Tag Archives: Frédéric Chopin

Daniil Trifonov – Glazunov Piano Concerto No 2 in B major: great compositions/performances


Daniil Trifonov – Glazunov Piano Concerto No 2 in B major

Chopin: Piano Concerto No. 1, in E minor, Op. 11 – Emil Gilels/Phylarmonia Orchestra, Eugene Ormandy: Great compositons/performances


Chopin:  Piano Concerto No. 1,
in E minor,  Op. 11

Ivo Pogorelich plays Schumann Toccata Op. 7: make music part of your life series


Chopin – Etude Op.25 No.11 (‘Winter Wind’) – Sviatoslav Richter – Video: Unique musical moments


ChopinEtude Op.25 No.11 (‘Winter Wind‘) – Sviatoslav Rich

Brahms Rhapsody Op 119 No 4 in E Flat Major Rubinstein Rec 1941: great compositions/performances


Brahms Rhapsody Op 119 No 4 in E Flat Major Rubinstein Rec 1941

Francisco Tarrega – Recuerdos de la Alhambra (Emmanuel Rossfelder): make music part of your life series


Francisco TarregaRecuerdos de la Alhambra (Emmanuel Rossfelder)

Schumann: Études Symphoniques, Op. 13 (Emil Gilels, piano): great compositions/performances


Frédéric Chopin – 24 Études Op. 10 & Op. 25 and 3 Nouvelles Études | Claudio Arrau, piano: make music part of your life series


Frédéric Chopin – 24 Études Op. 10 & Op. 25 and 3 Nouvelles Études | Claudio Arrau, piano

Frédéric Chopin – 12 Études Opp. 10 & 25. 3 Nouvelles Études. (Claudio Arrau, “The Philosopher of the Piano”, 1956) (2007 Digital Remastering)
Recorded: 15-22 & 29.VI. and 5.IX.1956, No.3, Abbey Road Studios, London. First issued in 1957 by Columbia Ltd. Mono/ADD
“Great Recordings of the 20th Century”. EMI Icons, EMI Classics, 2011 & Warner Classics, 2013.

I. Book No.1: 12 Etudes for Piano Op.10, 1830-32.
Before Chopin, there was a tradition of writing studies for the development of keyboard technique, but the pieces were primarily didactic. This set of 12 Études, dedicated to Liszt, represents a new form: concert pieces that serve a secondary function as development of advanced piano skills. Each étude begins with a pattern of pianistic figuration, which creates the specific technical problem for the étude and persists for the duration of the piece. That Chopin was able to create poetry in spite of such controlled and limited means of expression is a testament to his creative genius. The twelve Études published as Chopin’s Opus 10 are an indispensable tool of the modern pianist’s craft: they are a rite of passage that no serious pianist can ignore.
00:00 Nº 1 in C major. Allegro
01:59 Nº 2 in A minor. Allegro
03:23 Nº 3 in E major. Lento ma non troppo (Tritesse – L’intimite) – http://youtu.be/FKDir13g7ow
07:55 Nº 4 in C sharp minor. Presto (Torrent)
10:10 Nº 5 in G flat major. Vivace (Black Keys)
11:55 Nº 6 in E flat minor. Andante
14:49 Nº 7 in C major. Vivace (Toccata)
16:26 Nº 8 in F major. Allegro
18:51 Nº 9 in F minor. Allegro molto agitato
21:00 Nº 10 in A flat major. Vivace assai
23:14 Nº 11 in E flat major. Allegretto
26:17 Nº 12 in C minor. Allegro con fuoco (Revolutionary – Fall of Warsaw)

II. Book No.2: 12 Etudes for Piano Op.25, 1835-37.
This Op.25 collection bears a dedication to Liszt’s mistress, Countess Marie d’Agoult, a writer who used the pseudonym Daniel Stern (the Op.10 Études are dedicated to Franz Liszt). One reason Chopin attempted to capture Liszt’s sympathies with the dedications had to do with the performance design of the pieces in the two sets: each was written to highlight some facet of pianism.
28:57 Nº 1 in A flat major. Allegro sostenuto (Aeolian Harp – Shepherd Boy)
31:21 Nº 2 in F minor. Presto (Balm)
33:05 Nº 3 in F major. Allegro (Carwheel)
35:08 Nº 4 in A minor. Agitato
37:28 Nº 5 in E minor. Vivace
40:52 Nº 6 in G sharp minor. Allegro (Thirds)
43:00 Nº 7 in C sharp minor. Lento (Cello)
48:21 Nº 8 in D flat major. Vivace (Sixths)
49:30 Nº 9 in G flat major. Allegro assai (Butterfly)
50:35 Nº 10 in B minor. Allegro con fuoco
55:04 Nº 11 in A minor. Lento – Allegro con brio (Winter Wind)
58:41 Nº 12 in C minor. Allegro molto con fuoco (Ocean)

III. Trois Nouvelles Études for piano, 1839-40.
Chopin composed this set of etudes for the Méthode des methods, a publication of Ignaz Moscheles, a leading pianist and composer of his day who was not always in agreement with Chopin’s compositional techniques, and François-Joseph Fétis, a now largely forgotten Belgian musicologist.
1:01:26 Nº 1 in F minor
1:03:31 Nº 2 in A flat major
1:05:56 Nº 3 in D flat major

As always with Arrau, the Pianist takes a back seat to Music Making, are a prime example of how myth making regarding Arrau’s Recordings. Arrau approaches Chopin’s Etudes as a genuinely mature musician and sensitive interpreter. In Opus 10, No. 3, for instance, he infuses the music with a deep sadness that recalls its XIX Century title, “La Tristesse.” Incidentally, this record received the Grand Prix du Disque Frédéric Chopin from the Warsaw Chopin Society when it was re-released in 1990.

