* I did not speed up or slow down the videos. All videos are in original speed, every second. The reason for the connection between dancer and pianists here is not "editing tricks", but because pianists know the dances and the dances were faster in the past. There are some edits (for example in Lipatti's) such as placing the videos in a place suitable for the music and changing places with cut and paste. But as I said: All videos are at original speed. There is no speeding up, slowing down or I didn't make any small cuts to make the dance beats fit with the music. Everything is here without any tricks. All I do is match the right video to the right recording, place the music in the right place for the dance. There may be some pauses in the dances during figure transitions, sometimes the pianists did not do this in the recordings - naturally - there are only some cuts in those parts of the videos. There is no other intervention. Ravel: "I wanted everything to be danced as much as possible. Dance is a wonderful art . . ." Stravinsky: "eighteenth-century music is, in one sense, all dance music. Performance tradition ignores this. For example, in the famous recording of an eminent conductor rehearsing the Linz Symphony, he is continually heard inviting the orchestra to ‘sing’, while he never reminds it to ‘dance’. The result of this is that the music’s simple melodic content is burdened with a thick-throated late-nineteenth-century sentiment that it cannot bear, while the rhythmic movement remains turgid." Debussy: "There used to be--indeed, despite the troubles that civilization has brought, there still are--some wonderful peoples who learn music as easily as one learns to breathe. Their school consists of the eternal rhythm of the sea, the wind in the leaves, and a thousand other tiny noises, which they listen to with great care, without ever having consulted any of those dubious treatises. Their traditions are preserved only in ancient songs, sometimes involving dance, to which each individual adds his own contribution century by century. " Dinu Lipatti: "Nothing can be sadder than stylized, intellectualized music . . . I only remember precisely the meaning of a great truth expressed by Busoni: 'the error is that Beethoven was too profound. The true philosophy is not to walk in black through the streets of Venice, but to participate in Carnival.'. " Messiaen: " I'll take another very striking example of nonrhythmic music that is considered rhythmic: military marches. The march with its cadential gait, with its uninterrupted succession of absolutely equal notevalues, is anti-natural. Genuine marching is accompanied by an extremely irregular sway; it's a series of falls, more or less avoided, occurring between beats. . . Now, most people think that rhythm and the steady beat of a military march are one and the same. Whereas rhythm is in fact an unequal element given to fluctuations, like the waves in the sea, the sound of the wind, or the shape of tree branches -".
@OzanFabienGuvener
2 күн бұрын
Composers were not influenced by the dance for purely "entertainment" purposes. They were also inspired by the contrasting structure and rhythmicity of dance. Think of dance: right-left, forward-backward, front-back, man-woman, jump-bend, short-long, slow-fast, soft-hard, turn-stop, hand-foot, heel-toe, shoes-barefoot, etc. Like Rembrandt's "light-shadow", Van Gogh and Monet's "opposite colors", Michelangelo's thematic contrasts; many composers also paid great attention to contrast. There is contrast even in rhythmic understanding. Unlike modern dance, there were some rhythm-related freedoms in the past dance culture and It wasn't completely calculated. While the man maintained the tempo and rhythm, the woman could move more freely. A dancer said: "Man is rhythm, woman is melody." This logic suits the rubato and writing style of some composers. This is a huge problem even in Bach, as Stravinsky said. When I looked at the Bach Partitas (for violin or piano) recordings that I loved years ago, I realized why I loved them when they paid attention to the "dance" elements. Because when it was played like a dance, it was played with short notes, space, and bass lines in separate lines and contrast. And this is how true Bach counterpoint and polyphony emerged. If composers were influenced by certain "dances" or "folk music" they played like them or that's how they want it to be played. It is not strange that Gershwin plays his own works like jazz, and performers try to play more accordingly, because there is more familiarity with jazz. But when one is completely unfamiliar with "folkloric" or "dance" culture, the "correct" key cannot be found and it is not clear what the composers intended. If the composers gave a dance title to a section, they really wanted it to be played like a dance, and they had those dances in mind when composing it. All kinds of composers played "dance" works as dances. Composers play close to the material