Franck and Borodin are in that rare class of composer who achieved 1st-rate composer status on just a handful works, all masterpiece. This is one of Franck's five or so most popular compositions...one of the only five that gets a regular playing these days and it's in a class with the Violin Sonata as one of the great chamber works in the repertoire. Interesting that with just these five compositions (and the others if you're familiar with his entire output) he established that unique "Franck" sound; one only has to listen 4 or 5 measures to instantly recognize he is the composer. That is the true mark of genius.
not sure I would put either Franck or Borodin in the first rate category even if some of their chamber/orchestra works are firmly rooted in the repertoire
@@desdequesada Yes, I know, Augusta Holmès, who was also a composer and wrote in particular some naive choirs or sacred songs for the Catholic church. Yiou know, he had been named "Pater Seraphicus", which is .a biased vision. He was able to write great rometic-like outbursts. Listen for instance his ' "chasseur maudit" or some pécunier sections in his Symphony in d minor.
I am no musician, but this chamber music is not for the faint hearted. First time I listen to this stormy passionate work. Thank you for uploading. Thoroughly enjoyed it.
Agreed. It burst onto the scene- nothing like it before. Even Tchaikovsky--no slouch in the intensity dept--witness his searing trio- might have blanched at this we works towering passion.
The quintet of César Franck is a highly passionate and romantic score. It is indeed savage in some setions. He met various opponents. On the "right", Saint-Saêns, to whom it was dedicated, left ostensibly the dedicated score on the piano after having created it. On the "left", Debussy declared that he did not admit that one could dramatize the chamber music in such a way. These reactions are now over, and this quintet, together with Schumann's, is considered as a top of the genre, which includes many scores from many composers (including nowadays Xenakis). Moreover, it is an excellent example of the cyclic form as adopted by César Franck and many students of his own.
@@didierschein8515 C'est, comme tout Xenakis, une partition déroutante au premier abord. mais il est très intéressant de voir comment il allie son radicalisme fondamental avec une certaine "tradition d'écriture", fut-elle infiniment distanciée. C'est une problématique qu'il est obligé de se poser dans la musique de chambre, et plus tard, dans le grand orchestre polychrome.
Ma version préférée de cette œuvre époustouflante, qui a peut-être même révélé au compositeur ce qu'il avait à faire dans la décennie de sommets qui a suivi dans sa création. Grand merci aux interprètes qui ont magnifiquent apprivoisé le monstre. Dans beaucoup d'autres interprétations, " ça fait trop de bruit", on n'entend plus à chaque moment chacun, ce qui est le danger ici. Oui, bravo, bravo, merci.
The 3rd Movement always engenders recollections of Charles Dickens’ Oliver Twist for me; it was among the many pieces that played whilst I read, and I guess the music fits in with the Dickensian atmosphere.
Knowing just his Dm symphony, Symphonic Variations, and the violin sonata, I was amazed listening to the very forward-thinking harmonies in some sections. I felt Poulenc and Prokofiev at times! Had to stop listening after the first movement to process! Bravo!
Amazing quintet. Tragic that Franck produced so little music. Recently discovered some terrific rarities on here, check out the Dohnanyi, Berger and Mahleb (not Mahler!) piano quintets....also the Elgar is amazing
The triple forte, crescendo section that just precedes the quiet final bars of the opening movement is one of the most savage, hair-raising things I've heard in a string quintet. I mean, I thought Brahms and Schumann had this territory nailed down and roped off for themselves in their string quintets, but, wow, Franck proves himself even more serious than they were. And there is a broken, quietly sobbing quality to the opening movement, the way the opening convulsions of the strings are played off against the singing phrases of the piano-so that the combination seems to speak of something irrevocably sundered. The opening of the second movement is quieter, but also still torn. And then I find the darkness a little too relentless, the absence of contrasts with the light something that weakens this work. Or perhaps it's that this band is a little shy about making the dolcissimos as dolcissimo as they might be, which would leaven matters a bit. Again, in the second movement, the piano breathes out some solo phrases, singing in quality, that suddenly fall silent, as if they had forgotten where they were going, and the whole thing as a terrible searching quality, and is suffused with chromaticism, everything slipping and sliding, refusing to come to a point of stability. Again, in the penultimate pages of the last movement there is a savage, gasping outburst and now it doesn't seem to lead anywhere, to point to any relief, as the quintet concludes seemingly only because it has to conclude, not because it has arrived anywhere. On the whole, a scary piece; but I do think that something more sweet and soft in the passages marked dolce or espressivo would have made the whole thing less daunting... I don't know; and would love to hear from others. Marc Vincenti
Here I clicked on this thinking "what kind of madman writes for 5 pianos?!" but was treated to a wonderful string quartet instead (Duh). Thanks for all your uploads!
