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Пікірлер
@ensifer329 2 күн бұрын
the fugue sound like the fugue of mozarts 13th quartet ( 4th mvt)
@alvodin6197 Ай бұрын
I usually prefer Chopin concerti, his variations op 2, and grand polonaise brilliant as just solo piano, but is an exception! Glad to discover this.
@anonymusum 2 ай бұрын
Very stiff interpretation.
@officialnbk 5 ай бұрын
Try my new game?
@piotrkobza2776 5 ай бұрын
Piękna muzyka. Ale chyba dobrze, że Chopin wyszedł z tego stylu. To już była ślepa uliczka.
@ioiomichalicki2911 4 ай бұрын
Czemu ślepa uliczka?
@piotrkobza2776 4 ай бұрын
@@ioiomichalicki2911 Ponieważ tutaj on już cytuje samego siebie. Poza tym w tym stylu nie dało się napisać scherz, ballad, fantazji f ani w ogóle niczego, co napisał od op. 20 w górę.
@lenchenlindemann8003 6 ай бұрын
Бетховен- Творец. Он неудержимо идет вперёд, развивает любой жанр, к которому прикоснется. И дает ему второе рождение на более высоком и сложном уровне. Разве что-то могло удержать его Истинную Суть Творца в сочинении фуг? Естественно, его гению стало тесно в этих канонических рамках. Его гений не знает границ и пределов.
@Emiliasooo 6 ай бұрын
Sounds so baroque
@Steven-wz7sh 7 ай бұрын
Great games back then. Heres to Bob and Mars. Cheers!
@millsixstudios 9 ай бұрын
Marcel Reich-Ranicki chose it for the “Literarisches Quartett” on TV, the reasons of which he writes about in his autobiography on p.222-223.🌱
@donaldtrump2252 10 ай бұрын
Holy shit i stumbled across another masterpiece
@OuaghlaniAlaa 10 ай бұрын
Is Nicodé Chopin's pupil ?
@Xyriak Жыл бұрын
12:39
@Xyriak Жыл бұрын
4:48
@moltzer Жыл бұрын
I wish that Beethoven called this a Nocturne. Then, this work would be way more popular and known as Beethoven's Nocturne.
@andreauribe6454 Жыл бұрын
Winderful surprise
@mostafa12890 Жыл бұрын
14:55 Perfection
@majdabdulaziz714 Жыл бұрын
أتفق
@mr88cet Жыл бұрын
Not super-important, but the score order strikes me as curious: horns, oboes, clarinets, then bassoons.
@reinhardtristaneugen9113 Жыл бұрын
Can someone please ask😇❤ Katjuscha❤😇 on her final judgement respecting 2:47 in the clip: I do hear an < a flat > in the clarinetts... ...but there is supposed to be played an < a >... ...right or wrong? Le p'tit Daniel
@reinhardtristaneugen9113 Жыл бұрын
Since I'm so enchanted by the woods I'm always in joy in stumbling across something like this piece Beethoven did compose there, I'm actually loaded with ideas for compositions on my own and I hope to get something done with a year or so in restored conditions to develop my skills in composition though I guess I'm not able never ever to reach ❤Katjuschas❤ brilliance there... ...especially I got a lot of melodies in mind with an oboe and a flute to express the silence the way I feel and perceive it... ...Michelangelo actually headed for new goals after one year of learning how to deal with fresco-paintings ( go get a look in the Sixtina to see what he was able to execute... ), so just get me two years with the possibility to get through the art of composing and we will see... Le p'tit Daniel🐕🏒🍔🍟 and never ever forget though I highly appreciate the skills of Newton I do not eat less in order to get more concentrated it is the other way around... ...stuff me with fish-mäcs and I guess I can make my silence speak
@quinn7894 Жыл бұрын
It's such a unique sound. It's like an orchestra without the strings.
@autumnleaves2766 Жыл бұрын
I never knew Beethoven wrote this piece, it is delightful. I always enjoy pieces for combinations of wind instruments, Mozart wrote some wonderful examples. Good to hear the great composers' lesser-known works, which probably rarely get performed in public.
