Alexander Scriabin Piano Concerto f-sharp minor opus 20 – II. Andante

Lars Nelissen

Uploaded on May 26, 2009

II. Andante
piano: Anatol Ugorski
Chicago Symphony Orchestra
conducted by: Pierre Boulez

Scriabin finished his piano concerto when 24 years old. The concerto is full with elegance and brilliance. We enter the magical world of Scriabin’s psyche! It is said that Scriabin’s earlier works remind of Chopin, yet there’s no question Scriabin’s “style” is a very personal one with his own message, his own flavors and colours; – just like Mozart writing in a style that reminds of Haydn and even Pergolesi, he had his own “style” and every note was “new”!

historic musical bits, Vladimir Horowitz plays Rachmaninoff Piano Concerto No.3 (live 1978), great compositions/performances

Vladimir Horowitz plays Rachmaninov Piano Concerto No.3 (live 1978)

Nebojsa Maksimovic

Vladimir Horowitz, Pianist / New York Philharmonic Orchestra / Zubin Mehta, Conductor

Live at Avery Fisher Hall, New York, 24.9.1978

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From Wikipedia, the free encyclopedia

 The Piano Concerto No. 3 in D minor, or colloquially the Rach 3, Op. 30 composed in 1909 by Sergei Rachmaninoff has the reputation of being one of the most technically challenging piano concertos in the standard classical repertoire.

Form

Following the form of a standard concerto, the piece is in three movements:

A portion of the original cadenza (ossia)

1. Allegro ma non tanto (D minor)

   The first movement revolves around a diatonic melody that soon develops into complex pianistic figuration. The second theme opens with quiet exchanges between the orchestra and the piano before fully diving into a slower theme in a major key. The first part of the first theme is restated before the movement is pulled into a loud development section which opens with toccata like quavers in the piano and reaches a loud chordal section. The whole development exhibits features similar to a canon, such as an eighth note passage in the piano in which the left hand and the right hand play overlapping figures. The movement reaches a number of ferocious climaxes, especially in the cadenza. Rachmaninoff wrote two versions of this cadenza: the chordal original, which is commonly notated as the ossia, and a second one with a lighter, toccata-like style. Both cadenzas lead into a quiet solo section where the flute, clarinet and horn restate the first theme of the exposition, accompanied by delicate arpeggios in the piano. The cadenza then ends quietly, but the piano alone continues to play a quiet development of the exposition’s second theme before leading to the recapitulation, where the first theme is restated by the piano, with the orchestra accompanying, soon closing with a quiet, rippling coda reminiscent of the second theme.

2. Intermezzo: Adagio (F sharp minor/D flat major)

   The second movement is opened by the orchestra and it consists of a number of variations around a single lush, heavily romantic melody following one another without a rigid scheme. The melody soon moves to the tonic major which is the second theme. After the first theme development and recapitulation of the second theme, the main melody from the first movement reappears, before the movement is closed by the orchestra in a manner similar to the introduction. Then the piano gets the last word with a short “cadenza-esque” passage which moves into the last movement without pause. Many melodic thoughts of this movement allude to Rachmaninoff’s second piano concerto, third movement, noticeably the Russian-like, E-flat major melody.

3. Finale: Alla breve (D minor → D major)

   The third movement is quick and vigorous and contains variations on many of the themes that are used in the first movement, which unites the concerto cyclically. However, after the first and second themes it diverges from the regular sonata-allegro form. There is no conventional development; that segment is replaced by a lengthy digression using the major key of the third movement’s first theme, which leads to the two themes from the first movement. After the digression, the movement recapitulation returns to the original themes, building up to a toccata climax somewhat similar but lighter than the first movement’s ossia cadenza and accompanied by the orchestra. The movement concludes with a triumphant and passionate second theme melody in D major. The piece ends with the same four-note rhythm – claimed by some to be the composer’s musical signature – as both the composer’s second concerto and second symphony.^[1]

Rachmaninoff, under pressure, and hoping to make his work more popular, authorized several cuts in the score, to be made at the performer’s discretion. These cuts, particularly in the second and third movements, were commonly taken in performance and recordings during the initial decades following the Concerto’s publication. More recently, it has become commonplace to perform the concerto without cuts. A typical performance of the complete concerto lasts about forty minutes.

History

 Proofing copies of the concerto (1910)

Rachmaninoff composed the concerto in the peaceful setting of his family’s country estate, Ivanovka,^[2] completing it on September 23, 1909. Contemporary with this work are his First Piano Sonata and his tone poem The Isle of the Dead.

The concerto is respected, even feared, by many pianists. Josef Hofmann, the pianist to whom the work is dedicated, never publicly performed it, saying that it “wasn’t for” him. Gary Graffman lamented he had not learned this concerto as a student, when he was “still too young to know fear”.^[3]

Due to time constraints, Rachmaninoff could not practice the piece while in Russia. Instead, he practiced it on a silent keyboard that he brought with him while en route to the United States.

