The Music Professor
Maurice Ravels Miraculous Orchestration
updated
0:09 Are dogs allowed?
0:40 Thoughts about lecture format and who the channel is for…
1:14 Introduction to Glenn Gould
2:38 Deep dive into “How Mozart became a bad composer
3:23 Gould’s playing and some inner contradictions
4:50 Gould’s argument
5:24 What Gould leaves out!
5:46 The opening of Mozart’s C minor concerto
7:07 Mozart, improvisation and laziness.
8:44 Inter-office memos, Divertimenti and Amadeus
10:48 The essence of Mozart’s genius
11:28 Sequences and predictability
12:37 How the piano begins: Mozart’s unique approach.
13:53 The sequential passage, Messiaen and rhythm
15:05 Simplicity, hemiolas, travelling, acceleration, arrival
17:23 What the orchestra does
18:09 Sir Humphrey Price-Davies, pomposity, tradition and iconoclasm
20:40 An 'appalling collection of clichés’
22:47 Spinning gold from the tropes of the classical style
23:35 Mozart’s use of sequence and a comparison with Bach
25:39 Delinquent scales and arpeggios
26:56 Variation, canons and astonishing rhythmic invention
28:40 Mozart is still relevant to us!
In this video, Matthew King goes head to head with Glenn Gould. It's a deep dive into his famous 1968 TV essay, ‘How Mozart became a Bad Composer’. Matthew discusses the context of Gould’s criticisms and then debates the details, always conscious of Gould’s genius and his admirably mischievous interrogation of the classical canon. The key bone of contention is whether Mozart was a great musician of the late 18th century or whether he remains relevant today. Matthew also emphasises a key part of Mozart’s genius, rarely discussed: his wonderful sense of rhythm.
Glenn Gould’s original 1968 TV essay, ‘How Mozart became a Bad Composer’ can be seen here: youtu.be/1wLMdi8R4qg
Edited by Ian Coulter
#GlennGould #HowMozartbecameabadcomposer #themusicprofessor
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0:05 Beethoven’s rarely performed late Bagatelle in G
1:06 Brief discussion of the bagatelle
2:01 Late Style poses more questions than it answers
3:24 Megalopolis
4:34 Empty cinemas
5:44 Late work is often judged harshly
6:43 We should have more respect for aging artists
7:12 What do you think?
In this short, one-off video, Matthew King plays a rarely performed late Beethoven Bagatelle and discusses the curious phenomenon of Late Style, when artists, in their later years, move beyond their own orthodoxy and embrace mystery and experimentalism in their final works. Matthew then reflects on his recent experience of watching the 84-year old Francis Ford Coppola’s Megalopolis in an empty cinema, and asks some questions about the future of creativity and the curious deluge of hostility that has greeted the film, comparing this general critical negativity with similarly dismissive attitudes to late work in the past.
Beethoven: Bagatelle in G major (from the 1826 Diabelli edition of Op. 119)
Pianist: Matthew King
Edited by Ian Coulter
#Beethoven #Megalopolis #themusicprofessor
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4:55 Second movement (Allegretto)
7:16 Third movement (Presto agitato)
Beethoven’s Moonlight sonata is one of the most famous pieces in the entire piano repertoire. Written in 1801, when Beethoven was 30, it was his 14th piano sonata (Op. 27, no. 2) and is the second of a pair of sonatas published together with the subtitle ‘Quasi Una Fantasia’ (the nickname ‘Moonlight’ came later). Beginning with the famous, poetic adagio, it progresses to a mid-tempo minuet and concludes with a ferociously high-speed finale.
The animated performance on this video was made quite spontaneously, on a fortepiano (the instrument for which Beethoven originally composed the piece). Matthew King recorded the 3 movements with very little preparation, but nevertheless considers the performance, for all its technical shortcomings, to be a relevant document in revealing some of the thrill and spontaneity of Beethoven’s music which has, to some extent, been concealed behind more than 200 years of virtuoso Romantic interpretation, on instruments which no longer closely resemble that for which Beethoven composed.
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This channel is very grateful to an anonymous donor for the use of a fortepiano for the recording of the first movement at the end of the video.
Beethoven: Sonata quasi Una Fantasia Op 27 no. 2
Pianist: Matthew King
Edited by Ian Coulter
Here are the original videos on this channel with a detailed explanation about each movement:
First movement: youtu.be/Ejsh-NZCWm8
Second movement: youtu.be/c0fpWX8Tgl0
Third movement: youtu.be/HXBkrm-4M-w
#Beethoven #Moonlightsonata #themusicprofessor
1:22 Wagner - a colossal figure
1:58 Tristan und Isolde - his most famous achievement
2:21 Historical context: Revolution in Dresden
3:31 Rethinking opera
3:42 The Ring Cycle and the invention of the Leitmotif
4:05 Wagner’s influence on literature
4:38 Wagner interrupts work on the Ring Cycle
5:27 A philosophical explanation of Tristan & Isolde
6:21 The objective and the subjective
6:42 Tristan and Isolde’s dilemma
7:34 The potion reveals pure subjectivity
8:24 The most dramatic end to any operatic act!
8:49 Act 3 is one of the most amazing things...
9:03 Context: what does the Tristan chord represent?
9:52 No one had ever begun a piece of music like this before
10:40 Orchestration and symbolism
12:00 The sound is enigmatic
12:43 continuing phrases
13:39 Tonality is being outlined very systematically
15:13 It tends to be explained out of context
15:49. Wagner’s teachers, Partimento and the Rule of Octave
19:49 Harmonising a descending A minor scale bass line
20:23 Augmented 6th chords
21:11 The French 6th plus an appoggiatura
21:57 Transforming convention: a definition of genius
22:58 Wagner’s use of the chord throughout the opera
24:18 Tristan & Isolde is the seed of modernity
25:26 The final resolution of the chord at the end of the opera
25:47 Later developments: Debussy and Stravinsky
27:59 Tristan opens a new realm of possibilities
28:31 Reading through the opening of the Tristan Prelude at the piano
This video is a deep dive into Wagner’s Tristan chord, the most famous and enigmatic harmonic event in history.
Matthew King explains the chord from a number of perspectives, and helps to put this microcosm of Wagner’s genius into a broader dramatic and historical context, with some discussion of Wagner’s development, and a quick survey of subsequent literary and musical events that occurred under the spell of Tristan und Isolde.
Friedrich Nietzsche, who in his younger years was a close friend of Wagner’s, wrote that, for him, "Tristan and Isolde is the real opus metaphysicum of all art... insatiable and sweet craving for the secrets of night and death. . . it is overpowering in its simple grandeur". In 1868 he wrote about the effect of the Prelude: "I simply cannot bring myself to remain critically aloof from this music; every nerve in me is a-twitch, and it has been a long time since I had such a lasting sense of ecstasy as with this overture". Long after his split with Wagner, he still admired Tristan und Isolde: "Even now I am still in search of a work which exercises such a dangerous fascination, such a spine-tingling and blissful infinity as Tristan — I have sought in vain, in every art."
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Here is a fascinating discussion for anyone wanting to look in more detail at the Tristan chord from the perspective of the Rule of Octave: youtu.be/YQRXbIV3gCc
Here is an interesting philosophical discussion about Tristan, the Ring and Parsifal between Sarah-Jane Leslie and the late Roger Scruton: youtu.be/vj4wKO_a56g
Hans Knappertsbusch’s recording of the Tristan Prelude (with the full score): youtu.be/bgObIjsSfYo
Marie Jacquot performs the Prelude and Liebestod (orchestra only) in 2022 with the WDR Symphony Orchestra: youtu.be/5aaXzYn86GU
Waltraud Meier, Daniel Barenboim and the West-Eastern Divan orchestra perform the Prelude and Liebestod: youtu.be/n4bqRlNSQQE
Daniel Barenboim conducts Act 1 of Tristan under Isolde (with English subtitles): youtube.com/watch?v=QyfIIxW3rW4
Carlos Kleiber’s legendary recording of the entire opera (get hold of the libretto on line!) youtu.be/tzrPQkGjuII
Pierre Boulez conducts Wagner's rarely heard concert version of the Tristan Prelude which includes a fascinating new transition to the final B major resolution at the end of the opera: youtu.be/hcYjKs_9ov8?t=85
#wagner #tristanchord #themusicprofessor
0:27 Picking up on previous videos about the Moonlight Sonata
1:08 Beethoven’s talent for finales
2:10 Music of absolute ferocity
2:57 Sonata form
3:59 First subject: galloping horse opening
4:21 Both radical and conservative
4:49 Improvisatory elements
5:57 The Passus Duriusculus with examples
7:21 Toccata-like figuration
8:18 Comparison with Beethoven 9
9:01 Transition (modulation)
9:19 Second subject and the influence of Mozart.
