Symphonic Etudes, Op 13
Emil Gilels, piano
Samuel Barber : Souvenirs Op.28 – 1 Waltz:
Primo : Mika Nishizawa
Secondo : Kenichi Nishizawa
バーバー「スーヴェニール」I : ワルツ
the free encyclopedia
Samuel Osmond Barber II (March 9, 1910 – January 23, 1981) was an American composer of orchestral, opera, choral, andpiano music. He is one of the most celebrated composers of the 20th century: music critic Donal Henahan stated that “Probably no other American composer has ever enjoyed such early, such persistent and such long-lasting acclaim.” His Adagio for Strings (1936) has earned a permanent place in the concert repertory of orchestras. He was awarded the Pulitzer Prize for Music twice: for his opera Vanessa (1956–57) and for the Concerto for Piano and Orchestra (1962). Also widely performed is hisKnoxville: Summer of 1915 (1947), a setting for soprano and orchestra of a prose text by James Agee. At the time of his death, nearly all of his compositions had been recorded.
Samuel Barber, photographed by
Carl Van Vechten, 1944
Natalia Gutman cello
Viacheslav Poprugin piano
Johannes Bramhs (1833 – 1897)
Pianokonzer Nr. 2
Piano concerto N° 2
Insider tip #1 :)Be even more first than the first if you order from Holland – the release is March 7, a month ahead of everybody else:http://www.bol.com/nl/p/chasing-piano…
insider’s tip #2 iTunes for almost twice as many songs that couldn’t fit on a disc :) http://po.st/ChasingPianosiTuYT
Balazs Szokolay, Szokolay, Balazs
Caprice viennois, Op. 2 (arr. for piano)
Romantic Piano Favourites, Vol. 3
Last but not least. It took the legendary pianist three separate days to record this piece to his satisfaction, and he died a mere four days after its completion on November 5, 1989.
Horowitz did not record the other Liszt transcriptions of Wagner such as the Tanhauser Overture, though the biography by authored Harold Schonberg noted that he played an enormous amount of his own transcriptions of operatic music, including the Ride of the Valkyrie. However, Horowitz did not programme most of them once he arrived in the United States.
Tempo di Valse. From Edvard Grieg – Anniversary Collection recorded by Norwegian Pianist Knut Erik Jensen
The Symphony No. 3 “Rhenish” in E flat major, Op. 97 is the last of Robert Schumann‘s (1810-1856) symphonies to be composed, although not the last published. It was composed from November 2 to December 9, 1850, and comprises five movements:
The Third Symphony is scored for two flutes, two oboes, two clarinets in B♭, two bassoons, four french horns in E♭, two trumpets in E♭, three trombones, timpani andstrings. Its premiere on February 6, 1851 in Düsseldorf, conducted by Schumann himself, was received with mixed reviews, “ranging from praise without qualification to bewilderment”. However according to Peter A. Brown, members of the audience applauded between every movement, and especially at the end of the work when the orchestra joined them in congratulating Schumann by shouting “hurrah!”.
Vincent d’Indy (French pronunciation: [vɛ̃ˈsɑ̃ dɛ̃ˈdi]) (27 March 1851 – 2 December 1931) was a French composer and teacher.
Paul Marie Théodore Vincent d’Indy was born in Paris into an aristocratic family of royalist and Catholic persuasion. He had piano lessons from an early age from his paternal grandmother, who passed him on to Antoine François Marmontel and Louis Diémer. From the age of 14 he studied harmony with Albert Lavignac. At age 19, during the Franco-Prussian War, he enlisted in the National Guard, but returned to musical life as soon as the hostilities were over. The first of his works he heard performed was a Symphonie italienne, at an orchestral rehearsal under Jules Pasdeloup; the work was admired by Georges Bizet and Jules Massenet, with whom he had already become acquainted. On the advice of Henri Duparc, he became a devoted student of César Franck at the Conservatoire de Paris. As a follower of Franck, d’Indy came to admire what he considered the standards of German symphonism.
Salzman showed an early aptitude for the piano, and gave her first recital at the age of eight. The French pianist and teacher, Alfred Cortot, heard her play in 1932 while she was a student at Shulamit Conservatory and invited her to Paris to study. She graduated at the Ecole Normale de Musique then became a pupil of Magda Tagliaferroat the Conservatoire de Paris, where she was to win the Premier Prix de Piano in 1938, aged 16.
In 1963 she became the first Israeli to be invited to play in the USSR and in 1994, the first Israeli pianist invited to play in China. Besides performing as a soloist, she was a member of the Israel Piano Quartet.
She was a Professor and the head of the piano department at Tel Aviv University and served on the jury of many piano competitions, including the Arthur Rubinstein,Vladimir Horowitz and Marguerite Long competitions. She taught piano to many students, including Dror Elimelech, Nimrod David Pfeffer, Elisha Abas, Iddo Bar-Shai andYossi Reshef.
*****Wolfgang Amadeus Mozart
*****Piano Concerto No 27 in B flat major, K 595
*****Emil Gilels, piano
*****USSR State Symphony Orchestra
*****Vyacheslav Ovchinnikov, conductor
From David Hertzberg: “In this 1970 recording, Christoph Eschenbach and members of the Amadeus Quartet — Norbert Brainin, violin; Peter Schidlof, viola; and Martin Lovett, cello — perform the Beethoven Piano quartet in E flat major, WoO 36, No. 1. I recorded this video from a cassette I purchased back in the early 1970s, issued on the Deutsche Grammophon label (serial number 3335 174-10).
