Renowned pianist Alfred Brendel has referred to Mozart’s Piano Concerto No. 9, known as the Jeunehomme, as a “wonder of the world,” going so far as to assert that Mozart “did not surpass this piece in the later piano concertos.”
Later in the same article: How did Mozart, at age 21, find the burst of courage needed to write the No. 9, which pushes the boundaries of concerto convention and accepted harmonic complexity? Furthermore, after writing a great work, how does a composer move on to write pieces that are more mature but perhaps less ambitious?
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)
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.
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!
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.
How could he be so inconsiderate as to compose ONLY ONE Piano Concerto?! It’s a beautiful piece of music and I wonder why he didn’t compose more? Very inconsiderate.
If you have the time,listen to all three movements. I hope you enjoy them as much as I do.
Madmen of the Piano (*and the piano’s supreme emotional power – Inspired by, and dedicated to Tam from Retravision in Byron Bay, because he just loves the wild piano stuff! )
Liszt, Chopin and Rachmaninoff
(*Yes indeed … there are lots of other ‘Madmen Pianists’ – but these guys take the cake)
I was thinking the other day – What instruments convey the most ‘intensity’? Drums? Electric guitar (ala Jimmy Hendrix!) … maybe the Sax? (John Coltrain)
For me it’s the piano. Done by the “Masters.”
Here are some intense pieces; some supremely difficult to play: Pieces that blend that ‘wild’ quality – with emotional glory!
Sorry Tam! I didn’t do what I originally intended; which was to introduce only the purely ‘berserk’ numbers. I know you love ‘em … but hey – I might lose listeners!
Dear listener – if these pieces move you, click on the Title on the right, “My Personal Bias” You’ll find gorgeous piano pieces without as much intensity.
Chopin Ballade #1
Rachmaninoff prelude in G Minor (played by “THE Piano man” – no .. not Billy Joel !! but The Big H – Horowitz)
Rachmaninoff prelude in g- minor Vladimir Horowitz-piano
Liszt erlkonig-op1
Chopin Fanstasie Impromptu in C sharp minor
Rachmaninoff preludes-no-10-in-b-minor-lento
Liszt hungarian rhapsody no-2
Here’s another one. This piece is often mentioned in the “hardest to play” category. It is surely “Intense”!
Islamey an Oriental Fantasy by Mily Balakirev. And here’s what a critic said:
Despite some dismissal that the work is merely a showpiece, Islamey has had a lasting impact on piano solo music; Ravel once remarked to a friend that his goal in writing Gaspard de la nuit was to compose a piece that was “more difficult than Balakirev’s Islamey.”
Eve has requested Chopin’s Prelude op. 28 / no. 4 – and some Albinoni. (not on the site until now)
Since my father was the ultimate ‘Chopin freak’ – I probably heard this Prelude many times whilst still in the womb. And many, many more times after exiting! It’s exquisite… and SO Chopin.
Albinoni: His debut on jimsclassicalmusic (A simple oversight Eve) Eventually I’ll have EVERYBODY!
Let’s go with the ‘signature’ Albinoni. We’ve all heard it somewhere (the theme to the movie Gallipoli maybe?) but a great piece of music nonetheless.
I just read something really interesting about Albinoni. Apparently he was very rich and wasn’t much concerned with ‘hanging out’ with other musicians. Too busy being with the wealthy and aristocratic!
Besides the ‘inner prods’ to listen to Classical – which I ignored (*see ABOUT ME on the right); there were a few periods of false starts. One is when I was living in California in the late 70’s where I joined a Classical cassette club that lasted about 6 months – and the other time was way back in those innocent ‘hippie’ days – (during which I participated fully! Woodstock – yes I was there … but by accident!, Haight Ashbury, Greenwich Village, Psychedelic Utopianism etc.) In 1967 … or 68? – maybe 69! (*to quote the axiom: “If you remember the 60’s – you weren’t there”) So true!
Anyway … I was living near the Ohio State University campus in Columbus Ohio and the other day recalled an incident where I’d planned days ahead to get “high” on LSD … and go to the campus music listening room. And listen to this! I did … about 5 times! There’s no escaping the fact that this is one of the most powerful, beautiful and dynamic pieces of music ever written. BUT – I used to turn it off after the super climax, (a bit over 2 minutes into this First Movement) and play those first couple of minutes again. NOW I realise that the entire first movement is wonderful and worth listening to! .. And it belongs in the Perfect Music section where it now lives.
