Yup, they crop up everywhere, even in his slightly more "tonal-oriented" pieces like the 2nd sonata. He usually doesn't stick to them, nor do all the transformations, though. In his biography he complains that all of Webern's "math" behind his music is stuff you can't hear. He also says he had a period when he was very interested in 12-tone music, but a few paragraphs later he says he'd ban atonal music in conservatories because it all sounds the same. Curious fella!
@@adlfmGreat comment! I read bits of his fabulous biography: “Conversations with Nikolai Kapustin” by Yana Tyulkova, his quote, p. 127, about “all atonal music sounding similar”, really stuck with me as well… You can tell from reading Kapustin, being a composer of music, really understood music as “sound first”, and of the “primacy of the ear” when he wrote for example on music learning, p.124: “You should listen for the music too, no matter how strange it may be.” I completely agree with him, I learned that from John Williams too. Atonal sounds are great sounds that please my intellect, when I want that, a device in one’s toolbox to “step out” of the comfort of Tonality, and for those moments where I want to feel some sort of “creative, expressive madness”, but to expand on that, I prefer Atonality as “Contrast”, as it is used in the context of how it serves Tonal Music Storytelling, as, I can only assume, Kapustin sort of viewed it as well… I think that Atonal music was a great necessary step in the evolution of music, with Melody & Harmony mostly, whose contributions are magnified by people like Messiaen’s birdsong, Boulez & Ferneyhough, which will occasionally please the head/mind who seeks all-possibility, all-potentiality, ultimate freedom, but as an ultimate, this only leads to nihilist “Chaos”, and I think it’s a dead-end… Of course, as Duke Ellington said: “There are two kinds of music. Good music and the other kind.” I agree with that, but I also see it as Music that “sticks” in the head, and the other that doesn’t. Not that Atonal Music is the only kind, so it is with “badly-written/generic Tonal Music”, but I have yet to hear Atonal music that is, as entire pieces of music, as memorable as Children Songs, Mozart, Debussy, Pop, and all the stuff most people, me included, are naturally drawn towards in our heritage… Point being, Music, to me, as un ultimate, like Life, all of Life, is about “Love”, in Music to me that means “Melody” (the essence of music as Mozart said…) but today, like so much of our history, the head/intellect dominates the heart, so much of what we do seems to be about “Status & pleasing an ‘illusory-perceived’ Intellectual elite”, instead of really acknowledging that we are “spiritual beings” first and foremost. I guess it’s what happens when you entrap Music in the box of “Conservatories and Social-Economics”, it becomes a cult. I believe Kapustin, though probably said in an “intentionally-provocative” way, is absolutely correct. It is quite obvious: take our Music History and see - you will never, ever, get the same variety of Sound in Atonal, nor Microtonal Music than you will find in Tonal Music, which I consider Jazz to still mostly be a part of… - I’m opened to being convinced otherwise, but the more I explore Music, the more I feel this way… 😊 The same can be said about “Rhythm”, if it is pushed so far, people like Ferneyhough, Finnissy, Dillon (a close exception to me maybe), Dench, Barrett… Boulez interestingly seemed to have “dialed it back” as his late stage 😊, with more sensual works like “Répons” & “Sur Incises”. It’s not even about being musically educated or not. As I think it’s meant to be, the Audience gives Creators of Art the greatest lesson they can learn: the collective Human Mind, like all Nature, Creation & Consciousness, has a natural resonance towards Love, Tonal Melody, Harmony, but really Tonality, always has & always will, and it’s time we acknowledge it, and Kapustin, as the most uniquely devoted Late-20th Century composer of the Jazz language that he was, seemed to embrace that, will all his wisdom, intellect, but most importantly his heart… That’s why he’s so instantaneously loved by so many from the first moment you discover him… ❤
"Sempre swinging" indicated, still Kawakami missed the opportunity to swing at 17:33, especially 17:50... it's like playing Chopin without pedal or Bach fugues without voicing...
It sort of reminds me of the figure littered throughout the Liszt sonata. Linked below. th-cam.com/video/IeKMMDxrsBE/w-d-xo.html Seems quite similar, but I could just be hearing things.
Both the melodic contour and the rhythm remind me of the recurring motive in the "Liebestod" from Wagner's "Tristan und Isolde," especially because the turn leads from the first to the second beat.
He often seems to be in.a different key in each hand at the same time which makes it interesting and unpredictable Rhythmically alive,Hf somehow makes thr contrasting keys of each hand harmonie The only thing à little less positive about his style,Imight say, is that it sounds a little cold impersonal,lacking the warmth of heartfelt emotion, nevertheless very interesting
![Nikolai Kapustin - 10 Bagatelles, Op. 59 (1991) [Score-Video]](http://i.ytimg.com/vi/39BBJFE4K-0/mqdefault.jpg)
![Nikolai Kapustin - 10 Bagatelles, Op. 59 (1991) [Score-Video]](/img/tr.png)
![Nikolai Kapustin - Concerto for 2 Pianos and Percussion, Op. 104 (2002) [Score-Video]](http://i.ytimg.com/vi/P1HGleE2suE/mqdefault.jpg)
![Nikolai Kapustin - Piano Sonata No. 19, Op. 143 (2011) [Score-Video]](http://i.ytimg.com/vi/kQilZAxrUiY/mqdefault.jpg)
![เจ็บที่ยังฮัก - ม่อน วรวิทย์ [ Official Mv ] จอนนี่มิวสิค](http://i.ytimg.com/vi/KALIGSRSjFs/mqdefault.jpg)
😲 I just noticed every single invention begins with a 12 tone row!!