@mr88cet Жыл бұрын
Somewhat relatedly, I gather that Beethoven’s Septet, opus 20, was incredibly popular in its day. That, to the point that he occasionally regretted writing it, because too many people requested it in his concert venues. It’s worthwhile checking out, if you haven’t already!
@mr88cet Жыл бұрын
I personally have always really enjoyed the heck out of small wind ensembles, this being one of the more formative works. Mozart also wrote a fantastic wind octet, along with his pivotal _Serenade for 13 Winds_ (actually 12winds and a string bass, although sometimes contrabassoon is substituted for the bass).
@mr88cet Жыл бұрын
Another really good, but very-different wind (mostly) ensemble to check out is Dvorak’s Opus 44 Serenade in D.
@theresamnsota3925 11 ай бұрын
Beethoven also composed a few trios for two oboes and English horn. Lots of fun to play.
@GrotrianSeiler Жыл бұрын
This is ensemble music at its best. Just love this! Such great spirit by these players. Thank you for posting.
@gerdprengel7616 Жыл бұрын
What an absolutly beautiful work! I can not believe that it is hardly known. I love it so much that I tried this ORCHESTRATION: kzfaq.info/get/bejne/mtaUoKymz5-tmKM.html
@mase9308 Жыл бұрын
the parts of the original work are really nice and sound a lot like Chopin’s accompaniment with the orchestration. but when Nicode adds his own type of variation on the theme I feel like it sounds more like Liszt than Chopin especially the orchestration. As well as the Coda
@jwmusic6793 Жыл бұрын
Reminds me of Op 57 for some reason
@W0lfman0 Жыл бұрын
This reminds me of the music of Johann Nepomuk Hummel, Chopin’s predecessor. As Chopin aged he began to concern himself more with musical form and integration of the solo part with the orchestra - in part I think because he was criticized for “writing piano solos with orchestral accompaniment” rather than real concertos. This piece shows his growth in that direction, revealing an emerging classicism and maturity of feeling. I don’t know if I expressed my thoughts very well, but man, this is a long way from the profusion of secondary dominants and endless configurations of the diminished 7th in A-B-A forms that we are used to hearing from Chopin!
@pdr770 2 жыл бұрын
עם סוף טוב וסיום ב1 לשבת.
@altogetherseparate2189 2 жыл бұрын
i think i remember gwenn ... i think.
@user-jh1ty3dk7m 2 жыл бұрын
4:44 / 4:53
@user-jh1ty3dk7m 2 жыл бұрын
6:23
@challah4311 2 жыл бұрын
Sounds so nice without a flute 🤤
@Egobaldo 2 жыл бұрын
Love it.
@carlhopkinson 2 жыл бұрын
I want to see this in the final round of the next Chopin Competition in Warsaw. We should demand it.
@carlhopkinson 2 жыл бұрын
Those fast triplets in thirds are phenomenal.
@carlhopkinson 2 жыл бұрын
Very worthy of Chopin's legacy. Marvelous work full of unexpected excursions into the highest realms of piano writing that undoubtedly only Chopin could ascend to.
@SCRIABINIST 2 жыл бұрын
11:19 Gets me everytime
@radamik Жыл бұрын
Yes. Quite stunning. Apparently Chopin himself felt quite highly of this work; if only that man had lived longer.
@PokeMaestro 11 ай бұрын
Because of the iiø7 (- V9 - I)?
@SCRIABINIST 11 ай бұрын
@@PokeMaestro No, ii-Vs are normal it’s how Chopin writes the ii-V
@PokeMaestro 11 ай бұрын
@@SCRIABINIST So you mean the texture
@federico6485 2 жыл бұрын
OK, if this was going to be a movement of a concerto but not completed, then why not just make it only one movement mini concerto? I mean it's much much better with the orchestra.
