You know, I'm struck by how much work it takes to learn the language of a new composer. This is so full of interesting chords and harmonic progressions that are unfamiliar to me. When I approach a new piece by a composer I know well, there's a lot that I already understand from previous exposure that I can rely on. But studying piece after piece by composers I've never heard of before, would be so much more challenging.
Absolutely. Existing recordings help, but sometimes they don't exist. I've found that learning new music without available recordings is really its own muscle. I used to read through unfamiliar pieces and think that the music wasn't very interesting, only to later realize that my reading was just deficient. Constant exposure to unfamiliar music and always trying to think charitably about the music-where it would have been performed, why someone spent time writing it-helped me become more comfortable making my own interpretations rather than relying too much on others'. But you're right, even then, there is always a learning curve when you approach someone with a unique style.
@@PianoCurio Yes, I'm very familiar with the experience of reading something through a second time and thinking, "wait, I don't remember this piece being this interesting!" 😄 I'm so grateful to you for exposing us to neglected composers and little known gems!
Perhaps the neglect is also due to the canonisation of a limited repertoire. Recital programmes are becoming ever more calcified around a few composers whose works make us expect that great music will sound like Chopin or Mozart or our friend Sergei Vasilievich. How good to have our ears rinsed like this - thank you!
@@13locomamama I'm using the term "resides" loosely. What I mean is that as you enter grad school, oftentimes your education becomes more "specialized". Undergrad is where you learn the classics (Bach, Mozart, Beethoven, Chopin, et all), and typically in grad school is where you discover lesser known music and such. That's where that music "lives" (not saying that's a good thing, just that that has been my experience and observation). Hence, much of this supposed undiscovered music resides in grad school.
@@13locomamama Yeah sure, oh gosh, don't know where to start. Which composers do you currently enjoy? What era do you like, any particular country, style?
Wow. Most ofvus know Widor and many have heard of Vierne but i had never heard his piano music. He takes it places only the highest minds would have been attracted to. These preludes deservecthe great respect accorded to Franck and Widor!
It really is a shame that most pianists don't know Vierne (not to be condescending, I just really believe in the music). At least we have some fine commercial recordings.
Louis Vierne also a référence for organist (symphonie for organ are so WOW❤❤❤) my recommandation is pièce fantaisie impromptue, a pure master piece.(Best composer : Louis Vierne and Bach)
Absolutely, I played the third nocturne several years ago and it has been my favorite of his ever since. But all three are refreshingly unique takes on an overly saturated genre.
I love Louis Vierne's organ works, but this is the first time I've heard one of his compositions for piano. I'm stunned! This piece is haunting and ominous, but also so beautiful! Excellent interpretation! Who is the pianist?
Thank you! This is my own performance. Besides the preludes, I also recommend Vierne’s nocturnes for piano. They are gorgeous and #3 in particular is a masterwork.
great find, wonderful piece, very original in it's concept, personally I think it loses it's dramatic impact with too many repetitions. What are his other preludes like?
I think your criticism is fair, it’s quite a long prelude for the amount of thematic material it has. The other preludes are definitely worth checking out if you enjoyed this one. They were written during a tumultuous time both globally (WWI) and personally for Vierne, so many of them are quite grim, though always beautifully so. They are varied enough in character that it’s difficult to describe as a whole, but I will say that there are more gems to find in those 12 preludes. Think more haunting melodicism and poignant harmonies in a specially modified late-Romantic language that was unique to Vierne.
Ivan is sick from Khachaturian album for the young, has an amazing and dark harmony. Short but powerful and interesting. This prelude is quite interesting at the beginning but I lost interest until the re exposition again. Well played and recorded by the way.
Nicely presented. Doesn’t really “belong in a museum” though as yet unavailable on IMSLP. Would love to find the music somewhere! You just need to correct the chord with the Gx at 1:12 and when the passage comes back in the major. After all it’s right later (at 3:47 etc.) when it’s Cx in the context of the home key. Also the painful G at 4:55 which might sound like something of a fly in the ointment in the context of the final benediction.
@@PianoCurio Well - it's comforting to know that we're in exalted company when it comes to misreads! And at least it's not so bad when we've only just got to know something rare, whereas a lot of absolute howlers (i.e. misreads, not mistakes!) are perpetuated in professional recordings of familiar repertoire...
Yes, Vierne wrote some beautiful music, for both piano and organ (and...), but so much of it seems to display a certain frustration or anger. Just my opinion.
Great playing . Ignore "advices". You are telling a story . If anybody wants can do another recording and etc . Nothing to "improve" here . And from another perspective your playing has 'swing" .
