Bortkiewicz - Piano Concerto No.3 "Per aspera ad astra", Op. 32 (Doniga, Porcelijn) 

Most likely to not being in fashion with 20th century music. Their actually beautiful music will live on a lot longer though.

This is not very good

@@brazilamaral Please elaborate

Oof removed "I could write something better". Yeah, I was waiting for you to make a stupid claim. I do actually encourage people to write good music though. Your channel appears to only repost other musicians performances.

@@Roescoe I deleted because I did not hear the whole thing. but probably I am correct.

That part is literally a copy from liszts second piano concerto.

@@kunalex4236 Tchaikovsky literally stole from Liszt’s 2nd also, in fact there’s an octave passage in his B-flat minor Concerto which steals note for note. Nobody really cares, because the music is still great. I would say in this case it’s Mahler’s Resurrection Symphony he had in mind, because it has the same effect and Bortkiewicz was living in Vienna at the time, so probably knew it.

@@danielgloverpiano7693 "Good composers borrow; great ones steal." -- Igor Stravinsky (allegedly)

lograste grabar el concierto interpretado por vos? me gustaria escucharlo!!!

Listen to his concerto NO: 1 !

Yes. This section alone made him enter my personal all time hall of fame.

Plenty of contemporary music is neither "uninspirational" or "boring", regardless of what your stylistic preferences are (it's not a monolith either.) No need to (incorrectly) denigrate something else to praise this concerto.

After several re-hearings I discovered that this is the original sound track for 'Star Wars'

Very true, my friend

"Contemporary music" is not a monolith. Some of it is harmonically very simple, some of it is very harmonically complex, some of it dispenses with harmony altogether. And why compare it with this concerto? There are great Romantic works like this one and great contemporary works too.

really?

11:48 Scriabin Piano comcerto

19:09-19:27 Used in half of the soundtracks))

Too me it's all overwhelmingly Wagner! Such a great find!

@@aidenpeleg2789 Indeed. I should listen again and make a list

the whole concerto is quite scriabin-like

It's possible but I can't find any information about it.

@@dulvab9968it could also be a reference to Beethoven Opus 111, and his own C minor Concerto, both of which pertain to human struggle, as does this piece.

Derivative????

Really ? I use ad block and I have no clue about it. RU-vid really sucks for this, I'm sorry about that, i can't do anything

@Seigneur ReefShark oh I see that makes sense. Sorry it was such a good video and piece of music I was just disappointed every time an ad came up. Thanks for posting these works!

I think that lack of tightness of form is intentional. It is aspera after all, and aspera never seems like it's going to end.

@@KenBreadbox The great composers always prepared the end in advance and when it arrives it is right on time.

⁠@@stephenjablonsky1941 That is intentional. In this case, the movement is intentionally written in a way that doesn’t allude to an end. It’s in the name.

Imslp

@@KapellmeisterBach no there isn't...

You can hear elements of all the popular piano concertos The beginning mirrors Rachmaninoffs second concerto and quotes it alot This is perfectly fine

Yes, yes, yes ❤❤❤! There are also references to Richard Strauss, and Mahler at the end. There’s a Parsifal motive, and the Resurrection Symphony. Given that he was living in Vienna when he composed it, it’s not surprising.

​@@danielgloverpiano7693😌😌😌

Why?

bro forgot

Bro has dementia

Profoundly disagree.

@@PieInTheSky9 That's OK. The nice thing about music is that different pieces appeal to different tastes. I'm glad you enjoy it, but it's not something I'll be adding to my repertoire anytime soon.

It is an interesting Concerto, but the Second one is far more inspired 😊

What else than a human could play it so well ?

@@SeigneurReefShark Gods

Why the animosity man

@@segala7853 why not

disagree but ok

@@matthewli647 where do you disagree?

Find him a bit of a hack.

Rachmaninoff in the second tier. You're a bit loopy.

Glinka was a mediocre miniaturist. Kitsch in his own time.

Why are you even listening to it in the first place? So you can wag your fingers at the emotion being put onto the page?

@@segala7853 "Why are you even listening to it in the first place? " because without listening i can't judge, wise man🤣🤣

Did you listen to the whole piece? The piece has an overall arch that must be experienced before you can make such a judgement.

then i'd like to see you write a piano concerto better than this one

That's his style. You might not like it, and I can understand that. But there's a certain charm to it. Bortkiewicz was trying to express a different idea than what a more rigid structure would have allowed him.

