I think the opening 14 minutes is another individual work of his titled 'Distant Runes and Incantations'. Perhaps he added the following movements later.
I once read a comment here on youtube about Schwantner being the "Ravel of our times." Besides, Ravel, I think this great American composer may have been influenced by Debussy, Messiaen, Takemitsu, and Crumb (but, who knows, maybe even film and popular musics as well). What a beautiful piano passage starting around 14:40.
Just into the first movement, and it is lush, romantic-tinged (relatively)... in short, somewhat what I expect from this composer. I can think this is 'accessible' and neotonal enough for some audiences more hesitant about 'modern-contemporary' music to at least give it a chance to be programmed. Too, a decent 'studio' recording I think would be quite welcome.
Agreed ! Thankfully, from the 80s onward (maybe the 70s), many modernists modified their compositional aesthetic to include greater, more obvious elements of tonality / consonance. I still hear the characteristic, rapid, arpeggio passages featuring multiple intervals (including P. 5ths and 4ths), and the ostinati passages. These have been in his music since the 60s or 70s.
It is strange to read the clueless comments about this work's supposed appeal to a general audience. It has little or no appeal to a general audience: there is no melody as the g. a. conceives melody. True, it falls fairly easily on the ears compared to "tough, uncompromising" works of an earlier era. But without melody a piece like this will have the kind of performance history this has had - virtually none in over thirty years. I am not making a judgment about the piece, just an observation about why pieces like this emerge and sink. Yes, it could be "programmed" and people wouldn't hate it. But they wouldn't have much reason to like it and it no longer has the saving grace of being of its time. That's why Barber is the only composer to have written a piano concerto in the last seventy years that people want to play and other people want to hear - it has melodies.
This work is absolutely fabulous!
As I've said elsewhere, there is so much beautiful music the symphony orchestras just don't play and should.
YEP. YEP 1000000x
I’m enjoying this! It is more akin to listening to jazz I would say, a wonderful hypnosis!
Excellent, thanks !
I think the opening 14 minutes is another individual work of his titled 'Distant Runes and Incantations'. Perhaps he added the following movements later.
I once read a comment here on youtube about Schwantner being the "Ravel of our times." Besides, Ravel, I think this great American composer may have been influenced by Debussy, Messiaen, Takemitsu, and Crumb (but, who knows, maybe even film and popular musics as well). What a beautiful piano passage starting around 14:40.
Is that Karl Haas speaking at the end??
Just into the first movement, and it is lush, romantic-tinged (relatively)... in short, somewhat what I expect from this composer. I can think this is 'accessible' and neotonal enough for some audiences more hesitant about 'modern-contemporary' music to at least give it a chance to be programmed. Too, a decent 'studio' recording I think would be quite welcome.
Agreed ! Thankfully, from the 80s onward (maybe the 70s), many modernists modified their compositional aesthetic to include greater, more obvious elements of tonality / consonance. I still hear the characteristic, rapid, arpeggio passages featuring multiple intervals (including P. 5ths and 4ths), and the ostinati passages. These have been in his music since the 60s or 70s.
これはタイトル通りのピアノ協奏曲だ！
It is strange to read the clueless comments about this work's supposed appeal to a general audience. It has little or no appeal to a general audience: there is no melody as the g. a. conceives melody. True, it falls fairly easily on the ears compared to "tough, uncompromising" works of an earlier era. But without melody a piece like this will have the kind of performance history this has had - virtually none in over thirty years. I am not making a judgment about the piece, just an observation about why pieces like this emerge and sink. Yes, it could be "programmed" and people wouldn't hate it. But they wouldn't have much reason to like it and it no longer has the saving grace of being of its time. That's why Barber is the only composer to have written a piano concerto in the last seventy years that people want to play and other people want to hear - it has melodies.
ピアノの演奏凄すぎる！ｗ（￣△￣；）ｗおおっ！