@Yubin_Lee_Doramelin 2 жыл бұрын
One day a friend of mine recommended me to listen to Chopin's Op. 46, and I already knew that this was supposed to be the first movement of his third concerto. I was wondering, "Is there any orchestration of it?" Then I found this work, and I'm now addicted to the marvelous orchestration by Nicodé. I'm going to make a solo piano arrangement of this some day.
@timothygremlin9737 2 жыл бұрын
But.. there already is an original? What do you mean a solo piano arangement xD
@Yubin_Lee_Doramelin 2 жыл бұрын
@@timothygremlin9737 I mean, at the time I was listening to J.-L. Nicodé's orchestration, I thought it could be nice if I arrange again for solo piano, including "Nicodé's new parts". One day I found that new thing is too original, so now I scarcely listen to his orchestration, and gaving up my determination after all...
@janmarkowicz4633 2 жыл бұрын
If Chopin finished this entire piece including 2nd and 3rd movement, all with orchestra, this definitely would be a magnificent concert!!!
@sanjai_s Жыл бұрын
Actually this has to be piano concerto 3 of chopin, but for some reason, he reworked as a solo piano concert piece
@johorn2887 2 жыл бұрын
Didn't think he ever wrote an octet
@leonhardeuler6811 2 жыл бұрын
2:46
@richard0629823 Жыл бұрын
I also find it lol But this performance is still perfect😁
@christianwouters6764 3 жыл бұрын
In fact I find this better than B's later more and more excentric pieces like hammerklavier, Diabelli etc. It is much more difficult to write a good coherent piece in 8 real parts than concocting sprawling keyboard ones.
@leonhardeuler6811 2 жыл бұрын
The Hammerklavier and Diabelli are "spraling" on purpose, think about it like this, this occet was composered by a LESS mature composer than who composed op 109, 120 But there are many moments in both that are gorgeous Diabelli: kzfaq.info/get/bejne/jdZlbK50zMWoc40.html Hammerklavier: kzfaq.info/get/bejne/m9h0ZLyqkpqqZYE.html
@leonhardeuler6811 2 жыл бұрын
It is much more diffuclt to write 4 parts for 1 instrument (piano) than it is to write 8 part for 8 instruments. Take for example Mozart, he could write a 4 part fugue for Quarte just fine, but he needed 4 hands (2 pianos) for his Piano fugue in c
@therealrealludwigvanbeethoven 2 жыл бұрын
@@leonhardeuler6811 BTW 4 hands isn't required for the fugue. With decent partwriting knowledge one could easily rearrange it for one player, in fact I think this has been done. But I disagree when you say that it's easier to compose multitudinous parts for different instruments than it is to do the same but with only one. The blending of parts, making sure everything flows well, abides by invertible counterpoint, etc., is all easier with one piano, at least for me.
@leonhardeuler6811 2 жыл бұрын
@@therealrealludwigvanbeethoven The implication of saying " With decent partwriting knowledge one could easily rearrange it for one player" is that Mozart doesn't have "decent partwriting knowledge". Some parts would need to be deleted from the fugue in order for it to be played with 2 hands which is why I find Beethoven fugues to be so impressive: they are just as "bombastic" without sacrificing solo part-writing. Having multiple instruments doesn't entail invertibel counterpoint at all... op 103 doesn' have it, for example. I still stand with my og comment; there is a reason students of counterpoint learn to write fugues on string trios/quartet and not solo piano, the latter is harder to do
@therealrealludwigvanbeethoven 2 жыл бұрын
@@leonhardeuler6811 "Some parts would need to be deleted from the fugue..." Not really. I bet you I could make an arrangement of it without sacrificing playability nor the parts. "Having multiple instruments doesn't entail invertibel counterpoint at all..." Oh, I see. I'm talking about very CONTRAPUNTAL works, not just standard ensemble pieces like this. All I'm saying is that invertible counterpoint is easier on the piano, not necessarily that ensemble writing entails this.
@christianwouters6764 3 жыл бұрын
In fact I find this better than B's later more and more excentric pieces like jammerklavier, Diabelli etc. It is much more difficult to write a good coherent piece in 8 real parts than concocting sprawling keyboard ones.