The 24 Études of Frédéric Chopin (divided into two separate opuses, 10 and 25, but actually composed almost simultaneously) remain the most significant entries in that particular musical genre. Chopin refers, in a letter dating from the fall of 1829, to having written a study “in [his] own manner,” and indeed, a great chasm stands between his achievements and the far drier études of his predecessors (one thinks of Moscheles, Czerny, and Hummel in particular). It was not Chopin’s intent, as it was with many nineteenth-century pianist-composers, to create studies of mere technique and raw dexterity; here, instead, are works with an inexhaustible array of textures, moods, and colors to explore. These are works meant for the concert hall as well as for the practice room

Despite the slightly cramped, airless sonics, Arrau’s characteristically warm and ample sonority makes itself felt in these 1956 recordings. The pianist uncovers layers of depth and disquiet in the slower Études that others merely prettify. The treacherous extensions in the E-Flat Étude, for instance, are distinctly projected and balanced, rather than strummed. Arrau’s spectacularly honest technique enables him to articulate Chopin’s sparkling figurations with a liquid legato unaided by the pedal.

Vladimir Horowitz 1950 / Chopin Piano Sonata No. 2 in B-flat minor, Op. 35 “Funeral March”: unique musical moments



From:  ss sabu  ss sabu

Vladimir Horowitz 1950 / Chopin Piano Sonata No. 2 in B-flat minor, Op. 35 “Funeral March”

Vladimir Horowitz 1950
Chopin
Piano Sonata No. 2 in B-flat minor, Op. 35 “Funeral March”

From Wikipedia, the free encyclopedia

Chopin, 1835

Frédéric Chopin‘s Piano Sonata No. 2 in B-flat minor, Op. 35, popularly known as The Funeral March, was completed in 1839 at Nohant, near Châteauroux in France. However, the third movement, whence comes the sonata’s common nickname, had been composed as early as 1837.

The sonata comprises four movements:

  1. Grave – Doppio movimento

  2. Scherzo

  3. Marche funèbre: Lento

  4. Finale: Presto

Funeral march

As noted above, the third movement is structured as a funeral march played with a Lento interlude. While the term “funeral march” is perhaps a fitting description of the 3rd movement, complete with the Lento Interlude in D-flat major, the expression “Chopin’s Funeral March” is used commonly to describe only the funeral march proper (in B-flat minor).

It was transcribed for full orchestra in 1933 by the English composer Sir Edward Elgar (in D minor), and its first performance was at his own memorial concert the next year. It was also transcribed for large orchestra by the conductor Leopold Stokowski; this version was recorded for the first time by Matthias Bamert.

The emotive “funeral march” has become well known in popular culture. It was used at the state funerals of John F. Kennedy, Sir Winston Churchill and Margaret Thatcher and those of Soviet leaders, including Leonid Brezhnev. It was also played in the funeral of the Spanish poet Miguel Hernández and at thegraveside during Chopin’s own burial at Père Lachaise Cemetery in Paris.

 

Fryderyk Chopin, Scherzo E-dur Op.54 nr 4, Barbara Hesse-Bukowska,1954: great compositions/performances



From:  Czarmuzyki Ewa Chamiec

Fryderyk Chopin, Scherzo E-dur Op.54 nr 4, Barbara Hesse-Bukowska,1954

(Fryderyk Chopin, Scherzo E-dur Op.54 nr 4, Barbara Hesse-Bukowska –1954! — Archiwum Polskiego Radia.)

Gustavo Dudamel Johannes Brahms variations sur un thème de Joseph Haydn en si Majeur opus 56a: great compositions/performances


Gustavo Dudamel Johannes Brahms variations sur un thème de Joseph Haydn en si Majeur opus 56a

FROM:

Maxime Brisole

From Wikipedia

Les Variations sur un thème de Haydn, op. 56 (allemand : Variationen über ein Thema von Haydn) est une œuvre orchestrale en variations de Johannes Brahms, composée pendant l’été 1873. Cette œuvre est constituée d’un thème en si bémol majeur, de huit variations et d’un finale.

Le thème est extrait du choral Saint-Antoine de la Feldpartie en si bémol majeur, Hob. II/46 de Joseph Haydn. Brahms a écrit huit variations sur ce thème, plus un final. Le finale est une passacaille magnifique, dont le point culminant, une reformulation du choral, est un moment d’une grande transcendance, au point que Brahms, habituellement austère, se permet l’utilisation d’un triangle.

Deux versions existent : une version pour deux pianos, celle que Brahms a écrite en premier (mais désignée Op. 56b), et une version pour orchestre, dénommée op. 56a.

Cette dernière version est considérée comme « la première série de variations indépendantes pour orchestre dans l’histoire de la musique »1. L’orchestre contient un piccolo, deux flûtes deux hautbois, deux clarinettes, deux bassons, un contrebasson, quatre cors (2 en mi bémol, 2 en si bémol), 2 trompettes, des timbales, un triangle ainsi que la composition habituelle des cordes (premiers et seconds violons, altos, violoncelles et contrebasses).

Les Variations sur un thème de Haydn, op. 56 (allemand : Variationen über ein Thema von Haydn) est une œuvre orchestrale en variations de Johannes Brahms, composée pendant l’été 1873. Cette œuvre est constituée d’un thème en si bémol majeur, de huit variations et d’un finale.

Le thème est extrait du choral Saint-Antoine de la Feldpartie en si bémol majeur, Hob. II/46 de Joseph Haydn. Brahms a écrit huit variations sur ce thème, plus un final. Le finale est une passacaille magnifique, dont le point culminant, une reformulation du choral, est un moment d’une grande transcendance, au point que Brahms, habituellement austère, se permet l’utilisation d’un triangle.