Allegro con spirito (6:53)
(Last year I uploaded this recording in three separate segments.)
Leonid Hambro, 1970: “Happy Birthday Dear Ludwig” – Variations in The Style of Beethoven - http://www.youtube.com/watch?v=U-Uga3…
Fur Elise – Wilhelm Kempff: http://www.youtube.com/watch?v=R9DSjo…
Fur Elise – Alicia de Larrocha: http://www.youtube.com/watch?v=FFMUEe…
Beethoven / Artur Balsam, 1952: Piano (Violin) Concerto in D major, Op. 61a – Movement 1 - http://www.youtube.com/watch?v=IKKCGw…
David Oistrakh: Romance No. 2 in F major for Violin and Orchestra, Op. 50: http://www.youtube.com/watch?v=Gz4JEY…
Wilhelm Backhaus: Piano Concerto No. 3 in C minor, Op. 37 – London, 1950s, Karl Böhm: http://www.youtube.com/watch?v=hRSTwj…
Emil Gilels, 1968: Piano Concerto in C major, Op. 15 (Rondo) Beethoven - http://www.youtube.com/watch?v=ojL4Kx…
Emil Gilels, 1983, Beethoven Klaviersonate Nr. 4 Es-dur, Op. 7 -http://www.youtube.com/watch?v=kEfGQ1…
Stephen Kovacevich, 1975: Piano Concerto in C minor, Op. 37, Movement 3 - http://www.youtube.com/watch?v=sYBM5z…
Solomon, 1958: Piano Concerto No. 3 in C minor, Op. 37 – Rondo -http://www.youtube.com/watch?v=6_Vi8m…
Friedrich Gulda, 1954: Sonata No. 1 in F minor, Op. 2, No. 1 (1) -http://www.youtube.com/watch?v=4RwDZs…
Christoph Eschenbach, 1970: Piano Quartet in C Major, WoO 36, No. 3 - http://www.youtube.com/watch?v=WBp3jh…
In European classical music, piano quartet denotes a chamber music composition for piano and three other instruments, or a musical ensemble comprising such instruments. Those other instruments are usually a string trio consisting of a violin, viola and cello.
Piano quartets for that standard lineup were written by Wolfgang Amadeus Mozart, Robert Schumann, Ludwig van Beethoven, Johannes Brahms, Antonín Dvořák andGabriel Fauré among others. In the 20th century, composers have also written for more varied groups, with Anton Webern‘s Quartet, opus 22 (1930), for example, being for piano, violin, clarinet and tenor saxophone, and Paul Hindemith‘s quartet (1938) as well as Olivier Messiaen‘s Quatuor pour la fin du temps (1940) both for piano, violin, cello and clarinet. An early example of this can be found in Franz Berwald‘s quartet for piano, horn, clarinet and bassoon (1819), his opus 1.
A rare form of piano quartets consist of two pianos with two players at each piano. This type of ensemble is informally referred to as “8 hand piano”, or “2 piano 8 hands”. 8 hand piano was popular in the late 19th century before the advent of recordings as it was a mechanism to reproduce and study symphonic works. Music lovers could hear the major symphonic works all in the convenience of a parlour or music hall that had two pianos and four pianists. Many of the popular works of Wolfgang Amadeus Mozart, Robert Schumann, Johannes Brahms, Antonín Dvořák were transcribed for two piano eight hands. The majority of 8 hand piano music consist of transcriptions, or arrangements.
Ludwig van Beethoven (i/ˈlʊdvɪɡ væn ˈbeɪ.toʊvən/; German: [ˈluːtvɪç fan ˈbeːt.hoːfən] ( listen); baptised 17 December 1770 – 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best known compositions include 9 symphonies, 5 concertos for piano, 32 piano sonatas, and 16 string quartets. He also composed other chamber music, choral works (including the celebrated Missa Solemnis), and songs.
Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and Christian Gottlob Neefe. During his first 22 years in Bonn, Beethoven intended to study with Wolfgang Amadeus Mozart and befriended Joseph Haydn. Beethoven moved to Vienna in 1792 and began studying with Haydn, quickly gaining a reputation as a virtuoso pianist. He lived in Vienna until his death. In about 1800 his hearing began to deteriorate, and by the last decade of his life he was almost totally deaf.
The three piano quartets of WoO 36, written when the composer was 15, are among the most substantial of Beethoven‘s earliest compositions. They are so early, in fact, that the autograph score calls for “clavecin” instead of piano. The same manuscript gives “basso” instead of cello, with the pieces ordered C major, E flat major, and D major. The pieces were not printed until 1828 in Vienna, in the order E flat, D, and C. Material from the C major Trio was subsequently used in the Piano Sonatas, Op. 2, Nos. 1 and 3. These are the only works Beethoven composed for this ensemble, which he abandoned for the piano trio after moving to Vienna.