10:56 Funky rhythms
12:40 Neapolitan harmony
14:08 String-quartet-like texture
15:44 Development section
17:03 Dominant pedal
17:48 Recapitulation
18:40 Coda with cadenza elements
20:15 Influence on Chopin
21:29 "Music that sounds as if it could never have been otherwise”
23:00 Spontaneous performance on a fortepiano with analytical commentary
This video is about the third movement finale to Beethoven’s Moonlight Sonata. It follows previous discussions on this channel about the first movement (youtu.be/Ejsh-NZCWm8) and the second movement (xyoutu.be/c0fpWX8Tgl0).
The finale to the Moonlight Sonata is one of the most famous examples of Beethoven’s most tempestuous style. After the dreamy and mysterious poem of the first movement and the subversive minuet of the second movement, Beethoven created a furious, galloping horse ride of a finale, composed in sonata form. In 1801, when it was composed, it was music of unprecedented virtuosity and power. Played on a fortepiano (the instrument for which it was composed) it has an unprecedented wildness. But, behind its turbulence, is a masterful control of form, and a respect for Mozart’s approach to sonata form in its profusion of themes.
In this video, Matthew King explains the entire movement in the context of Beethoven’s use of sonata form, showing how some of the compositional material reveals Beethoven’s skill as an improviser. The video ends with a recording of the complete movement, played on a fortepiano, with an animated analysis. The recording was made spontaneously on a fortepiano, without prior preparation and is therefore far from error-free! It is meant to be a demonstration of the music’s spontaneity and the absolute wildness of sonority which Beethoven originally intended when he first composed this music.
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This channel is very grateful to an anonymous donor for lending us a fortepiano for the recording.
Beethoven: Presto Agitato (movement 3) from Sonata quasi Una Fantasia Op 27 no. 2
Pianist: Matthew King
The video about the first movement can be seen here: youtu.be/Ejsh-NZCWm8
The video about the second movement can be seen here: xyoutu.be/c0fpWX8Tgl0
#Beethoven #Moonlightsonata #themusicprofessor
Chopin Prelude in E minor Op 28 no. 4.
Pianist: Matthew King.
The longer video, featuring Matthew King's discussion of the prelude, can be seen here: youtu.be/cXjrLB1yaT4
#Chopin #EminorPrelude #themusicprofessor
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0:29 Loki leaves
0:44 Please like and subscribe and consider donating to the channel!
1:18 To celebrate 50K I’m going to play something from Bartok’s Mikrokosmos…
1:30 Brief chat about Bartok and his dances in Bulgarian Rhythm
2:05 My first encounter with Bartok
2:41 Bartok’s 4th Dance in Bulgarian Rhythm from Mikrokosmos Book 6.
A celebration of 50K subscribers to the Music Professor channel, featuring a celebratory rendition of Bartok’s 4th Dance in Bulgarian Rhythm from his Mikrokosmos Book 6.
Bartok: Dance in Bulgarian no. 4 from Mikrokosmos Book 6.
Pianist: Matthew King
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Bartok’s own magnificent (1940) recording of his Dance in Bulgarian no. 4 from Mikrokosmos Book 6: youtu.be/cqPU_hf7I4A
The complete (1940) recording of Bartok playing all 6 pieces in Bulgarian rhythm: youtu.be/Cj306a_qTPk
#Bartok #Mikrokosmos #themusicprofessor
0:24 Pronunciation of Chopin’s name
1:00 Background
1:30 Chopin’s Preludes Op. 28 and the example of Bach
2:50 The radical thing about Op. 28
3:31 Romantic fragments and ruins
3:56 What Schumann said
4:54 What Liszt said
5:26 Every character is there
5:59 The holiday in Majorca with George Sand
6:44 George Sand’s account
10:03 Which prelude is ’The Raindrop’?
11:31 A study in quaver motion with a pedal note
13:12 The melody
15:35 The nocturne genre
17:49 The middle section in C sharp minor
22:25 A very characteristic chord
23:10 Recapitulation
23:26 The magnificent anti-cadenza
24:40 D flat ‘Raindrop’ Prelude Op. 28 (with animated commentary)
This video is an introduction to Chopin’s famous ‘Raindrop’ Prelude in D flat major, the longest in Chopin’s set of preludes Op. 28. Matthew King explores the background to Chopin’s preludes, both in terms of his desire to create a systematic set of works in the tradition of Bach, exploring every key and a huge range of musical characters. At the same time, the pieces are radical Romantic works: ‘Ruins’ and ‘eagles’ pinions’ as Schumann described them. Matthew King also discusses the famous holiday in Majorca with George Sand, and her magnificent but rather Romantic account of their composition. The piece is then analysed at the piano. The video ends with a complete performance of the prelude with animated commentary.
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Chopin Prelude in D flat major Op 28 no.15.
Pianist: Matthew King.
Excerpts (read during the video) from George Sand's 'Story of my Life' in an english translation by Robert Graves.
Horowitz’s 1971 recording of the prelude: youtu.be/Sh03YXzvDF4
Blechacz's recording of the complete Op.28 preludes can be heard here: youtu.be/SqXYIteAfNs?si=ybVoFOr3p3vk_hGT
#Chopin #raindropprelude #The MusicProfessor
0:14 Handel’s Messiah and the Hallelujah chorus
1:00 Handel and Stravinsky
1:24 Bruckner
2:10 Myaskovsky
2:28 Chopin’s funeral march
4:41 Delius
5:09 John Cage: 4’33’'
5:33 Vivaldi’s mandolin concertos
5:55 Mahler’s 5th Symphony
7:23 Chopin’s…what?
7:34 Pachelbel’s canon
8:26 Schoenberg’s Gurrelieder
9:16 Tchaikovsky’s The Nutcracker
10:56 Stravinsky’s Symphony of Psalms
11:43 Schubert’s G major Quartet
11:51 Boulez Structures I & 2.
12:13 Dvorak’s New World Symphony slow movement
13:00 Music and magic
13:30 Use your Ears!
13:53 Over to you…
Can classical music be boring? In this video, Matthew King reacts to a Subreddit discussion in which certain classical composers and pieces are said to be boring.
Part 1 - youtube.com/watch?v=xqf4Ezvg8aQ&t=3s
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Have a listen to the marvellous Solomon’s Knot performing a section of Handel’s Messiah (nothing boring here!): youtu.be/sEGympB8Tx4?si=vIa4MeGycobmU152
Krystian Zimerman plays Chopin’s 2nd Sonata (with the funeral march): youtu.be/DhB59YCvxuw?si=9WEZz3i-N8a-vpie
Stravinsky’s Symphony of Psalms in a performance by Solti and the Chicago Symphony Orchestra: youtu.be/VUSfrgPQjRM?si=BGawZM9ewtCXIwq0
Krill Petrenko and the Berlin Philharmonic perform John Cage’s 4’33’’: youtu.be/AWVUp12XPpU?si=GV8lTPZCuuFWkwJt
Schoenberg’s Gurrelieder in a performance by Riccardo Chailly and the Radio Symphony Orchestra Berlin: youtu.be/cs0jPBzntuI?si=kMbWFeXp-GyMLmHA
Schubert’s G major quartet performed by the Melos quartet: youtube.com/watch?v=WaAeI2GKZ9c
Boulez Structures I & II: youtube.com/watch?v=6sfGLoF5IUY and youtu.be/3GiJ53_BVbE?si=hLNCjDOYYHt6i7_u
#Boringmusic #themusicprofessor
0:27 Can classical music be boring?
0:57 Chopin wrote a fugue
2:10 Viola sonata by Mendelssohn
3:23 Beethoven’s influence on Mendelssohn
4:38 Satie’s Vexations
5:38 Ravel’s Bolero
8:02 Shostakovich’s Leningrad Symphony
11:15 Vaughan Williams ’The Lark Ascending’
12:15 Anything written by Haydn
12:58 Comparison with Stamitz
14:39 Haydn’s Trumpet concerto
15:06 Bartok’s Concerto for Orchestra
15:50 Mahler’s first symphony
17:10 Einaudi
17:14 Pachelbel’s Canon in D
17:23 Many composers…
18:33 Brahms 1st piano concerto
18:48 Liszt’s B minor Sonata
Can classical music be boring? In this video, Matthew King reacts to a Subreddit discussion in which certain classical composers and pieces are said to be boring.
