Superbly written. But can you compare the musical value of the first to this one??? Then no both are very well rated. But Tchaikovsky himself is underrated then.
@@marckaram123 I think this one is much better than the first concerto. The First is rightfully iconic, but it's not nearly as consistently captivating as this one IMO. And the second movement in this concerto is one of Tchaikovsky's most remarkable pieces.
@@FreakieFan there's a difference between understanding a piece and being captivated by it and that's the case of the first piano concerto. When you understand the piece, mostly of all the theme that doesn't repeat, you become elevated cognitively as a person, but the captivating factor is still there the because it's a human thing. Isn't it the same idea with many others? Take Verdi's La forza del destino overture. You'd say what beautiful music. But talking about it in a philosophical way doesn't mean it's not captivating for the ears. Now this concerto I find is more à la française kind of music. I like to compare it to other pieces like Bach overture à la française for clavicembalo. Kind of the same repetition patterns. This sounds more like a joke lololzzz
@@marckaram123 The only reason the second concert is underrated is because is extremely hard to play and you need to be extremely talented to play it. If one wanted to make a comparison between the first and the second concert, the only thing than can be added to the second is that even the best pianists cannot play it.
I'm so glad someone finally made a score video for this piece, shamefully underperformed if you ask me. The first movement is so cinematic and expansive, the second movement needs no description, and the finale is almost a rock concert!
I agree with another comment here, that Tschaikovsky PC2 is way more interesting than the 1st. I'm not a great advocate of pieces of music being cut, to make it more convenient for the audience to listen to. I love that second movement. And the most complete version of it should be played IMO. Btw this is certainly a brisk rendition of the work (compared to my recording). Thanks for uploading...
1st movement 0:07 [orchestral introduction] 1:04 [interplay between piano and orchestra] / 1:28 [piano solo I] 2:14 [theme 2] 4:21 [agitated and urgent] 5:37 [theme 3] 6:55 8:29 8:58 [quasi cadenza] 10:30 [piano solo III] 11:50 [cadenza] 2nd movement 19:54
*Часть I* Сонатная форма Главная партия - 0:06 Побочная партия - 2:12 Заключительная партия - 4:20 Разработка - 5:37 Реприза, Главная партия - 15:38 Реприза, Побочная партия - 16:22 Реприза, Заключительная партия - 17:36 Кода - 18:53 *Часть II* Сложная трехчастная форма Первая часть А - 19:54 Разработка - 26:13 Реприза А - 28:50 Кода - 32:32 *Часть III* Свободная форма АВСAB1C1К Часть А - 34:21 Часть В - 35:11 Часть С - 35:48 Реприза А(1) - 37:19 Реприза В1 - 38:26 Реприза С1 - 39:01 Кода - 40:16
Bravi, for posting this masterpiece! Apart from the big 1st part & its long cadenzas, this concerto has another peculiarity: its 2nd part,"andante non troppo" is a brilliant lyric dialogue between the piano,concertino violin, the principal cello & the orchestra. Although the composer had strictly prohibited not to cut even a single note, posthumously,(1897), his pupil & soloist Alex. Siloti had arranged a shorter,less demanding version, considering that, the 2nd p.c would be more "attractive". The editor was Jurgenson. The most charming is that this part is a little "conundrum": it was based on the famous tune of Bach/Gounod's "Ave Maria". The 3rd part, allegro con fuoco, is a pure "joie de vivre".
Incluso en este video hay un pequeño corte al final del segundo movimiento (la sección de acordes repetidos alternando entre la cuerda y los instrumentos de viento). Curiosamente estos compases aparecen en la partitura en el video pero no aparecen en el audio. El corte en la versión de Siloti es mucho más grande aunque incluye también el pequeño corte que aparece en la interpretación del video.
There are some diabolically difficult passages in this work (that prestissimo section in the first movement...jeezus). Not hard to see why pianists shy away from this. It requires a super-virtuoso like Pletnev.
You are in the key of the problem. The second concert is only for extremely talented pianist like Igor Zhukov ( to me the best second Tchaikovsky concert )
Under-appreciated concerto. I prefer it over the 1st. I never really warmed to the 1st concerto. The opening chords are fantastic, but the rest of it is just ok. But as far as Tchaikovsky concerti go, the violin concerto is the real masterpiece.
