Many musicians these days are either accused of being over-emotional in their presentation; or machine like. Yundi Li apparently has attained something like rock star status since he’s nice looking, young and really puts it out there. But to judge him by how moved he becomes by the music (*some say the Modern Crop of artists ‘put it on’ a bit) – I think this does Yundi a real injustice. This is “real” emotion as far as I can see.
More importantly: I’ve heard Chopin all my life and I’d place Yundi’s presentation up against even the “Old Masters”
Another thing: I had no idea that when these Artists competed in Major competitions, that they had to play for this long. Wish I’d been there! Anyway – out of the entire hour or so – I think I might have heard one, two or three missed, or miss-played notes!
Hang on a minute. I’m assuming that this Video was a single presentation? It just occured to me that maybe Yundi played all these pieces over several days?! Whatever. Did he win? Google it and find out!
So Dear Listener: What do you think? Has Yundi “got it”?
NOTE: Some of the pieces and information here are contained in a previous posting titled: Totentanz
Liszt – Devil or Angel. That was him and his music. Througout his life he was focused on the “seeming”! two extremes. Love/Light/God – Evil/Devil/Death. (Eastern/Oriental philosophies might argue: Two sides of the same coin)
His compostitions of a spiritual, meditative or romantic nature, (including “Passionate” Romantic, as in the piece below: Un Sospiro) have few equals in the annals of Great Composers.
Un Sospiro (meaning a sigh – probably not a title Liszt himself applied to this piece)
Perlman on the violin and Yo Yo Ma on Cello. See the joy of being able to play like they do, reflected in their faces. Give it a couple of minutes in to see the “facial bliss”!
My quick 2 cents worth about Rachmaninoff! I feel that although he composed some of the most exquisite melodies, somehow he never quite “gets there”. In the way Tchaikovsky, Beethoven, Chopin and Mozart (amongst others!) construct a melody/theme; and when they want to Climax – they do. Rachi, on the other hand, I feel, just almost takes us there!
On the one hand you have a serious conductor and musician insisting that this Piano Sonata is a send-up / parody. At the same time some Beethoven scholars claim that it’s a legitimate effort by him! If you review compilations of Beethoven’s sonatas, you’ll find that not many pianists play this one. Isn’t that a clue? … that if it’s not a “joke” – then at least it’s not one of his better works. I feel that everything Anton Kuerti says about this sonata rings true. (in fact I laughted out loud several times while listening – don’t see how anyone could take it seriously) What do you think/feel/hear?!
See below for Kuerti’s negative assesment, and others who disagree
Piano sonata 22 in F major Op. 54 / First Movement tempo d’un menuetto
In tempo d’un menuetto: Anton Kuerti refers to this piece as a parody of uncreative composers. The melody commences, but grinds to a halt, and after doing this again, it decides to suddenly end the phrase in an attempted friendly way, which is anything but friendly, and nothing but awkward. This piece gradually redeems itself (but not much) when it garners variations for its main theme. Only at the coda does a virtuoso performance take place.
Allegretto: “If the first movement was constipated, then the second movement suffers from the opposite ailment.” (Anton Kuerti) This is shown in the piece, as the main melody has a non-stop continuous, sixteenth-note pattern that does not stop for even a second in this piece. The piece gradually gets more and more agitated in the coda, almost similar to a mechanical mixer going out of control and splattering its ingredients throughout the entire room.
Arcangelo Corelli (February 17, 1653 – January 8, 1713) Coming just before Bach, Vivaldi and Handel. “His compositions are distinguished by a beautiful flow of melody and by a mannerly treatment of the accompanying parts, which he is justly said to have liberated from the strict rules of counterpoint” (from Wikipedia)
Three pieces from his Concerto Grosso Opus 6. He really worked hard on the pieces in opus 6 – or so my sources tell me!
Here’s another example of why I love to get comments: Because sometimes they are so enlightening! – the commenter really knows what they’re talking about. The same person who commented on the post: “Better Brahms”- had this to say about the first version of Balikirev’s Islamey (played by Paul Wee): About Islamey, it’s played too fast. The excesive tempo make confuse and without meaning the piece. And on the slow parts he/she fall into mannerisms and use excesive rubato “a la Chopin”.
Too fast indeed! With “mannerisms” too! The Wee version runs 8:02
balakirev-islamey-wee
So … I went “shopping” for a better version! I found this one by Lang Lang who is pretty well respected.(it runs 9:19) Much better methinks! Thanks again Sergei
Lang Lang_15_Balakirev Islamey (Oriental Fantasy)
NOTE: I originally posted this in “Madmen of the Piano” and mentioned how some consider it one of the hardest of all piano pieces to play
My most recent “obsession” has been with Haydn (*see the Post, “Heeer’s Haydn) – and in particular his piano concertos – which I wasn’t familiar with when I did the Heeeer’s Haydn post.
