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That's great! I love Maykapar. Soon I'll prepare a children cycle of him.

He's great! Im preparing Romance Op.5 right now

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Hehe I thought you were a Brazilian pretending to be foreigner... Sérgio is quite a common name in Brazil. That's why I said "Sérgio??? 🤔" It seemed suspicious. Hehe

@@LuisKolodin No, no, dear! I live very far from Brazil. I have friends living in Sao Paulo, but I can't fly to them. They invite me all the time, and I am a shameless person..., I just promise.

@@LuisKolodin Good luck! It's night for you and you need to rest! Good night, dear!

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Thank you. But this is one of the easiest ones of classical music, in fact. It's quite comfortable for the hands and there are hundreds of much harder ones.

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Very "silly" (frivolous) waltz, isn't it? Even more than the first one. Hehe

​​​​​@@LuisKolodintypical expression of an epoch... probably more inclined to humor, happiness, and also to brilliant and " mondain" feelings... I think that the brilliance of the Waltzes and in general of so many salon-like Pieces after 1850 could be the result of the prolonged tendency and even of the need of light feelings that in classicism had found their realization into the scherzos and the last movements of the piano Sonatas... Romanticism has brought such an importance only to very dramatic, or poetic, or troubled feelings...so, the brilliant feelings have searched their way into the musical forms across important and light Repertoires....

@alessandropelizzoli6613 I guess a waltz NEEDS to be superficial music. It's part of the style. The more complex waltz I'm aware is Chopin's Op.69 slow waltz, with lots of chromatism, a very audacious harmony for a waltz. Too "serious". Then there are the parodies made by Ravel. And it comes to my mind the highly modern approach of Francisco Mignone's Valsas de Esquina. Those were street music (corner waltzes, played at the corner OF the street) but with daring harmonies and virtuoso modern piano writings (sometimes harmonies can ressemble Schoenberg, in specific passages, though the musical content is very popular). I guess the most modern Valsa de Esquina is the last one, which unfortunately I didn't study yet. You completely loose the reference of measures and beats in that sumptuous piano writing. But besides those, waltz needs to be simple and superficial.

​@@LuisKolodinare you sure that superficial things are really so superficial? Nothing Is more useful than...superficiality ( to quote in my own words Oscar Wilde...). And i have to disagree about the Need to be superficial as a feature of the Waltz...there are so many important Waltzes with a Deep and particular meaning ( Chopin Op 34 n 2, Tchaikowski Valse Sentimentale, Sibelius Valse Triste etc....).

@alessandropelizzoli6613 SAD/SLOW waltzes. And they can't barely be danced as waltzes, they are stylized. No judgement. Would superficiality be bad at all? Just a matter of taste. Pop music is usually very "superficial". I like complexity and structural developments (as a kid, I avoided Durand 1st waltz in my book because it seemed too simple hehe) but sometimes people just want to cheer with pleasant music.

Chaminade is way more creative regarding themes and piano writing, though. As I told you, last year I became ADDICTED to recording her. Hehe I simply couldn't stop. Hehe

​​@@LuisKolodinoh yes, a bit more creative...but i think that her creative potential was only expressed through a certain inventiveness in harmonization, while here with Durand we are a bit less advanced in history and so the style is obviously more " classic" and less adventurous in Harmony... You know, i' m not a Great fan of Chaminade, but i think that some Pieces by this Composer remains good, as the Toccata and the Etudes de Concert ( especially the renowed Automne and Fileuse...). Also la Lisonjera Is a pleasant work. The rest of her production is quite trivial ( horrible, to me, the Lolita, and some other Pieces that now i don't remember....)

Yes, I know. I found her etudes (and also the real waltzes) extremely non proportional regarding technical difficulty x musical content. 🤣 Too ungrateful. So I didn't even try them. 👀

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This song is for mezzo soprano with piano accompaniment. It has no transcription for piano solo. I played both parts and tried to differentiate them though timbres/attack/dynamics. I guess it worked, since it seemed to you it was contrapuntual. Hehe (contrapuntual, but different instruments)

​@@LuisKolodincontrapuntal in the ancient meaning of " punctum contra punctum", referring to the movement among the Melody and the bass ( not singing or thematic bass line, so...contrapuntal in a very archaic and " Easy" way)....