they are influenced by. Grieg's recording of his own "Alla Minuette" and his Norwegian folk-influenced Lyrical Pieces do not play the same way! Saint-Saens's playing style in the recording of his Piano Concerto is not the same as his recording of the Mazurka. Bartok didn't play his more "classical" style Suite and his works with folk influences in the same way. So when there is an interaction, this situation is also reflected in the performance. These pianists knew the dances (not modernized and simplified versions of the original dances), for example there is a constant emphasis on dance in Cortot's masterclasses, he encourages his students to learn "dance" and take lessons. Rachmaninov constantly refers to dance when he speaks in the "Symphonic Dances" recordings. And every dance has its own character, and therefore every composition composed based on dances. Rachmaninoff: "Too few students realize that there is continual and marvelous opportunity for contrast in playing, Every piece is a piece unto itself. It should, therefore, have its own peculiar interpretation. There are performers whose playing seems all alike. It is like the meals served in some hotels. Everything brought to the table has the same taste." I'm not saying every record here is the most accurate result. For example, we can expect Alborada del gracioso to be a little more humorous. Nevertheless, Lipatti reveals the dance colors and character of the work wonderfully. I didn't include the middle section because it's a serenade with vocals and guitar accompaniment. When I saw this dance video, I immediately realized how well it suited Ravel's work and the Lipatti recording. It seems to me that Lipatti is clearly paying attention to the important sounds of Spanish dance: the guitar, the castanets and the tapping of high heels, etc. The "guitar" imitation, by the way, resembles the recordings of old guitarists playing with steel strings: Miguel Llobet, Augustin Barrios etc. In Ravel's score, there are sudden transitions from the "p" dynamic to the "ff" in many beats, as a description of dancing girls hitting their heels hard, showing that Ravel was thinking about this. We can see that Lipatti was interested in Spain when he included this work in the repertoire, The Piano Files wrote: "Lipatti had also been scheduled to record Debussy's La soirée dans Grenade and Falla's Ritual Fire Dance . . ." He probably did serious research on Spanish dances or took lessons during this period. And then, when I researched it, I saw that many musicologists talked about the similarity of this work to this dance of Andalusian origin. From Roger Nichols' comprehensive biography of Ravel: "There is convincing evidence that the outer sections, whose Phyrgian modality is undeniably Andalusian, are really in the style of a seguidilla, enclosing a central copla, and that Ravel's decision to abandon the traditional 3/8 time signature of the sequidilla in favour of longer bar lenghts explains why these are irregular (6/8 and 9/8)" or Gerald Larber: "with a stylish seguidilla framing a vividly characterized middle section where the gracioso (the pathetic jester of classical Spanish comedy) sings his lugubrious serenade." This was exactly the structure I was thinking of for the piece, the middle section is a serenade with Gracioso singing along with the guitar, the other sections are a seguidilla-based dance. Note: Ravel's mother was Spanish. Cortot knew Albeniz personally, and it can be confirmed from many sources that Albeniz wanted the piano like the guitar in some of his works. For example, Albéniz biographer Walter A. Clark says "Taking the guitar as his instrumental model . . ." Pola Baytelman: "The dance rhythms of Spain, of which there are a wide variety. The use of cante jondo, which means deep or profound singing. It is the most serious and moving variety of flamenco or Spanish gypsy song, often dealing with themes of death, anguish, or religion. The use of exotic scales also associated with flamenco music. The Phrygian mode is the most prominent in Albéniz's music, although he also used the Aeolian and Mixolydian modes as well as the whole-tone scale. . . The transfer of guitar idioms into piano writing" Robert Schumann on Chopin Tarantella: "Chopin's most extravagant manner; we see before us the dancer, whirling as if possessed, until our senses reel." Stravinsky is a bit complicated. Petrushka is, yes, a "puppet dance", but let's say Stravinsky's recordings with Dushkin and those of Monteux and Anserment, whom Stravinsky praised as "those who correctly understood the Russian and Dance rhythm"; Cortot's recording is much closer to these recordings than the modern treatment. Cortot knew Stravinsky and consulted him for this work. In fact, Stravinsky first considered Cortot for his son to take piano lessons. But, perhaps the most important distinction is that Stravinsky viewed the piano as a purely percussion instrument, while Cortot did not reduce the piano to