Is Einaudi’s music actually good?
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- เผยแพร่เมื่อ 30 ต.ค. 2023
- Ludovico Einaudi is a composer I’ve always struggled to get along with. But he’s one of the most popular classical composers alive today. In this video I challenge myself to get to know his music better and see if I can come to some kind of understanding as to what it is I’m missing that so many other people enjoy in it.
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The full piece I wrote 'in the style of Einaudi' is on my 2nd channel here: th-cam.com/video/GqptnCF8WwE/w-d-xo.html score available on my patreon www.patreon.com/davidbruce
Einaudi actually has inspired albeit rare moments when his music actually takes flight and possesses a rather unique esthetic quality. Your attempt at imitation or at capturing his style is at times redolent of trying to fly a kite under uncertain weather conditions. It doesn’t really seem to fly. Better to stick to your own muse. Einaudi certainly marches to the beat of his own drum. More power to him.
Ooh, the start of the piece really brings to mind Aphex Twin's _Avril 14th_
@@jhonbus Apples👉🏻’In the style of Einaudi’ by Bruce. Oranges👉🏻’Avril 14th’ by Aphex Twins. In this case I’d most confidently choose apples anytime. Hands down.
I loved his earlier work, I discovered him from the sound track to the movie called This Is England, but as more releases came out I slowly become a bit bored with his music as it is all very much the same.
@@hilo5458 👍
I wasn't suggesting either piece is better or worse, or even that I prefer one over the other, really. Just that they are very similar.
I mean, I prefer _My Sweet Lord_ to _He's So Fine_ myself.
"It starts off like a Lewis Capaldi song, but then Lewis Capaldi never starts singing"
He literally plays a Lewis Capaldi karaoke track to prove his point. I'm vicariously wincing in pain. Brutal.
If only all Lewis Capaldi songs carried on in that way.
@@RoninofRamenbruh
Really?
I think he's got the right, and he is right.
Enaudi sure ain't Beethoven, who is the true top of geniality.
Not that Mozart accident, but THE BEETHOVEN is a TRUE genius.
I dare even to say, Enaudi is hardly a Friedrich Nietzsche.
And oh yes, Nietzsche also composed.
Look for for instance "Albumblatt".
🤣🤣🤣🤣
@@Rebablonde
Not sure if you meant to laugh at my comment, or with.
Facts, though, JIC:
Beasthoven/Beathoven/Basshoven vs Mozart/Nozart: Who was the REAL genius … ?
Nozart was not even remotely close to Beethoven.
Those who think "Nozzey" (Nozart, thus) was a genius?
Put Nozart in the place of Beethoven, let him experience what Beethoven went through, and then have them write music.
And ONLY then!!!!
He will fail miserably, and epically so.
Let's just compare both, for the sake of argument:
1) Nozart did not like to compose, or play music.
2) Nozart wrote for instance: Leck mich am arsch, and was childish as the fuckin pest.
3) Nozart had great health.
4) Nozart had everything a man could dream of, including girls.
5) Nozart was always supported, music wise.
Beethoven had EVERYTHING against him:
1) Poor all his life.
2) Ill, for the most part of his life.
3) Unrequited love (by accident (storm), eh).
4) Father who curtailed his musical development..
5) Third parties who tried to derail his musical development (too extreme, folks nae love no tha').
6) Deafness.
7) While dying, LITERALLY, still wrote music.
8) Without Beethoven, we would never have had modern music, all we know now is Beethoven's legacy to humanity.
Without "Godhoven", we would still be listening to Salieri and the like….
Beethoven IS Metal, Punk, Disco, you
name it.
Bethoven LITERALLY is the "Grandfather of Modern Music".
And what did Mozart leave us?
Eine Kleine Nachtmuzik, Rondo alla Turca and Die Magischen Flute?
Beethoven's 5th, by the way… a whole work, based on 4 notes?
THAT's PURE genius.
Counter this one, oh ye Nozarts’...
Compared with Beethoven, Nozzey is a "Trump".
“I’m not gonna say I hate you, but something about you triggers all sorts of sensations in me that just make me want to avoid you”, I’m now using this masterpiece of a sentence as an insult. Thank you.
It's wonderful, isn't it.
Can't beat salty English dialogue.
I'm surprised the word "ambient" was never mentioned in the video. Additionally, the simpler the music, the more accessible it becomes to a broader audience. Which leads me to the conclusion that Einaudi's music is classical-pop-ambient
I mean, there is a limit to simplicity.
You don’t see William Basinski selling out huge venues or Steve Roden (RIP) folding papers to the masses.
Einaudi is as much "classical" as a cow can fly. Exactly that much.
Maybe Arvo Part is what Einaudi wishes he were. @@argi0774
@@argi0774 Musical genres are somewhat adolescent, IMO.
@@awtistiaeth4699 Whatever
He’s just ambient. It’s nice to listen to when anxious, stressed, or doing something else. His music isn’t meant to be focused and analyzed while listening. It makes me happy and feels bright and hopeful. I’m only familiar with his piano music. It reminds me of a soundtrack to a movie. I think that’s how it’s intended, to be a soundtrack to whatever you’re doing.
I was just saying that it's almost like Einaudi is a cross between Arvo Part and Yanni! (I've never heard of Einaudi until now, but I do feel that Yanni is a very fine tune-smith for instrumental music.)
but there’s ambient music which is much more authentic / inhabited in flavour eg. Brian Eno. Einaudi just seems like a rip off. To my ears atleast.
right. it's almost like he's trying to simultaneously be Phillip Glass, Brian Eno and Yanni at the same time. just dosen't seem to do anything. I'm still listening a bit, just out of curiosity.@@MorganHayes_Composer.Pianist
@@A-432-Zone precisely. It’s the intention behind the notes rather than the surface characteristics ( whether it be simple /complex/ tonal / atonal ) which are the decisive factor . Even as background material - I once heard an Einaudi piece used for a ballet - it was distractingly insipid.
In a newspaper review for the entertainer, Liberache (I think, late 1970's). The reviewer stated that "Liberace is no Richter. But, then again . . . Richter is no Liberace." // I'm beginning to agree with you more and more here. It seems that Einaudi is no Phillp Glass in style. Nor is he Yanni in melody. Nor is he Liberace on the chops. Nor is he Brian Eno in the stars. Perhaps the great Einaudi is indeed the Great Cosmic Hoax. // Incidentally, Morgan, as you are a composer, you may want to look at my note-to-color associations and my "Theory of Pitch Psychology" on my main page. - Sonically yours, _The Acoustic Rabbit Hole_@@MorganHayes_Composer.Pianist
Some linguistic fun: Einaudi the name is spelt like "ei naudi" in Estonian, which means "don't enjoy".
Excellent, truly excellent. Thank you.
in finnish it's "ei nauti" = doesn't enjoy
In fact i do not enjoy Einaudi
And in German it means... never mind.
I don’t understand why einaudi is SOO popular. Like yurima
It is great to stretch yourself like this into a genre/composer/style that is outside of your main interest. Allowing yourself to look for what others appreciate is an act of musical empathy and is something many of us need to do more frequently. I can’t wait to show this to my students
Absolutely!
Same principle was used in Adam Neely's video about christian pop.
I was pondering whether Einaudi is actually a "Classical" composer or is simply a "Pop" composer who writes for solo piano. I think the complexity level of his music is actually BELOW that of a lot of Popular Music - but that's something that's inherent to a lot of minimalism - which is an important movement in Classical music! So it really challenges how we define Pop and Classical and what the borders between the two are. The fact that Einaudi's music is so commercially successful - beyond minimalist composers - makes me feel that his home is Pop - but that's more a feeling than an intellectually rigorous argument!
Is pop music for the piano
He's a lousy pop producer who didn't bother learning about producing. Quincy Jones or Stevie Wonder being pop and that guy being classical... I think I've said enough
i can't accept him as a pop composer without also considering satie a pop composer. Music style should not be categorized based on how relevant it's to the market.
