dear Caroline, I'm hearing here absolutely top-level piano-playing! Very well done! Lovely to have this small quintet to perform with! I'm thinking that's a "baby bump," I hope you were OK and extra thank you for taking time to work on this concerto and create the cadenzas! Best wishes, from Canada.
Mozart Piano Concerto played on FAZIOLI in a charming London town. Oh, how I wish I was there. I too wish to hear the pianist play with a full orchestra.
Wonderful pianist! Love the cadenzas and flourishes. She's shown us something new and different with this performance. She should be playing with a full orchestra. And regarding the chamber orchestra - no comment.
Thank you for listening and noticing my cadenzas. I pre-composed them because I am not quite brave enough for improvised cadenzas, though wish I was! There are also a couple of miniature decorative moments…I think many people only view a little and don’t get to those bits, so it’s nice to know that they’ve been heard.
I noticed those decorative moments and loved them. Also I am a big fan of the chamber orchestra instead of a full orchestra - you can hear each note in each voice so much more clearly. The music seems more accessible to my ear.
I'll be honest, I didn't have high hopes for this but.... I absolutely loved this highly individual arrangement. I sometimes compare "Original" Instruments and forces to having an old painting being cleaned. Beethoven's 3rd Symphony was the first work in which I heard a work "cleaned up. This recording is on the very same level. I did think I'd miss the wind but no. I do so hope there will be more of the similar. I'd be very interested in the G Major 17th Concerto K453. Thanks so much for this revelation. 😀
Chamber versions of piano concertos, especially the ones by Mozart, even Chopin, make for wonderful chamber music with particularly elaborate piano part. I wouldn't do Beethoven or Tchaikovsky or Brahms or Ravel this way, but it works for Mozart.
I enjoyed the serenity of this performance. The European piano with its harmoniously blending sound results in more clarity of the musical workpiece as a whole compared to the almost always used United-Statian steinway which has that jingle bell candy saturated sound that seems to want to cover any other instrument. I feel the european tradition of piano manufacturing produces instruments that are more mature sounding than the steinway. This performance certainly shows what we are missing by always defaulting to the de facto piano.
@@carolinetylerpiano Hi Caroline, thanks for the reply. I liked many Steinways in my days at the music conservatory but sometimes i prefer a more subdued, linear and not so saturated tone piano that can blend better with other instruments and even between registers of the piano itself. I would make an analogy of Steinway sound to acrylic paint, the colors of individual notes are rich, have character but consequently do not blend with other instruments well or even with itself in thicker music texture (between registers). This is not entirely subjective there is acoustical scientifical and empirical evidence behind it from audiences. I recommend reading the short essay "the acoustics of the piano" by Burred 2009. There i began to understand why 30 tons of string tension in modern pianos has dramatic effects on tone and tuning. Thicker strings lead to an expansion of harmonic frequencies ( sharper). This forces the tuner to tune notes higher and higher up the keyboard and lower and lower going down. This is the "stretched tuning" used by all modern piano tuners and it is necessary to do so for the instrument to be in tune with itself (avoiding audible beats being produced between partials). In doing so, the mid octave notes are tuned using a series of intervals to eliminate beats the tuner can hear between partials and then the rest of the keyboard is tuned by skipping around. The result is that all tuned modern pianos have a -15% below temperament pitch (out of tune) at the bass C1 note and +15% above temperament pitch at C8, where C4 is the reference pitch. This is the consequence of the massive tension in the strings. In other words, the harmonics of any single note are sharper and the fundamentals have to be tuned higher up the keyboard to avoid left and right hand to sound out of tune with each other (or in the case of fast skips of the same hand). But strangely, in musical acoustics a single note with partials that are exact harmonics of the fundamental sounds lifeless based on polls experiments with a large audience of professionals and amateurs alike. A certain degree of error in partials improves the richness of single notes (this is a direct consequence of the piano design, not the tuner). Except that this goes up to a point where it starts to fatigue the ear. This threshold greatly depends on the context in which the instrument is played : solo, or in an ensemble and what composition (is it written relatively "thin" or wide spread across the keyboard, does it have powerful dynamics causing more heard harmonics). The more the complexity of the music , and the original appeal of the rich single note out of tune partials instead lowers and tires the audience ear. In other words modern grand pianos manufacturing are strongly biased toward solo playing, strangely mimicking the modern individualism