For a long time, this work was a favorite of mine. During the year 2019-2020, I may have listened to it at least a hundred of time ! For the reminiscence, I decided to upload it with the outsanding Ronald Smith's performance, a very natural and emotional intepretation of one of the greatest 19th century masterpieces. I. Allegro assai - 00:00 II. Adagio - 29:34 III. Allegretto alla barbaresca - 41:39
It was also one of my favorites exactly during that time. I was completely obsessed with Alkan. I recently discovered it and it's mind blowing cadenza again this year, and it brought me some serenity Thank you for showing me another performance of this piece. Joyeux Noël !
I just discovered Alkan near the beginning of 2021 and among the many pieces of his I love this is my favorite. I've probably listened to it around a hundred times by now myself.
@@ciararespect4296 Not surprising, as I'm pretty sure this is the first recording ever of the piece. As such, it is of historical value. Nevertheless, I truly enjoy Smith' playing as well, he still has a lot to add. Of course, technically he's not the smoothest, which he admitted himself. He's a big musicologist as well, you should check out his book on Alkan, it's great. Many explanations on the pieces.
It helps for musical works that are supposed to be "related to Christmas" to SOUND like they're related to Christmas. Otherwise, this piece could be played at ANY time of the year because, frankly, it doesn't sound like it's even remotely "related to Christmas."
First time hearing Alkan, can you believe it??? Magnificent work, well played!!! Alkan must have been a true virtuoso because this piece is brilliant! The playing is magnificent with true variety. A piece like this invites a "slam-bang approach." This was done with poetic sensitivity and no lack of sensitivity. Bravo to the composer and performer!
I'd been wanting to make a score video of Smith's recording for the longest time, but just the thought of cropping all of the sheets *again* made it an automatic no for me lol. Wonderful work you've achieved here, thank you!!
Colossal work by such an underated one. The continuity within the central theme still impress me, even after the many and many times now that I have listened to it.
Jeremy Nicholas' note on the 3rd movement is irresistible! "Immediately, we are flung into a feverish brew of conflicting ideas-an initial flourish that sounds like the Rakoczy March, a polonaise lasting a mere eight bars, followed by a ‘tutti’ marked ‘quasi-ribeche’ (the rebec is an early stringed instrument played with a bow that originated in Arabia). We might be in the souks of Cairo. This brief and brutal paragraph, one that must have shocked Alkan’s early listeners, leads to an extended ‘solo’ section of scintillating Parisian delicacy. So within the space of two pages we visit Hungary, Poland, Egypt and France."
Very interesting description. I agree about the Rakoczy March, Liszt 15th was always my favorite out of all 19. People are way too enamored with the 2nd. Regarding the Arabian sounding bars, I think that shows why I like Alkan so much, he doesn’t sound like anyone else from that era
I'm ashamed to say I have Ronald Smith playing Alkan on CD but never got round to this monster. This has been a wonderful opportunity, not least because of having the score, as in such a long piece this helps greatly. I am impressed by the élan and energy which Ronal Smith brings to this..and in a studio.
Just a suggestion: if you type "Timestamps" in the description above the list of timestamps that you've helpfully added, I think TH-cam will add chapter sections that users can use to navigate the video. Otherwise, I'm very glad to have been introduced to Alkan! Thank you!
Weirdly, the chapters sometimes appear on every video, sometimes disappear on all of them! I don't know what is the issue, but I will try what you suggested. Thank you !
@@SeigneurReefShark I experienced that it's more likely that TH-cam adds chapters if you leave out the '-' in in front of the time stamps and write it with ':' instead
Only one person has so far. I am trying to transcribe it for both orchestra and piano, and I plan on doing that by removing the piano part from any Tutti sections and cutting down on the number of notes played in the piano part to make it playable lol
I like this recording better than Hamelin's one, the slower tempo lets you hear all the small details more clearly and allows for more expressive rubartos.
0:00 It's so much better at half the tempo! The first time I heard it, it was played at half the tempo and I just realize how rushed classical music is performed today!
Is it possible for you to score the Klindworth orchestration of the first movement someday? Thanks in advance if you do consider it, but it's perfectly okay if you reject it, just take it easy...
I can't seem to find a full pdf of the score, only the first movement, and only a manuscript :( Any idea where I could find anything better, or at least complete ? Of course I could just try to use the piano score with the orchestration performance, but I'm not sure if that would serve any purpose.
