I create classical music score-videos, and I create/edit captions for videos.
My early videos are merged results from separate movements available on RU-vid, but I soon felt the urge to create a high-quality score-video of Dvorak's Symphony No.9. Needless to say, it was a lot of work, but the result is worth it.
The source image files I use for my original score-videos can be viewed and downloaded here: github.com/Melonadev/Pentameron-source-files
Oh, and I caption stuff too. (plugging Captionfy.io here since RU-vid's own caption editor shown in my livestreams is discontinued)
My caption files can be viewed and downloaded here: github.com/Melonadev/Captions-and-subtitles
Channel icon: Alfred Schnittke - Violin Sonata No.2, 'Quasi una Sonata' Channel banner: My discarded draft caption for the ending of Tantacrul's video 'Music Software & Interface Design: MuseScore'
It is the clearest version of the second movement that I have ever heard, each little Ives song being heard perfectly within the crazy musical framework, extreme clarity in the Russian style playing
7:22 how this type of notation in called? Why Ives wrote semibreves in right hand ( that theoretically must be quarter notes) that metrically doesn’t match with the left hand? It has any special purpose?
I get the skill it takes to play a pieces like this is off the charts But I can never get myself to like Ives, the majority of his songs just sound ugly
You say that you've 'heavily edited the score for greater clarity of instrumentation, or similar. Nah, you've made it much worse, it's so hard to follow your instrument line because of the different number of staves that may appear, between 5 and 13. It's good to try to follow a specific instrument, but difficult 😢
I actually agree. At the time of making this video (5 years ago), I thought that using the unedited full score will obscure the notes since they're too small to read. Imagine that if viewers are watching this video on a phone/tablet or on dodgy internet, or both. So I indiscriminately cut out the 'empty' lines from the score. But in retrospect, I notice this resulted in drastic changes in stave numbers between frames. So as you described, this impedes the visual 'flow' and makes each instrument 'line' difficult to follow.
Horowitz did play Medtner, as well as Severin von Eckartstein did. I specially like the first part. Alexander Malofeëv played it very well and not too fast.
it’s funny since this is the first Ives piece my teacher brought to me. i hated it upon first listen but now it’s grown on me. it’s really cool and intriguing stuff
This is like something that Frank Zappa would make the musicians he hired play. I'm sure it's very technical and difficult but I just don't hear any beauty in the piece.
ARRGH THE SECOND MOVEMENT MAKES ME WANT TO CRY ARRRGHHHHHH I'M NOT CRYING, YOU AREEEE IT DOESN'T REMIND ME OF ANYTHING SAPPY AND WHOLESOME PLEASE AARARGH
Every well-structured piece imparts a sense of having taken the listener on a journey, and having arrived somewhere. And this piece is no exception. However, the journey seems to have been particularly monotonous. Yes, if you listen carefully, you can hear a well-planned harmonic structure, intelligent counterpoint, motivic development, and so on. But this is more like a compositional exercise than a meaningful work. I am a great admirer of Rorem's best art songs. But here, he does not appear to have had much to say. At the end, one would rather have spent the time reading a good book.