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The full performance of Satie’s Vexations by Matthew King can be heard here: youtu.be/vCeg1Rf-C9I?si=o_8KGDQVWZGpomKg
Krystian Zimerman plays Liszt’s Sonata in B minor: youtu.be/IeKMMDxrsBE?si=7C_tgPC9V9NLMd--
The full performance of Stamitz's symphony in D op. 5 no. 2 by the Capella Accademica can be seen here: youtu.be/uesCmExPPpE?si=TqfIqLIuyoMYhq-R
Ravel’s Bolero with a recording by the LSO conducted by Gergiev can be heard here: youtu.be/pNlXrdJFTAM?si=Bdq0yTR_4np2T7wv
#Boringmusic #themusicprofessor
0:35 200th anniversary of Beethoven 9
0:53 The Theater am Kärntnertor in Vienna
1:14 Proposal of a soap opera format. What do you think?
1:50 The 9th century in Beethoven’s career
2:47 The evolution of Beethoven’s style
3:17 The middle period
3:41 The Theatre an Der Wien concert in 1808
4:00 The premiere of the 5th and 6th symphonies
4:48 The Choral Fantasia and the Ode to Joy
6:36 Years of struggle
7:28 The Phoenix-like emergence of the late period
8:58 Schiller’s Ode to Joy and Beethoven’s universal hymn
9:20 There’s more to the 9th than the finale!
9:37 Beethoven never repeats himself
10:21 The open ‘primal’ 5th
12:10 Dotted rhythms
12:46 Momentum
12:58 The emergence of D
13:15 The main theme
13:54 Beethoven: Romanticism and looking back
14:37 Almost like a French Overture
15:12 Harmony comes in
15:37 The Neapolitan (E flat)
16:04 answering phrase on the dominant
16:18 Beethoven disrupts rhythm at the cadence
17:38 The 2nd sentence on tonic
18:32 The emergence of B flat
19:00 Transition (Liszt’s transcription)
19:25 We’re on the move! The Toccata
20:08 A comparison with Beethoven’s 5th symphony (Learned Style)
21:02 The canon and the wonderful modulation
22:32 The new serene Pastoral character
22:55 It’s like a play
23:10 Do you want a 2nd episode on the 2nd subject…?
23:40 Liszt’s arrangement of the 1st Subject of Beethoven 9 with analytical commentary
To celebrate the 200th anniversary of the premiere of Beethoven’s 9th Symphony in May 1824, this video attempts to explain a work which has attained monumental status within Western culture. Matthew King discusses Beethoven’s final symphony in the context of his entire career and the evolution of his style. There is a comparison between Beethoven’s triumphant Viennese symphonic concert in 1808 and his ‘return’ concert in 1824. Matthew King then explains the extraordinary opening of the symphony, emerging as if out of primal mystery, and he considers how Beethoven’s material manages both to look forward to Romanticism, and also back to the past with elements of Baroque style.
If you would like the survey of Beethoven's 9th symphony to continue, please say so in the comments below.
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Beethoven Symphony no. 9 in D Minor Op. 125 (transcription by Franz Liszt)
Pianist: Matthew King.
Liszt’s complete transcription of the first movement of Beethoven 9 can be heard here in a recording by Cyprien Katsaris: youtu.be/3h7e_UI24BU?si=Qt4Jg_3hMZ1X5mMD
A fine (historically informed) performance of the original music can be heard here, conducted by John Eliot Gardiner: youtu.be/rJH9b9EQtHM?si=1gbBCuQcYJ264Qa-
A wonderful performance of Beethoven’s Choral Fantasia of 1808 can be heard here, with Martha Argerich at the piano, conducted by the late Seji Ozawa: youtu.be/GjXBKR4iDS8?si=BSLe7fkDlWfaFQ6u
#beethovensymphony #odetojoy #TheMusicProfessor
0:36 This is one of the most unremarkable melodies
1:14 Bernstein’s showing off
1:31 Allegretto tempo
1:46 “It isn’t a good tune”
2:33 The primary element is rhythm
3:15 Schubert was obsessed with this material
4:00 "Do you like the melody?"
4:36 The chromatic drop
5:10 Is Beethoven a great melodist?
6:00 “There’s nothing there!”
6:21 "He spent his whole life trying to write a good fugue"
7:26 Comparison with Mozart
7:40 The late fugues
8:23 The Archduke trio
8:49 Simplicity is a hugely undervalued quality
9:31 The Russian tradition of melody
9:45 Beethoven learnt his compositional tricks from Haydn
10:08 "Beethoven was a nobody!”
10:49 An example from the Appassionata
12:24 Orchestration? The 8th Symphony
13:04 Beethoven’s deafness affecting his textures
14:21 Bernstein’s hyperbole
14:41 Mahler’s reorchestrations of Beethoven
14:59 Slightly old fashioned gestures in late Beethoven
15:24 Comparison with Berlioz and the younger generation
16:36 Lenny’s really going for Beethoven
17:14 "In Beethoven’s case, the form is all”
18:28 "No composer ever had that - even Mozart!”
18:41 “It’s so unpredictable and so right”
19:09 “He struggled!”
19:31 Works that Beethoven was planning when he died
19:58 A digression about Beethoven’s unfinished String Quintet sketch
21:12 Beethoven’s crazy life
22:28 Struggling with severe disability
23:00 “…phoned in from God!”
23:42 Berio and sculpture
24:02 "But he wrecked himself trying to achieve this inevitability”
24:43 “It could be no other way.”
25:01 Berlioz listening to Beethoven’s 5th symphony
In this video Matthew King reacts to an extract from Leonard Bernstein’s conversation with Maximilian Schell about Beethoven’s 7th Symphony. The focus of the discussion is the famous Allegretto second movement. Bernstein’s comments on the piece are characteristically brilliant and perceptive but also full of hyperbole and exaggeration. Matthew King analyses Bernstein’s remarks, using them as a springboard for a broader discussion about Beethoven’s life and work.
The original discussion between Maximilian Schell and Leonard Bernstein about Beethoven’s 6th and 7th symphonies can be seen here: youtube.com/watch?v=OuYY1gV8jhU
Matthew King's discussion about West Side Story can be seen here: youtu.be/Dd0Oso0Rplw?si=BBZHi82K6L3By-Ps
Bernstein can be seen conducting the Vienna Philharmonic in the Allegretto from Beethoven’s 7th Symphony here: youtu.be/mkRmjdik1Yo?si=G-arWfjFceiqAoVA
Beethoven's Allegretto can be hear in Carlos Kleiber’s superb performance (and tempo) with the Royal Concertgebouw orchestra here: youtu.be/2Sw97NzvvsE?si=57hOtkixzc8qL52Z&t=737
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#Bernstein #Beethoven7 #TheMusicProfessor
0:28 Chopin and the advance of harmonic vocabulary
1:10 The Preludes, Chopin and George Sand
1:31 Chopin and improvisation
2:27 Improvisation and composition, a historical perspective.
3:07 The structure and key relationships of the Preludes
3:31 Simplicity and complexity
4:01 A huge compendium of Chopin’s virtuosity
4:20 A comparison with James Joyce
5:51 The E minor is a Lament
5:13 Dido’s Lament by Purcell.
5:54 The Passus Duriusculus
6:35 Bach’s Crucifixus
7:29 Beethoven’s 9th Symphony
8:29 Chopin’s lament breaks with tradition
10:03 The pedal note and the sigh
11:20 The chromatic descent in 3 parts
13:05 Chopin’s magical harmony
14:51 The first half: more and more poignant
17:16 The second half: faster and more turbulent
20:33 Contemporary criticisms of Chopin in the London Press in the 1840s
23:16 Chopin, the radical: new vistas, new colours, new harmonic possibilities.
24:17 Chopin’s E min or Prelude (with animated commentary)
This video is an introduction to Chopin’s Prelude in E minor: the quintessential Romantic lament, popular among virtuoso pianists and amateur players alike. Composed in the late 1830s, Chopin discovered new, unexplored harmonic possibilities in this apparently simple music, creating a wonderfully concise and poetic depiction of melancholy in just two ’sentences’: each one consisting of a sighing melody of fixed notes in the right hand over subtly shifting chords in the left hand. As it progresses in long, descending chromatic lines (in all 3 parts) from tonic to dominant, the music gives rise to a rich and labyrinthine pathway of magically coloured harmonies.