pure percussion. Therefore, when Stravinsky adapted this section to the piano, he wanted to give it a new character, suitable for the piano in his understanding. So Stravinsky's piano adaptation has a different character than the original orchestral version, It has a completely percussion-like purpose, which differs from the dance character. But what Cortot is referring to is "dance", which is the initial purpose for which the work was created. So what I'm trying to say is that there is no single truth for Petrushka. Cortot takes the ballet as a reference, not Stravinsky's piano adaptation. In 1793, Haydn composed and probably recorded music for a mechanical watch, which had a rather complex technology for the time. Since this was made for a king and not mass production, it actually works even better than piano rolls. This tempo and flexibility in 1793 baffles scholars and musicians, but there is nothing surprising in it. The dance used to be faster and more rhythmically flexible. There is something here that confirms what Leopold Mozart, Wolfgang Amadeus Mozart and Carl Philipp Emanuel Bach wrote. When we polish different aspects of music with the aim of being intellectual, does it become more intellectual? Or is the music losing its aesthetics, soul and intelligence? I recommend you listen carefully to Stravinsky's Rite of Spring recordings, especially 1960 and 1929. Stravinsky does not conduct it like European music, he plays it folklorically and dance-friendly, he does not lengthen the melodies, there is more sharpness, etc. Because the reference source is music related to Pagan culture in Lithuania (there are recordings of these and they are very similar); The ancient wildness of the music is certainly revealed when it is played this way, but also the polyrhythmic and polytonal elements are fully revealed this way. The music is more like Star Wars music than Stravinsky, as many "famous" conductors delve into orchestral effects and take it completely European. However, the entire intelligence and structure of the work lies in the fact that it is not "academic". Listen carefully to Bartok playing some of his works. He plays some segments in accordance with folk structure, some in accordance with European High Music, and some in accordance with nature; characters are variable. From here, balance and integrity come from contrast. When we ignore the folkloric influence of the works and play everything "European", all of Bartok's aims collapse. The 1932 recording of the Piano Concerto (Ravel), made under the supervision of Ravel, is an important example, especially the first movement, with soloist Marguerite Long. There are jazz influences in this, but the basis is Spain. Ravel actually started it with the name "Basque Concerto" (interesting information, this work was originally written for Alfred Cortot). Look at Basque Folk songs from the 1920s, such as "Triki-Trixa De Zumárraga"; Ravel was heavily inspired by Basque folk, from tempo to structure.
@PeterLunowPL
3 сағат бұрын
wonderful video and very creative. WOW!!!!!
@fredericfrancoischopin6971
3 күн бұрын
Cortot's tarantella is gold of the video. What a tremendous playing! There you can hear the tambourine and the creaking mandolin strings! Seriously, he played Chopin's tarantella as close as possible with tarantella form and he understood it, this is rare quality
@osmancanizin4423
2 күн бұрын
Cortot also does the one-legged hop of this dance, and the tempo is completely appropriate for this character. No other pianist has played like this.
3 күн бұрын
At the moment, I am playing "Rondeña" from Albéniz's Iberia and that pretty fits to this video. It's more dancing than playing piano. Planning to do a video-clip with 2 friends who do flamenco...
@selim8491
2 күн бұрын
What a creative and original content!
@ThePianoFiles
2 күн бұрын
BRILLIANT video! Bravo!!!
@OzanFabienGuvener
2 күн бұрын
Thanks!
@berlinzerberus
2 күн бұрын
Impressive, Ozan.....!!!
@jorislejeune
3 күн бұрын
LIpatti's repeated notes are a constant source of marvel (and instant depression :)).
2 күн бұрын
Partly possible because he played on older, much "lighter" pianos...
@jorislejeune
2 күн бұрын
He recorded that one on a Bechstein. I have a Bechstein from 1899, but I don't match his repetitions. It is out of this world.
2 күн бұрын
@@jorislejeune Well... I did not say it's easy (on the older piano). Of course, it's difficult.
@chopin5981
3 күн бұрын
4:51 EPİC. At 4:55, Cortot delivers both a heel strike and a leg swing. And he does it like he's playing the guitar. WTF. Lipatti and Cortot are aware of heel strikes in Spanish dances.
@fredericfrancoischopin6971
3 күн бұрын
Emormous content as well as previous one! I am exicited for part 2 of this! There is truly dynamism here, i can hear the real body movements in the records you choose! Even its suitable with the people dancing in the video.
@chopin5981
3 күн бұрын
Cortot's playing sounds like he watched these videos and then played them lol.
