Alois Hába: Sonata for quarter tone piano, op.62 (1946/1947)
HTML-код
- Опубликовано: 29 сен 2013
- Alois Hába (1893-1973): Sonata for quarter tone piano, op.62 (1946/1947).
I. Allegro agitato
II. Andante cantabile [05:41]
III. Allegro risoluto [15:02]
Vladimir Koula, quarter-tone piano
Cover image: painting by Albert Gleizes.
***
The music published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to RUclips, and it will be our care to remove immediately the video accordingly. 
Видеоклипы
![MAF Teeski - Whole Thing (feat. VonOff1700) [Official Music Video]](http://i.ytimg.com/vi/SHWEj-ndz6g/mqdefault.jpg)
I love it when microtonal elements are added to a tonal "environment". That's why I love Haba
@@orangutan1262 ah yes I know him :)
bros a music teacher odd specimen
This is HIGHLY ADDICTIVE!
The poor technicians that have to maintain these pianos. I actually really like the sound of this though. It's extremely colorful and sure it's "grotesque" at points but other times it sounds like sunshine
Totally!!! Not sure if I would listen to it all evening though. ;-)
gorgeous
It has a jazzy feel to it.
Exactly
This gives me a very unsettling emotion ... interesting
I remember seeing his piano in Prague.
Alois Haba uses the same tuning system as Ivan Wyschnegradsky, but for very different expressive purposes, with the first movement being much more up-tempo and happy and not stressed inn the way of Wyschnegradsky's rare up-tempo compositions, the second movement being calmly contemplative while being much less dreamy and foreboding than Wyschnegradsky's compositions of similar tempo, and the third movement being once again up-tempo and (as it says on the tin) resolute. Considering that this was composed in one of the war-torn and then Communist-ruled countries in 1946 - 1947, all of this is not what one would normally expect.
30,000 word essay deleted. Final thoughts: yeah, no, yeah...um, no. Maybe? Extremely engaging. Reminds me of Petroushka in some eerie, melt your face off, grotesque carnivalesque sort of way. And I have no doubt I will listen to it many times to ensure my ambivalence.
Stravinskij…first think to came to my mind 😀
I've always liked music like this more than Stravinsky's. The latter's mission in life is to use dissonance to depict structure and rhythm, clinically and intellectually--Haba and those like him are a little more emotional. I gravitate toward that.
thank you...:)
Ces études pianistiques posent une idée intéressante, comme réinterpréter le silence comme un "remplissage inter-hauteur", un élément musical significatif qui se produit lorsque tous les sons cessent. Le musicien ne se contente pas de planifier la durée et les rythmes des sons mais les rythmes et la durée du silence, de composer avec des silences en tête. Dans ce cas, l'idée réinterprète le silence non pas comme un silence physique mais comme un silence de notation, pas un silence littéral mais un silence figuratif !
Merci pour cet enregistrement, c'est magnifique ! On est à la fois bien au-delà du système tonal et aux antipodes du dodécaphonisme sériel. Il s'agit bien d'un seul piano, et non de deux instruments décalés d'un quart de ton.
www.august-foerster.de/cms/fr/20/Piano-%C3%A0-queue-%C3%A0-quarts-de-tons
Anyone find tricks or methods to maintain functional harmony playing on regular keyboard with 24-TET? (using software tuned to steps of 50 cents). I'm fascinated by the idea of a third being neutral (350 cents) rather than major or minor (400 and 300 respectively); as well as the major fourth/minor fifth (550). It opens up a new world of chord choices for color.
Well, I would like to start by saying that the major fourth and minor fifth are separate intervals. The major fourth is 550 cents wide, and the minor fifth is 650 cents wide. They surround the tritone on both sides, as the tritone is 600 cents wide, of course. Please don't misinterpret -- I'm not trying to sound rude; this is a very easy mistake to make, and I have found myself making it before. :) I agree that the major fourth can sound nice, especially as a half-sharp 11th extension due to it's natural occurrence in the overtone series. As for maintaining functional harmony, I cannot speak much to that, but I have found the most success moving from a chord built only on standard keys to a chord built only on "new" quarter-tone keys. For example, moving from Fmaj7 to Edmaj7, and back again. I hope my words gave you some fresh ideas. I'm glad that I'm not the only modern musician who is beginning to explore the exciting world of quarter tones. :)
In Egyptian music they use rather than quartertones a mix of 3/4 tones, half tones, whole tones and 3/2 tones. So you will encounter a neutral triad by accident. Both Liszt Copland maybe arguably Bach tried to duplicate that effect on a normal keyboard.
It's peticulier, fun and funny :)
too tonal, haha
Para mí es como un piano desafinado
You are saying something.👍
"it sounds pretty out of tune!"
-some two digits iq people
Dude, it literally sounds like soneone randomly pounching a piano
So you don't hear all those chords and progressions?
@@jacobbeat166 If you asked me, I do hear it. I like music. But this is just straight up ugly. I don't care about chords and progressions if the sound itself is very unpleasant the entire time. Dissonance has use in music, but if the whole thing is dissonant it's unenjoyable for me. If you ask me, anyone who says that they like this is the biggest music snob ever.
@@viktorgombos4975 well, I really don't consider myself a music snob and I discovered this piece like 7 years ago when I know very little about music( and I still do) but this was so interesting to me, 'exotic', something I've never heard before, and I loved it, despite all those dissonances. So you may not be right.
And I think it is not so dissonant in fact. You just hear more of those chromatic tones of 24 TET scale than dissonances.
Wyschnegradsky is way more dissonant for example.
So I don't know why, but to me this is strangly 'satysfying' and I used to fall asleep to this and to Haba's String quartet's after I came back from school tired. Really :D
@@viktorgombos4975 "If the whole thing is dissonant it's unenjoyable for me"
Dissonance is subjective.
Gosh! Learning this might have been a nightmare! And the result is not much different from what you call free experimentation. Does it worth the effort?
Anyway, why bother with 4th-, 6th- and 12th-tone scales, just use a fretless guitar and touch it anywhere you like. It'd be a continuous spectrum of waves, and it might be very interesting to experiment with. The title would be "Sonata for continuous spectrum". Get rid of keys, frets, precisely measured holes, posíitions, just accept and use any tone as it is. And here's the catch: too much freedom. The result would cease to be enjoyable music, it'd be cacophony.
Interesting.
Is this ... the worst music?