When he was a boy, Beethoven was musically influenced primarily by Christian Gottlob Neefe(1748-98), a composer and one of Beethoven‘s first music teachers, Abbé Franz Sterkel(1750-1817), one of the foremost pianists in Europe, and Mozart. Of these influences, Neefe’s was the most immediate and Mozart‘s the most profound. Each of the three quartets of WoO 36 draws on a specific violin sonata by Mozart, from the set published in 1781. The first ofBeethoven‘s quartets is modeled on Mozart‘s K. 379/373a, the second on K. 380/374f, and the third on K. 296. All three quartets of WoO 36 are in three movements.
The E flat major quartet is unusual in that its slow introductory movement jumps without pause into an Allegro con spirito in E flat minor. The E flat minor movement, in sonata form, features a tiny development, but contains some adventurous passages in the recapitulation. The final movement is a set of six variations in an ornamental style on a high-Classical-era theme with two eight-measure segments. Each of the segments is repeated, the first moving to the dominant and the second returning to the tonic. Beethoven follows this pattern in all of the variations, the fifth of which is in E flat minor. After the variations have run their course, the theme returns, only slightly rearranged, followed by a coda reminiscent of the first variation. Throughout the work, the piano dominates the proceedings.
Beethoven cast the D major quartet in a more traditional format, with a central slow movement enclosed by two fast ones. The opening Allegro is in sonata form and modulates to the dominant. Boasting a much larger development section than that of the E flat quartet, the movement touches on D minor before the recapitulation. The second movement, in F sharp minor, is in two parts and marked Andante con moto. The piano opens the concluding Rondo, a movement of youthful energy dominated by the keyboard part.
The quartet in C major is also in three movements, the second of which is in a relaxed F major. After a very brief development section, Beethoven begins the recapitulation on the subdominant, a procedure Schubert would use in several of his works. The second movement features some of the most compelling melodic passages of Beethoven‘s youth, although his tendency to double most of these robs them of some of their delicacy. Nearly all of the thematic material in the closing Rondo is concentrated in the piano part.
Despite the degree to which some aspects of the Piano Quartets, WoO 36, look forward to the mature Beethoven, they have little independent life as concert pieces that command interest for more than curiosity value
Valses nobles et sentimentales, for piano (or orchestra) (1911)
II. Assez lent
IV. Assez animé
V. Presque lent
VI. Assez vif
VII. Moins vif
VIII. Epilogue: Lent
Maurice Ravel could be slightly obsessive in the way he allowed certain musical interests to reappear throughout his compositions. Two such interests were dance and the past, and in Valses nobles et sentimentales one can hear how Ravel was able to effectively fuse these two curiosities together. While Le Tombeau de Couperin was inspired by the eighteenth century, the Valses was oriented toward the nineteenth century. Written out of homage to Schubert’s piano piece of the same name, the composer declared that the work’s title, “indicates clearly enough my intention of composing a chain of waltzes following the example of Schubert. The virtuoso element that was the basis of Gaspard de la nuit is here replaced by a writing of greater clarity, which has the effect of sharpening the harmony as well as the outline of the music.” Ravel achieved his goal of clarity, as the waltzes were written using intense precision, sophistication, and technical flawlessness.
Valses nobles et sentimentales contains eight waltzes presented in the following order: Modéré, Assez lent, Modéré, Assez animé, Presque lent, Assez vif, Moins vif, and the Epilogue. Originally written for solo piano, the waltzes stimulate but do not disturb, while displaying different aspects of Ravel’s imagination including pride, tenderness, and sentiment. The work was dedicated to Louis Aubert and it was he who gave the first performance on May 9, 1911, at a concert held by the Société Musicale Indépendante, where Schubert’s piece of the same name was also premiered. As a little game, the composers’ names were withheld, leaving the audience to guess who had written each piece. Audience suggestions included Eric Satie, Zoltán Kodály, and even a correct answer from Debussy, whose ears could not be fooled by the identifiable quality he appreciated. Even though several of Ravel’s friends confessed their dislike, others claimed to be strongly drawn to the piece. Tristan Klingsor commented that he was one among several who, “were immediately seduced by the music, and yet he had taken a lot of risks, at least for the period….He had taken the use of unresolved dissonances to its furthest point. What we now find very piquant was extremely daring at the time. The first bars of the Valses seemed quite extraordinary. Then, since there was nothing there that was not well thought-out, the ear quickly grew to enjoy these pseudo-’wrong notes,’ and a glance at the score revealed that they had a proper harmonic justification.”
As with Ma mère l’oye Ravel allowed only himself to alter Valses nobles et sentimentales through orchestration. He adapted the waltzes for the ballet Adélaïde ou Le langage des fleurs, for a performance by the troupe of Natasha Trouhanova, and it was premiered as an orchestral work on April 22, 1912, at the Théâtre du Châtelet. Some say that the ironic overtones of the Valses foreshadow the superb choreographic poem La Valse while confirming to audiences that dissonance was indeed an essential element of his musical style. [Allmusic.com]
Art by Antoine Blanchard
Piano Sonata in A Minor D845:
I. Moderato, A minor 00:00
II. Andante poco moto, C major. (4 measures missing after measure 43) 8:06
III. Scherzo: Allegro vivace – Trio: Un poco più lento, A minor 17:13
IV. Rondo: Allegro vivace, A minor 23:58
Daniel Coren has discussed the nature of the recapitulation in the first movement of this sonata.