Apologies for the slightly fuzzy resolution on this video. Matthew had the camera on the wrong setting!
Chopin Prelude in E minor Op 28 no. 4.
Pianist: Matthew King.
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Alfred Cortot’s wonderfully evocative, almost improvisatory 1933 recording can be heard here: youtu.be/OkxKCW8nq0Y?si=iGSwkS0GHxUEgM1J
Blechacz's recording of the complete Op.28 preludes can be heard here: youtu.be/SqXYIteAfNs?si=ybVoFOr3p3vk_hGT
#Chopin #EminorPrelude #themusicprofessor
Encouraged by a younger viewer to "check out the Dune soundtrack", Matthew King, without any prior knowledge, reacts spontaneously to a short online video of Hans Zimmer and friends performing the soundtrack live. Matthew's reaction includes various attempts to play and ‘sing’ extracts from Zimmer’s score in the moment (and inevitably there are occasional lapses of memory and inaccuracies!)
This is really an exercise in instantaneous reaction. Feel free to react spontaneously (if politely!) in the comments below.
Thank you for watching.
The original film of Hans Zimmer and his ensemble can be heard here: youtu.be/_j5GgGdSwjE?si=NRKeaXt5wgHXoSmF
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#HansZimmer #Dune #TheMusicProfessor
This is really an exercise in instantaneous reaction. Feel free to react spontaneously (if politely!) in the comments below.
Thank you for watching.
You can see Part 1 of Matthew King’s reaction to the 'Hall of Fame' here: youtu.be/UfWs3P7wnmQ?si=vxE_JHLa9XLWjfvo
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#ClassicFM #HallofFame #TheMusicProfessor
This is really an exercise in instantaneous reaction. Feel free to react spontaneously (if politely!) in the comments below.
Thank you for watching.
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#ClassicFM #Top50 #The MusicProfessor
0:14 Kinderszenen: a song cycle without words
0:30 The Mendelssohns invent a genre
1:11 Schumann invents a genre
1:36 A turbulent year. Separation from Clara
1:56 Clara: a child prodigy
2:20 A radical marriage
2:43 Clara instructs Robert to be more popular
3:26 Florestan and Eusebius
4:20 Conversation with Wagner
4:52 Schumann's introspection
5:20 Träumerei in film
5:35 Horowitz and Träumerei
6:45 Debate between Berg and Pfitzner
7:07 Inspiration vs analysis
8:01 Tempo, metronomes and historical change.
9:40 Träumerei played at its original tempo
10:28 Loki leaves the room
11:21 Schumann’s original intention and subsequent slowing down.
11:45 The still centre of the cycle
12:29 8 phrases, each with a rising 4th
13:12 Schumann’s ‘organic’ variation
13:45 3 steps and horn calls
14:10 Phrases of 5 beats and 3 beats
15:00 Every phrase is harmonised differently
16:20 Quick analysis
16:44 Counterpoint like a quartet
17:09 The melancholy turn
17:22 B flat
17:46 The 7th
18:44 Schumann represents Clara in music.
19:33 Influence on Debussy
21:00 Schumann’s Träumerie: performance with annotations.
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This video is an introduction to Schumann’s Träumerie of 1838, one of Schumann's most famous piano pieces, used frequently in cinema, and the subject of some controversy. It is the still, dreamy, central 7th piece in a 'song-cycle without words' of 13 miniature piano pieces called Kinderszenen (‘Scenes from Childhood’). Its wonderful evocation of dreaminess grows out of its rhythmic ambiguity and the beautiful subtleties of its melodic and harmonic writing. Each phrase floats like a song melody and then dissolves in a delicate web of counterpoint.
Robert Schumann: Träumerei (1838)
Pianist: Matthew King.
One of Horowitz’s many recorded performance of Träumerei (this one in Moscow in 1986) can be seen here: youtu.be/3fhKaAX5dOc
Another performance by Horowitz, this time with the whole of Kinderszenen: youtu.be/yibf6QNjgGU
Andreas Staier’s recording of Träumerei on a fortepiano can be heard here: youtu.be/ws_hMJsu8TM
Edited by Ian Coulter ( iancoultermusic.com )
Produced and directed by Ian Coulter & Matthew King
#Schumann #Kinderscenen #themusicprofessor
In its tiny frame, the piece explores fascinating changes of mood and a unique approach to transition. Schumann floats a soaring phrase several times over a gentle triplet accompaniment, like a barcarolle, with the notes divided between the hands. Inside the texture, the musical notes BACH revolve mysteriously. Schumann loved ciphers - the musical letters in Clara’s name (CAA) also appear in the piece, to magical effect.
In a future video, Matthew King will discuss some of these things in more detail
Robert Schumann: Von Fremdmen Ländern und Menschen (1838)
Pianist: Matthew King
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Edited by Ian Coulter ( iancoultermusic.com )
Produced and directed by Ian Coulter & Matthew King
#Schumann #Kinderscenen #themusicprofessor
0:13 Bass line
0:28 Harmony
0:43 Inversion
0:58 The 3 lines
1:58 The chords
3:02 Music without a tonal centre
3:26 The phrases
3:56 The reason this music can bear repetition
5:09 Satie’s mysterious instruction
6:24 The New York premiere
7:23 Satie’s relationship with Suzanne Valadon
8:24 Suzanne Valadon’s hat
9:23 Suzanne Valadon’s portrait of Satie
9:54 Satie admiration for Valadon
10:23 A pet goat
10:52 Cats and caviar
11:08 A corsage of carrots
11:22 Valadon leaves Satie
13:36 Satie’s calligraphy
14:52 Satie’s portrait of Valadon
15:56 More pictures by Suzanne Valadon
16:55 Valadon as model
18:20 Satie falls out with Paladin
21:25 Peladin’s novels
22:14 Writers who admired Paladin
24:20 Peladin’s cult
24:50 Satie is official composer
26:30 Peladin’s Salon
27:33 Satie’s differences with Paladin
32:20 Gregorian chant
35:19 Satie’s Open Letter
36:46 Friendship with Debussy
37:25 Satie’s influence on Debussy
39:19 A picture of Wagner
40:46 Advice to Debussy
45:45 Disagreements over Wagner
48:10 Vexations is a response to Wagner
51:16 Humour and seriousness
52:41 Satie influences Debussy’s career
54:45 Satie and the Windmill
57:42 A painting by Renoir
58:41 Bohemianism
01:00:41 The Monkish phase
01:02:00 A spoof cult
01:04:10 Which instrument?
01:06:20 Satie’s apartment as Abbey
01:15:00 Strange letters
01:22:00 Satie’s changes of style
01:22:52 The Velvet Gentleman phase
01:24:30 Comparison with David Bowie
01:27:30 Brian Eno
01:29:31 Written before Brahms
01:31:00 A challenge to German music
01:33:27 Satie’s influence
01:36:28 Satie and Stravinsky
01:38:23 New accommodation
01:39:34 Radical politics
01:41:23 Zizek
01:44:23 Furniture music
01:49:25 Communism
01:50:53 A minimalist order: a better world
01:57:21 Satie and Debussy
02:02:56 Debussy’s piano playing
02:04:20 Lunches with Debussy
02:07:47 Debussy’s eggs and cutlets
02:11:13 Satie and Debussy: very different political ideas
02:20:21 Debussy becomes prosperous
02:22:45 Photograph by Stravinsky
02:24:40 Stravinsky’s recollections of Satie
02:32:10 Bottles of water and a hammock
02:35:07 Satie describes his own music
02:38:35 The form of Vexations
02:42:04 Socrate and Princess de Polignac.
02:46:04 Stravinsky’s memories of Socrate
02:50:34 Debussy, Satie and Stravinsky
02:54:29 Satie describes his working day
03:06:04 Satie and Debussy quarrel about Parade
03:07:24 Picasso
03:09:54 Debussy’s jealousy. Jeux etc.