@@OrangeSodaKing Out of interest: I found the handwritten Klindworth score around 13/14 years ago on WorldCat before it was available anywhere else. I retyped it in Finale in it’s entirety up to the point where I only still needed to adjust the layout. It took me maybe about six weeks putting in up to five hours of work on many days (it’s more than 200 pages!). The layout will also be a big task. For instance I had lots of difficulty in beaming across bar lines in different voices on one stave with beams going over rests and all sorts of things that's typically not too easy to do in Finale and of course complicated commands like this in Finale often results in erratic layout issues on top of the usual layout adjustments that's needed. I interrupted work on the score to work on a piano reduction of the orchestral part (2nd piano). I’ve finished it up to about 5-10 pages from the end (which will come to about 90 pages). I had great fun doing this and it kept me busy for quite a number of months over an initial three year period when I worked at it in in bursts during holidays mostly (as a piano teacher, I have some long holiday stretches coinciding with school holidays. (I also made some good progress during initial lockdowns last year.) I realised early on that there are many issues to resolve with regards to the scoring by Klindworth which is very Wagnerian and often has way too much going on to capture it all in a reduction (not that this is necessarily the aim, of course). I would sometimes walk around for days pondering what approach to take in certain sections before settling on an idea and then often reworked things again and again. As it stands now I think I would probably have to reduce the 2nd piano part even more; it is way above the usual level of difficulty for such reductions. But in my modest opinion I think I have somehow managed to come up with a workable score and even captured some of the orchestral effects in terms of spatial acoustics through sometimes sharing the orchestral parts between the solist and second pianist in the tutti sections in such a way that the two pianos represent different instrument families for example. I did try and keep such sharing to a minimum and usually only resorted to this in order to include some optional, dispensable orchestral material in the part for the soloist). Among the compromises one has to make when undergoing such a task is placing parts in different octaves from what they occur in the score. I eventually lost steam (mainly because of increased work commitments and involvement in other projects). I would honestly still like to finish what I've started, just considering how much work already went into it. Having had this video jump up in my suggestions after I have long since put the Alkan phase in my journey of discovery behind me might just prompt me to get at it again. To tell the truth, I've probably done more than half the work already. I initially thought of publishing the full score and my two piano reduction and making it available online (or offering it to a publisher). Also perhaps performing it with a second piano and putting a recording up on TH-cam. Through all the running to and from the piano to try out things I have actually learned much of it to some extent. That idea would still be great, but at this point I’d be so happy just to manage to get it completed and be able to tick that box on that ever growing list of things I wish to do. It started as a work of love since, in my opinion, despite all the criticism one might justifiably raise when considering Klindworth’s arrangement it is nothing if not extremely effective and its impact is very striking upon the first hearing. I was just blown away (the recording is on the Naxos label). Personally I also think Klindworth's treatment of the solo parts is genius - he thinned out the piano writing and cleverly shared material between hands among other things, making it way more playable). I even think the cuts he made improves the form of the work and the short transitional sections which he added (one in particular comes to mind) of his own invention is really beautiful and not out of line with the original. The main issue lies with the impracticalities of the scoring, calling for example for brass (especially horns) in what, as I recall, seems like at least ten different keys(!) as was the practice in his day, as well as lots of very busy writing for woodwinds especially with little doubling of parts anywhere and which sort of gets lost in the mix besides often being rhythmically quite complex and in itself not very melodic (a general criticism that applies to many of the parts). I'd be curious to hear it in a live setting in terms of the balance of instruments since I assume the recording was done with special mic placement. There aren't many but I suspect a few errors in the original score as well. I know it has also been orchestrated by others. I never looked into it, but I kind of got stuck on Klindworth with all the history surrounding him appealing to the piano nerd in me. If I could manage to create a neat score and even additionally perhaps consult with an expert on how one might rewrite the horn parts (perhaps by way of annotation) for modern players it might be something of interest to some people and even get performed more often, who knows? Or perhaps someone might even re-orchestrate it and give Klindworth's score the same treatment he gave Alkan (streamlining, so to speak), yet maintaining his general ideas which I think are excellent. [Sorry for the long post - I just felt like sharing may involvement with this piece! 🤦🏼] Ps. If I can find a suitable platform to upload to, I'll scan a couple of pages and share a link with anyone who wishes to check it out. I'll put a notice in this comment section.