of western society. The Steinway is the eponym of that evolution for over a century. Also the following is interesting. In the 19th century, piano strings tension was much less by design than now, consequently a tuned fortepiano has much less pitch error across the keyboard and each single note partials would be exact harmonics multiples of its fundamentals (notwithstanding that the fortepiano looses tuning over a shorter term, that is a separate issue, not to be confused). Is it the reason that non-equal temperaments were widely used on fortepiano to make the sound richer and more interesting far into the the first half of the 19th century ? i do think so. Whereas now 'stretched tuning' caused by 30 tons of string tension in modern piano already creates out of tune pitch spread across the keyboard (but in a different way) that makes non-equal tuning nonsensical and impractical for the tuner to even achieve. I strongly encourage anyone to listen to non-equal tuning fortepiano performances (non-equal tuning in combination with fortepiano exclusively as non equal tuning is nonsensical on modern piano for the reason highlighted above) of familiar romantic repertoire big pieces with thick musical texture score. To me it was a revelation. The music comes through coherently and clarified musically on why it was composed whereas on a nice rich sounding Steinway in any of the best recordings it sounds like a satisfying cluster podge, tasty but muddled pudding. Sorry for the odd analogies. haha
Love the analogies! Enjoyed reading your thoughts about tuning. I have been lucky enough to have some extremely talented technicians work on my piano and chat to me about such things - they are certainly artists in their own right, that’s for sure. Have you read The Math Behind The Music? It’s a fascinating insight into the physics of tuning among other things. Seeing as Steinway/Fazioli are usually tuned similarly for concerts I think perhaps makes and tuning are slightly separate debates, though it’s interesting you hear this one a certain way. I am personally infatuated with the quality of the Steinway sound when it is at its best, which to me is a velvet glow, and responsive to colour. This piano was not the easiest to handle but I certainly enjoyed it. And have certainly played a lot worse!
@@carolinetylerpiano 'velvet glow' is a perceptive description of Steinway sound. You played superbly on this Fazioli, especially the balance with the reduced orchestra was breathtaking, very enjoyable. Was the Fazioli action super heavy ? Inevitably bigger hammers in modern pianos make them less friendly than earlier pianos. I like to alternate my practice between a grand and a high quality upright. it also preserves my ears, a grand can be so loud even in a large room. Yes, I have quite a bit of mathematics background but never dug deep in the field of tuning pianos. I was shocked when i learned that modern pianos after they are perfectly tuned have so much off pitch error at the lowest and highest octaves. I am not sure i explained it right, but that is due to having to use very rigid strings to support the high tonnage of tension in the harp. harmonics pitches are determined by the travel velocity of the acoustic wave inside the string. With a rigid string, harmonics travel faster and pitch get sharper and sharper, so the fundamental has to be under tuned because the ear reconstructs the bass notes pitch based on the harmonics it hears ! Fortepianos do not have this error in pitch in the low and high registers. This is troubling, no matter how beautiful Steinway sounds knowing that the bass notes are off pitch explains why i was never satisfied with the heavy bass sound on any modern piano. That said, the Steinway action is very reliable and comfortable for the pianist. I admit i am always excited when i try an unknown Steinway or when i have been off it for a while.
No - I wrote all the long cadenzas and smaller improvised sections. In one of the shorter ones I’ve used the arpeggiated part suggested by Hummel though.
@@carolinetylerpiano well, they are not all by Hummel. It’s a patchy scenario. We know for certain who wrote what or we think we know. The Eb concerto is built on a grand scale and if performed minus much of the original orchestration it will sound odd. I don’t know of any other occasion as to why a pocket version might be undertaken. I’m actually not impressed. You can get away with it during K 414 and 415 but not the later series. This formed my thesis at music college. No area of his music has been so altered and taken in the wrong way as the keyboard concertos.
I’m honoured that someone who went to music college and even wrote a thesis would take the time to watch and comment on my video - thank you. If this was your subject then you may well be correct that it’s a terribly wrong thing to do to make arrangements of such works. Of all the subjects to write a thesis on, providing a critique of why other people shouldn’t make arrangements is I’m sure of utmost importance. As I am someone who prefers writing and playing music to musicology, I will also take on board that you’re not impressed, and will try harder next time. Though my PhD subject was creative arrangement, so I guess we may eventually disagree. But anyway. Thanks again for your engagement. I appreciate it.
