This brilliant musician took all the important elements of this beautiful composition & combined them into one instrument magnificently! Absolutely magical❤
00:00:03 I. Largo e maestoso - Lento - Allegro non troppo - Tranquillo 00:09:34 II. Lento - Andantino - Allegro molto - Vivace scherzando - Moderato assai - Allegro molto ed animato 00:21:01 III. Andantino quasi allegretto 00:30:30 IV. Allegro molto - Lento - Vivo - Allegro non troppo e maestoso - Lento - Tempo come I
Réduction pour piano à deux mains Paul Gilson is without doubt one of the most remarkable composers in Belgian music history. Although he was largely self-taught, apart from a few composition lessons with François-Auguste Gevaert (1828-1908), he left behind a large, varied and high-quality oeuvre. In 1892 he made his breakthrough, internationally as well, with La mer (Esquisses symphoniques) - still considered the high point of his oeuvre - but it seems as if he could never match that early success. He practised just about all genres, but notable is his focus on music for wind instruments. He composed some three hundred works for wind orchestras, which earned him the nickname ‚father of Belgian wind music’. Remarkably, Gilson was also the first composer internationally to write a concerto for saxophone: in 1902, he composed two concertos for alto saxophone. Outside of composing, Gilson was also a very busy man. He taught at the Brussels and Antwerp Conservatories, was inspector of music education, and during World War I he was acting principal of the Antwerp Conservatoire. After his official teaching assignments, he continued working as a private teacher, to the extent that just about the entire generation of Belgian composers of the interwar period had been apprenticed to him. Gilson published numerous works on music theory, and he was also active as a reviewer and musicographer. A remarkable episode in his life is the intense contact he maintained with the Russian music scene. After attending an exclusive Russian concert of the Concerts Populaires in Brussels on 23 January 1887, he fell under the spell of Russian music and started a correspondence with the music publisher and patron Mitrofan Belaieff (1836-1903) and with Cesar Cui (1835-1918). He also had meetings with Nikolai Rimsky-Korsakov, Alexander Glazunov and Alexander Scriabin. Thanks to these contacts, Gilson was well informed about Russian musical life and also owned many Russian scores. Gilson would later write piano reductions of several Russian scores for Belaieff. He arranged The Golden Cockerel, an opera by Rimsky-Korsakov - a composer he greatly admired - as well as the orchestral works Great Russian Easter Overture and Sheherazade. From a letter Belaieff wrote to Gilson on 28 March 1898, we know that Gilson had made a reduction of Sheherazade three or four years earlier, but that Rimsky-Korsakov had not approved the reduction. In a letter of 24 November 1899 to Belaieff, Gilson wonders why Rimsky-Korsakov was not satisfied with the reduction which, he writes, he made with the help of a friend, ‘a good pianist. (...) for the reduction is not so bad as that. No doubt it is not a Concert piece, nor a Sonatina by Clementi; but I think it is nevertheless very playable, since I myself can play it quite well. And that several friends to whom I have shown it have found it very accessible.’ Afterwards, he does admit that some passages need revisiting and that the fourth movement even needs a thorough revision. But it seems he sent him the same reduction asking Rimsky-Korsakov to revisit his manuscript. It would take until 4 March 1900 before Belaieff let it be known that Rimsky-Korsakov found Gilson’s version ‘accessible’, except for the finale where he wanted to make some changes. Rimsky-Korsakov would want to discuss these personally with Gilson: in fact, he was ready to travel to Brussels, where he conducted his own orchestral works Sadko and Sheherazade on 18 March at the Monnaie Theatre in the Concerts Populaires series, alongside works by Glinka, Borodin, Taneiev and Glazunov. In his memoirs, Rimsky-Korsakov says, among other things, that the performance was excellent and that he could not meet Gevaert because he was ill, but he does not mention Gilson. Nevertheless, we can assume that Rimsky-Korsakov and Gilson met and sorted out the problems in the transcription, because eventually the piano reduction was published anyway, by Belaieff in 1900. Gilson’s manuscript with the transcription is kept in the Paul Gilson Fund in the library of the Brussels Conservatory. Jan Dewilde (translation: Jasmien Dewilde) This publication is a facsimile of a copy housed at the library of the Royal Conservatoire of Antwerp (KVC 38424) and was made possible in collaboration with the Study Centre for Flemish Music (www.svm.be).