@fortunatosalvadorgarciapiquer
11 сағат бұрын
Nice video! Just a little correction on the second piece. It is not Albéniz Malagueña, it is Albéniz: Recuerdos de viaje, Op. 71: No. 6, “Rumores de la Caleta”. Most people could think you refer to his Malagueña Op. 165 No. 3. 😉🎶
@OzanFabienGuvener
10 сағат бұрын
Thank you very much! I was also confused because when I wrote "Espana Op. 165 No. 3 Malagueña" it was not the same piece as the one Cortot played. But it was mentioned like this in all sources. Since I knew that Cortot had personally received the score of Espana from Albeniz, I was thinking that it must have been a different, unpublished section from that set. Also, when I research Malagueña dance and music, it has the same structure. So, I didn't question it much. But now it's understood. I will fix this. Thank you again.
@osmancanizin4423
2 күн бұрын
I think most modern pianists don't know what they are doing. I became more sure of this with this video.
@HansWurst-xj7xh
3 күн бұрын
Thank you for continuously enlarging my horizon!
@Schubertd960
3 күн бұрын
I love the work this channel does. Keep up the good work!
@busraertas7381
3 күн бұрын
It's obvious how much you worked on this video
@chopin5981
3 күн бұрын
KZitemr commentator: "Historical pianists play too fast!" This video: "Hold my beer" This video is proof that in the past, dances were fast and fast tempos were very logical. Also contrast, dynamic change...
@osmancanizin4423
2 күн бұрын
Excellent video, after watching and listening carefully a few times, many things become clear. Cortot was a very intelligent, creative and cultured musician! Cortot's rubato is also extremely clever! In fact, it is very strict on many points! A special blend of freedom and rigidity. Notice Lipatti and Cortot's bass beats, first the heel then the sole sound, suitable for Spanish dancing. Or how Prokofiev plays the bass at 14:58 like a step back. Doesn't Paderewski's playing resemble accounts of Anton Rubinstein's explosive playing? Did he hear Anton?
@OzanFabienGuvener
2 күн бұрын
Yes! Paderewski: "I never in my life heard such a singing piano. He (Anton) impressed me more than any pianist I ever heard."
@busraertas7381
3 күн бұрын
💃🏻
@alainspiteri502
3 күн бұрын
l'un des meilleurs moments Piano- Danse classique a l'opéra de Paris a été pour moi " Sonatine " de G Balanchine , la gestuelle musicale de la Sonatine de Maurice Ravel , intense moment Piano- Danse . Ici D Lipatti et Samson François morts trop jeunes ont ete une grande perte pour la Discophile du piano , 2 immenses Pianistes au répertoire amputé par leurs morts prématurée
@OzanFabienGuvener
2 күн бұрын
Je ne connaissais pas la chorégraphie de Balanchine, je vais vérifier ! Merci.
@josephli7164
3 күн бұрын
A perfect match between performers and dancers. To achieve this effect, it seems like one just needs to adjust the speed at which the dance plays. Overall, very well done. Thanks. By the way, when and where were those two Cortot's photos taken?
@OzanFabienGuvener
2 күн бұрын
I did not speed up or slow down the videos. If I had done some of the parts, the dance and music would have been almost 100% the same, but I didn't want to do that. Even though I don't interfere with the music or video, there is a great harmony. Because these pianists knew dance. In some videos, I was able to cut them because there were long pauses in the dances. I edited the video in Lipatti, there is no speed change, but I changed the places in the video to suit the music.
@OzanFabienGuvener
2 күн бұрын
The photo of Cortot with Albeniz is from the Paris Conservatory auditions. Year? It must be between 1905-1907. I can't remember the other photo, I think it's from 1957?
@josephli7164
2 күн бұрын
@@OzanFabienGuvener Thanks. The Debussy video in my collection was made in 1929, not 1936. I may have acquired it decades ago and have no idea which is the correct one.
@josephli7164
2 күн бұрын
@@OzanFabienGuvener So you did a great job. It's hard to find the perfect match. I think it might be easier to match with Larrocha than with Cortot. Also, you must be a good dancer yourself in this respect. Thanks.
@OzanFabienGuvener
Күн бұрын
@@josephli7164 I think this is a bit complex. Larrocha's playing may be closer to modernized Spanish dances, but what Ravel and Albeniz had in mind were folkloric-based dances, so I preferred older videos and older pianists. At that time, dancing was faster and female dancers moved more freely than men, and here the logic of rubato suits Cortot better. The composers had this in mind, too. The recordings of Albeniz's playing are close to Cortot. When I realized that certain recordings I liked were based on dance, and when I saw that composers played dance works as if they were dances, I did serious research on dances and learned certain things.
@md88kg
3 күн бұрын
What would all sheep music dependent piano ticklers do without their sheep music? Only real ear playing musicians would be left.
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