The concerto was first performed on November 28, 1909 by Rachmaninoff himself with the now-defunct New York Symphony Society with Walter Damrosch conducting, at the New Theater (later rechristened the Century Theater). It received a second performance under Gustav Mahler several weeks later, an “experience Rachmaninoff treasured.”^[4] Rachmaninoff later described the rehearsal to Riesemann:

At that time Mahler was the only conductor whom I considered worthy to be classed with Nikisch. He devoted himself to the concerto until the accompaniment, which is rather complicated, had been practiced to perfection, although he had already gone through another long rehearsal. According to Mahler, every detail of the score was important — an attitude too rare amongst conductors. … Though the rehearsal was scheduled to end at 12:30, we played and played, far beyond this hour, and when Mahler announced that the first movement would be rehearsed again, I expected some protest or scene from the musicians, but I did not notice a single sign of annoyance. The orchestra played the first movement with a keen or perhaps even closer appreciation than the previous time.^[5]

The manuscript was first published in 1910 by Gutheil. Rachmaninoff called the Third the favorite of his own piano concertos, stating that “I much prefer the Third, because my Second is so uncomfortable to play.” Nevertheless, it was not until the 1930s and largely thanks to the advocacy of Vladimir Horowitz that the Third concerto became popular.

Orchestration

The concerto is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, snare drum, cymbals, piano and strings.    >>>>>>>>>>>>>>>> More

 

Debussy: Danse (Tarantelle Styrienne) L. 69 , Claudio Arrau

Danse (Tarantelle Styrienne) L. 69

Claudio Arrau – Topic

Danse (Tarantelle Styrienne) L. 69

Claudio Arrau

℗ 2011 Unchained Melodie

Released on: 2011-12-01

Composer: Claude Debussy

 

Claude Debussy – Iberia [Fritz Reiner, Chicago Symphony Orchestra]

KeMin88

Published on Jun 18, 2014

Legendary conductor Fritz Reiner established his legacy when he assumed his directorship of the Chicago Symphony Orchestra. Reiner raised the status of the CSO that of one of the finest in the world. Although not often associated with the works of the French Impressionist composers, these performances from 1958 are considered among the finest from the Reiner/CSO era! Recorded on March 4, April 13 and April 15, 1957 at Orchestra Hall, Chicago. Musicians: Chicago Symphony Orchestra Fritz Reiner, conductor

 

Études de concert (3), for piano, S. 144 – Claudio Arrau – HD ( 3rd mov. ‘un sospiro’), great compositions/performances

Études de concert (3), for piano, S. 144 – Claudio Arrau – HD

hellsan631

Published on Sep 11, 2012

Includes all 3 movements. Taken from “Liszt: The Piano Concertos; 3 Etudes de Concert (1976)”

1. Il lamento
0:00 to 10:40

2. La leggierezza
10:50 to 16:16

3. Un sospiro
16:24 to 22:28

Quality – AAC, audio bitrate: 320kbps*
Video MP4 – 348kbps

English: chilean pianist Claudio Arrau. Español: Pianista chileno Claudio Arrau. (Photo credit: Wikipedia)

Perhaps the most Beautiful piece of music is the 3rd movement. There is another version of it on YouTube, but it is in extremely low audio quality. With this recording, you can sometimes hear the performer’s clothes move, or his breathing, only slightly.

If I enjoy the rest of the CD enough, I will upload the other 2 piano concertos.

Credits:
Franz Liszt
Claudio Arrau (Piano)
Recorded in London England, November of 1976
Philips Classics

*Change to 720p Video to get the a 192 kbps Audio Stream (the highest you can get on YouTube)

Liszt: The Piano Concertos; 3 Etudes de Concert
Études de concert (3), for piano, S. 144 (LW A118)

MQ0001081958
MC0002358753
F 2049358
C 11442

 

Gotta listen! Chopin Valse Op 64. No 2. Waltz in c sharp minor #7 Valentina Lisitsa, WOW!

Chopin Valse Op 64. No 2. Waltz in c sharp minor #7 Valentina Lisitsa

ValentinaLisitsa

Uploaded on Jan 11, 2011/ 951,882 views

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Mozart – Piano Concerto No. 26 in D major, K. 537, ‘Coronation’ (Murray Perahia): make music part of your life series

Mozart – Piano Concerto No. 26 in D major, K. 537, ‘Coronation’ (Murray Perahia)

  MrPalika123

00:00 – Allegro
14:13 – Larghetto
21:29 – Allegretto

Murray Perahia
English Chamber Orchestra

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Horowitz plays Debussy L’isle joyeuse,: great compositions/performances

Horowitz plays Debussy L’isle joyeuse

yekhaty

Debussy
L’isle joyeuse (1904)

Played by Vladimir Horowitz

great compositions/performances: Horowitz: Scriabin Etude for piano in minor, Op. 2/1 & Etude for piano in D minor, Op. 8/12

[youtube.com/watch?v=XawgKTDyBcM]

Horowitz: Horowitz in Moscow
7. Alexander Scriabin: Etude for piano in C sharp minor, Op. 2/1
8. Alexander Scriabin: Etude for piano in D sharp minor, Op. 8/12

• Buy “Scriabin: 12 Etudes for piano, Op.8 – No. 12 in D sharp minor” on
  
  

  Google Play, iTunes, AmazonMP3,

• Artist
  
  • Vladimir Horowitz

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