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I'm so sorry but your vocabulary is actually iconic I love it 😭😭😭

The poor posthumous C Minor Nocturne gets slighted again. 😥

4:23 No matter how many times i hear this, i feel like i have to cry. Op 9 No 3 Underrated

13:16 is my reaction first time hearing the cadenza

Gershwin is merely popular

So beautiful!

the meme at the end 💀

Liszt mephisto polka be like:

This is more of a sonata than a set of etudes.

The Poulenc was 🔥🔥

Outstanding advice.

I come back to this video once in a while because I love the way Etude 3 is notated. Super clear exactly what the intent was in each section, and surprisingly easy to read

Liszt’s Romance s.169 is so underrated and is one of my piano favorites 😔

The middle section does indeed feint toward the Tristan chord. Three of the four pitches are borrowed from it.

Bartok's Concerto for Orchestra is a famous one, as noted earlier. In a similar vein, Peter Schickele's "Last Tango in Bayreuth" for four bassoons spends a fair bit of its energy mocking Tristan. More explicitly, Don Giovanni has three consecutive quotations from other compositions, the one from The Marriage of Figaro beating out the other two.

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First one reminds me a bit of Szymanowski. I enjoyed your music a lot! 😁👌🏼

Even tho personally op. 37 no. 2 is my favorite nocturne, I think your picks are really good

Piano Vaati

8:00 oh my god i never realized this.. just immediately teared up while hearing this.. how did i never notice it?

Humour me for a moment, please. I love classical music, especially Debussy, but do not play an instrument nor read music, can someone explain ? thanks.

This video is amazing, and it shocks me how people can write stuff that is SO complicated and still sounds good... You did a fantastic job at this piece, please keep composing!

Scriabin 3rd Sonata always amazing, nos4 and 5 each really world's apart.I think similarity is because of the practice if the time .Melodyand harmonic progressions beforeDebussy,Ravel,Wagner always have a certain route so I,Iv,V and the other limited schema will easily be superimposed barring middlevoicing and subthematic material doesnt clash.WithMozart time chromaticism became so obtrusive this becomes difficult. Perhaps going back to Byrd,Purcell,Monteverdi we might find more pertinence.

What is the name of this piece?

You could have titled this whole thing “simple enough… except, not really” haha. The 3-3-5-7 sounds like there are at least 3 people playing 🫠

wait untill he finds out about sorabji

John fields nocturnes are all also super great

thank you so much for your video, i wish i had half your knowledge in analysing music! Chopin's nocturne are more than piano pieces now, they're part of history. One of my favorite is op 32 n 2, its overlooked because of its simplicity, but its also the reason i love it so much, it feels like a walk in a beautiful garden, the melody is uplifting yet there's such melancholy in it, i find it hard to describe

what about alkan's

The first one is really good, very original and refreshing! Loved the performance as well :)

It looks like a kid bumping into a piano. Why exaggerate the complexity if the piece is not audible? If you want to know whether a "classical" piece is good or awful, in that kind of case, simply try counting the number of "fff" and "ppp" on one sheet.

5:11 is giving twilight zone

4:11 didn't also chopin do the same thing in the fourth ballade

This is absolutely fascinating! Love the sound too. Thanks for sharing!

I think it’s exciting having parameters for the music you write! When I personally started composing, I would enter music into a playback software not really knowing how it would sound, and get feedback when it played it back at me. Having rhythmic structures that lay out things with an abstract identity, it’s interesting what I pull from it, like a rorshach test.

Max Reger's Albumblatt Op. 44 No. 1 has a similar rhythm as Für Elise, it's really beautiful!

Fascinating and well articulated but unintentionally funny was, to my free RUclips, a jazz ad entering just as you said 'and this is what that sounds like'!

@11:57, is the epitome of a glimmer of light at the end of the tunnel. This Nocturne is the most sublime of all piano music. Ohh Chopin, what have you done brother.

It's interesting how many of us composers are using this type of time variations, I used to know it as prolations (the renaissance term). I also love the use of different tempo leyers, polirrythns and polymeters. What does this say about our society's philosofical zeitgheist? It is an interesting reflection about the existence of different layers not by opposition but just by chance. I think that the correct term for a composition etude could be in the lines of "ricercare", like Bach used to name some works, it means research.

One interesting difference I see in your approach is that, unlike Ligeti, it seems that you chose to not maintain rhythmic proportionality between the layers. The lamento theme Ligeti used is rhythmically quite simple since it consists entirely of only 2 rhythmic elements: short notes and long notes. If you like, quarter notes and half notes. That made it easy to notate everything with an underlying pulse of 16th notes while still maintaining proportionality since the other layers would be 3:6, 5:10, 6:12, 7:14. The theme you chose it more rhythmically complex so, maintaining rhythmic proportionality using an underlying 8th note pulse would've been too complicated. But, if you had wanted to do it that way, one interesting thing to do might have been to take advantage of the fact that theme can be felt in 12/8, 6/4, or 3/2 and present the other rhythmic layers using triplets and duplets relative to the main pulse. It's a bit like what Ligeti did in the first movement of his Piano Concerto. Also, I thought the ending was very Schnittke-like. Insanity building up to an explosion followed by a very quiet fade out over a low bass.

Great. Always on the look out for new this level of pieces for my students.

In a strict perspective tristan name for chord or debussy name for scale is not appropriate.

"Simplicity is the highest goal, achievable when you have overcome all difficulties. After one has played a vast quantity of notes and more notes, it is simplicity that emerges as the crowning reward of art."