@leonhardeuler6811 3 жыл бұрын
The recording is Clemens Hagen, Lukas Hagen, and Rainer Schmidt (related to the Hagen quartet).
@therealrealludwigvanbeethoven 3 жыл бұрын
Are you Sam2323?
@leonhardeuler6811 3 жыл бұрын
@@therealrealludwigvanbeethoven No. Why?
@leonhardeuler6811 3 жыл бұрын
@@therealrealludwigvanbeethoven Ive come across sam 2123 and daniel fahimi in many videos though like a recording of the hammerklavier.
@therealrealludwigvanbeethoven 3 жыл бұрын
@@leonhardeuler6811 Your text is very similar to his.
@therealrealludwigvanbeethoven 3 жыл бұрын
@@leonhardeuler6811 " Ive come across sam 2123 and daniel fahimi in many videos though like a recording of the hammerklavier." I'm well acquainted with both of them now; I've gotten used to their syntax and writing styles, which is why I noticed that yours is remarkably similar to Sam's.
@leonhardeuler6811 3 жыл бұрын
The thematic brilliance of the fuge is out of this world. Beethoven dissects the subject into 4/5 parts depending on how you group it. (check out the replies to this comment. ill post other relizations) SUBJECT: 3:40 1) The fate motif: 4:46 2) Chromatic scale: 5:01 (2nd violin) 3*) A downward fifth which is played with brilliantly (in augmentation): 4:28 - 4:36 (cellos) 4) Octave jump: 4:57 (1st violin), 5:04 (cello) 5) Haydnesque motif: 4:42 (violins) *Notice how the circle of fifth often occurs after the downward fifth (in the subject) or replacing it. (4:30 2nd violin plays downward fifth and the progression follows) (4:25 first violin's subject is completed by cello in augmentation). Just brilliant, the upward fourths (in cellos) are presented as a continuation of the 2nd violin statement of the "fifth" motif in 4:41, this fact is one of the reasons how i know Beethoven did this intentionally. **Beethoven goes through great lengths to emphasize that the fifth motif is an intentional one, **4:12** (2nd violins play the fifth and the cello plays it in augmentation VERBATIM, same with **4:30**, same b to e motion)** More importantly is this section 5:14 where the cello plays the fifth and octave in *augmentation* (theme bears jarring similarity to the eroica finale). 4:12 (fifth motif, cellos, last and first note of measures) If anyone is wondering Beethoven does the same with the pastoral symphony (the violas right after the first fermata play part of the melody upside down), op 131 Adagio, op 59 no 1, eroica finale fugues and many more pieces and even more so in fuges. ** Look up "Jacob Gran". He has a video dissecting the Pathetique sonata (written a few years after this fugue) in a far better, more academic way than I ever could. Also search "Richard Atkinson" and "gurubach" they do analysis more thorough than this all the time. And i might as well throw smalin in there too ***
@leonhardeuler6811 3 жыл бұрын
This is how i found about the falling fifths and leaping octave: 5:10 The cellos clearly show that the falling fifth (and leaping octave) is an important motif. Beethoven keeps it in the unstrict version of the subject (in augmentation) and does so twice. This (5:10) is the true contrapuntal climax of the piece (Beethoven combines all the main motifs much like in Mozarts Jupiter), 5:40 looks like the climax if you dont notice the fifths and octave motifs. Edit: 5:10 It reminds me of this moment from bach's c sharp major fugue for some odd reason: kzfaq.info/get/bejne/psqee5Rku5zRcoU.html
@leonhardeuler6811 3 жыл бұрын
The "fifth motif" (not to be confused with the fate motif lol) is often followed by the octave one, just like in the subject. Ex: 4:02 (2nd violins). 4:35, 5:03, (cellos state both the fifth and then the octave). 5:14 (cellos, augmentation, probably the most blatant example) 5:35 (cellos)
@leonhardeuler6811 3 жыл бұрын
3:46 The 2nd violin's answer, to me, seems 2 beats too late or too early. Beethoven probably did this so he could state all 5 motifs before the real fun begins.
