O-New: Now Extinct Website

Posts tagged “Replication

Musikalisches Bilderbuch, No. 5 Weisse Und Schwarze Tasten II

According to the German Wikipedia, István Szelényi (no, don’t ask me how to pronounce that) was a not-German and yes-Hungarian pianist and composer, born in 1904. He studied at the Budapest Academy of Music and liked performing and editing Liszt cause they’re both Hungarian and hungary for the satiater that is ~romantic music~. Except Szelényi had “the drive to write a tonal and intelligible, while contemporary music close.” Which means that he was actually an expressionist.

He composed Musikalisches Bilderbuch (Musical Picture-Book) in 1967, just 5 years before his death at 68 years old. This Reliable Source (totally not copied from German Wikipedia) suggests that Musical Picture-Book “is one of the most stimulating educational collections of piano music of the 20th century.”

So why does nobody have a numbered song list of it?!

the numbers are important because math»


Music of Our Time, Book 2, Twotone

(Yes, I’m digging through old RCM pieces now that it’s finally over. Do have a listen to Das Artige Kind, another simple study.)

The title of this post is somewhat misleading because Music of Our Time, Book 2 isn’t called ‘Twotone’. Twotone is one of the pieces in the book, but I don’t know which one. Imagine it as ‘Music of Our Time, Book 2, No. ???: Twotone,’ and it doesn’t seem as confusing. Of course, ‘No. ???’ looks appallingly ugly and I wouldn’t write such a travesty if my life depended on it, but…

Music of Our Time was actually a collaboration by renowned Canadian composer Jean Coulthard, and her two students David Duke and Joan Hansen. (I really don’t know how to properly Oxford comma this sentence, so I’ll just leave it as-is.) Twotone was written by Joan Hansen, an enigmatic mortgage sales representative-cum-composer.

…Yeah, that’s not the Joan Hansen we’re talking about. Probably shouldn’t go into so much detail on a composer when we have such a short little piece to talk about.

I really like the polytonality of this. (There’s… not much more to like. What can you like about 11 bars of music?) You can distinctly hear the two different hands, and the dissonances and parallel fifths actually sound alright. The key switch in the middle section seems a bit trivial, since the left hand F-major chord in bar 7 is still natural, and you don’t actually encounter any c-sharps in the right hand there. Actually, you don’t encounter any c-sharps in the entire piece…

If the dynamics aren’t contrasting enough, blame my camera: it automatically makes soft sounds louder and loud sounds softer. I think I did pretty well, though. I fessed up at bar 10 – there’s a two-beat rest, and I only rested for one. I hope nobody uses my recording to help them learn this piece… (which isn’t in the syllabus anymore, lol)

In two words, this piece is pretty cute.


Die Anfangs-Stunden, Op. 117, No. 19 Das Artige Kind

it is late I am late today we will talk about CORNELIUS GURLITT’s marvellous étude, DAS ARTIGE KIND.

cornelius gurlitt was a classmate of the son of the leipzig conservatory head (and subsequently studied with him). he was a pretty cool guy, became a Professor of Music at the accademia nazionale di santa cecilia (which is supposedly a pretty cool thing to get). he didn’t write music to entertain, but to educate, so he wrote many studies like das artige kind

‘das artige kind’ in english is ‘the good/kind/polite child’. i think. i don’t german, i don’t want to be guilty crown

‘die anfangs-stunden’ means ‘the first lessons’, and this collection in english is ‘the first lessons: 34 short pieces for the pianoforte (opus 117)’. as you expect, das artige kind is the 19th short piece in this collection

you can read the music right here but BEWARE it may possibly be illegal somewhere i don’t know this guy’s been dead for 111 years, alright

BUT WAIT

if you scroll down you’ll see a difference; it’s played up an octave on the second part. well my OFFICIAL ROYAL CONSERVATORY OF MUSIC NEW PIANO SERIES STUDIES ALBUM 1 & 2 suggests otherwise. what i play comes from my rcm studies book, not the gurlitt collection version (the publisher’s name isn’t even listed there…)

what’s more, i don’t even know when he composed this, or even when it was first published. that’s why for composition date i just wrote ‘between 1820-1901’, since it’s doubtful he composed this before his birth or after his death

anyways that is all. see if you can spot the bulbasaur hidden among my pants


Parallel 5ths

Oh hey, another Musical Monday!

