EVERY great piece is technically demanding. Brahms Intermezzi!! The thing is... let's focus on MUSIC instead of perpetuate Alkan myths that let listeners and pianists to run away from him... most of his etudes are easier than Chopin's, or at least have different technical difficult. not MORE or LESS.
@@bloba6969 they are very hard. But these are different techniques. Can't measure as one is harder than the other in absolute terms. To me, the Symphony is much easier than CHOPIN. For my body conformation and hands
@@davisatdavis1 perpetuating Alkan myths does no favor to his work. Alkan lacks sensitive performers because of these, and even audience prefer to keep distance, since technical difficult is not a musical thing. Those who love music do not care about it.
Ronald Smith's playing here is truly impressive and places him among Alkan's best performers. The touch, articulation and dynamics are very natural, never too harsh in the more powerful passages (and there are many! see 26:57 for example). His magical touch always shines more brightly in the quieter, more peaceful sections (see 1:43:00, one of the most brilliant section in Alkan's music). Last, but not least, his performances show probably the greatest attention to score and subtlety I have ever seen with those etudes, with many details that Smith brings to the fore!
If u r looking for d page used in d thumbnail, it’s at 2:02:40, d last etude. This composer and his work, this pianist and his recording, and this channel and his upload - truly monumental! Thank you!!
We are now experiencing Alkan-Renaissance worldwide - Gibbons, Hamelin, Maltempo, Yui Morishita...., . Yet we should admit it's Ronald Smith who sparked such Alkan boom.
Glad you mentioned morishita, my recent discovery. Dont forget the guy who played le preux last year - but its painful watch him play, morishita is just a great pleasure
Thank you very much for this. Despite the newer recordings by Jack Gibbons, Stephanie McCallum and Vincenzo Maltempo of the complete set, Smith's pioneering recording is still hard to beat. It always amazes me that he preferred to make recordings in a single take too, which makes these basically live performances even more visceral in their impact.
In particular I love her superfluent intepretation of Le Festin d’Ésope... The speedy right-hand variation - you know the one I mean - is amazing, so crisp, fluent and playful... Here a direct link: ruclips.net/video/m52MJ6hJx3I/видео.htmlfeature=shared&t=299
Had heard of Ronald Smith but my first introduction to Alkan was via Marc-Andre Hamelin! which makes you think there is nothing else out there, the guy was so phenomenal. But now having heard Ronald Smith's own versions, can see why pianophiles of the 1970s-1990s might have had to get their jaw re-set (after it dropped to the floor). The dynamics, the control,-the precision are all spectacular, as is the overall timing and understanding of the pieces. These may have been the pioneering recordings before Hamelin's light brought them into a new awareness. Seriously more than impressed with Ronald Smith, can see what all the fuss was about now.
Alkan must have been high when writing some of these studies. I've always loved the Scherzo Diabolico. It is indeed diabolic both in a musical sense and in its difficulty. Thank you for this amazing upload. Happy new year!
Smith's recording of Mvt.I for the Symphony is night and day from Hamelin's. I have to appreciate them both for different reasons. I find Hamelin's live performance (available on RUclips) way over-pedaled. Plus, it feels like he'd rather have the melody be super straightforward in the 6/8 time setting. Nevertheless, it's still a very beautiful performance if you can get past the neglect of Alkan's writing. Smith actually makes this movement sound like a symphony is playing out in front of you. The mindful pedaling and attention to detail allows the different elements to shine with greater contrast from each other. If I was skilled enough, I would attempt my own orchestration of the Symphony using Smith's recording as reference. That being said, Hamelin is a beast when playing live, and it's extremely swoon-worthy when he loses himself in a piece - and he certainly does when performing this movement live! His tempo choice is insane (and I do find myself wishing Smith's recording was a bit faster, but also idk how fast 108 bpm (Alkan's indicated bpm) is without a metronome lol), which adds to the ferocity of his performance which culminates at the section at 26:56, where I think Hamelin very much outshines Smith. Smith's dynamics here are just not powerful enough for this climax, unfortunately. And weirdly enough (although this could be attributed to differences in edition), Hamelin's pedaling is a lot more appropriate in this section. While Smith's pronunciation/rhythmic pulse is a lot better, Hamelin's rubato is more preferable and his touch on the very last chord is so juicy in comparison.
The part at 58:07-58:19 is as gorgeous as Ronald Smith plays it here. There are so many bars and lines in this music that are highly evocative, more so than in any other piano music written during this period, from Schubert to Liszt.
PS I LOVE Smith's tempo in the Ouverture - much more in line with what I would expect from a symphony orchestra, the sound of which is easily brought to mind in much of this piece.
