Someone played this in a school piano recital earlier this month, and it is the most beautiful piano piece I've ever heard. I wish it could be set in an orchestra.
Beautiful song! I really like how how he plays the Haydn piano sonata 49 in e-flat major the second movement. He absolutely is a master at interpreting musical pieces, I bow down to you Alfred Brendel.
Beautifully played. Brendel many times bangs out, in other pieces, the fortissimos, but I think he stays in bounds in this recording. Thank you for posting.
@@noelleggett5368 I've been known to make discreet little marks on pieces with weird sharps or flats. Because it takes me ridiculously long to play those notes without thinking about it. It worlks well enough, but I confess I'm not proud of myself.
He wanted to achieve a flowing feeling within the music. It's useful in that case to use longer bars, so that it feels more connected, as well as a different division (alla breve, instead of normal 4/4). He could've also halved each note, making 16th note arpeggios, then everything would've fit in a regular 4/4 bar. But using these short notes creates a hectic and fast feeling in the player, whereas Schubert was striving, as I said, for a calm, flowing sound which is better achieved with this notation. Hope this helps
Someone played this in a school piano recital earlier this month, and it is the most beautiful piano piece I've ever heard. I wish it could be set in an orchestra.
I tried to practice this piece… But gave up, and I regret that decision… This is the most beautiful piece I have ever heard, better than Rach 2.
Ethan get yourself back to practicing this piece, one note at a time, each hand separating like I’m doing and you’ll get there. PLEASE 😊
Beautiful song! I really like how how he plays the Haydn piano sonata 49 in e-flat major the second movement. He absolutely is a master at interpreting musical pieces, I bow down to you Alfred Brendel.
Beautifully played. Brendel many times bangs out, in other pieces, the fortissimos, but I think he stays in bounds in this recording. Thank you for posting.
1:06 Tchaikovsky's sixth Symphony
Could you please tell me when this happens in the sixth Symphony. I've been trying to find it. Thanks!
@@emiligiltomas1998 at the end of the first movement
I wish I could play this 😢
i feel tend 😮
There are F flats in this piece which I find frightening.
How about C-flat. Isn't that worse?
@@Pianoman965 yeah they are pretty bad also.
I am used to seeing a sharp sign next to it not a flat.
They’re just Es and Bs in fancy dress for Halloween. This key signature is actually very comfortable for the pianist.
@@noelleggett5368 I've been known to make discreet little marks on pieces with weird sharps or flats. Because it takes me ridiculously long to play those notes without thinking about it. It worlks well enough, but I confess I'm not proud of myself.
почему на английском комментарии?
why not?
Because the person watching it is more comfortable typing English?
Saludos desde México, melómano!
@@ricardovaldez7094 Un mexa lml
I'´m sorry. But why does shubert use 2 Ȼ? some knows?
I don’t know
2 common time keys means that there are two whole notes in one measure.
He wanted to achieve a flowing feeling within the music. It's useful in that case to use longer bars, so that it feels more connected, as well as a different division (alla breve, instead of normal 4/4). He could've also halved each note, making 16th note arpeggios, then everything would've fit in a regular 4/4 bar. But using these short notes creates a hectic and fast feeling in the player, whereas Schubert was striving, as I said, for a calm, flowing sound which is better achieved with this notation. Hope this helps