@@echoes6092 And those 3 pianos were stacked on top of each other so that two pianists perched on the shoulders of his lower level cohort. Stunning, I tell you, simply stunning!
I suggest to you not to forget Vierne, Florent Schmitt, Dvorak and Chostakovitch (and event Taneïev). Each one has great meits of its own -and even quite close to us, Elliott Carter.
@@gerardbegni2806 Yes, I especially appreciate the quintet of Carter: Messiaen wrote too a very short piece for string quintet with piano, in the last years of his life. It is a composition that accentuate the idea of dialog, or opposition, between the strings of the piano. I don`t know the quintet of Taneev. Another suggestion of your part. Thank you very much.
then there's all of 16:06 on... and I might be cheapening this great work with the suggestion, but 26:35 would make an excellent TV or movie theme tune :) !!! Or perhaps one of those deep-reaching and hard-hitting news and current affairs shows that really digs deep and hits hard in a weird, scary but utterly fascinating world of power and intrigue and mystery, that you almost hardly ever get these days ...
@@Balakirev_ I know very well Taneyev's quintet. I even played he piano part inan amaeutur rendering. It is of course a grat quintet, but in my mind Schumann's and Franck's are a bit grater than Taneyev's, Brahms', Fauré's, Vierne"s and Chostakovitch's. ❤❤❤❤❤
An intense unquiet, obsessive work. At first hearing, the composer seems to have gone slightly mad or fallen in love (or both) --so turbulent and passionate a work this is. But make no mistake-- Franck is in complete control. The musical obsession starts in the first movement with a cry of pain of some recent lost love reaching turbulent climaxes. The singular middle movement is, to me, a moonlit scene-- but not a serene one: It sounds/feels like the glittering, murderous night lagoon in La Giocanda: a gliding barcarolle piano rhythm with exquisite yet disturbing musical secrets in the strings -- perhaps a couple in a moored boat- again the feeling is not letting go when one should. The obsession continues in the 3rd moments with furious whirling notes relieved by the moonlit inquietude moodiness. Really stunning. Nothing like this passionate nature before in chamber music. No wonder the classicist, fastidious St. Sains, the premier pianist and quintet dedicatee, walked off after the concert leaving the score untouched. The composer- only perhaps momentarily hurt- loved his work believing it sounded just the way he wanted. And so this quintet remains one of finest in that august grouping along with Brahms, Schumann and Dvorak.
I really wonder how that performance sounded under Saint-Saens, who was reportedly sight-reading. He had a reputation for being a formidable sight-reader and pianist, but in his compositions, he strikes me as one of those who lack something essential but who were able to achieve so much despite it. But, to me, that something constitutes music itself. It is the definition of true greatness, of divinely-inspired musical genius, of the difference between hard work with talent or pure love, completely free of any ulterior motives, and hard work without it. Nadia Boulanger thought something similar of him. Richard Strauss and Hugo Wolf fall in that category too for me. Saint Saens was offended by the work for several reasons. It's a work that wears all its psychological madness, all its longing, very sexual at times, on its sleeve, completely unrestrained, and if one does not give onself to it completely, as a performer, the music is simply "too much". If one does not allow oneself to experience and identify with the madness, one can only be judgmental of its excesses. The piece probably challenged Saint-Saens musically, technically and emotionally in ways that were beyond him, I believe, as someone with formidable skill who was always on top of what he had to play and perform, which humiliated and angered him, although no one but him felt and noticed the offense. Franck was happy enough with the result. This work has the obsession of Janacek's work- both are faces of an impossible love. I love your description of the second movement.