Has anyone realised the key of each song goes up its 4ths? What I mean is for example, the first etude is in A minor, and the next is in D minor (which goes up by a 4th). If the 2nd etude is in D minor, D raised a 4th would be G, therefore resulting the 3rd etude in G minor.
Yes. As with Bach's Well-Tempered Clavier, studies in all the keys are traditionally arranged in a sequential order. Bach wrote a prelude and fugue in C major and C minor, then D-flat major and C# minor, then DM, dm, etc. Alkan wrote first 12 studies in the circle of fourths for all the major keys (Op.35, 1848), then another 12 in all the minor keys (Op.39, 1857). Shostakovich arranged his preludes and fugues to follow the circle of fifths.
@@DavidBadilloMusic , guys, no, that's not how they work. @eralezzyt3200, it's JUST an A double-sharp. It leads into the B-sharp, otherwise it would be two enharmonic "C's" played in a row. If you see a Cx in the key of D-major, you don't play a D#/Eb. Same thing here.
OMG! I’ve been telling people for ages that my favourite piano composers are Alkan and Medtner. Never expected to find out someone else out there agrees.
This music is so nimble and interesting. He is not a composer I had ever heard or heard of until very recently. Thanks for posting this. So much to learn and observe about writing for the piano.
I'm looking for a set of etudes that's as comprehensive as possible in all it covers, to refine one's technique to play anything within the romantic period. Would this be it? I've spent the past year and a half on the Concerto For Solo Piano but I am thinking of working on some of the others. Is this set missing anything?
I'm still in the first 10 seconds trying to determine whether I can hear a difference between stacatto and stacatissmo demi's (32nd notes) in the left hand. In case anyone actually cares: The tempo works out at approximately 10 demis per second, which means, using the "nominal" definition of staccato (half duration) and staccatissimo (quarter duration), a staccato demi will last 50 milliseconds and staccatissimo will last 25 milliseconds. The right hand demi-triplets are played at 16 per second (fun with rounding) - a whopping 62 milliseconds per note. Obviously, the stacatto and stacatissmo are instructions to the performer, not rigid duration instructions. However, Alkan made the stacatto and stacatissmo distinction for . In conclusion, I need better ears.
3:44 - I'm a composer. And I do like this piece. But... taking more of a Birdseye view, I have to wonder - What is the point? of this piece. It frankly sounds less like an etude, and more like uncontrolled violent Anger. Let me ask.... Do you think Beethoven (Or Any of the other greatest composers) COULDN'T have written a piece like this??? They Could have - BUT THEY DIDN'T!
You made a good point there. But i have to turn your argument around! Composers like Beethoven, Schubert, Schumann, Chopin, Liszt (for Mendelssohn i make a little exception), they pushed music forward, all revolutionary in their own way. But i have the feeling that their music often suffered under their musical vision or mission. Thats why. But i agree No1 is probably the most uninteresting piece in this cicle and smiths interpretion is not good at all; really recommend the concerto, the symphony and no 12. if you listen closely Alkans melodic lines are so close to a natural human voice. I miss that in the Music of Schumann, Beethoven, Chopin and Liszt, they're always unvoluntary instrumental, rather have the character of etheral gestures
I did not really enjoy any of these, except “le Festin d’Ésope,” a great set of variations, the theme of which is refreshingly repeated in all sorts of contexts. The rest is either just too dark or too loud and all over the place. Thanks for the upload in any case!