Remember last Musical Monday, when I posted about Stephen Chatman’s Ginger Snaps? Neither do I! Here’s another composition that features parallel fifths like there’s no tomorrow. What’s it called?

Parallel 5ths.

As opposed to opposed fifths»


Preludes for Piano, Book 3, No. 3 Ginger Snaps

Welcome to another (late) Musical Monday! Today’s piece of music is titled… wait, I’ll let you guys guess…

..that’s right! It’s titled Friday, featuring the beloved Rebecca Black Ginger Snaps, written by Stephen Chatman in his music collection, Preludes for Piano, Book 3 between 1999 and 2001. Yep, it’s a recent (21st-century!) composition, and as you’d expect from recent compositions, it defies conventions a little bit.

The fies can fence shins»


Le Pianiste Virtuose en 60 Exercices, Nos. 21 – 43

It’s time for the long-awaited sequel to Charles-Louis Hanon’s Le Pianiste Virtuose en 60 Exercices!! Well, not really, because Le Pianiste Virtuose en 60 Exercices (The Virtuoso Pianist in 60 Exercises) doesn’t have a sequel. No, this is the sequel to my first post about the Virtuoso Pianist, and in this part, we’ll cover pianos, fingers, and not much else. If you’re reading this series for the first time, do read the first post’s introduction first. Really. Seriously. Honestly. Lie. Wait, no, it’s not a lie, it’s a -ly

We’ve moved past the Preparatory Exercises, so now, it’s time for harder exercises. In fact, you could even say they’re ‘Transcendent Exercises For Preparing The Fingers For The Virtuoso Exercises’. That’s what Hanon says. I mean, said, because he’s dead (hey, that rhymes), which means… woohoo, we’re still doing preparatory exercises…

Prepare to READ»


Le Pianiste Virtuose en 60 Exercices, Nos. 1 – 20

It’s Musical Monday, and perhaps just playing Czerny all the time has gotten a little boring for you guys. But don’t sweat, because I’ve got something much more exciting prepared, just for you: Hanon exercises, instead!

Charles-Louis Hanon’s Le Pianiste Virtuose en 60 Exercices (The Virtuoso Pianist in 60 Exercise) is an (in)famous collection of (you guessed it) 60 piano exercises, meant for developing finger and wrist strength, agility, endurance, flexbility, suppleness, you name it. Ask any piano teacher or pianist what the most useful book of exercises are for the piano, and half will probably name Hanon’s. Ask the ones that don’t what the most harmful book of exercises are for the piano, and chances are, they’ll probably all name Hanon’s.

But: you must have at least a year of keyboarding experience before starting Hanon practice. Starting it too early will a) dumb down your musical sense b) force you into amateurish hand postures and c) be impossible to play. If you’re here and want to learn how to play piano, Lypur’s ‘Learn How to Play Piano’ playlist is the perfect tutorial for you! Well, maybe it’s not perfect, and maybe it’s not for you, but do give it a shot. (Look, he’s even made a video about the Virtuoso Pianist and Erster Wiener Lehrmeister im Pianofortespiel!)

Like it or hate it, every pianist has encountered Hanon’s exercises sometime in their lifetime. Thus, in this series of posts, I’ll be venturing to play them all. Like a Pokémon master but without the Poké, without the mon, without the mast, and without the er.

Pokémast moner»


Erster Wiener Lehrmeister im Pianofortespiel, Op. 599, Nos. 41 – 60

Two posts ago, I began my quest. My quest to play all 100 exercises in Carl Czerny’s book of beginner piano études, Erster Wiener Lehrmeister im Pianofortespiel. What is a piano étude? Well, my previous post explains this and much less (that is to say, it does not explain much more than this), and I strongly suggest you start from the very beginning if you are trying to learn piano.

Actually, if you are trying to learn piano, I strongly suggest you do not try Czerny’s piano exercises at all. The learning curve is too steep, and without a proper piano teacher, your form and posture will be all incorrect. I do not count as a proper piano teacher because my form and posture is already incorrect and its incorrectness is already incorrigible.