That’s literally what the piece is about. Look up what „Per aspera ad astra“ means. The composer did a great job, because you got what he was going for. Good on you!

And why is it worthless in your estimation, given the many positive comments on this thread? I would say worthless music would be most pop music. This is far from worthless, especially in its effective and uplifting finale, which is reminiscent of Mahler’s 2nd Symphony. I hear influences of Wagner, Richard Strauss, of course Rachmaninoff and Tchaikovsky. I have been performing a short Bortkiewicz Prelude in E-flat minor this season as an encore and it has received universal visceral reaction whenever I’ve played it. The response is always the same: how come we’ve never heard this great music before? As you say, it’s honest and not pretentious at all. It expresses the trauma of the composer’s life very deeply and I’m sorry that this doesn’t move you. It moves me, and most who hear it. There are humans who can’t relate to a six hour Wagner opera, and yet that’s what moves me most and I find the most profound (especially Parsifal and Tristan). It’s subjective, of course.

@@danielgloverpiano7693 First of all: Thank you for discussing with me in a serious way. It's the esception here. I mean "worthless" in an artistic way, not in a moral. Of course you can join the composer's life with his work and judge it, but you also cannot, like I do. It's only 2 kinds of points of view. Easily said: I don't like composers, who are fallen out of time and ignore, what was achieved already. Bort composed like (bad) Tchaikovsky, when there was already Skrjabin, Rachmaninov, even Prokofjev, Strawinsky etc. Would you appreciate a contemporary composer, who composed like Hindemith?

@@andreassorg7294 I have a hard time deciding where our contemporary composers are. We have minimalists like Philip Glass and there are many composers still writing in highly tonal idioms. I don’t think the concept of being original is so valued as it was in the early 20th Century. I recently went to Mason Bates’ opera The Revolution of Steve Jobs and it felt like it was highly indebted to John Adams. I noticed that the way the opera was structured (in 13 disjointed scenes, and all in one act) it was in the Mussorgsky tradition. The same is true of Berg’s Wozzeck. I liked the Bates but felt it was somewhat derived and not terribly original. You sound like a composer. Am I right? The closest I’ve gotten to composing is writing my own cadenzas for Mozart Concertos and I wrote one for the Clementi Concerto, which I performed a week ago. It was fun, but I stuck closely to his style, with no contemporary influence. There’s an atonal cadenza by Schnabel for one Mozart Concerto and I find it bizarre. Nice chatting with you. Yes, it’s refreshing to have real in depth discussions with someone as knowledgeable as you. Some of the effusive comments on here are a bit embarrassing. I would never pretend this was the greatest Concerto ever written, and can certainly see why it’s not standard repertoire, but it definitely has enough going on so that I would spend the energy to learn and perform it. I also think it has an instant appeal that audiences would appreciate and react enthusiastically to. It’s a language they’re familiar with and will absorb at first hearing.

@@andreassorg7294 PS a composer wrote a concerto for me in 2015. I gave the world premiere and later recorded it in Slovakia with the Slovak National Symphony. He asked me for a list of my favorite concertos to play and then proceeded to incorporate certain features in the piece. The finale owes something to Samuel Barber, especially rhythmically. I was amused to read in Barber’s biography that he had asked John Browning the same questions when he composed the Piano Concerto and there are definitely shades of Rachmaninoff’s writing in it, although the audience wouldn’t be aware of it. There’s a noodling finger passage in the finale taken straight from the Paganini Rhapsody, which Barber heard Browning perform with the NY Philharmonic. The two men worked closely together when the piece was being composed and I had the same fantastic experience. I feel as though “my” concerto is partially my own.

@@danielgloverpiano7693 Yes, I'm composer and pianist. Take a look at my works at IMSLP. Why not upload your cadencas there? It would be interesting. I agree with your 1st sentence. But maybe every man felt in all times like this with his contemporaries. If you feel yourself sure in German, let's continue in German, if you want to. You write about Bort 3? Unfortunately, I wouldn't spend energy to learn it...sorry. I already had no patience to listen to it... I hope I don't offend you, if you like him