@@victor.hausen Satie's compositions are way better than this guy's
@@goncalocurtoMusic genre have nothing to do with complexity or ranked you made up yourself... Stick to your lane, no one wants your production advice 😂
As a pianist who creates spontaneous piano music for the purpose of healing at a major hospital in Los Angeles I can attest to the fact that the space between the notes is not only not empty but as valid as the notes themselves.
In fact the silence at the end of a piece is notably different from the silence at the beginning of the same piece.
For me, there is a healing language coded into the music/silence that is understood by those that need to hear it.
I am constantly humbled by it.
Beautifully said. I agree with you as a composer.
The silence at the end is pregnant with the meaning and emotion left in the mind of the listener.
Sounds like you're doing an amazing job.
....and Einaudi's music is not good.
@@cristianlang6971 @misterchrissy and who the hell are you to even think you have the right to have an opinion on that matter?
Why does the simplicity of Eianaudi sound boring whereas the simplicity of Satie is just perfection? Am i a snob?
I think the problem is while the simplicity of Satie can give you a lot of space for imagination, the simplicity of Einaudi is not like that.
Saties music it’s usually not as simple as it sounds, there’s a lot of smart choices he makes to keep the music interesting and colorful.
Satie may be simple, but it exudes a bit of mystery and unexpectedness that I just don't get from this music at all.
@@sora7176exactly. His chords and harmonies are INFINITLY more colorful than einaudi
I think Satie's music uses more colorful harmonies and melodies, using few notes as possible, while Einaudi uses standard harmonies and melodies using more notes, It doesnt have so much space. I view Satie and Ryuchi Sakamoto, for exemple, as more colorful and "simple" (dont take much space) composers
This style of music is like a warm bath. Imagine you're reading a book while soaking-you're not entranced by the water, you're lost in your book. But the warm bath is very much part of that experience.
Very nice analogy!
Seems like you could just listen to Phillip Glass or Arvo Part (or several other minimalists) and get the same thing, but better.
@@Aaron-xq6hv Whole heartedly agree.
I actually take a bath with music before I go sleeping. I then listen to the opposite type music that I listen to during the days. During the days I like more unexpected things, but when you are are trying to get into that zone of becoming sleepy, I indeed find simple, repetitive predictable music helps better for that. Complex thought also does not help with becoming sleeping and nether does any complexity in music. Philip glass indeed repeats patterns like Einaudi, but the patterns more often involve notes/chords that are out of key and thus somewhat unexpected. SO sure, it's more interesting, but if you want to quiet your mind rather than activate it, I'd say it's less beneficial
One of the last points made in the video can't be stressed enough! His music made a loads of people to pick up the piano or to get back to playing. I can't think of anyone else in recent history who had such an influence on piano playing. And that's brilliant and a massive win for the instrument! A lot of people will start with Einaudi and then maybe move onto Chopin, Rach, Debussy and will start to appreciate all the great composers.
Do you think it is attributed to his quality of music or rather the reach of technology and current algorithm marketing?
@@PH_INFO_101 Perhaps a little bit of both and perhaps neither. Keep in mind that Einaudi was already popular among music fans way before the social media algorithm marketing that you mentioned. I think his popularity maybe even peaked after the release of the french movie Intouchables. I feel that was when everyone in the world found out about him. As for quality, I think it's hard to characterise, like what metrics would someone use for that? There is loads of pop music out there which I personally think is shite but many people like and think is of good quality so go figure. Shall we judge his music from a composition perspective? A lot of people seem to be doing that and criticise his music for being too simple, not complex enough. Sure, it's not Giant Steps, but so what? I enjoy listening to his pieces! Also as an intermediate pianist, I love the fact that none of his pieces are intimidating! Anyway, just my two cents...
@@ProtipoAl I appreciate your response. To be transparent, while I enjoy classical music, I have little to no knowledge on the subject. That said, I was introduced to Ludovico Einaudi - Una Mattina in 2012 while living in a Christian sober house. I found the compositions to be deeply relaxing and a great alternative to traditional Christian worship music. Blessings my friend.
I would have given up piano if my introduction to it had been via Einaudi's irksome mumblings.
My wife and i attended an Einaudi concert recently and wanted to leave after five minutes. Your description of musical claustrophobia captured our feeling exactly. We stayed for an hour, listening to what sounded like doodling on the piano - amplified with reverb for the big venue - and made our escape at the first inexplicable - to us at least - standing ovation. But much younger friends afterwards described themselves as 'emotionally drained' and a review in the regional newspaper described the experience as 'nourishing for the soul...' Your video is a very fair analysis of Einaudi's appeal - it didn't make me enjoy his music any more but did help explain why so many do. We enjoyed your composition much more than his concert - which I guess confirms that you failed! Many thanks.
yes ! you have to understand he comes from a historically powerful family and so had no problem being promoted .. his music bores me to death ..there are so many other more interesting types of music that provide what David describes ..
I agree entirely. I bought a piano book of Einaudi's years ago but never opened it again after the first few pages and the first half hour. But I get the fact that as a wash of sound it can really seep into many people's souls. Not mine.
Ngl I went to his concert and was very disappointed because he played many stripped down versions of his songs when I came to hear the entire production. And I do recall him noodling on the piano for a while and got a little bored.
Einaudi is background music from back to front. It's not going to handle scrutiny as music to be listened to like classical music, it much better compares to things like meditation tracks or soundtracks. I think it's dishonest to classify it as classical, not because it's not "good enough", but because it clearly is doing something else. Piano music ≠ classical music.
Yes, I lasted 2 or three tracks, not so much bored-to-death but, as Bruce puts it, claustrophobic - his was the only concert that I have ever walked out of (and complained to the management that it was unworthy of their venue). Even if his music is intentionally background sound, that doesn't make it worthy - it's simplistic and I'm sure a computer could churn it out easily.
I think a large part of this discussion is the inability of the public and platforms like Spotify alike to classify this music as what it is: acoustic, instrumental pop. As such, it does its job very admirably in appealing to a large audience, while the absence of any lyrics or overly specific/descriptive titles means that anyone can either project their own meaning onto it, or leave it unobtrusively in the background. However, _because_ it's just piano without vocals, it gets lumped under the umbrella of "Classical", thereby both drawing comparison to a lot of music that requires/rewards much more active listening as well as attracting the snobbery and gatekeeping tendencies associated with that (already very loosely-defined) genre. Oh and "neoclassical" already means something else as well, let's not bring middle-period Stravinsky into this. It's pop.
It is classical music. It has the cultural associations of classical music ("emotionality", "sophistication") and if you asked a lay person what it is they would say classical. If you played them Einaudi and Philip Glass back to back and asked them why one was classical and the other wasn't, they would have no answer. Or Moonlight Sonata. They might cotton on to why the latter two are more complex than Einaudi, but would be unlikely to understand why that places a genre threshold between them.
In the 90s we used to have a label for that music: "easy listening", closer to the Top Adult Contemporary Hit than to the Classical Music world. I prefer the term Pseudo-Classical instead of Neoclassical.
Spotify's algorithm is crap, and that's a fact. It's one reason why I've dumped the app.
@@user-et3xn2jm1uI never thought about the definition of classical music and you're correct that it's hard to tell why Glass would be a classical composer and Einaudi isn't but i think i got an answer.
Classical derives it's name from "classic". Music that is established, music that may have been researched already and considered a classic upon musicologists.
I think a second important part is how it is being presented. Classical music is performed in opera houses and there is a strict set of rules or codes to follow if you go in there: Take a seat, be quiet because the composers piece and the orchestra are the important part, not how you react to it or feel towards it.
In pop, rock etc. the audience can be wild, can scream in between, can express what they are feeling cause the music is less the focus. Nobody goes to a rock concert for the music alone, people go there for the athmosphere and for the band.