Deux versions existent : une version pour deux pianos, celle que Brahms a écrite en premier (mais désignée Op. 56b), et une version pour orchestre, dénommée op. 56a.

Cette dernière version est considérée comme « la première série de variations indépendantes pour orchestre dans l’histoire de la musique »1. L’orchestre contient un piccolo, deux flûtes deux hautbois, deux clarinettes, deux bassons, un contrebasson, quatre cors (2 en mi bémol, 2 en si bémol), 2 trompettes, des timbales, un triangle ainsi que la composition habituelle des cordes (premiers et seconds violons, altos, violoncelles et contrebasses).

 

Sviatoslav Richter plays Schubert Sonata D.575: Great compositions/performances


Sviatoslav Richter plays Schubert Sonata D.575

The Piano Sonata in B major, D. 575 by Franz Schubert is a sonata for solo piano, posthumously published as Op. 147. Schubert composed the sonata in August 1817.

Movements

I. Allegro ma non troppo (B major)

II. Andante (E major)

III. Scherzo: Allegretto – Trio (G major, D Major)

IV. Allegro giusto (B major)

 

Chopin Etude Op 25 No.11 HQ – Valentina Lisitsa: great performances


Chopin Etude Op 25 No.11 HQ

 FROM:

© Beethoven’s 5th Piano E-flat major, Op. 73 (Emperor) – Daniel Barenboim (make music part of your life series)


© Beethoven’s 5th Piano E-flat major, Op. 73 (Emperor) – Daniel Barenboim (whole concert)

Beethoven’s 5th Piano concert (Emperor) -
Daniel Barenboim p
iano

Det kongelige kapel – Michael Schønvandt i Danmarks Radio Koncerthuset 2009
Ved prisoverrækkelsen af Sonningprisen 2009 på 600,000 DKK ~ 125.000 US$ The Sonning Prize Award! The copyright © owner to all content in this video with The Royal Orchestra & Daniel Barenboim conducted by Michael Schønwandt, is Danmarks Radio! Also listen to Barenboims version of Noctune op. 27 no 2 by Chopin: http://www.youtube.com//watch?v=7EcER…

make music part of your life series: Frederic Chopin – Nocturne In E Flat Major, Op.9 No.2


Frederic Chopin – Nocturne In E Flat Major, Op.9 No.2

From Wikipedia, the free encyclopedia

Chopin composed his most popular Nocturne in E-flat major, Op. 9, No. 2 when he was about twenty.

This popular nocturne is in rounded binary form (A, A, B, A, B, A) with coda, C. The A and B sections become increasingly ornamented with each recurrence. The penultimate bar utilizes considerable rhythmic freedom, indicated by the instruction, senza tempo (without tempo). Nocturne in E-flat major opens with a legato melody, mostly played piano, containing graceful upward leaps which becomes increasingly wide as the line unfolds. This melody is heard again three times during the piece. With each repetition, it is varied by ever more elaborate decorative tones and trills. The nocturne also includes a subordinate melody, which is played with rubato.

A sonorous foundation for the melodic line is provided by the widely spaced notes in the accompaniment, connected by the damper pedal. The waltz-like accompaniment gently emphasizes the 12/8 meter, 12 beats to the measure subdivided into four groups of 3 beats each.

The nocturne is reflective in mood until it suddenly becomes passionate near the end. The new concluding melody begins softly but then ascends to a high register and is played forcefully in octaves, eventually reaching the loudest part of the piece, marked fortissimo. After a trill-like passage, the excitement subsides; the nocturne ends calmly.

In popular culture

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make music part of your life series: Dalia Lazar performs Chopin’s Waltz, Op. 64 No. 3 in A flat Major


Dalia Lazar performs Chopin’s Waltz, Op. 64 No. 3 in A flat Major

Frédéric Chopin‘s Waltz, Op. 64 No. 3 in A flat Major
Performed by Dalia Lazar in Hrvatski Glazbeni Zavod.
May 17, 2012 recital, Zagreb, Croatia.
http://www.dalialazar.com/

 

great compositions/performances: Franz Schubert: 6 Moments Musical Op.94 (D780)


great compositions/performances:  Franz Schubert: 6 Moments Musical Op.94 (D780)

great compositions/performances - Shubert - 6 Moments Musicaux Op. 94, D790 Wilhelm Bachaus piano
great compositions/performances – Shubert – 6 Moments Musicaux Op. 94, D790 Wilhelm Bachaus piano (click to enlarge)
From Wikipedia, the free encyclopedia

 
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0:00
Performed by Raymond Smullyan

Problems playing this file? See media help.

Six moments musicaux, D 780 (Op. 94) is a collection of six short pieces for solo piano composed by Franz Schubert. The movements are as follows:

  1. Moderato in C major
  2. Andantino in A-flat major
  3. Allegro moderato in F minor
  4. Moderato in C-sharp minor
  5. Allegro vivace in F minor
  6. Allegretto in A-flat major

Along with the Impromptus, they are among the most frequently played of all Schubert’s piano music, and have been recorded many times. No. 3 in F minor has been arranged by Leopold Godowsky and others.

