Igor Sztravinszkij:Versenymű zongorára és fúvós hangszerekre 1.Largo - Allegro - Più mosso - Maestoso 00:00 2.Largo - Più mosso - Tempo primo 07:46 3.Allegro - Agitato - Lento - Stringendo 16:13 Alexander Toradze-zongora Rotterdami Filharmonikus Zenekar Vezényel:Valerij Gergijev
Thank you for posting this. I had almost forgotten this work. It's SO distinctively Stravinsky and so squarely in his neo-classical period. I love all the sounds that conjure the Symphony is 3 Movements, Symphonies of Winds, Symphony of Psalms, etc. Love love love it!!
La virtuosité incontestable de Stravinsky me touche particulièrement et jongle délicieusement avec la sensibilité des émotions de l'âme. Merci infiniment pour ce pur bonheur !
The new music Tonal Scale is as thus: 12 7 5 2 3 : 1 4 5 9 14 Not 12 with 7 & 5 BUT 14 with 9 & 5 [2^(1/14)] These are the Tonal Scales growing from f (by cycles of fifths): All Scales build from the first mode: equivalent to Lydian f White keys are = & Black keys are | 12 with 7 & 5 [2^(1/12)] =|=|=|==|=|= {1,8,3,10,5,12,7,2,9,4,11,6} 1thru7are= 8thru12are| 7 with 5 & 2 [2^(1/7)] ===|==| {1,3,5,7,2,4,6} 1thru5are= 6&7are| 5 with 2 & 3 [2^(1/5)] =||=| {1,3,5,2,4} 1&2are= 3thru5are| Now evolving up the other end 5 with 4 & 1 [2^(1/5)] ==|== {1,3,5,2,4} 1thru4are= 5is| 9 with 5 & 4 [2^(1/9)] =|=|=|==| {1,8,3,7,5,9,2,4,6} 1thru5are= 6thru9are| 14 with 9 & 5 [2^(1/14)] =|=|===|=|===| {1,12,3,14,5,7,9,11,2,13,4,6,8,10} 1thru9are= 10thru14are| Joseph Yasser is the actual originator of the realization, that scales develop by cycles of fifths. www.seraph.it/blog_files/623ba37cafa0d91db51fa87296693fff-175.html www.academia.edu/4163545/A_Theory_of_Evolving_Tonality_by_Joseph_Yasser www.musanim.com/Yasser/ The chromatic scale we use today is divided by 2^(1/12) twelfth root of two Instead of moving to the next higher: the 19 tone scale 2^(1/19) nineteenth root of two I decided to go all the way down and back up the other end: So 12 - 7 = 5 & 7 - 5 = 2 & 5 - 2 = 3 Now we enter to the other side: 2 - 3 = -1 & 3 - -1 = 4 & -1 - 4 = -5 & 4 - -5 = 9 & -5 - 9 = -14 ignoring the negatives we have 1 4 5 9 14 Just follow the cycles how each scale is weaved together, as shown above. Each scale has its own division within the frequency doubling, therefore the 14 tones scale is 2^(1/14) fourteenth root of two
Stravinsky's Concertos - other than the Violin Concerto - what few there were - were just kind of strange. He actually wrote a concerto for two pianos with no accompaniment...the first unaccompanied concerto in history, I think? Actually that one is pretty good, but I have never heard it performed because it is fiendishly difficult.
Actually, he was a few hundred years late to the 'concerto without accompaniment' party. Bach wrote several concerti for unaccompanied harpsicord and Telemann wrote several concerti for four violins (also without accompaniment). Look up Italian concerto, Weimar concerto transcriptions and TWV 40:201-204 for more info.
I love it, Stravinsky, and this is really his style, thanks for posting this. But I don't understand why at the beginning the dotted quavers are played here by wind instruments as if they were in triplets. Maybe a reference to style galant?
Is it just me or was this ending intended as a joke? It seemed very silly to me and to not make a lot of sense in the context of the rest of the song. I like it, I'm not judging, I'm just curious.
Great piece in it's own way- ty Uploader- I don't blame Stravinski for channelling Ravel , his p concerto in G is the real jazz/classical. Ah well didn't Stravinski say : A good composer does not imitate, he steals? Still like all Stravinski fun to listen to. In all his work even the most dissonant there is always an element of "Mozartiian" surprise that makes it - fun!