I can imagine this is why i wouldn't consider Einaudi classical. His music isn't something you would play in concert halls, it sounds like music to listen to when home alone, when learning, when taking a walk.
Why? Because his music can be also played by practicly anyone because its so simple. Einaudi doesn't seem to have a set of rules how to play his pieces, basically every classical piece does have them. Even when we talk about the Rennaissance period where performers often just improvised and didn't play the score as it was written. They still had rules to follow and on these rules they improvised.
I don't think there is a wrong way how to play or listen to Einaudi.
And that is part of an even larger discussion, which is how non-musically-sophisticated people enjoy music. Much like regular people tend to appreciate things in books that are different from academics (like whether they enjoy the world of the story, etc.), non-musicians (which includes myself, so I know what I'm talking about) tend to enjoy things that musicians don't focus on. For example, those shapes the video talks about. They're pretty. They're perhaps banal to David, but they're pretty in a conventional way, like the colour blue can be pretty. Or the "mood" of the music. It's relaxed and nostalgic, so people feel that it's emotional. The repetitions mean that there's not much to understand and that it gets a bit hypnotic and recurrent, like someone languishing over something. I've never listened to Einaudi's music, but based on this video that'd be my guess about its appeal.
"On today's episode: our intrepid composer discovers background music."
Humor aside, it IS interesting to grapple with the different ways people engage with music, particularly along the expressive-to-vibe and participatory-to-experiential spectra. Some things have a point of view, some things are intended to pull you in, and some... don't, aren't. They can each have validity in their own way, and the better we understand that, the better equipped we are as creators unleashing our creations on an unsuspecting public.
Beautifully put
Satie wanted to write what he called "furniture music", that plays in the background of your daily life.
@@tonyprost5575 I love that expression. It describes its function without demoting it to something trivial.
I never really listened to his pieces on purpose, only through watching movies he composed music for. But then 2 weeks ago I went to his concert and it was marvellous, he created such an atmosphere, the whole concert venue was absolutely silent. I'm not sure I have ever heard such silence in that concert hall before. I do not usually enjoy similar (i.e. monotonous, repetitive) contemporary pieces that much, such as Philip Glass or Havasi (ugh). But Einaudi hits different somehow, especially when he's playing it. It's like he can manipulate the sound however he wishes, during the concert I realized just how good of a pianist he actually is. I never really thought about him as a pianist before, only a composer.
After nearly 50years I'm at the point of understanding that I display multiple ADHD, OCD and autistic traits, one of which is reasonably easy access to flow state. Music like this is my drug - strong, repeating beats, repetitive rhythm section, simple overlaid melody, on and on. I can lose hours into this stuff. I suspect that, while it's not *my* gateway drug, it shares an awful lot of crossover with music that does open that door for me. This isn't music to listen to and glorify in its complexity; it is music to shut the world out with.
There is definitely something to be said about music that you use as a tool rather than being the goal. There is a 10 minute electronic ambient piece that became my 'go-to' for when I wanted to write poetry. I've had it since 2007 at least and have probably listened to it a thousand times by now. For me, it's the perfect thing to clear my head and allow for whatever may come from a writing session, and I've never tired of it.
What's the piece called mate?
Please list or link said 10 minute piece. I’d love to hear it 😊
i too wanna know what piece this is
This is me when it comes to doing math with Gould's '81 Goldberg Variations. Even with some of the abrupt changes in styles, it just sits in the background for me as a scaffold for my own thoughts without intruding by way of active listening, and it works wonderfully. I'm far more productive with it than without it.
Would love to know what song it is! For me, the album Pop by Gas became my go-to for drowning out the rest of the world, especially when trying to sleep in a less than peaceful environment.
I used to listen a bit to his music many years ago, while reading books. It was non-distracting and calming, helping focus on the books I was reading. I never thought of it as classical music. For me it seems to be a different genre of music.
I think I discovered his music on some "Reading music" playlist on Spotify now I think about it.
It's pop music on piano.
I would describe it as ambient minimalism - ambient because it kind of sets up a landscape, or particular emotion, and then throws a minimalist melody on top - not too complicated, but something to just keep you in the moment. Like he said in the video, it's like a sunset, or a walk in the park.
@@gorak9000 you pretty much echo what I feel about Einaudi's music. I see him the same light as Erik Satie, mainly the gymnopédies and gnossiennes
@@Dany_lopNo, too different. MAYBE similar to Roberto Cacciapaglia. They both use the same patterns. But not Erik Satie
I love what you do on this channel, and being Italian I would like to make sooo many people listen to your take on Einaudi! However, I would launch a little provocation: I think you can look at "a beautiful sunset, a walk in the forest or staring into the fire" with the same deep intent you apply to listening to music; it is not a matter of different listening modes but of core inner workings of a being. Also, Nature with capital N slips in here (just look at Einaudi's titles): he is trying to make his music look like it has not been "made" but rather just happened (i.e. like nature). But when I am in a forest I think about geology and biology, literature and music, and all of this makes me feel present as well: I am sure I am not alone (read the loving pages of Tolkien about forests for reference). If you like to be washed over, a forest will be just a forest, a background just as this music, but if you are programmed to look into things, in my opinion even the difference between manmade and "natural" disappears!
Really like this point. I felt like something was a bit off with that comparison I made, but didn't manage to articulate it to myself.
i think this gets at the subjectivity to one's approach of music that david was getting at in this video, because while i dont think you're wrong, i dont find myself engaging with nature in any way similar to music. the natural world is beautiful, but it is not communication between a composer and a listener. einaudi perhaps tries to be a sunset, but that sunset isnt for people who want to contemplate the intricacies of what a sunset is and what it means to us.
To be fair, Ein Audi DOES sound like it wasn't made intentionally but just happened. It's the sound of someone boredly sitting in front of a piano, knowing how to play but not knowing any pieces, and also not wanting to plan for anything. Just touching some keys that sound nice, and then again and again because it worked.
@@JonaxIIYeah, sure
Divenire, in my opinion, is Einaudi's definitive and most exciting work. I like him in general, although I agree that much of his work is consistent, and a little lightweight. But he occasionally has incredible moments, as with much of the work on Divenire, particularly the title track,
I recently went on a journey with a 15 year old who was into a specific kind of rap music. I eventually persuaded him to play some for me. It was very interesting to work out how best to listen in order to to appreciate it. (If was also fun because he could not believe that he was playing this type of music to me, with the tacit assumption that his was the first generation to discover strong language.) The approach I used was surprisingly similar to the one you describe here.
How silly of him. I remember when we invented rude words, all the way back in the 1980s.
@@goodlookingcorpse lmao
What kind of rap music was it, if you don’t mind?
@@hamishmacdonald8593 there's only one kind, bad.
@@loupasternak hip hops been around for about 40 years, it’s one of the most expansive and expanding super-genres in modern music, intersecting with pretty much every other genre in existence, with so many different attitudes to the music and so many different interesting corners and niches and people doing the things people do with art. If you love music, which just watching this video means you probably do, maybe try seek out some different kinds of hip hop, you might find it surprises you!
I had a boss who listened to a piano piece over and over again. I don't know if it was Einaudi or something else. But there was this motif that kept coming back: "do-re-mi-fa-so-fa-mi-re-do"... and every time I heard it I thought it sounded like someone practicing the piano. I can see how it might have helped him focus, but every time I heard that little "warmup exercise" it grabbed my attention in an unwelcome way.
Can you file a suit for aural harassment?
Einaudi's music reminds me a lot of George Winston. It's not meant to be significant. It's more like musical ASMR. In that regard, it's no wonder his music is popular. In many cultures (especially the US), "popular"' is often confused with "good". I can understand Einaudi's music on that level. For a lot of people, it serves a needed function in their lives. But as with you, it's not something I would naturally gravitate towards. BTW, your increasing video skills continue to impress me.
David Bruce, I applaud your wisdom and maturity towards the subject. You haven't been blinded by your own personal biases while examining music very different from yours and you have stayed true to your quest for transmitting musical knowledge and understanding.
