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Good to see this with the short score. I always have to chuckle how conductors and pianists inevitably play the main theme of the finale so that it sounds like 6/8 instead of 5/8 (making the first "big" beat too long). And as to the difficulty, I remember going to a pre-concert panel discussion before the NY Phil's first performance of this in 1963, with Barber and Browning, and Barber saying that there was no way in hell he could perform the piano part himself.

Too fast.

3:01 3:27 ❤

Very nice played this sonata, would you have the music notes? I cannot find it in IMSLP

No 4 is just flying

this is music.

Lowkey underrated cuz magic flute, people just dismiss this as worse

One of the greatest piano concertos, bar none! Wonderfully performed by both soloist and orchestra. Fiendishly difficult except for the ravishing second movement. Samuel Barber deserves to be counted amongst the greats!!

Excelente audio! Me gustó demasiado. Es la primera vez en mis 67 años que escucho este hermoso Vals Suite de este compositor. Es un Vals muy elegante. ¡Felicitaciones! ¡Gracias por compartir! Saludos desde México.

Clever and interesting and well crafted, but don’t you just wanna say sometimes, Sam, calm down.

God Bless you both! Be Meo is so adorable.

God, he butchers the first mazurka so hard... he just butchers everything he plays, just a modernist with no musical insight, a complete waste of a human.

很好

10:22

Chopin se inspiró en Field

The first movement is quite odd, and almost post tonal, but has its own beauty. As a pianist, it is ridiculously difficult to a degree that even surpasses Rachmaninov. I will say, even though Barber was a pianist himself, there are bits of this movement that do are not nicely "playable" (by that I mean that even though rachmaninov's repertoire is incredibly difficult, it is written with the soloist in mind). That being said, this concerto was written specifically from John Browning's piano technique, which is why it doesn't come across as universally playable, e.g. the writing isn't intuitive, and is specific to the intended soloist. The second movement is just gorgeous, and the most playable and intuitive section of the entire concerto. It is heartbreaking and menacing at the same time, and to me represents the unknowns of death. The descending chromatic motif within the strings is potentially one of the most moving bits of music I have ever encountered. The third movement is quite frankly just goofy. And I think that is potentially the intent. It is to me very difficult to find exactly what key area we are in, and there is extensive use of dissonance which furthers the confusion. But its a good kind of confusion, one that is welcome for its shear absurdity and virtuosity. (Apparently, the third movement was not even finished until 15 days before the concert and was deemed to be unplayable in its first draft by the soloist, and it took a second opinion from Vladimir Howitz for Barber to agree to write it to be playable at concert tempo) Overall, one of the most unique and eclectic works in the genre, and a fantastic example of American classical music. Barber will certainly continue to be one of the American Greats and just orchestral Greats in general.

The sonata was fiery.

Questa sonata è un capolavoro

Прекрасное напряжение

RHUL 23 hour music exam core

So nice! It sounds more symphonic (in terms of form and thematic development, im not talking about textures) than the usual sibelius piano pieces, that tend to be more like miniatures. Very interesting

Ludwig was listening.

Masterpiece

ze chills

I think there's an outside chance Wolf had heard Tristan; lovely

Wow !

Hi

Kind of smacks you right in the face at the beginning! Anyway the piano is starting…

First étude is Brahms turned rach in the middle

Clementi è stato un colosso della musica pianistica del periodo classico, con una forte tendenza al pre-romanticismo nella sua ultima fase ! Punto. Genialità e massima libertà creativa le sue doti più evidenti, oltre ad un virtuosismo elevatissimo ma mai fine a se stesso. Direi che nell'Olimpo del classicismo pianistico possono tranquillamente coesistere Haydn, Clementi, Mozart e il primo Beethoven (il secondo e terzo Beethoven lo classifichiamo in ben altra categoria). Tutti gli altri compositori pianistici di quel periodo, al confronto, sono o "robbetta", o al massimo musicisti molto simpatici e piacevoli, nulla di più. N.B. Non ho volutamente incluso nell'Olimpo del classicismo né Schubert né Mendelssohn, grandissimi ma già decisamente oltre il confine tra classicismo e romanticismo, sebbene alcune loro composizioni giovanili possano considerarsi ancora nel solco del classicismo, sebbene non siano certamente le loro pagine migliori.

thank you Mr Fields

45:56 is the most Chopinesque thing a non-Chopin composer has ever wrote.

Not a fan. Oh well there's always the violin concerto and adagio for strings of course

2

3:38 9:01

2:04 Peregrina II

4:05 6:55

II, III, VI (seems)

III

Berman is all the map with his tempi. Is this is standard approach or peculiar to this performance?

Masterpieces.

"Gruss'" cannot quite stand against the famous setting of Mendelssohn, though it is very interesting.

Us Irish aren’t well known for our classical composers, but how cool is it that we have one of the best.

why feinberg? complete garbage recording.

one of my favorite sonatas. the first thing that hooked me when i first discovered this piece was that little passage at 3:49

Très belle musique fort bien jouée dans l'ensemble mais..il est vraiment dommage que les pizz du violoncelle interviennent systématiquement un temps trop tôt au début de la pièce.

Слушая эту прекрасную музыку отдыхает душа❤❤❤❤❤

The upper main theme of the 3rd movement is almost the same as the famous melody from Beethoven's 3rd Symphony Mov. 4 !!

Замечательный цикл.

10:30