Very distinctive "American" style heard here. I can imagine hearing the opening in one of this early American movies invoking the scenery of a sunrise, mountains and open plains. 13:42 is probably one of the most warmth I've ever felt in music. Absolutely gorgeous.
Perhaps the strangest piano concerto I’ve ever heard. I like it though. I’m normally a very “pure bred” classical musician, but I’m open to hearing new kinds of music, and this is definitely an interesting new type of piece to hear.
@@zgart Ligeti and Lutoslawsky are a completely different era. But it would be comparable to the First by Bartok, compused in the same year (?). ruclips.net/video/YoqQ_NnHwg4/видео.html
Should be played much more often. In 16 minutes of music, we have an introduction, an allegro, a development section surrounding a cadenza, and a reprise. A densely compact piano concerto.
at 6:40 i was like "heh that sounds a bit like banging on the piano... no wait, those are the jazz chords." Then my mouth dropped open at 6:53 and I was like AHHHH. :D
Aaron Copland:Zongoraverseny 1.Andante sostenuto 00:05 2.Moltomoderato,Allegro assai 06:29 Earl Wild-zongora Sympnony of the Air Vezényel:Aaron Copland
There are echoes at the beginning of one of Gershwin's 3 piano preludes. Toward the end: hints of "Summertime". This is the early Copland and he already has a unique voice: there's some French influence (some lush harmonies) for sure, but this is the pure Copland sound and already the absolute master craftsman of organic structure (every note counts) orchestral textures and timbres, rhythmic vitality and the punctuation which display quick mood shifts (between fast and slow and lyrical) and those bursts and spurts (with attendant dynamics) one finds throughout his works. And finally, a Copland piece never drifts: it's always driving to it's final climax (one can hear how towards the very clear influence on Bernstein). Absolute masterpiece!
that was the first thing which struck me as well- - the beginning is sometimes like a refracted take on Gershwin's 2nd Prelude. Everything comes from somewhere!
Right on. This is the copeland score that can rip your heart and make you cry tears of joy and sad. Aaron had the music touch of sympathy and revelation.
Definitely for sure without question or doubt this is THE definitive performance of this work HANDS DOWN!! Copland himself can also be found playing the solo part on youtube somewhere but this performance with the composer conducting and Wild playing has a special and specific type of "electricity" that is unmatched.
Joel Lee, Earl Wild, and even Copland himself bring some awesome interpretations to this Concerto. It never ceases to amaze me just how many ideas come out of them.
Honestly I didn't think I would like this Concerto being a little biased towards modern music purely from a point of musical sense and taste he-he...I must admit I'm impressed. In this piece, I admire Copland's talent taking musical ideas that are ''ugly'', and with means like good harmony, rhythm and orchestration, turn them into something exciting and fun to listen too. I would categorize this music as atmospheric-jazz atonality...now that's what I call a title of a style music, that was invented before it was invented haha! I also appreciate the 16 minutes duraration, I found all sixteen minutes enjoyable and left craving for more adventure at the end. Thank you for this insightful upload, I study your channel closely and I am very lucky, to have found this library of some rare and beautiful scores so young! Ps. If someone can recommend some late modern pieces that are worth listening and studying please respond to my comment, it would be much appreciated .^_^.
You might enjoy the Concerto for Organ, Timpani, and Strings (1934-38) by Francis Poulenc. William Schuman's Symphony No. 3 (1940-41) is excellent too. If you have time, bend your ears around Robert Simpson's Canzona for Brass (1958).
This concerto although seldom performed, doubtessly a very interesting and well crafted piece, that has to and must be compared to George Gershwin’s Concerto written a year prior. Pehaps Copland wrote it to express how a “serious”piece of music needed to sound considering that in his words and when asked to compare his music to Mr.Gershwin’s he stated: ”…Gershwin is serious up to a point…” However, another most influential and “serious” composer said the definitive words on the subject: "Many musicians do not consider George Gershwin a serious composer. But they should understand that, serious or not, he is a composer - that is, a man who lives in music and expresses everything, serious or not, sound or superficial, by means of music, because it is his native language. There are a number of composers, serious (as they believe) or not (as I know), who learned to add notes together. But they are only serious on account of a perfect lack of humor and soul." Arnold Schoenberg
Fun piece - lots of quotes/references - this could certainly be performed more, perhaps instead of Rhapsody in Blue, though it's a little more "serious classical", definitely instead of the Ravel, which is over programmed
I was no fan of Coplands works, what we hear sometimes sounds banal and fake. But this concerto is a marvel of invention and orchestration. I understand it is an early work.