It has been said that Schubert was deeply influenced in writing these pieces by the Impromptus, Op. 7, of Jan Václav Voříšek (1822).[1][2]

They were published by Leidesdorf in Vienna in 1828, under the title “Six Momens [sic] musicals [sic]“. The correct French forms are now usually used – moments (instead of momens), and musicaux (instead of musicals). The sixth number was published in 1824 in a Christmas album under the title Les plaintes d’un troubadour.[2]

historic musical moments: Jan Ekier: Nocturne in G major, Op. 37, No. 2 (Chopin)


Jan Ekier: Nocturne in G major, Op. 37, No. 2 (Chopin)

Jan Ekier performs Chopin’s Nocturne in G major, Op. 37, No. 2. Issued in 1959 on the Muza label (Polskie Nagrania), SX 0071. From the Dziela Wszystkie (Complete Works) series.
——————–
Jan Ekier, pianist, music teacher, composer and editor, was born August 29, 1913 in Kracow. In 1932-34 he studied musicology with Zdzislaw Jachimecki at the Jagellonian University in Cracow. He went on to study piano with Zbigniew Drzewiecki and composition with Kazimierz Sikorski at the Warsaw Conservatory (1934-39). In 1940-41 he studied organ playing with Bronislaw Rutkowski. In 1937 he won the 8th prize in the 3rd International Frédéric Chopin Piano Competition in Warsaw. Since that time he was an active concert pianist, touring Europe, South America and Japan. Jan Ekier began his teaching career in 1933 as a solfège tutor in the Wladyslaw Zelenski Music School in Cracow. After the war, he dedicated himself to the education of pianists: in 1946-47 he taught at the State Secondary Music School in Lublin, 1947-48 at the State Higher School of Music in Sopot, where he held the function of rector. In 1953 he became a professor at the State Higher School of Music in Warsaw, where in 1964-72 and from 1974 he held the chair of piano studies. Jan Ekier began his editorial work in PWM Polish Music Publishers. From 1959 he was editor-in-chief of the National Edition of Frédéric Chopin’s Works. It is to Chopin that he has devoted many of his publications. He has been honoured with numerous prizes, including the State Award, First Class for the preparation of the Polish team for the 4th Frédéric Chopin Competition in 1950, the Minister of Culture and Arts Award, First Class in 1964 and 1974, the Golden Cross of Merit in 1952, the Officer’s Cross of the Polonia Restituta Order and the 10th Anniversary Order in 1955, the Standard of Labour Order, 2nd Class in 1960. In 2004 he received the Polish Minister of Cultures Special Award, granted for the first time for outstanding contribution to the preservation and promotion of Chopin heritage, including the memorial National Edition of Frédéric Chopin’s Complete Works, which restored to European culture the art of the great Polish composer in a form which aims to be as close to the historical original as possible.

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Make Music Part of Your Life Series: Chopin – Rondo à la Krakowiak, Op. 14


Chopin – Rondo à la Krakowiak, Op. 14

Compositor: Frédéric Chopin.
Obra: Rondo à la Krakowiak, Op. 14.

Pianista: Garrick Ohlsson.
Regente: Jerzy Maksymiuk.
Orquestra: Sinfônica Nacional da Rádio Polonesa .

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GREAT COMPOSITIONS/PERFORMANCES: ROBERT SCHUMANN – INTRODUCTION UND ALLEGRO APPASSIONATO OP. 92 – SVIATOSLAV RICHTER


https://www.youtube.com/watch?v=KnnxxrEvQ6I

ROBERT SCHUMANN – INTRODUCTION UND ALLEGRO APPASSIONATO OP. 92 – SVIATOSLAV RICHTER

Robert Schumann

Introduction und Allegro appassionato
[Konzertstück für Klavier und Orchester G Dur op. 92]

Sviatoslav Richter, Klavier

Sinfonie-Orchester der Nationalen Philharmonie Warschau -
Stanislaw Wislocki, Leitung

1959

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Great Compositions/Performances: Chopin, Piano Concerto No. 1 in E minor, Op. 11



Martha Argerich, piano
Wiener KammerOrchester
Dir. Erwin Ortner
Vienna – May 16, 2010

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Make Music Part of Your Life Series: Frederic Chopin- Nocturne no. 6 op. 15 no. 3 in G Minor


Frederic Chopin- Nocturne no. 6 op. 15 no. 3 in G Minor
Performed by Adam Harasiewicz

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Great Compositions/Performances: Chopin Fantasy f minor Op 49. Valentina Lisitsa


