I just wish people would shut the TV's off long enough to listen to this music it would probably make the world a little better I don't know about anybody else it helps me think and it helps me go through a bad day
@@bartjebartmans I fear the Corona measures will be the end of classical music performance and we shall have to be content with TH-cam and old cd's. Mindless soccer games and pop festivals will be possible again but who will care for the tiny group of classical musicians and their public?
This captivating, melodic Concerto is a fine, representative example of the Romantic Era, with the fiery exuberance of the outer movements and the original, somewhat odd "adagio" variations, which seems to be searching for a melody, even as a more famous Opus 36 was to do a few years later. The highlight of the work for me is the dreamlike passage at 19:45, a true inspiration.
Tutto il primo movimento ,abilmente variato, è basato su un tema molto utilizzato da compositori del periodo romantico. Complessivamente un buon concerto.Un grazie a Bartje per le consuete note esaustive a corredo.
Wunderschöne Interpretation dieses spätromantischen und fein komponierten Konzerts mit klar artikuliertem Klang des genialen Soloklaviers und gut phrasierten doch perfekt entsprechenden Tönen der anderen Instrumente. Der letzte Satz klingt besonders schön und echt lebhaft. Der intelligente und erfahrene Dirigent leitet das perfekt trainierte Orchester im gut betrachteten Tempo und mit sorgfältig kontrollierter Dynamik. Wahrlich hörenswert!
Bravo! This is one of the most beautiful and most romantic piano concertos I have ever hear in my whole life, I didnt know the composer... Really this is a brilliant work... Hear the endings of the 3 movements, for god Christ... Thank you for let me know this Amazing and beautiful creation... Bravo maestro!
Draeseke is amongst these very poorly known late German romantic composers, such as for instance Reinecke or Bruch to a letter extent. For instance, one generally believes that Brahms was the only composer to write piano/clarinet sonatas (op. 120) at the end of the Century. But Draeseke had already composed an excellent one, in quite another mood than Brahms' (less melancholic and more affirmative), which offers a quite exciting alternative for this interesting genre in the late German romanticism.
While revisiting the first movement, I realized its use of sonata form is intriguing. The second theme (2:20) and then the closing theme (4:06) are both developed from the third part of the first theme group (1:50), and they came back in this order before the recapitulation of the first theme group. If I count them as belonging to the exposition and the recapitulation, respectively, then this constitutes a reversed recapitulation. If I count them as belonging to the development, then the development section is in symmetrical ternary form, while the second appearance of them is preceded by a development of the first theme group.
Troppe note, direbbe qualcuno- in parte comprensibile, considerando che i suoi modelli erano Liszt e Wagner, talora troppo magniloquenti. Anche nel secondo movimento ci sono passaggi tirati un po' troppo per le lunghe, ma secondo me è la parte migliore.
![Bortkiewicz - Piano Concerto No. 1, Op. 16 (Shadrina, Sukach) [Christmas Special No. 4]](/img/n.gif)
Bravo bravo bravo brilliance grandiose music concerto wow wow wow super virtuoso
I just wish people would shut the TV's off long enough to listen to this music it would probably make the world a little better I don't know about anybody else it helps me think and it helps me go through a bad day
That is one of the reasons why I upload on TH-cam. Thanks for your feedback!
@@bartjebartmans I fear the Corona measures will be the end of classical music performance and we shall have to be content with TH-cam and old cd's. Mindless soccer games and pop festivals will be possible again but who will care for the tiny group of classical musicians and their public?
What brilliant themes, and characteristic piano writing! Surely such a shame that this concerto is often overlooked!
My guy - your description came in clutch for my essay. TYSM.
another off the list, now just a couple of piano works to work with :D
This captivating, melodic Concerto is a fine, representative example of the Romantic Era, with the fiery exuberance of the outer movements and the original, somewhat odd "adagio" variations, which seems to be searching for a melody, even as a more famous Opus 36 was to do a few years later. The highlight of the work for me is the dreamlike passage at 19:45, a true inspiration.
Tutto il primo movimento ,abilmente variato, è basato su un tema molto utilizzato da compositori del periodo romantico.
Complessivamente un buon concerto.Un grazie a Bartje per le consuete note esaustive a corredo.
Wunderschöne Interpretation dieses spätromantischen und fein komponierten Konzerts mit klar artikuliertem Klang des genialen Soloklaviers und gut phrasierten doch perfekt entsprechenden Tönen der anderen Instrumente. Der letzte Satz klingt besonders schön und echt lebhaft. Der intelligente und erfahrene Dirigent leitet das perfekt trainierte Orchester im gut betrachteten Tempo und mit sorgfältig kontrollierter Dynamik. Wahrlich hörenswert!
Bravo! This is one of the most beautiful and most romantic piano concertos I have ever hear in my whole life, I didnt know the composer... Really this is a brilliant work... Hear the endings of the 3 movements, for god Christ... Thank you for let me know this Amazing and beautiful creation... Bravo maestro!
An exciting energetic work.
Thank you for my dose of classical music
Draeseke is amongst these very poorly known late German romantic composers, such as for instance Reinecke or Bruch to a letter extent. For instance, one generally believes that Brahms was the only composer to write piano/clarinet sonatas (op. 120) at the end of the Century. But Draeseke had already composed an excellent one, in quite another mood than Brahms' (less melancholic and more affirmative), which offers a quite exciting alternative for this interesting genre in the late German romanticism.
While revisiting the first movement, I realized its use of sonata form is intriguing. The second theme (2:20) and then the closing theme (4:06) are both developed from the third part of the first theme group (1:50), and they came back in this order before the recapitulation of the first theme group. If I count them as belonging to the exposition and the recapitulation, respectively, then this constitutes a reversed recapitulation. If I count them as belonging to the development, then the development section is in symmetrical ternary form, while the second appearance of them is preceded by a development of the first theme group.
0:00
7:08
11:44
15:03
19:45
22:29-22:45
Troppe note, direbbe qualcuno- in parte comprensibile, considerando che i suoi modelli erano Liszt e Wagner, talora troppo magniloquenti. Anche nel secondo movimento ci sono passaggi tirati un po' troppo per le lunghe, ma secondo me è la parte migliore.