No somos pocos en reconocer el talento de Schulhoff, razón de más para insistir en su genialidad híbrida y esperar que un día podamos rendirle el homenaje que se merece en el paraje donde está enterrado -que al parecer tiene cierto encanto, pese al lastre patético de haber sido lugar de confinamiento. Esta es otra pieza que lo muestra. Si el comienzo es un foxtrot desenfadado (le encantaba bailar los ritmos a la moda con amigas, camareras o…), le sigue un ragtime y como tercer movimiento un gran silencio anotado como tal “In futurum” (1:39m), para terminar con esa larga danza de la machicha o maxixe. Vale la pena escucharlo y medir la pauta del silencio como un signo, amén de atrevido, premonitorio. Tras el silencio, la liberación gozosa. ¡Gracias Georges, te debo otra! Una de tantas. [1]La machicha -maxixe, matchiche o mattchiche”-, nace en Rio de Janeiro hacia el año 1868, al mismo tiempo que se desarrolla el tango en Argentina y Uruguay. Danza afrobrasileña derivada de la batuca, toma el nombre de una ciudad del sur de Mozambique, de donde provenían muchos de los esclavos que la bailaban. Contó con compositores como Ernesto Nazareth, Pixinguinha o Pattapio Silva, mas la mayor compositora de maxixes fue Chiquinha Gozaga. En Francia fue célebre gracias a la canción La Matchiche que cantara Félix Mayol hacia 1905. Queneau la inmortaliza en una versión de la fábula de La Fontaine, La fourmi et la cigale : « (...) eh dit-elle point n'est la saison/ des sports alpinistes/ (vous ne vous êtes pas fait mal j'espère ?)/ et maintenant dansons dansons/ une bourrée ou la matchiche ».
@@Mesomede I'm pretty sure the entire piece is meant as a dadaist parody of, or commentary on 'casual' popular music and formal traditions in classical western music. Therefore I think it's safe to assume that the titles were mixed up purposefully.
Great music that I passionately love, only I don't like the interpetaion by this pianist - unappropriate freedom of syncopation and rubati where they arenot notated, sounds somewhat childish... I prefer Sherri Jones from the wergo CD.
He was from a German-Jewish family living in Czechoslovakia, so for that reason, his works were not only oppressed (actually, blacklisted) by the Nazi regime, but also because of his growing Communist sympathies. He tried to move to the Soviet Union, but he was arrested and sent to the Wülzburg concentration camp before he could, and he died there in 1942. Very sad :(
Such excellent playing, BUT in #5 why does she ruin every syncopation by slowing down? If Schulhoff bothered to write a syncopation, why not play it? By slowing down it destroys the whole feeling of a syncopation. Can't understand it, especially when so much of the other playing is so superb.
Executed without rhythm, without that strong and corrosive sound that is required by this type of Music, that was similar to real jazz but had a sad ironic character, that was its most important aspect.
Softer, singing sound and flexible meter are perfectly normal for the pianistic tradition that Schulhoff grew up with, and I think it makes perfect sense to play these pieces not with what we now perceive as necessary for performing jazz, but with a mixture of stylistic elements. I think it's done very tastefully and sensibly here.
can anyone explain to me why there are literal smiley faces and frowny faces in the score??? also does the thing that looks like a fermata attached to an inverted fermata mean anything? if so, what does it mean?
I think it is meant to parodize western formal classical traditions. One can read the score and even recognize a certain structural familiarity to the whole, even though one only hears silence. In that sense, this is kind of an intellectual joke, or "music about music".
Great Music in this vídeo. Even the third mouvement (silence is music too). Everybody only talks about the quiet third mouvement in commentaries. This is how the world is.
Someone asks, "why isn't Schulhoff better known?" Could be because his music (as heard here) is superficial? Interesting to hear, though. Thanks for posting.
I wouldn't call it superficial, I can see why you wouldn’t enjoy it because it's not truly authentic jazz writing... He has other pieces with great depth to it. I think the main reason he is relatively anonymous is because his was ended early and he was killed by the Nazi's in one of the concentration camps.
