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Ashish Xiangyi Kumar
Registrace 5. 04. 2007
I upload videos of (classical) music, synchonised with the score. I try to find the best recordings, with a deliberate bias towards post-1990 stuff that isn't too well known. Then I try to say something about the music which will make you like it more. That's basically it!
www.patreon.com/AshishXiangyiKumar
www.patreon.com/AshishXiangyiKumar
Chopin/Glazunov, Franchomme: Etude Op.25 No.7 (Gabetta/Chamayou, Weilerstein/Barnatan)
Sometimes things are just beautiful, you know? You can say a lot about them, but the most salient musical fact is that the first note makes you stop breathing, and when the work ends you’re not sure if you ever let that breath go.
So it is with these two arrangements of Chopin’s 25.7 for Cello and Piano. Most days of the week I like Glazunov’s a little more, but they both work perfectly on their own terms, despite how different they are.
Glazunov changes things up a fair bit - since the cello now takes over the LH the piano gets an entirely new LH, which neatly anticipates the dotted motif you hear in the cello at 1:07 (the first occurrence of the motif is at 0:35). The piano also gets to echo a beautiful motif in the cello (1:21), although I think the decision by Gabetta/Chamayou to leave this out at 2:59 is entirely justified - it makes the harmonic change and the subsequent pause so much more effective. Glazunov also significantly simplifies the rapid LH runs originally for the piano when the move into the cello, which gives those runs a cleaner and more forceful melodic shape. But the most magnificent change Glazunov makes is the expansion of the registral space at 3:23, as the piano’s melody leaps up and becomes fortified in octaves, while the cello is left to reign the bass. It’s such a simple but powerful effect - have two instruments occupy a similar range, and then pull them apart suddenly.
Franchomme’s changes are much more modest - in fact for large parts his arrangement is essentially identical to Chopin’s original, except that the cello takes over the LH. But this too produces wonderful results - the rumbling LH scales are almost exactly preserved (except at 7:18, where Franchomme has to tread water around a low C for a bit to compress the scalar range into something manageable for the cello) and heighten tension very well. And at one point I think Franchomme clearly outdoes Glazunov - that’s in the dreamlike passage at 7:30, which is also the bit I love most in the original etude. Glazunov opts to use this passage (2:07) to have the cello gradually rise above the piano semiquaver melody; a lovely and rather playful manipulation of register. But Franchomme nails the actual feeling of the passage, to my ear. He gives the descending semiquaver line to the cello, while the piano takes the upper melody. And here, he actually does give the piano new notes deep in the bass, which add a richness almost like a pizzicato reverberation.
So in the end: a more reverberant, “wide-open” arrangement with the Glazunov, and a bleaker (but no less emotionally intense) intimacy from Franchomme. The gorgeous playing here is in line with these qualities - Gabetta is consistently lyrical, with semiquaver passages that build in momentum before cresting; Weilerstein is (especially in the quiet sections) much more parlando (“spoken”), with more time for gaps, tapers, and portamenti between notes - you can almost hear the tip of the bow navigating the strings. Gabetta’s tone is warm, natural; Weilerstein is more piercing, her vibrato faster and more plaintive.
0:00 (Glazunov) - Gabetta/Chamayou
5:13 (Franchomme) - Weilerstein/Barnatan
So it is with these two arrangements of Chopin’s 25.7 for Cello and Piano. Most days of the week I like Glazunov’s a little more, but they both work perfectly on their own terms, despite how different they are.
Glazunov changes things up a fair bit - since the cello now takes over the LH the piano gets an entirely new LH, which neatly anticipates the dotted motif you hear in the cello at 1:07 (the first occurrence of the motif is at 0:35). The piano also gets to echo a beautiful motif in the cello (1:21), although I think the decision by Gabetta/Chamayou to leave this out at 2:59 is entirely justified - it makes the harmonic change and the subsequent pause so much more effective. Glazunov also significantly simplifies the rapid LH runs originally for the piano when the move into the cello, which gives those runs a cleaner and more forceful melodic shape. But the most magnificent change Glazunov makes is the expansion of the registral space at 3:23, as the piano’s melody leaps up and becomes fortified in octaves, while the cello is left to reign the bass. It’s such a simple but powerful effect - have two instruments occupy a similar range, and then pull them apart suddenly.
Franchomme’s changes are much more modest - in fact for large parts his arrangement is essentially identical to Chopin’s original, except that the cello takes over the LH. But this too produces wonderful results - the rumbling LH scales are almost exactly preserved (except at 7:18, where Franchomme has to tread water around a low C for a bit to compress the scalar range into something manageable for the cello) and heighten tension very well. And at one point I think Franchomme clearly outdoes Glazunov - that’s in the dreamlike passage at 7:30, which is also the bit I love most in the original etude. Glazunov opts to use this passage (2:07) to have the cello gradually rise above the piano semiquaver melody; a lovely and rather playful manipulation of register. But Franchomme nails the actual feeling of the passage, to my ear. He gives the descending semiquaver line to the cello, while the piano takes the upper melody. And here, he actually does give the piano new notes deep in the bass, which add a richness almost like a pizzicato reverberation.
So in the end: a more reverberant, “wide-open” arrangement with the Glazunov, and a bleaker (but no less emotionally intense) intimacy from Franchomme. The gorgeous playing here is in line with these qualities - Gabetta is consistently lyrical, with semiquaver passages that build in momentum before cresting; Weilerstein is (especially in the quiet sections) much more parlando (“spoken”), with more time for gaps, tapers, and portamenti between notes - you can almost hear the tip of the bow navigating the strings. Gabetta’s tone is warm, natural; Weilerstein is more piercing, her vibrato faster and more plaintive.
