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Hi! Is it possible to get the sheet music for these lieder? Thanks!

안녕하세요 혹시 보르트키에비치 3번 피아노 협주곡도 올려주실 계획이 있으신가요? 오케스트라 총보 보면서 들어보고 싶은데 곡 자체는 다른 채널 통해서 들어본 곡이긴 한데 다른 채널에 올라온 건 투피아노 악보를 사용해서 만드신 영상들이고 IMSLP에도 보르트키에비치 3번 협주곡 악보는 오케스트라 부분을 피아노로 편곡한 투피아노 편곡 버전 밖에 없는 것 같더라고요... 관현악 편성의 곡을 올리실 때는 늘 오케스트라 총보로 올리시는 것 같은데, 혹시 3번 협주곡도 영상 제작 및 업로드 계획이 있으신지 궁금합니다.

There is a grave error from 11:44 till 13:00. It seems that the issue I was using was a misprint, since the pg.144~160 is from the third book of the score, not the first. I don't know why this misprint happened, and it is even weirder that I did not catch it while I was making the video. I just got an email from someone, who notified me of this problem. I'll try to find another copy, and then upload the correct pages on this comment as a google drive link, once I get it.

based recording

For children?? 😮

Where did you get the sheet music for the original microtone version? I cant seem to find it anywhere.

Frankly, I am not entirely satisfied with the result. But I am not sure how to fix it either...

messiaen if he was latino jokes aside, this is such an iconic work by ginastera that exhibits his distinct style of blending folk and indigenous music with modernist elements

Wonderful. The Ukrainian folk tunes in the last movement are so cheerful and dance like. Terrific orchestration through the entire piece. Beautiful melodies. My Ukrainian grandparents would have loved this music. I do.

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Argument: Prior to the opera… Tristan is wounded after a combat with Morold, while defending Cornwall. He sails to Ireland under the alias of Tantris, to seek the cure of the daughter of the Irish king, Isolde. Isolde recognizes that “Tantris” is the one who killed Morold (Isolde was betrothed to Morold), but could not get herself to kill Tristan. Therefore, she sails him off. However, Tristan returns again, to bring Isolde to marry king Marke (king of Cornwall). Act 1, Scene 1~2: Isolde feels betrayed by Tristan, and wishes the sea to rise and kill everyone on the ship, including Tristan and herself. Scene 3: Isolde sends Brangäne to bring Tristan before her. Tristan refuses, and Kurwenal reminds Brangäne that Tristan killed Isolde’s fiance. Brangäne returns, and tries to console Isolde while also recalling the first encounter with Tristan as “Tantris”. Isolde’s rage grows, and she vows to kill herself and Tristan with a poison. Scene 4: Kurwenal appears, and announces that the voyage is ending soon. Scene 5: Isolde commands Tristan to drink the poison for the atonement for her honor and breaking the promise (Tristan promised to never come back after his treatment from Isolde). However, it was not the poison. Brangäne swapped the poison with a love potion to save Isolde, and the couple is in a furious love - like it is the final moment of their lives. Act 2, Scene 1: The couple agrees to a secret meeting in Marke’s garden, as Marke is out in a hunting party. Brangäne warns that the hunting party is a decoy by Melot (one of Marke’s knight) to lure the couple to be exposed in front of Marke. Scene 2: The lovers declare their passions to each other - which leads to the famous love duet. Scene 3: Brangäne’s warning was true. They are exposed by Melot, and Marke is heartbroken, because of the triple betrayal (Tristan and Isolde betraying him, and Melot betraying Tristan). Tristan refuses to reveal why he is in love with Isolde, and asks Isolde to accompany him toward death. Tristan also reveals that Melot fell in love with Isolde, and Melot draws his sword upon this. The two fight, but Tristan falls to Melot’s sword deliberately, and falls into Kurwenal’s arms. Act 3, Scene 1: Kurwenal brought Tristan to his castle at Kareol in Brittany. Tristan’s wound doesn’t heal, and Kurwenal knows that only Isolde can cure him. Tristan is driven by deep sorrow and yearning, yet this ends when Kurwenal tells him that Isolde is actually on her way. However, since the ship was not yet in sight, Tristan falls into sorrow, and collapses. Scene 2: At this moment, the ship with Isolde arrives, and Kurwenal rushes to bring her. Isolde arrives by his side, yet Tristan dies, calling Isolde again and again. Scene 3: Marke, Melot, and Brangäne arrives. Kurwenal believes that they have come to kill Tristan, and furiously fights against Melot to avenge Tristan. Marke tries to stop them, but he fails and Melot and Kurwenal die. Marke and Brangäne reaches the couple, explaining that Brangäne explained everything to Marke, and that he came to unite the couple, not to part them. However, the couple’s fate is already decided, and Isolde sings the final aria, describing her vision of Tristan, and falls alongside him. Background: In 1849, Wagner fled to Switzerland because of his participation in the unsuccessful revolution of 1848-9. In Zürich, he met the wealthy silk trader Otto Wesendonck, who was a supporter of Wagner. However, this relation became rather complicated because of the affair with Mathilde, Otto’s wife. This led to an end to Wagner’s first marriage, and it also led to a stop for the Ring cycle, and the creation of this opera. By the end of 1854, the composer finished the sketch of the opera, with the libretto adapted by himself from the story written by Gottfried von Strassburg. The composition was disrupted for the composition of the Wesendonck lieder, a setting of 5 poems by Mathilde. After that, Wagner secured a publishing contract with Breitkopf & Härtel, and completed the score in a remarkable haste. In 1858, his wife, Minna, discovered of the affair, and Wagner moved to Venice momentally. He wrote the second act during this 8-month exile. Later, he moved to Lucerne to complete the last act by August 1859. However, the premiere had to be delayed for a long time. The planned staging in Rio and Strasbourg went to nowhere. He went to Vienna Court Opera, but even after more than 70 rehearsals, it was unable to be staged. It was only after King Ludwig II of Bavaria became a sponsor of Wagner, where the resources for the premiere could be gained. The premiere finally happened on 10 June 1865, conducted by Hans von Bülow in Munich. The critical opinion was harsh, being criticized for sensuality and “impurity”. However, as time went by, the opinion decisively shifted, especially among the composers. It soon became one of the most important works of the 19th century, and influenced countless future composers, both in the Romantic era and beyond. Even though the opera was staged in 1865, some extracts were performed before. The prelude was heard on 12 March 1859 at Sophieninselsaal, in a charity concert conducted by Bülow. Since the prelude doesn’t have an ending, Bülow wrote a concert ending, but Wagner later became dissatisfied with it and wrote his own ending. He also wrote the Prelude and Liebestod, which was first performed in 1862. He also wrote a concert ending for the love duet of Act 2, which was discovered in the 1950s and premiered in 2000. There’s quite a lot of arrangements and transcriptions related to this opera, and one of the best-known is Liszt’s transcription of the last scene, titled Isoldes Liebestod. It’s quite an effective transcription in my opinion, and is very pleasing to listen to. Even if you might be a music enjoyer who abhors dissonance, give it a listen; it won’t disappoint.