Hummel himself wrote many beautiful concertos that should be brought back to concert halls. Chopin was an avid enthusiast and follower of Hummel. Hummel was very popular in his day.
Hello, I wanted to kindly remind you that I sent you a message regarding your content. Please see my previous message. We would be happy to know if there is any special requirement for publishing it that we could fulfill. I am looking forward to hearing from you. Thank you
Está bien, y se aprecia el sonido cristalino del piano Fazioli, pero esta composición no está en todo su potencial en esta versión "de cámara". Mejor con orquesta !
Non sono d'accordo. Anche se il mio cuore ama 'brillare' nella profondita dell'intera orchestra, le singole note della tua versione da camara hanno attirato molto il mio cervello. Che grande capacita possiedono gli strumentisti. Grazia per la musica cosi bella. Mozart sarebbe orgoglioso delle tue cadenze.
such a joyfull playing of pianist
Marvelous rendition. I've already added it to Playlist I listen to when I'm working. Thank you for posting this gem.
dear Caroline, I'm hearing here absolutely top-level piano-playing! Very well done! Lovely to have this small quintet to perform with! I'm thinking that's a "baby bump," I hope you were OK and extra thank you for taking time to work on this concerto and create the cadenzas! Best wishes, from Canada.
Thanks for listening!
Mozart Piano Concerto played on FAZIOLI in a charming London town. Oh, how I wish I was there.
I too wish to hear the pianist play with a full orchestra.
Complimenti gentile Signora al pianoforte !
Your cadenzas is most beautiful version I haven’t listened before !❤
Thank you so much. I really enjoyed the creative part of making cadenzas when I learned this concerto. Thanks for listening
Caroline , congrats to you and to this Piccadilly Quintet, BRAVO !!
I LOVE THIS PIECE
amazing, inspiring, thoughtful, moving, emotional, excellent ... I don't what to say ...
Superb interpretation!
thanks for the lovely music ! 👏
I cried all the way through this. It's so beautiful to hear the chamber version! Thank you so much!
Me too.I love when white people produce greatness
A captivating performance, an adventure to listen to.
Wonderful pianist! Love the cadenzas and flourishes. She's shown us something new and different with this performance. She should be playing with a full orchestra. And regarding the chamber orchestra - no comment.
Thank you for listening and noticing my cadenzas. I pre-composed them because I am not quite brave enough for improvised cadenzas, though wish I was! There are also a couple of miniature decorative moments…I think many people only view a little and don’t get to those bits, so it’s nice to know that they’ve been heard.
I noticed those decorative moments and loved them. Also I am a big fan of the chamber orchestra instead of a full orchestra - you can hear each note in each voice so much more clearly. The music seems more accessible to my ear.
Amazing performance!
Very beautiful music ❤
Wow 👏👏👏 fantastic playing 💐and music 🎶💖
Il suono del pianoforte FAZIOLI è straordinario !
It's enhanced by the church acoustics.
I'll be honest, I didn't have high hopes for this but.... I absolutely loved this highly individual arrangement.
I sometimes compare "Original" Instruments and forces to having an old painting being cleaned. Beethoven's 3rd Symphony was the first work in which I heard a work "cleaned up. This recording is on the very same level. I did think I'd miss the wind but no. I do so hope there will be more of the similar. I'd be very interested in the G Major 17th Concerto K453. Thanks so much for this revelation. 😀
Chamber versions of piano concertos, especially the ones by Mozart, even Chopin, make for wonderful chamber music with particularly elaborate piano part. I wouldn't do Beethoven or Tchaikovsky or Brahms or Ravel this way, but it works for Mozart.
Excellent pianist! She deserves to be better known. 😍
Thank you, glad you enjoyed :)
@@carolinetylerpiano K 482 is my favourite Mozart piano concerto. I would love to hear Caroline play it with a full orchestra.
Wonderful Musician and Woman! Thank You so much
Fantastic Music 🎹🎶👏
22:55 ❤️❤️❤️
Beautifull interpretation. Would apreciate to know the name of the other musicians, because they do a wonderful job.
I agree! That’s why their names are all listed at the start of the video!