Chopin Fantasy f minor Op 49. Valentina Lisitsa

FROM VALENTINA:  “This is Chopin’s response to Liszt’s “Funerailles” ( I know, I know, Liszt wrote it AFTER Chopin died – so let’s say it was Liszt’s response to Chopin’s Fantasy) The same plan – starting with a funeral introduction , same f -minor, same abundance of octaves… But Funerailles is a great piano war-horse, favorite of any “virtuoso” with a decent octave technique – sure and cheap way to impress and thrill the audiences. Fantasy in comparison is a poor cousin , underappreciated and often misunderstood : the worst offenders are often female pianists ( LOL, huuuuuge grin goes here ) playing it in overly sentimental and romanticized way – complete with hands flailing , eyes rolling and hair flying :-) Guys just can’t do it  :-)
How did it happen? Liszt was a great self-promotion and marketing guy – he discovered a neat trick of “programming” in music , forcing music “to tell a story”- and listeners suddenly thought ” Gee, now we understand what this music is about , how cool !” This was his trademark -but it was certainly not his invention. In fact , most if not all music has a “program” , something composer thought of when composing and something we think of when we listen .It can be something very concrete and extremely detailed ( Berlioz Symphonie Fantastique for example)- or just a vague hint of an idea that makes us think further ( Beethoven 5th Symphony ).The problem with detailed programs is that music can become “dated” , tied to a certain event that might be of no importance to future listeners. People can relate in perpetuity to ” the fate knocking on the door” of the 5th symphony. But we can never again ( hopefully ) feel what French audience must have felt on Berlioz’ premiere during the third movement with its guillotine strike. I bet their hair was standing up and Goosebumps were covering the listeners who still remembered Terror some years before…I think that even watching Avatar in 3D is nothing in comparison to that experience :-)
Chopin was much more subtle in his “programs”-he catered to more sophisticated smaller audience of salons rather than big concert halls. These people knew the historical context and could understand him without need to spell it out . In order to fully appreciate his music we must know at least a bit of history too. Then it becomes clear that Chopin was so different from a stereotyped effeminate ,sickly romantic virtuoso image. He was a true titan, not in body but in spirit – singlehandedly ( with few brethren poets ,artists etc.)keeping the whole people from oblivion and cultural destruction. For his people , his country, was at this time a mere geographic term . Formerly a proud and powerful nation ,one of Europe superpowers, Poland has fallen so low because of internal discord that it was picked piece by piece by strong and brutal neighbors until it disappeared. New “owners” were bent on wiping national identity and pride to secure their new acquisitions. They would have succeeded was it not for Chopin. You know that musicologists call him a first” national” composer. For a good reason – he created an epic of his nation in music just as Homer created his in Odyssey or Virgil in Aeneid… And we are not only talking about things like Polonaises or Mazurkas fitting into this “national” category. Fantasy is a prime example of thinly veiled national music. Why? Bear with me while I take you through last foray into history. Chopin and his family ended up in a part of Poland that was grabbed by Russian Empire. He traveled abroad with Russian passport ( Chopin , a Russian composer ? LOL) and he had to lie on his exit visa application ( yes, I am serious ) that he is in transit to New World, Americas. He lived for almost whole his life with a stamp ” in Transit”. The single event in history that changed his life was Polish uprising of 1830-31, a noble but doomed to fail attempt by patriots to overthrow occupying forces ( Revolutionary Etude was written the night he got the news of Russian Cossacks entering Warsaw , he didn’t know if his family even survived all carnage and rape ) . The rebels was brutally destroyed and all the hope of freedom was lost. Chopin realized that he will never see his native land – or even his family. All his life he was carrying in his soul – and in his music – the memory of this event and of its unsung heroes. Fantasy is an ode to all those who lost their lives in the fight for freedom.”

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GREAT COMPOSITIONS/PERFORMANCES: Schubert Impromptu op. 142 No.3 B flat major



Schubert Impromptu op. 142 No.3 B flat major

From Wikipedia, the free encyclopedia

Valentina Lisitsa
Valentina Lisitsa beside a piano
Background information
Born 1973
KievUkrainian SSRSoviet Union
Genres Classical
Occupations Classical pianist
Instruments Piano
Website www.valentinalisitsa.com

Valentina Lisitsa (UkrainianВалентина Лисиця, translit. Valentyna Lysytsya) is a Ukrainian-born and trainedclassical pianist who resides in North Carolina.[1][2] Lisitsa is among the most frequently viewed pianists on YouTube and is often praised as a highly commendable pianist.[3][4] Lisitsa followed a unique path to success, independently launching the beginnings of her career via social media, without initially signing to a tour promoteror record company.[3][4]

Biography[edit]

Lisitsa was born in KievUkraine, in 1973. She started playing the piano at the age of three, performing her first solo recital at the age of four.[5]

Despite her early disposition to music, her dream at that point was to become a professional chess player.[6]Lisitsa attended the Lysenko music school for Gifted Children and, later, Kiev Conservatory,[7] where she and her future husband, Alexei Kuznetsoff, studied under Dr. Ludmilla Tsvierko.[8] It was when Lisitsa met Kuznetsoff that she began to take music more seriously.[9] In 1991, they won the first prize in The Murray Dranoff Two Piano Competition in Miami, Florida.[7][10] That same year, they moved to the United States to further their careers as concert pianists.[3] In 1992 the couple married.[3] Their New York debut was at the Mostly Mozart Festival at Lincoln Center in 1995.[8]

After the death of her manager, and with the thought that she was “just another blonde Russian pianist”[11] Lisitsa almost gave up on her career as a concert pianist, and contemplated becoming a local worker for the government in Washington, D.C., but changed her mind at the last minute influenced by one of her new fans in England. Lisitsa posted her first YouTube video in 2007, gaining even more online attention after uploading her own set of Chopin etudes online for free (in response to an illegal upload of the same set beforehand). Her set of Chopin etudes reached the number one slot on Amazon’s classical video recordings, and became the most-viewed online set of Chopin etudes on YouTube.[3]

Furthering her career, Lisitsa and her husband put their life savings in recording a CD of Rachmaninov concertos with the London Symphony Orchestra in 2010.[3] In the spring of 2012, before her Royal Albert Hall debut, Lisitsa was signed on to Decca Records, who later released her Rachmaninov CD set.[3] By mid-2012 she had nearly 50 million views on her YouTube videos.[4]

Lisitsa has performed in various venues around the world, including Carnegie HallAvery Fisher HallBenaroya HallMusikverein and Royal Albert Hall. She is well known for her online recitals and practicing streams. She has also collaborated with violinist Hilary Hahn for various recital engagements.[7]

Discography

Lisitsa has recorded six CDs for Audiofon Records, including three solo CDs and two discs of duets with her husband Alexei Kuznetsoff; a Gold CD for CiscoMusic label with cellist DeRosa; a duet recital on VAI label with violinist Ida Haendel; and DVDs of Frédéric Chopin’s 24 EtudesSchubert-Liszt Schwanengesang.[12]

Her recording of the 4 sonatas for violin and piano by composer Charles Ives, made with Hahn, was released in October 2011 on Deutsche Grammophone label. Her album “Valentina Lisitsa Live at the Royal Albert Hall” (based on her debut performance at that venue 19 June 2012) was released 2 July 2012.

Lisitsa has recently recorded several projects from the composers Rachmaninoff, Liszt, Chopin, and Beethoven. Her complete album of Rachmaninoff concertos was released in October 2012 by Decca Records.[13] The most recent album of Liszt works was released in October 2013 on Decca label in 2 formats – CD and 12″ LP which was cut unedited from analog tape.