@leonhardeuler6811 3 жыл бұрын
This is not even taking into account the actual cocunterpoint: there are a great many canons and strettos but my favorite is : 5:04 and 5:40. Although 4:42 is not technically a stretto, the combination of the fifth and haydn motifs is (for lack of a better term) brilliant.
@JacobGran 3 жыл бұрын
Very cool! The descending fifths motive in this context reminds me very strongly of the "And He Shall Reign Forever and Ever" Fugue from Handel's Messiah, and a couple of fugal moments from the very end of Beethoven's career. He seems to have often become obsessed with not just a motive, but a single interval and pursued it really systematically. Nottebohm has very little to say about the fugue from Hess 29, but he seems to have been under the impression that Beethoven's intention was to compose a "presto" finale that he never got around to, based on a comment written into the fair copy of the score. But I don't know whether this was Beethoven's original plan, or whether it was written in later.
@user-jh1ty3dk7m 3 жыл бұрын
awesome
@composer318 3 жыл бұрын
Similar to bach
@gerardbegni2806 3 жыл бұрын
As far as I know (but I may be wrong) this is a transcription of one of the last works that Beethoven wrote before leaving Bonn. It is a very good job. That exmplains top level recommendations that he got to go and study in Vianna with Haydn. We all know the following of the story.
@Churchcantor 3 жыл бұрын
Reverse, actually. This is one of the last works he wrote before leaving Bonn and becoming established in Vienna, and was later transcribed and reworked into the String Quintet Op. 4 three years later. en.wikipedia.org/wiki/Octet_(Beethoven)
@therealrealludwigvanbeethoven 3 жыл бұрын
I remember writing this. I’m working on another fugue right now!
@henrykwieniawski7233 3 жыл бұрын
Can’t wait to hear it, Mr. Ludwig!
@therealrealludwigvanbeethoven 3 жыл бұрын
@@henrykwieniawski7233 Oh, I remember you, Henryk! That virtuosic violinist I heard once.
@ValzainLumivix 3 жыл бұрын
Ok
@CatkhosruShapurrjiFurabji 2 жыл бұрын
Be sure to, but the fugues from your symphonies, string quartet (especially the Op.131 first movement), and the Große Fuge seem satisfying enough.
@ezequielcamacho5956 Жыл бұрын
Can u compose a cello concerto pleaseeeeeeeeeeeee :( ?
@lucyoakes5234 3 жыл бұрын
why cant I play this game?????
@authenticmusic4815 3 жыл бұрын
The theme is terribly similar to the one in the last movement in Bach's 54th cantata Great work though
@leonhardeuler6811 3 жыл бұрын
I cant unhear the fact that this section: 4:40 (2nd volins) sounds like Bach's d major orchrestral suite: kzfaq.info/get/bejne/pdeFZ9V3xN_XgaM.html I assume these things are mainstay in baroque music.
@therealrealludwigvanbeethoven 3 жыл бұрын
@@leonhardeuler6811 They are a mainstay. If you listen to Baroque orchestral (or even solo) music, you'll find that rhythms like that are often used. The descending-ascending stepwise movement is actually very common, there are numerous examples within Bach's orchestral suites alone (you'll find an inverted form of the rhythm used in the B Minor Suite, in the same contour).
@leonhardeuler6811 2 жыл бұрын
@@therealrealludwigvanbeethoven I'm aware that the rhythm is often used, especially in basso continuos, I was referring to the leaps of fourths/fifths which isn't stepwise at all like you suggested.
@therealrealludwigvanbeethoven 2 жыл бұрын
@@leonhardeuler6811 No, there totally are stepwise ascents and descents in this kind of music. I wasn't aware that you were referring to leaps, which exist contemporaneously.
@leonhardeuler6811 2 жыл бұрын
@@therealrealludwigvanbeethoven That's what I was saying: I was referring to the leaps in he 2nd Violins