Such a beautifull perfomance, chapeau !!!!! and thank you a 1,000 times. How in the world can someone memorize this whole piece of music. Man is really an amazing creation. Praise to the Creator of the Heavens and the Earth. Thank you
Excelente!!! Es una obra hermosa, rusa, popular y clásica a la vez. Y este arreglo para piano, de Paul Gilson, es un trabajo magnífico. Felicitaciones al pianista Simón Trpcéski!!! Bravo!!! Muchas gracias por compartir.
This has been one of my very favorite pieces of music for over 60 yrs and often I wake up with it playing in my head. It is marvelous to listen to this reduced to an arrangement played on the piano. That said, however, it lacks all the intricacy of sound achieved in the orchestral arrangement. Thanks for sharing this. Sinbad would be pleased.
Anoche escuché la versión en orquesta y esta versión en piano me pareció excelente ya que no es fácil trasladar todos los sonidos a un sólo instrumento.
![일상 속 기분 좋음 [Proto disco meme]](http://i.ytimg.com/vi/DwmEIaZ7XGQ/mqdefault.jpg)
![โรงเรียนห้ามรัก โดนจับได้ตาย...!! [เอิร์นไดเม่]](http://i.ytimg.com/vi/4u02Sbr556Q/mqdefault.jpg)
My favorite of all time. A whole symphony amazingly performed by a single MASTER all on one instrument. Absolutely Brilliant & Beautiful!!
This brilliant musician took all the important elements of this beautiful composition & combined them into one instrument magnificently! Absolutely magical❤
I always liked this pianist. He is very talented and powerful musician. This performance is wonderful. Very good!!
00:00:03 I. Largo e maestoso - Lento - Allegro non troppo - Tranquillo
00:09:34 II. Lento - Andantino - Allegro molto - Vivace scherzando - Moderato assai - Allegro molto ed animato
00:21:01 III. Andantino quasi allegretto
00:30:30 IV. Allegro molto - Lento - Vivo - Allegro non troppo e maestoso - Lento - Tempo come I
Réduction pour piano à deux mains
Paul Gilson is without doubt one of the most remarkable composers in Belgian music history. Although he was largely self-taught, apart from a few composition lessons with François-Auguste Gevaert (1828-1908), he left behind a large, varied and high-quality oeuvre. In 1892 he made his breakthrough, internationally as well, with La mer (Esquisses symphoniques) - still considered the high point of his oeuvre - but it seems as if he could never match that early success. He practised just about all genres, but notable is his focus on music for wind instruments. He composed some three hundred works for wind orchestras, which earned him the nickname ‚father of Belgian wind music’. Remarkably, Gilson was also the first composer internationally to write a concerto for saxophone: in 1902, he composed two concertos for alto saxophone.
Outside of composing, Gilson was also a very busy man. He taught at the Brussels and Antwerp Conservatories, was inspector of music education, and during World War I he was acting principal of the Antwerp Conservatoire. After his official teaching assignments, he continued working as a private teacher, to the extent that just about the entire generation of Belgian composers of the interwar period had been apprenticed to him. Gilson published numerous works on music theory, and he was also active as a reviewer and musicographer.