From th-cam.com/video/w-_hYYjMiJY/w-d-xo.html to th-cam.com/video/w-_hYYjMiJY/w-d-xo.html, and especially at th-cam.com/video/w-_hYYjMiJY/w-d-xo.html, I have yet to hear any recording or performance of this section better than here. Not Hamelin even. Closest is probably Paul Wee, who isn't even a professional pianist.
Smith preferred single/long takes which may explain the occasional (irrelevant) slips here and there. He mentioned this in the programme booklet which came with the box set.
Hamelin muddles the counterpoint and rushes through sections without nuance. I much prefer this slightly slower more deliberate version to Hamelins (Hamelin is one of my favorite pianists though) .
@@MorganHayes_Composer.Pianist Absolutely. And Ronald Smith recored in 1978 - (digital) editing techniques are presumably much more sophisticated nowadays.
You're right. Smith provides more clarity than Hamelin does. They're both great though, as is John Ogdon who features the most iridescent color. @@PieInTheSky9
I love Alkan. Esquisses, Symphonies, Gigue op.24, Preludes, Op.12b, Op.13, Op.16, etc. But it is the mystery of his music, the indescribable strangeness, as if he were a mixture of Satie and Chopin, that personally appeals to me. This concerto, to tell the truth, does not appeal to me, and I personally find it a bit boring. Is there anyone else out there like me?
You know what? "Tit"zart's overrated. There, I said it. I don't want to listen to some dumb "obese march" or I don't know "Ein Kleiner Penis" or some shit. The only good thing he ever wrote was his "Leck mich im Arsch", but unfortunately I have to say the same thing, leck mich im Arsch, to all his other pieces, because nothing else he ever wrote was good. Alkan is the best composer there is, and if you don't agree with me, you're just basically wrong. All of Alkan's pieces are based. Let me just take his Concerto "for Solo Piano", aka the best piece of music in existence, as an example. Concerto for Solo Piano, Op. 39 is one of the greatest pieces ever composed, I wouldn't be surprised if you were scared of starting it. Putting aside the technical hurdles that plague the Concerto, it's one of the most musically intricate and seamless pieces ever constructed. Beginners will most likely not understand the subtle nuances that differentiate Alkan's Concerto from lesser forms of art, and its harmonic ingenuity will most likely go over the average performer's head. It takes a true genius (at least 420 intellect points) to grasp the genius of Alkan's Concerto Op. 39, let alone to apply that understanding in an interpretation. So yeah, there you have it, Alkan is the best composer in existence, and if you do not agree with me, you're handicapped. Goodbye.
Same here. Most Alkan pieces suffer from an urge to show off and do sth excentric. I have the same impression with Czerny. The musical ideas are mostly cold and uninteresting.
Are you saying that greatness only comes with laser precision scales and arpeggios ? And are you suggesting that Smith did not practice his material sufficiently ? What a narrow field of view....
@@ChrisBreemer I cannot understand how anyone could not see that I was joking! The outstanding technical virtuosity needed to play this piece is there for all to see! Do you not understand the concept of humourous irony? I know the word 'gullible' is not actually found in any dictionary, but it is the most appropriate word to describe your comment!
nothing sluggish about Smith's performance at all.I suppose it may depend on what recordings you imprint on but 1.5x faster sounds farcical to my ears. As others have noted, Smith brings a tangible sense of occasion to this studio performance.
It is no wonder to me why this "concerto" has no place in the standard repertoire. Its brilliant virtuosity cannot make up for the fact that its harmonies are awkward and unconvincing. This work is little more than empty virtuosity.
