^ But of course. The Russians at the time were never about color. Color was always the realm of the French at this time. In Russia, Rachmaninoff ruled, sweeping the stages with his lush romanticism.
Came here from twosetviolin. Twosetviolin is my favourite classical music channel - Wholesome, educational and entertaining. Brett and Eddy have broaden my repertoire of classical music.
Many of this era were influenced by Monet's work. Debussy was called “a painter in sound.” And no one said “impressionism” more than this emotionally isolated man with his daring, forward leaning chords.
These two dances are so marvelous! The sacred dance is so virtuous, heavenly- yet also sober and abstinent. It's languid and reverent, yet as well poised and logical as a Vulcan professor. The other, however, the secular dance, is warm and inviting when contrasted with the other. It starts out coy and friendly, and gets increasingly seductive to the point of sounding damn right mischievous. It feels a lot more "human" than the other- affectionate, capricious and equanimous with its beautiful "imperfections." They are like day and night represented in music, or heaven and earth. I feel that they need one another in order to be complete. Each contrasts and compounds the beauty of the other.
I remember being like 14 or 15, and It was just my second, maybe the third year of playing the harp at the music school. The conductor of the school orchestra came to me and told me I have to join the orchestra to help them out because their main leading harp was doing her final exams that year, so she wouldn't have time, and he said it will be probably nothing difficult. And then I found out it was this piece!! I remember being so stressed, I was practising over a few months, getting ready to play at the final concert at the end of the year. Luckily, at the last moment the girl took over, she played it as a part of her diploma and saved me! I completely forgot about that situation and this beautiful piece! Glad I found it :)
The French composers were the first to take the harp seriously, before the harp was only added for color. Mozart wrote a flute and harp concerto, he hated the harp, easy for the flute very difficult for the harp, the harp was very limited in his only natural and sharp notes. This piece was commissioned and money was paid upfront, so he had to fulfill the commission. The concert grand today was complete at about 1850, their are flat notes.
several years ago, I asked in a facebook viola forum what instrument they thought went best with the viola. The two main answers were flute and harp. I asked whether this had to do with Debussy's trio of the same three instruments. somewhat surprisingly, few felt that way. My personal favorite is the French horn, but I have wanted to write a chamber music piece with a viola and contrabassoon obbligato. I want to, I'm just not a very good composer and I've been out of music too long. I played bassoon as a minor (to viola as a major), but have never played the contra.
@@da96103 he was commissioned by a duke and the daughter played harp! They actually never paid and afterwards Mozart is quoted as saying he hated the instruments because he never got paid! (Roslyn Rensch Harps and Harpists and a few other sources I had to write a paper on the flute and harp concerto lol)
@@harpist.vanessa I heard he never got paid because Duke (the same one or another one) was not pleased that Concerto in D was rip off from Oboe's Concerto in C. Duke did not want to pay for a reworked piece instead of an original.
I absolutely revel and adore the violin part at the beginning of Danse Profane. Something about it just, excuse the pun, strikes a beautiful chord with me.
Not only can you hear what would inspire the Shiek theme at the start, but 2:23 sounds like the chest opening theme, and it moves on slowly to what sounds like inspired the fairy fountain theme as well - especially at around the 3:00 mark. You can really hear how much Koji took inspiration from this piece of music.
He listened to a bunch of Rachmaninoff too I think. Debussy's use of harmony definitely felt so familiar to me after years of Zelda. Tonal ambiguity in the dungeon music, textural scoring in Zora's domain, or many ice and shadow levels, etc.
^ Yess!! So happy for a comment like this. I was thinking just the same thing - the composers at Nintendo are clearly classically trained and draw their influence from various composers of the past.
Quelle merveilleuse composition de Claude "de France" que cette danse sacrée , si poétique , avec un langage et univers très caractéristique ,avec une logique expressive interne qui ressort sans cesse par une maîtrise totale des motifs et lignes mélodiques que l'on est charmé , attendri, et irrésistiblement conduit dans un univers ouvert à l'écoute de ce qui n'avait pas , avant lui, été autant rendu imaginable et audible par son approche poétique et enchanteresse de la beauté sonore.
This music was composed for the "chromatic hapr" invented by the famous French manufacturer Erhard. Many composers considered thzt it was their duty to write for the new instruments, which allowaed to enlarge the traditional harp writing. The two most famous scores ever written for it wrer (1) the 'introduction and allegro' by Ravel, an actual chamber score, for this harp, two flutes, two clarinets and string quartete. Needless to say, Ravel's utmot orchestral qualities gives a great flovour to h=this score. Debussy's orchestral set is more ambigous: is it a chamber pe ice? A most ofrchestral one? A harp concerto, in line with Boiedieu, Haendel and Reinecke? As most ofter with Debussy, the answer is: all of this but somethng else. Of course, bioth for stylistic and acoustic reasons, a large string orchestra is out of question, but a simple sring quartet too. It begings a bit like a brillant chamber, but this is just a way to paynattention to the instrument. The writing becomes quickly more subtle, without forgetting the 'concertino' style. The chromaic capacities of the instrument are not used in a chromatic style, but rather in a specificmodal one. For instance, a few bars after the beginning, the harp plays Ab; Bb, D, D whichg should not be herard as a fragment in F mode, but as a trend to whole tone scale. Quite obvously, Debussy kept in mind this score 6 years later, when writing his first Prelude, book 1: "Dansuses de Delphes". It is impossible not to hear the harp sounding therough the piano writing, but in a more integrated way.
