Hi! as an aspiring composer here I can tell you that you're absolutely right and I agree, but let's not forget that they didn't write this right after being born, but rather that they wrote many many more music before, it's just that it didn't make it to publication, or was publised after in other works... That said, i actually don't know exactly what age they were when they published this... but yes, I have the same impression: if this is the Op. 1 I can't imagine what comes after, sounds like an Op. 100 to me 😅 it's sublime
In my ears these wonderful preludes are a special kind of further development regarding the preludes of Chopin. Less complex, neo romantic, really polish and just wonderful.
A young Szymanowski, with all the Romantic tradition behind him.
10 месяцев назад
szymonowski. well, where do i start. An inspiratiob to thosefighting their own unique battles. He stands as a beacon of diverity in society. Now, more than ever, we come to the realization that szymonowski is truly one of the greats, in my omionion, he has realy gru on me.
Il y a tant de choses indicibles dans cette musique merveilleuse, écrite si jeune. Pourtant tout Scymanowski est déjà là avec sa délicatesse, sa fougue, sa poésie. Juste se laisser emporter par la création à l'état pur. Merci Karol ! Pourquoi es-tu parti si tôt ?
The way Szymanowski developed his music throughout his career is quite similar to that of Scriabin's... their early works are Chopinisque, while mid-works are post-romantic, then they pioneer into the deeper realm of music.
@@Whatismusic123 ... You don't like Szymanowski? I see you under all the videos I watch so I assume you have good taste. But I am going to need an explanation for a take like this.
No.8 is somehow quietly and beautifully suffocating and keeps on postponing to resolve the tension. You are crying inside water, repetitively resisting and accepting the death, yet at the end, you subside into abysmal sea.
In my opinion, they’re not even close to Chopin. Chopin never wrote such luxuriantly complex harmonies. (I’m not saying Chopin is bad, he is just different I think.) Scriabin is a bit more similar, but it’s not Scriabin either.. I love Szymanowski’s compositions!
@J S I was marvelling at the right hand harmonies in his Mazurka Op. 7 No. 3 during the left hand solo (I can’t remember the bar number) just yesterday in fact. I love the subtle harmonic variations the second time the passage is repeated.
Ah ah ah ...Chopin wrote his marvellous masterpieces 70 years before this beautiful Pieces by Szymanowsky ( or the Preludes by Scriabin...)...if you think about this thing you will understand where Is lying the true Absolute Genius...
At the very end of measure six -- of the ninth prelude -- a switch to the base clef is indicated. However, in measure seven, the treble clef (mistakenly!) shows up. Indeed, the return to the treble clef in measure nine is an indication of this.
Adore Szymanowski’s music. I’m wondering if folks on this channel can help me track down a most amazing recording of Karol Szymanowski’s Metopes by a pianist named Regis Benoit. Also featured on this recording is the piano music of Paul Turok. There is a piece by Turok on this recording that consists of variations on a theme of Liszt ‘s Nuages Gris. Absolutely amazing piano performance if you can find it.
I like these early pieces better than the Metopes - they seem to have a more sincere artistic voice, even though you can hear the Scriabin influences ...
Strange to see the Chopin reference below. I feel Chopin digs much deeper even in his slightest pieces. The Szymanowski is attractive and reflective but somehow by-passes the id and the raw nerves which Chopin touches so powerfully. So the effect of listening to Szymanowski is to deepen even further my tremendous love and admiration of Chopin.
The same things can be said about Scriabin. It is impossible to imitate Chopin style . Chopin music is too complex, oryginal, colorful, powerful, unique, natural. Szymanowski and Scriabin (early works) are monotonous, one-dimensional, mannered, sentimental. Sometimes - nice. It is difference between talent and genius.
To say they're monotonous and one-dimensional is really stretching it. They are still beautiful works. The last two of these preludes for instance are gems.
chopin was fantastic but this is different and just as enjoyable i think, many composers rarely heard have fantastic music, medtner balakirev alkan bortkiewicz etc etc
I can admit that Scriabin's early works are imitations of Chopin's and lack the depth of Chopin (though they are nonetheless pretty and enjoyable). But the Scriabin of Piano Sonata No. 5, Sonata No. 6, Preludes Op. 74, Symphony 3, and the White and Black mass? That music could not possibly be described as monotonous, one-dimensional, sentimental or mannered. They certainly are works of genius for me.
Late romantic through modernistic music is plagued by the cult of originalism - contrived originality, originality for its own sake. By the 1950s, music academies were dominated by serialists with a distinctly political take: you had to be radically original or else you were "reactionary." Whereas Schoenberg wrote that "there is still a lot of good music to be written in C major," and disappointed students by teaching functional harmony and counterpoint. Particularly annoying is originality by omission: let's lose tonality, harmony, rhythm, pitch, structure, playability ... I see Cage's 4'52" as a satire on that trend; also Stockhausen's string quartet, to be performed in four separate helicopters. Satie was the great satirist - e.g. "Ennui," a single page "to be repeated 800 times", or another piece that comes to a conclusion with a perfect cadence; then the performer is to wait until the applause dies down, repeat da capo, and keep repeating until the audience catches on, then quietly slink off the stage. Maybe a take on Haydn's "Farewell" symphony. Don't get me wrong: a lot of good music was written and continues to be written in radically innovative styles. But much of it never found an audience, new music concerts were sparsely attended and music directors stuck with old standards. Concert music stagnated, while "originality" devolved into sterile academicism. Now in the 20th century we are starting to dig ourselves out of that pit. The fallacy is that art cannot be great while simultaneously appealing to a popular audience. That's just elitist snobbery, camouflage for mediocre artists. Shakespeare wrote for the pit, while creating great poetry.