You bring up some interesting points, thank you. Formally, the piece is quite repetitive and structured around two thematic sections. And yet your experience, that of a sense of formlessness, might be from the dreamlike or hallucinatory way in which those themes are written. At first, the tolling octaves come and go seemingly at random, but they are in fact precisely repeated and transposed later on. Vierne was a great improviser, like many organists of his time, and yet even in the improvisatory fantasy genre you find composers carefully structuring their themes, even writing in sonata form under the title of a fantasy. Even and especially when musicians improvise, they need an internal structure around which to make their improvisation coherent and impressive, otherwise it sounds like gibberish. Widor, Vierne’s teacher, emphasized this technique in his lessons. It’s really fascinating to me that even if a piece is a fantasy, it still usually has formal structure, and even if it has structure (like this prelude), it can still reasonably be perceived as having none (as you rightly observed, I think).
@@PianoCurio I said, parts of it, not all of it. Music shall not be too convoluted, if it's too stressful to decipher the methods and see the structure, the mind tends to perceive it as gibberish. This piece is not nearly as bad as some of the works for piano from the ah so famous Mozart tho.
You know, I'm struck by how much work it takes to learn the language of a new composer. This is so full of interesting chords and harmonic progressions that are unfamiliar to me. When I approach a new piece by a composer I know well, there's a lot that I already understand from previous exposure that I can rely on. But studying piece after piece by composers I've never heard of before, would be so much more challenging.
Absolutely. Existing recordings help, but sometimes they don't exist. I've found that learning new music without available recordings is really its own muscle. I used to read through unfamiliar pieces and think that the music wasn't very interesting, only to later realize that my reading was just deficient. Constant exposure to unfamiliar music and always trying to think charitably about the music-where it would have been performed, why someone spent time writing it-helped me become more comfortable making my own interpretations rather than relying too much on others'. But you're right, even then, there is always a learning curve when you approach someone with a unique style.
@@PianoCurio Yes, I'm very familiar with the experience of reading something through a second time and thinking, "wait, I don't remember this piece being this interesting!" 😄 I'm so grateful to you for exposing us to neglected composers and little known gems!
Perhaps the neglect is also due to the canonisation of a limited repertoire. Recital programmes are becoming ever more calcified around a few composers whose works make us expect that great music will sound like Chopin or Mozart or our friend Sergei Vasilievich.
How good to have our ears rinsed like this - thank you!
Eh…not entirely true. Personally, I think all of “this music” resides in grad school.
@@tfpp1 what do you mean by resides in grad school?
@@13locomamama I'm using the term "resides" loosely. What I mean is that as you enter grad school, oftentimes your education becomes more "specialized". Undergrad is where you learn the classics (Bach, Mozart, Beethoven, Chopin, et all), and typically in grad school is where you discover lesser known music and such. That's where that music "lives" (not saying that's a good thing, just that that has been my experience and observation). Hence, much of this supposed undiscovered music resides in grad school.
@@tfpp1 nice! Which others composers do you recommend ?
@@13locomamama Yeah sure, oh gosh, don't know where to start. Which composers do you currently enjoy? What era do you like, any particular country, style?
Wow... so beautiful... 1910s harmonic language was really special
Fr
Amen to that!
This is a prelude. Not a dark gothic.
People are so pressed in the comments over nothing. Great short piece, and lovely performance!
One of the very finest of the late, even ultra Romantics.
This is a great birthday present! He was born on 8th October 1870.
So he's a hundred years precisely younger than beethoven
This channel is doing amazing work in bringing new and unknown composers to the audience of TH-cam. Keep up the efforts !!:)
Wow. Most ofvus know Widor and many have heard of Vierne but i had never heard his piano music. He takes it places only the highest minds would have been attracted to. These preludes deservecthe great respect accorded to Franck and Widor!
Finally! Someone playing Vierne!
It really is a shame that most pianists don't know Vierne (not to be condescending, I just really believe in the music). At least we have some fine commercial recordings.
Louis Vierne also a référence for organist (symphonie for organ are so WOW❤❤❤) my recommandation is pièce fantaisie impromptue, a pure master piece.(Best composer : Louis Vierne and Bach)
@@Aaqy1080what about Mozart, Beethoven, Vivaldi, schubert, Liszt, paganini, and chopin?
@@dranaik1 they are all under bach and vierne for me. i can maybe add Ornstein.(but they are also good composer)
Beautiful composition
That is wonderful.
His three nocturnes are also a gem
Absolutely, I played the third nocturne several years ago and it has been my favorite of his ever since. But all three are refreshingly unique takes on an overly saturated genre.
Great discovery, thank you!
Excellent. I liked his preludes
I love Louis Vierne's organ works, but this is the first time I've heard one of his compositions for piano. I'm stunned! This piece is haunting and ominous, but also so beautiful! Excellent interpretation! Who is the pianist?
