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- เผยแพร่เมื่อ 9 ก.พ. 2025
- Aaron Copland's stark and angry Piano Variations, played by Marc-André Hamelin. As Leonard Bernstein once sagaciously remarked, it was "synonym for modern music - so prophetic, harsh and wonderful, and so full of modern feeling and thinking."
This is a brilliant performance and also a very good piece of music. Sounds really modern and fresh despite the fact it's over 80 years old ....
Over-awed once more by this absolutely fabulous pianist. Few could play this work with such faithfulness to the score and at the same time showing such rapport with the expressive gestures contained in the music.
Amazing performance--he captures all the explosive energy and emotion in this incredible piece of music.
obsessive, manic, bipolar are is the words that pop into my mind while listening to this. absolutely breathtaking stuff.
@Thomas Meleady ?siht yojne uoy dluoc woh
Thomas Meleady Because it's great music.
Those are also the words that come to mind when I take my morning meds.🤪
An insightful and athletic performance. I played this great work on my undergraduate recital in 1977; it was and in many ways remains at the very edge of what I can do at the piano. Surprising to me that Hamelin, a truly brilliant pianist capable of technical challenges far greater that those in this piece, struggles with accuracy here at times- perhaps it's a live performance?
Wow. Tough love. Stretch out your ears.
I performed this in front of 2000 in my town last month... in the middle of the piece I accidentally slipped and my entire torso collapsed onto the keys, striking 50 or 60 keys at once... the sound was so dissonant and random it didn't go with the piece at all. I was humiliated. All the beautiful melodies and rich harmonies the audience had been following were instantly shattered.. I completely killed the mood in one second.
Brian Bernstein it didn’t go with the piece?? Really? This whole things is dissonant. I’m sure it didn’t ruin it completely
@@nicolasjamesscott I think he’s joking
Brilliant and brilliantly played. One of my all time favorite pieces of music!
Best piece ever! Amazing performance!
2:28 this is so cool
hell yea
not a big fan of Copeland, but this is a masterpiece. Way better than his later, turgid piano sonata. Dissonant, white-hot inspiration all the way through. Though Hamelin brings it off quite well, I like Stephen Hough's performance a little more; slightly faster, bites deeper into the keyboard, and a better-sounding instrument. Thanks for the score...if I ever own a piano again, it would be a blast to play this
NO "E" in COPLAND! Come on.
Nailed it. Thanks for sharing!
This is amazing. Thanks for the upload.
excellent sound, first time I hear it, I have to hear it several times to appreciate it
I love this piece, Copland, and Hamelin, so I'm going in very biased. But I thought that this was great. It was indulgent, defiant, jazzy at times, cheeky at others, and through the huge variety of timbres and textures, it was one coherent vision from start to finish. What's especially great is that I could be talking about the performance or the piece equally in saying all that. I liked the little touches like the odd pause at 8:07. A masterful rendition.
I’m listening this for the first time and it sounds me like a senseless modernist porridge of seconds and sevenths
A Masterpiece..you need to refocus and enjoy!
@@IzludeTingel : I tried to refocus. Instead, I stumbled and fell.
maybe try to focus less on harmony and more on the melodic lines
Fernando Serico I listened to it for the first time and loved it.
People in TH-cam comments sections tend to forget that personal taste is a thing. I liked it, you didn't, and that's okay.
@simonlomberg9633 Very well said.
Yes.
Will somebody get the door? I think it's Aaron!
Variation 17 (7:30 - 7:48), Variation 18 (7:49 - 8:08)
The more I hear this great piece, the more I love it--and the less "radical" it sounds. I mean, it has an actual tune as a theme, and it's in a discernible key: C# minor! Compare that to so many subsequent 12-tone compositions which sound like a cat walking across a keyboard.
Epic
jesus the time changes in this piece are insane. how does one remember and count that?
U dont lol
I'd say that Copland's piano sonata is even worse for that haha! There are some lovely 5/8, 7/8, 9/8, 3/8 sections mixed in
Practice. If you're motivated, you'll get into this music sooner than you think.
This is the right length for this kind of modernity, no longer.
And the moral is: Never begin a piece with a descending major third--at least not when there are jokers about.
Wooooooooooooooooooooooooooooooooow……..!!!!!!!!!!!!!!!!!!!!!
Copland has just hit American music "for a six" [cricket term].
By the way, the first seven bars of the piece are not nearly as "modern" as they sound. Sforzandos aside, it is three simple phrases in C# minor -- with some octave displacements for spice. (These displacements are absent in the first variation, at #1.)