I agree, his second is a real concerto, both in form and in musicality. My main gripe with the first is the disappearance of the opening theme of the first movement. It's never expanded on whatsoever throughout the whole concerto. Other critics have expressed this same opinion, which is unfortunate. Obviously it's still a good piece in the literature, but it's perceived worth is far too great.
I believe the 2nd piano concerto is superior in some ways, that 2nd movement is definitely a masterpiece on its own. Overall though, I just can’t help but love the 1st concerto with my entire being. Tchaikovsky’s heart is on his sleeve for a lot of his music and it’s just so life-affirming, beautiful, and human. And yes, I do understand the criticisms, but from beginning to end the 1st just makes me unexplainably happy. That said, Tchaikovsky’s violin concerto is my favorite piece of music ever written. Bury me with a copy of the score so it’s with me for eternity!
Stunnningly beautiful concerto. I'm wondering though if it is just a funny coincidence that both Brahms and Tchaikowsky wrote their second piano concertos around the same time and both included extensive use of string soloists in the slow movements.
Comment expliquer que ce magnifique concerto, subtil, éblouissant et profond ait été si négligé ? Je suppose qu'on n'a jamais poussé la curiosité après le choc du premier qui demeure l'un des plus estimés.
Este concierto es menos conocido porque aun siendo un magnifico pianista no todos se atreven a tocarlo. Es extremadamente difícil y le tienen miedo. El primer movimiento te deja sin aliento.Me extraña Martha Argerich no lo toque, y tampoco Zimmerman. No porque no lo puedan tocar ampliamente pero no lo tienen en sus repertorios.Solo lo he escuchado dignamente tocado por Pletnev y por obviamente el mejor de todos sin duda alguna Igor Zhukov.
Capolavoro concertistico paragonabile al primo,se non superiore ,soprattutto il grandioso e memorabile primo movimento. Peccato per le interferenze di Soliti che lo hanno un po' condizionato .Questa registrazione con Pletnev è ineccepibile , però personalmente preferisco la versione originale, senza alcun taglio. Una registrazione con Donhoe propone questa versione.
It's always been a mystery to me why Van Cliburn apparently never even made an attempt at this gem. Maybe he was satisfied being the "owner" of the 1st for his entire career, but one can't help wonder what he might have done with the 2nd, especially with Kondrashin wielding the baton again. ( made it MUCH more popular than it is, that's for certain )
Van Cliburn mostly just played standard repertoire! The MAIN exception would be Edward MacDowell’s second piano concerto, which he learnt at a young age. There is actually a recording of Cliburn playing that concerto two years after the Tchaikovsky Competition, with Chicago Symphony and Walter Hendl conducting. It was a legendary recording for two reasons - One, the musical rhetoric of MacDowell perfectly suited Cliburn - and Two, he revived the work and kept it in the repertoire for 55 extra years. (André Watts and Earl Wild recorded it shortly after Cliburn’s 1960 recording.) As for the Tchaikovsky second piano concerto, its very possible he would’ve learnt it, if he had a closer relationship w/ the work. The reason he had a relationship with MacDowell’s work was because his mother used to play it.
I was lucky to attend a live performance of this concerto yesterday and the second movement is just amazing. Thank you for uploading this. Can I have a copy of the sheet music you used for this by any chance?