I agree. I just listened to the first moment for the first time and it churned up so many emotions at the same time that I expected to find a few splattered on the walls when it was over.
great and interesting comments here below . I would add that Franck the organist is never very far in any of his compositions. The thick textures in the first movement of the Quintet remind me of his 3rd organ Choral and also his Pièce Héroïque . His conception of sound is massive at times and only to melt into this fluid lyricism as heard in his violin sonata or Prelude, Choral et Fugue for piano. I love those extremes. Imagine writing such masterpieces only to end hit by a trolleybus. gah!
This music is so comfortable that it seems to fall into eternal sleep . I'm not sure if it's a dream or a reality . 🍎 From effulgent Tokyo in profound Japan in winter . Which national are you watching this video ？
@@GreenTeaViewer ありがとう‼️ Arigato ！ ( Japanese thanks ) Japan , especially Tokyo is cruel and hustle and bustle with the Coronavirus infection . In capital area , almost stores and shops (bar , snack , amusement shop , karaoke shop ,night club ,etc ) are closed . And the unnecessary and non - sudden outings are self - restraint . Sadly , many people ,dubbed 「 self - restraint fatigue 」 are relaxing in parks ， seashore ， and riverside on Sunday . Many people have an easy ， childish idea that they are less at risk of crisis and that they will not be infected by themselves . Coronavirus is very dangerous and overwhelmingly strong . Just talking or touching are infected . Don't be careless Be on the alert for Coronavirus infection . Take care of yourself Good luck ！
@@olla-vogala4090 Yes, William Howard was the pianist on both recordings; the latter one was recorded at Champs Hill, Pulborough, Sussex, England, 7-8 Nov, 2003.
This is wonderful - thanks for the upload. I had this recording from BBC Music Magazine back in the day - was it twinned with the Brahms Quintet / Quartet? 8:04 makes me weep like a baby every time.
APARTE DE ESTE QUINTETO TIENE CUATRO TRIOS CON PIANO,SONATAS CON PIANO, 47 PIEZAS PARA ORGANO,ENTRE ELLAS TRES CORALES, 6 OBRAS PARA PIANO,PRELUDIOS,CORAL Y FUGA.
Schubert Ensemble of London: Douglas Paterson, Jacqueline Shave, Jane Salmon, Maya Koch, Mayumi Seiler, Peter Buckoke, Ralph De Souza, Roger Tapping, Simon Blendis, William Howard - I think William Howard was the pianist in this recording.
It just feels not as dreamy with the limited dynamic range . Because for the very majority of the time , the plays forte to mezzo forte . For as exciting rythmitically and the benefit of subtleties, try out the recording with Jonathan Fournel, Augustin Dumay, Shuichi Okada, Miguel Da Silva and Gary Hoffman.
The opening motiv in the piano has some relations to a few motives in that work of Schoenberg. The unison string writiing that occurs quite a bit is also a timbre common in the the Schoenberg. Add that it is in a minor key the medium range harmonic plan is progressive for its time (moving from F minor to temporarily A the D flat and some movement between major thirds). Also interesting is how a some "development" of material is simply transposing it with re-voicing. Of course there is much to the Franck than that. But I mention all of these as the Schoenberg is very early and one of his late Romantic works. Franck is seen as a bridge from early to late Romanticism. So good ear to catch at a few affimities to the two works - although I would not say they are strong.
Oh, I see why Saint-Saens, the pianist at the premiere, got ticked off - it's SO antithetical to elder composer's sense of reserve, tradition, and structural conventions. Is this a piece I'll throw on the CD player a couple times a week? Probably not. But is it a vivid specimen of its kind, full of tumult and emotional twists? You betcha. And I suspect these fabulous performers make it sound easier than it really is.
Franck had only one challenger, Schumann. He chose - for personal reasons, but this would be too long to tell - a quite dramatic expresssion, both in the themes and in their development. The beginning is savage, one cannot tell it in another way. There are calmer sections in the piano, but the "savage" theme is imposing the tone of the work. The form is cyclic, which proves that Franck did not forget theoretical concerns even in that flow of lava. The writing of the string parts is somehow hampered by the preeminence of the first violin. But at the ned, probably there are two masterworks in that ganre: Schumann and Franck. Others like Brahms, Dvorak, Fauré, Chostakovitch stay behind - sometimes close, but behind.
Unbelievable tripe on this topic. I often think people love to hear themselves use the word "masterpiece" without considering the matter in any depth. Thus they flatter themselves. You Tube is the newest and most fertile ground for this public self-stimulation.
