Theodor Kullak - Nachtgesang (Night-Song) for piano, Op. 92 no. 2

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 flair for dramatic performances. Here we have an encore-worthy concert nocturne that shares many characteristics with Liszt's Consolations (published in 1850, just four years before Kullak's Nachtgesang), specifically the characteristic blend of dreamy melodic phrases and impassioned outbursts, all tied together with a central cadenza. Yet where its originality lacks, this sensuously intimate Nachtgesang can produce a fine effect given the right atmosphere and performance.
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[@mrsandmanxj9]

This is incredible. Super grateful for this video!

[@feyindecay912]

I was waiting for the voice to set in

[@evankajikawa1277]

reminds me of a chopin nocturne

[@allfinenicksareNA]

Which one?

[@schmidjean-jacques5634]

No, it’s Liszt Song « Oh quand je dors »

[@spac3craf]

so you're saying that some 19th century music sounds like some other 19th century music. OK.

[@user-lj1sc9bs4t]

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。

[@evankajikawa1277]

@@spac3craf no, it reminds me of a nocturne because of the arpeggiated-ish accompaniment and the lullaby like melody that has improvisatory moments

[@romandubois6473]

Never heard of him before, thank you for posting

[@OmgEinWahnsinniger]

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.

[@nicholasfox966]

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.

[@spac3craf]

@@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.

[@nicholasfox966]

​@@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.

[@utkudalmaz1039]

Where can I find a pdf score?

[@wbbpiano4431]

imslp.org/wiki/Violen,_Op.93_(Kullak,_Theodor)