나는 희빈 장씨니라 꺄아하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하
희빈 장씨(禧嬪 張氏 1659∼1701) : 조선 19대왕 숙종의 후궁. 본관은 인동(仁同)이다. 역관 장현(張炫)의 종질녀이다. 어머니의 정부(情夫)였던 조사석(趙師錫)과 종친인 동평군 이항(東平君 李杭)의 주선으로 궁녀로 들어가 숙종의 총애를 독차지했다. 1686년(숙종 12) 숙원(淑媛)이 되었다. 1688년 소의(昭儀)로 승진하고 왕자 이윤(李昀: 뒤의 景宗)을 낳았다. 왕은 기뻐하여 세자로 봉하려 했다. 그러나 송시열(宋時烈) 등 당시 정권을 잡고 있던 서인이 지지하지 않으므로 남인들의 원조를 얻어 책봉하려 했다. 이에 서인의 노론·소론은 모두 왕비 민씨(閔氏)가 나이가 많지 않으니 후일을 기다리자고 주장하였다. 숙종은 듣지 않고 1689년 정월에 이윤을 세자로 봉하고, 장소의는 희빈으로 승격했다. 이 때 송시열이 세자로 봉하는 것이 아직 이르다고 상소하였다. 왕은 이미 명호(名號)가 결정된 다음에 이런 의견을 말하는 것은 무슨 일이냐고 진노했다. 이에 남인 이현기(李玄紀)·남치훈(南致薰)·윤빈(尹彬) 등이 송시열의 상소를 논박하며 파직시켜 제주도로 유배하게 하고 다시 사사(賜死)하게 하였다. 그러나 송시열은 중로 정읍으로 이배(移配)되었다가 사약을 받았다. 이 밖에 서인의 영수들도 파직 또는 유배를 면하지 못했다. 반면에 남인의 권대운(權大運)·김덕원(金德遠) 등이 등용되었다. 이 정권의 교체를 기사환국 또는 기사사화라고 한다. 이 해 5월에 민비를 폐하고 장희빈을 왕비로 삼으려 할 때 서인 오두인(吳斗寅)·박태보(朴泰輔) 등 80여 명이 상소하여 이를 반대했다. 그러나 이들은 참혹한 형문을 받게 되니 이후 정국은 남인의 세상이 되었다. 기사환국 후 시간이 흐르면서 숙종은 폐비사건을 후회하게 되었다. 그러던 중 1694년 서인의 김춘택(金春澤)·한중혁(韓重爀) 등이 폐비 복위운동을 꾀하다가 고발되었다. 이 때 남인의 영수요 당시 우의정이었던 민암(閔黯) 등이 이 기회에 반대당 서인을 완전히 제거하려고 김춘택 등 수십 명을 하옥하고 범위를 넓혀 일대 옥사를 일으켰다. 이 때 숙종은 폐비에 대한 반성으로 옥사를 다스리던 민암을 파직하고 사사했으며, 권대운·목내선(睦來善)·김덕원 등을 유배했다. 이어 소론 남구만(南九萬)·박세채(朴世采)·윤지완(尹趾完) 등을 등용하고 장씨를 희빈으로 내렸는데 이것을 갑술옥사라고 한다. 또한, 이미 죽은 송시열·김수항(金壽恒) 등은 복작(復爵)되고 남인은 정계에서 물러나게 되었다. 소론이 들어서고 남인이 물러날 때 장희빈의 오빠 장희재(張希載)가 희빈에게 보낸 서장(書狀) 속에 폐비 민씨에 관련된 문구가 있어 논쟁이 벌어졌다. 여러 사람이 장희재를 죽이자고 했으나 세자에게 화가 미칠까 염려하여 남구만·윤지완 등이 용서하게 했다. 그런데 왕비 민씨가 죽은 다음에, 장희빈이 취선당(就善堂) 서쪽에 신당(神堂)을 설치하고 민비가 죽기를 기도한 일이 발각되었다. 이 일에 관련된 희빈과 장희재는 처형되고 궁인(宮人)·무녀와 그 족당(族黨)도 화를 입었다. 이것을 무고(巫蠱)의 옥(獄)이라고 한다. 이 때 장희빈에 대해 관대한 태도를 취한 남구만·최석정(崔錫鼎)·유상운(柳尙運) 등 소론의 선비들도 몰락하고 다시 노론이 득세하였다. 숙종은 이후 빈(嬪)을 후비(后妃)로 승격하는 일을 없애는 법을 만들었다.
The second concerto's finale is not without interest but this 1st movement is forgettable . I can't believe shura Cherkassky and now even Yuja Wang whose memories defies description has bothered with this . It wont become a staple. Milhaud or Bolocolm or Roger Sessions or the doavens if not hundreds of concerti written since . The 3rd minute is better than the opening then the bravura 4th minute just gets cheap and unimaginative again . Was this a commision ? Why did he bother even piublishing it .Arensky so many otheres did this better .Skryabin 's concerto is pretty awful . Richter took time and he more than once played the Dvorak ?
![Bortkiewicz - Piano Concerto No. 1, Op. 16 (Shadrina, Sukach) [Christmas Special No. 4]](http://i.ytimg.com/vi/sbBrKano384/mqdefault.jpg)
Very underrated concerto.