Absolutely one of the best comments on youtube I've ever read. I know nothing about classical music or music theory, but this was still beautiful and insightful to read. Thank you so much.
Where have I been? This is a first for me, and I have loved Debussy for. . . years. I did not die not having heard it, and that is what counts. Lovely.
Si me obligaran a elegir una sola pieza musical para escuchar el resto de mi vida sería esta y luego la Danza profana. Por más que la escucho una y otra vez siempre encuentro matices nuevos, no sé qué tiene pero me emociona muchísimo. Debussy es sin duda uno de los mayores genios de la música en toda la historia y muy agradecida por su enorme contribución al arpa cromática.
Debussy's pieces encourage me to have a wild imagination in regards to what situations his pieces can fit really well. Ravel as well. The opening of Ravel's String Quartet in F - Assez vif, Très rythmé (2/4), for example, makes me imagine being on an adventure in magical woods.
There are a lot of pieces written for strings and harp and most of them are not worth a second listen. Debussy, on the other hand, was a genius and oh so very French. This is 10 minutes of lovely.
Toujours Debussy se satisfera de sa technique et de son art de jouer. Ca lui paraissait toujours au-delà de son ambition comme de son idéal, et s'il travaillait avec acharnement, le résultat inévitablement le comblait. Cependant tout ce qu'il créait le frustrait, il lui a toujours semblé qu'il pouvait mieux faire, "mieux voir" .. J'ai cliqué sur tant de vidéos liées, à travers tant de paysages insolites, incroyables et étranges.. Je me sens comme dans un compartiment sur un chemin de fer, à admirer une succession de scènes folles jamais vues auparavant, des musiques importantes et étranges à travers la fenêtre du wagon... il y a tant de choses à explorer, tellement d'endroits où se poser puis rester dans les ambiances proposées. Cet arrêt en particulier est brillant 👍
Avec Danse sacrée- Danse La référence à l'Orient et ses musiques est importante et même si elle n'y est pas, nous avons une "ambiance antique" sur la route de l'Orient, la Grèce.. . L'Occident se raccroche et s'approche d'autres sensations . Le monde européen a lui tout seul semble insuffisant dans cette Europe industrielle prête à se déchirer en 1914 et en 1939..Ce sont dans ces pavillons internationaux de l'expo parisienne de 1900 où Debussy découvre et entend la musique balinaise et ces reconstitutions d'architectures très richement construites et ornées comme si elles devaient durer...
Just heard this on Classic fm *British classic music channel*.. Beautiful to drive to, so relaxing, as the SUN streamed through my windows.. Gorgeous .. :)0x
Debussy hadn't show the real capability of the cross strunged harp I think..like using lots of accidentals next to each other. Instead he wrote a piece which every chord and scale are able to play on both instruments.
This is a superb performance, and those who follow my comments know that I do not give such praise lightly. She follows some of Carlos Salzedo's ideas, if not all, significantly, playing glissandi at the end rather than the arpeggios which get drowned out by the strings. While Debussy indicates a faster tempo, this slower tempo in the beginning allows more variation and dramatic expression.
Thanx for this. If there is a god&he/she made anything better than Debussy's music, he/she kept it to him/herself(except for sex, I guess, :-) If there's really a heaven, then this is what the sounds all around you would be. Debussy's music always&forever inspires me to love all the beautiful things around me in the world&to do what I can adjusting to the awful things, by helping others in some small way to make their lives better. I feel just wonderful hearing musical pieces by Claude DeBussy.
The description of the Pleyel chromatic harp as being unwieldy does not match with the experience of pedal harpists I know who have actually studied and played both harps. While many under-educated pedal harpists cite the Renie and Risler demonstrations at the Paris World Fair near the turn of the 20th century as proof of the chromatic harp being inferior those with historical knowledge realize Ms. Renie had some of the greatest harp teachers of the era since childhood , while Risler had only two years to develop harp technique. According to many eyewitnesses they were amazed with what the chromatic harp was capable of by someone like Risler. Additionally, there has been some debate over DeBussey's iconic piece. A student of his had previously written a piece for piano with movement similar to Danses. While that does not prove anyting it also suggests this beautiful peace is not as idiomatic for chromatic harp as could be written. A more idiomatic example would be Reynaldo Hahn's work for chromatic harp. Regardless, that many pieces are playable on either harp does not justify the extinction of the other any more than a piece by Bach performed on a cello justifies the extinction of the piano as faulty. You may want to watch Paola Chatelle's chromatic harp performance of Bach on youtube or pedal harpist Mirjam Reitberg's performance of Piazzola on the related whole tone cross strung harp.
The harpist in this beautiful recording is Ann Mason Stockton as well as Leonard Slatkin`s father Felix conducting the Concert Arts String Ensemble,until he passed away in 1963.