03:12:58 Parade
03:18:56 Satie writing about his tragic rift with Debussy
03:29:50 Satie and surrealism
03:31:00 Poulenc describes the premiere of Parade
03:42:39 Debussy dies
03:45:13 Satie writes about Debussy
03:47:43 Satie and Poulenc
03:52:12 Satie and Ravel
03:56:39 Satie admires and criticises Ravel
04:02:13 Poulenc remembers Satie
04:04:21 Satie’s influence on Cage
04:07:38 Cage discovers Vexations
04:11:35 Cage organises premiere
04:14:31 Christian Wolf remembers the premiere
04:18:32 Cage on Satie
04:21:33 Poulenc on Satie
04:23:38 100 umbrellas
04:25:27 Pumice and Paranoia
04:29:30 Poulenc remembers Socrate
04:33:50 Satie played the piano badly
04:38:24 Satie’s aphorisms
04:46:42 The new spirit
04:53:18 Satie on Animals
04:58:15 Satie on Artistic Truth
05:05:32 Satie on Stravinsky
05:07:48 Satie’s Conservatory Catechism
05:09:39 “What I am”
05:19:43 Intelligence and Musicality among Animals
05:32:08 Child Musicians
06:10:00 Musical Spirit
06:33:22 Theatricalities
06:42:58 Perfect Surroundings
06:48:48 Montmartre Musicians
06:52:13 Odd Corners of my Life
This is a complete performance of Erik Satie’s 'Vexations' (with a written commentary). Satie's famous, and mysterious notations, half joking, half serious, on a single page of manuscript have inspired the longest video yet released on this channel.
Vexations (like a Samuel Beckett play) is mysterious, absurd, baffling and unsettling in equal measure, occupying a strange twilight between comedy and tragedy: a circular, self-referential paradox.
But Satie also invented the idea of ‘furniture music’. Listeners should feel free to dip and out of this video or to have it playing in the background while they do other things.
Satie’s instruction, "At this sign customarily the theme of the Bass will be presented” is somewhat ambiguous, since the “theme in the bass” is present within each harmonised passage. For this performance, to save time (!) Matthew King departs from orthodox performance tradition and has interpreted the “theme of the Bass" as simply occurring within the 3 part texture, not on its own. This follows the recommendation of the Satie Scholar, Robert Orledge: “My advice to pianists would be to play the bass theme at the start, and then the two chordal strands as many times as they can without hallucinating or collapsing from exhaustion."
Bon Appetite!
Erik Satie: Vexations (1893)
Pianist: Matthew King.
An edited version of Igor Levit’s marathon performance in 2020: bit.ly/49suEJW
#Vexations #Satie #themusicprofessor
0:00 Introduction with Loki
0:09 Ravel’s marvellous underrated Prelude
0:35 It’s an easier piece (quote from Scarbo played by Argerich)
0:47 The year 1913
0:54 Three great ballets of 1912
1:32 Collaboration with Stravinsky
1:46 Trois Poèmes de Stephane Mallarmé
1:57 Ravel, a composer of masterpieces
2:30 Inspiration of Schoenberg and Stravinsky
2:43 The third song in the Mallarmé cycle
3:33 Ravel straightens out the Mallarmé motif
4:22 A sight-reading test piece for the Paris Conservatoire
5:09 A short analysis of the Prelude
5:40 a simple illustration of Ravel’s harmony
6:13 Radiant D major, bitter-sweet D minor
6:44 Comparison with Puccini
7:14 More poignant than before
7:36 The most beautiful phrase of all.
8:11 Debussy: “It is the product of the finest ears that have ever existed”
8:55 Ian Coulter introduces Skillshare
10:37 Ravel’s Prelude in A minor (with animated commentary)
Ravel’s exquisite Prelude in A minor of 1913 is one of his shortest and least played pieces. This video explains the prelude in the context of Ravel’s life and work during the period it was written. There is a short explanation of how the music works, followed by a performance of the prelude with animated commentary at the end of the video.
Prelude in A minor (1913) by Maurice Ravel. Pianist Matthew King.
Check out other videos about Ravel on this channel:
An animated commentary on Ravel’s ‘La Valse’: youtu.be/ts7K4yCP5tI
An animated commentary about Ravel's Gaspard de la Suite: youtu.be/LYOQaHuxf0A
An animated commentary about Ravel’s Tombeau de Couperin: youtu.be/q6oOo8izmyo
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Edited by Ian Coulter ( iancoultermusic.com )
Produced and directed by Ian Coulter & Matthew King
#Ravel #Prelude #TheMusicProfessor
In September 2023, this channel released a video ( youtube.com/watch?v=c0fpWX8Tgl0&ab_channel=TheMusicProfessor ) which included a longer discussion of the origins and cultural context of this piece, focussing on the second movement. In response to the various comments and requests for the score and recording alone, we are now releasing this separate video without the preliminary discussion, and containing just the first edition score, and a recording, on a fortepiano, of the second movement, plus an animated commentary.
Robert Schumann: Träumerei (1838)
Pianist: Matthew King.
A longer video about this music, with detailed discussion, can be seen here: youtu.be/o27vccd30Vo?si=m89KbWaHaIlOv-vc&t=557
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#Schumann #Traümerie #Kinderscenen #themusicprofessor
Edited by Ian Coulter ( iancoultermusic.com )
Produced and directed by Ian Coulter & Matthew King
We dedicate this little Christmas piece to the people of Ukraine this Christmas.
Pianists: members of the King family
#carolofthebells #ukraine #themusicprofessor #christmasfun
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Edited by Ian Coulter ( iancoultermusic.com )
Produced and directed by Ian Coulter & Matthew King
0:12 Liszt’s Christmas Tree Suite
0:30 Not the sexy Liszt or the grand Liszt
0:58 An old man, struggling with alcoholism, depression and a nomadic life
1:52 Christmas 1881 in Rome
2:21 Liszt’s upright piano
3:00 Debussy’s visit and Liszt’s pedal
3:17 The soap opera
3:39 Cosima
3:43 Hans von Bulow
4:09 (similarity to Stockhausen)
4:36 Rehearsals of Tristan and Isolde
5:12 Wagner’s affair with Cosima
5:31 The kids and their stepfather
6:00 Wagner’s wide brimmed hat
6:14 Daniela’s career
6:24 Liszt or Daniela?
6:44 Reaction against virtuosity
6:55 The late style at its most charming
7:16 In Dulci Jubilo
7:45 The pastoral atmosphere and the siciliano rhythm
8:09 Greensleeves
8:29 Liszt invents Christmas harmony
9:50 A sign of genius
10:10 Gregorian chant and bells
10:47 The middle of the piece: E major - a shift of colour
12:28 Liszt’s arrangement for two pianists
12:57 A beautiful Lisztian coda reconciles the two keys
14:02 The final chord
14:30 Liszt’s ’Shepherds at the Manger’ (with animated commentary)
‘Weihnachtsbaum' (Christmas Tree) is a suite of 12 pieces for solo piano by Franz Liszt which he dedicated to his granddaughter Daniela. The first performance took place in Daniela’s hotel room in Rome, in December 1881. This video is about the third piece in the cycle, which represents the shepherds at the manger, and uses the melody of an ancient Christmas carol called 'In Dulce Jubilo’ with a rocking siciliano accompaniment, halfway between Gregorian chant and a lullaby. Its wonderfully simple and unpretentious style is so effective that it almost single-handedly defines how Christmas music is meant to sound!
Die Hirten an Der Krippe (from Weihnachtsbaum) by Liszt. Pianist Matthew King.
Stephanie McCallum’s recording of Liszt’s Weihnachtsbaum can be heard here: youtu.be/16WOBK0tlPg
You can see Marta Argerich and Daniel Barenboim play Liszt’s duet version of the first piece of the cycle here: youtu.be/CTXjCIFnkZU
#themusicprofessor #liszt #christmasmusic
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Edited by Ian Coulter ( iancoultermusic.com )
Produced and directed by Ian Coulter & Matthew King
This video is dedicated to the many brilliant, hard working, underpaid music teachers all over the world, including those wonderful teachers who have taught me, and encouraged and inspired members of my own family, who have made music tuition a joy not a chore, and have found so many different ways to open windows onto the vistas of sound, making music exciting and attainable for their students. Thank you.
Don’t trust the charlatans. Support your local music teacher!
Piano improvisation on 'Three Blind Mice' by Matthew King
With spoken contributions from George Vere, Christina King and Ian Coulter.
#stephenridley #parody #themusicprofessor
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Edited by Ian Coulter ( iancoultermusic.com )
Produced and directed by Ian Coulter & Matthew King
Edited by Ian Coulter
0:00 Introduction (minus Loki)
1:01 Joni Mitchell’s 80th Birthday
2:02 The release of ’Now and Then’
2:54 The original version
3:54 A short description of ’Now and Then’
4:19 The part of the song that was edited out.
5:11 The final version.
6:43 The Beatles phenomenon
7:49 Album after album
8:28 Brief comparison with Hitchcock and Beethoven
8:50 Moments when creative energy collides with the zeitgeist
9:05 The fragmentation of the Beatles
9:33 An essay in nostalgia
10:12 Paul McCartney: the driving force
10:44 A very touching document.