I really do not agree with you! The harmonies are absolutely not awkward and unconvincing. How could you say that the work is little more than empty virtuosity. I learned long ago to not let my own personal ignorance dictate my comments about other people's achievements. Alkan is a great composer with great sensitivity and at the same time: brilliance. Alkan might not "speak to you" but he does speak to me!
well actually i think it is the virtuosity that is in fact the reason why this piece is not in the standard repertoire. the harmonies are just about as awkward as any other romantic piece though
![Bortkiewicz - Piano Concerto No. 1, Op. 16 (Shadrina, Sukach) [Christmas Special No. 4]](http://i.ytimg.com/vi/sbBrKano384/mqdefault.jpg)
![Bortkiewicz - Piano Concerto No. 1, Op. 16 (Shadrina, Sukach) [Christmas Special No. 4]](/img/tr.png)
For a long time, this work was a favorite of mine. During the year 2019-2020, I may have listened to it at least a hundred of time ! For the reminiscence, I decided to upload it with the outsanding Ronald Smith's performance, a very natural and emotional intepretation of one of the greatest 19th century masterpieces.
I. Allegro assai - 00:00
II. Adagio - 29:34
III. Allegretto alla barbaresca - 41:39
It was also one of my favorites exactly during that time. I was completely obsessed with Alkan. I recently discovered it and it's mind blowing cadenza again this year, and it brought me some serenity
Thank you for showing me another performance of this piece. Joyeux Noël !
@@katrmior Joyeux Noël !
I just discovered Alkan near the beginning of 2021 and among the many pieces of his I love this is my favorite. I've probably listened to it around a hundred times by now myself.
Nice but i far prefer the gibbons interpretation
@@ciararespect4296 Not surprising, as I'm pretty sure this is the first recording ever of the piece. As such, it is of historical value. Nevertheless, I truly enjoy Smith' playing as well, he still has a lot to add. Of course, technically he's not the smoothest, which he admitted himself. He's a big musicologist as well, you should check out his book on Alkan, it's great. Many explanations on the pieces.
One of the best piano compositions, it still amazes me that some people don't like it.
Best example for the fact that everything special for Christmas doesn't have to be related to Christmas :)
It helps for musical works that are supposed to be "related to Christmas" to SOUND like they're related to Christmas. Otherwise, this piece could be played at ANY time of the year because, frankly, it doesn't sound like it's even remotely "related to Christmas."
First time hearing Alkan, can you believe it???
Magnificent work, well played!!!
Alkan must have been a true virtuoso because this piece is brilliant!
The playing is magnificent with true variety.
A piece like this invites a "slam-bang approach." This was done with poetic sensitivity and no lack of sensitivity.
Bravo to the composer and performer!
It's very long and beautiful. The pianist is such a talented one to play this master one-hour piece without mistake.
I'd been wanting to make a score video of Smith's recording for the longest time, but just the thought of cropping all of the sheets *again* made it an automatic no for me lol. Wonderful work you've achieved here, thank you!!
Colossal work by such an underated one. The continuity within the central theme still impress me, even after the many and many times now that I have listened to it.
I see myself learning the first movement in the future. I just love it so much!
Good luck lmfao
I mean its one of my favourite pieces but I dont see myself playing it anytime lmao
@Gary Allen What's wrong with Rach 3?
How you ve been doing, i learn it too
@@orangefruit9166 I haven't done any practice at home because my piano is broken.
Jeremy Nicholas' note on the 3rd movement is irresistible! "Immediately, we are flung into a feverish brew of conflicting ideas-an initial flourish that sounds like the Rakoczy March, a polonaise lasting a mere eight bars, followed by a ‘tutti’ marked ‘quasi-ribeche’ (the rebec is an early stringed instrument played with a bow that originated in Arabia). We might be in the souks of Cairo. This brief and brutal paragraph, one that must have shocked Alkan’s early listeners, leads to an extended ‘solo’ section of scintillating Parisian delicacy. So within the space of two pages we visit Hungary, Poland, Egypt and France."
brilliant description which could've been penned by Smith who was also a very stylish writer of course.
Very interesting description. I agree about the Rakoczy March, Liszt 15th was always my favorite out of all 19. People are way too enamored with the 2nd. Regarding the Arabian sounding bars, I think that shows why I like Alkan so much, he doesn’t sound like anyone else from that era
I'm ashamed to say I have Ronald Smith playing Alkan on CD but never got round to this monster. This has been a wonderful opportunity, not least because of having the score, as in such a long piece this helps greatly. I am impressed by the élan and energy which Ronal Smith brings to this..and in a studio.
He has such a unique style, I love it!
A colossal work, shame Alkan isn't well known
16:07 this harmonic evolution gives me goosebumps. Thanks for posting
Just a suggestion: if you type "Timestamps" in the description above the list of timestamps that you've helpfully added, I think TH-cam will add chapter sections that users can use to navigate the video. Otherwise, I'm very glad to have been introduced to Alkan! Thank you!
