Fantastic!!!! One of my favorite concertos of the entire cello repertoire. The sounds Lutoslowski brings to life alone make it a must-listen. Add to it the lyrical qualities and the wonderful dissonance - the effects are, well, spell-binding. I hope it is becoming a standard within the cello rep. For years, the only performance I knew was Rostros'. Thank you again!
Dear Michael, thank you so much for your kind comments. Just in case, this is the full video ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-4vivayyV1C4.html
@@orencello Yes, I found right after. So glad to see the Lutoslowski is or has become standard in the rep. I even saw it is being played in international competitions. Hope to see you perform live one day but I live in the states...alas.
The new music Tonal Scale is as thus: 12 7 5 2 3 : 1 4 5 9 14 Not 12 with 7 & 5 BUT 14 with 9 & 5 [2^(1/14)] These are the Tonal Scales growing from f (by cycles of fifths): All Scales build from the first mode: equivalent to Lydian f White keys are = & Black keys are | 12 with 7 & 5 [2^(1/12)] =|=|=|==|=|= {1,8,3,10,5,12,7,2,9,4,11,6} 1thru7are= 8thru12are| 7 with 5 & 2 [2^(1/7)] ===|==| {1,3,5,7,2,4,6} 1thru5are= 6&7are| 5 with 2 & 3 [2^(1/5)] =||=| {1,3,5,2,4} 1&2are= 3thru5are| Now evolving up the other end 5 with 4 & 1 [2^(1/5)] ==|== {1,3,5,2,4} 1thru4are= 5is| 9 with 5 & 4 [2^(1/9)] =|=|=|==| {1,8,3,7,5,9,2,4,6} 1thru5are= 6thru9are| 14 with 9 & 5 [2^(1/14)] =|=|===|=|===| {1,12,3,14,5,7,9,11,2,13,4,6,8,10} 1thru9are= 10thru14are| Joseph Yasser is the actual originator of the realization, that scales develop by cycles of fifths. www.seraph.it/blog_files/623ba37cafa0d91db51fa87296693fff-175.html www.academia.edu/4163545/A_Theory_of_Evolving_Tonality_by_Joseph_Yasser www.musanim.com/Yasser/ The chromatic scale we use today is divided by 2^(1/12) twelfth root of two Instead of moving to the next higher: the 19 tone scale 2^(1/19) nineteenth root of two I decided to go all the way down and back up the other end: So 12 - 7 is 5 & 7 - 5 is 2 & 5 - 2 is 3 Now we enter to the other side: 2 - 3 is (-1)* & 3 - (-1) is 4* & (-1) - 4 is (-5)* & 4 - (-5) is 9* & (-5) - 9 is (-14)* ignoring the negatives we have * 1 4 5 9 14 Just follow the cycles how each scale is weaved together, as shown above. Each scale has its own division within the frequency doubling, therefore the 14 tone scale is 2^(1/14) fourteenth root of two
I hate to burst your enthusiasm, but it's cycles of fourths, not fifths. LD told me so himself. But don't stop listening! You'll get it one of these days. Oh -- I forgot. There are only twelve tones, not fourteen. But it is a nice piece, the Dialoghi, if a bit slow. LD's tempi are naturally slow. He had some antipathy towards fast tempi because the conflicting musical interests were harder to articulate.
I wouldn´t go that far😂. But the coughing in Cologne is pretty bad; Alfred Brendel even wrote a poem about it. I don´t think anyone will dare to cough for a long while - when concerts resume.
@@orencello Ich war mir schon immer sicher, dass wir in Köln eine ganz besonders große Menge abbekommen. Auf dem Gürzenich Kanal dreht sich Maestro Roth sogar nach dem ersten Satz Mahlers 5. um und fängt wegen der ganzen Husterei an zu lachen.
@@orencello It's a great piece. I believe this is the work he composed for himself and Nikolaus Kraft to play when Kraft visited Hamburg at the end of his tour with Hummel.
Schubert's mögliche Todesahnungen gaben ihm vielleicht den Blick ins Paradies frei - klingt zwar sehr spekulativ, aber von woher sonst sollten dann diese Klänge kommen?
I came across this beautiful performance by chance. My only claim to fame is that I taught Sceine to Oren 40 years ago! I shall certainly play this again.