Fiz conservatório e tive aulas com Amilcar Zani depois. E ele, por sua vez, com Conrad Hansen.

São Paulo

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This is not a chaconne (variations after a theme, or bass sequence). Do you have any idea why Chaminade and Durand did like that? Chaminade Sonate is not a sonate either. The only thing is that it reminds a baroque style. Was that common practice at that time, maybe? Later I realized Debussy Passepied is not a passepied too. Passepied is not 4/4.

​​​@@LuisKolodinexact. As i noticed in my comment this was a quite common way to approach Baroque imitation but revisited into fin de siecle Salon style... Some critics tended to see in this trend (practised by Chaminade, First Debussy, but mainly a great Number of other composers of that epoch and inclined to Salon-like ways, but also for example by the Grieg of his Holberg-Suite...) a sort of anticipation of the real and more accomplished (but also original) way to approach the antique style used by the First "Modernistic" Composers ( like Casella, Respighi, and then Ravel, and also the many others from the decades 1920-'40. History had its ways to introduce new ( and ancient) things....

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Thank you. I guess I ll stick with his First three waltzes, then some other salon pieces. And all the other cycles I need to finish (Gillock, Arthur Lourié, Schoenberg, Miguez, Lorenzo Fernandez, Kjerulf, Ary Barroso, Tia Amélia... 😬)

Yes! At first I only wanted this one, because it reminds Gillock Waltz Etude and Holiday in Paris. It was in my first book of piano pieces as a child though it always seemed to me as a minor piece. Hehe But then I checked on IMSLP and Durand was a salon composer. So I 'll do a small cycle of him. Maybe not all 6 valses, because some of them seems boring. Maybe only the better ones. Sure there will be no.2 and another one. But I can change my mind.

Exactly! Slow waltz Etude 🤣 but this stands out as a really catchy piece.

Im glad you enjoyed it 🤗

I studied historically informed performances... "Taste" is a very common word in those treatises, a word I often fear haha In the Pandemy I was reading Roseblum book and I came across she saying Dussek has a dense writing just like Beethoven. Then I recorded a sonatina by him, but I could never find a work in a thicker piano writing the way she suggests. Do you recommend something?

​​@@LuisKolodinin this precise moment i don't have in mind the correct opus numbers but as i can remember the mature Sonatas by Dussek have that quite dense and thick style ( a Better Word, instead of taste, ah ah, i understand what you mean) in the structured Harmony and polyphonic writing that brings them close to a certain way to conceive the sound of the piano as Beethoven had....

@alessandropelizzoli6613 that's great, I'll check those I didn't want to be philosophical about taste. I really appreciate your review and sure we share some common taste, since we dislike the same pianists (crazy woman and so on hehe) In old treatises in Baroque period they usually we the expression "good taste", but that's totally subjective. Otherwise the crazy woman wouldn't have so many fans, right? However you can use this expression with me, no problem. Hehe I didn't want to be picky, I was just remembering those treatises... I'm very happy my interpretation can match the right taste for someone.

​​@@LuisKolodinoh yeah, don't think about It, i had understood and moreover i completely agree, because " good taste" Is something changing through the centuries, and across the Styles developed by the various Composers... Every case, you know...the Crazy female Pianist was admired and depicted in music by the Great Alkan....so She used to have Great Fans! Ah ah ah pardon me, obviously i' m joking.... P.s. we share the "taste" not only about her, but also for many french ( and of derived from french School) pianists: the Tagliaferro, and many others, the love for the french musicality....and then the love for Chopin and Liszt!

