Analysis: EXPOSITION 00:02 - Introduction, in the "wrong key" of D Major. Shifts down to C# Major afterwards 00:09 - Theme 1 in F# Minor, sharp and slightly ominous in nature. Features quick trills and razor-sharp accents 00:22 - "Tutti" section in F# Minor. Polyrhythms, syncopations, and grace notes are littered throughout the passage 00:36 - Solo passage in D Major based on Theme 1, although more optimistic and with a gentle sense of humor. Shifts to Bb Major in 00:50 01:05 - Theme 2 in the relative major of A. Lyrical and elegant in nature 01:47 - Twirling, almost dizzy transition, featuring extended use of 3-against-2 rhythm 02:03 - Theme 3 in A Major. Light and bouncy, with the trills being based on Theme 1. Shifts to C# Minor and features a new melody at 02:16 02:43 - Theme 3 but with gigantic chord trills 02:57 - Transition with brilliant fingerwork on both hands 03:24 - Return of "Tutti" in D Minor DEVELOPMENT 03:38 - Introduction but lower by an interval of a third 03:45 - Theme 1 in D Minor. Steadily rises 04:26 - Transitionary passage, with a lone but beautiful melody in the right hand and ominous murmurs of Theme 1 in left hand RECAPITULATION 05:46 - Introduction, again in D Major 05:54 - Right where we would expect Theme 1 to enter, Theme 2 barges in instead in the parellel major of F# 06:09 - Theme 1, combined with elements of Theme 2 06:23 - No Tutti passage this time. Instead is a Chopinesque cascade that to me, sounds like quiet sobbing that slowly dies away 06:32 - 05:02 06:43 - Transitionary octaves that sound pretty modern for its time 06:56 - Theme 4 in F# Minor. One of the most difficult passages in all of Romantic Literature, featuring delicate fingerwork, uncomfortable hand positions, large left hand jumps, all while balancing the 3-against-2 rhythm. (Hamelin plays the left hand an octave higher in 07:15) 07:24 - A flowing, dreamy transition, with voices added to the left hand in 7:27 (Although Hamelin doesn't seem to bring this out as much) 07:37 - Tutti plays in the subdominant of B Minor with the melody in the bass, giving it a mysterious, unsettling atmosphere 07:50 - A brilliant solo in F# Major that combines both the Tutti and Theme 1 08:05 - Transition based on the introduction CODA 08:13 - Theme 1, with the downbeat repeatedly bashing on the lowest C# on the piano 08:25 - The infamous con brio passage. As if Theme 4 wasn't already difficult by itself, Alkan adds octaves on every downbeat in the left hand. (The left hand octaves themselves are based on an inversion of Theme 2) 08:56 - A majestic octave passage, combing 6:43 with elements of 07:50 09:14 - Pentatonic scale (although Hamelin here plays it as a glissando) cascading down to a F# chord ends the piece.
Who needs drugs when there is alkan! This is one of the best pieces ever writted, Alkan used all his creativity, intelect and soul when he was composing this. And this performance is the best one, it's the peak of Hamelin's carrer!
