George Enescu: Piano Sonata No.1, 1st Movement | Eric Xi Xin Liang
ฝัง
- เผยแพร่เมื่อ 9 พ.ย. 2024
- Recorded on September 6th, 2024. Subscribe and turn on notifications for more!
I honestly thought, after witnessing and performing Karol Szymanowski's music firsthand (consider his Piano Sonata No.2 and No.3), there was little room to possibly advance forward within the domain of purely tonal music of a Romantic-era or late-Romantic-era style. But, this composer's music proved it wrong; there's so much left to explore and be desired. For this piece, it's not really a matter of "how did a mind conceive this?" but "wow, what an immeasurably complex and emotionally mature mind to conceive this". I'm in awe of it, seriously, even after 15 years of piano, even with a much wider scope of music (e.g. Medtner, Sorabji, Ives, Feinberg, etc.) I've recorded than a lot of professional musicians. This is music that requires a high degree of maturity and extreme meticulousness to be presentable and digestible.
With that said, the overwhelming challenge of this work is not of technical nature, but of interpretational nature. You might not have expected it at first glance, but pretty much every articulation and instance of tempo manipulation should be adhered to. That also applies to every dynamic marking, and in this case, there are several additional denominations the composer added (see pinned comment), which tells you just how precise the composer wants things. That's why I recorded this about 7 times, because it's just true that sometimes, if I'm off with the placement of a significant note by less than 0.05 seconds, it ruins the flow entirely. Likewise with relative dynamic intensity of related passages. Compare this to Szymanowski's piano sonatas 2 and 3 which are equally dense with symbols but a lot of them can be overruled without much musical consequence. So, thank you, Mr. Enescu, for gifting this upon the world.
On a slightly relevant side note, I was only acquainted with this composer's music last Saturday (and spent Sunday and Labour Day entirely with friends), and it is entirely my own invented theories and methodologies that solved this music and helped me prepare this so quickly. I want to bring your attention to @tonebasePiano 's business collaboration with top artists to provide music lessons to a broad audience: www.tonebase.c... . Know that I have decided to do the same and have plans (possibly a year away), likely with a business partner of significant status in the music industry (a number of people have already shown legitimate interest), yet I still lightly recommend as an option what ToneBase is offering. That's because, you'll at least be exposed to the standards of top artists and understand the underlying trials and tribulations that college students generally go through when learning music at a high level. Because, otherwise, if you were to receive any instruction from me, you'd probably be confused or lacking sufficient control/experience to execute what I ask, because it builds/elucidates upon the teachings of top artists. In other words, what I'm saying is you need to deeply understand the suffering and join the masses who suffer alongside you before you can appreciate the cure. However, those who are adept will acquire the inside knowledge and completely out-compete their peers, enjoy what they're doing much more, and waste less time practising. As well, unlike a lot of tutorials like ToneBase, with me you'll get the chance to properly learn a piece like the one in this recording. So, look forward to a revolution in piano methodology in the future for the betterment of everyone and the classical music industry, as it is directly reflected in this video.
Also, if anyone wants me to perform this as part of a concert, I'd be open to. It's a completely different experience in-person.
Lastly, if you like this piece, you'll probably like Medtner's "Sonata-Ballade" and Puccini's "Turandot". Anything of the like you would suggest?
[DISCLAIMER] If you're unfamiliar with this style of music, I suggest that you go through the description of this previous video for the necessary background: • Kaikhosru Sorabji: Gul...
My background: • Post
All piano works I've recorded: • All Full Recordings
At time of recording, Eric is a full-time software engineer working in Big Tech and AI, graduated from the University of Waterloo, Computer Science major.