I'd argue against this being considered too superficial, but I'd agree that this is absolutely not his best work. His string quartets are much more interesting, as nice as these are
Someone asks, "why isn't Schulhoff better known?" Could be because his music (as heard here) is superficial? Interesting to hear, though. Thanks for posting.
Erwin Schulhoff's “In Futurum” from his Fünf Pittoresken predates Cage's 4'33" by some 33 years
And 22 years behind a funeral march by Alphonse Allais
Next time please also cite the source. https :/ / plato DOT stanford.edu/entries/music/#WhatMusi
@Stanley Maximus it looks evil
@@uranrising I'd say it's much better than both, since he did something on the score, something interesting for the performer
Were you reading that philosophy of music article from Stanford website
thank you for posting Schulhoff music!!! And thank you for this version! Amazing pianist!
No somos pocos en reconocer el talento de Schulhoff, razón de más para insistir en su genialidad híbrida y esperar que un día podamos rendirle el homenaje que se merece en el paraje donde está enterrado -que al parecer tiene cierto encanto, pese al lastre patético de haber sido lugar de confinamiento. Esta es otra pieza que lo muestra. Si el comienzo es un foxtrot desenfadado (le encantaba bailar los ritmos a la moda con amigas, camareras o…), le sigue un ragtime y como tercer movimiento un gran silencio anotado como tal “In futurum” (1:39m), para terminar con esa larga danza de la machicha o maxixe. Vale la pena escucharlo y medir la pauta del silencio como un signo, amén de atrevido, premonitorio. Tras el silencio, la liberación gozosa. ¡Gracias Georges, te debo otra! Una de tantas.
[1]La machicha -maxixe, matchiche o mattchiche”-, nace en Rio de Janeiro hacia el año 1868, al mismo tiempo que se desarrolla el tango en Argentina y Uruguay. Danza afrobrasileña derivada de la batuca, toma el nombre de una ciudad del sur de Mozambique, de donde provenían muchos de los esclavos que la bailaban. Contó con compositores como Ernesto Nazareth, Pixinguinha o Pattapio Silva, mas la mayor compositora de maxixes fue Chiquinha Gozaga. En Francia fue célebre gracias a la canción La Matchiche que cantara Félix Mayol hacia 1905. Queneau la inmortaliza en una versión de la fábula de La Fontaine, La fourmi et la cigale : « (...) eh dit-elle point n'est la saison/ des sports alpinistes/ (vous ne vous êtes pas fait mal j'espère ?)/ et maintenant dansons dansons/ une bourrée ou la matchiche ».
@pedroa.cantero9449 -- Bravo Maestro Professor.....from Acapulco!
Irrational Meters in 1919! Take that Henry Cowell, Brian Ferneyhough AND Thomas Ades! :P
2nd sounds more like a foxtrot than the first, just like the 1st sounds more like a ragtime than the second. Another joke or publisher messup?
Me too. I suspect titles were swapped in error. Not many people in Europe could tell the difference by 1919.
Me too.
@@Mesomede I'm pretty sure the entire piece is meant as a dadaist parody of, or commentary on 'casual' popular music and formal traditions in classical western music. Therefore I think it's safe to assume that the titles were mixed up purposefully.
@@CarterMuller Interesting point. Thanks.
8:08 - III. In Futurum????????????
You have to wonder if the performer is actually processing all those notes.
What I do wonder is why I hear creaking sounds from the piano. What's the pianist doing? idk...
@@TheNewFlutist Changing the pedal. Don't know why though since there are no pedal markings
8:21 Emojis in classical music 💀
Great music that I passionately love, only I don't like the interpetaion by this pianist - unappropriate freedom of syncopation and rubati where they arenot notated, sounds somewhat childish... I prefer Sherri Jones from the wergo CD.
Schulhoff blends jazz with more traditional elements, so why not compromise between performance styles as well?
