This is a lot easier to digest for the listener than Busoni's piano concerto though. Very accessible and slightly sentimental lyrical melodies interchanged with breath-taking keyboard acrobatics - am actually surprised this didn't make it to the standard repertoire.

@@classicallpvault8251 agree with everything you said. I just re-listened and it is just a stunning example of everything a great romantic piano concerto should be.

@@classicallpvault8251 Two reasons why it didn't make the standard repertoire is because 1) Paul Pabst hasn't developed quite the name to carry his music forward like Rachmaninoff, Beethoven, Tchaikovsky, etc. in terms of piano works and 2) the score to this piece was actually lost but discovered quite recently (I believe in the last few decades), and so it could not be heard, let alone performed, until then.

If this is indeed true, then it is an absolutely astounding musical fact!

@@jmbechtel It is true, search up Pabst’s 1895 recording of a Chopin Nocturne.

If you put in time stamps in the correct format it should work.

Yes, one of the nicest movements that I've heard in a piano concerto till now!

Well, between you and me, this is a typical example of a virtuoso who knew how to write a concerto to showcase his own pianistic abilities, but his compositional gifts were not in sync with his pianistic gifts.

@@bartjebartmans Made sense to me, I liked it. Find your judgement a bit harsh. Sure, he's cutting it too literally - normally you'd synchronize the enharmonic change over both hands (so for instance not introduce the B major until the fourth quarter note).

I was more talking about the composition technique. Incomplete themes, themes not developed, no organic growth from material, everything loosely put together. What is so harsh with this simple observation? I uploaded it didn't I?

that' the difference between a director/pianist and a composer!!! And for everything there is a first time in life, life is by the way very confusing

@@bartjebartmans​​⁠​​⁠​​⁠Agreed and honestly, how unfortunate. The virtuoso writing often becomes intrusive and overbearing to many passages that illustrate beauty lying on the leading orchestra (example is the potential development of the theme introduced at 3:32, seemingly killed by whatever happened at 4:17 onwards), new gorgeous themes and tunes sporadically appear and are also sparsely strewn together without any real direction and structure thought out behind it. If only this was ever reworked, it could've had a Rach 1 treatment if he wanted to-or if he was even capable of doing so.

overture means opening in french

@@fyrexianoff I just don't recall ever hearing a piano concerto opening with this much "drama" if you want to call it that. Any of Beethovens? no. Tchiakovsky? no. Dvorak, certainly not. Now it does sound like the opening to some overtures, from what I recall and other more dramatic works. Most piano concertos highlight the solo instrument and have the orchestra set the stage, Well, just my opinion and observation.

@@davidyoung6331 Grieg's opens with quite a bit of drama imo. As well as Kurt Atterburgers piano concerto. Tchaikovskys first opens sounding like a fanfair

@@davidyoung6331 Are you kidding me? None of Tchaikovsky's or Beethoven's have a dramatic start? Plenty of piano concertos have dramatic openings like this, including some of Beethoven's and tchaikovsky's

@@FreakieFan It's an entirely subjection opinion or observation. I don't disagree with you. It's just an initial reaction on my part. Take or leave it. Don't make a big deal about it.

Sometimes I upload works of historical interest, this is one of them. Musically it is indeed a bit of a messy affair. But it gives an idea what Pabst technique was, what he could pull off. More of a show of technique than contents.

Why?

@@ClassicalMusicAndSoundtracksThe first movement has a quite free and unconventional use of sonata form. I think it is actually monothematic, with the main theme presented at the beginning, clearly. Then it seems to give an exposition with two themes derived from the main theme, and after a reinstatement of the main theme two derived themes were developed, but never heard again later. The cadenza and the recapitulation contains only the main theme, and it was developed again into the final big tune. I think it resembles a kind of modified rondo-sonata with a sort of “pseudo” exposition and development