External links

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Great Compositions/Performances: Vladimir Horowitz – Carmen Variations



Variations on a Theme from “Carmen” by Georges Bizet
Composed and performed by Vladimir Horowitz

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TODAY’S BIRTHDAY: DINU LIPATTI (1917)


Dinu Lipatti (1917)

Lipatti was a Romanian pianist whose career was tragically cut short by Hodgkin’s lymphoma at age 33. Despite a relatively short playing career and a small recorded legacy, Lipatti is considered among the finest pianists of the 20th century. He was much admired for his pianistic technique, and he is noted for his interpretations of Mozart, Bach, and Chopin. As a teen, Lipatti came in second in the Vienna International Piano Competition. How did his failure to take first place impact his future? More… Discuss

 

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Great Compositions/Performances: Valentina Lisitsa plays Chopin “Heroic” Polonaise op 53 A flat major Valentina Lisitsa



Great Compositions/Performances: Valentina Lisitsa plays Chopin “Heroic” Polonaise op 53 A flat major Valentina Lisitsa

 

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Make Music Part of Your Life Series: Chopin Fantasia op.13 on Polish Airs – Sergio Fiorentino – Guilford Philharmonic – V.Handley



Chopin Fantasia op.13 on Polish Airs – Sergio Fiorentino, piano.
Guilford Philharmonic – Vernon Handley.
recorded: 14 February 1966 Guildford, Civic Hall

 

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Great Compositions/Performances: Horowitz plays Schumann Toccata in C Major, Op.7



Robert Schumann 
Toccata in C Major, Op.7 
Vladimir Horowitz: piano

 

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Make Music Part of Your Life Series: Emil Gilels – Schumann – Symphonic Etudes, Op 13



Robert Schumann
Symphonic Etudes, Op 13

Emil Gilels, piano

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Make Music Part of Your Life Series: Antonín Dvořák – Czech Suite in D major, B. 93, Op. 39 – II. Polka



Polish National Radio Symphony Orchestra (Katowice), Antoni Wit. Paint, A Village In Winter by Adrianus Eversen

 

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F.Great Performances: Chopin : Nocturne op. 9 no. 1 in B flat minor (Rubinstein)



Chopin’s first nocturne op. 9 no. 1 in B flat minor played by Rubinstein.
The Nocturnes, Op. 9 are a set of three nocturnes written by Frédéric Chopin between 1830 and 1832 and dedicated to Madame Camille Pleyel. The work was published in 1833.
This nocturne has a rhythmic freedom that came to characterise Chopin’s later work. The left hand has an unbroken sequence of quavers in simple arpeggios throughout the entire piece, while the right hand moves with freedom in patterns of eleven, twenty, and twenty-two notes.
The opening section moves into a contrasting middle section, which flows back to the opening material in a transitional passage where the melody floats above seventeen consecutive bars of D-flat major chords. The reprise of the first section grows out of this and the nocturne concludes peacefully with a Picardy third.

MAKE MUSIC PART OF YOUR LIFE!

 

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Make Music Part of Your Life Series: Dinu Lipatti – Chopin Nocturne Op. 27, No.2 in D flat Major



Dinu Lipatti – Chopin Nocturne No2 op 27 in D flat Major
More information about Dinu Lipatti (and Clara Haskil, another great piano player) you can find on http://www.lipatti-haskil-foundation….

 

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Make Music Part of Your Life Series: Horowitz plays : Schubert’s Impromptu in G flat major D899 No.3 (in Vienna)


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Classical Music Mix – Best Classical Pieces Part II (2/2)


A mix with some of the best classical pieces in the world. Part II

Compositions name list:

00:00 – Amilcare Ponchielli – Dance of the Hours
05:20 – Bach – Tocata And Fugue In D Minor
12:03 – Beethoven – 5th Symphony (1st movement)
19:08 – Beethoven – 9th Symphony (Ode To Joy)
25:23 – Beethoven – Für Elise (piano version)
28:18 – Carl Orff – O Fortuna (Carmina Burana)
30:57 – Georges Bizet – Habanera
33:06 – Frederic Chopin – Funeral March
38:16 – Delibes – The Flower Duet (Lakmé)
42:49 – Edvard GriegIn the Hall of the Mountain King
45:17 – Franz Liszt – Hungarian Rhapsody No 2 (orchestra version)
55:48 – Georges Bizet – Les Toreadors
58:07 – Händel – Messiah – Hallelujah Chorus
1:02:08 – Mozart – Serenade No 13 (Allegro)
1:07:53 – Offenbach – Can Can
1:10:05 – Rossini – William Tell Overture
1:13:29 – Aram Khachaturian – Sabre Dance
1:15:53 – Tchaikovsky – 1812 Overture
1:24:19 – Tchaikovsky – Dance of the Sugar Plum Fairy
1:26:48 – Vivaldi – Four Seasons (spring)

 

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Great Composers/Compositions: Frédéric Chopin – Grande valse brilliante


Frédéric Chopin (1810-1849)

Les Sylphides“, op. 18; Finale: Grande valse brillinate

Cincinnati Pops Orchestra
Erich Kunzel

 

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Arthur Rubinstein – Chopin Fantaisie Impromptu in C sharp Minor, Op. 66 Posth


Arthur Rubinstein – Chopin Fantaisie Impromptu in C sharp Minor, Op. 66 Posth

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Great Compositions/Performances: Leonard Bernstein interprets Maurice Ravel’s Piano Concerto in G



Great Compositions/Performances: Leonard Bernstein interprets Maurice Ravel‘s Piano Concerto in G

 

