What a wonderful video! The ending of the piece is a particular type of romantic cadence characterized by the rising 9th motif (degrees 6 7 1) that I have studied and termed the "Dream Cadence" in reference to Träumerei. You can see more examples and analysis of it on "thelibraryofsonorities" or look up my paper "The Dream Cadence: A Study of the Ascending Ninth in Romantic Music". Thank you again for this in depth analysis of such a wonderful piece!
💥 Schumann has this characteristic way to harmonize using thirds on both hands, that goes changing the voices chromatically, creating a beautiful polyphony. It's like the professor said, sounds like a string quartet very often. He has some own chord progressions too that even if I don't know the music, I often can identify the composer by his harmonic ways. This piece is a small universe in itself. 🎉❤
I really did not know about the original/fast tempo and I feel like it changes the mood behind the piece, it becomes a less peaceful, more tormented, fluctuating up and down and ultimately less comforting in a way It is almost like slowing it down erases that “torment” by making it closer to an Ave Maria type of piece (i don’t know where I’m going with this, just wanted to say thank you for this great video!!!)
The Berg essay can be found in "Pro Mundo-Pro Domo," his collected writings. Not sure if you mentioned that. Wonderful video! thank you for putting in the time. Funnily enough, I was just dicussing this with my friend a couple nights ago...he took me to see Gurrelieder! Berg has a wonderful essay on that too.
Thank you for the video. I felt sad for him when he was losing his hearing. I never cared for his music much until I saw the old movie about the Schumanns and Brahms.
I didnt realize Kinderszenen was so deep or harmonically great.Schumann has more moods than Chopin .Irony that Sch suicided and Chopin who was always dieing as Moscheles said succumbed slowly.
I am a massive fan of Robert Schumman. I think of Kreisleriana and my hairs raise on my forearm and i get shivers. I place Schumann next to JS. Bach and nobody else on that rank, no not Mozart, not Beethoven and not even Chopin or Tchaikovsky or Edward Elgar who are all geniuses nonetheless.
Superb visual follow along musical analysis at the end, awesome work thank you. Does the G 9th chord really exist ? i mean i don't think it should be called a 9th, it is like a juxtaposition of a G7 and a D chord on top. It's interesting how he has to harmonize that keeping the two B natural low or it would clash with the evocation of the D chord on top. But i am just searching i don't have the answer.
What about that double-beat theory about which Wim Winters always talks? If that assumption is correct, 100 becomes modern 50 bpm which is closer to the tempo Horowitz played. Slow and dreamy. I know sometimes the evidence is against the theory but here it fits ok, in my opinion.
@@themusicprofessor Sure, the tempo is relative and can vary during the performance. But the theory itself can be partially true. I believe it just depends on the metronome model a specific composer or editor used. Definitely, it does not work for every every single piece. For example, if you look at Maelzel's metronome (the original pyramid-shaped metronome from the 19th century) the scale says Agagio for the range of 105-120 bpm. That's way too fast for Adagio, so the numbers must be interpreted differently and half speed sounds more appropriate for the particular metronome type. You can see the picture of it in Wikipedia in the "Metronome" article.
@@ValentinKovshikMusic I wonder if your contention about the given range for adagio on Maelzel's metronome might be answered by the video "Are We All Playing Classical Music in the Wrong Tempo?" which can be found on the "tonebase" guitar channel. It's also the case that if you look at the contemporaneous timings given for Romantic music and compare them with the predicted timings according to the two interpretations of the metronome, Wim Winter's theory get further and further away from the actual lengths given for the music to which he suggests it should be applied. There's a video on this on youtube somewhere.
@@isaacbeen2087 Yes, I have watched that video. It's more about interpretation of non-numeric tempo indications like Andantino, Moderato etc. The metronome marks is a different story, it's a number. Adagio is slow in any case, but 120 quarter notes per minute is not slow. Something is wrong here. Presumably 1 beat ≠ 1 quarter note. In fact I have checked now some scans of the first edition of Traumerei and it's, indeed, an eighth (!) note = 100, not quarter. See the very first pdf link on IMSLP for Kinderszenen, file # 03060. On the other scan the notes' flag presumably was lost due to low quality of the scan.
@@ValentinKovshikMusic The video suggests that our idea of non-numeric tempo markings has generally grown slower. That would seem to answer your contention directly, no? the rest of the indications on the metronome seem to fit pretty well. They're just very roughly squeezed on, I highly doubt they were meant to be of much use to begin with. I'm looking at the first edition now. It seems the flag has been drawn on by the owner of the copy.
I love how the first chord (F major) is played with the hands interlocking, cooperating to make the perfect gentle sound, kind of like an embrace!
Fascinating observation. Yes!
What a wonderful video! The ending of the piece is a particular type of romantic cadence characterized by the rising 9th motif (degrees 6 7 1) that I have studied and termed the "Dream Cadence" in reference to Träumerei. You can see more examples and analysis of it on "thelibraryofsonorities" or look up my paper "The Dream Cadence: A Study of the Ascending Ninth in Romantic Music". Thank you again for this in depth analysis of such a wonderful piece!
For some reason, I'm having difficulty downloading it but could you send me a pdf?
JulienDespois. Thankyou. I hope it helps my composition.