Franck and Borodin are in that rare class of composer who achieved 1st-rate composer status on just a handful works, all masterpiece. This is one of Franck's five or so most popular compositions...one of the only five that gets a regular playing these days and it's in a class with the Violin Sonata as one of the great chamber works in the repertoire. Interesting that with just these five compositions (and the others if you're familiar with his entire output) he established that unique "Franck" sound; one only has to listen 4 or 5 measures to instantly recognize he is the composer. That is the true mark of genius.
same with the Preludio Choral and Fugue for piano. A piano masterpiece
the other three being his symphony, symphonic variations, the prelude and variations for piano
Plus one more: "Psyche" for chorus and orchestra (1888). th-cam.com/video/X2Qzfi13qaQ/w-d-xo.html
In my opinion- piano quintet, violin sonata, prelude choral and fugue, piano trio no. 1 and symphonic variations
not sure I would put either Franck or Borodin in the first rate category even if some of their chamber/orchestra works are firmly rooted in the repertoire
I have never heard this kind of sound before, a true masterpiece
Greatest piano quintet of all time
A masterpiece. Some kind of interior drama erupts in that famous quintet.
At that time , he was in love with a pupil .
@@desdequesada Yes, I know, Augusta Holmès, who was also a composer and wrote in particular some naive choirs or sacred songs for the Catholic church. Yiou know, he had been named "Pater Seraphicus", which is .a biased vision. He was able to write great rometic-like outbursts. Listen for instance his ' "chasseur maudit" or some pécunier sections in his Symphony in d minor.
I am no musician, but this chamber music is not for the faint hearted. First time I listen to this stormy passionate work. Thank you for uploading. Thoroughly enjoyed it.
Agreed. It burst onto the scene- nothing like it before. Even Tchaikovsky--no slouch in the intensity dept--witness his searing trio- might have blanched at this we works towering passion.
Un sommet de l'art de César Franck. A la fois rigoureux et rêveur. Excellente interprétation.
Absolutely incredible!
Franck was a genius!
The quintet of César Franck is a highly passionate and romantic score. It is indeed savage in some setions. He met various opponents. On the "right", Saint-Saêns, to whom it was dedicated, left ostensibly the dedicated score on the piano after having created it. On the "left", Debussy declared that he did not admit that one could dramatize the chamber music in such a way. These reactions are now over, and this quintet, together with Schumann's, is considered as a top of the genre, which includes many scores from many composers (including nowadays Xenakis). Moreover, it is an excellent example of the cyclic form as adopted by César Franck and many students of his own.
Excellent- read my comment at top
To which composition of Xenakis do you refer ?
@@didierschein8515Dear Didier Akea {Άκεα} (1986)
@@gerardbegni2806 Merci beaucoup. J'écouterai avec plaisir.
@@didierschein8515 C'est, comme tout Xenakis, une partition déroutante au premier abord. mais il est très intéressant de voir comment il allie son radicalisme fondamental avec une certaine "tradition d'écriture", fut-elle infiniment distanciée. C'est une problématique qu'il est obligé de se poser dans la musique de chambre, et plus tard, dans le grand orchestre polychrome.
I absolutely love Franck's music, so original, so passionate and romantic. Marvelous stuff. Gabe Meruelo.
I as well
One of the top piano quintets, along with Schubert, Schumann, Brahms, and two or three more. It's certainly in the top five. Gabe Meruelo.
I was referring to Schubert's piano quintet in C Major, specially the second movement.
don't think Schubert wrote a piano quintet--oh, the trout quientel--I love it but most would not put it in top 5--replace with the Dvorak.
Don't forget Frank's pupil, Louis Vierne. His piano quintet (a requiem for his son killed during WW1) is remarkable and heartbreaking.
I would also like to rank Dvorak's' 2nd Piano Quintet amongst the masterpieces you've mentioned.
This is so modern in feeling - like a 20th century novelist like John Cowper Powys, say - that it seems incredible that it was written in 1878 ...
Ma version préférée de cette œuvre époustouflante, qui a peut-être même révélé au compositeur ce qu'il avait à faire dans la décennie de sommets qui a suivi dans sa création. Grand merci aux interprètes qui ont magnifiquent apprivoisé le monstre. Dans beaucoup d'autres interprétations, " ça fait trop de bruit", on n'entend plus à chaque moment chacun, ce qui est le danger ici. Oui, bravo, bravo, merci.
only took me 15 seconds to like this piece, what a piece!