Yup, they crop up everywhere, even in his slightly more "tonal-oriented" pieces like the 2nd sonata.
He usually doesn't stick to them, nor do all the transformations, though. In his biography he complains that all of Webern's "math" behind his music is stuff you can't hear. He also says he had a period when he was very interested in 12-tone music, but a few paragraphs later he says he'd ban atonal music in conservatories because it all sounds the same.
Curious fella!
@@adlfm where can I read this biography?
@@adlfm on this point, there are several 12 tone runs in his third sonata
@@adlfmGreat comment! I read bits of his fabulous biography: “Conversations with Nikolai Kapustin” by Yana Tyulkova, his quote, p. 127, about “all atonal music sounding similar”, really stuck with me as well… You can tell from reading Kapustin, being a composer of music, really understood music as “sound first”, and of the “primacy of the ear” when he wrote for example on music learning, p.124: “You should listen for the music too, no matter how strange it may be.”
I completely agree with him, I learned that from John Williams too. Atonal sounds are great sounds that please my intellect, when I want that, a device in one’s toolbox to “step out” of the comfort of Tonality, and for those moments where I want to feel some sort of “creative, expressive madness”, but to expand on that, I prefer Atonality as “Contrast”, as it is used in the context of how it serves Tonal Music Storytelling, as, I can only assume, Kapustin sort of viewed it as well…
I think that Atonal music was a great necessary step in the evolution of music, with Melody & Harmony mostly, whose contributions are magnified by people like Messiaen’s birdsong, Boulez & Ferneyhough, which will occasionally please the head/mind who seeks all-possibility, all-potentiality, ultimate freedom, but as an ultimate, this only leads to nihilist “Chaos”, and I think it’s a dead-end…
Of course, as Duke Ellington said: “There are two kinds of music. Good music and the other kind.” I agree with that, but I also see it as Music that “sticks” in the head, and the other that doesn’t. Not that Atonal Music is the only kind, so it is with “badly-written/generic Tonal Music”, but I have yet to hear Atonal music that is, as entire pieces of music, as memorable as Children Songs, Mozart, Debussy, Pop, and all the stuff most people, me included, are naturally drawn towards in our heritage…
Point being, Music, to me, as un ultimate, like Life, all of Life, is about “Love”, in Music to me that means “Melody” (the essence of music as Mozart said…) but today, like so much of our history, the head/intellect dominates the heart, so much of what we do seems to be about “Status & pleasing an ‘illusory-perceived’ Intellectual elite”, instead of really acknowledging that we are “spiritual beings” first and foremost. I guess it’s what happens when you entrap Music in the box of “Conservatories and Social-Economics”, it becomes a cult.
I believe Kapustin, though probably said in an “intentionally-provocative” way, is absolutely correct. It is quite obvious: take our Music History and see - you will never, ever, get the same variety of Sound in Atonal, nor Microtonal Music than you will find in Tonal Music, which I consider Jazz to still mostly be a part of… - I’m opened to being convinced otherwise, but the more I explore Music, the more I feel this way… 😊
The same can be said about “Rhythm”, if it is pushed so far, people like Ferneyhough, Finnissy, Dillon (a close exception to me maybe), Dench, Barrett… Boulez interestingly seemed to have “dialed it back” as his late stage 😊, with more sensual works like “Répons” & “Sur Incises”.
It’s not even about being musically educated or not. As I think it’s meant to be, the Audience gives Creators of Art the greatest lesson they can learn: the collective Human Mind, like all Nature, Creation & Consciousness, has a natural resonance towards Love, Tonal Melody, Harmony, but really Tonality, always has & always will, and it’s time we acknowledge it, and Kapustin, as the most uniquely devoted Late-20th Century composer of the Jazz language that he was, seemed to embrace that, will all his wisdom, intellect, but most importantly his heart… That’s why he’s so instantaneously loved by so many from the first moment you discover him… ❤
@@heavenbaby06 You can objectively get more variety of sound in microtonal (xenharmonic) music, which isn't necessarily atonal at all.
"Sempre swinging" indicated, still Kawakami missed the opportunity to swing at 17:33, especially 17:50... it's like playing Chopin without pedal or Bach fugues without voicing...
So intriguing So original
mdr9999 with another impeccable upload.
Exactly. It’s over 9000.
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It'd have been a great premier recording had Mr. Kawakami not, for the most part, ignored the "swinging" markings in inventions VII & VIII.
I swear he's quoting some piece at 20:06 but I can't figure out what exactly
It sort of reminds me of the figure littered throughout the Liszt sonata. Linked below.
th-cam.com/video/IeKMMDxrsBE/w-d-xo.html
Seems quite similar, but I could just be hearing things.
Both the melodic contour and the rhythm remind me of the recurring motive in the "Liebestod" from Wagner's "Tristan und Isolde," especially because the turn leads from the first to the second beat.
@@62pianoguy For sure. I can definitely hear it
sounds like an early scriabin prelude
🤯
mm! this is an unplayed piece by kapustin
선생님 인벤션부터 이러시면 어떡합니까,,,,,,,,후,,,,
He often seems to be in.a different key in each hand at the same time which makes it interesting and unpredictable Rhythmically alive,Hf somehow makes thr contrasting keys of each hand harmonie The only thing à little less positive about his style,Imight say, is that it sounds a little cold impersonal,lacking the warmth of heartfelt emotion, nevertheless very interesting