Wilhelm Kempff: piano
Well regarded among pianists, the “Little” A major sonata is so called to distinguish it from the hefty 1828 sonata in the same key. The manuscript, completed in July 1819, was dedicated to Josephine von Koller of Steyr in Upper Austria, whom he considered to be “very pretty” and “a good pianist.” The lyrical, buoyant, in spots typically poignant nature of this sonata fits the image of a young Schubert in love, living in a summery Austrian countryside, which he also considered to be “unimaginably lovely.”
The A major sonata is straightforward, with a dulcet melodic opening. It was the first of Schubert’s piano sonatas where the sonata form as perfected by his idol, Beethoven, does not seem wrestled with; rather, it is a “joyous breakthrough,” a carefree triumph over strict rules of construction.
The manuscript to this “little” sonata has been lost.
Early life and education
Schubert was born in Himmelpfortgrund (now a part of Alsergrund), Vienna on January 31, 1797. His father, Franz Theodor Schubert, the son of a Moravian peasant, was a parish schoolmaster; his mother, Elisabeth Vietz, was the daughter of a Silesian master locksmith, and had also been a housemaid for a Viennese family prior to her marriage. Of Franz Theodor’s fourteen children (one illegitimate child was born in 1783), nine died in infancy; five survived. Their father was a well-known teacher, and his school in Lichtental, a part of Vienna’s 9th district, was well attended. He was not a musician of fame or with formal training, but he taught his son some elements of music.
At the age of five, Schubert began receiving regular instruction from his father and a year later was enrolled at his father’s school. His formal musical education also began around the same time. His father continued to teach him the basics of the violin, and his brother Ignaz gave him piano lessons. At 7, Schubert began receiving lessons from Michael Holzer, the local church organist and choirmaster. Holzer’s lessons seem to have mainly consisted of conversations and expressions of admiration and the boy gained more from his acquaintance with a friendly joiner‘s apprentice who used to take him to a neighboring pianoforte warehouse where he had the opportunity to practice on better instruments. He also played the viola in the family string quartet, with brothers Ferdinand and Ignaz on violin and his father on the cello. Schubert wrote many of his early string quartets for this ensemble.
Schubert first came to the attention of Antonio Salieri, then Vienna’s leading musical authority, in 1804, when his vocal talent was recognized. In October 1808, he became a pupil at the Stadtkonvikt (Imperial seminary) through a choir scholarship. At the Stadtkonvikt, Schubert was introduced to theovertures and symphonies of Mozart. His exposure to these pieces and various lighter compositions, combined with his occasional visits to the opera set the foundation for his greater musical knowledge.One important musical influence came from the songs of Johann Rudolf Zumsteeg, who was an importantLied composer of the time, which, his friend Joseph von Spaun reported, he “wanted to modernize”.Schubert’s friendship with Spaun began at the Stadtkonvikt and endured through his lifetime. In those early days, the more well-to-do Spaun furnished the impoverished Schubert with manuscript paper.
Meanwhile, his genius began to show in his compositions. Schubert was occasionally permitted to lead the Stadtkonvikt’s orchestra, and Salieri decided to begin training him privately in musical composition andtheory in these years. It was the first germ of that amateur orchestra for which, in later years, many of his compositions were written. During the remainder of his stay at the Stadtkonvikt he wrote a good deal of chamber music, several songs, some miscellaneous pieces for the pianoforte and, among his more ambitious efforts, a Kyrie (D. 31) and Salve Regina (D. 27), an octet for wind instruments (D. 72/72a, said to commemorate the 1812 death of his mother), a cantata for guitar and male voices (D. 110, in honor of his father’s birthday in 1813), and his first symphony (D. 82).
At the end of 1813, he left the Stadtkonvikt, and returned home for studies at the Normalhauptschule to train as a teacher. In 1814, he entered his father’s school as teacher of the youngest students. For over two years, the young man endured the drudgery of the work, which he performed with very indifferent success. There were, however, other interests to compensate. He continued to receive private lessons in composition from Salieri, who did more for Schubert’s musical training than any of his other teachers. Salieri and Schubert would part ways in 1817.
In 1814, Schubert met a young soprano named Therese Grob, the daughter of a local silk manufacturer. Several of his songs (Salve Regina and Tantum Ergo) were composed for her voice, and she also performed in the premiere of his first Mass (D. 105) in September 1814. Schubert intended to marry Grob, but was hindered by the harsh marriage consent law of 1815, which required the ability to show the means to support a family. In November 1816, after failing to gain a position at Laibach, Schubert sent Grob’s brother Heinrich a collection of songs, which were retained by her family into the 20th century.
Schubert’s most prolific year was probably 1815. He composed over 20,000 bars of music, more than half of which was for orchestra, including nine church works, a symphony, and about 140 Lieder. In that year, he was also introduced to Anselm Hüttenbrenner and Franz von Schober, who would become his lifelong friends. Another friend, Johann Mayrhofer, was introduced to him by Spaun in 1814.
