Greetings! I'm a philosopher with a great love for, and interest in, music and music culture. I am delighted that so many composers who have been traditionally regarded in classical music history and musicology as inferior, minor, or of no historical/artistic importance, have now found new audiences and growing interest and popularity through social media platforms and TH-cam especially. This is a new development in the history of music which I believe has profound implications and possible ramifications for our understanding of the history of music, the way by which we assess the quality of a work of music (or the creativity and/or significance of its creator), the way we experience music, and the evolution of the relationship between creators, musical sound, and listeners. Your channel is a notable contributor of this trend of making forgotten works of music available to wider audiences than their composers ever experienced in their lifetimes, and is thus also a contributing and motivating factor in what seems to me to be an important, new chapter in music. Would you be willing to engage in a discussion regarding what got you to start and maintain your channel, what influenced the selection of the music involved on your channel, the responses that you have gotten from your listeners, and your own thoughts regarding what you are doing and why you are doing it regarding your channel? This discussion may result in my writing of some essays on this complex topic for publication or as a series of blog posts. Thank you very much for your time!
... But we're still waiting for these newfound riches to percolate into concert and recital programmes. The only such 'percolation' I've come across locally was Ferdinand Ries' C# minor Piano Concerto (No. 3), some years ago.
Dear Ian, you are so polite and erudite , I think. I, myself, fully agree with your point. It is a mighty "instrument" we have got here with YT. It is an open concert for all. It invites you into The Big Book of Music and let's understand how many more pages there are, but the few and well known. A Real Ear-opener thing. Capt Olsen.
Thanks and bravo. I also applaud this site. You're completely correct about the role of TH-cam in expanding exposure to and appreciation of hitherto unknown composers. By following links I have amassed a list of over 1,000 composers (excluding modern ones) whose music I've never heard before. That is almost beyond comprehension. O brave new era which has such prospects to afford us!
Musikalisch, musikantisch sehr hohes Niveau, viele virtuose Stellen in allen Stimmen und oben drein charmant und aussagekräftig ! Steht einem Schubert in nichts nach! Danke fürs reinstellen
@@rrozoff1 Actually, the last time she was mentioned on historical papers was in 1835 during a concert of Clara Schumann. Afterwards no papers exist mentioning her after that. And then a book of "Weekly Church Reports of deaths and burials for several churches in Dresden" was found and it lists a Hélène Liebmann née Riese that died in 1869
Greetings! I'm a philosopher with a great love for, and interest in, music and music culture. I am delighted that so many composers who have been traditionally regarded in classical music history and musicology as inferior, minor, or of no historical/artistic importance, have now found new audiences and growing interest and popularity through social media platforms and TH-cam especially. This is a new development in the history of music which I believe has profound implications and possible ramifications for our understanding of the history of music, the way by which we assess the quality of a work of music (or the creativity and/or significance of its creator), the way we experience music, and the evolution of the relationship between creators, musical sound, and listeners. Your channel is a notable contributor of this trend of making forgotten works of music available to wider audiences than their composers ever experienced in their lifetimes, and is thus also a contributing and motivating factor in what seems to me to be an important, new chapter in music. Would you be willing to engage in a discussion regarding what got you to start and maintain your channel, what influenced the selection of the music involved on your channel, the responses that you have gotten from your listeners, and your own thoughts regarding what you are doing and why you are doing it regarding your channel? This discussion may result in my writing of some essays on this complex topic for publication or as a series of blog posts. Thank you very much for your time!
... But we're still waiting for these newfound riches to percolate into concert and recital programmes. The only such 'percolation' I've come across locally was Ferdinand Ries' C# minor Piano Concerto (No. 3), some years ago.
Dear Ian, you are so polite and erudite , I think. I, myself, fully agree with your point. It is a mighty "instrument" we have got here with YT. It is an open concert for all. It invites you into The Big Book of Music and let's understand how many more pages there are, but the few and well known. A Real Ear-opener thing. Capt Olsen.
Thanks and bravo. I also applaud this site. You're completely correct about the role of TH-cam in expanding exposure to and appreciation of hitherto unknown composers. By following links I have amassed a list of over 1,000 composers (excluding modern ones) whose music I've never heard before. That is almost beyond comprehension. O brave new era which has such prospects to afford us!
“Polonoise” is pretty nice! :)
What a wonderfull discovery. This should be programmed on our classical radio station.
Gradevolissimo!
Wonderful
Gradevolissimo...
Charming.
Musikalisch, musikantisch sehr hohes Niveau, viele virtuose Stellen in allen Stimmen und oben drein charmant und aussagekräftig ! Steht einem Schubert in nichts nach! Danke fürs reinstellen
..Nun wollen wir aber nicht übertreiben, Schubert ist immerhin Schubert! Lol
@@berlinzerberus
Oooohh:))
lindo...
Beautiful music... thanks for loading it up
pure bravoure
where you find all this musicians ? :)
As moléstias que à época ceifavam precocemente a vida anônima, ceifavam tambem a vida dos que prometiam realizar muito.
3rd movement - 13:20
german wikipedia lists her death as 1869
The year 1835 signified her passing from her maiden name to her married one, not her death.
@@rrozoff1 but she married in 1814
@@vesteel My mistake, Then in fact she must have died in or about 1835 and the date of 1869 is incorrect.
@@rrozoff1 Actually, the last time she was mentioned on historical papers was in 1835 during a concert of Clara Schumann. Afterwards no papers exist mentioning her after that. And then a book of "Weekly Church Reports of deaths and burials for several churches in Dresden" was found and it lists a Hélène Liebmann née Riese that died in 1869
10:20 -2nd movement
where can i find the score for this?
Google Hildegard Publishing Company.
Chingona