I can understand the appeal and the repulsion. Personally, I've never heard of him except with a negative reputation. After this, I think of him as the Thomas Kinkade of music: he makes enjoyable music for most people whilst infuriating others with what can be perceived as a potent vapidness. If I were to be honest, I like some of the qualities that you can find in his music. But I also know of other artists who can provide those things and a bit more too. And if I were to be really honest, I don't want just "pretty tunes" or a "pretty sound". I want a bit more.
Perfect analogy, and I whole- heartedly agree. I find his sound pleasing for about 30 seconds and then just lose interest - and I enjoy 4 hour electronic ambient tracks, so it's not just that it doesn't go anywhere. It's the fact that what I do like ends up churned with what you call as a sort of vapidness, and I can find the elements I do like in other, more pleasing music.
Too true. The emotive aspect of his music always feel a bit cheap and unearned. I think his film scores are pretty great, though.
I've seen the Kinkade comparison but as far as I'm concerned Kinkade was a hack, and a sellout who gave up a reasonable (if heavily imitating Norman Rockwell) ability, to make money and sell out to the Mouse. Einaudi doesn't seem dishonest, just does what he does and some people like it.
@@edgardblomfeld7001That's fair. I was focusing more on the appeal rather than the individual character and talent.
When I taught things like music theory and music appreciation courses, I would ask students who among them ever listened to music intently, without distraction, not as background. I'd have them raise their hands and say "put your hand down if you only really listen while..." and list things like studying, cooking, eating, drinking, socializing, reading, etc., and maybe one out of 30 would have their hand up at the end, and they were ALWAYS exactly the type that would listen to music without distraction, if you know what I mean. And while, sure, we all listen to music while doing other things, there are those of us that do listen with intent, without distraction, either because we're compelled or trained to do so. For us, music that functions best as background (intentionally or unintentionally) always offers a bit of challenge, much in the same way that "challenging" music does to most everyone else. Fair enough.
Reminds me of Adam Neely's video, where he plays Contemporary Christian music because he dislikes it. Really love this idea of specifically seeking out music that we find inaccessible. It's a great way to grow. Great video!
Does anyone else create stories in their head to music, or is it just me? This was so thought provoking… I actually do like a lot of Einaudi’s music for the almost wistful, sentimental feeling to it, however this video did make me think more deeply as to why this might be and how different people listen to music must affect how they interpret it…
Yes. Sometimes I "see" images/movies. "Tag Along" by Gordon Lightfoot and "Year of The Cat" - Al Stewart, are almost hallucinatory for me for some reason.
I feel the same way you do about Einaudi - as a high school music teacher I was introduced to him by students who wanted to show their piano skills. I almost couldn't believe they were actual compositions - and I'm sorry to say, your composition was a bit of a failure in that regard, since it contained enough material and development for an entire Einaudi album. I do really appreciate your strife to understand and appreciate his music, and I think you're spot on - it doesn't work if you want to engage with the actual music. It works in the same way my wife listened to Enya when we were younger, it was more about a meditative state and an emptiness for emptiness' sake, so to say. Thanks so much for this video, and especially for that Lewis Capaldi line :D
I agree; far too many developing left-hand figures and register shifts to be Einaudi!
Agreed. However, that repeating G, A, B, C, B motif towards the end was repeating too much without movement even for Einaudi. Also, there wasn't much play with motifs' rhythms -- Einaudi uses subtle variations in note timing here and there, even if the notes in the motif are repeated with hardly any change.
Otherwise, it's a very pleasant impression of Einaudi.
Can we call that a back-handed insult to David's composition?
@@murdo_mck What's the opposite of "damning with faint praise"?
😀@@JohannesWiberg
It's interesting that people describe Einaudi's music as inviting you to take it where you want, or that it doesn't force you somewhere, because I feel the opposite when I listen to it: it is forcing me into what feels like a canned, sentimental experience which has the trappings of a highly aesthetic experience but relies on tropes so established that it never really reaches it. And then it stubbornly stays within those safe boundary markers that it just becomes as generic l, even if pretty, as a picture of a leaf falling off a tree - they are perhaps very beautiful but is so common that it loses the profundity you'd have if you experienced it first-hand, not reproduced in music or image. Essentially, it takes me nowhere not because it's open but because where it seems to want to take me to has been ground trodden again and again.
Now, I am quite wary of novelty for the sake of novelty, so I don't mean to say everything has to be new all the time. It's just that something about Einaudi's music seems to communicate to me that he doesn't want to say anything unique or meaningful or provide a uniqie or meaningful experience or space for the listener. There are affectations of passion and romance that go nowhere - leading to a bland sentimentality that I personally find unappealing, though I know many find it to be exactly what they want.
Honestly, it's similar in concept - but very different in execution - to many of the romantic era virtuoistic pieces that are written for performers to show off. Though I tend to find those even less appealing because of their heavy affectation.
Yes, thank you! That's exactly how I feel about this kind of music. It is emotional pornography, music whose intent is to make you feel something without asking any effort from you. There's only so far it can take you and, like pornography, it can end up causing aversion.
If you can't appreciate "a picture of a leaf falling off a tree," then Einaudi's music is definitely not for you.
@@TheDaltonNetwork I can appreciate it, sure, but less so when someone presents it in a way that it is profound and deep while it ends up being a similar picture to a leaf falling from a tree that we've been shown countless times in a cliched presentation. I can even appreciate such a leaf falling as simply pretty, but I don't go seeking it out nor do I find it sticks with me in any way. It's just forgettable prettiness.
Now if someone photographs a leaf falling from a tree that has a particularly striking lighting or composition that frames the whole image in some way that is not cliched, or hackneyed, I'll probably find it much more than simply pretty - it will likely be memorable and stay with me in a way the one that is simply pretty never will.
That doesn't really mean that people shouldn't enjoy simply pretty pictures, or to continue the metaphor, nor does it mean they shouldn't hang them on their walls if they want. I just don't find them anything more than pretty, and prettiness isn't a strong attractive force for me. It's pleasant enough but rarely does prettiness alone intrigue me.
@@TheDaltonNetwork That makes sense. I don't go to Shutterstock for my artistic needs.
Enaudi is the Barnum effect of musicality. He's expressing emotions vague enough to fit the largest common denominator in the population, like an horoscope. But if you happen to be slightly more nuanced and made it your identity, it's forcing you to something very common... that you aren't.
I make dance music and this actually spoke to one of my challenges. In styles like techno and trance you really need simple melodies or "melodic pieces" very much like Einaudi's melodies. As a musician who is obsessed with complicated music it's really easy for me to start making a full-on melody, either weird and avant-garde or cheesy and repetitive, and it's harder to restrain myself and come up with something simpler yet memorable, and something that leaves space -- in this case for the beat elements that make it danceable. This kind of music is supposed to settle into the background just like Einaudi's -- it's just an active dancing background instead of a quiet relaxing one.
I like the production of dance music, but the melodies are often so predictable and empty that I can not listen to a lot of it. I do enjoy when people mix classical music with dance, because at least it contains an interesting melody/harmony now.
However, I'd just wanted to say that although dance music is often predictable, you can just deviate from that and create something more complex? I mean, the more you stick to the cliché's of a genre of music, the less it will stand out and the less innovate it is? Maybe I'm wrong though. Just some thoughts!
"Minimalism", I've learned, is the "proper" term from classically trained folks, what is largely the essence of electronic music, repetition or looping, we electronic music producers might say. This was a neutral statement from me. It's not neutral, however, how I reacted when I was told Philip Glass composes minimalistic music! So maybe my own loops are not so bad thing after all ;) Not that anything needs to be proven or approved. I'm just doing my music with my influences and trying to avoid the worst clichés.