In the course of listening and researching I found out about the close relationship between Mozart and Haydn. They seemed to have formed a “mutual admiration society”! There are many quotes where they praised each others work and expressed a high personal regard for each other. Good buddies! (Haydn was crushed by the news of Mozart’s early death)
Regarding their piano concertos, there seems to be a concensus that Mozart went further, deeper and that his were the more accomplished. The elements I love in both of their piano concertos, you could describe as the ‘sublime’ / ‘spiritual’ / ‘lyrical’ or contemplative. Just love that kind of piano. So here is one movement each from one of their Piano Concertos that express these qualities. Which one do you like most?!
Haydn P.C. #3 in F major. HOB XVIII. Second movement / Largo Cantibile
Haydn piano concerto in F major
Mozart’s P.C. #21 in C major KV 467 / Andante
Sorry! I think I’ve put Haydn at an immediate disadvantage! This piece by Mozart is SO beloved and SO well known, because of the film Elvira Madigan. I didn’t “rig” this in Mozart’s advantage on purpose!
What an incredible difference 20 plus years can make in the life of a musician! First we hear how Glenn Gould played/interpreted this piece by Bach (Goldberg Variations BWV 988 / Aria) in 1955 or 56; and then again how he played it in 1981.
What happened? There is an almost double – or half – the length of play in the two version. Did he just get older and slow down? (the 1980’s version) … Or – Did more evidence emerge as to what Bach intended?
Hmmm. Fascinating to compare the versions. I certainly enjoy, and feel Bach’s Spirit more in the later version. What do you think? Leave a comment if you wish.
Just now reviewing some playlists, and I came upon a CD I made for a guy who didn’t know much (oranything at all?) about Classical Music – But he was very interested to hear / learn / investigate.
So I made a CD of what I thought was the very, very Best of the Best. (*Bach/Mozart/Chopin/Liszt/Shostakovich/Satie/Tchaikovsky/Brahms/Beethoven – etc.*) Amazing response! … When I asked what he liked – he could only name this ONE piece!!!
A listener wrote and asked what this piece was. It’s from the Movie “Green Card” that I refer to on the right hand side as: “Did you see the movie Green Card”?
They sent me this link to find out what piece is being played.
Having been raised on Chopin (see About Me) I knew I’d heard this a thousand times! Therefore, I knew it had to be Chopin. BUT .. I’m not so good on titles. I started searching in Waltzes and Mazurkas … it must be one or the other.
Since what she plays in the video is quite short (and it sounds complete!) – I was only listening to the first notes of all the Waltzes and Mazurkas. Then I even went on to unlikely Nocturnes and Etudes! Going crazy! My library of Chopin pieces is very comprehensive – it HAD to be there! But it wasn’t.
WHY couldn’t I find it? Because she’s playing the very end of the piece!
So here’s the exquisite Chopin Waltz #9 in a Flat Op. 69 “Farewell” played by Ashkenazy.
It took me long enough to get around to him! I just had no idea how inovative, spontanous and delightful his music is. I’d only heard a handful of pieces and they brought to mind folks in powdered wigs dancing around stiffly! How wrong I was. Here are a few comments about him and his music:
By one estimate, Haydn produced some 340 hours of music, more than Bach or Handel, Mozart or Beethoven. Few of them lack some unexpected detail or clever solution to a formal problem. …. – In many ways Franz Joseph Haydn, the quintessential composer of the period of eighteenth century Enlightenment, is the father of modern music.
Haydn treated composing more as an exalted craft in which he delighted in endlessly experimenting. A close look at his music reveals many daring gambits of harmony and form. His endless humor and wit are palpable as is the warmth of his humanity. As Haydn once wrote, “Since God has given me a cheerful heart, He will forgive me for serving him cheerfully.”
***I also found a reference to his being the ‘least neurotic’ of the Great composers! ***
Inventive, playful and humorous, not neurotic!, willing to experiment … and a Master composer. What else could you want?!
This first piece is so cool! So Zen. BUT Not for everyone!
The silences are as important as the music … AND you have to wonder: “What’s gonna’ happen next?! Keep in mind this is the 18th century! – not a modern L.A. or Paris jazz pianist! UPDATE 18 months later: I only just heard it now. This is one of those pieces where Glenn Gould would hum along with his piano playing! You can just hear him in the background. I think most recording companies removed the humming!
From the last 6 Sonatas: Hoboken XVI – no. 48 Andante con espressione
Hoboken-xvi-no-48-i-andante-con-espressione
One of his famous Symphonies: “The London” / Finale
Symphony-no104-London op180 finale spiritoso
Symphony #3 in G major / second movement Just “kick back”!
Symphony 3 g-major 2nd movement
Haydn is often called the father of the symphony: in fact Haydn is more literally the father of the string quartet … Re: The following “Sun Quartets” – The music is broader and richer than in Haydn’s earlier, simpler quartets, with more interesting interplay (interesting for both listeners and performers) among the instruments.
String-Quartet-no-25-fuga-a-quattro-soggetti
String Quartet 28 third movement affetuoso-e-sostenuto
String-Quartet-no-25-moderato
And finally – here is a fascinating look into the man himself.