Too long! That first bar!
i dont know, i just love this piece, perfect for my ears
hail César Franck
Hail César!
This was recorded in 1998. It was on a BBC Music Mag CD, along with Faure's quartet.
29:10 is sort of fascinating... sounds from another century, maybe even further than XXIth
One of the wonderful recordings of this great chamber musik work, Subtle, beautiful in sound and exciting music.
The 3rd Movement always engenders recollections of Charles Dickens’ Oliver Twist for me; it was among the many pieces that played whilst I read, and I guess the music fits in with the Dickensian atmosphere.
Knowing just his Dm symphony, Symphonic Variations, and the violin sonata, I was amazed listening to the very forward-thinking harmonies in some sections. I felt Poulenc and Prokofiev at times! Had to stop listening after the first movement to process! Bravo!
Amazing quintet. Tragic that Franck produced so little music. Recently discovered some terrific rarities on here, check out the Dohnanyi, Berger and Mahleb (not Mahler!) piano quintets....also the Elgar is amazing
I'd reccomend for you to listen to Friedman's piano quintet if you haven't already.
The triple forte, crescendo section that just precedes the quiet final bars of the opening movement is one of the most savage, hair-raising things I've heard in a string quintet. I mean, I thought Brahms and Schumann had this territory nailed down and roped off for themselves in their string quintets, but, wow, Franck proves himself even more serious than they were. And there is a broken, quietly sobbing quality to the opening movement, the way the opening convulsions of the strings are played off against the singing phrases of the piano-so that the combination seems to speak of something irrevocably sundered. The opening of the second movement is quieter, but also still torn. And then I find the darkness a little too relentless, the absence of contrasts with the light something that weakens this work. Or perhaps it's that this band is a little shy about making the dolcissimos as dolcissimo as they might be, which would leaven matters a bit. Again, in the second movement, the piano breathes out some solo phrases, singing in quality, that suddenly fall silent, as if they had forgotten where they were going, and the whole thing as a terrible searching quality, and is suffused with chromaticism, everything slipping and sliding, refusing to come to a point of stability. Again, in the penultimate pages of the last movement there is a savage, gasping outburst and now it doesn't seem to lead anywhere, to point to any relief, as the quintet concludes seemingly only because it has to conclude, not because it has arrived anywhere. On the whole, a scary piece; but I do think that something more sweet and soft in the passages marked dolce or espressivo would have made the whole thing less daunting... I don't know; and would love to hear from others.
Marc Vincenti
Marc, you're back! Good to hear from you again on my channel, your comments are always a pleasure to read.
Oh, thank you so much. I had a very good piano and music teacher when I was young. it's something I treasure. M.V.
Piano quintet, my friend.
Marc Vincenti ssef
Here's another one to add to the list: Florent Schmitt's Piano Quintet (1908): th-cam.com/video/RRuKGQk2oss/w-d-xo.html
A beautiful performance.
Breathless!!! Franck just grabs me, and this interpretation may be a bit vicious, but it's totally gut-grabbing!
There are many choice moments in this Quintet, but the motif that plays from 32:50 to 33:40 is especially elegant, and striking.
Here I clicked on this thinking "what kind of madman writes for 5 pianos?!" but was treated to a wonderful string quartet instead (Duh). Thanks for all your uploads!
I believe Rachmaninov wrote a piece for three pianos! That's the most I've ever heard of though.
@@echoes6092 Bach has a 4 Keyboard Concerto, available on youtube !
@@echoes6092
And those 3 pianos were stacked on top of each other so that two pianists perched on the shoulders of his lower level cohort. Stunning, I tell you, simply stunning!
A real masterpiecem that Saint-Saens didn`t understand. For me, on the best Piano Quintet, with those of Schumann, Brahms, Fauré qnd Enescu:
I forget the Quintet of Florent Schmitt, another french masterpiece.
I suggest to you not to forget Vierne, Florent Schmitt, Dvorak and Chostakovitch (and event Taneïev). Each one has great meits of its own -and even quite close to us, Elliott Carter.