This post, we’ll talk about posture, technique, and another guy, Hanon, ‘s exercises. That’s improper grammar and punctuation, but I want to pronounce ‘Hanon’ with pauses at each end, and ‘s exercises together as one word, because English is stupid and French liaisons sound really, really good. Unlike my performances of the following exercises.

(more…)


Erster Wiener Lehrmeister im Pianofortespiel, Op. 599, Nos. 21 – 40

Last post, I announced my great expedition to record all 100 exercises from Carl Czerny’s book of études, Erster Wiener Lehrmeister im Pianofortespiel (no, don’t ask me how to pronounce that).

This Musical Monday, you will learn about accidentals and key signatures, the qualities of an étude, and of the history behind this collection.

But without further ado, let us begin with post two (hey, that was a rhyming couplet!).

These rhymes I’ll continue, and ah-ah-ah-achooo»


Erster Wiener Lehrmeister im Pianofortespiel, Op. 599, Nos. 1 – 20

Alright, guys, it’s time for a new piano project!

That sentence was misleading, because it somewhat implies that I have completed older piano projects, whereas in fact, I have not completed any piano projects! Nor started any, for that matter… until now.

What is the project? The project is to play all 100 pieces in Carl Czerny’s Erster Wiener Lehrmeister im Pianofortespiel (lit. “First Viennese Masters in Piano Playing” (courtesy of Google Translate), or ‘Practical Exercises for Beginners on the Pianoforte’), Opus 599.

Projected outcome: disaster»


Les Gymnopédies

I TOLD YOU GUYS I WOULD GIVE YOU MUSIC VIDEOS

SO HERE YOU GO

VIDEOS OF MUSIC. THREE OF THEM. SCROLL DOWN.

AND OF MY HANDS, NOT MY FEET»


Études-Tableaux, Op. 33, No. 8

Oh man, this is HST Week but I’ve done nothing but HSRs; I swear, I’ve got all the musical stuff planned, but school stuff and parental stuff are seriously hampering my efforts to do something. At least I’ve got that Level E 7 post done (for next next day).

There’s not much more to read»


Akvareller, Op. 19, No. 2 Scherzo

Well, whaddya know.

I have a new camera.

I’m too scared to use it right now, so I’ll keep on recording with my old one until it breaks – it’s only about 30% broken right now. It can record just fine.

Nothing else to read»


Petite suite en Quinze images, No. 7 La Promenade en Traîneau

For some reason, I seem to really like the number 7.

Firstly, there seems to be some time/video delay – as some of you may know, my camera sorta died on me a while ago, so now the only thing it can do is record videos, which it obviously is doing with quite a lot of bugs.

C’mon guys, this is /music/, some time/video discrepancies shouldn’t irk you much if you’re not looking at the video :P

For that matter, the lighting sucked, so the only thing worth looking at at the video was Bulbasaur.

As with most influential composers of, well, since the Renaissance, Jacques François Antoine Ibert was born in Paris. The 1890s were the start of quite an… emotionally compelling era, with German expressionism and French impressionism marking their lasting (pardon the pun) impressions on the musical industry.

Conceived in this turmoil of musical clashes, you’d expect Ibert to pick a style and stick with it; on the contrary, he was quite unattached to any style themes, preferring instead to dabble in the mishmash of genres prevalent in Parisian (and indeed, worldwide) society at the time.

This did not mean he was a bad composer at all, for he won one of the most coveted prize in musical composition – the Prix de Rome, waarded only to such geniuses as Hector Berlioz, Georges Bizet, and Claude Debussy.

After decades of productive musical establishment, the Axis-aligned Vichy Regime (of France) banned his music, and Ibert voluntarily moved to Switzerland to continue his career.

He died in 1962, when he was 71.

In 1943, after the outbreak of war, he composed ‘Petite suite en quinze images’ – Small suite, in 15 images (I BET YA DIDN’T KNOW THAT HUH). A completely solo piano work, he delicately paints many idyllic scenes of a peaceful time. Strangely, it seems (I just can’t find good recordings for all of them) that none of them are very loud. A perfectly natural thought for one wanting to escape the war.