Weirdly, the chapters sometimes appear on every video, sometimes disappear on all of them! I don't know what is the issue, but I will try what you suggested. Thank you !
@@SeigneurReefShark I experienced that it's more likely that TH-cam adds chapters if you leave out the '-' in in front of the time stamps and write it with ':' instead
Grew to love this as an early teen, and still do. (In this Smith rendition.) Warning "ear worm" rich!
Concerto
subtitle: From 12 etudes
I'm pretty sure this isn't a etude anymore when it's about 1h long, a sonata maybe but still...
9:51, 12:40, 24:41
Underrated composer
i don't know if it is already done but i'm currently transcribing the 2nd movement for orchestra
Awesome ! Please tell me when you will be finished :)
@@SeigneurReefShark bien sûr mon seigneur
Let us know
@@stefanoferlaino1895 ~half of the work is done but i currently don't have the time bc i also need to relax + practice
Only one person has so far. I am trying to transcribe it for both orchestra and piano, and I plan on doing that by removing the piano part from any Tutti sections and cutting down on the number of notes played in the piano part to make it playable lol
I like this Alkan
This piece is really growing on me! Thank you!
I like this recording better than Hamelin's one, the slower tempo lets you hear all the small details more clearly and allows for more expressive rubartos.
6:08 love this theme
13:56
Based upload
It's nice but kinda surprising how you suddenly uploaded early romantic music...
All music is awesome ! I know my uploads aren't always logical, but I just upload what I love. Hope it's not too annoying... ahah
@@SeigneurReefShark of course, but why would it be annoying lol? I listen to all music from renaissance to contemporary... :)
@@CatkhosruShapurrjiFurabji Based ! I was just worrying for nothing then :)
@@SeigneurReefShark then upload haydn
@@GUILLOM Why not! Maybe someday.
Hamelin still stands supreme
17:35
The solo entry of the second movement obviously anticipates the third movement.
i fucking love this piece
At 9:52 . . . Smith nails the "rhythm" here. All others are sloppily fast like the Ogdon version.
45:23 note to self.
Thumbnail's at 17:39
0:00 It's so much better at half the tempo! The first time I heard it, it was played at half the tempo and I just realize how rushed classical music is performed today!
I like it at this tempo
@@pawncube2050 I don't care what Winter says and wether his theory is true or not, I like it at this tempo and that's it :)
Is it possible for you to score the Klindworth orchestration of the first movement someday? Thanks in advance if you do consider it, but it's perfectly okay if you reject it, just take it easy...
Wait there is an orchestration ?! I didn't even know this ! I think I will definitely score it ! Thanks for letting me know.
I can't seem to find a full pdf of the score, only the first movement, and only a manuscript :( Any idea where I could find anything better, or at least complete ? Of course I could just try to use the piano score with the orchestration performance, but I'm not sure if that would serve any purpose.
@@SeigneurReefShark yeah it's fine to use the piano score :)
@@SeigneurReefShark Klindworth only orchestrated the first movement, and he took major liberties… but it’s still worth hearing.
@@OrangeSodaKing Out of interest:
I found the handwritten Klindworth score around 13/14 years ago on WorldCat before it was available anywhere else. I retyped it in Finale in it’s entirety up to the point where I only still needed to adjust the layout. It took me maybe about six weeks putting in up to five hours of work on many days (it’s more than 200 pages!). The layout will also be a big task. For instance I had lots of difficulty in beaming across bar lines in different voices on one stave with beams going over rests and all sorts of things that's typically not too easy to do in Finale and of course complicated commands like this in Finale often results in erratic layout issues on top of the usual layout adjustments that's needed.
I interrupted work on the score to work on a piano reduction of the orchestral part (2nd piano). I’ve finished it up to about 5-10 pages from the end (which will come to about 90 pages). I had great fun doing this and it kept me busy for quite a number of months over an initial three year period when I worked at it in in bursts during holidays mostly (as a piano teacher, I have some long holiday stretches coinciding with school holidays. (I also made some good progress during initial lockdowns last year.)