11:04 Now and Then
11:39 The brief return of Loki
12:00 A word about Skillshare
13:34 John Lennon’s Spanish style
14:18 The Phrygian drop
14:46 Conversational style in Lennon’s songwriting
15:38 Improvising in the style…
15:54 Improvising in the style of Beethoven
18:37 J.S.Bach
19:34 Mozart
21:24 Chopin
21:53 Liszt
22:32 Ravel
23:08 An absurd exercise and a question
23:58 Ian’s button and YouTube membership
This video is about the Beatles’ ‘final’ song, Now and Then, which was released on 2 November 2023. The video considers the origins of the song, John Lennon’s original home recording from 1977, the Beatles final version, the song's place in the band’s output, and its role as a cultural document. Matthew King reflects on the Beatles’ achievement and considers how the song fits into the story of a band who were once at the cutting edge of innovation and cultural change, and are now icons of a lost world.
In the second half of the video Matthew improvises on the first phrase of the song in the styles of Beethoven, Bach, Mozart, Chopin, Liszt and Ravel.
Piano improvisations by Matthew King
The Beatles: Now and Then (released 2 November 2023): youtu.be/Opxhh9Oh3rg?si=E5cRMu3yNOaTJWGR
John Lennon’s original 1977 recording of Now and Then: youtu.be/y8ZDzdY86l8?si=i7jIhJAAPpIG-oQ4
#Beatles #Improvisation #themusicprofessor
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Edited by Ian Coulter ( iancoultermusic.com )
Produced and directed by Ian Coulter & Matthew King
1:09 Release of’Maestro’ in cinemas
0:45 Benjamin Britten’s musical trinity
1:02 Bernstein overview
3:56 pre-film thoughts
4:37 Intro to West Side Story
6:00 Bernstein understands tension
6:57 The fusion of genres
7:29 The tritone and the perfect 5th.
9:29 The overture and the Jets
10:19 Bitonality and rhythmic dislocation
11:18 ‘Cool’ and the fugue
13:34 A tritone bass in the pasodoble
14:00 Romantic elements: ’Something’s coming’.
15:06 Tony & Maria and the redemptive power of love…
16:22 ‘Maria’
17:15 Duet: 'A Boy like that’
18:55 ‘I have a love’: the climactic tritone
20:50 The final bars: a possibility of hope.
21:46 footnote 1: Wagner’s use of the tritone
22:34 footnote 2: Stravinsky’s use of the tritone
23:50 Conclusion
Recorded on the eve of the release of the movie ‘Maestro’, this video focusses on Leonard Bernstein and his multifaceted talent as composer, conductor and communicator before taking a deep dive into ‘West Side Story’, focussing on how Bernstein enhances the drama through his use of the tritone as a symbol of societal tension which can only find resolution through the redemptive power of love.
There is a huge amount of footage of Bernstein conducting and communicating on YouTube. Here are some examples.
Leonard Bernstein’s 1973 Harvard lectures: youtu.be/8fHi36dvTdE?si=yShL99NulcFWFckQ&t=1
Leonard Bernstein’s Young People’s Concerts with the NYP: youtu.be/U6JsfDIo4TA?si=BBuMCWkNkkGFVZ6y
Bernstein sings a Kinks song at one of his Young People’s Concerts: youtu.be/ygn7ORgPbEE?si=XGJlMApzuqRnJY1g
Bernstein rehearses the Cha Cha from West Side Story in 1985: youtu.be/efWW1PR0Phg?si=SfbFVVfFM9xsQIX3
Bernstein conducts and plays Gershwin’s Rhapsody in Blue in 1976: youtu.be/cH2PH0auTUU?si=xcSeuwaB9NN9qLEt
#Bernstein #Westsidestory #themusicprofessor
1:01 ‘Mysterious Mozart’
1:19 A meal with Haydn
1:44 The greatest creative year of his life
2:28 What if Mozart had gone to London?
2:57 Mozart and Haydn were friends
4:44 Ave Verum Corpus
5:47 Music and spirituality.
6:11 Comparison with Shakespeare
7:20 Mozart excels at every genre.
8:00 Mozart's beginnings
9:01 Then the chorus comes in
9:25 It doesn’t matter whether you’re a believer or not.
10:11 The second phrase
10:30 “On the cross” - on a suspension.
12:07 The Third phrase…development
14:40 The final phrase…like a recapitulation.
16:00 The trial of death.
17:34 Liszt in 1862
19:17 The Sistine chapel
20:35 The Mozart miracle
22:17 Liszt’s singing piano
23:12 Tchaikovsky’s version
In June 1791, Mozart took a break from composing his final opera, ’The Magic Flute’ in order to visit his wife who was staying in a spa near Vienna called Baden bei Wien. Constanza was expecting their sixth child (Franz Xaver Wolfgang Mozart). Whilst Mozart was in Baden, he composed a short motet, 'Ave Verum Corpus', for his friend Anton Stoll, who was director of music at St. Stephan, Baden. The motet is only 46 bars long and is scored for chorus with strings and organ. The striking mix of apparent simplicity and profundity in the score are characteristic features of Mozart’s late style. This video discusses Mozart's final year, his friendship with Haydn and the music of his ‘Ave Verum Corpus' in detail, and concludes with Liszt’s 1862 arrangement of Mozart’s motet for piano solo.
Mozart: 'Ave Verum Corpus’ arranged for piano solo by Franz Liszt
Pianist: Matthew King
Matthew King says more about Mozart's final year in his video about Mozart and the Glass Armonica: youtu.be/80gxGnm1vMU?si=JBNDxvUHCEB-_bjY
The book quoted near the start of the video is ‘Mysterious Mozart’ by Phillipe Sollers.
Mozart’s original version of ‘Ave Verum Corpus’ K. 618 for chorus, strings and organ, conducted by Nikolaus Harnoncourt: youtu.be/lqcCW0OA7es?si=sYXCf45HrhEMcm8X
Liszt’s original 1862 piano piece, ‘A la Chapelle Sixtine’ in which Allegri’s ‘Miserere’ and Mozart’s ‘Ave Verum Corpus’ appear to be in a kind of theological dialogue: youtu.be/tkAMKzRSrjc?si=AnEDMt6L0aDNIv7Q
Tchaikovsky’s arrangement of Liszt’s arrangement of Mozart’s ‘Ave Verum Corpus’ in his 4th orchestral suite, ‘Mozartiana’: youtu.be/6bYRgv-fiY4?si=OY-ZalCL-EbvLFt7&t=374
Allegri’s ‘Miserere’, performed by Tenebrae: youtube.com/watch?v=H3v9unphfi0&ab_channel=TenebraeChoir
Ian Damrau’s performance of the Queen of the Night’s aria, 'Der Hölle Rache’, from the Magic Flute: youtu.be/YuBeBjqKSGQ?si=rNXICxgbcPvuNyxv
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Edited by Ian Coulter ( iancoultermusic.com )
Produced and directed by Ian Coulter & Matthew King
00:06 The Hydrodaktulopsychicharmonica
00:30 Benjamin Franklin
02:52 The ultimate late 18th Century gadget
03:20 Associations with depression
03:59 Composers who have written for glass harmonica
05:58 Marianne Kirchgessner
06:34 Mozart’s preference for unusual instruments
07:59 1791 - Mozart’s final year
08:51 Two opera commissions
09:54 The mysterious stranger and the Requiem
11:10 Salieri
11:55 Mozart’s evolving style
12:27 The Magic Flute: a preference for trios
13:38 Ave Verum Corpus
14:49 Tempo
15:14 Periodic phrase structure
18:10 The middle section
20:40 Recapitulation, variation and embellishment
22:09 Mozart’s Adagio K356 (with animated commentary)
The topic of this video is Mozart’s Adagio for Glass Harmonica of 1791, composed during the hectic final year of its composer’s short life.
The video explains the historical context of the music, the origins of this mysterious instrument as a technological wonder of late
18th century, and its association with supernatural and melancholy effects. Mozart’s short work is explained within the broader setting
of his frenzied activities in 1791 and his tragic untimely death.
Mozart: Adagio for Glass Harmonica K 356, played on a piano.