The 7th piece in the collection, ‘La Promenade en Traîneau’, actually means ‘the Sleigh Ride’, rather than what I thought it was; ‘the Train Station’. Because of this, I tried to evoke visualizations of a quiet train station, with the suddenness and swiftness of a train arriving and leaving in the middle of the night. It seemed so much more… obvious. Before I searched up the real translation, I just couldn’t get why everyone else was basically slamming the notes to make it stand out against the seemingly unimportant bass. Really, it was quite… disgusting. Horrifying.

But what am I, to criticise others’ perceptions? What difference what that be to brutally sabotaging others’ inner mentality? When not even I, am properly expressing the dynamical nuances, the whole… calmness of the scene.

Yet, a train station would make much more sense. The quiet left-hand Alberti footsteps motioning the train to come faster, quicker, so that they could fially go home after a long day’s work. The sudden plunge into organized noise as the vehicle slowly slides into the platform. Quick pit-pats of shoe on ground, growing faster, louder, as swarms of people flood onto the train.

And then it’s gone.


Ten Pieces for Piano, Op. 12, No. 7 Prelude ‘Harp’

…That’s a mouthful.

Anyways, for, like, two weeks, I thought Bleach was going to end, so I was about to make a post about it ending…

…but it didn’t. DAMMIT KUBO MOTHERFUCKING AIZEN IS MOTHERFUCKING IN PRISON FOR TWENTY FIVE MOTHERFUCKING THOUSAND YEARS ALREADY, AND ICHIGO’S LOST ALL OF HIS MOTHERFUCKING SHINIGAMI POWERS. NOW WILL YOU STOP STOP STOOOOOOOOOOOOOOOOOOOOP THE MADNESS?!

Next up, I recorded another recording of something, but THE CAMERA DIDN’T CATCH MY DYNAMICS, which was the ENTIRE POINT OF THE PIECE. Oh well, I guess I can re-record it again…

Finally, a day after I recorded the dynamic-fail piece, I recorded this; on October 23rd, to be precise. My computer was still dead then, so what else to do with my time?

There are numerous mistakes here as well, but my camera (yet again, I place the blame on something else) is set on one side of the piano, so the place where I wanted less volume to be actually got increased more in volume.

OH WELL

I probably rushed this as well; it’s supposed to have much more of a ‘harp’ sound, as it’s actually written for either piano or harp. You can play this on a harp. Yeah.

Sergei Sergeyevich Prokofiev was born in 1891 in Russia. Not SOVIET RUSSIA because that wouldn’t exist until Prokofiev became 26.

Anyways, from a young age, Prokofiev began demonstrating his ability to be superior over everyone else. When he was nine, he wrote an EPIC OPERA, first performed in NINETEEN OH ONE by SOME PEOPLE for an audience of SIX.

He obviously entered a prodigious musical academy while being considerably younger than the other students, and demonstrated a extreme passion for mus(ry

…His first major work was for the famous impresario Diaghilev, the very same who commissioned Stravinsky’s three Ballet Russes Ballets (Petrushka (F# MAJOR GO GO), L’Oiseau de Feu (the Firebird), and Le Sacre du Printemps (the Rite of Spring)), the Chout ballet.

Eventually, SOVIET RUSSIA began to appear and socialize much of Russia’s art forms; his experimental, modern tones had to move to San Francisco.

After the first world war was over, he returned to Russia to much more favourable conditions. However, Prokofiev died on March the 5th, 1953 – the same day as Joseph Stalin.

As an aside, because everyone was SAD about Stalin’s death, they couldn’t carry Prokofiev’s body out for the funeral until the 8th.

His Opus Twelve is a collection of 10 works for either piano or harp, each one being completely different from the others (e.g. Number 5 is ‘Caprice: Allegretto capricciosamente’). It was composed between 1906 and 1913, and had its premiere in 1914. Number Seven (this one) is the ‘easiest’ to play…

Anywho, Prokofiev was an awesome man. I mean, anyone who composes anything that has a title like ‘The Love for Three Oranges’ has to be awesome.

…right?


Suite bergamasque, L. 75, Third Movement ‘Clair de lune’

Welp. I’m not sure if ya can hear it or not but my parents are cutting their fingernails or something in the background.

Yeah… recording this was hard, ’cause I wanted to do it at night for the ‘moonlight’ feel. But at night my parents are all yelling at me to sleep, so…

It also seems much louder in the camera than it should be…

Also, there are numerous mistakes even though this is quite a slow piece…

OH WELL

Claude-Achille Debussy was born in France in 1862. He began his piano lessons at seven years old, and three years later entered the Paris Conservatoire.

