Wilhelm Stenhammar - Piano Concerto No. 2, Op. 23 (1907)
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- เผยแพร่เมื่อ 27 ต.ค. 2015
- Carl Wilhelm Eugen Stenhammar (February 7, 1871 - November 20, 1927) was a Swedish composer, conductor and pianist.
Piano Concerto No. 2 in D minor, Op. 23 (1904-1907)
1. Introduzione (attacca)
2. Scherzo (attacca)
3. Adagio (attacca)
4. Finale
Greta Erikson, piano and the Swedish Radio Symphony Orchestra conducted by Evgeny Svetlanov
His works were quite varied and included two completed symphonies, a substantial Serenade for Orchestra, two piano concertos, four piano sonatas, a violin sonata, six string quartets, many songs and other vocal works, including several large-scale works for chorus or voices and orchestra: the early ballad Florez och Blanzeflor, Op. 3, written around 1891, Ithaka, Op. 21, from 1904, the cantatas Ett folk (A people) from 1905 and Sången (The song), Op. 44, from 1921.
Writing in The Chamber Music Journal, R.H.R. Silvertrust notes that Stenhammar's six string quartets are the most important written between those of Johannes Brahms and Béla Bartók. Whether or not this is so, there is no denying that Stenhammar's quartets represent a very important development during the twenty-five years he was writing chamber music. Tonally, they range from the middle late Romantics to a style akin to mature Sibelius. Though not unknown by the Swedish chamber music public, his string quartets have been neglected elsewhere. In 2008 Musikaliska konstföreningen published the world premiere edition of his Allegro Brillante for piano quartet composed in 1891 and his Allegro non tanto for piano trio composed in 1895.
Stenhammar was considered the finest Swedish pianist of his time. Pianists who venture into the realm of the string quartet often wind up writing compositions which sound as though they were composed at, and are perhaps better played on, the piano. That Stenhammar's works show no such trait is because for nearly half of his life, he worked intimately with the Aulin Quartet, the top Swedish string quartet of his day and one of the best then performing in Europe. In fact, he toured throughout Europe with them for many years and a piano quintet was nearly always featured on their programmes. Thus it is no accident that his quartets show a fine grasp of instrumental timbre and technique. The part writing is sure, always idiomatic and evenly distributed.
Stenhammar recorded five piano rolls for Welte-Mignon on 21 September 1905. - เพลง
![[UNCUT] ฝันรักห้วงนิทรา | EP.11 (2/4)](http://i.ytimg.com/vi/d9KcyLT4SAQ/mqdefault.jpg)
0:06 - Moderato, recitando
1:35 - Allegro molto energico
2:11 - Più tranquillo
3:45 - Allegro molto energico
5:56 - Tempo primo (quasi cadenza)
6:55 - Allegro molto energico
8:34 - Sostenuto
10:01 - Molto più mosso
10:22 - Molto vivace
12:25 - Allegretto dolce espressivo
16:12 - Adagio
16:31 - Molto vivace
17:50 - Tempo Allegretto un poco sostenuto
18:06 - Poco Adagio
18:32 - Adagio
24:48 - Tempo moderato
26:09 - Animato
29:26 - Tempo primo
31:05 - Più mosso
Jeez I see fewer time stamps on an album lmao
@@aramkhachaturian8043 ahahah
The most underrated piano concerto out there, along with Moszkowski E major.
i dont mean to be so offtopic but does someone know of a trick to get back into an Instagram account..?
I stupidly forgot the login password. I would appreciate any help you can offer me.
@@gordonbentley1476 Why do you exist?
@@SCRIABINIST If you find out the answer to that one, do fill us in.
@@gordonbentley1476 I once had the same issue. I then went and made myself a sandwich and suddenly I remembered. Try this. Glad if I could help.
Bliss
I remember hearing this on the radio on the school bus going home from school in about 1995. Made such a huge impression. Still love it. Yes, btw, I was a huge dork in high school.
i love how the piano and orchestra "argue" over the tonality of this piece between d minor/f major and c# minor (10:15 is a really good example) and how the piano reluctantly joins the orchestra in the same key at times. very unique to this piece which is why it became one of my new favorites
Fit this into the context of being pre WWI
@@JeremyRobertWalker Could also fit well within the context of our era, should he have composed this today.