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Great Compositions/Performances: Arthur Rubinstein plays Chopin-Piano Concerto No.2 London Symphony Orchestra, André Previn conducting


Great Compositions/Performances:  Rubinstein-Chopin-Piano Concerto No.2

Frédéric Chopin Piano Concerto N.º 2 Op. 21 in F minor: Maestoso-Larghetto-Allegro Vivace-Arthur Rubinstein, Pianist
London Symphony Orchestra conducted by André Previn (HD video)

From Wikipedia, the free encyclopedia

The Piano Concerto No. 2 in F minorOp. 21, is a piano concerto composed by Frédéric Chopin in 1830. Chopin wrote the piece before he had finished his formal education, at around 20 years of age. It was first performed on 17 March 1830, in WarsawPoland, with the composer as soloist. It was the second of his piano concertos to be published (after the Piano Concerto No. 1), and so was designated as “No. 2″, even though it was written first.

The work contains the three movements typical of instrumental concertos of the period: MaestosoLarghetto and Allegro vivace. What makes Chopin’s Op. 21 an early-Romantic concerto par excellence is the dominance of the piano part. After introducing the first movement, the orchestra cedes all responsibility for musical development to the piano; there is none of the true interplay of forces that is the mainstay of the classical concerto. Chopin’s orchestration is considered by many to be poor. Berlioz, himself a master orchestrator, was harsh in his appraisal, calling Chopin’s treatment “nothing but a cold and useless accompaniment.”

If the first movement bears the stamp of the stile brillante, the second shows the influence of Italian opera. The piano style of not only Chopin, but also his contemporaries, owes much to the bel canto operas of composers like Gioachino Rossini and Vincenzo Bellini, as well as to the leading singers of the day. The delicate melodic embroidery in the outer section is unmistakably operatic; so, too, is the arioso-like piano writing, over trembling strings, in the middle section. Chopin confessed in a letter, that the second movement had been inspired by his secret passion for a younger singer at the Warsaw Conservatory, with whom he had fallen in love and dreamed of for six months without once speaking to her. This larghetto remained one of his favourites, and excited the admiration of Schumann and Liszt.

In the third movement, there is another unmistakable influence. We hear the rhythm of the Polish mazurka, though in a brilliantly stylized setting. Once again, the piano, both in its poetic and virtuosic veins, dominate the music, with the orchestra largely relegated to the roles of cushion and punctuation mark.

In the finale, the violins are at one point instructed to play col legno (with the wood of the bow).

Analysis

Kevin Bazzan states “Chopin’s concertos – indeed, all of his works in classical forms – have always suffered from comparisons with those of Mozart and Beethoven. It is an old cliché that the larger classical forms he had studied at the Warsaw Conservatory were incompatible with his imagination. As early as 1852, writers such as Liszt remarked that Chopin “did violence to his genius every time he sought to fetter it by rules.” But he was not trying to re-interpret the classical concerto. He was working in a different tradition called stile brillante, made fashionable by such virtuoso pianist-composers as Weber and Hummel. Chopin borrowed from their example a conception of the concerto as a loosely organized showcase for a virtuoso soloist, as opposed to a more balanced, cohesive and densely argued musical drama in the classical vein.

There is no denying that Chopin’s concertos betray a youthful want of formal sophistication but, as one observer wrote, they “linger in the memory for the poetry of their detail rather than the strength of their structures.” Those details are so bold and colourful, so imaginative and personal, that the concertos have become the only large-scale early works of Chopin to retain a place in the repertoire.

Frédéric Chopin: Nocturne op.9 no.1 in B-flat minor (by Vadim Chaimovich)



This is my 2009 studio recording of Chopin’s Nocturne op.9 no.1.
This nocturne is one of the most beautiful short pieces by the celebrated master of the “song of the night”, it has a rhythmic freedom that came to characterize Chopin’s later work…
Enjoy!

Frederic Chopin – Nocturne op. 9 no. 1 in B-flat Minor
Vadim Chaimovich, piano

 

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GREAT PERFORMANCES: Enrica Ciccarelli : Chopin Ballade G minor



Enrica Ciccarelli : Chopin Ballade G minor

 

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Best Classical Music YouTube Collection: Classical Music Mix – Best Classical Pieces Part II (2/2)


Make this the best post of 2014: RATE, LIKE, COMMENT! Above all ENJOY!

Published on Mar 29, 2013 – 751,382 view to date

A mix with some of the best classical pieces in the world. Part II

Compositions name list:

00:00 – Amilcare Ponchielli – Dance of the Hours
05:20 - Bach – Tocata And Fugue In D Minor
12:03 – Beethoven – 5th Symphony (1st movement)
19:08 – Beethoven – 9th Symphony (Ode To Joy)
25:23 – Beethoven – Für Elise (piano version)
28:18 – Carl Orff – O Fortuna (Carmina Burana)
30:57 – Georges Bizet – Habanera
33:06 – Frederic Chopin – Funeral March
38:16 – Delibes – The Flower Duet (Lakmé)
42:49 – Edvard GriegIn the Hall of the Mountain King
45:17 – Franz Liszt – Hungarian Rhapsody No 2 (orchestra version)
55:48 – Georges Bizet – Les Toreadors
58:07 – Händel – Messiah – Hallelujah Chorus
1:02:08 – Mozart – Serenade No 13 (Allegro)
1:07:53 – Offenbach – Can Can
1:10:05 – Rossini – William Tell Overture
1:13:29 - Aram Khachaturian – Sabre Dance
1:15:53 – Tchaikovsky – 1812 Overture
1:24:19 – Tchaikovsky – Dance of the Sugar Plum Fairy
1:26:48 – Vivaldi – Four Seasons (spring)

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Claudio Arrau


Claudio Arrau

From Wikipedia, the free encyclopedia
 
 

Claudio Arrau in 1974, by Allan Warren

Claudio Arrau León (February 6, 1903 – June 9, 1991)[1] was a Chilean pianist known for his interpretations of a vast repertoire spanning from the baroque to 20th-century composers, especiallyBeethovenSchubertChopinSchumannLiszt and Brahms. He is widely considered one of the greatest pianists of the twentieth century.