I'm a composer and I love Einaudi's music. I am more of a minimalist aesthetically, and my philosophy (in both music and other areas) is that simplicity is often more beautiful than complexity. I appreciate your analysis that different people listen to music differently. For me, even as a composer and music theorist, I listen more for the emotional response than for intellectual stimulation. I often find music that is complex, impressive, and even intellectually stimulating to be drab, because it often elicits no emotional response. And on the flip side, often the simplest, most basic music can be so enriching, because it takes me somewhere emotionally--I can feel something. I think that's what Einaudi's music does for me. And that's also why I compose.
It's a bit like music in a movie. The intend of the music is to help come across the emotion of a scene rather than being interesting on it's own. I myself do not really respond to einaudi in an emotional manner, but can respond to other of such music like Yann Tiersen (ameli) , possibly because it more sad to me whilst einaudi sounds less so has a typical emotion tied to it, in my view
@@PowerRedBullTypologyno wonder Einaudi music is found in movies.
I like to listen to Einaudi, but I adore playing his music. It is very fun, love the patterns,m and I like that I can inject more of my own emotion into the music. Ive noticed I dont go for his soft approach, I speed things up and increase dynamics and just mess around more than I would when playing something else.
Saw him in concert and was very impressed. Its definitly active listening for me.
So piano player and classical singer here. I love to play my way through the romantic composers, I love how complicated the melodies get, how intricate the harmonies are and overall how pompous piano from that era can be.
The reason I like einaudi is because his music is basically the opposite of that, it strips piano back to a much more raw state, the music is not fancy, there are no tricks and i think this almost nakedness of the music reminds me how powerful the piano can be with its ability to combine a simple melody and simple harmony into a beautifully simple sound.
A criticism I see a lot of his music is that it is too simple and lacks any emotional meaning or intent, but I would counter that argument with not all music needs to be an expression of some grand meaning. Some music can just exist to be listned to and enjoyed.
Further to the point that his music is too simple to be considered contemporary classic and to tie in woth my point about romantic piano. It can be very easy to use the vast array of dazzling techniques avaliable on piano to create something that is complicated for complexities sake, and as a crutch to create an illusion of sophistication. A powerful exercie i did when lesrnign to improvise was to limit myself to a few notes and basic harnonies and still develop something compelling. Simplicity does not mean something is inherently inferior.
I woyld like to rest on the idea that there is no space limitation in the world of music. Bach's simple prelude in C can coexist with The entirety of moonlight sonata and Tchaikovsky's ballets and Eiunaudi. Each form of music is valid in its own right and einaudis inclusion in the cannon of classical music does not diminish classical music. Music is a constantly evolving body of work not some monolith. Who knows in half a millennium music historians may be talking about Britney Spears Toxic in the same breath as un bel di vedremo. Afterall what is todays popular music is the futures classical music.
Like Einaudi, Yann Tiersen is the composer that lets my brain wander while listening or playing. Whenever I feel overwhelmed, I listen to him.
I hear elements of Tiersen in David's composition here too. There are definitely parallels between the two.
Interesting. I find Tiersen to be very active listening. It's very difficult for me to focus on other stuff while listening to the Amelie score for instance.
Yann Tiersen kind of reminds me of Erik Satie.
For me, Tiersen is in an altogether different category and not comparable at all.
@@tweer64 no comparison. Einaudi lacks the harmonic complexity of Satie.
In my experience, there's almost no group more passionately oblivious to their own psychological biases than classical music fans. Thank you for leading by open minded example. Well done
Don't lump us together like that.
Absolutely, and this comment section is proving that point. I live and breathe classical music, but I can’t stand the amount of snobbery in the classical community. And they don’t like to admit it
And those of HiFi? xD
Among friends we used the term "harmless" to refer somebody or something without strong identity, personality, taste, colour etc. So, you do not have to give much thought or worry about them. So, when I hear Einaudi's compositions the first word that has come to my mind is "harmless". Of course, if it is consumed in moderation. Being confined in a soft cell can make you go mad after some time
The tonal shift between the somber, enlightening ending between your main video and the end credits music is so delightful and fulfilling! 😅 I love it.
Because the end credits music has 10000x more artistic merit than all of Einaudi multiplied together.
@hostnik777 God damn. that's savage man 😆
@@4Pssf2w - Civilization is overrated
It was an early way into the world of piano and contemporary composition for me as a kid and young teen- lots of snobbery at college and I felt embarrassed to tell my fellow students I’d been to see him, but it was a great live show! And you can’t deny the guy’s success haha- I moved onto playing and exploring more complex stuff after but yeah, it was important formative and often beautiful music. It’s like Brewdog beer- I enjoy it and it was a stepping stone to better stuff, but it certainly is geared towards mass appeal and there is better, more complex stuff available
Einaudi reminds me a lot of like, lofi hip hop beats to study/relax to. Simple, calm music that exists to be in the background while your attention is on something else, rather than to be analyzed closely or really focused on. And yeah there's nothing really wrong with that, it's another valid type of music with its time and place.
Accessible is very strong here. "Playable on just white keys" with just piano seems intentional too.
I never heard of this guy in my entire life, how is he so popular?!
Life is a strange place.
Likewise. Then again I couldn’t name a single song/ “artist” on the Billboard.
I think it speaks a lot about the youth of today. I was watching something the other day about "second-screen programming" for visual media; material that is actually created with the intention that it will be glanced at occasionally, while turning briefly away from the master screen: the phone. I'm not blaming the youth here, by the way. I just think that's where we are for the general masses; background 'content' to go along with scrolling Twitter or some other similar 'feed' site.
Excellent content (as usual)! Loving the editing too! ❤
I got to listen to music by Einaudi when my girlfriend at the time played some of it to me. I remember being open and curious, both of us did our respective things around the house while the track was playing in the background. After a couple of minutes I felt a restlessness that grew into swelling irritation. The impression I had was that is was probably meant to be pretty, calming and at the same time emotionally arousing. To my ears that piece was incredibly syruppy, banal and manipulative. I reminded me of the background muzak that is played in trashy romantic soaps on the telly, where generic nonsense such as "I meant to tell you all along... the child... it is.. your son" " but why didn't you tell me?!" "I was afraid, afraid what that would mean to us!" is uttered without mercy, rhyme or reason for hundreds of episodes.
Baffled yet intrigued I went to Google and TH-cam. There I saw concert videos, with young couples in the audience, open-mouthed and in a state of celestial bliss, as if kissed by an angel, holding hands and being totally entranced. The disconnect I felt watching this was fascinating to me.
The other thing I remember was a statement of some super-famous football player, which was that to get himself into the right mindset, into some transcendental state, he listens to Einaudi before going out on the playing field.
This had my curiousity satisfied. I felt I now knew where to file this in my understanding of the world. Horses for courses, to each his own, de gustibus.., etc.
It is amazing how people can find meaning, value, pleasure, intellectual engagement, emotional release and whatever else in all sorts of places. Some such places residing in what we might call the artistic fringes, others smack dab in the middle of the main stream. I also greatly respect a person genuinely asking himself "why do I like/dislike this?" But I would also like to say that regardless of the beautiful language some such things can be described by, they can still be as boring as drying paint. Created with love, thought and to the pleasure of many, but a headache for me.
I'm an architect and have an incredibly geekish obsession with buildings/drawings that convey an immense amount of complexity and depth that, when I describe it to my friends and family, I get an immediate naseated look. It isn't digestible to them. I quite like Einaudi because his music is digestible. It's easy to follow but still quite moving. But definitely open to learn about other artists so please suggest!
I highly recommend Ola Gjello. He has instrumental-only, and also has choral music. But he has this really open sound that I can really only describe as undeniably Scandinavian, but has a much wider array of dynamics.