0:00 (Glazunov) - Gabetta/Chamayou
5:13 (Franchomme) - Weilerstein/Barnatan
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유경촌 티모테오 주교님의 건강회복을 간절히 비오니, 아버지! 주교님께서 이곳 지상에서 좀 더 크게 일하실수 있도록 기적을 주교님과 그의 동료 주교 및 사제들과 여러 믿는이들에게 꼭 좀 보여주십사 이렇게 간절하게 기도드리는 바입니다. 성부와 성자와 성령의 이름으로 아멘!
She lacks the basic notions of the rythm
Gods Music😊
his name is...guy?
Yeah, but can you play Fur Elise?
9:02
22:53
The first movement is soooo good.
Conosco questo pezzo da anni ormai eppure ogni volta che lo riascolto mi commuovo... 😢😢la musica non sarebbe la stessa senza Bach..❤
Slowly into the key on that last, high C in the measure before last and... nothing. I am impressed it was not inserted in post. We battle against the piano, he said once. That relationship is one of the most interesting of all for a musician. It allows the unexpected to become the best part of the interpretation and music making. It all depends on how that relationship is viewed.
26:03 why did Beethoven use parallel fourths here? Is he stupid? /j
This sounds so romantic. I love the score❤
Plus virevoltant que Yunchan Lim !Plus incisif que Lui !
You can’t listen to an ad and then this, it is ruined before beginning.. having someone scream at me about bestbuy or a new truck and then this is like a phone call you cannot ignore while having sex - the whole mood is consequently fucked, esp when it’s a sleep compilation and you’re jumpscared by Toyota 0%apr gfys week - I wish for ad exemption on all classical music on CZcams
Hi! I played this around 1 month ago. I will be also be playing it for a a competition in a week. I am nervous because I don’t know if I would do good. I consider this piece pretty hard but once you get to know it, it will seem easy. To the wonderful, amazing learners out there, please remember that if you have any stressful situations, try to calm down and do what you like. If you are playing a hard piece, then try to break practices into little groups. It helps a TON for me! 😊
P.S my hands hurt now
The voice is Chopin's voice, but the hands are the hands of Liszt.
Secret: I was a time traveler. Now you know it.
Is that dude in the background ok?
Bacillus thuringiensis (Bt) insecticide is very effective against earworms and other lepidopterous (caterpillar) insects such as cabbage loopers. It is derived from a naturally occurring soil bacterium, is considered safe for humans, and is suitable for organic gardening.
I’m playing this now and the adults are like why is it so long my back hurts😂😂😂
wow, so that's where Tech honors got it from.
協奏曲が一曲しか完成しなかったなんて!でも唯一の協奏曲がこんなに美しいなら納得というか仕方がないです。コーダがこれでもかと盛り上がりそして私は涙が大崩壊します。初めて聴いたラフマニノフ二番のラストと同じです。王道過ぎても良い。美しいものは美しい!大好きな協奏曲の一つです!
June 2024. Who's here? I think the Appassionata is one of Beethoven's best sonatas ...
Listen to this piece nearly every day
yes, it is definitely good one sonata, but my opinion is that no. 8 is the greatest of all time
I just had a weird idea. What if someone orchestrates this piece in the style of Saint Saen's original?
Musicians of this quality and talent stun my mind. I can't even comprehend the genius of others.
For me, this is rock music over a hundred years before the rock music was invented.
Für mich ist das Rockmusik, über hundert Jahre vor der Erfindung der Rockmusik.
Слушаю впервые. Потрясена...Благодарю исполнителей. Бесподобно, музыка пронзает насквозь. Благодарю создателей канала за эти записи.
17:15
I can't forget the comment describing this piece story-like, for example: Intro as 'A suspicious man staring at the grand mansion in the middle of the night, preparing for the revenge', and Allegro energico as 'Inside of that grand mansion, somewhat like Montague House'. I really want to read that comment again 😢
It is so strange. So much music. So many emotions. And yet, I feel like a total loner when it comes to enjoying the immense spectrum of human experiences that music encapsulates. Everyone around me seems to think that modern mainstream short lived productions IS music. No, it is a product, made from music, to sell less than moral values. I read the listeners comments and wish I knew some of you in real life. Music is such an infinite topic, and it does save lives, on a daily basis. Glory to The Most High. Peace be with you.
It’s crazy how he wrote this work right after the Berceuse. They are so different!
actually cello etude lol
June 2024. Who's here ?
Beethoven- the King of piano sonatas ...
F.......g Ads interupting!!!!!
29:25 This place makes me feel sad and jubilant😭
12:08
I have an old friend from school who is a world-class pianist, and this is one of his favorites!
28:56 ここが1番好き
Great música, cheers
I don't understand how the 3rd Ballade is so often overlooked in this set. It's just as fun and exciting as the 4th and much more accessible for amateur pianists.
Hot take: this piece has like 4 measures of actual “melody” total. Overrated.
1:08 and 34:21
My favorite scherzo being the 3rd, but after lisztening to all 4 of these 4 ballades, i can safely say the 1st one is my favourite (but ik noone asked)
After lisztening (yes thats how i spell it now) to all of these 4 scherzi, i can say that the third one is my favourite (but i know nobody asked)