Significant changes happened in 1816. Schober, a student of good family and some means, invited Schubert to room with him at his mother’s house. The proposal was particularly opportune, for Schubert had just made the unsuccessful application for the post of Kapellmeister at Laibach, and he had also decided not to resume teaching duties at his father’s school. By the end of the year, he became a guest in Schober’s lodgings. For a time, he attempted to increase the household resources by giving music lessons, but they were soon abandoned, and he devoted himself to composition. “I compose every morning, and when one piece is done, I begin another.” During this year, he focused on orchestral and choral works, although he also continued to write Lieder. Much of this work was unpublished, but manuscripts and copies circulated among friends and admirers.
In early 1817, Schober introduced Schubert to Johann Michael Vogl, a prominent baritone twenty years Schubert’s senior. Vogl, for whom Schubert went on to write a great many songs, became one of Schubert’s main proponents in Viennese musical circles. He also met Joseph Hüttenbrenner (brother to Anselm), who also played a role in promoting Schubert’s music. These, and an increasing circle of friends and musicians, became responsible for promoting, collecting, and, after his death, preserving, his work.
In late 1817, Schubert’s father gained a new position at a school in Rossau (not far from Lichtental). Schubert rejoined his father and reluctantly took up teaching duties there. In early 1818, he was rejected for membership in the prestigious Gesellschaft der Musikfreunde, something that might have furthered his musical career. However, he began to gain more notice in the press, and the first public performance of a secular work, an overture performed in February 1818, received praise from the press in Vienna and abroad.
Schubert spent the summer of 1818 as music teacher to the family of Count Johann Karl Esterházy at their château in Zseliz (then in Hungary, now in Slovakia). His duties were relatively light (teaching piano and singing to the two daughters, Marie and Karoline), and the pay relatively good. As a result, he happily continued to compose during this time. It may have been at this time that he wrote one of his now world-famous compositions, the Marche militaire No. 1 in D major. On his return from Zseliz, he took up residence with his friend Mayrhofer. The respite at Zseliz led to a succession of compositions for piano duet.
The tight circle of friends that Schubert surrounded himself with was dealt a blow in early 1820. Schubert and four of his friends were arrested by the Austrian secret police, who were suspicious of any type of student gatherings. One of Schubert’s friends, Johann Senn, was put on trial, imprisoned for over a year, and then permanently banned from Vienna. The other four, including Schubert, were “severely reprimanded”, in part for “inveighing against [officials] with insulting and opprobrious language”. While Schubert never saw Senn again, he did set some of his poems, “Selige Welt” and “Schwanengesang”, to music. The incident may have played a role in a falling-out with Mayrhofer, with whom he was living at the time.
The compositions of 1819 and 1820 show a marked advance in development and maturity of style. The unfinished oratorio “Lazarus” (D. 689) was begun in February; later followed, amid a number of smaller works, by the 23rd Psalm (D. 706), the Gesang der Geister (D. 705/714), the Quartettsatz in C minor (D. 703), and the “Wanderer Fantasy” for piano (D. 760). Of most notable interest is the staging in 1820 of two of Schubert’s operas: Die Zwillingsbrüder (D. 647) appeared at the Theater am Kärntnertoron June 14, and Die Zauberharfe (D. 644) appeared at the Theater an der Wien on August 21.Hitherto, his larger compositions (apart from his masses) had been restricted to the amateur orchestra at the Gundelhof, a society which grew out of the quartet-parties at his home. Now he began to assume a more prominent position, addressing a wider public. Publishers, however, remained distant, withAnton Diabelli hesitantly agreeing to print some of his works on commission. The first seven opus numbers (all songs) appeared on these terms; then the commission ceased, and he began to receive the meager pittances which were all that the great publishing houses ever accorded to him. The situation improved somewhat in March 1821 when Vogl sang “Der Erlkönig” at a concert that was extremely well received. That month, he composed a variation on a waltz by Anton Diabelli (D. 718), being one of the fifty composers who contributed to Vaterländischer Künstlerverein.
The production of the two operas turned Schubert’s attention more firmly than ever in the direction of the stage, where, for a variety of reasons, he was almost completely unsuccessful. In 1822, Alfonso und Estrella was refused, partly owing to its libretto. Fierrabras (D. 796) was rejected in the fall of 1823, but this was largely due to the popularity of Rossini and the Italian operatic style, and the failure of Carl Maria von Weber‘s Euryanthe. Die Verschworenen (D. 787) was prohibited by the censor (apparently on the grounds of its title), and Rosamunde (D. 797) was withdrawn after two nights, owing to the poor quality of the play for which Schubert had written incidental music. Of these works, the two former are written on a scale which would make their performances exceedingly difficult (Fierrabras, for instance, contains over 1,000 pages of manuscript score), but Die Verschworenen is a bright attractive comedy, and Rosamunde contains some of the most charming music that Schubert ever composed. In 1822, he made the acquaintance of both Weber and Beethoven, but little came of it in either case. Beethoven is said to have acknowledged the younger man’s gifts on a few occasions, but some of this is likely legend and in any case he could not have known the real scope of Schubert’s music – especially not the instrumental works – as so little of it was printed or performed in the composer’s lifetime. On his deathbed, Beethoven is said to have looked into some of the younger man’s works and exclaimed, “Truly, the spark of divine genius resides in this Schubert!” but what would have come of it if he had recovered we can never know.
