@@musicokpiano6805 Dvorak has a reputation among critics as a tunesmith not a deep composer, inferior to composers like Brahms. That critical opinion ensured Dvorak would be known for a few superhits, not a large body of works. And the general CM-listening public cannot love what they haven't heard.
@@patrickhackett7881 That's really odd. It sounds like something critics are just parroting over without giving it a thought of their own. Dvořák's sacred works for example are extremely profound. Also, Brahms himself had nothing but deep admiration for Dvořák.
I always liked the 7th, but now I'm discovering they are all really something else. Inmensely beautfil. Dvorak is my favourite romantic composer for sure.
Just for these pieces alone, although he has many other fantistic pieces, he is a genius. Such gorgeous melodies/passages and the fact is that you can hear the humor in them as well as follow it on the score.
I love Dvorak's more "folksy" hummable melodies, which are encapsulated within these pieces. I think it's lent to his continued wide appeal. He's a master composer with a lot of variety, but he's not overly heady in his approach.
No, he was a happy guy, who loved nature and he played whist card games with his buddies in the pub, or invited friends to the villa to play bowling. And used to have conversations with train conductors, he liked the trains very much. Maybe these Humoresque miniatures are so naive and decent to play for his children because he composed Sonatina for his children around the same time. when he was in America and he started Humoresques in America and in Europe he finished it. Maybe therefore the Humoresques have such naivety and romantic feeling. Also, his piano concerto is full of folk tunes and has its romantic naivety.
@@alaalfa8839 I'm not really sure the view of Dvorak as a light, charming, naive composer can really be sustained in light of works such as the 7th Symphony, the 3rd and 4th piano trios, or the tone poems which are really gruesomely dark pieces.
it's slightly embarrassing that it took me 15 years to finally sit down and listen to all of these for the first time 😭 i played suzuki's arrangement of no 7 for violin oh so many years ago
Anyone else noticed the different note played at 5:19 (and elsewhere in the same figure). The player hits a "c" rather than repeating the "b flat" for four times "in a row." My Barenreiter copy of the score has four "b flats" ("in a row, between the f and f flats). I wonder if there is an altered version or did this perform just think it was indicated to change the note?
I do wonder why he notated that 7th one in G-flat. The only accidentals are double flats (which generally are considered less nice than double-sharps, of which there would be none in F-sharp major anyway); the "trio" is in F-sharp minor; and the piece before is in B Major, with a clear link established between the dominant of that and the tonic of this one. And both keys have six accidentals (flats or sharps) in any case. Perhaps it's for the link to the next one. Hardly a major thing either way, just slightly curious.
Generally speaking, G-flat major is a much more common key than F-sharp. Maybe it is because of its recurrence, but I find it easier to read also. Having that many sharps is kind of weird when considering secondary dominants and such.
@@robertocarlosramirezfiguer3305 I do remember learning that, as a rule of thumb, people prefer sharps to flats, and especially double sharps to double flats - maybe just cos I'm a string player lol. But in this piece, there wouldn't even be any double sharps, since there are no written-in naturals. But it is a very minor question, of course. The enharmonic change will happen onto the next movement anyway :P
Pianists generally don't care one way or the other whether you're in Gb or F#. A double-flatted note in Gb is not really any different than a natural note in F#. I've found that String players seem to prefer the Sharp keys, while brass and woodwinds like Flat keys better.
Misconception about this well known piece from the set - these are Humoreskes (with fanciful humor in mood) and this one has been "romanced" to death. The actual Tempo of 72 to the quarter is much faster than is being played here. It is supposed to be a light, jaunty piece (hence the disconnecting rests) - not what it has been turned into ...
@@Whatismusic123 okay first of all can you explain to me exactly why this is complete garbage. An argument without an explanation is no argument at all.
@@salamonthegreat inconsistent, he cannot transition between themes without a massie hiccup, his counterpoint is pathetic, for every piece he often has some gimmick but fails to capitalize on it and explore it, just repeating himself endlessly or continuing to another gimmick
![Mozart - Sonata for Two Pianos in D, K. 448 [complete]](http://i.ytimg.com/vi/tT9gT5bqi6Y/mqdefault.jpg)
This all 8 humoreskes are absolutely beautifull, i wonder why there are not too many interpretations of this in RUclips
@@SlavicSpoon The only famous is the seventh humoreque
@@SlavicSpoon All of Dvorak's are beautiful and good but I don't know why just some of his piece is famous.··
@@musicokpiano6805 Dvorak has a reputation among critics as a tunesmith not a deep composer, inferior to composers like Brahms. That critical opinion ensured Dvorak would be known for a few superhits, not a large body of works. And the general CM-listening public cannot love what they haven't heard.
So true. None of them miss
@@patrickhackett7881 That's really odd. It sounds like something critics are just parroting over without giving it a thought of their own. Dvořák's sacred works for example are extremely profound. Also, Brahms himself had nothing but deep admiration for Dvořák.
I always liked the 7th, but now I'm discovering they are all really something else. Inmensely beautfil. Dvorak is my favourite romantic composer for sure.
Oh man, how I am loving these more and more
0:03 what a missed opportunity for Dvořák to add the licc 😭
almost lick in e flat minor
there are one more lick on the l.h.
Bro didn’t know what the lick was 💀
Just for these pieces alone, although he has many other fantistic pieces, he is a genius. Such gorgeous melodies/passages and the fact is that you can hear the humor in them as well as follow it on the score.
