Overall a really lovely performance. Was interesting to see the things that were different than in the score in the video. It may be that the performer was working off a different edition.
@@LeoN-bs8vo for example 2:33 no piano is written. Or 5:53 written sf then subito piano - the pianist does nothing of this. And in the same piece he plays all 16th like 8th. The problem is not a different edition, but the interpretor, who considers himself wiser than the composer
@@andreassorg7294 Your examples at 2:33 and 5:53 are interpretive choices. You don't have to agree with them, but that's a different argument. Playing the 16th like 8th I understand, the performer does do that often (which I find puzzling), but he doesn't do it "all" the time as you claim, either.
@@tfpp15:53 Playing dotted rhythm on the one hand as triolets and on the other hand in the right way in the same (short!) piece is no interpretative choice but ignorance or arbitrariness. I don't recognize any sense in it. 2:33 Why piano if the composer obviously wants the whole piece in forte???? Why create dynamical contrasts, where the composer wants a homogeneous area of loudness??? The pianist lost the border between interpretation and arbitrariness
@@andreassorg7294 I just answered you. You don't have to like my answer, but simply restating your original criticisms with different words doesn't help make your point. My advice would be to not listen to this performance, and don't lose any sleep over it, either.
some of it feels quite old, like a Pachelbel aria from hexachordum apollinis, other than the fact that there are unprepared dissonances and unresolved notes etc. I really like it. I want to play this now.
Overall I thought quite nicely played, but with that characteristic Russian taste for prioritising the player's interpretation above the details in the score and emphasising expression over other factors (like balance or continuity of pulse). There are some inaccuracies too: Parade (no.5) contains a misreading in the rhythm (repeated all the way through, first time in bar 2, second beat) - a bit annoying.
What do you mean with "voice leading errors" if Debussy used perfect fifths somewhere would that constitute an error? I agree following very classical rules it would but the rules change for each style. Beethoven was making mistakes if you judge him with Barock rules, Holst makes mistakes if you judge him with early romantic rules. Adams makes mistakes if you judge him with expressionist rules. I like this music but it's a little boring and nothing about it is very new. A work like Ligeti's études might not follow conventional rules, bet it's more exciting to listen to and it provides a new experience.
@@timothycurrie2337 voice leading is not counterpoint. ligeti doesn't even make music, just because you find it "new and exciting" does not mean that it is good you snobby elitist dumbass. I am talking about the basics of music, something that has somehow not been tought in schools for over a hundred years, the brains memory of notes. A voice leading error is leaping to a non primary chord note and then forgetting that note exists, like almost every post 20th century composer does except rachmaninoff and scriabin. You're so stuck up and focus way too much on cultural ideas and thoughts that you fail to even notice the very basic ability of human perception of sound, you're pathetic.
@@timothycurrie2337 I feel that if this work had been composed 20-30 years earlier it would have been much more commendable. Still, nothing wrong with some light music from time to time.
Not exactly true, e,g bar 6 of the prelude you have an appogiatura, fine, but it resolves down as normal creating an unprepared 6/4 which is neither passing nor cadential, something which would almost certainly be marked as "incorrect" in a counterpoint class. Just because pieces don't follow "basic voice leading" (what does that even mean) that doesn't mean they're any less valuable.
@@lukasrussell5905it's not an appogiatura, it's a chord tone, the chord is D-6 and the A is the fifth of the chord. Train your ears better. Also, just because something doesn't follow textbook counterpoint rules, does not mean it's a mistake. I was referring to general law, dependent on context. Btw the G is an anticipatory note for the chord afterwards.
Simple, but so beautiful!
As if the composer, tired of World War II, created his own little paradise
Quite, quite true. I adore Jacques Ibert’s music. It’s tranquil soundscape is very appealing.
BRAVO !!!!!
very nice Jacques.
Génial
Beautiful
Overall a really lovely performance. Was interesting to see the things that were different than in the score in the video. It may be that the performer was working off a different edition.