Schubert in 1825 (watercolor by Wilhelm August Rieder)
…..and his Syrinx, L129, a melody for unaccompanied flute from 1913. Six épigraphes antiques were originally written to accompany Pierre Louys‘ Chanson de Bilitis, prose poetry which was purported to be a translation of freshly discovered autobiographical verse by Sappho (it was not). The premiere took place on February 2, 1984, at the New York State Theater, Lincoln Center, with costumes by Florence Klotz and lighting by Jennifer Tipton.
The composer Claude Debussy needs little introduction. As a pianist, he was noted for his avoidance of the crisp, dry and articulated style which typified French pianism of the nineteenth century. His style of playing was simple, highly tone-conscious and completely uncluttered by over-expressive angst.
The recording is a piano roll recording made by Debussy for Welte in 1913 (just three years after the work was composed). The piano rolls for Welte are amongst the most accurate we have, conveying the original performed dynamics, attack and pedalling rather faithfully, and when a good roll is played on a properly conditioned piano, the problems of dubious rhythmic bumpiness which infect many roll playbacks can vanish. This rendition seems as fine as we could hope for.
ERNEST ROZSA PLAYS 1995 HAYDN-TRIO “ZIGEUNER-TRIO” HOB 15/25
1995 in “Rathaus” City of Marl, Germany, Live Concert in the Concert Auditorium, Rainer Klaas, Piano, Catalin Ilea, Cello
Ernest Rozsa plays Massenet “Meditation” 1978 Roumanian State Radio Broadcast Tirgu-Mures Marosvasarhely Neumarkt
1983 Ernest Rozsa was Concertmaster of the Philharmonia Hungarica e. V. BRD Germany, Miklos Bence was Solo-Contrabassist in the
Philharmonia Hungarica e. V. BRD Germany
Biography: Ernest Rozsa was Professor on the Music Pedagocial Liceum in Tirgu-Mures, Roumania, from 1975-1982
He was Soloist of the State Philharmonic Orchestra Tirgu-Mures in Roumania from 1975-1981
He performed from 1973-1981 many concert as soloist with this orchestra in Roumania with Conductors like Szalman Lorant, C. Mandeal and others, the Violinconcertos by Brahms, Beethoven, Bartok (Nr. 2), Sibelius, Mozart, Tchaikowsky, Tchaikowsky-Trio, Shostakovitch. There was also Productions Recordings in the State Roumanian Radio-Broadcast of the City of Tirgu-Mures in Roumania from 1973 until 1981.
He was in the same orchestra also Associate Concertmaster in foreign countries tours.
Ernest Rozsa was Concertmaster of the “Philharmonia Hungarica in Marl, Germany”, one of the major orchestras in Germany until the year of 1999, when this orchestra has been finished by th German Government.
He performed also by the WDR3 The German Broadcast Company for Classical Music together with his son, Ernoe Rozsa
(www.ernoe-rozsa-violin.com) works by Bottesini Grand Duo Concertant (with Benze Miklos Contrabass), his son (at this time Ernoe Rozsa was 13 years old) Ernoe Rozsa recorded at this time Pugnani-Kreisler Introduction and Allegro, Pablo de Sarasate “Caprice Basque”, Dimitrescu “Dans Taranesc”.
Since 1999 Ernest Rozsa is retired and living in Germany.
His son, Ernoe Rozsa, is active violin soloist in Japan, Ernoe Rozsa recorded the original Versions of the Violinconcertos Nr. 3 E-Major and Nr. 4 d-minor by Niccolo Paganini by the Label of NAXOS, Hong Kong. Ernoe Rozsa performing his own cadenzas on both Paganini Violinconcertos. Ernest Rozsa was first violin teacher of his son Ernoe Rozsa, and later his son studied by Prof. Tibor Varga, Prof. Rosa Fain, Sir Georg Solti, and Lord Yehudi Menuhin. Ernoe Rozsa was also soloist in a series of concerts with Lord Yehudi Menuhin (conductor), Ernoe Rozsa played the Mozart Violinconcerto Nr. 3 G-Major with the “Rhainland-Pfaelzische Philharomie Ludwigshafen-Mannheim”, Germany, and Lord Yehudi Menuhin was the conductor of this 5 concerts. The greatest concert was in the “Alte Oper Frankfurt” in 1990, in germany, where Ernoe Rozsa performed as soloist with Mozarts Violinconcerto Nr. 3 G-major and Lord Menuhin was conductor of this concerts.
Waldszenen (Forest Scenes), Op 82
2 Jäger auf der Lauer
3 Einsame Blumen
4 Verrufene Stelle
5 Freundliche Landschaft
7 Vogel als Prophet
Sviatoslav Richter, piano
Recorded live, 1956
Henryk WIENIAWSKI: Scherzo-Tarantelle, in G minor Op.16 (1855)
Ruggiero RICCI, violin – Joanna Gruenberg, piano (rec: 1980)
full CD: http://www.youtube.com/playlist?list=…
The Holberg Suite was originally composed for the piano and was adapted for string orchestra a year later. Not as famous as Peer Gynt, but seen by many critics as equal.