​@@alessandropelizzoli6613there's something I need to tell you. When I first heard about Tagliaferro, I was at the conservatory, in my teens. My teacher would teach me Tagliaferro piano school technique. That was TERRIBLE! Tagliaferro didn't know how to teach piano 😂 there are documentaries on RUclips that she confirms this herself. 😂 The moviments she recommends make NO SENSE AT ALL. I would do her gymnastics daily (there's a vídeo of her doing these gymnastics she invented for piano. She was in her 90s preparing for a recital). I would listen to her performances only much later. They were amazing. I analyzed how controlled her tempi were, yet her way of playing was very much alive, no fear of being sharp and aggressive when needed. She was totally against fast playing per se. (She was against piano competitions too). Her technique didn't work for me. Not even for my cousin (an amateur dentist who plays marvelously) not for my future teacher who studied with her directly. My teacher then went to Germany and had classes with Conrad Hansen (there are a dew recordings of Hansen... One of them is Beethoven 4th with Furtwangler). That technique worked great. It was very comfortable and natural, based in synchronizing music tension/relaxation with body owns natural tension/relaxation movements. Despite some divergence in playing styles... Because I myself consider the German style too restricted. I like contrasts, dynamics, rubatos... Hehe

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I'd glad you enjoyed it! Sure it sounds French, and I hadn't linked the tonal liberty with Prokofiev, but you're right! It's modern beyond pedagogical intentions, for sure. This is his most interesting sonatina, in my opinion.

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Yeah! I'd say mainly Liszt, for the crossing hands arpeggios.

​@@LuisKolodina Little touch of "Un Sospiro"

@alessandropelizzoli6613 exactly! But I can't remember large and fast apeggios in Chopin's works, while they are less rare in Liszt's.

@alessandropelizzoli6613 interesting enough, It's not a common feature in Alkan works neither. The only exception is first piece from first Recueil des Chants.

​​@@LuisKolodinused with another musical purpose ( independance of the 5th finger, and flexibility of the hand, with also the capability to create an harmonious sonority...) but there are also in Chopin, without the divisions between the hands, but also with large extentions ( Op 25 n 1)

Really? Gillock was totally new to me. Never heard it before 2024.

​@@LuisKolodinyes, if you search for this piece on the web, on YT, you Will find so many videos with this Little gem played by very young pianists....

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It should be Etude in form of Waltz today, but I asked for pizza and had little time left! Tomorrow then 😎

​​​@@LuisKolodinah ah ah, not the Saint-Saens Etude ( en Forme de Valse...) i think...in fact, in that case, it could take a very long time...but, who knows? You' re a virtuoso, of your special league, but...a virtuoso....Saint-Saens could be ready in a while!

@alessandropelizzoli6613 I play the Saint-Saëns one. I recorded it 15 years ago on my Grotrian. It is in my other channel... You may search for "Felipe sarro etude waltz" or luis sarro. I intend to re-record it on my grand piano as soon I have more free time. And maybe a little Saint-Saëns cycle (valse chalant, souvenir d'ismalia which sounds like Coldplay clocks... Hehe Le Cygne has been done already)

​@@LuisKolodintres bien! Alors tu es oblige' a le etudier de nouveau ( une petite reprise, seulement...)...et a nous proposer le meme de toute facon! Bravo Luis!

@alessandropelizzoli6613 ah ouais

I didn't know Valse Triste was a genre itself. The only one I know of is by Henrique Oswald. To me it was equivalent to a "slow waltz". Maybe Luiz Levy may have written some too. (At that time, France was the center of the world, so everyone would immitate French style, arts and culture)

​@@LuisKolodinoh yes, It Is possible, about Levy, and It' s true about France.... Moreover we have to Say that many Composers of south - American origins and culture are quite good " imitators" of many aspects of French pianism ( as i've been able to notice listening to the Composers you' ve proposed in your Channel!)

99% of my favorite pianists (including Brazilian ones) are from the Cortot lineage from Paris. But regarding composers, I think most of the most famous ones are late romantic. That was the period where everything cultural was happening in France. Brazilian elite would send their children to study in France, due to lack of Brazilian instituions. I don't think this is true for the late 20th century and nowadays. Today focus is on USA (Boston, Julliard School, so on)

For example... Even Portuguese language tried to imitate French at that time. Not Brazilian Portuguese, but European portuguese has French R and lots of extreme contractions. We do have a little French R in Brazilian Portuguese though.

