Amphora Rope

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@Redriverhog32 5 күн бұрын

Same lugubrious feel as Roslavets (though looks easier to play).

@stefanstamenic3640 7 күн бұрын

About twenty years ago, the American musicologist David Buch thought he had discovered Mozart's unknown opera "Der Stein der Weisen, oder die Zauberinsel" (1790) (The Philosopher's Stone, or the Enchanted Island) a singspiel in Act II; but he soon discovered that it was a forgotten "collective opera" - composed jointly by Johann Baptist Henneberg, Benedikt Schack, Franz Xaver Gerl, Emanuel Schikaneder and Mozart. The libretto was written by Schikaneder based on a fairy tale by Christoph M. Wieland. The opera has several important parallels with Mozart's The Magic Flute (1791), which premiered a year later. All 5 wrote parts of Act II, and all but Mozart wrote parts of Act I. Henneberg composed the overture. All 5 were later involved in The Magic Flute: Mozart as composer, Schikaneder as librettist, impresario and performer (Papageno), Henneberg as conductor, and Schack and Gerl as performers (respectively Tamino and Sarastro). The similarity between these two operas is striking! The basis for this " Der Stein der Weisen, oder die Zauberinsel" is Paul Vranicki's "Oberon" from 1989.

@efun1234 24 күн бұрын

Yay disonance barber

@r.i.p.volodya 26 күн бұрын

In what sense is this performance "con brio"?

@МарианнаЮматова 26 күн бұрын

Какой Великий Мастер Клементи, недаром намного обращали внимание Бетховен, Моцарт и другие композиторы, он незаслуженно забыт, а ведь в его музыке прекрасно отображены: форма, контрасты, фразировка, динамика, новые интересные пианистические приемы, музыка его живая и одухотворённая, замечательно выстроена и начало, почти Доменико Скарлатти, который родился в один год с Великими Бахом и Генделем - 1685 г, скорее всего это как вариации на тему Сонаты Скарлатти, который, как и его знаменитый отец Аллесандро, внесшие в музыкальную сокровищницу свои труды..

@StockyScoresRaoraPantheraFC 28 күн бұрын

Today it makes sense to listen to pieces like this...

@동_강 Ай бұрын

12:57 14:03

@erika6651 Ай бұрын

25:21 - 25:38 is magical.

@CanelonVegano 18 күн бұрын

Pietro de Maria really makes it sound magical

@marcorval Ай бұрын

Beethoven and Chopin were quite avid fans of Clementi...I think it was Beethoven who declared that Clementi wrote better piano sonatas than anyone he knew. This piece shows why.

@messiespano3178 Ай бұрын

Mozart described him as being an automatum. Though clementi accused him of stealing theme from this sonata for his magic flute opera.

@beethovencrazymangodthoven Ай бұрын

11:09

@beethovencrazymangodthoven Ай бұрын

9:30

@central9823 Ай бұрын

Feinberg at his best

@efun1234 Ай бұрын

scriabin if he didn't go insane

@オリバーオリバー-e4d Ай бұрын

8:01

@gabatar5961 2 ай бұрын

Clementi is all joy!

@mr.hashundredsofprivatepla3711 2 ай бұрын

0:15 I: Father Abraham 4:14 II: Desert Interlude 7:49 III: As His Own Soul 10:32 IV: Barcarolle of Tears 14:37 V: I Am The True Vine 16:37 VI: Martha Complained 22:14 VII: Other Sheep 31:16 VIII: Madrigal Divine

@Ckrishthofpher 2 ай бұрын

14:11

@emanuelemicaglio5861 2 ай бұрын

The sonatas by Clementi appear richer than the sonatas by Mozart

@AlkanLove Ай бұрын

実際に古典後期のベートーヴェンやフンメルはクレメンティを第1としたスタイルを受け継ぎ進化させました。それは彼ら後期古典派を通じてロマン派にも受け継がれています。

@emanuelemicaglio5861 Ай бұрын

@AlkanLove please write in english

@mattiascravaglieri7793 2 ай бұрын

Feinberg is such an amazing pianist...

@glgree1 2 ай бұрын

I think this is the first time I've seen a cadenza in a sonata movement!

@mv883 2 ай бұрын

Great job!

