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.
Thanks for posting this beautiful romantic work. This is my first hearing.
This is incredible. Super grateful for this video!
I was waiting for the voice to set in
Never heard of him before, thank you for posting
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
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.
Where can I find a pdf score?
imslp.org/wiki/Violen,_Op.93_(Kullak,_Theodor)