I realised early on that there are many issues to resolve with regards to the scoring by Klindworth which is very Wagnerian and often has way too much going on to capture it all in a reduction (not that this is necessarily the aim, of course). I would sometimes walk around for days pondering what approach to take in certain sections before settling on an idea and then often reworked things again and again. As it stands now I think I would probably have to reduce the 2nd piano part even more; it is way above the usual level of difficulty for such reductions. But in my modest opinion I think I have somehow managed to come up with a workable score and even captured some of the orchestral effects in terms of spatial acoustics through sometimes sharing the orchestral parts between the solist and second pianist in the tutti sections in such a way that the two pianos represent different instrument families for example. I did try and keep such sharing to a minimum and usually only resorted to this in order to include some optional, dispensable orchestral material in the part for the soloist).
Among the compromises one has to make when undergoing such a task is placing parts in different octaves from what they occur in the score.
I eventually lost steam (mainly because of increased work commitments and involvement in other projects). I would honestly still like to finish what I've started, just considering how much work already went into it. Having had this video jump up in my suggestions after I have long since put the Alkan phase in my journey of discovery behind me might just prompt me to get at it again. To tell the truth, I've probably done more than half the work already.
I initially thought of publishing the full score and my two piano reduction and making it available online (or offering it to a publisher). Also perhaps performing it with a second piano and putting a recording up on TH-cam. Through all the running to and from the piano to try out things I have actually learned much of it to some extent. That idea would still be great, but at this point I’d be so happy just to manage to get it completed and be able to tick that box on that ever growing list of things I wish to do.
It started as a work of love since, in my opinion, despite all the criticism one might justifiably raise when considering Klindworth’s arrangement it is nothing if not extremely effective and its impact is very striking upon the first hearing. I was just blown away (the recording is on the Naxos label). Personally I also think Klindworth's treatment of the solo parts is genius - he thinned out the piano writing and cleverly shared material between hands among other things, making it way more playable). I even think the cuts he made improves the form of the work and the short transitional sections which he added (one in particular comes to mind) of his own invention is really beautiful and not out of line with the original. The main issue lies with the impracticalities of the scoring, calling for example for brass (especially horns) in what, as I recall, seems like at least ten different keys(!) as was the practice in his day, as well as lots of very busy writing for woodwinds especially with little doubling of parts anywhere and which sort of gets lost in the mix besides often being rhythmically quite complex and in itself not very melodic (a general criticism that applies to many of the parts). I'd be curious to hear it in a live setting in terms of the balance of instruments since I assume the recording was done with special mic placement. There aren't many but I suspect a few errors in the original score as well.
I know it has also been orchestrated by others. I never looked into it, but I kind of got stuck on Klindworth with all the history surrounding him appealing to the piano nerd in me. If I could manage to create a neat score and even additionally perhaps consult with an expert on how one might rewrite the horn parts (perhaps by way of annotation) for modern players it might be something of interest to some people and even get performed more often, who knows? Or perhaps someone might even re-orchestrate it and give Klindworth's score the same treatment he gave Alkan (streamlining, so to speak), yet maintaining his general ideas which I think are excellent.
[Sorry for the long post - I just felt like sharing may involvement with this piece! 🤦🏼]
Ps. If I can find a suitable platform to upload to, I'll scan a couple of pages and share a link with anyone who wishes to check it out. I'll put a notice in this comment section.
24:41
45:23
Asombraso
I thought this was one of his etudes
It is from his 12 études Op. 39
@@SeigneurReefShark oh ok I don’t really know Allan much so lol yeah
16:07
From th-cam.com/video/w-_hYYjMiJY/w-d-xo.html to th-cam.com/video/w-_hYYjMiJY/w-d-xo.html, and especially at th-cam.com/video/w-_hYYjMiJY/w-d-xo.html, I have yet to hear any recording or performance of this section better than here. Not Hamelin even. Closest is probably Paul Wee, who isn't even a professional pianist.
Thumbnail 17:40
Definitely Hamlin's version is still better to me, Smith is very sloppy at certain points and doesn't add much more than Hamelin.
Smith preferred single/long takes which may explain the occasional (irrelevant) slips here and there. He mentioned this in the programme booklet which came with the box set.
Hamelin muddles the counterpoint and rushes through sections without nuance. I much prefer this slightly slower more deliberate version to Hamelins (Hamelin is one of my favorite pianists though) .