I thought I'd try to sight read these. Pieces at a concert 😮. I was quite nervous and not overly pleased with my performance but the audience were ecstatic 😮😂🎉❤
희빈 장씨(1659∼1701) : 조선 19대왕 숙종의 후궁. 본관은 인동(仁同)이다. 역관 장현(張炫)의 종질녀이다. 어머니의 정부(情夫)였던 조사석(趙師錫)과 종친인 동평군 이항(東平君 李杭)의 주선으로 궁녀로 들어가 숙종의 총애를 독차지했다. 1686년(숙종 12) 숙원(淑媛)이 되었다. 1688년 소의(昭儀)로 승진하고 왕자 이윤(李昀: 뒤의 景宗)을 낳았다. 왕은 기뻐하여 세자로 봉하려 했다. 그러나 송시열(宋時烈) 등 당시 정권을 잡고 있던 서인이 지지하지 않으므로 남인들의 원조를 얻어 책봉하려 했다. 이에 서인의 노론·소론은 모두 왕비 민씨(閔氏)가 나이가 많지 않으니 후일을 기다리자고 주장하였다. 숙종은 듣지 않고 1689년 정월에 이윤을 세자로 봉하고, 장소의는 희빈으로 승격했다. 이 때 송시열이 세자로 봉하는 것이 아직 이르다고 상소하였다. 왕은 이미 명호(名號)가 결정된 다음에 이런 의견을 말하는 것은 무슨 일이냐고 진노했다. 이에 남인 이현기(李玄紀)·남치훈(南致薰)·윤빈(尹彬) 등이 송시열의 상소를 논박하며 파직시켜 제주도로 유배하게 하고 다시 사사(賜死)하게 하였다. 그러나 송시열은 중로 정읍으로 이배(移配)되었다가 사약을 받았다. 이 밖에 서인의 영수들도 파직 또는 유배를 면하지 못했다. 반면에 남인의 권대운(權大運)·김덕원(金德遠) 등이 등용되었다. 이 정권의 교체를 기사환국 또는 기사사화라고 한다. 이 해 5월에 민비를 폐하고 장희빈을 왕비로 삼으려 할 때 서인 오두인(吳斗寅)·박태보(朴泰輔) 등 80여 명이 상소하여 이를 반대했다. 그러나 이들은 참혹한 형문을 받게 되니 이후 정국은 남인의 세상이 되었다. 기사환국 후 시간이 흐르면서 숙종은 폐비사건을 후회하게 되었다. 그러던 중 1694년 서인의 김춘택(金春澤)·한중혁(韓重爀) 등이 폐비 복위운동을 꾀하다가 고발되었다. 이 때 남인의 영수요 당시 우의정이었던 민암(閔黯) 등이 이 기회에 반대당 서인을 완전히 제거하려고 김춘택 등 수십 명을 하옥하고 범위를 넓혀 일대 옥사를 일으켰다. 이 때 숙종은 폐비에 대한 반성으로 옥사를 다스리던 민암을 파직하고 사사했으며, 권대운·목내선(睦來善)·김덕원 등을 유배했다. 이어 소론 남구만(南九萬)·박세채(朴世采)·윤지완(尹趾完) 등을 등용하고 장씨를 희빈으로 내렸는데 이것을 갑술옥사라고 한다. 또한, 이미 죽은 송시열·김수항(金壽恒) 등은 복작(復爵)되고 남인은 정계에서 물러나게 되었다. 소론이 들어서고 남인이 물러날 때 장희빈의 오빠 장희재(張希載)가 희빈에게 보낸 서장(書狀) 속에 폐비 민씨에 관련된 문구가 있어 논쟁이 벌어졌다. 여러 사람이 장희재를 죽이자고 했으나 세자에게 화가 미칠까 염려하여 남구만·윤지완 등이 용서하게 했다. 그런데 왕비 민씨가 죽은 다음에, 장희빈이 취선당(就善堂) 서쪽에 신당(神堂)을 설치하고 민비가 죽기를 기도한 일이 발각되었다. 이 일에 관련된 희빈과 장희재는 처형되고 궁인(宮人)·무녀와 그 족당(族黨)도 화를 입었다. 이것을 무고(巫蠱)의 옥(獄)이라고 한다. 이 때 장희빈에 대해 관대한 태도를 취한 남구만·최석정(崔錫鼎)·유상운(柳尙運) 등 소론의 선비들도 몰락하고 다시 노론이 득세하였다. 숙종은 이후 빈(嬪)을 후비(后妃)로 승격하는 일을 없애는 법을 만들었다.
나는 희빈 장씨니라 꺄아하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하
I really by all means dont understand why those pianists running for their life these days. I mean if you want to finish faster then why not dying right away? I mean the first seconds. Timing is off. Cant distinguish the notes one from another. Truly impressive playing in that tempo but not very musical.
@@wilh3lmmusic Fast yes. But not uneven. Imagine speaking like this. No one could understand you. I dont understand how this stupid trend even developed.
I’m probably going to catch some heat for this, but there is a reason why this music is so rarely performed and not better known. And it’s not because the music is so difficult. It’s because much of this music just isn’t very good. Just because a piece is difficult does not mean that it is good. And this music is indeed fiendishly difficult. But once you strip away all of the technical pyrotechnics, you have a series of pretty simplistic harmonic progressions and uninspired contrapuntal lines. If you did a Schenkerian analysis of the first etude, for example, there would be almost nothing there. But kudos to the pianist for his formidable technique and for doing his best to breathe some life into these second rate piano pieces.
I'd say it is pretty good. Not up there with the likes of Chopin, Schumann, or Ravel in terms of memorable melodies, charm, or masterful composition, but in terms of nearly inhumanly difficult piano music this would take the cake.
Well I would have to disagree. While your totally right about difficulty not making a piece better I do think these pieces (or some of them) are very musical. Especially the concerto ist just brilliant in the way of mimicking an orchestra. Schumann himself once wrote that alkan was "Das ultra der französischen romantik" meaning the absolut best of frencj romanticism. Not every pieces is great but the once that are, are way up the with all the other great composers. You should check his cello sonata out its serverly under performed and very beautiful.