8:53 sounds like John Cage
why isn't Schulhoff better known?....
He was from a German-Jewish family living in Czechoslovakia, so for that reason, his works were not only oppressed (actually, blacklisted) by the Nazi regime, but also because of his growing Communist sympathies.
He tried to move to the Soviet Union, but he was arrested and sent to the Wülzburg concentration camp before he could, and he died there in 1942. Very sad :(
@@jonaskatona7136 A Jewish Communist gay avantgarde musician. Not exactly what the Nazis liked.
Likely because of Nazi intervention
Because he is incompetent at creating coherent pieces lasting longer than 10 seconds.
0:28 is where this piece falters and becomes a stylistic mess.
I wonder if John Cage knew the 3rd movement.
I wonder if john cage knew he was completely incapable of understanding music.
@@Whatismusic123 And what do you mean by this?
@@MrDSCH-ib2mx exactly what I wrote.
@@MrDSCH-ib2mx somebody just really dont like cage I guess
Has anyone played in futurum as actual notes instead of rests to see what it would sound like?
Such excellent playing, BUT in #5 why does she ruin every syncopation by slowing down? If Schulhoff bothered to write a syncopation, why not play it? By slowing down it destroys the whole feeling of a syncopation. Can't understand it, especially when so much of the other playing is so superb.
The problem is, first place, this is really NOT a maxixe (and I am brazilian enough to say). So...
8:08 :troll:
4:50 sounds a bit similar to Debussy
Only John Cage could listen the third movement?
+Boris Zatta hahahahaahaha XD
8:20 was a really slow page turn, should have been faster...?
I think I counted the measures and divided the time so each measure was equal length
Executed without rhythm, without that strong and corrosive sound that is required by this type of Music, that was similar to real jazz but had a sad ironic character, that was its most important aspect.
Softer, singing sound and flexible meter are perfectly normal for the pianistic tradition that Schulhoff grew up with, and I think it makes perfect sense to play these pieces not with what we now perceive as necessary for performing jazz, but with a mixture of stylistic elements. I think it's done very tastefully and sensibly here.
encore un musicien génial qu'on a asassiné pendant la derniere guerre . Sa musique est tout simplement magnifique !
can anyone explain to me why there are literal smiley faces and frowny faces in the score??? also does the thing that looks like a fermata attached to an inverted fermata mean anything? if so, what does it mean?
I think it is meant to parodize western formal classical traditions. One can read the score and even recognize a certain structural familiarity to the whole, even though one only hears silence. In that sense, this is kind of an intellectual joke, or "music about music".
Great Music in this vídeo. Even the third mouvement (silence is music too). Everybody only talks about the quiet third mouvement in commentaries.
This is how the world is.
when this person plays the second movement she pays the dotted eighth-sixteenth as swinged eights
She plays the third movement swung too!
How to play dat In Futurum?
Someone asks, "why isn't Schulhoff better known?" Could be because his music (as heard here) is superficial? Interesting to hear, though. Thanks for posting.
I wouldn't call it superficial, I can see why you wouldn’t enjoy it because it's not truly authentic jazz writing...
He has other pieces with great depth to it.
I think the main reason he is relatively anonymous is because his was ended early and he was killed by the Nazi's in one of the concentration camps.
I'd argue against this being considered too superficial, but I'd agree that this is absolutely not his best work. His string quartets are much more interesting, as nice as these are
第3曲
4th and 5th are my favorite movements
Genio !!!
I'm following threads and arrived here from a thread on dadaism. Is this representative of that movement expressed musically?
How does one perform the third movement?
Like 4'33" -- silently.
Whichever way one finds sensible and fitting…
Someone asks, "why isn't Schulhoff better known?" Could be because his music (as heard here) is superficial? Interesting to hear, though. Thanks for posting.
This is just 10 seconds of music being repeated constantly. Really bad form.
No
This is the most ogly music ever
eliav yakir let’s see you compose one better than this
Well then don't let the door bump you on the ass on your way out.
U fuck