@@MorganHayes_Composer.Pianist Absolutely. And Ronald Smith recored in 1978 - (digital) editing techniques are presumably much more sophisticated nowadays.
@@salt_cots Well although this might seem over speculative, I respect your guy's opinions.
You're right. Smith provides more clarity than Hamelin does. They're both great though, as is John Ogdon who features the most iridescent color. @@PieInTheSky9
So this is the theme piano music for Keystone cops! Someone found it!
I love Alkan. Esquisses, Symphonies, Gigue op.24, Preludes, Op.12b, Op.13, Op.16, etc. But it is the mystery of his music, the indescribable strangeness, as if he were a mixture of Satie and Chopin, that personally appeals to me.
This concerto, to tell the truth, does not appeal to me, and I personally find it a bit boring. Is there anyone else out there like me?
I prefer Andre Hamelin's rendition. I find this version a bit passionless at places. Still an excellent performance though.
Strange! I would like to know how and why the composer usees the word "composer?"
You know what? "Tit"zart's overrated. There, I said it. I don't want to listen to some dumb "obese march" or I don't know "Ein Kleiner Penis" or some shit. The only good thing he ever wrote was his "Leck mich im Arsch", but unfortunately I have to say the same thing, leck mich im Arsch, to all his other pieces, because nothing else he ever wrote was good. Alkan is the best composer there is, and if you don't agree with me, you're just basically wrong. All of Alkan's pieces are based. Let me just take his Concerto "for Solo Piano", aka the best piece of music in existence, as an example. Concerto for Solo Piano, Op. 39 is one of the greatest pieces ever composed, I wouldn't be surprised if you were scared of starting it. Putting aside the technical hurdles that plague the Concerto, it's one of the most musically intricate and seamless pieces ever constructed. Beginners will most likely not understand the subtle nuances that differentiate Alkan's Concerto from lesser forms of art, and its harmonic ingenuity will most likely go over the average performer's head. It takes a true genius (at least 420 intellect points) to grasp the genius of Alkan's Concerto Op. 39, let alone to apply that understanding in an interpretation. So yeah, there you have it, Alkan is the best composer in existence, and if you do not agree with me, you're handicapped. Goodbye.
@@erikchin9191 this might be the funniest comment I've read in a while lol
Alkan gives me headache. He didn't have a soul. He is the grinch ahahaha. Great performance though. Thumbs up.
Same here. Most Alkan pieces suffer from an urge to show off and do sth excentric. I have the same impression with Czerny. The musical ideas are mostly cold and uninteresting.
Just think how good this performer could have been if he had practised his scales and arpeggios!
Are you saying that greatness only comes with laser precision scales and arpeggios ? And are you suggesting that Smith did not practice his material sufficiently ? What a narrow field of view....
@@ChrisBreemer I cannot understand how anyone could not see that I was joking! The outstanding technical virtuosity needed to play this piece is there for all to see! Do you not understand the concept of humourous irony? I know the word 'gullible' is not actually found in any dictionary, but it is the most appropriate word to describe your comment!
It's all so darn slow. Had to listen at 1.5x speed throughout the video.
It is not. At 1.5 it is just unlistenable...
nothing sluggish about Smith's performance at all.I suppose it may depend on what recordings you imprint on but 1.5x faster sounds farcical to my ears. As others have noted, Smith brings a tangible sense of occasion to this studio performance.
It is no wonder to me why this "concerto" has no place in the standard repertoire. Its brilliant virtuosity cannot make up for the fact that its harmonies are awkward and unconvincing. This work is little more than empty virtuosity.
I really do not agree with you! The harmonies are absolutely not awkward and unconvincing.
How could you say that the work is little more than empty virtuosity.
I learned long ago to not let my own personal ignorance dictate my comments about other people's achievements.
Alkan is a great composer with great sensitivity and at the same time: brilliance.
Alkan might not "speak to you" but he does speak to me!
well actually i think it is the virtuosity that is in fact the reason why this piece is not in the standard repertoire. the harmonies are just about as awkward as any other romantic piece though
Actually, I did find it rather disappointing. Try the Symphony, see if you like it better. I do.
alkan is so overrated
Troll
Troll
@@WEEBLLOM Troll
@@Whatismusic123 why am I the only troll here
@@Whatismusic123 TROLL