O.M.G. This clinches my opinion--fashioned by personal experience, observation from a distance and independent professional confirmation--that between Olympic-competition gymnastics and 20th-century piano compositions we have approached and gazed upon the frontiers of human cerebral & neuromuscular potential.
What if instead of Rudepoema, we had 𝓯𝓻𝓮𝓪𝓴𝔂poema and instead of having a tonal portrait of A. Rubinstein, we had a freaky portrait of M.A Hamelin with his hands smashing the keys.
The music selection isn't always to my taste and occasionally I hear a better interpretation of a favorite, but Hamelin can do virtually anything at the keyboard. Amazing technician and great musician.
I can't even freaking move my hand that fast, let along even think of striking the right notes. Fortunately, with a work like this, it isn't like your audience would hear a wrong note anyway so long as you get the texture and everything else approximately right....
@@musicalinterlude4740 one wonders, as there is no recording of Rubinstein playing Petrouchka. They say Gina Bachauer played it better. He also wasn’t fond of Falla’s Fantasia Baetica for the same reason. I wonder if he recorded the Rudepoema, or if a recording exists. It reminds me that Josef Hofmann never played Rachmaninoff 3rd Concerto, although it was dedicated to him!
I mean there's not a recording of Rubenstein playing Syzmanowski's 2nd Piano sonata, and he premiered it. When you read about Rubenstein from the old Russians who knew him when he was young, he played frighteningly difficult rep
It's a common convention - sffz is very common for a strong sforzato too. When you think about it "ff" doesn't logically lead to "fortissimo" either. Why the extra f?
At the start I wondered if it was one of Messiaen's Vingt Regards. (The combo of a slow loud tune in octaves and more rapid figuration is a bit like 7.) But with Messiaen such figuration is secondary to the more important elements of tune and harmony. This Villa-Lobos --- this portion of it, anyway --- has no tune except the loud octaves I mentioned; no harmony; and it doesn't give any clue to the listener as to where it's heading.
Admittedly, he plays it at an impressive tempo, but apart from the chords that take some getting used to, I don't see any unusual difficulty with this piece; I find some passages from the "Rhapsody in Blue" significantly more complicated...
I would recommend Hamelin to practice slowly before performing! This is very messy but it still sounds good! Just a recommendation for Hamelin when he practices!
Why did he bother? This is crap. The good thing for Hamelin, though, is that he didn't have to practice. He could simply play anything, and no one would know the difference.
What do you mean by crap? I understand that it’s quite discordant and seemingly random at times but there are many pieces from this era that could fit that description.
@@csrmaniac3222 Just because other pieces "could fit that description" doesn't justify this one's crapiness. "At times"? The whole excerpt in this video sounds random and discordant -- like a couple of monkeys jumping all over the keyboard. It's very unpleasant to listen to. There is no musical value. I can't imagine wasting the time to actually read the notes on the score when there's so much great music out there.
@@victoza9232 I see. Atonal music can have that effect. There’s many pieces by Schoenberg that put me off a bit, but I wouldn’t call this era of music crap. If I’m recalling my music history correctly, atonal music tries to break the traditional methods of tonal music while still maintaining some structure (like serialism). I guess you’re saying you don’t like it, and that is a valid opinion so I won’t comment any further on that. My apologies if I caused any offence, I never respond to comments normally but I wanted to try.
Brazilian here. Yes, Villa-Lobos was not particularly skilled writing for piano (he was a cellist), and many pianists hate having Rudepoêma assigned by music profs. However, Villa-Lobos is a wonderful composer. Check out "O trenzinho do caipira", his Bachianas Brasileiras (esp. no. 5), his "Suite popular brasileira" (Brazilian folk suite), his Études for guitar, etc. Definitely better music and an underrated gem.
@gigaguy1773 Thank you very much for these recommendations, I've listened to them and they are definitely good music! ❤️ By the way I know that Villa-Lobos was a good composer, I've already played some of his music too, so I am familiar with his music to some degree. In this instance I guess I was just irritated about how someone composes such an insanely difficult piece which doesn't even sound good. 😀 I mean what's the reward at the end of learning this piece? Who would request this piece again after hearing it once? There is SOOO much of fantastic music out there to choose from, I don't understand why anyone would waste tens or even hundreds of hours learning something what sounds like it could be easily improvised.
02:04 sweating
What's the name of the piece?
@@PP-wp2bx
RUDEPOEMA
by Heitor Villa-Lobos (brazilian composer)
Ded. to Arthur Rubinstein.
@@NelsonPinheirojrIf I was Rubistein, I wouldn't know whether to thank Villa-Lobos or not.
This will serve me well as a pre-breakfast workout in all the keys before I move on to more difficult pieces later in the day.
Messiaen
Great remark! 😂
Note: It only counts as sight reading the first time.
The fist at the very end 😭😭😭😭😭
O.M.G.
This clinches my opinion--fashioned by personal experience, observation from a distance and independent professional confirmation--that between Olympic-competition gymnastics and 20th-century piano compositions we have approached and gazed upon the frontiers of human cerebral & neuromuscular potential.
This is the stupidest shit I have ever read
What if instead of Rudepoema, we had 𝓯𝓻𝓮𝓪𝓴𝔂poema and instead of having a tonal portrait of A. Rubinstein, we had a freaky portrait of M.A Hamelin with his hands smashing the keys.