 

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Great Performances: Chopin – Valentina Igoshina – Fantasie Impromptu



This is Valentina Igoshina playing Chopin’s Fantasie Impromptu in C Sharp Minor, Op. 66. Apologies for the shoddy editing! Check out my channel for information about Valentina and her music

From Wikipedia, the free encyclopedia
 
 
Valentina Igoshina
Valentina1.jpg

Valentina Igoshina in March 2010 at Rickman Auditorium in Arnold, Missouri
Background information
Born November 4, 1978 (age 35)
Origin Russia
Genres classical
Occupations classical pianist
Instruments piano
Labels Warner Classics International
Website www.valentina-igoshina.com

Valentina Igoshina (b. 4 November 1978 BryanskBryansk OblastRussia) is a Russian classical pianist.

Valentina Igoshina began studying piano with her mother,[1] and first took lessons at home at the age of four. At the age of twelve she began attending the Moscow Central School of Music and became a student of Sergei Dorensky and Larissa Dedova at the Moscow Tchaikovsky Conservatory.[2]

Igoshina has also served as a teacher of piano at the Moscow Tchaikovsky Conservatory in Moscow. Between recitals and concerts, she currently divides her time between Moscow and Paris.[3] Her home in France is near Giverny in Haute-Normandie.

 

 

 

C. Saint – Saens Morceau de concert op. 94 | Peter Müseler, Horn



Conducted by Juri Lebedev | Summer Concert 2007 at Belvedere School of Music Weimar/Germany | Musikgymnasium Schloß Belvedere

 

FABULOUS COMPOSERS/COMPOSITIOINS: Johann Nepomuk Hummel: Piano Concerto No. 3 in B minor, Op 89



Johann Nepomuk Hummel (1778-1837)

Piano Concerto No. 3 in B minor, Op. 89

I. Allegro moderato
II. Larghetto 16:55
III. Finale: Vivace 24:48

Stephen Hough, piano
English Chamber Orchestra
Bryden Thomson, conductor

Johann Nepomuk Hummel (November 14, 1778 — October 17, 1837) was an Austrian composer and virtuoso pianist. His music reflects the transition from the Classical to the Romantic musical era.

Hummel was born in Pressburg, Kingdom of Hungary, then a part of the Austrian Habsburg Monarchy (now Bratislava in Slovakia). His father, Johannes Hummel, was the director of the Imperial School of Military Music in Vienna and the conductor there of Emanuel Schikaneder’s theatre orchestra at the Theater auf der Wieden; his mother, Margarethe Sommer Hummel, was the widow of the wigmaker Josef Ludwig. He was named after St John of Nepomuk. Wolfgang Amadeus Mozart offered the boy music lessons at the age of eight after being impressed with his ability. Hummel was taught and housed by Mozart for two years free of charge and made his first concert appearance at the age of nine at one of Mozart’s concerts. Continue reading

Great Performances: Rubinstein-Chopin-Piano Concerto No.2


Great Performances:  Rubinstein-Chopin-Piano Concerto No.2
Frédéric Chopin Piano Concerto N.º 2 Op. 21 in F minor: Maestoso-Larghetto-Allegro Vivace-Arthur Rubinstein, Pianist
London Symphony Orchestra conducted by André Previn (HD video)

From Wikipedia

The Piano Concerto No. 2 in F minorOp. 21, is a piano concerto composed by Frédéric Chopin in 1830. Chopin wrote the piece before he had finished his formal education, at around 20 years of age. It was first performed on 17 March 1830, in WarsawPoland, with the composer as soloist. It was the second of his piano concertos to be published (after the Piano Concerto No. 1), and so was designated as “No. 2″, even though it was written first.
The work contains the three movements typical of instrumental concertos of the period:

  1. Maestoso
  2. Larghetto and 
  3. Allegro vivace.

What makes Chopin’s Op. 21 an early-Romantic concerto par excellence is the dominance of the piano part. After introducing the first movement, the orchestra cedes all responsibility for musical development to the piano; there is none of the true interplay of forces that is the mainstay of the classical concerto.

Martha Argerich, Mazurka Op 59 No 1, Chopin Competition 1965



From the Chopin Competition in 1965.

Mazurka Op. 59, No. 1 in A Minor.

Music by Frederic Chopin.

Chopin- Waltz no. 7 in C sharp minor, Op. 64 no. 2



Waltz no. 7 in C sharp minor
Opus 64 no. 2
Frederic Chopin

Performed by Philippe Entremont

 

Great Musical Moments: Rubinstein-Chopin-Piano Concerto No.2



Frédéric Chopin Piano Concerto N.º 2 Op. 21 in F minor: Maestoso-Larghetto-Allegro Vivace-Arthur Rubinstein, Pianist
London Symphony Orchestra conducted by André Previn

From Wikipedia, the free encyclopedia

The Piano Concerto No. 2 in F minorOp. 21, is a piano concerto composed by Frédéric Chopin in 1830. Chopin wrote the piece before he had finished his formal education, at around 20 years of age. It was first performed on 17 March 1830, in WarsawPoland, with the composer as soloist. It was the second of his piano concertos to be published (after the Piano Concerto No. 1), and so was designated as “No. 2″, even though it was written first.
The work contains the three movements typical of instrumental concertos of the period:
Maestoso,
Larghetto and
Allegro vivace.  Continue reading