Nothing wrong with enjoying something that's easy and nothing wrong with writing it either. Carl Jenkins (he of the "Mass for the Armed Man" had similar complaints that his music was very easy. His point was, so have you actually tried writing it, then? Also made the point that when he wrote more complex music, people weren't listening. Composers have to attract an audience just the same as businesses have to attract customers. Sometimes you like to have a fancy high-rise with all the gadgetry and innovations and sometimes you just want something more simple - say a country cottage. If you like Einaudi perhaps try Ryuchi Sakomoto. You might like Carl Jenkins, too.
I like the minimalism of Jeroen Van Veen myself. His minimal preludes are a fantastic exploration of tonality, polyrhythms and texture, journeying through all 24 keys.
If you wish to explore more digestible classical music I'd highly recommend Shostakovich. Completely different music and sound, of course, but he's still incredibly crystalline in a lot of his works. It's very easy to see how he repeats and develops every melodic motif he presents, for instance.
I don't really agree with the impression that composing simple catching new music is "easy": there's plenty of unschooled artists who fail miserably at it.
I would suggest Kankyo Ongaku as a whole, rather than Ryuichi itself
I love your approach to this topic. For me, Einaudi was my gateway into the world of classical music which I was able to use as a springboard into the greater repertoire of more complex music. Even though his music doesn’t evoke much in me anymore, I owe so much to his music to getting me to where I am in my career today. Thank you for providing this wonderful insight and reflection!
I really loved this open-hearted journey outside your comfort zone!
I'm not at all familiar with Einauldi, but based on the samples presented here it sounds like he would be a good choice to play when I'm trying to fall asleep.
Maybe or maybe not because him phrases do not have consequents therefore the mind is constantly listening for the answer which never comes...
I came here to write that a lot of streams in that stream count are probably people searching for something like "relaxing piano music" to fall asleep with. But as Bruce said, it's not even particularly good for that, as it can be a little unvarying and grating after a while. Having tried Einauldi as sleep music, I strongly prefer just using birdsong or Rachmaninoff's vespers or such. But to each their own.
I never knew he existed. Shows how much I know about contemporary classical music. Anyone got recommendations for current composers?
There’s tons! Kaija Saariaho, Thomas Adés, John Adams, Unsuk Chin, John Williams (lots of good concert music from him), Joe Hisaishi (same deal as Williams). Also check out local composers from wherever you’re from!
John Mackey and Frank Ticheli (I can’t spell) are pretty good
Peteris Vasks
John Adams! he's my favorite composer and I can't recommend him enough.
I recently heard this David Bruce fella who has some really good pieces.
I LOVE the piece "Field" on 8notes for cello, David. It's deceptively complex. Really loving it. Thank you for the journey into Einaudi.
Your videos inspire me, always. Regardless of this video's content specifically, it's something in the way in which you talk about the subjects you choose. Thank you
"It's calm, and if that's what you're in the mood for, that's OK... I guess." I think a lot of folks need that calming background. Elevator music for people who feel overwhelmed.
I remember reading about a fellow who is making $millions just turning out ear candy on the piano, maybe this guy. I think this is why.
Yes, we're not always in the mood for that, but when we're not there's music by Def Lepard ... or David Bruce. I think it says something about our times when calm spaces is something we need, and intense engagement isn't.
This comment is a bit late and will probably be buried under the 500+ existing comments, but I really enjoyed your good-faith attempt to explore Einaudi's music despite it not being your personal cup of tea.
I thought you made some great points about the different 'uses' of and ways of listening to music. I can imagine that as someone who typically wants to actively engage intellectually, emotionally and physically with music that you listen to, this type of spare, minimalist music can simply... not have enough substance, I guess.
Personally, I enjoy listening to and playing Einaudi's music, and some (but not all) of the piano music I write myself has a similar vibe. It's hard to articulate exactly how and why I enjoy it but I'll give it a go :)
When I play (or write) music like this, I would describe it as almost more like a landscape or a canvas - rather than becoming the focus or object of your attention, it is an ambient setting for your thoughts. I find music like this creates space in my head - it provides enough ambient stimulation to allow me to block out external stimuli, return to the rich inner life in my own mind and let my own thoughts wander. Kind of equivalent to taking your brain for a walk in nature.
I think the fragments of melody and simple chord progressions are an example of this - unlike more harmonically complex or melodically fleshed out music, the elements here are still open-ended prompts, opportunities for exploration, spontaneous ideas, something that you can build on as your thoughts wander.
I think from that perspective, it is music that is engaged with and enjoyed in a very different way from more complex (complete?) music. It's one of many types of music that I enjoy, and that has a 'use' and a place in the big tent of all musical styles and genres :)
Thank you for your thorough research on this question! I have asked myself this, not just about Einaudi, but about the genre as a whole. It's an important discussion especially for the composers today and this video was very inspiring.
yo man, It's amazing how such a simple idea evades a lot of us music insiders: that not everyone out there listens like we do, not everyone uses music the same way as us. Superb video, great topic and refreshing approach.
Lovely analysis and brave exploration, I felt your pain in the beginning. The older I get the more I think that there are quite big fundamental differences in how people experience life, depending on their personality. This video is a good reminder that people thinking differently are not necessarily wrong, their whole viewpoint just can be completely foreign.
I understand Erik Satie described his piano music as "furniture music". It simply sat in the background not disturbing anyone. It perhaps fits in with Brian Eno's original theories on ambient music. Music for Airports was written with airports in mind (surprise). The loop form of that music could be interrupted for announcements and nothing was missed while the announcement was being made. At the same time the music itself has a somewhat hypnotic affect to relax those awaiting their flight. I shall certainly look into this composer as I haven't heard his work before. Thanks for this.
Yep, but Satie and Eno have an aesthetic range and a complexity in composition, as well as an originality in the tonality sometimes, that Enaudi never had. Enaudi gathers millions because he's basically the common denominator: arpeggios. That's the idea that our poor parents had of classical music, without the fact that classical music is often either complex or so rich in expressivity that it's not adapted for all the moods.
In times when classical music was a show and perhaps the only music you'll ever hear apart from that dude in the street, concerts had to be rich and complex.
In times when internet, companies and people overwhelm you with stimuli, content and music, music (and literature, and art) doesn't have to be complex anymore, as you can listen to it at every hour of the day.
And that's how the most famous contemporary composer gets to be the emptiest. It's the Barnum effect of music: it's vague, it's common, everybody recognises its own emotion in his music because it's vague enough to fit them all. It's the equivalent of "sometimes people don't see how thoughtful you are" in your horoscope - everybody will say "hey yes that's totally me!".
That's it. Enaudi is the musical equivalent of horoscope.
Not all of Satie's music is "furniture music", in fact I don't think any of the pieces he included under that moniker is a piano piece.
Excellent video! Very personal and philosophical at the same time! Congratulation to this fine work!
Brilliant presentation! A fun journey - thanks for the invite!! I thought your process and assessment of his work was spot on - and I appreciated that you were neither critical nor dismissive of his work and efforts, but sincerely tried to highlight his approach and resulting work. Well done. BTW, greatly enjoyed your Einaudi-esque composition.
YOU GOT IT! - You understand why his fans love to listen to his music... For them (and me), it allows my emotions to wander where they want to go.
Yes, I analyze his chord progressions and modes in trying so hard to compose like him (as you tried), and I often fail miserably. The only difference I noticed between your composition and what he usually produces is the lack of intentional rubato and pauses. Those are very important elements in his pieces, and when I manage to add them to my compositions, it's hard to know how many seconds I need to count before starting up the music again. lol
Thank you for taking the time to do this! Ignore the negative comments. They don't get his music style. They don't understand what the music is doing to those that allow their mind to be open to it.
Strange. "They dont get him". What if there is Nothing to get.
Although I'd describe his music as an uninteresting description of facts, I don't mean as depreciative, I mean in the sence he doesn't want to implicate a loads of expression In his work, he doesn't want to make all the work of interpreting the facts, as a journalist he just delivers the news and make you decide what you want to do with it.
