Etude Op.39 "Concerto for Solo Piano" - Charles-Valentin Alkan | •DevilSynthesia•
HTML-код
- Опубликовано: 17 сен 2020
- Concerto for Solo Piano (French: Concerto pour piano seul) is a 3-movement solo piano piece written by Charles-Valentin Alkan. The pieces are part of a 12 piece cycle entitled Douze études dans tous les tons mineurs (12 Studies in the Minor Keys), published in 1857 (although it may have been written some years earlier). With sections marked "Tutti", "Solo" and "Piano", the piece requires the soloist to present the voices of both the orchestra and the soloist. The pianist Jack Gibbons comments: "The style and form of the music take on a monumental quality-rich, thickly set textures and harmonies ... conjure up the sound world of a whole orchestra and tax the performer, both physically and mentally, to the limit."
The work features progressive tonality, beginning in G♯ minor and ending in F♯ major; this is a consequence of the piece being three consecutive elements of the cycle of 12 études, each of which is in a key a perfect fourth higher than its predecessor.
The piece, including all 3 movements, is 121 pages long and takes about 50 minutes to perform. The first movement on its own, comprises 72 pages and takes over 29 minutes to play (Jack Gibbons comments that "the first movement has more bars in it than the entire Hammerklavier Sonata by Beethoven"). Alkan authorized the piece to be truncated to make "un morceau de concert, d'une durée ordinaire" (a concert piece of normal duration). It may be that the composer himself performed the first movement (alone) in such a shortened version in a recital in Paris in the 1880s. It was not until in 1939 that Egon Petri gave the piece a proper performance, in its entirety, during BBC broadcasts.
Adrian Corleonis considers the Concerto to represent the most cruelly taxing piano work before the time of Kaikhosru Shapurji Sorabji and Ferruccio Busoni.
• Mvt.I - Allegro assai
The first movement, which requires almost half an hour to play and has 1342 bars, is marked "Allegro assai". Performance demands tremendous physical endurance, and great technical skills to cover features including arpeggios, octave runs, scales, leaps, grace notes, alternating hands, swiftly changing block chord motifs, tremolos, and trills executed by the fourth and fifth fingers with the melody played on the same hand. Alkan stays close to the classical sonata form, using a double exposition, but the exposition and development sections are expanded greatly.
The opening bars, constituting the first theme, are marked "quasi-trombe" (like trumpets). Such markings appear frequently throughout the score to indicate the orchestral instrument the pianist is supposed to evoke. After this theme is exposed, the contrasting, more lyrical second theme begins. This second theme is used as a contrast to both the first theme itself and, more generally, any difficult virtuosic passages.
A third theme, more heroic in nature and in the major key, enters after some development of the first two themes. The 'solo' entry following discussion of these themes is of a Chopinesque, quasi-improvisatory nature. A notable feature of the movement is the very extended passage on a constant 'pedal' note of G♯, preceding the recapitulation section.
• Mvt.II - Adagio
The second movement is marked "Adagio". The introductory section is marked "quasi-celli".
• Mvt.III - Allegretto alla barbaresca
The final movement marked "Allegretto alla barbaresca", which commences in the 'wrong' key of D major, features technical difficulties comparable with those of the first movement, including larger leaps and a more pervasive use of 3-against-4 polyrhythms. One passage contains the unique marking 'quasi-ribeche', i.e. like rebecs, a mediaeval stringed instrument derived from the Arabic rebab.
The first movement of the Concerto was orchestrated by Karl Klindworth. A first version was made in 1872 (the ms. is now in the library of the Royal College of Music in London), and was apparently submitted to Alkan himself shortly before the latter's death, having already been approved by Hans von Bülow. Klindworth produced a second version, which was performed in Berlin in 1902 with Klindworth conducting, the soloist being José Vianna da Motta, to whom this version was dedicated. The orchestrated version takes considerable liberties with the original, with many passages extended, truncated or altered. Other attempts at orchestrating the Concerto were made by Alkan's possible son Élie-Miriam Delaborde and by the American composer Mark Starr. A recording of Klindworth's 1902 version was issued in 1997 by Naxos Records with Dmitry Feofanov as soloist.
Despite the work's great technical difficulties, there are now a number of recordings of the work; notable ones include those by Jack Gibbons, Marc-André Hamelin, John Ogdon, Mark Latimer, Ronald Smith, Stephanie McCallum, Vincenzo Maltempo and Stéphanie Elbaz. 
Видеоклипы
![Alkan - Concerto for Solo Piano (Smith) [Christmas Special No. 3]](http://i.ytimg.com/vi/w-_hYYjMiJY/mqdefault.jpg)
0:01 I. Allegro Assai / G# minor
26:06 II. Adagio / C# minor
36:12 III. Allegretto alla barbaresca / F# minor
36:11*
Alkan along with liszt were just gods of the piano, they can literally make the instrument sound like an orchestra, This piece is just beautiful.
Definitely, they could do with a piano, what a composer can do with an orchestra. Not just Alkan and Liszt but also many others. But Alkan and Liszt can be epitomised for this. This is not it, you can also listen to the 3 concerto da cameras by Alkan.
@@CatkhosruShapurrjiFurabji But those use actual orchestras (String Orchestras). Thus, they are not really the epitome of the orchestral effect for one instrument.
@@therealrealludwigvanbeethoven I know but I meant it can be a perfect example for it.
@@CatkhosruShapurrjiFurabji I see.
@@therealrealludwigvanbeethoven h
My personal favorite moments
*1:32* - Similar to 8:58, but more cinematic.
8:58 - My favorite moment of the whole piece. Sounds like a dangerous adventure.