Berliner Philharmoniker / Herbert von Karajan
00:00 1. Praeludium
03:02 2. Sarabande
07:18 3. Gavotte
11:07 4. Air
16:58 5. Rigaudon
Cellist: Daniil Shafran
Pianist: Nina Musinian
The Piano Concerto No. 23 in A major (K. 488) is a musical composition for piano and orchestra written by Wolfgang Amadeus Mozart. It was finished, according to Mozart’s own catalogue, on March 2, 1786, around the time of the premiere of his opera, The Marriage of Figaro. It was one of three subscription concerts given that spring and was probably played by Mozart himself at one of these. The concerto is scored for piano solo and an orchestra consisting of one flute, two clarinets, two bassoons, two horns and strings. In Mozart’s later works the wind instruments are equal to the stringed instruments, and this is also the case in this concerto. It has three movements:
1. Allegro in A major and common time.
2. Adagio in F-sharp minor and 6/8 time (in later editions, the tempo is listed as Andante).
3. Allegro assai in A and alla breve (in later editions, the tempo is listed as Presto). In Rondo form.
The first movement is mostly sunny and positive with the occasional melancholic touches typical of Mozart pieces in A major and is in sonata form. The piece begins with a double exposition, the first played by the orchestra, and the second when the piano joins in. The first exposition is static from a tonal point of view and is quite concise, the third theme is not yet revealed. The second exposition includes the soloist and is modulatory. It is also includes the third previously unheard third theme. The second exposition is ornamented as opposed to the first exposition which is not. The second theme has harmonic tension. This is expressed by dissonances that are played on the beat, and then solved by an interval of a second going downwards. This is also expressed in the use of chromatics in the melody and bass lines which is a cause for harmonic tension, as the listeners anticipate the arrival of the tonic.
The second, slow movement, in ternary form, is melancholic and somewhat operatic in tone. The piano begins alone with a theme characterized by unusually wide leaps. This is the only movement by Mozart in F sharp minor. The dynamics are soft throughout most of the piece. The middle of the movement contains a brighter section in A major announced by flute and clarinet that Mozart would later use to introduce the trio “Ah! taci ingiusto core!” in his opera Don Giovanni. The third movement is a vigorous and cheerful rondo, shaded by moves into other keys as is the opening movement (to C major from E minor and back during the secondary theme in this case, for instance) and with a central section whose opening in F sharp minor is interrupted by a clarinet tune in D major, an intrusion that reminds us, notes Girdlestone, that instrumental music at the time was informed by opera buffa and its sudden changes of point of view as well as of scene.
Carl Maria von Weber wrote his Clarinet Concerto No. 1 in F minor, Op. 73 (J. 114) for the clarinettist Heinrich Bärmann in 1811. The piece is considered a gem in the instrument’s repertoire. It is written for clarinet in B♭. The work consists of three movements in the form of fast, slow, fast.
Carl Maria Friedrich Ernst von Weber (18 or 19 November 1786 – 5 June 1826) was a Germancomposer, conductor, pianist, guitarist and critic, one of the first significant composers of the Romanticschool.
Weber’s operas Der Freischütz, Euryanthe and Oberon greatly influenced the development of the Romantic opera in Germany. Der Freischütz came to be regarded as the first German “nationalist” opera,Euryanthe developed the Leitmotif technique to a hitherto-unprecedented degree, while Oberon may have influenced Mendelssohn‘s music for A Midsummer Night’s Dream and, at the same time, revealed Weber’s lifelong interest in the music of non-Western cultures. This interest was first manifested in Weber’sincidental music for Schiller‘s translation of Gozzi‘s Turandot, for which he used a Chinese melody, making him the first Western composer to use an Asian tune that was not of the pseudo-Turkish kind popularized by Mozart and others.
A brilliant pianist himself, Weber composed four sonatas, two concertos and the Konzertstück (Concert Piece) in F minor, which influenced composers such as Chopin, Liszt and Mendelssohn. The Konzertstückprovided a new model for the one-movement concerto in several contrasting sections (such as Liszt’s, who often played the work), and was acknowledged by Stravinsky as the model for his Capriccio for Piano and Orchestra. Weber’s shorter piano pieces, such as the Invitation to the Dance, were later orchestrated byBerlioz, while his Polacca Brillante was later set for piano and orchestra by Liszt.
Weber compositions for woodwind instruments occupy an important place in the musical repertoire. His compositions for the clarinet, which include two concertos, a concertino, a quintet, a duo concertante, and variations on a theme (posthumously), are regularly performed today. His Concertino for Horn and Orchestra requires the performer to simultaneously produce two notes by humming while playing—a technique known as “multiphonics“. His bassoon concerto and the Andante e Rondo ungarese (a reworking of a piece originally for viola and orchestra) are also popular with bassoonists.
Weber’s contribution to vocal and choral music is also significant. His body of Catholic religious music was highly popular in 19th-century Germany, and he composed one of the earliest song cycles, Die Temperamente beim Verluste der Geliebten ([Four] Temperaments on the Loss of a Lover). Weber was also notable as one of the first conductors to conduct without a piano or violin.
Weber’s orchestration has also been highly praised and emulated by later generations of composers – Berlioz referred to him several times in hisTreatise on Instrumentation while Debussy remarked that the sound of the Weber orchestra was obtained through the scrutiny of the soul of each instrument.
