Analysis of Scriabin's op. 45 no. 1 Feuillet d'Album. Composer Nick Bacchetto discusses harmonic, motivic and formal construction of this charming piece.
I almost never comment on youtube but I have to say that your analysis is wonderfully thorough. I really appreciate how you cover everything from harmonic structure, to motivic development. I think this sort of analysis gives a real insight into how the composer actually realised his artistic vision. I don't think I have seen an analysis video before that covers both these topics together. Your piano playing is also excellent. Please continue making videos like this! Liked and subscribed!
Dude, from all the videos I have seen on TH-cam this is probably my favourite analyisis on a piece of Scriabin. You explained it in such a clear, efficient and detailed way I'm in awe. I really wish you will post more content in the future because I have a feeling if you do so this will become on of the best music analysis channels on TH-cam. Keep it up! Right now I'm going to already share it with a bunch of my friends.
@@NickBacchetto By the way, if you were the one playing I would thank you if you post the audio because I can't find a performance quite as good or satisfying.
@@Ivan_1791 Yes, that's me. I'll consider adding a full performance to videos in the future. I find the versions by both Horowitz and Volodos to be illuminating.
Great explanation, you described the piece very well. I've been listening to a lot of Scriabin's work recently. His later works hit home the most: first piece of Op. 59, and Feuillet d'Album Op.58 and Poème-Nocturne Op. 61. A beautifully dissonant, harmonically adventurous, meandering sound.
Really clear, musical analysis - thank you! I have only one issue with your interpretation: I don't think the final Eb chord is intended to be sustained through the end of the piece - it blurs the downward line in a way that does not resemble any earlier passage, and it is clearly notated as a short chord followed by silence in the LH.
Thanks! Of course you're correct regarding the notation of the final tonic chord. To my own ear, strictly obeying this notation removes the resonance the low notes provide, resulting in a rather thin sound for the final melodic line. Sustaining this chord also make for a clearer connection with the similarly contoured descending line in measure 7. I believe this is the reason many pianists hold this chord through the end.
Really good analysis. I wish you would analyze some of my works. You will find them interesting. For example my "Bells...", my Preludes, my "Untitled", and my Chorale Etudes.
By "telescoped" I mean to say some ornamental tones have been removed while the structural tones are 'zoomed' in on. Obviously non-standard terminology :)
I almost never comment on youtube but I have to say that your analysis is wonderfully thorough. I really appreciate how you cover everything from harmonic structure, to motivic development. I think this sort of analysis gives a real insight into how the composer actually realised his artistic vision. I don't think I have seen an analysis video before that covers both these topics together. Your piano playing is also excellent. Please continue making videos like this! Liked and subscribed!
I agree that most analysis videos don't deal with motivic-harmonic aspects of a piece. Many thanks for the kind words.
Dude, from all the videos I have seen on TH-cam this is probably my favourite analyisis on a piece of Scriabin. You explained it in such a clear, efficient and detailed way I'm in awe. I really wish you will post more content in the future because I have a feeling if you do so this will become on of the best music analysis channels on TH-cam.
Keep it up! Right now I'm going to already share it with a bunch of my friends.
Much appreciated-thank you for the words of encouragement!
@@NickBacchetto By the way, if you were the one playing I would thank you if you post the audio because I can't find a performance quite as good or satisfying.
@@Ivan_1791 Yes, that's me. I'll consider adding a full performance to videos in the future. I find the versions by both Horowitz and Volodos to be illuminating.
@@NickBacchetto I see, thank you for the recommendations!
Great explanation, you described the piece very well. I've been listening to a lot of Scriabin's work recently. His later works hit home the most: first piece of Op. 59, and Feuillet d'Album Op.58 and Poème-Nocturne Op. 61. A beautifully dissonant, harmonically adventurous, meandering sound.
Great analysis! Keep doing this, they are gems!
Thank you, Nick!
my fav scriabin piece
you just got a new subscriber
Really clear, musical analysis - thank you! I have only one issue with your interpretation: I don't think the final Eb chord is intended to be sustained through the end of the piece - it blurs the downward line in a way that does not resemble any earlier passage, and it is clearly notated as a short chord followed by silence in the LH.
Thanks! Of course you're correct regarding the notation of the final tonic chord. To my own ear, strictly obeying this notation removes the resonance the low notes provide, resulting in a rather thin sound for the final melodic line. Sustaining this chord also make for a clearer connection with the similarly contoured descending line in measure 7. I believe this is the reason many pianists hold this chord through the end.
He was definitely in league with the devil.
Really good analysis. I wish you would analyze some of my works. You will find them interesting. For example my "Bells...", my Preludes, my "Untitled", and my Chorale Etudes.
Yes, interesting music! I have many works on my to-do list, but you never know ;)
I know what a retrograded inversion is but what is telescoped?
By "telescoped" I mean to say some ornamental tones have been removed while the structural tones are 'zoomed' in on. Obviously non-standard terminology :)
@@NickBacchetto thanks!