Pianophilia

tobyjj wrote:Hello,
although not requested, you may also like these:

Clement Doucet - Hungaria.pdf

Clement Doucet - Wagnereske.pdf

Regards,
tobyjj

Lisztonia and Hungaria are the same piece, no?

Hello,

Yes they appear to be identical, though it's the same editor and publisher in both cases. The type set is different though.
Perhaps a musicologist could dig a bit and tell us what prompted the name change. Maybe "Lisztonia" was too hard to spell ...

regards,
tobyjj

As an advocate of Haydn's string quartets and of piano transcriptions generally,
these 33 YouTube videos of some of his best string quartets arranged for piano
solo (with the original scores shown on the screen) aren't at all uninteresting.
But is the 'pianist' human?

http://www.youtube.com/watch?v=19ivYeHS ... F7090FA99A

Timtin wrote:As an advocate of Haydn's string quartets and of piano transcriptions generally,
these 33 YouTube videos of some of his best string quartets arranged for piano
solo (with the original scores shown on the screen) aren't at all uninteresting.
But is the 'pianist' human?

http://www.youtube.com/watch?v=19ivYeHS ... F7090FA99A

The channel's description says "Also, note that unless specified all videos are computer-played. I thought it would be evident anyway but apparently it's not the case. Sorry. I have posted also some of my own, human performances too (which are nothing great ^^)"

For the most part he seems to be just playing the score directly which is easy enough for a lot of small string ensembles. On a good day I can sight-read a quartet onto piano keyboard at tempo. On a bad day I can't do Gymnopedie No.1

I wonder if the process of converting the printed score to the keyboard
is fully computerised, and if so, can we soon expect to hear a lot more
other arrangements for 'piano' of the great string quartets? I hope so.
They may sound a bit mechanical, but they're better than nothing at all.
I'm so going to make a CD of these quartet arrangements.

As regards playing quartets directly on the piano, that is totally beyond
me, due to the difficulties of playing the 'inner' notes, plus, anything
written on any clef other than the treble and the bass clefs turns my
poor old brain to mush!

Timtin wrote:...plus, anything
written on any clef other than the treble and the bass clefs turns my
poor old brain to mush!

...I too regret that I never trained sufficiently reading other clefs - that is BTW why virtually nobody is able to play Bach from a definite Urtext score (which is at present only available as "facsimile" edition, as none of the big publishing companies so far dared to issue a "practical" Bach piano volume in the original clefs!!!)

alfor wrote:

Timtin wrote:...plus, anything
written on any clef other than the treble and the bass clefs turns my
poor old brain to mush!

...I too regret that I never trained sufficiently reading other clefs - that is BTW why virtually nobody is able to play Bach from a definite Urtext score (which is at present only available as "facsimile" edition, as none of the big publishing companies so far dared to issue a "practical" Bach piano volume in the original clefs!!!)

Do you think, playing from old clefs would improve the sound result ?
I can't imagine what practising this could be good for .... (except score reading for conductors).
So I stay lazy.

Ferruccio wrote:

alfor wrote:

Timtin wrote:...plus, anything
written on any clef other than the treble and the bass clefs turns my
poor old brain to mush!

...I too regret that I never trained sufficiently reading other clefs - that is BTW why virtually nobody is able to play Bach from a definite Urtext score (which is at present only available as "facsimile" edition, as none of the big publishing companies so far dared to issue a "practical" Bach piano volume in the original clefs!!!)

Do you think, playing from old clefs would improve the sound result ?
I can't imagine what practising this could be good for .... (except score reading for conductors).
So I stay lazy.

As an aside to this, if you read the biography of Flash Harry, as the orchestra called him, (Sir Malcolm Sargent) you will read that he was apprenticed to a Cathedral organist as a teenager and for one of his lessons he had to sight read a Byrd, Gibbons or one of the other Elizabethan composers 4 part motet which had a different clef for each voice SATB and transpose it to a different key, and all at the same time. I venture to say that we have it very, very easy today (unless you are trying to make sense of a modern graphic-style score.
regards
Brian

HullandHellandHalifax wrote:

Ferruccio wrote:

alfor wrote:

Timtin wrote:...plus, anything
written on any clef other than the treble and the bass clefs turns my
poor old brain to mush!

...I too regret that I never trained sufficiently reading other clefs - that is BTW why virtually nobody is able to play Bach from a definite Urtext score (which is at present only available as "facsimile" edition, as none of the big publishing companies so far dared to issue a "practical" Bach piano volume in the original clefs!!!)

Do you think, playing from old clefs would improve the sound result ?
I can't imagine what practising this could be good for .... (except score reading for conductors).
So I stay lazy.

As an aside to this, if you read the biography of Flash Harry, as the orchestra called him, (Sir Malcolm Sargent) you will read that he was apprenticed to a Cathedral organist as a teenager and for one of his lessons he had to sight read a Byrd, Gibbons or one of the other Elizabethan composers 4 part motet which had a different clef for each voice SATB and transpose it to a different key, and all at the same time. I venture to say that we have it very, very easy today (unless you are trying to make sense of a modern graphic-style score.
regards
Brian

Yes, Brian, we have it easy, and that's absolutely alright ! Creating problems in matters of reading notes is a senseless exercise for the musical result . Ok, I can heartily admire, if anyone is able to sight-read old clefs and transpose ! This is a sort of talent mixed up with much practice. But what for ??
Is this guy able to play a beautiful phrase for THAT ability ?

I don't waste my time in things like that.

Alas Ferruccio, the life of an accompanist necessitates the ability to transpose at any given moment and for an organist at choir practice the ability to play a choir work on the keyboard, especially if it is an unaccompanied item also a necessity, thankfully though we only have bass and treble clefs to contend with nowadays. Those skills are still very much in demand.
Happily plain old piano players don't have that problem and most accompanists wish they didn't as well.
regards
Brian