This is far from Copland’s best. Over-long and Over-scored for much of the second movement, that ‘jazz’ dotted rhythm motive repeated as nauseam, the melodic material is very mediocre and the harmony unclear. But he soon improved, with things like the marvellous Symphonic Ode and the masterful Short Symphony.
This music is amazing and deserves more recognition!
Very distinctive "American" style heard here. I can imagine hearing the opening in one of this early American movies invoking the scenery of a sunrise, mountains and open plains. 13:42 is probably one of the most warmth I've ever felt in music. Absolutely gorgeous.
Disgustingly underrated. One of, if not the best.
this is a dream of a concerto - my first time hearing it - love the glorious American sound - wish Copland had written a few more piano concertos
Perhaps the strangest piano concerto I’ve ever heard. I like it though. I’m normally a very “pure bred” classical musician, but I’m open to hearing new kinds of music, and this is definitely an interesting new type of piece to hear.
Do you know the Corigliano or Rautavaara piano concertos? They are also melody focused but have interesting orchestration.
@@ixeraviu I don’t know Corigliano, but I actually just discovered Rautavaara today, and I really enjoyed it! Thanks for the suggestion!
@@VincentGiza-Composer for “strange concerto” I recommend the lutoslawski and ligeti ones
@@zgart
Ligeti and Lutoslawsky are a completely different era. But it would be comparable to the First by Bartok, compused in the same year (?).
ruclips.net/video/YoqQ_NnHwg4/видео.html
"new kinds of music" hahahahaha ;)
Great performance by Wild, thanks for sharing!
So very beautiful 💐
This is the anticoncerto.....not a bad innovative concept.
Should be played much more often. In 16 minutes of music, we have an introduction, an allegro, a development section surrounding a cadenza, and a reprise. A densely compact piano concerto.
Excellent motifs, could have been longer!
Some music is good for serious listening, and some is good for making the work environment more relaxing. This one fulfills both!
Wow!!!!!!!ThAt elegiac blues melody may be the most ravishing thing in existence !!!!
at 6:40 i was like "heh that sounds a bit like banging on the piano... no wait, those are the jazz chords." Then my mouth dropped open at 6:53 and I was like AHHHH. :D
Needs to be performed much more, a masterpiece by a great American composer in his 20s.
Aaron Copland:Zongoraverseny
1.Andante sostenuto 00:05
2.Moltomoderato,Allegro assai 06:29
Earl Wild-zongora
Sympnony of the Air
Vezényel:Aaron Copland
There are echoes at the beginning of one of Gershwin's 3 piano preludes. Toward the end: hints of "Summertime". This is the early Copland and he already has a unique voice: there's some French influence (some lush harmonies) for sure, but this is the pure Copland sound and already the absolute master craftsman of organic structure (every note counts) orchestral textures and timbres, rhythmic vitality and the punctuation which display quick mood shifts (between fast and slow and lyrical) and those bursts and spurts (with attendant dynamics) one finds throughout his works. And finally, a Copland piece never drifts: it's always driving to it's final climax (one can hear how towards the very clear influence on Bernstein). Absolute masterpiece!
that was the first thing which struck me as well- - the beginning is sometimes like a refracted take on Gershwin's 2nd Prelude. Everything comes from somewhere!
最後に出てくる笑顔がいいですね。それにしてもいい曲ですね。スターオーズみたいな始まりからJAZZになったり。お気に入りです。
Right on. This is the copeland score that can rip your heart and make you cry tears of joy and sad. Aaron had the music touch of sympathy and revelation.