Super super super super underrated, same as his 3rd Piano Concerto, soooo soo sooo underrated
Superbly written. But can you compare the musical value of the first to this one??? Then no both are very well rated. But Tchaikovsky himself is underrated then.
@@marckaram123
I think this one is much better than the first concerto. The First is rightfully iconic, but it's not nearly as consistently captivating as this one IMO. And the second movement in this concerto is one of Tchaikovsky's most remarkable pieces.
@@FreakieFan there's a difference between understanding a piece and being captivated by it and that's the case of the first piano concerto. When you understand the piece, mostly of all the theme that doesn't repeat, you become elevated cognitively as a person, but the captivating factor is still there the because it's a human thing. Isn't it the same idea with many others? Take Verdi's La forza del destino overture. You'd say what beautiful music. But talking about it in a philosophical way doesn't mean it's not captivating for the ears.
Now this concerto I find is more à la française kind of music. I like to compare it to other pieces like Bach overture à la française for clavicembalo. Kind of the same repetition patterns. This sounds more like a joke lololzzz
@@marckaram123 The only reason the second concert is underrated is because is extremely hard to play and you need to be extremely talented to play it. If one wanted to make a comparison between the first and the second concert, the only thing than can be added to the second is that even the best pianists cannot play it.
I'm so glad someone finally made a score video for this piece, shamefully underperformed if you ask me. The first movement is so cinematic and expansive, the second movement needs no description, and the finale is almost a rock concert!
The 2nd movement is a masterpiece. Amongst the top 10 greatest Tchaikovsky pieces as far as I'm concerned.
the second movement is my favorite piano trio
I agree with another comment here, that Tschaikovsky PC2 is way more interesting than the 1st.
I'm not a great advocate of pieces of music being cut, to make it more convenient for the audience to listen to. I love that second movement. And the most complete version of it should be played IMO.
Btw this is certainly a brisk rendition of the work (compared to my recording).
Thanks for uploading...
15:39 This is like tears. Tears of joy!
The first movement is pure bliss. I love it
1st movement
0:07 [orchestral introduction]
1:04 [interplay between piano and orchestra] / 1:28 [piano solo I]
2:14 [theme 2]
4:21 [agitated and urgent]
5:37 [theme 3]
6:55
8:29
8:58 [quasi cadenza]
10:30 [piano solo III]
11:50 [cadenza]
2nd movement
19:54
I think this second movement is one of the most interesting part in other piano concertos.
Hermosísimo. Maravilloso, que variedad y riqueza melódica.
*Часть I*
Сонатная форма
Главная партия - 0:06
Побочная партия - 2:12
Заключительная партия - 4:20
Разработка - 5:37
Реприза, Главная партия - 15:38
Реприза, Побочная партия - 16:22
Реприза, Заключительная партия - 17:36
Кода - 18:53
*Часть II*
Сложная трехчастная форма
Первая часть А - 19:54
Разработка - 26:13
Реприза А - 28:50
Кода - 32:32
*Часть III*
Свободная форма АВСAB1C1К
Часть А - 34:21
Часть В - 35:11
Часть С - 35:48
Реприза А(1) - 37:19
Реприза В1 - 38:26
Реприза С1 - 39:01
Кода - 40:16
Спасибо огромное!!! Очень спасают такие анализы
I just saw this yesterday as a accompaniment to Dvorak's new world symphony in concert. It was awesome
Wow, somebody played this in a concert ? That does not happen too often. Who was the pianist ?
@@ChrisBreemer Alexandre Kantorow
Bravo is too insignificant a word for this magnificent performance by Mr. Pletnev and PHO. Wow!
It’s an underrated concerto, I would say as good as the first piano concerto because of the sublime second movement.
I love Tchaikovsky music.. also the piano concerto.. I always listening it. So beautiful and relaxing..
26:56 such a beautiful moment
So Tchaikovskian... So i love it so
Absolutely. It’s haunting ♥️
Bravi, for posting this masterpiece!