Pianist: Matthew King
Matthew King says more about Mozart's final year in his video about Ave Verum Corpus: youtu.be/SN2tZlJJtTs?si=jvfi4oSjhiWp7ZXw
Christa Schönfeldinger performs Mozart’s Adagio on a glass harmonica: youtu.be/hqse6LNFfgA?si=kCy4zLGXZXFstI87
A complete performance of Mozart’s Adagio and Rondo for Glass Harmonica quintet K 617: youtube.com/watch?v=EwswlusoEgo&ab_channel=WienerGlasharmonikaDuo
Anna Netrebko's performance of the ‘Mad Scene’ (with glass harmonica) from Donizetti’s Lucia di Lamermoor: youtu.be/qc3Ml_Sse7M?si=lGSZTtxijg5f7AgG
The melodrama with glass harmonica from Beethoven’s ‘Leonore Prohaska’: youtu.be/3KCIecOXyao?si=7AH_gM0sJ9PMiTkI&t=235
A fascinating German documentary about the glass harmonica: youtu.be/uZPKVRgOfWE?si=5_aBbFjNrjr_igdS
#Mozart #1791#glassharmonica #themusicprofessor
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Edited by Ian Coulter ( iancoultermusic.com )
Produced and directed by Ian Coulter & Matthew King
0:49 How does the second movement fit into the sonata?
1:44 Heroes and teachers: Mozart and Haydn
3:01 A post-French-Revolutionary world
3:40 Reading from a comment
4:38 Beethoven was not an ‘abstract’ composer.
5:10 Hearing loss and the Heiligenstadt Testament
6:18 Minuet and Trio
7:26 “A little flower between two abysses"
9:37 Beethoven disrupts the normal phrasing.
10:21 Ritmo di Quattro battute
12:14 Rhythmic reversals
13:13 The same (enharmonic) tonality
13:56 The pastoral trio
15:59: Beethoven’s Shakespearian quality.
17:11 End of movement 1 and the whole of movement 2 (with animated commentary)
The topic of this video is the second movement of Beethoven’s 'Sonata quasi Una Fantasia’ Op 27 no. 2, more commonly known today as the Moonlight Sonata. This second movement has always been something of a Cinderella - a lighter, more classical minuet, sandwiched between the great warhorses that flank it on either side or, as Franz Liszt, more elegantly described it, “a little flower between two abysses”. The piece however contains some marvellously subtle rhythmic dislocations which seem to challenge the ‘aristocratic’ conventions of the minuet, and these are continued in the more rustic style of the trio section with its famous bluesy harmonies and swung rhythm.
The video ends with a recording of the complete movement, played on a fortepiano, with an animated analysis.
This channel is very grateful to an anonymous donor for lending us a fortepiano for the recording.
Beethoven: Allegretto (movement 2) from Sonata quasi Una Fantasia Op 27 no. 2
Pianist: Matthew King
For a longer discussion about the Moonlight Sonata and the first movement: youtu.be/Ejsh-NZCWm8?si=WktbALVWw8vf-5Tt
#Beethoven #Moonlightsonata #themusicprofessor
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Edited by Ian Coulter ( iancoultermusic.com )
Produced and directed by Ian Coulter & Matthew King
Edited by Ian Coulter
In September 2023, this channel released a video (youtu.be/Ejsh-NZCWm8?si=EaQHBTyCivlcuI4M) which included a longer discussion of the origins and cultural context of this piece, focussing on the first movement. In response to the various comments and requests for the score and recording alone, we are now releasing this separate video without the preliminary discussion, and containing just the first edition score, and a recording, on a fortepiano, of the first movement, plus an animated commentary.
The recording of the complete first movement was made quite spontaneously, with limited equipment, and played on a fortepiano which was lent to the channel. Following Beethoven’s instruction that the pianist must “play this whole piece very delicately and without dampers”, a knee pedal, located below the keyboard of the fortepiano, was used to raise the dampers for quite long periods, allowing the strings to resonate. The poetic, mysterious and ghostly sound, resulting from pedalling this way, is probably what Beethoven envisaged: a sonority in which each harmony dissolves impressionistically into the next. Hector Berlioz described the effect:
The left hand softly displays large chords of a solemn, sad character, and the length of these allows the vibrations of the piano to extend gradually over each one of them.
This channel is very grateful for the use of a fortepiano (lent to the channel anonymously) for the recording of the first movement of the sonata.
Beethoven: Sonata quasi Una Fantasia Op 27 no. 2 (first movement)
Pianist: Matthew King
#Beethoven #Moonlightsonata #themusicprofessor
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Edited by Ian Coulter ( iancoultermusic.com )
Produced and directed by Ian Coulter & Matthew King
3:10 Revolutionary chromaticism, ‘Amadeus’ and Wagner
7:59 Photo-serial augmented triads
8:50 Speculation: Was this intended for a suite?
10:06 Structure (miniature sonata form) and popular style
11:18 “He hits you with this terrifying thing” (and Ravel), hemiolas and development
13:12 The recapitulation “strange new counterpoints” but is it unfinished?
14:14 Is this bit added by Max Stadler?
15:03 Isn’t it likely that Mozart did something different?” Improvisation…speculation…
15:30 “One more thing…
15:55 Mozart’s Minuet in D K 355 (with animated commentary)
In May 2023, this channel posted a short video about Mozart’s 'Kleine Gigue’ in G major, composed in 1789. The topic of this video is another miscellaneous keyboard work by Mozart, also composed in 1789 (near the end of the composer’s life, the same year he composed his wonderful opera, ‘Cosi fan Tutte’, and pretty much contemporary with the start of the French Revolution). Both the Little Gigue, and this little Minuet in D, display, in their tiny frames, a revolutionary tendency. Both are, in a sense, conventional binary-form pieces but both are saturated with chromaticism to such an intense degree, that tonality itself feels a little unstable. A common feature of the little Gigue in G major, and the little Minuet in D, is that they both seem intent on presenting all 12 chromatic notes in a systematic manner, almost as if Mozart were experimenting with his own version of proto-serial composition.
Mozart’s Minuet was probably left unfinished. There is no manuscript, and the minuet was published with a trio (not performed in this video) composed by Mozart's friend, Maximilian Stadler, who may well have completed the minuet itself - this seems likely, given the slightly conventional and (by Mozart’s standards) unsatisfactory ending of the published version. This video discusses these issues, and features a recording in which Matthew King has improvised a speculative new ending.
Mozart: Minuet in D K 355
Pianist: Matthew King.
Matthew King says more about Mozart's late style in his videos on Mozart's final year and the Ave Verum Corpus (youtu.be/SN2tZlJJtTs?si=_zdmRdhR9AjD8IjS) and Mozart and the Glass Armonica (youtu.be/80gxGnm1vMU?si=jx4WpT62kZL7HiBx)
This channel's short film about Mozart's 'Little Gigue' can be seen here: youtu.be/xh_t1fq0tlA?si=wwHGMqDc5ngpROGN
Robert Levin’s discussion and reconstruction of Mozart’s Minuet in D can be heard at the start of this lecture: youtu.be/Ilrnj7hPCDM?si=ldl3yV4uTdco0n9n
Tchaikovsky’s orchestration of Mozart’s Minuet in D, in his Fourth Orchestral Suite ‘Mozartiana’, can be heard here: youtu.be/6bYRgv-fiY4?si=0el3xp3IYzTJ0BvR&t=101
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#Mozart #piano #themusicprofessor
Edited by Ian Coulter ( iancoultermusic.com )
Produced and directed by Ian Coulter & Matthew King
1:45 The minute waltz in a minute.
2:52 a short analysis.
4:00 hemiola rhythm.
4:52 “A portrait of a waltz”
5:26 The influence of Italian opera.
6:00 Chopin’s playing.
7:20 The year 1847 and George Sand.
8:00 Lucrezia Floriani.
9:41 A proper performance with animated analysis
A while ago, in the early days of this channel, we posted a short video of Matthew King attempting to play Chopin’s Minute Waltz in a minute, to celebrate our first thousand subscribers. It was a silly party trick, which, now that we are celebrating 30K members of our wonderful and rapidly expanding community of subscribers, we have decided to repeat!
So here is Chopin’s D flat Waltz Op 64 no. 1, first played ludicrously quickly, followed by a more sober discussion about its background, and then a second performance (with some analytical animation). According to a contemporary account, “Chopin especially liked Broadwood’s Boudoir cottage pianos of that date (1848), two-stringed, but very sweet instruments, and he found pleasure in playing on them.” The piano used for the recording, at the end of this video, is an old English Daneman upright, somewhat equivalent in sound to the 'Broadwood Boudoir cottage pianos' that Chopin apparently admired.
A huge thank you to our loyal and generous patrons and subscribers, and also to new subscribers who have recently joined the channel.