@@iantino That is one way to look at it. In actuality, he writes the news, and then he deletes interesting paragraphs here and there in hopes that you will make up your own facts so to speak. His music is about what you hear as much as what you don't hear. 🤔
I have absolutely loved Ludovico Einaudi since I first heard Experience. I listen to and love his music regularly. I also listen to all kinds of classical, soundtrack, rock, and indie music. I really like listening to long, complex music full of build up like that of Tchaikovsky or Mahler, among others. Many of Einaudi's songs completely overwhelm me with that inner burning feeling. His music is a key part of the soundtrack of my life. I know that his music is relatively simple, but I think what's so good about it is its emotional depth, communicating simplisticly. He studied at a conservatory and wrote a great Stravinsky-style piece that sounds nothing like the music he was known for (th-cam.com/video/LhkR4i_Ho50/w-d-xo.html). But he eventually realized it wasn't the music he wanted to write. That is what I love about him the most, that he writes music from his heart.
Wow! Interesting analysis. I learned so much.
Great documentary, thank you. I was introduced to Einaudi by my piano teacher as a tool to help bring more precision into my left hand, while trying to be expressive in what’s essentially quite a small sandbox with my right hand.
As an adult late beginner / very early intermediate player I’m finding him useful, approachable and enjoyable to play.
When I listen I definitely consume it in a very passive way. I’m getting the good chemicals from the repetition and tidiness, without becoming emotionally invested or transported away from a nice doze on the sofa.
Thanks again.
I think you nailed it! I was a big fan of Einaudi before I started learning classical piano. I still like his music now but I just don't listen to it as much as I used to. To me it's a very meditative kind of music and the point is precisely to not go anywhere. I think the popularity of it has something to do with the context of this world we are living in today. People are anxious and stretched too thin. A quiet and meditative space is hard to come by. It's why so many are drawn to mindfulness. I can't listen to classical music while I work on a paper or something--it's too dramatic, but I can still pop on Seven Days walking or Element. I seem to prefer these two albums of his while I work. Nuvole Bianche is one of the very first piano pieces I learned :p Brought me a great sense of achievement before I could move on to more difficult classical pieces~
When Einaudis music was described in this video as a guide but not a chooser of creative choice it reminded me about C418, the producer of the original minecraft soundtrack. The first music he made for minecraft is known for being quite minimalistic and many described it as giving them the opportunity to fill the emptiness of the world, almost inviting you to fill the world with yourself.
I was going to say so much more but I will leave it at this --- thank you for such an insightful video. It really helped clarify a lot of my thinking on this genre of music.
very interesting in-depth musical experience. thanks @DBruce
I found it crazy how many times I saw Einaudi appear on dating sites on women's profiles. I didn't understand it. I suspec this is because his tunes are on lots of concentration/focus classical playlists on Spotify and elsewhere.
I like some of his music and I also appreciate it's drawing people away from crass, mainstream music.
I do like Einaudi: Golden Butterflies (Day 1), but then it has cello in it.
Friends dont let friends use dating sites ☠
People today have a serious lack of musical education I think. That's why they want very simple and basic music (in rhytm, melody and harmony) and it's also the reason why Einaudi is so popular.
An amazing intellectual journey of discovery and understanding. And so much insight we can still learn and observe and grow from…a great trip you’ve taken us on.
I really benefited from this video because I regularly listen to a radio show which plays lots of music I enjoy plus Eianaudi. I, too, am a very active listener to music, and your exploration of Eianaudi's purpose in his compositions has opened my eyes to why so many other people love his "boring" pieces
A friend of mine at uni years ago coined the term "acoustic wallpaper." It's a perfect description of Einaudi: something to fill up sonic space without your actually having to listen to it. Unlike David, I admit to unabashed snobbery in my intense dislike of it. Amongst other things, it's facile. I'm pretty sure I could noodle over the same few chords for a couple of hours and come up with music indistinguishable from Einaudi's.
Yeah I think you've missed the point of his music completely. It's exactly the simplicity and repetitive nature that people love about it. It's not over the top, over complicated Liberace style music. Personally I can trance out to his music much more than to just about every more famous pianist because it is so simple. That definitely not to say that he's a technically great piano player....but that misses the point completely.
How do feel about Brian Eno's Music for Airports? That was intentionally designed to be sonic wallpaper
Éric Satie called it "Furniture music" (Musique d’ameublement)
All right, you think it‘s so easy to do, let‘s hear your Einaudi piece and see if it reaches 400 million plays.
@@Satwamassiveyet none of these people listen to any similar artists, right? Or to ambient music, which has a very similar position. This was just handed to the masses even though it doesnt have any special flare above others.
Great video! How many young composers out there making music exactly like Einaudi?
Thousands? Millions..?
I think that's why musicians are salty about his success.
His music is super simple and most beginners probably do write like that. Very few will make a living from it though.
Basically, Einaudi makes the kind of music that we would all have made when we were children. He just never stopped.
I think that's another big reason why so many people resonate with it.
And it's not a dig at Einaudi. Retaining the simple wonder of a child as an adult is very rare.
(by the way, we have the same thing in the sax world with Kenny G 😋)
A brilliant video, well done
As an Einaudi fan, I discovered your channel with this video and loved your personal way of approaching his music.
I used to struggle to appreciate J S Bach' s music. I have no idea what people say about his music but I understand my process of discovery. Im used to music with very distinct sections and I wouldn't describe Bach's music that way. One day it dawned on me that Bach composed very beautiful music. That's it. it is very beautiful music. it is a very simple thing and a very basic thing. I believe people have written books about what his music does or is. Maybe I should read one but for now, I am fine with listening to very beautiful music.
Can relate with your experience, having listened lots of Bach's music in the past, I found that you don't always find the appeal from the start, or from the first listen, and that's certainly how I was feeling while beginning to discover his music, my little self-made theory is that (almost) no one understands Bach from the first (or second, third...) time as one approaches it, but the appreciation comes with time though
@@AndresHeinrich4125 What I mean by simple and basic is I decided to listen to it as beautiful music and nothing more. I am very aware that there are complexities going on.
@@rodnaskel2123The first time I actually listened to anything by Bach was when I heard my piano teacher playing a WTC fugue: I _immediately_ recognised its unique beauty and, after a few phrases, I found myself struggling to hold back tears. I had just turned 12.
@@sstuddert Nice story! Don't you remember what prelude that was?
Thinking of it now, I could probably enjoy some of his preludes from WTC 1 even then, the ones like C min, D min, E min, F# maj, Ab maj
But the first Bach's piece I've listened was toccata and fugue bwv 565, and organ isn't the easiest musical instrument to appreciate from the first listening, that's how it is for me, though can agree, Bach indeed has some approachable pieces
I found it interesting in “ora” that every 1st and 3rd measure he adds with ä triplet or 16th note phrase to add variation to the melody.
For aeolian and the 7th being flat and the 5th being minor. The composer did very good job with the progression for having such an odd out of the usual mode choice.
Your composition you did is absolutely beautiful! the astonato on top of the minor and major chords is so good!
Thank you for this! ❤ I feel exactly like you
Wonderful example of musical introspection in this video! Will be doing some of that myself!!!
The most important takeaway is the scientific proof of what I’d always suspected: that Norman’s Strauss is so perfect it can actually break your brain.
From the bits and pieces you showed in the video, I could definitely understand the appeal. Personally, I feel like they're really sketches of a piece that could really do with some additional drafting and further "orchestration," if you will. Just adding further complexity to some of the chords would be a huge boost to the sound, in my personal view. But I definitely get why people might enjoy this kind of music, and some of those pieces are definitely beautiful, just not my personal taste. Then again, I'm very much used to listening to ensemble work, so that definitely influences my tastes, I think.
I think it's fine music, all in all, and a definite proof that simplicity in music definitely has its place in the listener's ear.
Thanks fir everything! I really miss the 5 composers challenge
Dude thankyou for making this video it helped me upon first encountering and then being incredibly frustrated by Einaudi's music in the same way you described! I really appreciate the spirit of curiosity you brought to your engagement with this music, and the discoveries you made because of that. You rock!