@RedEyedDragoon 2 ай бұрын

The first nocturne, remind's me so much to the 2005 pride and prejudice sound track 👍👍👍

@matthewparis1907 3 ай бұрын

Ultimate transcendental music, no? What a great floral piece! It has got a whiff of old French chacone idee fixe quality.

@L9_LOGHAN-GHZT_2 3 ай бұрын

perfection.

@ethanlaird1102 3 ай бұрын

Gorgeous.! It should be illegal to have ads in the middle of classical music videos..

@DonnaLee-g8q 3 ай бұрын

Hall Jose Lewis Shirley Wilson Mary

@KrismaKx 3 ай бұрын

the most underrated composer of all time. and father of the piano

@daloki349 3 ай бұрын

Love the quote from Mozart's Prague Symphony in the first movement cadenza. Very witty. Excellent playing. Thank you.

@zelieleclerc9296 3 ай бұрын

10:03

@mysticmoondustt314 3 ай бұрын

6:20

@christophedevos3760 3 ай бұрын

Splendid sonata, somehow reminiscent of Mozart and Beethoven, the canonic movement adds an interesting touch as well. Excellent performance, thanks for uploading.

@prototropo 3 ай бұрын

At 14:04 is evidence that true tonality, with melodic lyricism didn't surrender to the mid-century obsession with atonality. At 15:18 it sounds like Barber is quoting Gershwin's piano concerto.

@richardvolpe7664 3 ай бұрын

Browning never understood what to do with the recurring 3-note motif in the 1st movement which should have stress on the 2nd note, not the 1st. The orchestra gets it right, but the pianist, in both of his recordings, doesn't. You'd think somebody like the exacting George Szell would've pointed this out to the soloist. If you're following along with the score, it's maddening not to hear what is plainly indicated by the composer.

@nicholasfox966 3 ай бұрын

Which three-note motif? Can you give a time stamp for an example of it? I see a recurring triplet figure, but not anything that indicates the stress should be on the second note.

@richardvolpe7664 3 ай бұрын

@@nicholasfox966 Its first appearance is in bars 4 and 5 (piano alone), and since it's one of the main motifs of the whole movement, it's to be found all over the place. The first note is marked 'staccato,' while the 2nd note is the instinctively stressed start of a 2-note slur. The first note of such a slur doesn't require an accent (>) mark. . . it should happen "naturally." or to repeat myself, "instinctively." What Browning (and apparently all pianists) does, gives not the slightest hint of a slur. A careful listener, without having seen the score, would be shocked later to find that the latter bears no resemblance to what the pianist played. It's interesting (and maddening) that even the orchestra fails to get it right, which is another way of saying that the conductor either didn't notice what's clearly in his score (I checked), or that he and the orchestra copied what they heard the pianist do in his opening solo. Of course, Barber could've simply (if redundantly) put a plain old > mark on the 2nd note, and "solution achieved."

@nicholasfox966 3 ай бұрын

@@richardvolpe7664 Ah, I see, thank you.

@Cubanbearnyc 4 ай бұрын

Very beautiful !

@linda_musiker 4 ай бұрын

3:38 nice

@linda_musiker 4 ай бұрын

3:29 III

@linda_musiker 4 ай бұрын

Vl fleurs 10:03

@킨키나투스 4 ай бұрын

16:13

@evankajikawa1277 4 ай бұрын

i do not like this as much as his other concertos, like the cello concerto

@unciclistacontraelsistema8620 4 ай бұрын

Mozart was a killer of plagiarism...

@davidtatro7457 5 ай бұрын

This has easily just become my favorite performance of this incredible concerto.

@josesouza9820 5 ай бұрын

Excellent concerto and brilliant performance!

@vrkoven 5 ай бұрын

Good to see this with the short score. I always have to chuckle how conductors and pianists inevitably play the main theme of the finale so that it sounds like 6/8 instead of 5/8 (making the first "big" beat too long). And as to the difficulty, I remember going to a pre-concert panel discussion before the NY Phil's first performance of this in 1963, with Barber and Browning, and Barber saying that there was no way in hell he could perform the piano part himself.

@paulpisano762 4 ай бұрын

The orchestra I played this with back in the day was always dragging behind me in the finale for that very reason. 😵‍💫