💥 Schumann has this characteristic way to harmonize using thirds on both hands, that goes changing the voices chromatically, creating a beautiful polyphony. It's like the professor said, sounds like a string quartet very often. He has some own chord progressions too that even if I don't know the music, I often can identify the composer by his harmonic ways. This piece is a small universe in itself. 🎉❤
I really did not know about the original/fast tempo and I feel like it changes the mood behind the piece, it becomes a less peaceful, more tormented, fluctuating up and down and ultimately less comforting in a way
It is almost like slowing it down erases that “torment” by making it closer to an Ave Maria type of piece (i don’t know where I’m going with this, just wanted to say thank you for this great video!!!)
I so enjoy these longer (filmed) vids, though I appreciate they must make more demands on time, etc.! Many thanks, and most enjoyable! Cheers! 😄😄
The Berg essay can be found in "Pro Mundo-Pro Domo," his collected writings. Not sure if you mentioned that. Wonderful video! thank you for putting in the time. Funnily enough, I was just dicussing this with my friend a couple nights ago...he took me to see Gurrelieder! Berg has a wonderful essay on that too.
Thank you for the video. I felt sad for him when he was losing his hearing. I never cared for his music much until I saw the old movie about the Schumanns and Brahms.
This video should have millions of views. 🎉❤❤❤
Agree!,
I didnt realize Kinderszenen was so deep or harmonically great.Schumann has more moods than Chopin .Irony that Sch suicided and Chopin who was always dieing as Moscheles said succumbed slowly.
Wonderful analysis and excellent performance!
These videos make me appreciate the pieces I already love even more. Great analysis!
Love your analysis ❤ thank you and keep it coming !😊
What a perfect Saturday afternoon piece. Thank you, and Loki too.
Magical piece, spectacular composition. To me it's only nominally in 4/4; almost 1/1 really, or mixed meter (3/4, 5/4 etc)
I missed these analysis videos so much... so good
Stravinsky uses thick muddysounding close-spaced thirds in the bass! Im so unobservant. How could i not have noticed that ?
Thanks so much for analysis! Really enjoyed the playing too!
Amazing!
Love the Schumann!
I am a massive fan of Robert Schumman. I think of Kreisleriana and my hairs raise on my forearm and i get shivers. I place Schumann next to JS. Bach and nobody else on that rank, no not Mozart, not Beethoven and not even Chopin or Tchaikovsky or Edward Elgar who are all geniuses nonetheless.
loki must be a lucky dog haha
Thank You Very Much! 🦩✨💎🦩🦩🦩
Superb visual follow along musical analysis at the end, awesome work thank you.
Does the G 9th chord really exist ? i mean i don't think it should be called a 9th, it is like a juxtaposition of a G7 and a D chord on top. It's interesting how he has to harmonize that keeping the two B natural low or it would clash with the evocation of the D chord on top. But i am just searching i don't have the answer.
I am curious what does that beautiful pharmacy like 16 drawers furniture holds ? I'd like to have something like that to organize myself.
8:55
Sacrilegious
Hi Loki!
I have to say that I prefer the faster tempo. (Sorry, Loki)
Loki prefers going at a fast tempo on his walks.
yessss
What about that double-beat theory about which Wim Winters always talks? If that assumption is correct, 100 becomes modern 50 bpm which is closer to the tempo Horowitz played. Slow and dreamy. I know sometimes the evidence is against the theory but here it fits ok, in my opinion.
I don't buy it - although (as I say in the video) there is no such thing as an absolute tempo.
@@themusicprofessor Sure, the tempo is relative and can vary during the performance. But the theory itself can be partially true. I believe it just depends on the metronome model a specific composer or editor used. Definitely, it does not work for every every single piece. For example, if you look at Maelzel's metronome (the original pyramid-shaped metronome from the 19th century) the scale says Agagio for the range of 105-120 bpm. That's way too fast for Adagio, so the numbers must be interpreted differently and half speed sounds more appropriate for the particular metronome type. You can see the picture of it in Wikipedia in the "Metronome" article.
@@ValentinKovshikMusic I wonder if your contention about the given range for adagio on Maelzel's metronome might be answered by the video "Are We All Playing Classical Music in the Wrong Tempo?" which can be found on the "tonebase" guitar channel. It's also the case that if you look at the contemporaneous timings given for Romantic music and compare them with the predicted timings according to the two interpretations of the metronome, Wim Winter's theory get further and further away from the actual lengths given for the music to which he suggests it should be applied. There's a video on this on youtube somewhere.
@@isaacbeen2087 Yes, I have watched that video. It's more about interpretation of non-numeric tempo indications like Andantino, Moderato etc. The metronome marks is a different story, it's a number. Adagio is slow in any case, but 120 quarter notes per minute is not slow. Something is wrong here. Presumably 1 beat ≠ 1 quarter note. In fact I have checked now some scans of the first edition of Traumerei and it's, indeed, an eighth (!) note = 100, not quarter. See the very first pdf link on IMSLP for Kinderszenen, file # 03060. On the other scan the notes' flag presumably was lost due to low quality of the scan.
@@ValentinKovshikMusic The video suggests that our idea of non-numeric tempo markings has generally grown slower. That would seem to answer your contention directly, no? the rest of the indications on the metronome seem to fit pretty well. They're just very roughly squeezed on, I highly doubt they were meant to be of much use to begin with. I'm looking at the first edition now. It seems the flag has been drawn on by the owner of the copy.
👏👏👏
Yes. Dogs have been licking their own balls for a very long time.