I like that you took a chance and tried something in Einaudi's style. Personally, I'm more of a fan of the minimalism of the likes of Jeroen Van Veen myself. His minimal preludes are a fantastic exploration of tonality, polyrhythms and texture, journeying through all 24 keys. However, they are more challenging to listen to than Einaudi's works.
My response to Einaudi's music has been 'soundtrack minimalism' which I do have some use for but also sort of thought of as 'a trick' of sorts, but I never really thought about what I meant by that as much as I have watching this.
I appreciate the idea that there is more composition in this simplicity than I was thinking of, and the 'opening doors' and creating a space is exactly how I use it. I have different modes of listening, ranging from open space background to 'how long can I listen to Metal Machine Music and enjoy it', and part of my music exploration is seeking out new modes as much as new experiences.
Edit to add: the suggested correction to 'Einaudi's' was 'Gaudiness' and to 'Einaudi' was 'Inaudible' and that just seems poetic.
This is genius! I absolutely respect your commitment to this odyssey: what a tough journey though!
i've been a musician for 30+ years, who plays piano, saxophone, guitar, drums.
i've been to over 100 concerts and met dozens of artists up close.
i've performed dozens of my own shows.
i've also met einaudi twice. he's generally a sweet man who was very kind.
i quite enjoy einaudi's music for so many reasons. sometimes it calms me down after stressful days. sometimes it invigorates my mind. sometimes it is just the only way i can concentrate. sometimes it is just the perfect accoutrement to the moment.
"waterways", "divenire", "lady labrynth", "primavera", "experience", "elegy for the arctic", "nuvole bianche", "burning", " the tower", oltremare", "onde corte" are all heavily in my rotation.
some are less rotated but have their moments, like "sotto vento", "tracce", "dolce droga", "berlin song".
theres none that i outright dislike... except maybe "nell'incanto" and its less of a dislike and more that it makes me feel uneasy. but considering its from an italian crime thriller movie about a cheating woman. maybe its supposed to.
i think that opening doors quote is probably a good one.
one of the times i met him,
at the washington dc show maybe 5 years ago's meet and green i asked him what his motivation for nuvole bianche was and he asked me what was my interpretation was.
i gave him the following story:
"if you listen to the beginning of the piece, it begins slowly, trepidly, similar to someone stepping out on their own for the first time. as the piece progresses, the meter, the rhythm, the intonation all begin to accelerate, much like a person who begins to settle into their path, getting better at their roles. they start to face bigger challenges, accentuated by the crescendos and then something happens and they crash back to a low point. then the piece essentially starts again but from a different place, a different key, because they have the previous experience, so the second time, they pick up speed faster, they accelerate faster, they are able to overcome the challenge and having overcome past success and failures they can adapt for the future.
after relaying my interpretation he smiled and laughed and stated that its is transformative and how powerful a piece of music can be for people no matter the age or place they are from, and that my interpretation was one of his favorites he had heard.
whether you like einaudi's music or not, he as a person is a great man.
Thank you so much for this generous and truly fair take on this music. No, of course E's is not the best, most rewarding, most accomplished... music imaginable. But it's not born out of laziness, sloppiness, lack of talent or even the intention to pull a musical con job either, as you point out when you say that "it was genuinely a lot harder to achieve than I expected" to write an Einaudi-like piece, and that the mucis's "emptiness" is "composed, it's thought through".
Good insights here into what makes Einaudi‘s music work for so many people…so bravo! I am also a classical composer and pianist. Your experience of discovering that what seemed so plain and simple in Einaudi’s music was in fact hard to capture in your own composition reminded me of all my peers back in music school looking down their noses at pop music. I would always say, ok, if it‘s so easy to write a song that connects with millions of people let‘s hear yours. Also, just imagine asking most classically trained pianists to play in a pop band…..they usually have no clue what to do! I have learned not to look down on any kind music and instead understand that no matter the style or apparent level of complexity, it takes skill and connection to one‘s imagination to make it work.
There are a few "top-tier" contemporary composers that I need to try this on. Your approach seems quite healthy and transparent.
Lovely video! Top tier music TH-camr
Yes, what you describe in Einaudi's music is what I have more broadly thought of for a while as "wallpaper music." Music that is meant to decorate a space, rarely drawing attention to itself while still being noticeable in its absence, unlocking something nondescript in its ambient contributions. Almost all "ambient" music, a lot of post-minimalist music, and even a lot of modern pop and film music also fall into this category, I'd say.
That being said, I still think Einaudi's music is garbage. You can always dismiss someone's opinion by saying they're applying aesthetic expectations onto a piece that has no intention of fulfilling them and I do confess to having similar biases as you when it comes to music. But I can also say that you see one of the progenitors in "wallpaper music" in Satie's Gynomepdies and Gnossiennes, which undoubtedly contributes to their lasting popularity today. And while I won't write a full argument in favor of Satie, I feel the difference in quality between them and Einaudi's work is quite apparent, even when Satie works with even *simpler* means than Einaudi.
Another composer who I would argue did something similar-ish is Morton Feldman. And while that's a bit more controversial for a variety of reasons, not the least of which being that Feldman himself always presented his music as standard concert music and never referred to by anything like Satie did with "furniture music", I mean, just listen to it. If you can listen to all 4 hours of For Phillips Guston or 6 hours of the Second String Quartet and never come away with the impression that he wasn't trying to induce this sort of hypnotic state where one almost forgets they're listening to music at all while only occasionally being brought back to with some sudden surprising shift, then I'm not sure what to say.
Anyway, that's all to say that I do think this aesthetic is a legitimate one that is rife for exploration. And there's no reason it needs to be strangled by the same pandiatonic mush, four bar loop non-creativity that categorizes so much of contemporary music. And Einaudi does a great disservice to that.
I think you're not quite getting the style (and I say this as someone who doesn't listen to Einaudi really, although I think his music is quite nice).
Einaudi, is an incredibly intentional, highly precise, perfectly proportioned series of cliches. Not a pile of cliches, not a bag, a perfect arrangement. At every point, he's not merely doing something cliche, he's always doing precisely the RIGHT cliche, in perfect relationship to the cliche before, alongside, and after. Which is really fucking hard to pull off as well as he does.
It's like an arrangement of Bonsai trees. Beautiful without specificity, intentional without being attention grabbing, evocative of nature while being highly crafted, always relying on known, pleasant forms, shapes, and techniques, proportionate without overt pattern or symmetries.
It is shockingly subtle.
Sounds like the "calming music for dogs" that people play at home when they're out at work.
The pieces you show are very simple. I love experience, elements, oltremare. They’re very emotional.
Very well done video! I really liked how you’ve tried to understand this music. I work with clients as a music therapist and often they come with Einaudi’s music. For me it is background music and thanks to your video I can now understand why, say, Arvo Pärt’s Alina goes way deeper for me.
I listened to him before and I ... liked it decently, but I would never have classified it as classical music. It's some kind of progressive/minimalist, isn't it? There's nothing relating it to, say, Beethoven or Rameau or Lully or anything ...
I'm fascinated by the gap between popular music and "art music", so I found this a very interesting watch. It's also interesting reading all the different comments on this video from people who like, dislike or have never heard of Einaudi's music before.
I did a poll last week and it came out about 15% love, 20% hate, 65% neither. I guess quite a few of the neithers were never heard of, but I expected it to be more clearly black and white.
Schnittke and Frank Zappa are known for exploring that gap in their music. There is also another category called 'outsider music ' .
@@nicketaevani-fzukunf007 Zappa was simply a wacko who found that some audiences enjoy wacko music.. certainly he was not exploring anything danceable simply because, he could not dance.
Thanks David, I really liked the video. Although it was kinda a side note about modes, I think I really understand them now from a music theory perspective. It was a hard concept for me to wrap my brain around. 😊