Mais pourquoi veut-on transformer ce concerto en un chef d'oeuvre du romantisme ? C'est une musique factice à tous les niveaux, où des marionnettes à l'effigie de Bach et Haendel miment un oratorio - complètement désacralisé - entre deux sauteries sur un ersatz de ragtime ! Réjouissant certes, mais il ne faut pas tomber dans le vrai !
![Igor Stravinsky - Capriccio for Piano and Orchestra [With score]](http://i.ytimg.com/vi/PXWlkshdCBs/mqdefault.jpg)
![Igor Stravinsky - Capriccio for Piano and Orchestra [With score]](/img/tr.png)
![Igor Stravinsky - Mass for chorus and double wind quintet [With score]](http://i.ytimg.com/vi/iRi_MDy_ks0/mqdefault.jpg)
I've loved this music since my teens and never tire of it.
One of the best piano entries
The second movement is one of the most beautiful pieces ever written. Wish I could’ve met Stravinsky!
I think not. It’s not nearly as lovely as the 2nd Movement of Ravel’s Piano Concerto.
@@docbailey3265 Yeah, Stravinsky doesn't get even close to Ravel in terms in sheer beauty.
@@docbailey3265 they're definitely cousins. Stravinsky's largo is always going to be spikier
@@maxgregorycompositions6216 the berceuse from firebird is pretty friggin' gorgeous
@@docbailey3265if you said so it must be true
I'm currently quite drunk and listening to this whilst I draw from a photo of Martha Argerich. Man this is the gosh darn vibe.
Igor Sztravinszkij:Versenymű zongorára és fúvós hangszerekre
1.Largo - Allegro - Più mosso - Maestoso 00:00
2.Largo - Più mosso - Tempo primo 07:46
3.Allegro - Agitato - Lento - Stringendo 16:13
Alexander Toradze-zongora
Rotterdami Filharmonikus Zenekar
Vezényel:Valerij Gergijev
Thank you for posting this. I had almost forgotten this work. It's SO distinctively Stravinsky and so squarely in his neo-classical period. I love all the sounds that conjure the Symphony is 3 Movements, Symphonies of Winds, Symphony of Psalms, etc. Love love love it!!
6:45 a ship sinking. A total eargasm
Así es. It's like this.
This is a superb version. Thank you so much for posting. I love this music, it is just so alive.
This earns you my subscription! Congrats
La virtuosité incontestable de Stravinsky me touche particulièrement et jongle délicieusement avec la sensibilité des émotions de l'âme. Merci infiniment pour ce pur bonheur !
Yippee, the one with the score happens to be paired with (IMO) the best recording on RUclips :)
Thanks for posting!
Seeing this , Concerto in D and Petrushka soon in Stockholm. I can't wait !😀
Does anyone else feel that the balance between the piano and the orchestra is a bit off? Piano Sounds super quiet to me.
You mean in the composition or the recording?
Yep, piano is way too quiet
wonderful
Solo de la naturaleza proviene la verdadera musica.😮
Ну это гениально просто.
The new music Tonal Scale is as thus: 12 7 5 2 3 : 1 4 5 9 14
Not 12 with 7 & 5 BUT 14 with 9 & 5 [2^(1/14)]
These are the Tonal Scales growing from f (by cycles of fifths):
All Scales build from the first mode: equivalent to Lydian f
White keys are = & Black keys are |
12 with 7 & 5 [2^(1/12)] =|=|=|==|=|= {1,8,3,10,5,12,7,2,9,4,11,6} 1thru7are= 8thru12are|
7 with 5 & 2 [2^(1/7)] ===|==| {1,3,5,7,2,4,6} 1thru5are= 6&7are|
5 with 2 & 3 [2^(1/5)] =||=| {1,3,5,2,4} 1&2are= 3thru5are|
Now evolving up the other end
5 with 4 & 1 [2^(1/5)] ==|== {1,3,5,2,4} 1thru4are= 5is|
9 with 5 & 4 [2^(1/9)] =|=|=|==| {1,8,3,7,5,9,2,4,6} 1thru5are= 6thru9are|
14 with 9 & 5 [2^(1/14)] =|=|===|=|===| {1,12,3,14,5,7,9,11,2,13,4,6,8,10} 1thru9are= 10thru14are|
Joseph Yasser is the actual originator of the realization,
that scales develop by cycles of fifths.