Thank you! This is my own performance. Besides the preludes, I also recommend Vierne’s nocturnes for piano. They are gorgeous and #3 in particular is a masterwork.
Very beautiful
great find, wonderful piece, very original in it's concept, personally I think it loses it's dramatic impact with too many repetitions. What are his other preludes like?
I think your criticism is fair, it’s quite a long prelude for the amount of thematic material it has. The other preludes are definitely worth checking out if you enjoyed this one. They were written during a tumultuous time both globally (WWI) and personally for Vierne, so many of them are quite grim, though always beautifully so. They are varied enough in character that it’s difficult to describe as a whole, but I will say that there are more gems to find in those 12 preludes. Think more haunting melodicism and poignant harmonies in a specially modified late-Romantic language that was unique to Vierne.
Beautiful, composition & interpretation
I like the overuse of the James Bond chord progression lol
You should really listen to his piano quintet (first mov if my fav)
Ivan is sick from Khachaturian album for the young, has an amazing and dark harmony. Short but powerful and interesting. This prelude is quite interesting at the beginning but I lost interest until the re exposition again. Well played and recorded by the way.
Really great, where could I get the sheet music?
imslp.org/wiki/12_Pr%C3%A9ludes%2C_Op.36_(Vierne%2C_Louis)
gut
This is awesome! What’s the recording/performance?
My own, unique to this channel! Thank you
You got a few of the double sharps wrong.
I am being more careful in my proofing process lately for precisely this reason, too many silly mistakes 🤦♂️
Nicely presented. Doesn’t really “belong in a museum” though as yet unavailable on IMSLP. Would love to find the music somewhere!
You just need to correct the chord with the Gx at 1:12 and when the passage comes back in the major. After all it’s right later (at 3:47 etc.) when it’s Cx in the context of the home key.
Also the painful G at 4:55 which might sound like something of a fly in the ointment in the context of the final benediction.
Ugh, I need to slow down on these things. Mistakes work their way in and I work too quickly to catch them in time. Thanks!
@@PianoCurio Well - it's comforting to know that we're in exalted company when it comes to misreads! And at least it's not so bad when we've only just got to know something rare, whereas a lot of absolute howlers (i.e. misreads, not mistakes!) are perpetuated in professional recordings of familiar repertoire...
Very interesting but beauty is a difficult concept and changes from period to period. Romantic or modern ?
Both!
0:51 Dark Souls 1
Who is the pianist?
Me
This prelude is from opus 36 not 38.
Thanks, typo
Op. 36, not 38.
Yes, Vierne wrote some beautiful music, for both piano and organ (and...), but so much of it seems to display a certain frustration or anger. Just my opinion.
That would make sense, as he apparently had quite a difficult life.
It's pretty Franzs Liszt who
Who is the composer? It's not a gothic. It's a prelude
Louis Vierne (see description)
Thx
Dark gothic??????
Made a total hash of the introductory melody. Interesting music however.
Great playing . Ignore "advices". You are telling a story . If anybody wants can do another recording and etc . Nothing to "improve" here . And from another perspective your playing has 'swing" .
hmm.. parts of this piece sounds like improvised nonsense, to me. It's a prelude to what? The direction is unclear, it's more like a fantasy.
You bring up some interesting points, thank you. Formally, the piece is quite repetitive and structured around two thematic sections. And yet your experience, that of a sense of formlessness, might be from the dreamlike or hallucinatory way in which those themes are written. At first, the tolling octaves come and go seemingly at random, but they are in fact precisely repeated and transposed later on. Vierne was a great improviser, like many organists of his time, and yet even in the improvisatory fantasy genre you find composers carefully structuring their themes, even writing in sonata form under the title of a fantasy. Even and especially when musicians improvise, they need an internal structure around which to make their improvisation coherent and impressive, otherwise it sounds like gibberish. Widor, Vierne’s teacher, emphasized this technique in his lessons.
It’s really fascinating to me that even if a piece is a fantasy, it still usually has formal structure, and even if it has structure (like this prelude), it can still reasonably be perceived as having none (as you rightly observed, I think).
@@PianoCurio I said, parts of it, not all of it. Music shall not be too convoluted, if it's too stressful to decipher the methods and see the structure, the mind tends to perceive it as gibberish. This piece is not nearly as bad as some of the works for piano from the ah so famous Mozart tho.
Rachmaninoff is much better. Rachmaninoff’s prelude op 23 no 1 is better.
no
@@heniekgd1140 yes
What was the point of commenting this. Just goes to show the average intelligence of Rachmaninoff fans
Stop comparing you fool
@@turtle945 bahaha your a funny guy!