Apart from the big 1st part & its long cadenzas, this concerto has another peculiarity: its 2nd part,"andante non troppo" is a brilliant lyric dialogue between the piano,concertino violin, the principal cello & the orchestra. Although the composer had strictly prohibited not to cut even a single note, posthumously,(1897), his pupil & soloist Alex. Siloti had arranged a shorter,less demanding version, considering that, the 2nd p.c would be more "attractive". The editor was Jurgenson.
The most charming is that this part is a little "conundrum": it was based on the famous tune of Bach/Gounod's "Ave Maria". The 3rd part, allegro con fuoco, is a pure "joie de vivre".
Incluso en este video hay un pequeño corte al final del segundo movimiento (la sección de acordes repetidos alternando entre la cuerda y los instrumentos de viento). Curiosamente estos compases aparecen en la partitura en el video pero no aparecen en el audio. El corte en la versión de Siloti es mucho más grande aunque incluye también el pequeño corte que aparece en la interpretación del video.
@@manueljoseblancamolinos8582 ¡De verdad 100%!
There are some diabolically difficult passages in this work (that prestissimo section in the first movement...jeezus). Not hard to see why pianists shy away from this. It requires a super-virtuoso like Pletnev.
You are in the key of the problem. The second concert is only for extremely talented pianist like Igor Zhukov ( to me the best second Tchaikovsky concert )
@@ritabustamante8447 -- Yes.....Zhukov AND Pletnev RUUUUUUUULE for the Second Concerto.....BRAVO from Mexico City!
Sublime!!💝 Quel dommage que je ne sache pas lire une partition.
I love this one
The first 17 minutes are glorious
Thank you so much for uploading this!
This is a wonderful work, brillantly played. It is more difficult than any Rachmaninov concerto - therefore it remains a rarity in the concert halls.
Mikhail Pletnev, piano and the Philharmonia Orchestra conducted by Vladimir Fedoseyev (1991)
Under-appreciated concerto. I prefer it over the 1st. I never really warmed to the 1st concerto. The opening chords are fantastic, but the rest of it is just ok. But as far as Tchaikovsky concerti go, the violin concerto is the real masterpiece.
But the first is fun to play, not for nothing a favorite for pianists, much more accessible and technically not as demanding.
Bartje Bartmans very true. This concerto is more for super virtuosos like Pletnev or Hamelin.
I agree, his second is a real concerto, both in form and in musicality. My main gripe with the first is the disappearance of the opening theme of the first movement. It's never expanded on whatsoever throughout the whole concerto. Other critics have expressed this same opinion, which is unfortunate. Obviously it's still a good piece in the literature, but it's perceived worth is far too great.
I believe the 2nd piano concerto is superior in some ways, that 2nd movement is definitely a masterpiece on its own. Overall though, I just can’t help but love the 1st concerto with my entire being. Tchaikovsky’s heart is on his sleeve for a lot of his music and it’s just so life-affirming, beautiful, and human. And yes, I do understand the criticisms, but from beginning to end the 1st just makes me unexplainably happy. That said, Tchaikovsky’s violin concerto is my favorite piece of music ever written. Bury me with a copy of the score so it’s with me for eternity!
@@bartjebartmans Agree with you. Only extremely talented pianists can play the second concert. That’s why is underrated.
Stunnningly beautiful concerto. I'm wondering though if it is just a funny coincidence that both Brahms and Tchaikowsky wrote their second piano concertos around the same time and both included extensive use of string soloists in the slow movements.
Comment expliquer que ce magnifique concerto, subtil, éblouissant et profond ait été si négligé ? Je suppose qu'on n'a jamais poussé la curiosité après le choc du premier qui demeure l'un des plus estimés.
very triumphant in the beginning
Aún no logro entender por qué esta obra no es tan conocida. ¡Es magnífica!
Estaba pensando que probablemente debido a la muerte de Rubinstein. Si hubiera vivido para interpretar esto, quizá fuera más conocido.
Este concierto es menos conocido porque aun siendo un magnifico pianista no todos se atreven a tocarlo. Es extremadamente difícil y le tienen miedo. El primer movimiento te deja sin aliento.Me extraña Martha Argerich no lo toque, y tampoco Zimmerman. No porque no lo puedan tocar ampliamente pero no lo tienen en sus repertorios.Solo lo he escuchado dignamente tocado por Pletnev y por obviamente el mejor de todos sin duda alguna Igor Zhukov.