Copland
excellent piece!
Definitely for sure without question or doubt this is THE definitive performance of this work HANDS DOWN!! Copland himself can also be found playing the solo part on youtube somewhere but this performance with the composer conducting and Wild playing has a special and specific type of "electricity" that is unmatched.
Amazing masterpiece!
Copland utilise un langage harmonique évoquant le cristal. C'est beau !
Surprisingly short
Joel Lee, Earl Wild, and even Copland himself bring some awesome interpretations to this Concerto. It never ceases to amaze me just how many ideas come out of them.
Its amazing how American this sounds
Well, it is American.
Honestly I didn't think I would like this Concerto being a little biased towards modern music purely from a point of musical sense and taste he-he...I must admit I'm impressed. In this piece,
I admire Copland's talent taking musical ideas that are ''ugly'', and with means like good harmony, rhythm and orchestration, turn them into something exciting and fun to listen too.
I would categorize this music as atmospheric-jazz atonality...now that's what I call a title of a style music, that was invented before it was invented haha! I also appreciate the 16 minutes duraration, I found all sixteen minutes enjoyable and left craving for more adventure at the end. Thank you for this insightful upload, I study your channel closely and I am very lucky, to have found this library of some rare and beautiful scores so young!
Ps.
If someone can recommend some late modern pieces that are worth listening and studying please respond to my comment, it would be much appreciated .^_^.
I would highly recommend Yoshimatsu's Memo Flora Concerto. That's what pops to my mind first, though if I think of others I'll comment some more later
You might enjoy the Concerto for Organ, Timpani, and Strings (1934-38) by Francis Poulenc.
William Schuman's Symphony No. 3 (1940-41) is excellent too.
If you have time, bend your ears around Robert Simpson's Canzona for Brass (1958).
Try Piano Fantasy by Copland, thirty years later than this and difficult but rewarding.
What a contrast to his later work! He was in the vangurad in the 20s.
Now I'm here. What does happen at 06:26? It sounds like an interruption!
Recording had the track a bit cut off, that's all.
Gorgeous. I don't know what else to say.
This concerto although seldom performed, doubtessly a very interesting and well crafted piece, that has to and must be compared to George Gershwin’s Concerto written a year prior. Pehaps Copland wrote it to express how a “serious”piece of music needed to sound considering that in his words and when asked to compare his music to Mr.Gershwin’s he stated: ”…Gershwin is serious up to a point…”
However, another most influential and “serious” composer said the definitive words on the subject:
"Many musicians do not consider George Gershwin a serious composer. But they should understand that, serious or not, he is a composer - that is, a man who lives in music and expresses everything, serious or not, sound or superficial, by means of music, because it is his native language. There are a number of composers, serious (as they believe) or not (as I know), who learned to add notes together. But they are only serious on account of a perfect lack of humor and soul."
Arnold Schoenberg
Little House on the Prairie
👏👏👏💯
Copeland's fast-tempo stuff always seems to have percussion and motifs that makes it sound like buffo or rodeo clowns.
Fun piece - lots of quotes/references - this could certainly be performed more, perhaps instead of Rhapsody in Blue, though it's a little more "serious classical", definitely instead of the Ravel, which is over programmed
I was no fan of Coplands works, what we hear sometimes sounds banal and fake. But this concerto is a marvel of invention and orchestration. I understand it is an early work.
thanks for sharing, can you send me the score? please :/
His time will come.
6:20
8:10
14:37
6:29
Kaplan in his precommercial phase was pretty weird.
Never heard Copland being called Kaplan before, never heard this music being described as precommercial. What does it even mean?
0:06
This is far from Copland’s best. Over-long and Over-scored for much of the second movement, that ‘jazz’ dotted rhythm motive repeated as nauseam, the melodic material is very mediocre and the harmony unclear. But he soon improved, with things like the marvellous Symphonic Ode and the masterful Short Symphony.
GOD BLESS AMERICA!
Oh good grief. Grow up.
@@984francis
Perhaps America sneezed? 🤧