![[NWC] Alkan - (Op.39 - No.10) Concerto for Solo Piano 3rd Mvt](/img/1.gif)
Analysis:
EXPOSITION
00:02 - Introduction, in the "wrong key" of D Major. Shifts down to C# Major afterwards
00:09 - Theme 1 in F# Minor, sharp and slightly ominous in nature. Features quick trills and razor-sharp accents
00:22 - "Tutti" section in F# Minor. Polyrhythms, syncopations, and grace notes are littered throughout the passage
00:36 - Solo passage in D Major based on Theme 1, although more optimistic and with a gentle sense of humor. Shifts to Bb Major in 00:50
01:05 - Theme 2 in the relative major of A. Lyrical and elegant in nature
01:47 - Twirling, almost dizzy transition, featuring extended use of 3-against-2 rhythm
02:03 - Theme 3 in A Major. Light and bouncy, with the trills being based on Theme 1. Shifts to C# Minor and features a new melody at 02:16
02:43 - Theme 3 but with gigantic chord trills
02:57 - Transition with brilliant fingerwork on both hands
03:24 - Return of "Tutti" in D Minor
DEVELOPMENT
03:38 - Introduction but lower by an interval of a third
03:45 - Theme 1 in D Minor. Steadily rises
04:26 - Transitionary passage, with a lone but beautiful melody in the right hand and ominous murmurs of Theme 1 in left hand
RECAPITULATION
05:46 - Introduction, again in D Major
05:54 - Right where we would expect Theme 1 to enter, Theme 2 barges in instead in the parellel major of F#
06:09 - Theme 1, combined with elements of Theme 2
06:23 - No Tutti passage this time. Instead is a Chopinesque cascade that to me, sounds like quiet sobbing that slowly dies away
06:32 - 05:02
06:43 - Transitionary octaves that sound pretty modern for its time
06:56 - Theme 4 in F# Minor. One of the most difficult passages in all of Romantic Literature, featuring delicate fingerwork, uncomfortable hand positions, large left hand jumps, all while balancing the 3-against-2 rhythm. (Hamelin plays the left hand an octave higher in 07:15)
07:24 - A flowing, dreamy transition, with voices added to the left hand in 7:27 (Although Hamelin doesn't seem to bring this out as much)
07:37 - Tutti plays in the subdominant of B Minor with the melody in the bass, giving it a mysterious, unsettling atmosphere
07:50 - A brilliant solo in F# Major that combines both the Tutti and Theme 1
08:05 - Transition based on the introduction
CODA
08:13 - Theme 1, with the downbeat repeatedly bashing on the lowest C# on the piano
08:25 - The infamous con brio passage. As if Theme 4 wasn't already difficult by itself, Alkan adds octaves on every downbeat in the left hand. (The left hand octaves themselves are based on an inversion of Theme 2)
08:56 - A majestic octave passage, combing 6:43 with elements of 07:50
09:14 - Pentatonic scale (although Hamelin here plays it as a glissando) cascading down to a F# chord ends the piece.
7:15 I love that he made the LH go even an octave higher!!!
Who needs drugs when there is alkan! This is one of the best pieces ever writted, Alkan used all his creativity, intelect and soul when he was composing this. And this performance is the best one, it's the peak of Hamelin's carrer!
알캉 환생시켜서 아믈랭이랑 피아노 대결 뜨게 하고 싶네요 ㅋㅋ
8:04 This brutal C note scared the s**t out of me lol
개인적으로... 92년 음반연주나 97년 실황연주보다도 좋네요 ㅎ
어느분 말씀대로 정말 perfection 에 가까운 연주입니다.
이 연주의 속도와 해석이 가장 이곡에 알맞다고 생각합니다
개인적으로 전설적인 실황 연주는 전율이 있긴하지만 곡의 완성도의 측면에선 살짝 아쉬운 부분이 있어요
잘 듣고 갑니다!
개인적인 생각이지만 실황이 클라이맥스를 더 몰아치는 느낌으로 쳐서 더 잘 친거 아닌가염
@@eugeneahn8663 미스터치도 많고 개인적으로 표현이 아쉬운 부분이 많아서...
물론 기교로는 실황이 전설적인 수준이긴 합니다
200% 동감하는 코멘트입니다. 완벽이라는 단어에 가장 가까운 연주같아요.
이 버전 영상이 삭제된건가요? 아무리 찾아도 보이지를 않아서 휴대폰에 mp3 파일로 담아놓은 것만 듣고 있었는데.. 이 영상이 제 mp3 파일보다 음질이 더 좋네요 다시 만나 기쁜 영상입니다
Who is the pianist? Marc-André Hamelin?
Yes.
There are numerous errors in the score, some of pitch, some of spelling (e.g. E# for F).
🤦
ㄷㄷ
이거 사람이 칠수있나여??
이거 사람이 친겁니다
@@LudwigvanBeethoven-t3g알캉 그는 신이야