The best of the three
I think i m agree
8:32 sounds much like the opening to the 2nd movement of Schumanns fantasie in c major
Fantastic performance by Pletnev. And I agree - should be played unabridged.
13:40 gave me chills
チャイコフスキーが 妹夫婦の住むウクライナの
カーミアンの土地がとても気に入り、毎年訪れては
多くの作曲をして、この曲もその一つで ウクライナの土地でチャイコフスキーがどんな思いで作曲したのかと想像をしながら聴くとチャイコフスキーの才能はもちろん、ウクライナの地には創作意欲を掻き立てるインスピレーションがあったんだなと思い浸れる。
why are great pianists so much better than me?
I am asking the same question?
Capolavoro concertistico paragonabile al primo,se non superiore ,soprattutto il grandioso e memorabile primo movimento.
Peccato per le interferenze di Soliti che lo hanno un po' condizionato .Questa registrazione con Pletnev è ineccepibile , però personalmente preferisco la versione originale, senza alcun taglio. Una registrazione con Donhoe propone questa versione.
Thanks for uploading!
It's always been a mystery to me why Van Cliburn apparently never even made an attempt at this gem. Maybe he was satisfied being the "owner" of the 1st for his entire career, but one can't help wonder what he might have done with the 2nd, especially with Kondrashin wielding the baton again. ( made it MUCH more popular than it is, that's for certain )
Van Cliburn mostly just played standard repertoire! The MAIN exception would be Edward MacDowell’s second piano concerto, which he learnt at a young age.
There is actually a recording of Cliburn playing that concerto two years after the Tchaikovsky Competition, with Chicago Symphony and Walter Hendl conducting.
It was a legendary recording for two reasons - One, the musical rhetoric of MacDowell perfectly suited Cliburn - and Two, he revived the work and kept it in the repertoire for 55 extra years. (André Watts and Earl Wild recorded it shortly after Cliburn’s 1960 recording.)
As for the Tchaikovsky second piano concerto, its very possible he would’ve learnt it, if he had a closer relationship w/ the work. The reason he had a relationship with MacDowell’s work was because his mother used to play it.
@@farazhaiderpiano Thank you for that thoughtful analysis. One can't help but wish he'd given it his attention and made it iconic along with the 1st.
14:06 Rachmaninoff Essence... 🤣
8:25
This is not the original version 😢. The original version is 50 minutes at least .😮
8:32 best part
Cool but not best... It is impossible for me to pick one or two best parts of this perfect piece
@@kerencanelo8580 I cannot say which part is better. I love it from de begging to the end.
Cadenza is kinda like Rach 3, maybe Rach was influenced?
Rachmaninoff has obviously been inspired by Tchaikovsky.
Rach 3 inspiration
8:27 the octaves
He plays the urtext version here but he plays the Siloti version in his live performance. I'm not sure which one is harder though
I was lucky to attend a live performance of this concerto yesterday and the second movement is just amazing. Thank you for uploading this. Can I have a copy of the sheet music you used for this by any chance?
You can find all sheet music on IMSLP.
Thanks! I'll look into it.
5:28
New video???
Pletnev❤ Bravo
1:52 Rachmaninoff vibes
Cositas que den sueño.
나는 희빈 장씨니라 꺄아하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하
May I ask who is performing here?
Click on the tab "show more" and you will see the info.
희빈 장씨(禧嬪 張氏 1659∼1701) : 조선 19대왕 숙종의 후궁.
본관은 인동(仁同)이다. 역관 장현(張炫)의 종질녀이다. 어머니의 정부(情夫)였던 조사석(趙師錫)과 종친인 동평군 이항(東平君 李杭)의 주선으로 궁녀로 들어가 숙종의 총애를 독차지했다.
1686년(숙종 12) 숙원(淑媛)이 되었다. 1688년 소의(昭儀)로 승진하고 왕자 이윤(李昀: 뒤의 景宗)을 낳았다. 왕은 기뻐하여 세자로 봉하려 했다. 그러나 송시열(宋時烈) 등 당시 정권을 잡고 있던 서인이 지지하지 않으므로 남인들의 원조를 얻어 책봉하려 했다.