Muy bien excelente
I enjoyed the serenity of this performance. The European piano with its harmoniously blending sound results in more clarity of the musical workpiece as a whole compared to the almost always used United-Statian steinway which has that jingle bell candy saturated sound that seems to want to cover any other instrument. I feel the european tradition of piano manufacturing produces instruments that are more mature sounding than the steinway. This performance certainly shows what we are missing by always defaulting to the de facto piano.
Glad you enjoyed. Have to confess I do love a Steinway…especially when looked after by a wonderful technician, of which there are concerningly few.
@@carolinetylerpiano Hi Caroline, thanks for the reply. I liked many Steinways in my days at the music conservatory but sometimes i prefer a more subdued, linear and not so saturated tone piano that can blend better with other instruments and even between registers of the piano itself. I would make an analogy of Steinway sound to acrylic paint, the colors of individual notes are rich, have character but consequently do not blend with other instruments well or even with itself in thicker music texture (between registers). This is not entirely subjective there is acoustical scientifical and empirical evidence behind it from audiences. I recommend reading the short essay "the acoustics of the piano" by Burred 2009. There i began to understand why 30 tons of string tension in modern pianos has dramatic effects on tone and tuning. Thicker strings lead to an expansion of harmonic frequencies ( sharper). This forces the tuner to tune notes higher and higher up the keyboard and lower and lower going down. This is the "stretched tuning" used by all modern piano tuners and it is necessary to do so for the instrument to be in tune with itself (avoiding audible beats being produced between partials). In doing so, the mid octave notes are tuned using a series of intervals to eliminate beats the tuner can hear between partials and then the rest of the keyboard is tuned by skipping around. The result is that all tuned modern pianos have a -15% below temperament pitch (out of tune) at the bass C1 note and +15% above temperament pitch at C8, where C4 is the reference pitch. This is the consequence of the massive tension in the strings. In other words, the harmonics of any single note are sharper and the fundamentals have to be tuned higher up the keyboard to avoid left and right hand to sound out of tune with each other (or in the case of fast skips of the same hand).
But strangely, in musical acoustics a single note with partials that are exact harmonics of the fundamental sounds lifeless based on polls experiments with a large audience of professionals and amateurs alike. A certain degree of error in partials improves the richness of single notes (this is a direct consequence of the piano design, not the tuner). Except that this goes up to a point where it starts to fatigue the ear. This threshold greatly depends on the context in which the instrument is played : solo, or in an ensemble and what composition (is it written relatively "thin" or wide spread across the keyboard, does it have powerful dynamics causing more heard harmonics). The more the complexity of the music , and the original appeal of the rich single note out of tune partials instead lowers and tires the audience ear. In other words modern grand pianos manufacturing are strongly biased toward solo playing, strangely mimicking the modern individualism of western society. The Steinway is the eponym of that evolution for over a century.
Also the following is interesting. In the 19th century, piano strings tension was much less by design than now, consequently a tuned fortepiano has much less pitch error across the keyboard and each single note partials would be exact harmonics multiples of its fundamentals (notwithstanding that the fortepiano looses tuning over a shorter term, that is a separate issue, not to be confused). Is it the reason that non-equal temperaments were widely used on fortepiano to make the sound richer and more interesting far into the the first half of the 19th century ? i do think so. Whereas now 'stretched tuning' caused by 30 tons of string tension in modern piano already creates out of tune pitch spread across the keyboard (but in a different way) that makes non-equal tuning nonsensical and impractical for the tuner to even achieve.
I strongly encourage anyone to listen to non-equal tuning fortepiano performances (non-equal tuning in combination with fortepiano exclusively as non equal tuning is nonsensical on modern piano for the reason highlighted above) of familiar romantic repertoire big pieces with thick musical texture score. To me it was a revelation. The music comes through coherently and clarified musically on why it was composed whereas on a nice rich sounding Steinway in any of the best recordings it sounds like a satisfying cluster podge, tasty but muddled pudding. Sorry for the odd analogies. haha
Love the analogies! Enjoyed reading your thoughts about tuning. I have been lucky enough to have some extremely talented technicians work on my piano and chat to me about such things - they are certainly artists in their own right, that’s for sure. Have you read The Math Behind The Music? It’s a fascinating insight into the physics of tuning among other things. Seeing as Steinway/Fazioli are usually tuned similarly for concerts I think perhaps makes and tuning are slightly separate debates, though it’s interesting you hear this one a certain way. I am personally infatuated with the quality of the Steinway sound when it is at its best, which to me is a velvet glow, and responsive to colour. This piano was not the easiest to handle but I certainly enjoyed it. And have certainly played a lot worse!