Where are they?
@@LeoN-bs8vo for example 2:33 no piano is written. Or 5:53 written sf then subito piano - the pianist does nothing of this. And in the same piece he plays all 16th like 8th. The problem is not a different edition, but the interpretor, who considers himself wiser than the composer
@@andreassorg7294 Your examples at 2:33 and 5:53 are interpretive choices. You don't have to agree with them, but that's a different argument. Playing the 16th like 8th I understand, the performer does do that often (which I find puzzling), but he doesn't do it "all" the time as you claim, either.
@@tfpp15:53 Playing dotted rhythm on the one hand as triolets and on the other hand in the right way in the same (short!) piece is no interpretative choice but ignorance or arbitrariness. I don't recognize any sense in it.
2:33 Why piano if the composer obviously wants the whole piece in forte???? Why create dynamical contrasts, where the composer wants a homogeneous area of loudness??? The pianist lost the border between interpretation and arbitrariness
@@andreassorg7294 I just answered you. You don't have to like my answer, but simply restating your original criticisms with different words doesn't help make your point. My advice would be to not listen to this performance, and don't lose any sleep over it, either.
some of it feels quite old, like a Pachelbel aria from hexachordum apollinis, other than the fact that there are unprepared dissonances and unresolved notes etc. I really like it. I want to play this now.
Overall I thought quite nicely played, but with that characteristic Russian taste for prioritising the player's interpretation above the details in the score and emphasising expression over other factors (like balance or continuity of pulse). There are some inaccuracies too: Parade (no.5) contains a misreading in the rhythm (repeated all the way through, first time in bar 2, second beat) - a bit annoying.
Sounds like Prokofiev a bit, except Quadrille - that one sounds like Poulenc
yeah theres something kind of russian about a lot of these. Maybe it's the polyphony? but ah that harmony is french
great, well composed pieces without basic voice leading errors, a rare sight post 19th century.
What do you mean with "voice leading errors" if Debussy used perfect fifths somewhere would that constitute an error? I agree following very classical rules it would but the rules change for each style. Beethoven was making mistakes if you judge him with Barock rules, Holst makes mistakes if you judge him with early romantic rules. Adams makes mistakes if you judge him with expressionist rules.
I like this music but it's a little boring and nothing about it is very new. A work like Ligeti's études might not follow conventional rules, bet it's more exciting to listen to and it provides a new experience.
@@timothycurrie2337 voice leading is not counterpoint.
ligeti doesn't even make music, just because you find it "new and exciting" does not mean that it is good you snobby elitist dumbass.
I am talking about the basics of music, something that has somehow not been tought in schools for over a hundred years, the brains memory of notes. A voice leading error is leaping to a non primary chord note and then forgetting that note exists, like almost every post 20th century composer does except rachmaninoff and scriabin.
You're so stuck up and focus way too much on cultural ideas and thoughts that you fail to even notice the very basic ability of human perception of sound, you're pathetic.
@@timothycurrie2337 I feel that if this work had been composed 20-30 years earlier it would have been much more commendable. Still, nothing wrong with some light music from time to time.
Not exactly true, e,g bar 6 of the prelude you have an appogiatura, fine, but it resolves down as normal creating an unprepared 6/4 which is neither passing nor cadential, something which would almost certainly be marked as "incorrect" in a counterpoint class. Just because pieces don't follow "basic voice leading" (what does that even mean) that doesn't mean they're any less valuable.
@@lukasrussell5905it's not an appogiatura, it's a chord tone, the chord is D-6 and the A is the fifth of the chord. Train your ears better. Also, just because something doesn't follow textbook counterpoint rules, does not mean it's a mistake. I was referring to general law, dependent on context.
Btw the G is an anticipatory note for the chord afterwards.
Minecraft
Minecraft
What does this have anything to do with Minecraft?
@@GJYYNGII Technoblade
@@stacia6678how though?