What is the point of playing so fast that groups of notes are twitchy little clumps and grabs and all evenness is sacrificed completely? Listening to a pianist trying to play as fast as he possibly can - though I'm sure he could play even faster, this is the fastest he felt he could get away with - is uninteresting. Who cares about speed over musicality and clarity?
It’s about whether people like it, which some ppl do. People listen to piece because they like to, not because it is “musically interesting” or whatever.
![Alkan - Concerto for Solo Piano (Smith) [Christmas Special No. 3]](http://i.ytimg.com/vi/w-_hYYjMiJY/mqdefault.jpg)
![Alkan - Concerto for Solo Piano (Smith) [Christmas Special No. 3]](/img/tr.png)
![Bortkiewicz - Piano Concerto No. 1, Op. 16 (Shadrina, Sukach) [Christmas Special No. 4]](http://i.ytimg.com/vi/sbBrKano384/mqdefault.jpg)
i love how the descriptions still bother to add "the piece is technically demanding"
EVERY great piece is technically demanding. Brahms Intermezzi!!
The thing is... let's focus on MUSIC instead of perpetuate Alkan myths that let listeners and pianists to run away from him... most of his etudes are easier than Chopin's, or at least have different technical difficult. not MORE or LESS.
@@LuisKolodin i think the stamina you need to have to play these is harder to get than the technique for a chopin study
@@bloba6969 they are very hard. But these are different techniques. Can't measure as one is harder than the other in absolute terms. To me, the Symphony is much easier than CHOPIN. For my body conformation and hands
@@LuisKolodin these are much harder than chopin etudes...
@@davisatdavis1 perpetuating Alkan myths does no favor to his work. Alkan lacks sensitive performers because of these, and even audience prefer to keep distance, since technical difficult is not a musical thing. Those who love music do not care about it.
2:01:55 When you discover the Arpeggio button in MuseScore
Ronald Smith's playing here is truly impressive and places him among Alkan's best performers. The touch, articulation and dynamics are very natural, never too harsh in the more powerful passages (and there are many! see 26:57 for example). His magical touch always shines more brightly in the quieter, more peaceful sections (see 1:43:00, one of the most brilliant section in Alkan's music). Last, but not least, his performances show probably the greatest attention to score and subtlety I have ever seen with those etudes, with many details that Smith brings to the fore!
1:43 😂 too slow and boring. The technical parts i like playing but as a composer his music is nothing of interest
Is Ronald Smith the same Ronald Smiths on ABRMS certificate in the 80s?
Couldn't agree more!
If u r looking for d page used in d thumbnail, it’s at 2:02:40, d last etude. This composer and his work, this pianist and his recording, and this channel and his upload - truly monumental! Thank you!!
u r d
We are now experiencing Alkan-Renaissance worldwide - Gibbons, Hamelin, Maltempo, Yui Morishita...., . Yet we should admit it's Ronald Smith who sparked such Alkan boom.
Glad you mentioned morishita, my recent discovery. Dont forget the guy who played le preux last year - but its painful watch him play, morishita is just a great pleasure
@@edgarreitz7067yi chung huang? he played it right after lucrecia borgia too lol
I'd reserve that honour for Raymond Lewenthal.
2:01:55 I refuse to believe that this is real. Incredible
This is just Alkan
Assomiglia un po’ alla polacca op 22 di chopin ?
Extreme flexibility in the wrists.
@@Dylonely42I see you everywhere
I've always thought that Ronald Smith nailed the "rhythm" of 56:28-56:40 better than any other recording I've ever heard, including both of Hamelin's.
Maltempo plays it better
Probably the hardest piano opus ever written, not only by its technical character, but also for the musicality needed.
not
Happy New Year everyone ! I wish you all the best.
Happy New Year to you too!
HAPPY NEW YEAR!!!!!!!!!!!!!!!!!
happy new year!
We love ur uploads
My cat says, "Happy Mew Year."
1:36:15 1:37:42 Triple sharp ♯𝄪
Thank you very much for this. Despite the newer recordings by Jack Gibbons, Stephanie McCallum and Vincenzo Maltempo of the complete set, Smith's pioneering recording is still hard to beat. It always amazes me that he preferred to make recordings in a single take too, which makes these basically live performances even more visceral in their impact.
Very nice. But for me, it's always been John Ogdon in the concerto, though for some reason, his recording was deleted.