This concerto is written in a very beautiful postromantic style. It is very wisely written, and the themes and developments are very appealing. A masterwork to put aside with his second symphony.
Having lived in Sweden I starten to admire Stenhammar and this concerto is one of my favourites.
That chord progression from 2:43 - 2:55 is completely out of left field but I love it
+georgecziffra Yeah! Like jazz progressions.
It's just the circle of fourths and fifths.
The important point is not the superstructure of the chords, but their root. I must confess that I did not note this section, so I cannot give any opinion of my own.
3e3op88 it is very much jazz voicing though, not classical
I thought the first piano concerto contained everything I look for a piano concerto. This one even more so. Is that possible? Well, I think so.
This is so original and beautiful
He is memorable, he doesn't need to be famous, he is meritorious ! ! !
Stunning, stunning, stunning♥️♥️!!
Much of this work is a leisurely-seeming foray out and about, and then along come surprises. i had to listen to it for a number of YEARS until I started to get it, and am still unpacking the special moments. The coda stuck in my brain immediately, however...over 25 years ago. Great to revisit.
I believe this. Nonos fuerte...has taken me almost 30. This concerto feels as if it really has something to say
.1907 a lit of this oldromantic stuff was still being written.The Villiers works delibera immediately.Often that means music won't live long within me.
The major orchestral works of Stenhammar are his two concertos for piano and his "second" symphony. He rejected the "first" symphony because he considered it as immature. This concerto and the second symphony show that Stenhammar was a great composer, fully aware of what he was writing. There is true magnanimity in this concerto. I do not know why he did not write more for orchestra. Perhaps he was too busy with his conductor business in Uppsala. He wrote also chamber music and piano sonatas.
Don't forget his wonderful Serenade, Op. 31, in five movements. There is a striking similarity between the end of the 4th movement (Notturno) and Barber's Adagio for Strings. (Stenhammar Serenade, 1911 - Barber Adagio, 1936.)
His Sensommarnätter is also spectacular.
@@jaredoaks Yes, true. A very interesting composer. ❤❤❤❤❤❤❤
And what a pianist Ms. Eriksson was!!! Simply stunning, thank you for posting
I really enjoyed this, as far as Scandinavian composition goes I’ve always loved it, but a lot of the composers excusing grieg/ Sibelius/atterberg/and rautavaara, ive not been too impress but this was a masterwork. Such a breath fresh of air, it’s totally unique and original, doesn’t even remind me of any other composers
Just wonderful, can see this becoming a personal favourite!
I like this piece very much. The 1st movement is so expressive.
This music reminds me of Brahms, very late Chopin (Op 61 like), some Rachmaninoff (the slow movement), and especially Amy Beach. How can such an obscure work sound so familiar. A masterpiece.
This is so underrated it makes me sad.
Be happy. It can only become more famous.
When it becomes more famous, then I'll be happy. :(
I'm skating today lol yeah yeah but yeah yeah yeahs
You ought to listen to Hugo Alfvén then. Symphony # 3, for instance.
The great Swedish composer Stenhammar, he should be well known in the world, Fabolous
I am so shocked to discover this magnificent piece!
Very nice music. Thank you.
A really fine piano concerto one of the best in the literature of forgotten piano concertos. The first movement is a little weak but the other three are top notch, especially the finale. A nice little blast of Nordic winter in the line of Sibelius' Violin Concerto and parts of his symphonies.
Amazing Work. Thankyou for posting this.
An awesome work.
Beautiful and thrilling!
Came here to listen before a purchase at Arkiv. This composition is a revelation. Anyone who loves Brahms' piano concertos should enjoy this.
The by far best recording of this concerto is with Janos Solyom and Stig Westerberg. Truly astounding music.
I think Greta Eriksson does a mighty fine job. Nothing wrong with her performance.