​@@LuisKolodinfascinating things!

I never played "Reflets..." but I just checked and yes it is. Db major

@LuisKolodin I had a feeling!! Thanks!! That's one of my favourite compositions. Nice job on this one with voicing and dynamics

Thank you! I do intend to study Reflets... some day. But I have went with early Debussy, Pour le Piano and Mouvement so far.

@@LuisKolodin mouvement is fantastic!!! Hope to hear your performance.

@Bigblackpiano you know... It strikes me... It sounds so much like Villa-Lobos. Really! Hehe

Im glad you enjoyed it 😎

Sure. His Goldfish is even more impressionistic, btw. A tiny "Une barque sur l'océan" 🤣

​@@LuisKolodini Will listen with pleasure!

Hey, welcome back I've been quite impressed by Gillock's work. Some simple yet incredibly effective and creative music. Btw... When I was a teen, I remember listening to Nepomuceno Op.13 waltz for the first time... I was impressed at how Chopin alike it sounded. Quite contrary to Galhofeira, the last piece in Brazilian genre maxixe. Hehe

Btw... Chopin waltzes are pretty much conventional, despite some extraordinary ideas like the first grande valse brillante. But his mazurkas are complex and modern. Some passages are not tonal any more.

​@@LuisKolodini obviously find the Mazurkas some of the highest music composed by Chopin, but, in my opinion Waltzes are not conventional at all, the perception of their hypotetic conventions in writing is due to an historical perspective: before the Chopin's Waltzes the French Waltz didn't exist, and the great Waltzes composed before Chopin's Revolution in this genre are the intimate works by Schubert or the beautiful ( but teutonic in his Bones) Invitation a la Valse by Weber... Chopin clearly invented the french Waltzes, piquantly written with so much colours and at the same time perfectly refined sense of Style... Then came along the amount of late- romantic imitators of Chopin, trying to reproduce the graceful and feminine allure of Waltzes as Op 34 n 1 or 3, the brilliance of Op 42, the poetry of Op 34 n 2 or the Op 64 cycle and so on... And this creates such a misunderstanding... Fauré, Saint-Saens, Dvorak, Grieg, Balakirev, all imitators of Chopin style in Waltzes, imitators of such a Great level ( and also, fortunately, of a certain good creativity) to give the sensation that those features ( created by Chopin) were common, or generally used by the other salon composers of Chopin's Era ( Goria, Prudent, Heller etc...). It was not so.

Indeed his waltzes (though conventional in harmony and form, I mean) are truly unique. They have a clear transparent chopinesque sound. No one ever wrote this way afterwards. (Nepomuceno came close... Hehe)

​@@LuisKolodinChopin' s harmonic style was not conventional in every field of his output, not conventional in comparison to his contemporaries ( the harmonic outburst in Op 42, or the Extreme and continous changes in Op 64 n 3 prove this). Every case, i' ve listened to Nepomuceno Waltz Op 13, and i' ve found it a good work, with some hints at Chopin's Style but... I think his Waltz Is again closer to Grieg Style ( as we can find It in works as Op 1 or Humoresques Op 6) ... I esteem that the best derivations of Chopin's Style, generally speaking, in piano writing are those of Fauré ( very interesting and complex in his Waltzes) and all the First period of Scriabin. These two Authors are the highest tribute to Chopin's Art in piano Writing, even more ( but i think It Is obvious!) than Debussy ( apart from his Great Etudes in Chopin's Memory).

Im glad you enjoyed it 🤗 when I read, it felt like I knew it from somewhere...

So don't think 🤷

I need to finish 3rs suite soon. But I m feeling lazy about a problematic double note passage 🤣

@@LuisKolodin 🤓

did you see this Godowsky transcription. From a live resital in New York, 1975: ruclips.net/video/DpKeM_3Ck9A/видео.htmlfeature=shared

did you see this: ruclips.net/video/DpKeM_3Ck9A/видео.htmlfeature=shared a live performance from her New York recital in 1975. Too many great details and nuances. Loved it and wanted to share with you.