His operas influenced the work of later opera composers, especially in Germany, such as Marschner, Meyerbeer and Wagner, as well as several nationalist 19th-century composers such as Glinka. Homage has been paid to Weber by 20th-century composers such as Debussy, Stravinsky,Mahler (who completed Weber’s unfinished comic opera Die drei Pintos and made revisions of Euryanthe and Oberon) and Hindemith (composer of the popular Symphonic Metamorphosis of Themes by Carl Maria von Weber).
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…
Live: Evgenia Rubinova plays Johannes Brahms Capriccio in d op. 116/1 d-moll
classical, classic, piano, performance
Published on Sep 23, 2012
Ingryd Thorson & Julian Thurber, piano
Antonín Dvořák – From the Bohemian Forest, Op. 68
SERGEI RACHMANINOV – Cello Sonata in G minor, Op. 19
In this 1994 recording, Michael Grebanier plays the cello while Janet Guggenheim plays the piano. Naxos is the official owner of this recording.
The Quintet in E flat major for Piano and Winds, K. 452, was completed by Wolfgang Amadeus Mozart on March 30, 1784 and premiered two days later at the Imperial and Royal National Court Theater in Vienna. Shortly after the premiere, Mozart wrote to his father that “I myself consider it to be the best thing I have written in my life.” It is scored for piano, oboe, clarinet, horn and bassoon. There are three movements:
1. Largo – Allegro moderato
This structure closely resembles that of a typical sonata. The first movement is a sprightly sonata form Allegro, with themes being passed from instrument to instrument, usually with the piano introducing a theme and accompanying while the oboe, clarinet, horn and bassoon play variations on it. The Larghetto movement is typical of the 2nd movement of other Mozart pieces: soft and gentle, yet still engaging. The Allegretto movement is a “sonata-rondo” of the kind Mozart used as the finale of many of the piano concertos he was writing at this period, and contains a written-out cadenza-like section toward the end.
This piece was the inspiration for the Quintet in E flat for Piano and Winds, Op. 16, by Ludwig van Beethoven, who composed this tribute in 1796. Both compositions use the same scoring.
FREE .mp3 and .wav files of all Mozart’s music at: http://www.mozart-archiv.de/
FREE sheet music scores of any Mozart piece at:http://dme.mozarteum.at/DME/nma/start…
ALSO check out these cool sites: http://musopen.org/
Franz LISZT: Grandes études de Paganini, S.141, LW.A173 (1851)0:10 / No.3 – La Campanella. Allegretto in G-sharp minor (based on Paganini‘s 2nd Violin Concerto Op.7) [4'36'']
François-René DUCHABLE, piano
(rec: Paris, Salle Wagram, 1974)
The Grandes études de Paganini are a series of six études for the piano by Franz Liszt, revised in 1851 from an earlier version (published asÉtudes d’exécution transcendante d’après Paganini, S.140, in 1838). It is almost exclusively in the final version that these pieces are played today.
The pieces are all based on the compositions of Niccolò Paganini for violin, and are among the most technically demanding pieces in the piano literature (especially the original versions, before Liszt revised them, thinning the textures and removing some of the more outrageous technical difficulties). The pieces run the gamut of technical hurdles, and frequently require very large stretches by the performer of an eleventh (although all stretches greater than a tenth were removed from the revised versions).
Valentina Igoshina in March 2010 at Rickman Auditorium in Arnold, Missouri
|Born||November 4, 1978 (age 35)|
|Labels||Warner Classics International|
Valentina Igoshina began studying piano with her mother, 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.
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. Her home in France is near Giverny in Haute-Normandie.
Symphonic Variations for Piano and Orchestra
by César Franck
Emil Gilels, piano
Radio Symphony Orchestra of the USSR
Karl Eliasberg, conductor
From Wikipedia, the free encyclopedia
The Symphonic Variations (Variations symphoniques), M. 46, is a work for piano and orchestra written in 1885 by César Franck. It has been described as “one of Franck’s tightest and most finished works”, ”a superb blending of piano and orchestra”, and “a flawless work and as near perfection as a human composer can hope to get in a work of this nature”. It is a fine example of Franck’s use of cyclic unity, with one theme growing into various others. The piano and orchestra share equally in the continuous evolution of ideas. The work is in F-sharp minor (with the last movement in F-sharp major). Duration in performance is about fifteen minutes, and the instrumentation is piano solo and orchestra: pairs of flutes, oboes, clarinets, and bassoons; four horns; two trumpets; timpani; and strings.
The work was dedicated to Louis Diémer, who on 15 March 1885 had premiered Les Djinns – a symphonic poem for piano and orchestra that brought Franck one of his rare critical successes. He promised to reward Diémer with “a little something”, and the similarly scored Symphonic Variations was the result. Franck started work in the summer of 1885, and completed the piece on 12 December.
Ralph Vaughan Williams‘s Fantasia (quasi variazione) on the Old 104th Psalm Tune for piano, chorus, and orchestra (1949) has some similarities to the Symphonic variations, but it lacks Franck’s adherence to classical variation form.
The Piano Concerto No. 2 in F minor, Op. 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 Warsaw, Poland, 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:
Allegro vivace. Continue reading