@@arthurhogan3047 And I'd like to add the young Yeol Eum Son to that list, also a great performer: ruclips.net/video/m52MJ6hJx3I/видео.html
In particular I love her superfluent intepretation of Le Festin d’Ésope... The speedy right-hand variation - you know the one I mean - is amazing, so crisp, fluent and playful... Here a direct link: ruclips.net/video/m52MJ6hJx3I/видео.htmlfeature=shared&t=299
Had heard of Ronald Smith but my first introduction to Alkan was via Marc-Andre Hamelin! which makes you think there is nothing else out there, the guy was so phenomenal. But now having heard Ronald Smith's own versions, can see why pianophiles of the 1970s-1990s might have had to get their jaw re-set (after it dropped to the floor). The dynamics, the control,-the precision are all spectacular, as is the overall timing and understanding of the pieces. These may have been the pioneering recordings before Hamelin's light brought them into a new awareness. Seriously more than impressed with Ronald Smith, can see what all the fuss was about now.
Smith brings so many great colors out of these works that are unfortunately _sorely_ neglected in other people’s recordings of Alkan. Just awesome.
Alkan must have been high when writing some of these studies. I've always loved the Scherzo Diabolico. It is indeed diabolic both in a musical sense and in its difficulty. Thank you for this amazing upload. Happy new year!
Smith's recording of Mvt.I for the Symphony is night and day from Hamelin's. I have to appreciate them both for different reasons. I find Hamelin's live performance (available on RUclips) way over-pedaled. Plus, it feels like he'd rather have the melody be super straightforward in the 6/8 time setting. Nevertheless, it's still a very beautiful performance if you can get past the neglect of Alkan's writing.
Smith actually makes this movement sound like a symphony is playing out in front of you. The mindful pedaling and attention to detail allows the different elements to shine with greater contrast from each other. If I was skilled enough, I would attempt my own orchestration of the Symphony using Smith's recording as reference.
That being said, Hamelin is a beast when playing live, and it's extremely swoon-worthy when he loses himself in a piece - and he certainly does when performing this movement live! His tempo choice is insane (and I do find myself wishing Smith's recording was a bit faster, but also idk how fast 108 bpm (Alkan's indicated bpm) is without a metronome lol), which adds to the ferocity of his performance which culminates at the section at 26:56, where I think Hamelin very much outshines Smith. Smith's dynamics here are just not powerful enough for this climax, unfortunately. And weirdly enough (although this could be attributed to differences in edition), Hamelin's pedaling is a lot more appropriate in this section. While Smith's pronunciation/rhythmic pulse is a lot better, Hamelin's rubato is more preferable and his touch on the very last chord is so juicy in comparison.
30:40 best bit
Alkan is insane. How can a pianist go on for 2 hours?
A question best suited for Vincenzo Maltempo haha
@@Varooooooom maltempo did have some intermissions... still insanely hard though
My piano teacher told me a piano concert is normally 2 hours
So cool to see people still listening to alkan
The part at 58:07-58:19 is as gorgeous as Ronald Smith plays it here. There are so many bars and lines in this music that are highly evocative, more so than in any other piano music written during this period, from Schubert to Liszt.
This is the best set of etudes ever
wow, and in the quiet sections! 1:43:00 as pointed out by SRS...fabulous.
Unglaublich. Was hat Alkan genommen als er das komponierte. Und wie kann man so etwas spielen. Abo ist gemacht. Ganz großes Kino.
27:20 to 27:40 is really a highlight
PS I LOVE Smith's tempo in the Ouverture - much more in line with what I would expect from a symphony orchestra, the sound of which is easily brought to mind in much of this piece.
Slower than Alkans tempo marking of 100, but it works!
Has anyone realised the key of each song goes up its 4ths? What I mean is for example, the first etude is in A minor, and the next is in D minor (which goes up by a 4th). If the 2nd etude is in D minor, D raised a 4th would be G, therefore resulting the 3rd etude in G minor.
Yes. As with Bach's Well-Tempered Clavier, studies in all the keys are traditionally arranged in a sequential order. Bach wrote a prelude and fugue in C major and C minor, then D-flat major and C# minor, then DM, dm, etc. Alkan wrote first 12 studies in the circle of fourths for all the major keys (Op.35, 1848), then another 12 in all the minor keys (Op.39, 1857). Shostakovich arranged his preludes and fugues to follow the circle of fifths.
1:37:39 theres a triple sharp in the left hand of the first measure of the second lane
I thought you were joking!! Mind-blown! I see that A#x now!
Bruh.....
Also how did you catch that hahaha
@@amj.composer this piece is quite famous for it. Like reger‘s clarinet sonata
@@DavidBadilloMusic , guys, no, that's not how they work. @eralezzyt3200, it's JUST an A double-sharp. It leads into the B-sharp, otherwise it would be two enharmonic "C's" played in a row.