www.seraph.it/blog_files/623ba37cafa0d91db51fa87296693fff-175.html
www.academia.edu/4163545/A_Theory_of_Evolving_Tonality_by_Joseph_Yasser
www.musanim.com/Yasser/
The chromatic scale we use today is divided by 2^(1/12) twelfth root of two
Instead of moving to the next higher: the 19 tone scale 2^(1/19) nineteenth root of two
I decided to go all the way down and back up the other end:
So 12 - 7 = 5 & 7 - 5 = 2 & 5 - 2 = 3
Now we enter to the other side:
2 - 3 = -1 & 3 - -1 = 4 & -1 - 4 = -5 & 4 - -5 = 9 & -5 - 9 = -14
ignoring the negatives we have 1 4 5 9 14
Just follow the cycles how each scale is weaved together, as shown above.
Each scale has its own division within the frequency doubling,
therefore the 14 tones scale is 2^(1/14) fourteenth root of two
fine performance but who are the artists?
Baroque sequences over chromatic pointillism- I'm not sure Stravinsky's Neo-Classicism isn't just proto-post-modernism!
Stravinsky's Concertos - other than the Violin Concerto - what few there were - were just kind of strange. He actually wrote a concerto for two pianos with no accompaniment...the first unaccompanied concerto in history, I think? Actually that one is pretty good, but I have never heard it performed because it is fiendishly difficult.
Alkan composed piano concerto for solo piano
Actually, he was a few hundred years late to the 'concerto without accompaniment' party. Bach wrote several concerti for unaccompanied harpsicord and Telemann wrote several concerti for four violins (also without accompaniment). Look up Italian concerto, Weimar concerto transcriptions and TWV 40:201-204 for more info.
5:23 BWV 1052 mvt 3?
16:15 chopin polonaise opus 53
Damn. I know Stravinsky wasn't a piano virtuoso like Rachmaninoff, Scriabin or Prokofiev, but he certainly was a pretty good pianist.
He wasn't a virtuoso pianist, but, at least, he was a virtuoso composer.
I think his was a piano virtuoso in his very own style
Some of his piano music, such as the petrouchka arrangements, is extremely hard. I'm not sure if he was able to play it himself though.
Thanks!
Does Stravinsky use tonal arcs, or is his harmonic structure something more devious?
Anyone know where I can get this reduced score?
anthology of 20th century music - robert morgan, pp. 138-170
I love it, Stravinsky, and this is really his style, thanks for posting this. But I don't understand why at the beginning the dotted quavers are played here by wind instruments as if they were in triplets. Maybe a reference to style galant?
What? I hear dotted quavers
1楽章はバルトークの2番みたいな軽快な感じがいいですね。
was the pianist sitting on the mic?
Yes. That is indicated in the score.
6:02
written after the Rite in Paris in 1923-24.
sounds like Bartok
Is it just me or was this ending intended as a joke? It seemed very silly to me and to not make a lot of sense in the context of the rest of the song. I like it, I'm not judging, I'm just curious.
Tremendo
Great piece in it's own way- ty Uploader- I don't blame Stravinski for channelling Ravel , his p concerto in G is the real jazz/classical. Ah well didn't Stravinski say : A good composer does not imitate, he steals? Still like all Stravinski fun to listen to. In all his work even the most dissonant there is always an element of "Mozartiian" surprise that makes it - fun!
Ravel's piano concertos were from 1929-1931, so a little later than this. It might have been the other way round though.
It’s a very nice concerto but you have to admit that it sounds like he already wrote this. Somewhat repetitive of other pieces
You are too kind. Thanks. Here is another, quite awesome, performance of the same piece: ruclips.net/video/hBhaCuz_Ioc/видео.html
Hold on 😅
Mais pourquoi veut-on transformer ce concerto en un chef d'oeuvre du romantisme ? C'est une musique factice à tous les niveaux, où des marionnettes à l'effigie de Bach et Haendel miment un oratorio - complètement désacralisé - entre deux sauteries sur un ersatz de ragtime ! Réjouissant certes, mais il ne faut pas tomber dans le vrai !
maybe you hit the right point to explain what ii did not like in this and did not know
pourquoi Stravinsky a marqué un retour vers le néo classicisme en abandonnant l'avant-garde?
Parce qu'il lui manquait des nouvelles idées
Never mind, I'll just got back to petrushka.
ok?
This recording is unlistenable because of that devilish ringing all throughout.
6:23
ㅎㅇ
6:46