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Splendida esecuzione.

I am just in love with this March...I even whistle it in my car! :))

nice

Very good work, it needs to be performed !! Fantastic score!

fantastic

You’re an inspiration man

Awesome thank you for uploading!

no way

based would love to see Glière's The Red Poppy if you have the orchestral score, had been trying to find one for years

정말 많이 들었지만 곡의 배경은 첨알았네요 이 서정적인 곡이 초견 시험용이라니.. 소나티네 같은 작품도 그렇고 라벨은 모든곡이 라벨답네요 전혀 몰랐던 정보들 감사합니다 구독박습니다

보르트키예비치 넘좋아요 특히 op.24가 최애

16:11 Plagiat This is music from an operetta "O Olmasin bu olsun" by composer Uzeyir Hajibeyov,which was created 1910 ruclips.net/video/lg5m3frZvnw/видео.htmlfeature=shared

4:05 that chord when piano comes in is absolutelly divine.

I'm still debating in myself whether to leave the videos for my original pieces at the other channel, or bring them back to the main channel here. I'm going to just see how this video performs, and decide from there.

based Prokofiev

This has to be one of the top piano concertos ever composed. Why is it not more widely known?

whoaaaaa i love this

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Thank you very much. I have a deep respect for Bartok and I love his work. A genius is a genius - so in his "easy" works for children / beginer as in his most complex pieces.

This is a 1967 studio recording with Antal Dorati conducting the New Philharmonia Orchestra coupled with an equally outstanding performance of the Viola Concerto.

based and prokofievpilled

I just found this piano concerto this week, and this is great

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EDIT: I would like to change my opinion. As a listener, I prefer Op 58 as it is a very entertaining piece, but as a cellist, I prefer Op 125 because it is better musically and is easier to follow.

I'm assuming you had to use this recording since the original version is so rarely played, but it's absolutely awful. She stretches this already unattractive music to nearly 8 minutes longer than Bartok's own suggested timing.

not gonna lie i have been waiting for this video since forever! thank you very much!

I'm a cellist so I can give some insight on my opinion. Firstly, as another commenter pointed out, the music is not tied together well. Compared to the later version, op 125, some of the transitions to new themes are a little jarring or unexpected, and it makes it hard to interpret it musically. Secondly, Prokofiev moves more lines in the orchestra to the cello in the later version, which makes it a lot more fun to play. For example, at the beginning of the second movement, the rising sixteenth notes are in the violas, compared to the solo cello in the later version. Because of this change, this cello solo is able to develop into an actual musical idea, rather than just an interlude to a new theme in op 58. What I do like about this concerto is its mysterious aura. This is a really underappreciated and underperformed concerto, which kind of gives me a satisfying nostalgic vibe for some reason, even though he started composing it over 90 years ago. Maybe it was because I liked early Prokofiev more. I honestly have no idea. I also like that this concerto is harmonically unstable in most places like you stated. It just really gives me that 20th-century Russian classical music vibe that the romantic conservationists Prokofiev knew hated. The instrumentation, in my opinion, is also better. I like his use of castanets in Op 58 because it reminds me of his piano concerto 3. Although Op 125 has a Celeste, which I absolutely love with its nice bright sound, it is only used in a few bars of the last movement. The more virtuosic passages I also like in the original concerto. It is honestly so sad that the premiere of the concerto didn't go well, as it is an amazing, almost forgotten, Prokofiev piece. If the premiere went well, it probably would have been as famous as the Op 125. So finally I state that in my humble opinion, I believe this concerto is far better than Op125.

33:09 - 33:30 / 35:15 - 35:28 Epic Rachmaninoff moments

La compuse estando convaleciente, como un adiós a la vida

based Prokofiev

Second movement charms

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No.5 is the same as No.3 in Sz.35/35a! Have wondered why the tune and the accompaniment are so familiar...