@@gerardbegni2806 Yes, I especially appreciate the quintet of Carter: Messiaen wrote too a very short piece for string quintet with piano, in the last years of his life. It is a composition that accentuate the idea of dialog, or opposition, between the strings of the piano. I don`t know the quintet of Taneev. Another suggestion of your part. Thank you very much.
Vierne > all
Incredibly powerful piece, and dramatic dynamic changes
Дуже змістовна та емоційна музика.
Thank you so much for the gorgeous music, and for the clear, very-valuable explanation which has taught me a lot.
Interprétation exceptionnelle
Chef d'oeuvre !
An intense listening experience. Very much enjoyed. Thanks for the post.
So special and passionate music.Tnx so much for posting ❤🌹❤
Beautiful playing.
Superbe interprétation, thanks for posting
+Guido Allievi Je vous en prie
I think this was the recording that came with the BBC Magazine. This is probably my favorite BBC disc.
This was totally the best one - there were some corkers around about this time. The Nuits D'été recording was another special one.
Thanks for the Music!
3:17
4:12 😍😭
7:20
8:03
10:17
11:07
14:58
then there's all of 16:06 on...
and I might be cheapening this great work with the suggestion, but 26:35 would make an excellent TV or movie theme tune :) !!!
Or perhaps one of those deep-reaching and hard-hitting news and current affairs shows that really digs deep and hits hard in a weird, scary but utterly fascinating world of power and intrigue and mystery, that you almost hardly ever get these days ...
Probably one of the greatest quintets for piano and string quartett with Schumann's.
Gérard Begni don’t forget the Brahms 😉
Please hear quintet Taneyev🙏🙏🙏 then you would mabye regard what u wrote
@@Balakirev_ I know very well Taneyev's quintet. I even played he piano part inan amaeutur rendering. It is of course a grat quintet, but in my mind Schumann's and Franck's are a bit grater than Taneyev's, Brahms', Fauré's, Vierne"s and Chostakovitch's. ❤❤❤❤❤
Wonderful ! Thank you so much :)
Extraordinaire
Profondeur exceptionnelle
Magnifico!
He was way ahead of he's time !
Extraordinary!
This piece is a total banger
An intense unquiet, obsessive work. At first hearing, the composer seems to have gone slightly mad or fallen in love (or both) --so turbulent and passionate a work this is. But make no mistake-- Franck is in complete control. The musical obsession starts in the first movement with a cry of pain of some recent lost love reaching turbulent climaxes. The singular middle movement is, to me, a moonlit scene-- but not a serene one: It sounds/feels like the glittering, murderous night lagoon in La Giocanda: a gliding barcarolle piano rhythm with exquisite yet disturbing musical secrets in the strings -- perhaps a couple in a moored boat- again the feeling is not letting go when one should. The obsession continues in the 3rd moments with furious whirling notes relieved by the moonlit inquietude moodiness. Really stunning. Nothing like this passionate nature before in chamber music. No wonder the classicist, fastidious St. Sains, the premier pianist and quintet dedicatee, walked off after the concert leaving the score untouched. The composer- only perhaps momentarily hurt- loved his work believing it sounded just the way he wanted. And so this quintet remains one of finest in that august grouping along with Brahms, Schumann and Dvorak.
Saint-Saëns was not fastidious. He could even be funny: see "The Carnival of the Animals"...
I really wonder how that performance sounded under Saint-Saens, who was reportedly sight-reading. He had a reputation for being a formidable sight-reader and pianist, but in his compositions, he strikes me as one of those who lack something essential but who were able to achieve so much despite it. But, to me, that something constitutes music itself. It is the definition of true greatness, of divinely-inspired musical genius, of the difference between hard work with talent or pure love, completely free of any ulterior motives, and hard work without it. Nadia Boulanger thought something similar of him. Richard Strauss and Hugo Wolf fall in that category too for me. Saint Saens was offended by the work for several reasons. It's a work that wears all its psychological madness, all its longing, very sexual at times, on its sleeve, completely unrestrained, and if one does not give onself to it completely, as a performer, the music is simply "too much". If one does not allow oneself to experience and identify with the madness, one can only be judgmental of its excesses. The piece probably challenged Saint-Saens musically, technically and emotionally in ways that were beyond him, I believe, as someone with formidable skill who was always on top of what he had to play and perform, which humiliated and angered him, although no one but him felt and noticed the offense. Franck was happy enough with the result. This work has the obsession of Janacek's work- both are faces of an impossible love. I love your description of the second movement.