Though brilliant, he favoured dissonances and intervals not allowed at the time. It was through these that he became arguably one of the most important French composers ever. His music is extremely sensory (though ya can’t tell what with my horrible playing :V), and almost completely opposite the strict harmonic rules of the Baroque period.

His music basically defines the transition from Post-Romantic to Modern music, a major composer in the Impressionist field. He frequently used parallel chords, bitonality, exotic scales (such as whole tone and pentatonic), and sudden modulations.

When he was 28, in 1980, Debussy began work on his Suite bergamasque, a four-movement suite.

Just before 1905, Debussy made major revisions to the work, changing the names of the last two movements (from Pavane to Passepied, and from Promenade Sentimentale to Clair de lune). One of his most famous piano movements was indeed Clair de lune.

It strongly uses tempo rubato, which leaves many things up to the discretion of the pianist. Thus, the actual sound of the piece isn’t too strongly defined by how he composed it, but how someone plays it. :V I just made it sound horrible, sorry ._.

Anyways, in the middle of World War I, Debussy died of rectal cancer. His funeral procession gravely made its way through the streets of Paris, still being bombarded by German artillery shells.

He was 56 years old, and just about the most influential composer of the time.

ALSO my piano chair is squeaky. :V


Polonaise in A major, Op. 40, No. 1 ‘Military’

…Yeah.

I took my exam in mid-August, I think (I made an announcement around the time with lots of Lyrica-art :P). However, my camera quality SUCKED.

Dunno why but I just realized it doesn’t SUCK, it’s just fairly bad. So, I recorded this.

Funny thing is, it’s been EXACTLY a month (recorded Gallop on the 16th of August, recorded this on the 16th of September).

My mom stole my roll-y table-thingy, so I had to shoot from another angle – between my piano and one of the legs of my bed! Basically, I put a book on top of both (they’re of similar height) and put the camera on the book. Ya can’t see the book because if ya could it’d look silly.

Yes, that’s a bulbasaur in front of those curtains. No, they’re not curtains, those are my clothes and that’s my closet that doesn’t have a door. :V

My bed’s directly on top of the piano, so ya hear lots of reverberation as it’s surrounded on five sides. The side it isn’t surrounded on has me and I’m FAAAAAAAAAAAAAAAAAAAAAT that blocks it somewhat as well. OH WELL

I start off really badly because I haven’t played this for a month. Then again, the middle and end are really bad too.

OH WELL

For some background info; Chopin was of French-Polish descent, so he can be called Frédéric François Chopin (what he’s usually called), or Fryderyk Franciszek Chopin. Not sure which one’s easier to spell; the French version sounds simpler but has those c cedilles and e aigus (French class pays off!), and the Polish version just sounds weird. Ymagyne replacyng all those i’s wyth y’s :V

He composed a set of two polonaises; Polonaise in A major, op. 40, no.1, and Polonaise in C minor, op. 40, no… (ya can probably guess which number it is).

When the Nazis invaded Poland, as a protest a radio station broadcast the first polonaise daily. Eventually, the Nazis banned public performances of Chopin and destroyed a statue of him as well.

Some person once remarked that the first was “a symbol of glory, whilst the Polonaise in C minor is the symbol of Polish tragedy”. Though I’m not sure about the second one, and I didn’t play it as it should have sounded like, this polonaise is definitely, very glorious.


Nine Tales, Gallop

Here’s me playing Gallop, by Christos Tsitsaros.

Anyways, for some backstory – my piano (RCM, though if ya live outside of Canadia ta means nothin to ya at all >_>) examination is coming up on ta Saturday, so I’ve gotta prepare for it and stuff.

:V

Ya play a total of seven pieces, so I’mma upload all of those during ta week.

In the order I’mma play them in.

Gallop’s a modern piece, composed by Tsitsaros in 1996 in his “Nine Tales” collection.

I think it’s supposed to portray something galloping, but ya wouldn’t know cause I played it too horribly to listen to :V

I might say more stuff here but there’s nothin to say.

I realize there are tons of mistakes, and I’ll speak about ta later on. But not now because I need ta paint ta fence or somethin :/