If you see a Cx in the key of D-major, you don't play a D#/Eb. Same thing here.
No, it's a f triple sharp - observe the treble clef!@@DavidBadilloMusic
Thank you so very much for putting up such great score videos of my favourite piano composers, Alkan and Medtner....
OMG! I’ve been telling people for ages that my favourite piano composers are Alkan and Medtner. Never expected to find out someone else out there agrees.
I love Alkan!
A Colossus, thank you.....BRAVO to Maestro Smith......from Acapulco!
.....and now from Mexico City....having been driven from Acapulco by Otis!
Fascinating and thoroughly original
This music is so nimble and interesting. He is not a composer I had ever heard or heard of until very recently.
Thanks for posting this. So much to learn and observe about writing for the piano.
Google:
12 Etudes in All the Minor Keys, Op. 39
Song by Charles-Valentin Alkan and Marc-André Hamelin
I'm looking for a set of etudes that's as comprehensive as possible in all it covers, to refine one's technique to play anything within the romantic period. Would this be it? I've spent the past year and a half on the Concerto For Solo Piano but I am thinking of working on some of the others. Is this set missing anything?
stunning, Splenid play!
1:58:35
such an exquisite player.
17:36 , 26:02, 27:22, 1:53:35, 1:57:44
27:26
Alkan, is everything alright at home?
Winter Wind
@@stacia6678ya
Kinda
1:59:57 is what the inside of my head sounds like
Haha!
Take meds!!
I'm still in the first 10 seconds trying to determine whether I can hear a difference between stacatto and stacatissmo demi's (32nd notes) in the left hand.
In case anyone actually cares:
The tempo works out at approximately 10 demis per second, which means, using the "nominal" definition of staccato (half duration) and staccatissimo (quarter duration), a staccato demi will last 50 milliseconds and staccatissimo will last 25 milliseconds.
The right hand demi-triplets are played at 16 per second (fun with rounding) - a whopping 62 milliseconds per note.
Obviously, the stacatto and stacatissmo are instructions to the performer, not rigid duration instructions. However, Alkan made the stacatto and stacatissmo distinction for .
In conclusion, I need better ears.
lol
Happy new year!
What a genius ! Thx for the upload ;)
13:30 27:13 1:39:07 1:39:16 1:52:42 to end
17:36
How is this even possible???! I’m an upper intermediate pianist and I cannot fathom how to play most of these etudes at these various tempi…
What pieces can an upper intermediate pianist play?
@@j.s.42822 I can play Chopin etude No.2, Op.10, No.3, several WTC preludes/fugues (3+ voices) and other similar pieces
@@henrykwieniawski7233 I agree that is upper intermediate.
@@j.s.42822etude no. 2 is upper intermediate? I hear it’s quite difficult what with all the use of the weaker fingers
3:44 - I'm a composer. And I do like this piece. But... taking more of a Birdseye view, I have to wonder - What is the point? of this piece. It frankly sounds less like an etude, and more like uncontrolled violent Anger.
Let me ask.... Do you think Beethoven (Or Any of the other greatest composers) COULDN'T have written a piece like this??? They Could have - BUT THEY DIDN'T!
You made a good point there. But i have to turn your argument around! Composers like Beethoven, Schubert, Schumann, Chopin, Liszt (for Mendelssohn i make a little exception), they pushed music forward, all revolutionary in their own way. But i have the feeling that their music often suffered under their musical vision or mission. Thats why. But i agree No1 is probably the most uninteresting piece in this cicle and smiths interpretion is not good at all; really recommend the concerto, the symphony and no 12. if you listen closely Alkans melodic lines are so close to a natural human voice. I miss that in the Music of Schumann, Beethoven, Chopin and Liszt, they're always unvoluntary instrumental, rather have the character of etheral gestures
INCREDIBLE ! thank you !
Excellent music and info about it.
Very good. This is what twelve cans of Red Bull will do
1:22:46 Good bye, the cruel world.
Très grand chef d’œuvre du répertoire.
Outstanding.
Voicing in 31:25 is awesome
Pocos recursos compositivos no se llenan con exceso de notas
Alkan is Dark Souls for pianists.
No that's Leo Ornstein
@@Angelo-z2iOrnstein and Smough😭😭
I did not really enjoy any of these, except “le Festin d’Ésope,” a great set of variations, the theme of which is refreshingly repeated in all sorts of contexts. The rest is either just too dark or too loud and all over the place. Thanks for the upload in any case!
Extremely unbased
@@WEEBLLOM Sorry?
@@jakubedwardschiffauermedraj ñ
@Random Account a
Number 3 is awesome!
in the first etude is wrong to accent second beat.