Greg Weeks The first variation is actually the original theme, and the ‘theme’ is the first variation, they are switched up (said by Copland himself in one of his books). just sharing an interesting fact that maybe you didn’t know :)
@Simon Lomberg Just what I was thinking! 😊 In the Rhapsody, Rachmaninov explicitly acknowledges this ordering by indicating "Variation 1 (precedente)" when the piano first comes in, and then "Tema" for the theme. The Copland has no such markings--you need to figure it out for yourself (or read his books!).
This version is superb, but I still prefer the recording by Beveridge Webster (long out of print, on the Dover label). But Hamelin is also brilliant.
Música más resuelta y menos comprometida de Copland .Esta minuciosamente organizada (en cierto modo a la manera de la fuga de las variaciones de Handel , de Brahms).Su estilo es apremiante ,retórico y disonante.
Is it me, or does this performance leave out the fourth note (c#) of the theme and subsequent utterances of this note?
I got a chance to look at the score. Those notes are supposed to be played silently and held, presumably for the sympathetic reverberation (there's a footnote that we don't see in the video).
@rjciccone Yes...?
Recently I've become a wide-spectrum Copland fan. No matter. This piece is wonderful. However, I can't hear the two C#s on the first lower staff. What gives?
Greg Weeks That note is pressed lightly so it doesn’t sound and it’s not muted, and then after the strike of the chord it’s the only thing left sounding because of sympathetic vibrations
first rate antheil for sure. given the airplane sonata, sonata sauvage, death of machines, and mechanisms (all ca 1923), it's amazing that the only thing copland admitted (to oscar levant) being jealous of antheil was over antheil's piano playing: "it was so brilliant, he could demonstrate so well what he wanted to do". a smattering of ignorance.
I'm always shocked that Antheil has been all but forgotten today. Ballet mécanique is a masterpiece, as are all the piano works! And A Jazz Symphony is simply amazing, with so much Stravinskyan influence!
+cageiacpiano2015 If you remove the attention getting devices, i.e. the siren and the propeller from Ballet mecanique it is a very ordinary vanilla work.
Wow this piece is angry
And deceptively hard to read at many points
Bwahahahaha. NICE ONE.
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This kind of 20th century modernism is now old hat and out of style. Composers are, once again, composing music that is consonant, tonal (in the broad sense of having a tonal center, not in the old major-minor sense) and has beautiful melodies. In the 21st century Copland will be appreciated and performed for the listener friendly music he composed during his middle period, like A Lincoln Portrait and Appalachian Spring, not for esthetically empty exercises in symbolic logic set to sound like this.
+Roland Buck Forgive me, but you sound like the kind of person who puts down what he isn't capable of understanding. Some of us find this music extraordinarily rich and moving. There's nothing wrong with A Lincoln Portrait and Appalachian Spring, but the fact that the Piano Variations are still widely performed and admired indicates that this work is hardly an "empty exercise in symbolic logic."
well I find this beautiful so your point is moot
Roland Buck This music is awesome.
LOL. You remind me of one of my composition teachers who insisted that woodwind multiphonics were "passe" in the 1990s -- yet devoted most of his own 21st century compositional output to producing Baroque dance suites for recorder or crumhorn ensembles.
This is some of Copland's best music. Far superior to his overplayed, sappy Americana pastiches -- although the latter certainly have their appeal to the ignorant and uneducated listener.
@@fartwrangler I know this is an old comment but I don't feel it is necessary to belittle those who enjoy his other works because this guy was pretentious.
If this type of music was performed in the early 1800's or earlier, Copland would have had riots on his doorstep. Even Stravinsky would be fairly pissed off. I'm sorry but I simply can't stand this music. It reminds me of a toddler trying to play their favorite song on a piano but hitting the wrong notes each time.
...Stravinsky himself had a 12 tone period, he would have probably loved this work. Hopefully you will come to understand this musical language.
This piece brilliantly demonstrates that pure logic and form devoid of feeling and emotion is utter rubbish.
Have you accidentally left this comment on the wrong piece?
You don't find feeling and emotion in this piece? Seriously?
C pas bo
This sounds like junk
You don't seem to be in the right place
I hate this music
splashing paint on a canvas, this song is just that xD
You don't "hate"..you don't understand this music!
@@minecraftbros3574 : A song has lyrics, and is sung.
@@IzludeTingel : (1) I hate this music (2) I don't understand this music.
@@minecraftbros3574 uh no it’s not, splashing paint on a canvas has no complex structure, while this piece does