this sonata is so pioneering!

Who needs drugs when there is alkan! This is one of the best pieces ever writted, Alkan used all his creativity, intelect and soul when he was composing this. And this performance is the best one, it's the peak of Hamelin's carrer!

이거 사람이 칠수있나여??

매일 들으러와요

Hanelin's performance is absolutelly my favourite and this is one of the best Alkan's piece!

0:00 Mark the LH accents! Without them, it sounds as if it's in 3/2. 3:17 Billaudot's score shows C#s in the RH; the pianist plays C#s. Why does your score have Ds? 4:11 Why ever drop an 8ve in the LH?? 5:28 Once again the pianist plays what's in Billaudot's score; why does your score differ?

This the best interpretation of this piece, thank you very much!

2:24 3:00 4:47

25:03~25:34 들을 때마다 감탄하는 파트....

whos playing? hamelin?

연주 너무 깔끔하고 좋은듯ㅠ 이곡은 아믈랭 연주가 최고인것 같습니다.

There are numerous errors in the score, some of pitch, some of spelling (e.g. E# for F).

Op 76 no.1 도 업로드 가능하신가요? 중간에 화성진행이 너무 독특하고 매력적이라 정말 좋아하는 곡입니다.

1:07 LH rhythm is misnotated!

진짜 너무 좋네요 ㅠㅠㅠ

보통 악보는 파면 팔수록 익숙해져야 하는데, 어째 이건 파면 팔수록 더 어려워지는 느낌이냐

4:47 천상의 멜로디

nOIce

noICe

모스크바의 여명 보고 오신 분 ?!?!

5:30

푸르른 들판에 산들바람이 불어오는 느낌이다..

Who is the pianist? Marc-André Hamelin?

1:51 파도가 다가오는 느낌 알캉은 천재

4:47

7:15 I love that he made the LH go even an octave higher!!!

How do you have such clean sheet music? 😭

좋다 ..

너무 좋아하는 곡.. 양손버전이 있었다면 정말 알캉 곡중에 가장 좋아하는 곡이었을텐데 말이죠ㅠ

Who is the pianist, please?

People have criticized Hamelin’s performance of the Alkan Concerto for being too disjointed and for not allowing the phrases to flow neatly one after another. I agree with that critique. However, in this piece, his performance flows so smoothly between sections. Not just that, but his technique is just so perfectly fluid. Many of the most awkward sections of this piece are played like nothing here. No one can make the piano sound like a babbling river the way he does. Something about the way he plucks the notes is so bouncy and light and elegant and rich. His musicianship is on full display in this performance, it’s awesome.