I thought I'd try to sight read these. Pieces at a concert 😮. I was quite nervous and not overly pleased with my performance but the audience were ecstatic 😮😂🎉❤
Good stuff.
minor
indeed
Why do we practice this pieces?
Because the pianist wants to ?
45:54
Nice.
Hot take: Hamelin’s Etude written off of the Symphony for Piano Finale (Hamelin Etude in C minor) is actually better than the original
27:48 false picardy third
Lol, the description for the Overture at No. 11.
희빈 장씨(1659∼1701) : 조선 19대왕 숙종의 후궁.
본관은 인동(仁同)이다. 역관 장현(張炫)의 종질녀이다. 어머니의 정부(情夫)였던 조사석(趙師錫)과 종친인 동평군 이항(東平君 李杭)의 주선으로 궁녀로 들어가 숙종의 총애를 독차지했다.
1686년(숙종 12) 숙원(淑媛)이 되었다. 1688년 소의(昭儀)로 승진하고 왕자 이윤(李昀: 뒤의 景宗)을 낳았다. 왕은 기뻐하여 세자로 봉하려 했다. 그러나 송시열(宋時烈) 등 당시 정권을 잡고 있던 서인이 지지하지 않으므로 남인들의 원조를 얻어 책봉하려 했다.
이에 서인의 노론·소론은 모두 왕비 민씨(閔氏)가 나이가 많지 않으니 후일을 기다리자고 주장하였다. 숙종은 듣지 않고 1689년 정월에 이윤을 세자로 봉하고, 장소의는 희빈으로 승격했다. 이 때 송시열이 세자로 봉하는 것이 아직 이르다고 상소하였다. 왕은 이미 명호(名號)가 결정된 다음에 이런 의견을 말하는 것은 무슨 일이냐고 진노했다.
이에 남인 이현기(李玄紀)·남치훈(南致薰)·윤빈(尹彬) 등이 송시열의 상소를 논박하며 파직시켜 제주도로 유배하게 하고 다시 사사(賜死)하게 하였다. 그러나 송시열은 중로 정읍으로 이배(移配)되었다가 사약을 받았다.
이 밖에 서인의 영수들도 파직 또는 유배를 면하지 못했다. 반면에 남인의 권대운(權大運)·김덕원(金德遠) 등이 등용되었다. 이 정권의 교체를 기사환국 또는 기사사화라고 한다.
이 해 5월에 민비를 폐하고 장희빈을 왕비로 삼으려 할 때 서인 오두인(吳斗寅)·박태보(朴泰輔) 등 80여 명이 상소하여 이를 반대했다. 그러나 이들은 참혹한 형문을 받게 되니 이후 정국은 남인의 세상이 되었다.
기사환국 후 시간이 흐르면서 숙종은 폐비사건을 후회하게 되었다. 그러던 중 1694년 서인의 김춘택(金春澤)·한중혁(韓重爀) 등이 폐비 복위운동을 꾀하다가 고발되었다. 이 때 남인의 영수요 당시 우의정이었던 민암(閔黯) 등이 이 기회에 반대당 서인을 완전히 제거하려고 김춘택 등 수십 명을 하옥하고 범위를 넓혀 일대 옥사를 일으켰다.
이 때 숙종은 폐비에 대한 반성으로 옥사를 다스리던 민암을 파직하고 사사했으며, 권대운·목내선(睦來善)·김덕원 등을 유배했다. 이어 소론 남구만(南九萬)·박세채(朴世采)·윤지완(尹趾完) 등을 등용하고 장씨를 희빈으로 내렸는데 이것을 갑술옥사라고 한다. 또한, 이미 죽은 송시열·김수항(金壽恒) 등은 복작(復爵)되고 남인은 정계에서 물러나게 되었다.
소론이 들어서고 남인이 물러날 때 장희빈의 오빠 장희재(張希載)가 희빈에게 보낸 서장(書狀) 속에 폐비 민씨에 관련된 문구가 있어 논쟁이 벌어졌다. 여러 사람이 장희재를 죽이자고 했으나 세자에게 화가 미칠까 염려하여 남구만·윤지완 등이 용서하게 했다.
그런데 왕비 민씨가 죽은 다음에, 장희빈이 취선당(就善堂) 서쪽에 신당(神堂)을 설치하고 민비가 죽기를 기도한 일이 발각되었다. 이 일에 관련된 희빈과 장희재는 처형되고 궁인(宮人)·무녀와 그 족당(族黨)도 화를 입었다. 이것을 무고(巫蠱)의 옥(獄)이라고 한다.
이 때 장희빈에 대해 관대한 태도를 취한 남구만·최석정(崔錫鼎)·유상운(柳尙運) 등 소론의 선비들도 몰락하고 다시 노론이 득세하였다. 숙종은 이후 빈(嬪)을 후비(后妃)로 승격하는 일을 없애는 법을 만들었다.