I love Dvorak's more "folksy" hummable melodies, which are encapsulated within these pieces. I think it's lent to his continued wide appeal. He's a master composer with a lot of variety, but he's not overly heady in his approach.
No, he was a happy guy, who loved nature and he played whist card games with his buddies in the pub, or invited friends to the villa to play bowling. And used to have conversations with train conductors, he liked the trains very much. Maybe these Humoresque miniatures are so naive and decent to play for his children because he composed Sonatina for his children around the same time. when he was in America and he started Humoresques in America and in Europe he finished it. Maybe therefore the Humoresques have such naivety and romantic feeling. Also, his piano concerto is full of folk tunes and has its romantic naivety.
@@alaalfa8839 I'm not really sure the view of Dvorak as a light, charming, naive composer can really be sustained in light of works such as the 7th Symphony, the 3rd and 4th piano trios, or the tone poems which are really gruesomely dark pieces.
17:53 It’s so beautiful.
16:42 is the one we all know and love
lmao I know
Indeed
We love all of them
it's slightly embarrassing that it took me 15 years to finally sit down and listen to all of these for the first time 😭 i played suzuki's arrangement of no 7 for violin oh so many years ago
Molto interessante e gradevoli.Un aspetto poco conosciuto di Dvorak.
Bell'inserimento.Grazie.
No.5 Vivace in A minor is VERY CATCHY!!
It is!
... wunderschöne grazile musikalische Perlen - feinsinnig und erfahren reif vom berühmten Pianisten gespielt ...
Beautiful... Wow !!!
So beautiful! Thanks! 谢谢！
Как он сыграл повторение 1 раздела в 7ой, это великолепно.Не у кого я не слышал такого звучания, он и дворжак - гении!
My playlist of classical tranquillity
beautiful! thank you!
Excelente pianista!!!
Marvelous！
why is middle of no 7 is so serious and heroic?
That's what makes no 7 widely-known
Anyone else noticed the different note played at 5:19 (and elsewhere in the same figure). The player hits a "c" rather than repeating the "b flat" for four times "in a row." My Barenreiter copy of the score has four "b flats" ("in a row, between the f and f flats). I wonder if there is an altered version or did this perform just think it was indicated to change the note?
Yesno
My favourite is no 2 and no 7
came for no.7, stayed for the rest.
2:38 sounds very modern, like Enaudi
I love them!
The first is just ...
The first is by far my favorite
all metronome marks are 72
lol
good
I do wonder why he notated that 7th one in G-flat. The only accidentals are double flats (which generally are considered less nice than double-sharps, of which there would be none in F-sharp major anyway); the "trio" is in F-sharp minor; and the piece before is in B Major, with a clear link established between the dominant of that and the tonic of this one. And both keys have six accidentals (flats or sharps) in any case.
Perhaps it's for the link to the next one. Hardly a major thing either way, just slightly curious.
Generally speaking, G-flat major is a much more common key than F-sharp. Maybe it is because of its recurrence, but I find it easier to read also. Having that many sharps is kind of weird when considering secondary dominants and such.
@@robertocarlosramirezfiguer3305 I do remember learning that, as a rule of thumb, people prefer sharps to flats, and especially double sharps to double flats - maybe just cos I'm a string player lol. But in this piece, there wouldn't even be any double sharps, since there are no written-in naturals.
But it is a very minor question, of course. The enharmonic change will happen onto the next movement anyway :P
@@klop4228 That makes so much sense! I am a piano player and our rule of thumb is opposite, flats are preferred!
Pianists generally don't care one way or the other whether you're in Gb or F#. A double-flatted note in Gb is not really any different than a natural note in F#.
I've found that String players seem to prefer the Sharp keys, while brass and woodwinds like Flat keys better.
17:52
This is wonderful but I wish No. 7 was played at a slightly slower tempo
Misconception about this well known piece from the set - these are Humoreskes (with fanciful humor in mood) and this one has been "romanced" to death. The actual Tempo of 72 to the quarter is much faster than is being played here. It is supposed to be a light, jaunty piece (hence the disconnecting rests) - not what it has been turned into ...
I also like them in slower tempo but interpreting them like this, in a more cheerfull way makes a lot of sense.
Could you please upload No. 7 alone in one video so that I could loop it? Thank you.
Finna play no 1,7,8
Year of recording probably 1972.
Too underrated :(
4:44
0:37 1:17
What the ...??? What is this ... ??? Never heard of it ... ??? Really ... ??? Oh, come ... ??? This can't be real ...
Oh there it is.
Why did he call them “Humoresques”? These are no joke.
"New Scottish Dances ". But later he renamed the cycle " Humoresques ".
16'40"
유머러스크 전곡을 들을 수 있는 곳이 여기 뿐이군...
metronomes are the death of classical music
No pongan propaganda cortando la musica.. NO CORRESPONDE DESMERECE !
Que puta mierda que te estén cague y cague el palo con anuncios
Dvorak is such a bad composer, why does he get so much recognition?
No, u
And you can compose better?
@@salamonthegreat yeah, I can, cuz this is complete garbage
@@Whatismusic123 okay first of all can you explain to me exactly why this is complete garbage. An argument without an explanation is no argument at all.
@@salamonthegreat inconsistent, he cannot transition between themes without a massie hiccup, his counterpoint is pathetic, for every piece he often has some gimmick but fails to capitalize on it and explore it, just repeating himself endlessly or continuing to another gimmick