@@SCRIABINIST interesting
💀
The music selection isn't always to my taste and occasionally I hear a better interpretation of a favorite, but Hamelin can do virtually anything at the keyboard. Amazing technician and great musician.
holy shit i remember revisiting this pieces last week
Bloody hell what did I just see? AMAZING.
I can't even freaking move my hand that fast, let along even think of striking the right notes. Fortunately, with a work like this, it isn't like your audience would hear a wrong note anyway so long as you get the texture and everything else approximately right....
It’s hard to believe Villa-Lobos wrote this for Rubinstein. It’s so not his type of piano playing. Ditto for Stravinsky’s Petrouchka.
Maybe it was back in 1926!
@@musicalinterlude4740 one wonders, as there is no recording of Rubinstein playing Petrouchka. They say Gina Bachauer played it better. He also wasn’t fond of Falla’s Fantasia Baetica for the same reason. I wonder if he recorded the Rudepoema, or if a recording exists. It reminds me that Josef Hofmann never played Rachmaninoff 3rd Concerto, although it was dedicated to him!
There's a recording of Rubinstein playing this on RUclips
@@Gatapotata thank you for letting me know this. Very interesting.
I mean there's not a recording of Rubenstein playing Syzmanowski's 2nd Piano sonata, and he premiered it. When you read about Rubenstein from the old Russians who knew him when he was young, he played frighteningly difficult rep
Hamelin is that one nerd that learned every country's capital city + flag by heart.
Those rh over lh leaps....to anyone who's not a pianist, I need you to know how disorienting that sort of motion is.
Can anyone hear the inspiration on Liszt's Mazzepa
The transcendental études were written 60 years earlier 💀
Please don't insult Liszt like that.
@@victoza9232 you’re insufferable
Actually i think he would love much of the "crazy" music of 20th century@@victoza9232
0:18 what does it mean by "rff"? There is just rinforzando but no such thing at "rinfortissimo"
It's a common convention - sffz is very common for a strong sforzato too. When you think about it "ff" doesn't logically lead to "fortissimo" either. Why the extra f?
At the start I wondered if it was one of Messiaen's Vingt Regards. (The combo of a slow loud tune in octaves and more rapid figuration is a bit like 7.) But with Messiaen such figuration is secondary to the more important elements of tune and harmony. This Villa-Lobos --- this portion of it, anyway --- has no tune except the loud octaves I mentioned; no harmony; and it doesn't give any clue to the listener as to where it's heading.
If I'm not mistaken, this piece was his portrait of Artur Rubinstein
Listen to Nelson Freire recording.
noice
Pieces*
Simply....amazing. Kudos to Hamelin !!
Crazy
Pieces* Come on, now.
I like Hamelin's interpretation of Ornstein - Danse Sauvage more than this.
athletique!
Admittedly, he plays it at an impressive tempo, but apart from the chords that take some getting used to, I don't see any unusual difficulty with this piece; I find some passages from the "Rhapsody in Blue" significantly more complicated...
🤔I'm pretty sure Rhapsody in Blue is only slightly above 'advanced amateur' level...a great piece, though
What was it?
Villa Lobos - Rudepoema(1926), dedicated to Arthur Rubinstein
I would recommend Hamelin to practice slowly before performing! This is very messy but it still sounds good! Just a recommendation for Hamelin when he practices!
Why did he bother? This is crap. The good thing for Hamelin, though, is that he didn't have to practice. He could simply play anything, and no one would know the difference.
What do you mean by crap? I understand that it’s quite discordant and seemingly random at times but there are many pieces from this era that could fit that description.
@@csrmaniac3222 Just because other pieces "could fit that description" doesn't justify this one's crapiness.
"At times"? The whole excerpt in this video sounds random and discordant -- like a couple of monkeys jumping all over the keyboard. It's very unpleasant to listen to. There is no musical value. I can't imagine wasting the time to actually read the notes on the score when there's so much great music out there.
Seems like you’re one of those musicians that doesn’t understand atonal music. Maybe look at the score and analyze it
@@victoza9232 I see. Atonal music can have that effect. There’s many pieces by Schoenberg that put me off a bit, but I wouldn’t call this era of music crap.
If I’m recalling my music history correctly, atonal music tries to break the traditional methods of tonal music while still maintaining some structure (like serialism).
I guess you’re saying you don’t like it, and that is a valid opinion so I won’t comment any further on that.
My apologies if I caused any offence, I never respond to comments normally but I wanted to try.
Very well said!
What is this crap? I mean the noise pretended to be music?
Edit: oh, never mind, I found the description... 😅
Brazilian here. Yes, Villa-Lobos was not particularly skilled writing for piano (he was a cellist), and many pianists hate having Rudepoêma assigned by music profs.
However, Villa-Lobos is a wonderful composer. Check out "O trenzinho do caipira", his Bachianas Brasileiras (esp. no. 5), his "Suite popular brasileira" (Brazilian folk suite), his Études for guitar, etc. Definitely better music and an underrated gem.
@gigaguy1773 Thank you very much for these recommendations, I've listened to them and they are definitely good music! ❤️ By the way I know that Villa-Lobos was a good composer, I've already played some of his music too, so I am familiar with his music to some degree. In this instance I guess I was just irritated about how someone composes such an insanely difficult piece which doesn't even sound good. 😀 I mean what's the reward at the end of learning this piece? Who would request this piece again after hearing it once? There is SOOO much of fantastic music out there to choose from, I don't understand why anyone would waste tens or even hundreds of hours learning something what sounds like it could be easily improvised.
So sloppy