Chopin: Waltz in D flat Op 64 no. 1 (1847).
Pianist: Matthew King (Two performances - the first very silly and the second one more serious)
The quotations used in the video come from 'Chopin: Pianist and Teacher' by Jean-Jaques Eigeldinger
You can read more about Chopin, Sand and her novel, 'Lucrezia Floriani’ here: https://interlude.hk/lucrezia-floriani-romantic-relationship-between-frederic-chopin-george-sand/
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#Chopin #Minutewaltz #themusicprofessor
Edited by Ian Coulter ( iancoultermusic.com )
Produced and directed by Ian Coulter & Matthew King
0:37 Things about the piece that are not so familiar
1:14 The historical context
1:55 The ’sacred tradition’
2:29 Beethoven is going deaf
3:00 Two new sonatas
3:08 The career-defining genre
3:41 Sonata quasi una Fantasia - an experimental approach to the genre
5:17 “without dampers”
5:56 The fortepiano of Beethoven’s time
6:18 The tempo and the sonority
6:53 Impressionistic sound
7:52 An enormous hit
8:22 'Moonlight’ was never Beethoven’s title
9:01 Connection with Mozart’s ‘Don Giovanni’
13:08 The beginning
13:41 The ‘funeral march’ melody and Op 26
15:13 A ghost scene
15:49 The '2nd subject’ lament
16:00 Dissonance
16:33 The dedicatee
17:45 The development section
18:52 The recapitulation
19:09 The coda
19:26 The whole form flows
19:44 The combination of classical form and improvisation
20:11 The other movements
20:40 The first movement played on a fortepiano
The topic of this video is the first movement of Beethoven’s second 'Sonata quasi Una Fantasia’ Op 27, more commonly known today as the Moonlight Sonata, with a discussion about some of the less familiar aspects of the music’s genesis (especially its probable connection with Mozart’s Don Giovanni) and challenging some very old misconceptions about its title, its meaning, its tempo, its pedalling and even the way it is meant to sound.
The video ends with a recording of the complete first movement, played on a fortepiano. Following Beethoven’s instructions that the dampers be lifted from the strings throughout the movement, a poetic, mysterious and ghostly sound world is created in which each sonority dissolves impressionistically into the next.
This channel is very grateful to an anonymous donor for the use of a fortepiano for the recording of the first movement at the end of the video.
Matthew King has never been a good speller - we apologise for the misspelling of the word 'neapolitan' in the video.
Beethoven: Sonata quasi Una Fantasia Op 27 no. 2 (first movement)
Pianist: Matthew King
A recording of Mozart's trio from Scene 1 of Don Giovanni (the death of the Commendatore) can be seen here youtu.be/8wEMzWH52FA?si=q5MRB8-dFb_OvlwW (at 10:52)
A while ago, Andras Schiff gave a fascinating Wigmore Hall lecture on this sonata. Here's the recording: youtu.be/H6u9Ocp039Y?si=60gxqjvUh6JZg3C6
#Beethoven #Moonlightsonata #themusicprofessor
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Edited by Ian Coulter ( iancoultermusic.com )
Produced and directed by Ian Coulter & Matthew King
In 1810 Beethoven composed a short piano piece, which we now know as ‘Für Elise’. It has become (with the possible exception of the first movement of the ‘Moonlight’ Sonata) Beethoven’s most famous composition for piano, with one of the most famous melodies in the world. which is something of an irony, because Beethoven never had the piece published, and indeed the version we know today comes from a somewhat unreliable source having been transcribed in the 1860s from a manuscript that subsequently disappeared. The dedication, “Für Elise’ may itself be a misreading of a more likely dedication to Therese Malfatti, who turned down Beethoven’s proposal of marriage in 1810.
Twelve years later, in 1822, after completing his final three piano sonatas, Beethoven put together an assortment of short Bagatelles for piano, some of them newly composed, and some revisions of older pieces. He sketched out a revised version of ‘Für Elise’, embellishing some of the material, rhythmically displacing the accompaniment, and slightly altering the structure. These modifications are a fascinating glimpse at the composer’s ‘tool-shed’, as we watch Beethoven altering and improving things that he appears to have disliked in the first version. In the end, he decided not to publish this revised version and so it was not included among the Op 119 Bagatelles.
Published versions of Beethoven’s 1822 sketch differ slightly: the British musicologist, Barry Cooper published a version of the sketch in 1989, and in 2021 Bärenreiter Urtext published an excellent new edition of the Bagatelle in A minor (Für Elise) containing the original version, a printed version of Beethoven’s draft of the piece with his 1822 alterations, and a completion (from the revised draft) of the 1822 version by Mario Aschauer, which closely resembles the version performed in this video. The notated material in this video reproduces the essential elements in Beethoven’s 1822 revision. Any extra material, not found in Beethoven's original version, or in his 1822 sketch, is written in small notes in the video animation.
Beethoven: Bagatelle in A Minor ('Für Elise')
Pianist: Matthew King
The original video (from which this is an extract) is here: youtu.be/jblFQ1whX5s
Mario Achauer, who edited the recent Bärenreiter Urtext edition, can be heard playing the 1822 version on a fortepiano here: youtube.com/watch?v=EShoB5FcYFs&ab_channel=MarioAschauer
Mario Aschauer's explanation of the 1822 version and the new Bärenreiter Urtext edition can be heard here: youtube.com/watch?v=m2tWq7AcNac&ab_channel=B%C3%A4renreiter-VerlagKarlV%C3%B6tterleGmbH%26Co.KG
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Edited by Ian Coulter ( iancoultermusic.com )
Produced and directed by Ian Coulter & Matthew King
#Beethoven #FürElise #themusicprofessor
The first Gymnopedie is very famous. Its dream-like character has made it popular with film makers, and it has become a common ‘relaxing classic’. Listeners are consequently unaware just how shockingly radical this decidedly strange music must have seemed in 1888.
The music contains a number of elements which were highly unusual, even unique for the period: a subtle, almost bitonal use of modality; numerous dissonances and altered chords; a mysterious circling form; a melody like a procession of notes, often containing intriguing symmetries, and a radical tonal ambiguity. No less extraordinary is the stillness of the music; its non-progressive, non-developmental character - absolutely at odds with the prevailing Austro-German Romantic style of music of the period.
With his first Gymnopedie, Satie boldly laid down the gauntlet in redefining what music can be: something ambiguous, static, circular, ambient, evocative…. this is nothing less than the birth of modern music.
Erik Satie: Gnossienne 1
Pianist: Matthew King
Satie's first Gnossienne can be heard here: youtu.be/4Y42P0G-kGY
Satie's second Gnossienne can be heard here: youtu.be/B6OFHvHrtB8
Satie’s third Gnossienne can be heard here: youtu.be/BY8QDzsDrtQ
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#Satie #Gymnopedie #themusicprofessor
Edited by Ian Coulter ( iancoultermusic.com )
Matthew King (www.matthewkingcomposer.com)
Professor of Composition
Guildhall School of Music & Drama
All Satie’s Gnossiennes are composed without barlines, and they all have a gently rocking accompaniment in the left hand, with an majestic and mysterious melody floating above it in the right hand. All the Gnossiennes use modes to create intriguing and mysterious melodic lines. The extraordinary simplicity of the musical texture and syntax belies the prodigious originality of the resulting music. Written before Brahms had composed his late intermezzi, these are fabulously experimental pieces in which the form consists of haunting melodic fragments which circle around without any specific direction or goal. In their circularity and stasis they seem to lay down a challenge to German 19th century dominance: music does not have to be developmental; neither does it have to be goal-directed or hierarchical. It can simply float along and be an evocative mystery.
Satie’s music was enormously influential on several currents of twentieth century music: Debussy, Ravel, Stravinsky, Poulenc (who orchestrated this gnossienne - see below), Milhaud, Varèse, Jolivet, Messiaen and, later on, Cage, Feldman, minimalist composers, Birtwistle, Bill Evans, Brian Eno, quite a few film scores etc. etc.
Erik Satie: Gnossienne 3
Pianist: Matthew King
The first Gnossienne can be heard here: youtu.be/4Y42P0G-kGY
The second Gnossienne can be heard here: youtu.be/B6OFHvHrtB8
Poulenc's beautiful orchestration of the third Gnossienne can be heard here: youtu.be/-8t8mTIr-z4
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#Satie #Gnossienne #themusicprofessor
Edited by Ian Coulter ( iancoultermusic.com )
Matthew King (www.matthewkingcomposer.com)
Professor of Composition
Guildhall School of Music & Drama