Tack, underbart
MASTERPIECE.
Heard the piece on Sirius XM Symphony Hall a day ago. Nice; the 3rd Movement reminds me of Robert Schumann. Glad to find out pieces and composers, especially in the Romantic Era, that don't get much exposure.
The 3/8section is an inspired.Then he goes back to the Franckian/Brahmsian chorale he opend up with.Feelslikethe idea is gestating and never gets out!
This concerto is the epitome of what's happening in the U.S. today. Two sides don't listen to each other. The piano wants to make everyone happy, but doesn't hear the deep angst of the orchestra. Finally, when the piano goes into C-sharp minor and "hears" the orchestra's heartbreak, the orchestra begins to become willing to hear what the piano has to offer. I don't know of a better work of "abstract" music that actually tells a humanistic story without the need of a written "programme." A masterpiece. A template of reconciliation.
Gag.
24:48 onwards is great
29:03 too
A truly great piece. Very impressionistic and it bodes the tragic and meaningless war to come a few years later...
Stenhammar fortjener at blive spillet lidt mere i koncertsalene. !
A ritardando where there is no ritardando. A moderato that is not a moderato, and a moderato from his first concerto that sounds vivace. I have fallen in love at first listen with this composer; but what the hell is going on with contemporary performance? Where is the tempo palette? Is it that we only know freneticism? How many of us are acquainted with tempo ordinario tradition, or even connectected to our body’s reaction to aural stimuli, like when heartbeat guided music in the 1600-1700’s and beginning of the 1800’s? Did words mean something to Stenhammar? That I want to know, not what a pianist opines about his work. Thanks for sharing!! :)
Kind of late to ask Stenhammar.
You are welcome to record your vastly superior version.
And no, it is not frenetic but controlled as the performer wished.
@@Pablo-gl9dj thanks to other composers’ metronome marks, we have better idea of what moderato and tranquillo and allegro could mean. And you are wrong, frenetic playing can be perceived by the audience; who in their majority have not been dipped head to toe in conservatories, where freneticism is the run-of-the-mill aesthetics. That’s the problem: on average, classical music no longer fills with the transcendent beauty it can, but only seems to care about showing off. You talk about this as if you were unaware of the recent tempo research, and as if we could demand that these artists should have known about it.
@@Pablo-gl9djIf the moderato by the performers is not the same as the composer wanted, I should keep looking for more recordings,
@@Pablo-gl9djand even within their chosen aesthetic system in this recording, why do the ritardandi and sostenuti not feel any different from the main tempi? Why should they feel the need to get with this over as soon as possible? Where is the spiritual quietude that the composer could have felt in order to want to write sostenuto? Thanks for giving me the idea to look for more recordings of this,
Fr.o.m. 12,34 is a little bit elgar... beautiful
0:00
5:25
18:27
21:11-22:12
23:07
23:46
25:45
29:43
30:30
This is beautiful, but I can see why he didn't get very famous
@Emmanuel Avila Pianist --- But what if....WHAT IF...they were just CHANNELING through Stenhammar? Like Mendelssohn's "Fingal's Cave" did for Wagner's 'Walkürenritt'? (Greetings from San Agustinillo!
Davy Jones Theme at 22:10
The key is D minor.
Ook wel d klein genaamd. Of d mineur. Klein maar fijn.
I think he gets stereotyped or lumped in with other composers. I don't have the knowledge to pin it down but there's something going on in his handful of major works, something that brings me back
It's pleasant enough but not memorable and tends to meander at times.
Maybe good but not even close to great.
26:34
megalobombastico, but thanks for making it public
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The ads thrown in at random destroy the experience.
Where do you get ads? I never do.
@@wademanix8801 Do you have a paid membership to youtube? There are 3 or 4 ads thrown into this piece that interrupt the music.
this is strange.
Turdy: Strange in what way?
@@wademanix8801 I think he was talking about his name.
@@darrylschultz6479 🤣🤣🤣🤣🤣
Lyrical tragicness.
Awful, the publicity in the middle of a concerto!