This music does things to me that I can’t understand. My God. I have to take a break after the first movement.
I agree. I just listened to the first moment for the first time and it churned up so many emotions at the same time that I expected to find a few splattered on the walls when it was over.
Agree as well!! I stopped after the first movement to process what I had just heard!
Can something written at age 56 truly be called an "early masterpiece"?
He composed it at 6.30 a.m.
@@mediolanumhibernicus3353 HA!
it can if it's one of his earliest masterpieces
If you're 96, it's almost fetal.
Thanks for uploading!
Thank you for sharing.
7:17 oh my God
great and interesting comments here below . I would add that Franck the organist is never very far in any of his compositions. The thick textures in the first movement of the Quintet remind me of his 3rd organ Choral and also his Pièce Héroïque .
His conception of sound is massive at times and only to melt into this fluid lyricism as heard in his violin sonata or Prelude, Choral et Fugue for piano. I love those extremes.
Imagine writing such masterpieces only to end hit by a trolleybus. gah!
its especially tragic as Franck was a way late bloomer and I'm sure he had more music up his chromatic sleeve.
as was Antonio Gaudi. such tragedy.
This music is so comfortable that it seems to fall into eternal sleep .
I'm not sure if it's a dream or a reality . 🍎
From effulgent Tokyo in profound Japan in winter .
Which national are you watching this video ？
Australia, in COVID-19 shutdown...
Not sure if " comfortable" is right word from this turbulent work. It's pretty far from Mozart.
@@GreenTeaViewer
ありがとう‼️
Arigato ！ ( Japanese thanks )
Japan , especially Tokyo is cruel and hustle and bustle with the Coronavirus infection .
In capital area , almost stores and shops (bar , snack , amusement shop , karaoke shop ,night club ,etc ) are closed .
And the unnecessary and non - sudden outings are self - restraint .
Sadly , many people ,dubbed 「 self - restraint fatigue 」 are relaxing in parks ， seashore ， and riverside on Sunday .
Many people have an easy ， childish idea that they are less at risk of crisis and that they will not be infected by themselves .
Coronavirus is very dangerous and overwhelmingly strong .
Just talking or touching are infected .
Don't be careless
Be on the alert for Coronavirus infection .
Take care of yourself
Good luck ！
@@johnlorenzen4633
Thanks
Take care of yourself
Good luck ！
Be on the alert for Coronavirus infection .
@@shin-i-chikozima arigato! Let's stay safe.
It would be more than fair to give credit to the pianist, who I believe is William Howard.
Yep he stayed in his lane wonderfully. Wasn't too overpowering which I hear from a lot of other performers and did all the right things.
William Howard was the pianist for the 1997 recording, this is the 2001 recording. Are you sure it's the same pianist here?
@@olla-vogala4090 Yes, William Howard was the pianist on both recordings; the latter one was recorded at Champs Hill, Pulborough, Sussex, England, 7-8 Nov, 2003.
18:02 ultra Franck moment
and 28:37
Agreed - mega franckish
00:06
16:06
26:38
33:09
This is wonderful - thanks for the upload. I had this recording from BBC Music Magazine back in the day - was it twinned with the Brahms Quintet / Quartet? 8:04 makes me weep like a baby every time.
Uo uo uoooooooo!!! 🔥🔥🔥🔥🔥
adoro esta música ❤️
APARTE DE ESTE QUINTETO TIENE CUATRO TRIOS CON PIANO,SONATAS CON PIANO, 47 PIEZAS PARA ORGANO,ENTRE ELLAS TRES CORALES, 6 OBRAS PARA PIANO,PRELUDIOS,CORAL Y FUGA.
Y le chasseur maudit, et la symphonie en ré mineur, bien sûr.
Wow.
Which quartet and pianist are performing on this recording?!?! Please respond, someone, this is the interpretation I want to listen to forever!
Schubert Ensemble of London: Douglas Paterson, Jacqueline Shave, Jane Salmon, Maya Koch, Mayumi Seiler, Peter Buckoke, Ralph De Souza, Roger Tapping, Simon Blendis, William Howard - I think William Howard was the pianist in this recording.