@musicforever60_official on IG: / musicforever60_official
#piano #music #romantic #enescu
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Explanation of less well-known expression marks:
- "senza rigore" -> "a piacere" or "ad libitum"
- "s.v." -> "sans vibration" -> pedal with clarity or no pedal
- mp -> mezzo piano
- bp -> ben piano
- pf -> poco forte
- bf -> ben forte
- psf -> poco sforzando
- bsf -> ben sforzando
- prfz -> poco rinforzando
- brfz -> ben rinforzando
- "circle symbol" -> lift pedal halfway
A remarkable work. So much emotion, tension, suspense, atmosphere and reimagined harmonies. It is a gripping piece. Thank you for posting.
I've been following this channel for a while and I must say that this is one of your most breathtaking performances and it's enhanced by the magnificent audio quality. Thank you so much for your hard work and dedication, as always. Really polished performance.
This composer gave Schoenberg the middle finger. It's as if there could be such a thing as TONAL atonal music, that is tonal music with atonal texture.
I'd say, out of all the pieces I've played, on an "atonalism" scale of 0 to 10, if Bach were 0 and Xenakis were 10 (arbitrary), then Chopin would be a 2, Prokofiev a 3, and this piece a 4.
@@Musicforever60 Who are your 6, 7, 8 and 9s?
Maybe sorabji is a 5 or 6
This piece has a somewhat unusual harmonic language that mixes various modal tendencies with restless late Romantic chromaticism. It kind of reminds me of Griffes' work though more variegated. But there's really nothing unusually "atonal" about it. Bartok wrote pieces that are less tonal than this. Hell, Shostakovich wrote pieces that are less tonal than this.
Another forgotten masterpiece! Thank you for discovering this wonderfull sonata for us!
Finally! I was waiting for you to branch into some of Enescu's Piano works for a while now actually! Since you seem to have discovered him quite recently I urge you to listen to his opera "Oedipe" if you haven't already, since it's easily his best piece (which you know means something that resplends with majesty and control at every single bar of the score, given Enescu's extraordinary attention to detail); the chamber works (Piano Quartets, Quintet and Chamber Concerto) and the 3rd, 4th and 5th symphonies (the last two were completed posthumously). I totally agree with your remark: if there's anything that comes to mind when listening to Enescu it is maturity.
Will check it out!
I'm still working on my first scales, but videos like this keep me motivated. The complexity is amazing, can't wait to understand more as I learn!
Amazing composition, thank you for the performance, I didnt knew this piece existed 😅
This music is incredible and I must learn more about the composer and his music!
Every so often, the music seems to slip in to the same mysterious space Scriabin's music also falls in to. Makes me wonder if many composers were trying to tap in to the same thing spectral forces, consciousness, God, or whatever. Rather, this confirms it for me.
I wouldn't compare it to Scriabin, even though that might be a lot of people's default eccentric post-Romantic. If you've heard music by Medtner and Szymanowski, this "mysterious space" you're referring is much more common than you might think. It's really the unconventional orientation of harmonies and form that sets Enescu apart, and simultaneously elevates.
😮😲
The melody from 4:50 sounds like another famous piece of classical music I can’t recall for the life of me and it’s bugging me…
Agreed- a bit reminiscent of the opening of Petrushka?
Hm, sounded like Medtner’s Night Wind sonata to me. Maybe it could be that?
It’s an orchestral piece what I have in mind originally, not a piano piece.
Scheherazade
@@samaritan29yes that’s it! Thank you for that.
This is one of my favorites, I wondered if you’d ever do it
+1
Благодарю вас за то, что познакомили меня с музыкой такого интересного композитора. Я также интересовался музыкой Сорабджи, Метнера, Скрябина, Айвза и т.д. Именно этот интерес меня привёл на ваш канал. Ещё раз спасибо вам!
Wow... beautiful, and amazing interpretation! I do wish you make studio recordings of this sonata, what a spectacular find!
Brilliant composer, I learned of him through his "pièce pour piano sur le nom de Fauré", then also learned about Ysaÿe due to Enescu being the dedicatee of the third violin sonata. I love your pianissimos in this performance, and cool to hear you'll soon be sharing your interpretive approach pedagogically!