Even great pianist are afraid of Alkan and escape from playing his works. Very underrated composer.❤
The 3rd movement is incredible! A mix of Arabic melodies, Turkish rhythm and a classical Alkan style of course.
Agreed, the Quasi Ribeche section is probably the coolest thing I’ve ever heard in the Romantic era
Actually jewish melodie, Alkan was a jewish
@@fredericfrancoischopin6971 so semitic? It would englobe both things
Muito bom mesmo, fantastico.
Yep, It's just wonderful.
You know this piece with difficulty, but it's also a masterpiece!
@Mathews lol no
@Schoenberg is my daddy Indeed.
@@therealrealludwigvanbeethoven indeed
@@therealrealludwigvanbeethoven how many times did you comment indeed?
@@yorkzie7593 10000000000.
I played this once.
In my dreams.
I've never played this anywhere
@@lczq6737 you can play it without practising...
Time to download piano tiles.
@@CatkhosruShapurrjiFurabji playing the first movement of this can give you chills
@@norixsynth I'm a newbie at pt. I have spent all these years playing non-music related video games. So I'll probably try if I reach pt2
This piece has an absolutely fantastic coda
I can't understand coda can you explain please?
@@LeventK coda is the section which ends the piece
@@lucaslorentz ^^
indeed. i love the coda of this piece
I remember playing this at school. but teacher confiscated my phone.
Emblazon Due to your identity the teacher probably also confiscated you.
@@ilikeplayingffftonecluster851 thats kidnapping lmao
You got us at the first half.
@Gabin Dupuy I have a this advice I'm gonna give you to help you because that is the purpose of advice to be helpful and help you don't worry it won't take long I just need to move my fingers in a pattern that will cause me to type the advice which I will do momentarily to avoid wasting your time because I'm not trying to waste your time I'm trying to be helpful and wasting time isn't helpful and advice is helpful that's why I'm gonna give you advice it will be helpful advice and it will be useful I just need to remember what the advice is because I have now forgotten it
And now I cant even recognize what are you guys talking about
Many many thanks to mago for the audio :)
When you're too alone you create a fake account and send yourself hearts with that acc.
@schro hmm kinda sus
How many?
8:58 is awesome.
One of my two favourite parts of the first movements 🤣
Those 2 B minor chords in the right hand at 9:06 get me
One of the most creative composers underrated as fuck
the second one no.9 is so perfect ingenious
Thx for this m8. Loved it
Thank you for visiting my house earlier..Sending my full support..
Welcome sir :)
Amazing, one of the greatest pieces of all time!
Well hello there
@Schoenberg is my daddy agreed fam, but Sonata in B Minor is still a dazzling piece, nonetheless!
@@reimakousei793 oooh look who's here hehe
Indeed one of the greatest of the greatest pieces of all time. I'm waiting for the concerto da cameras tho.
@Felis Skalkotris Sorabjitus I disagree. Liszt’s B Minor was a much more innovative and significant piano piece in regards to thematic transformation and evocative technique. This is a great piece, but it simply does not live up to the sheer impact the B Minor had on the musical world. Additionally, I think that S.178 is much more dramatic and redolent. Its utilization of the piano to achieve certain dark effects is mesmerizing and easily places it above this one for me.
44:39 / 44:51
8:58 Love those minor chords with the left hand jumping
24:04 my fav
nice
9:32- 9:51, Love it!!
9:15 excuse me?
A mistake in the MIDI.
@@norixsynth ok
@@LeventK an octave higher i think lol
holy shit woaaaa
Thanks so much!!! :D
@Mathews :D
@@gabindupuy6036 Bruh😂😂
@Mathews196 no
26:09 THIS WAS 1 MVT?!?
Lmao!😂😂
72 pages
@@phillach5181 Omg
@@Park-bq3mu lol i know
@@phillach5181 Pianist rip
My fav 36:11
9:05 that's one of my two favourite parts in the first movement, the midi spoiled it with the sustain pedal 😭, Hamelin played it staccato. My second favourite part: 22:33
How is that possible, like no that is legit impossible to play
@@bozzigmupp510 lol Hamelin played it even faster
My favourite Synthesia channel was Liszthesis... but I like this one better now...(Not to be rude or anything)
same lol
But you might need to appreciate Liszthesis more, because he makes midis of Liszt (which I don't) and he might be sometimes tired of making midis of it lel
here i am
i mean yeah i only do Liszt's pieces so my contents are a bit limited, DevilSynthesia uploads pieces from various eras tho XD
...
I like that Marc-André Hamelin plays faster than this MIDI version.
And Jack Gibbons played it when he was 16!!!!!
ARE YOU SERIOUS??????
@@babygirl4169 yep go to his video and read the description
@@CatkhosruShapurrjiFurabji Hamelin's performance is the worst
@@CatkhosruShapurrjiFurabji It's fast and ruins the music imo
@@prammar1951listen to his Hyperion one
perfect mr devil synthesia :D, could you make the transcription of the tapkaara symphony of akira ifukube performed by the pianist mr barbaro on your channel?
45:22
Gret
10:43
31:21 il a verifier si y avait des fausse notes ?
Do the symphony 😩 pls
Bruh
24:39
16:20
3st
1rd
5nd
4rd
Alkan played this with a cut. Where was the cut?
Edit: I think I found it.
@Schuyler Bacn
Oh, you were asking!
Sorry.
7:23 where the B major bit begins, to 21:37, the coda, he didn’t play during it’s debut.
It sounds... weird, like there are accidentals which arent supposed to be there
9:51 13:41
11:16 h
vst ?
garritan cfx I guess
@@norixsynth yes its cfx
0:55 it seems like there are a lot of wrong notes there
J
12:27 You have just ruined the best part of this piece by smearing it with long pedals. It sounds way better staccato.
But play it yourself
45:21
44:13
39:58