@@carolinetylerpiano 'velvet glow' is a perceptive description of Steinway sound. You played superbly on this Fazioli, especially the balance with the reduced orchestra was breathtaking, very enjoyable.
Was the Fazioli action super heavy ? Inevitably bigger hammers in modern pianos make them less friendly than earlier pianos. I like to alternate my practice between a grand and a high quality upright. it also preserves my ears, a grand can be so loud even in a large room.
Yes, I have quite a bit of mathematics background but never dug deep in the field of tuning pianos. I was shocked when i learned that modern pianos after they are perfectly tuned have so much off pitch error at the lowest and highest octaves. I am not sure i explained it right, but that is due to having to use very rigid strings to support the high tonnage of tension in the harp. harmonics pitches are determined by the travel velocity of the acoustic wave inside the string. With a rigid string, harmonics travel faster and pitch get sharper and sharper, so the fundamental has to be under tuned because the ear reconstructs the bass notes pitch based on the harmonics it hears ! Fortepianos do not have this error in pitch in the low and high registers. This is troubling, no matter how beautiful Steinway sounds knowing that the bass notes are off pitch explains why i was never satisfied with the heavy bass sound on any modern piano. That said, the Steinway action is very reliable and comfortable for the pianist. I admit i am always excited when i try an unknown Steinway or when i have been off it for a while.
Fazioli is gaining in popularity. The pianos are showing up everywhere.
The cadenzas were not written by Mozart. But by Hummel, one of his students.
No - I wrote all the long cadenzas and smaller improvised sections. In one of the shorter ones I’ve used the arpeggiated part suggested by Hummel though.
But I’m flattered you think they’re all by Hummel!
@@carolinetylerpiano well, they are not all by Hummel. It’s a patchy scenario. We know for certain who wrote what or we think we know. The Eb concerto is built on a grand scale and if performed minus much of the original orchestration it will sound odd. I don’t know of any other occasion as to why a pocket version might be undertaken. I’m actually not impressed. You can get away with it during K 414 and 415 but not the later series. This formed my thesis at music college. No area of his music has been so altered and taken in the wrong way as the keyboard concertos.
I’m honoured that someone who went to music college and even wrote a thesis would take the time to watch and comment on my video - thank you. If this was your subject then you may well be correct that it’s a terribly wrong thing to do to make arrangements of such works. Of all the subjects to write a thesis on, providing a critique of why other people shouldn’t make arrangements is I’m sure of utmost importance. As I am someone who prefers writing and playing music to musicology, I will also take on board that you’re not impressed, and will try harder next time. Though my PhD subject was creative arrangement, so I guess we may eventually disagree. But anyway. Thanks again for your engagement. I appreciate it.
Hummel himself wrote many beautiful concertos that should be brought back to concert halls. Chopin was an avid enthusiast and follower of Hummel. Hummel was very popular in his day.
Andante 12:40; Rondò 22:17
A chamber version of K482?
1:10
최고다.
Hello, I wanted to kindly remind you that I sent you a message regarding your content. Please see my previous message.
We would be happy to know if there is any special requirement for publishing it that we could fulfill. I am looking forward to hearing from you. Thank you
Hello. I replied to let you know I’m happy for you to share the video. Best wishes, Caroline
ÇOK ZEVKLE DİNLEDİM.
J'ECOUTE AVEC BEAUCOUP DE PLAISIR
Very good future mama-
Mozart, kobe Bryant, Caroline tyler
Está bien, y se aprecia el sonido cristalino del piano Fazioli, pero esta composición no está en todo su potencial en esta versión "de cámara". Mejor con orquesta !
Non sono d'accordo. Anche se il mio cuore ama 'brillare' nella profondita dell'intera orchestra,
le singole note della tua versione da camara hanno attirato molto il mio cervello. Che grande
capacita possiedono gli strumentisti. Grazia per la musica cosi bella. Mozart sarebbe orgoglioso
delle tue cadenze.
I think this chamber version of the concerto has a special kind of beauty, entirely its own.