I cried..
excellent
You have very beautiful technique! With me personally, with a lot of pianists, I dont mind just hearing the music. And then there are a few pianists where I also have to watch the hands create the music because the technique is just beautiful to watch, great job!
haha tbh I've been including my hands the entire time I've been doing this sort of thing just to undeniably prove that it is me performing it, because with some recordings in the past it can be far from believable.
When it comes to pushing the boundaries of what is possible, within tonal music, another piece you might want to consider is “meditations on life” by Klement Slavický. It’s the most tragic sonata I’ve ever experienced, and it is quite fun to play. Anyways, this was a great performance of yours. Incredible well polished interpretation, and beautifully recorded!
Thank you for the suggestion. I actually had a listen to the entire thing just now. For me, what I desire from a great piece of music is an evolution and broad scope of emotion. Not necessarily resolution or catharsis, but music that reflects a composer's many dimensions of thought and personality. The analogy to make in real life is, it's much more boring to be socially connected with someone whose only perspective on life is that of pessimism, without remedial action or growth in perspective over time. That is merely what I am looking for, but music that doesn't fit into that category isn't necessarily lacking, as the premise of tragedy justifies its own construction.
(Also, why do I get the feeling that Slavický got inspiration from Enescu's Piano Sonata No.1?? All the movements are of very similar construction.)
I am now a subscriber 😇😇😇😇😇😇
This is outstanding!!! 🎉
Reminded me of Ornstein's 4th.
enescu is goated
very violent
been a genuine fan of enescu piano works for a loong time. it was disappointing when Grand Piano released a 3-CD set which didn't include the rather known concert piece Rhapsody Op. 11 No. 1 in A Major (version for piano by the composer)
Sorabji vibes)
a little
"there was little room to possibly advance forward within the domain of purely tonal music."
Could you convince me that there can ever even be an objective "limit" in the domain of tonality or did you just say that on a whim/ for dramatic effect?
Yeah. Haven't advances in tonal harmony been made in jazz throughout the 20th century?
there is no inherent limit in any musical field someone can always creatively push limits in new ways
boundaries are all but human made restrictions and constraints
yea thats just weird european tendency of thought from the 20th century which was proved ridiculous long ago after serialism. gatekeeping tonality. funny to think they thought their music so universal that their end was everybody elses. weird view of how history and development works. yknow people just living in their bubbles, the classical ones somehow are convinced theres some sort of grand development going on. very germanic way of thinking. not the good kind.
@@donwheels9472 100%
Great performance! I'm not a fan of modern classical except in rare instances (Rautavaara has some brilliant stuff), but this piece does have some pretty nice moments. Thanks for sharing it.
To you, what falls under the category of "modern classical music", because there is plenty like this
@@Musicforever60 pretty much anything that abandons tonal center. This piece is nice because it has flashes of impressionism and romanticism, and those occasional flourishes elevate the "in-between" parts of the piece which, by themselves, would be tremendously difficult to listen to.
Just as a suggestion, if you're not acquainted, Medtner, Szymanowski, Feinberg, Roslavets, Barber, and Sorabji (just to name a few) are all of the 20th century, of similar tonal centrism to this piece by Enescu. I have a lot of recordings on my channel for those composers.
@@Musicforever60 thanks I'll check them out. Your performance of this piece is great, so I'm sure you're giving those composers their best shot!
jazzy scriabin/prokofiev
3:02
4:01
5:00
6:50
7:52
I wish I knew who composed this.
It's literally written and displayed everywhere
@@Musicforever60 Everywhere except where it counts - in the title of the video.
Cannot do that, since TH-cam almost exclusively promotes clickbait and high-popularity ranking search terms these days. And that is by design to maximize engagement of the platform, though the creators also perpetuate it which reinforces the algorithmic recommendations to prefer it. Know that I hate it with all my soul.
@@Musicforever60 Fair enough.
bazed ENESCO
Enescu plays Enescu: th-cam.com/video/FBVnxFcpClk/w-d-xo.htmlsi=YJqDB9LGkFzKzhYO
Scriablin?
Parece Scriabin
Not even close