Poulenc must have channeled a little bit of this piece in his violin sonata
Le génie français.
Belge.
I Love 4:10 😍
There is so much pain in this piece
5:10 Ludwig.....
Nicest Neapolitan chord ever at 16:17: b - flat Major to a minor.
it sounds like out of the Tim's Burton universe
It just feels not as dreamy with the limited dynamic range . Because for the very majority of the time , the plays forte to mezzo forte . For as exciting rythmitically and the benefit of subtleties, try out the recording with Jonathan Fournel, Augustin Dumay, Shuichi Okada, Miguel Da Silva and Gary Hoffman.
Does anyone hear strange reminiscences of Schönberg's Verklärte Nacht in the first movement?
Alexander Brown But this work was written earlier
I know - I meant to ask whether it was possible that Schönberg was influenced either consciously or unconsciously by this work... just a thought!
The opening motiv in the piano has some relations to a few motives in that work of Schoenberg. The unison string writiing that occurs quite a bit is also a timbre common in the the Schoenberg. Add that it is in a minor key the medium range harmonic plan is progressive for its time (moving from F minor to temporarily A the D flat and some movement between major thirds). Also interesting is how a some "development" of material is simply transposing it with re-voicing. Of course there is much to the Franck than that. But I mention all of these as the Schoenberg is very early and one of his late Romantic works. Franck is seen as a bridge from early to late Romanticism. So good ear to catch at a few affimities to the two works - although I would not say they are strong.
No.
26:38
Oh, I see why Saint-Saens, the pianist at the premiere, got ticked off - it's SO antithetical to elder composer's sense of reserve, tradition, and structural conventions. Is this a piece I'll throw on the CD player a couple times a week? Probably not. But is it a vivid specimen of its kind, full of tumult and emotional twists? You betcha. And I suspect these fabulous performers make it sound easier than it really is.
8:02 ✨️✨️✨️
Franck had only one challenger, Schumann. He chose - for personal reasons, but this would be too long to tell - a quite dramatic expresssion, both in the themes and in their development. The beginning is savage, one cannot tell it in another way. There are calmer sections in the piano, but the "savage" theme is imposing the tone of the work. The form is cyclic, which proves that Franck did not forget theoretical concerns even in that flow of lava. The writing of the string parts is somehow hampered by the preeminence of the first violin. But at the ned, probably there are two masterworks in that ganre: Schumann and Franck. Others like Brahms, Dvorak, Fauré, Chostakovitch stay behind - sometimes close, but behind.
great comments. I also like the Elgar
Yes. the Elgar quintet is a farwell to music, more ofr less. It is more chromatic than usual Elgar's works.
"He chose - for personal reasons, but this would be too long to tell - a quite dramatic expresssion" - go on, give us some hints.
saint saens rejected the dedication... jeez
...with half the talent of Franck!
@@marksmith2625 🤣
damn cool
banger on jah
nice
31:30
op 14?
French pianists are athletes.
How the Hell did Camille Saint Saëns sight read this piece at its premiere?
He was one of the greatest musicians of his time…
He didn't
What are the five greatest piano quintets of all time? Open to the floor. I launch with Shostakovich.
Veinberg's
depressing masterpiece
I don't hear anything remotely depressing in this. It comes across to me as intensely probing and energetic, as if a hunt is in progress.
I'm inclined to agree.
Is this the Catherine Collard recording?
Please click 'show more' under the video
7:50
13:05
Not bad
8:02
Guckt auch Mal bei mir vorbei.ich mach selbst erfundene piano musik
Fortnite 1 Me too
Saint Saens was a fool
not a masterpiece but pleasant enough.
CVArts Sorry, but that’s one of the best works for the piano quintet genre. In one row with Schumann and Brahms!
@@klausbaden Agree. Maybe we could add the Elgar Quintet to that list?
@RA Leonard Absolutely a masterpiece.
Unbelievable tripe on this topic. I often think people love to hear themselves use the word "masterpiece" without considering the matter in any depth. Thus they flatter themselves. You Tube is the newest and most fertile ground for this public self-stimulation.
@@klausbaden no need to apologize,you happen to be wrong.
Another pointless boring piece. Understandable why Saint-Saens disapproved it.
Another pointless, boring "comment".
Is this comment perhaps the result of a musical form of the dunning Krueger effect?
26:37
26:47