이에 서인의 노론·소론은 모두 왕비 민씨(閔氏)가 나이가 많지 않으니 후일을 기다리자고 주장하였다. 숙종은 듣지 않고 1689년 정월에 이윤을 세자로 봉하고, 장소의는 희빈으로 승격했다. 이 때 송시열이 세자로 봉하는 것이 아직 이르다고 상소하였다. 왕은 이미 명호(名號)가 결정된 다음에 이런 의견을 말하는 것은 무슨 일이냐고 진노했다.
이에 남인 이현기(李玄紀)·남치훈(南致薰)·윤빈(尹彬) 등이 송시열의 상소를 논박하며 파직시켜 제주도로 유배하게 하고 다시 사사(賜死)하게 하였다. 그러나 송시열은 중로 정읍으로 이배(移配)되었다가 사약을 받았다.
이 밖에 서인의 영수들도 파직 또는 유배를 면하지 못했다. 반면에 남인의 권대운(權大運)·김덕원(金德遠) 등이 등용되었다. 이 정권의 교체를 기사환국 또는 기사사화라고 한다.
이 해 5월에 민비를 폐하고 장희빈을 왕비로 삼으려 할 때 서인 오두인(吳斗寅)·박태보(朴泰輔) 등 80여 명이 상소하여 이를 반대했다. 그러나 이들은 참혹한 형문을 받게 되니 이후 정국은 남인의 세상이 되었다.
기사환국 후 시간이 흐르면서 숙종은 폐비사건을 후회하게 되었다. 그러던 중 1694년 서인의 김춘택(金春澤)·한중혁(韓重爀) 등이 폐비 복위운동을 꾀하다가 고발되었다. 이 때 남인의 영수요 당시 우의정이었던 민암(閔黯) 등이 이 기회에 반대당 서인을 완전히 제거하려고 김춘택 등 수십 명을 하옥하고 범위를 넓혀 일대 옥사를 일으켰다.
이 때 숙종은 폐비에 대한 반성으로 옥사를 다스리던 민암을 파직하고 사사했으며, 권대운·목내선(睦來善)·김덕원 등을 유배했다. 이어 소론 남구만(南九萬)·박세채(朴世采)·윤지완(尹趾完) 등을 등용하고 장씨를 희빈으로 내렸는데 이것을 갑술옥사라고 한다. 또한, 이미 죽은 송시열·김수항(金壽恒) 등은 복작(復爵)되고 남인은 정계에서 물러나게 되었다.
소론이 들어서고 남인이 물러날 때 장희빈의 오빠 장희재(張希載)가 희빈에게 보낸 서장(書狀) 속에 폐비 민씨에 관련된 문구가 있어 논쟁이 벌어졌다. 여러 사람이 장희재를 죽이자고 했으나 세자에게 화가 미칠까 염려하여 남구만·윤지완 등이 용서하게 했다.
그런데 왕비 민씨가 죽은 다음에, 장희빈이 취선당(就善堂) 서쪽에 신당(神堂)을 설치하고 민비가 죽기를 기도한 일이 발각되었다. 이 일에 관련된 희빈과 장희재는 처형되고 궁인(宮人)·무녀와 그 족당(族黨)도 화를 입었다. 이것을 무고(巫蠱)의 옥(獄)이라고 한다.
이 때 장희빈에 대해 관대한 태도를 취한 남구만·최석정(崔錫鼎)·유상운(柳尙運) 등 소론의 선비들도 몰락하고 다시 노론이 득세하였다. 숙종은 이후 빈(嬪)을 후비(后妃)로 승격하는 일을 없애는 법을 만들었다.
I prefer cpc
What is cpc
@@dacoconutnut9503 Chopin Piano Concertos
@@dacoconutnut9503 I prefer ppc
The second concerto's finale is not without interest but this 1st movement is forgettable . I can't believe shura Cherkassky and now even Yuja Wang whose memories defies description has bothered with this . It wont become a staple. Milhaud or Bolocolm or Roger Sessions or the doavens if not hundreds of concerti written since . The 3rd minute is better than the opening then the bravura 4th minute just gets cheap and unimaginative again . Was this a commision ? Why did he bother even piublishing it .Arensky so many otheres did this better .Skryabin 's concerto is pretty awful . Richter took time and he more than once played the Dvorak ?