I must have heard your video more than a hundred times. I normally intensely dislike MIDI orchestra sound, but this is so well done and musically convincing for me. Thanks for your great work, and if your version is performed live, I would love it so much to hear it. I really hope this gets performed live! Have a great day :)
I just noticed - in the end of opening tutti Dolce ed espressivo clarinet solo starting from concert G#, 6th bar, the C# is cut of by a bar and the pizzes come when clarinet plays the C#, not the bar after. Was this alteration intended?
Robert Israel uses in his score for Feuillade's silent film Judex (1917, Flicker Alley) the first part of this concerto adapted to an orchestra (as the theme of the protagonist Judex), and it sounds just great.
Better than Klinworth's version, so much better, i agree on most parts but not all of them, esspeccially before the end, i think the double notes is like a cadenza for the pianist and the orchestra should playing the chords while the pianist playing and ascending and descending octaves, but it's still so great
This piece deserves a orchestral accompaniment but Alkan mustn't have thought so. In spite of this it is interesting to hear an in-depth orchestration of this piece as a traditional concerto. I do think an orchestration more on the order of a Chopin style of writing for orchestra would suit the whole piece and leave some room for the virtuosic piano work to shine through at the intense moments. The variety of texture from the orchestra is a welcome sound. A lot of times I think the orchestra should be an extension of the piano in this piece rather than a seperate entity in climactic sections.
I think that is exactly opposed to Alkan's idea... Alkan could have written that for orchestra. It was a genious and he could write a lot of romantic/post-romantic piano concertos; but he didn't so I think we should respect the creator's idea. Every single tutti passage is evocative: that's the main interest of the piece. Orchestrating that concerto is, exactly, don't understanding it.
Nevertheless, these musical attempts go a long way to understand what orchestral sounds Alkan would have imagined with a piano when he composed the song "for solo," and the score, which is actually convincing, helps us understand his music.
Honestly didn't occur to me there'd be orchestrated versions of Alkan's work out there. I really like it though.
I must have heard your video more than a hundred times. I normally intensely dislike MIDI orchestra sound, but this is so well done and musically convincing for me. Thanks for your great work, and if your version is performed live, I would love it so much to hear it. I really hope this gets performed live! Have a great day :)
I just noticed - in the end of opening tutti Dolce ed espressivo clarinet solo starting from concert G#, 6th bar, the C# is cut of by a bar and the pizzes come when clarinet plays the C#, not the bar after. Was this alteration intended?
I can see the effort put into this as it's so good :D
I've always wondered what this piece would sound like as an orchestra.
Robert Israel uses in his score for Feuillade's silent film Judex (1917, Flicker Alley) the first part of this concerto adapted to an orchestra (as the theme of the protagonist Judex), and it sounds just great.
Better than Klinworth's version, so much better, i agree on most parts but not all of them, esspeccially before the end, i think the double notes is like a cadenza for the pianist and the orchestra should playing the chords while the pianist playing and ascending and descending octaves, but it's still so great
This piece deserves a orchestral accompaniment but Alkan mustn't have thought so. In spite of this it is interesting to hear an in-depth orchestration of this piece as a traditional concerto. I do think an orchestration more on the order of a Chopin style of writing for orchestra would suit the whole piece and leave some room for the virtuosic piano work to shine through at the intense moments. The variety of texture from the orchestra is a welcome sound.
A lot of times I think the orchestra should be an extension of the piano in this piece rather than a seperate entity in climactic sections.
Or perhaps it is the midi sound which makes some sections sound unsuitable where a live orchestra would sound great.
@@sirgabriel1058 I still find the presence of percussion other than the timpani quite jarring and unconvincing to me.
Overall a well-written orchestration!
Great job! Makes it sound like a different (but still great) piece. Definitely performance worthy!
this is really interesting and would love to here it with a live orch - some great use of pizz strings.
Awesome
litterally
This much better than the Klindworth version
fr
There are many parts where the piano is barely audible over the orchestra. :(
prob cause of midi
Can i get this orchestra sheet music?
There is a mistake at 2:51 :(
is there a version where it is actually a concerto instead of a concerto for solo piano?
I think Solo part is very fast..
Too fast!
I think that is exactly opposed to Alkan's idea... Alkan could have written that for orchestra. It was a genious and he could write a lot of romantic/post-romantic piano concertos; but he didn't so I think we should respect the creator's idea. Every single tutti passage is evocative: that's the main interest of the piece. Orchestrating that concerto is, exactly, don't understanding it.
Alkan reportedly orchestrated it himself.
Nevertheless, these musical attempts go a long way to understand what orchestral sounds Alkan would have imagined with a piano when he composed the song "for solo," and the score, which is actually convincing, helps us understand his music.