A remarkable episode in his life is the intense contact he maintained with the Russian music scene. After attending an exclusive Russian concert of the Concerts Populaires in Brussels on 23 January 1887, he fell under the spell of Russian music and started a correspondence with the music publisher and patron Mitrofan Belaieff (1836-1903) and with Cesar Cui (1835-1918). He also had meetings with Nikolai Rimsky-Korsakov, Alexander Glazunov and Alexander Scriabin. Thanks to these contacts, Gilson was well informed about Russian musical life and also owned many Russian scores. Gilson would later write piano reductions of several Russian scores for Belaieff. He arranged The Golden Cockerel, an opera by Rimsky-Korsakov - a composer he greatly admired - as well as the orchestral works Great Russian Easter Overture and Sheherazade. From a letter Belaieff wrote to Gilson on 28 March 1898, we know that Gilson had made a reduction of Sheherazade three or four years earlier, but that Rimsky-Korsakov had not approved the reduction. In a letter of 24 November 1899 to Belaieff, Gilson wonders why Rimsky-Korsakov was not satisfied with the reduction which, he writes, he made with the help of a friend, ‘a good pianist. (...) for the reduction is not so bad as that. No doubt it is not a Concert piece, nor a Sonatina by Clementi; but I think it is nevertheless very playable, since I myself can play it quite well. And that several friends to whom I have shown it have found it very accessible.’ Afterwards, he does admit that some passages need revisiting and that the fourth movement even needs a thorough revision. But it seems he sent him the same reduction asking Rimsky-Korsakov to revisit his manuscript. It would take until 4 March 1900 before Belaieff let it be known that Rimsky-Korsakov found Gilson’s version ‘accessible’, except for the finale where he wanted to make some changes. Rimsky-Korsakov would want to discuss these personally with Gilson: in fact, he was ready to travel to Brussels, where he conducted his own orchestral works Sadko and Sheherazade on 18 March at the Monnaie Theatre in the Concerts Populaires series, alongside works by Glinka, Borodin, Taneiev and Glazunov. In his memoirs, Rimsky-Korsakov says, among other things, that the performance was excellent and that he could not meet Gevaert because he was ill, but he does not mention Gilson. Nevertheless, we can assume that Rimsky-Korsakov and Gilson met and sorted out the problems in the transcription, because eventually the piano reduction was published anyway, by Belaieff in 1900.
Gilson’s manuscript with the transcription is kept in the Paul Gilson Fund in the library of the Brussels Conservatory.
Jan Dewilde
(translation: Jasmien Dewilde)
This publication is a facsimile of a copy housed at the library of the Royal Conservatoire of Antwerp (KVC 38424) and was made possible in collaboration with the Study Centre for Flemish Music (www.svm.be).
Such a beautifull perfomance, chapeau !!!!! and thank you a 1,000 times.
How in the world can someone memorize this whole piece of music.
Man is really an amazing creation. Praise to the Creator of the Heavens and the Earth. Thank you
Excelente!!! Es una obra hermosa, rusa, popular y clásica a la vez. Y este arreglo para piano, de Paul Gilson, es un trabajo magnífico. Felicitaciones al pianista Simón Trpcéski!!! Bravo!!! Muchas gracias por compartir.
This has been one of my very favorite pieces of music for over 60 yrs and often I wake up with it playing in my head. It is marvelous to listen to this reduced to an arrangement played on the piano. That said, however, it lacks all the intricacy of sound achieved in the orchestral arrangement. Thanks for sharing this. Sinbad would be pleased.
Happy to listen to this version made by Paul Gilson, who was a friend of Rimsky. Bravo !!
Excelente arranjo e interpretação !!!!!
Phenomenal. Beautiful. What a heart.
Гениально.
Maravilhoso !!!!!!!!!!
Impeccable! Bravo!
that was so beautiful! you played the whole arrangement too! well done
Excellent!!
super super super !!!
Bravo!!!!
Anoche escuché la versión en orquesta y esta versión en piano me pareció excelente ya que no es fácil trasladar todos los sonidos a un sólo instrumento.
Na maioria das vezes é mais fácil transcrever do piano para a orquestra...
Отличное переложение. Только микрофон бы ещё получше. А пианист играет прекрасно.
That's what I am looking for🙇♀️🙏
35:05 Aaaaaaaaaah
It was amazing to listen to, but I would have loved it if he played his ending as it was written. Quiet, not a random tremelo crescendo.
Agreed!
Ridiculous