2:02:42
It may be technically demanding but is it musically rewarding? Its difficult for its own sake.
At least concerto for solo piano is one of the most creative and musically rewarding piece ever.
First, third, and twelfth I agree. The rest, all just as musically demanding as they are technically demanding.
It's an etude. Of course it's difficult.
@@happypiano4810the twelfth is musically demanding as well
지워지지않을 그 연둣빛과도 같은 나, 상감마마 미워요이니라.
what the fuck is that opening to Nr. 1 😭💀
Vis SO LOW at the start 1:55:32
Is that normal?
1:36:14 Impossible
Play pp is harder
Música imposible
Chopin´s Posthume Etude F minor is a very easy piece compared to this :-)
SUUUPER !!!!!!!!!!!!!!!!
Liszt anime weebs like this
why
why
yes
?
yes
I.n.c.r.e.d.i.b.l.e.😱🥶😱🥶😱
Too many notes, Mr Alkan 😫
Why not Maltempo? Great video anyways
Because I prefer Ronald Smith..
@@SeigneurReefShark he’s good too but his 1st etude 🤢
@@toucc9638 his 1st etude is great !
@Dhruva Punde his old channel has it and it’s gone now
My God in heaven 😂😂😂
3, (6), 7,
You can work on these for 50 years. So someone will come up to you
and ask if you know Fur Elise.
Imprecise playing.
?
easy
show off + musicality
yup these etudes are def humane
is anyone gonna talk how suspiciously similar 26:57 to the end sounds like to chopin ballade no 2
I don't hear it?
Nope
What you talking? You bastad wasting my time fffff offff
나는 희빈 장씨니라 꺄아하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하하
@@상감마마미워요 정신차려라
😲
I really by all means dont understand why those pianists running for their life these days. I mean if you want to finish faster then why not dying right away?
I mean the first seconds. Timing is off. Cant distinguish the notes one from another. Truly impressive playing in that tempo but not very musical.
Well, it says like the wind and prestissimamente so maybe it should be fast? 🤔
@@wilh3lmmusic Fast yes. But not uneven. Imagine speaking like this. No one could understand you.
I dont understand how this stupid trend even developed.
@@backr3aper870 The first measures are played in an extremely even way, what are you talking about lol
@@WEEBLLOM I mean you cant feel the rhythm somehow
@@backr3aper870 I can.
At 1:53:35-1:53:42. No one plays this better than Smith.
So much and yet so little
That first movement is just ridiculously long....
I’m probably going to catch some heat for this, but there is a reason why this music is so rarely performed and not better known. And it’s not because the music is so difficult. It’s because much of this music just isn’t very good. Just because a piece is difficult does not mean that it is good. And this music is indeed fiendishly difficult. But once you strip away all of the technical pyrotechnics, you have a series of pretty simplistic harmonic progressions and uninspired contrapuntal lines. If you did a Schenkerian analysis of the first etude, for example, there would be almost nothing there. But kudos to the pianist for his formidable technique and for doing his best to breathe some life into these second rate piano pieces.
Exactly. Devoid of musical content.
I'd say it is pretty good. Not up there with the likes of Chopin, Schumann, or Ravel in terms of memorable melodies, charm, or masterful composition, but in terms of nearly inhumanly difficult piano music this would take the cake.
Well I would have to disagree. While your totally right about difficulty not making a piece better I do think these pieces (or some of them) are very musical. Especially the concerto ist just brilliant in the way of mimicking an orchestra. Schumann himself once wrote that alkan was "Das ultra der französischen romantik" meaning the absolut best of frencj romanticism. Not every pieces is great but the once that are, are way up the with all the other great composers. You should check his cello sonata out its serverly under performed and very beautiful.
@@achilles231 Guess what. These are etudes.
Scharwenka was a better composer, and NOBODY knows him. Alkan is dull
TOO MANY NOTES.
no
tell that to symphonists
skill issue
Is this Human???!!!
No
Liszt had been real quiet since this dropped...
Beethoven/Liszt Symphony 9:
To not only play it, but to write something like that! Yikes!!!😳
The first etude sounds so bad at that tempo im sorry
I agree, I do prefer maltempo but the other etudes for the most part are good imo
What is the point of playing so fast that groups of notes are twitchy little clumps and grabs and all evenness is sacrificed completely? Listening to a pianist trying to play as fast as he possibly can - though I'm sure he could play even faster, this is the fastest he felt he could get away with - is uninteresting. Who cares about speed over musicality and clarity?
It’s about whether people like it, which some ppl do. People listen to piece because they like to, not because it is “musically interesting” or whatever.