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Watch Valentina Lisitsa: F. Schubert Sonata A major # 20 D.959 Valentina Lisitsa Another exceptional interpretation, from the unequaled Valentina Lisitsa
F. Schubert Sonata A major # 20 D.959 Valentina Lisitsa
Does it seem to you that the world has gone mad? Wars, bombings, killings, hate….
I can offer but a little remedy, an escape rather. Music equivalent of “slow TV”, something created not to excite our over-driven nerves, but to soothe, to lull, to put in ultimate trance, to make the time stand still and the troubles of outside world fade away, if only for a few minutes.
Nobody has done it better than my beloved Franz Schubert.
There is a famous quip about two musicians arguing over the merits ( or weaknesses) of Schubert late piano sonatas, one describing the unusual time span of the pieces as “the heavenly lengths”, another – replying “they aren’t that heavenly, they are just plain LENGTHS”.
Yes, Schubert is unique in a sense that he’s dispensed not only with customary time restrains established by the need to keep the listener “interested”, but also with the medley of rather theatrical “action heroes” prerequisite for a virtuoso performer to feel adequate 🙂 His music is not about heroes and villains, gods and devils.
His music is about you and I, about regular people living their lives, loving, longing, suffering, dying….all without the world taking notice and without the headlines.That’s the real charm and beguiling spell of his music – this is about us, the regular human beings, whom he understood better than any other composer.
You might not be able to fully enjoy this piece from the first try, or if you have your thoughts wondering around, thinking of million little things, looking for easy gratification of virtuoso finger-work and thunderous chords.
You will enjoy it if you allow yourself to surrender to this music, to its flow, as slow, smooth and spellbinding neurasthenia waters of mythical river Lethe, the river of forgetfulness and oblivion.
“J’ai trop vu,
trop aimé dans ma vie;
Je viens chercher vivant le calme du Léthé.”
“I have seen too much,
felt too much,
loved too much in my life;
I come to seek, still living,
the calm of Lethe.”
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Now the swan it floated on the english river
Ah the rose of high romance it opened wide
A sun tanned woman yearned me through the summer
And the judges watched us from the other side
I told my mother “mother I must leave you
Preserve my room but do not she’d a tear
Should rumour of a shabby ending reach you
It was half my fault and half the atmosphere”
But the rose I sickened with a scarlet fever
And the swan I tempted with a sense of shame
She said at last I was her finest lover
And if she withered I would be to blame
The judges said you missed it by a fraction
Rise up and brace your troops for the attack
Ah the dreamers ride against the men of action
Oh see the men of action falling back
But I lingered on her thighs a fatal moment
I kissed her lips as though I thirsted still
My falsity had stung me like a hornet
The poison sank and it paralysed my will
I could not move to warn all the younger soldiers
That they had been deserted from above
So on battlefields from here to barcelona
I’m listed with the enemies of love
And long ago she said “i must be leaving,
Ah but keep my body here to lie upon
You can move it up and down and when I’m sleeping
Run some wire through that rose and wind the swan”
So daily I renew my idle duty
I touch her here and there — I know my place
I kiss her open mouth and I praise her beauty
And people call me traitor to my face
Fabulous rendition: Mozart Concerto D Minor K466 Freiburger Mozart-Orchester, Michael Erren,Valentina Lisitsa
Mozart Concerto D Minor K466 Freiburger Mozart-Orchester, Michael Erren,Valentina Lisitsa
great compositions/performances: Beethoven’s Piano Concerto No. 3, in C minor, Op. 37, Daniel Barenboim / Dresden Staatskapelle 2007
Beethoven : Piano Concerto No. 3 in C minor, Op. 37 Daniel Barenboim / Dresden Staatskapelle 2007
Mozart – Horn Concerto No. 2 in E flat, K. 417 [complete]
Wilhelm Kempff plays Chopin Impromptu No. 3 in G flat Op. 51 (rec.1958)
historic musical bits: Koeckert-Quartett · Antonín Dvořák · String Quartet F major op. 96 “American” (rec ~1953)
Koeckert-Quartett · Antonín Dvořák · String Quartet F major op. 96 “American”
Beethoven String Quartet No 4 Op 18 in C minor Alban Berg Quartet
Beethoven “Für Elise” Valentina Lisitsa Seoul Philharmonic
Paganini-Liszt La Campanella
Uploaded on Dec 7, 2008
Live from Seoul. Encore #1. Liszt “La Campanella”
Buy La Campanella video http://www.amazon.co.uk/Live-Royal-Al…
Performed by Romuald Greiss on an 1850 Budynowicz piano
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“La campanella” (Italian for “The little bell”) is the nickname given to the third of Franz Liszt‘s six Grandes études de Paganini (“Grand Paganini Études”), S. 141 (1851). It is in the key of G-sharp minor. This piece is a revision of an earlier version from 1838, the Études d’exécution transcendente d’après Paganini, S. 140. Its melody comes from the final movement of Niccolò Paganini‘s Violin Concerto No. 2 in B minor, where the tune was reinforced by a little handbell.
The étude is played at a brisk allegretto tempo and studies right hand jumping between intervals larger than one octave, sometimes even stretching for two whole octaves within the time of a sixteenth note. As a whole, the étude can be practiced to increase dexterity and accuracy at large jumps on the piano, along with agility of the weaker fingers of the hand. The largest intervals reached by the right hand are fifteenths (two octaves) and sixteenths (two octaves and a second). Sixteenth notes are played between the two notes, and the same note is played two octaves or two octaves and a second higher with no rest. Little time is provided for the pianist to move the hand, thus forcing the pianist to avoid tension within the muscles. Fifteenth intervals are quite common in the beginning of the étude, while the sixteenth intervals appear twice, at the thirtieth and thirty-second measures.
However, the left hand studies about four extremely large intervals, larger than those in the right hand. For example, in bar 101, the left hand makes a sixteenth-note jump of just a half-step below three octaves. The étude also involves other technical difficulties, e.g. trills with the fourth and fifth fingers.
Valentina Lisitsa performed Liszt La Campanella from Paganini Etude No 3 at Concert hall, Seoul Art Center, 25th November, 2013 under Masters Series which Composer Jeajoon Ryu present.(Encore after 3 hours recital.)
Valentina Lisitsa – Liszt La Campanella – from Paganini Etude No. 3
fabulous Renditions: Valentina Lisitsa – Edvard Grieg – The Piano Concerto in A minor, Op. 16(two videos)
Edvard Grieg – The Piano Concerto in A minor, Op. 16(two videos)- Valentina Lisitsa
historic music bits: BEETHOVEN Piano Trio No.7 ‘Archduke’ | E.Gilels, L.Kogan, M.Rostropovich | 1956
BEETHOVEN Piano Trio No.7 ‘Archduke’ | E.Gilels, L.Kogan, M.Rostropovich | 1956
great compositions/performances: Franz Schubert: String Quartet No. 13 in A minor (the Rosamunde Quartet), D. 804, Op. 29
Franz Schubert: String Quartet No. 13 in A minor (the Rosamunde Quartet), D. 804, Op. 29
Freiburger Mozart-Orchester, Michael Erren,Valentina Lisitsa
Exploding Beethoven: Tempest Sonata Live from Paris Valentina Lisitsa
Best musical Interpretations: Beethoven Sonata Op 57 “Appassionata” Mov1, ,3, Valentina Lisitsa, piano
Beethoven Sonata Op 57 “Appassionata” Mov1
Best musical collections: Mozart – Symphonies No. 25, 29, 35, 36, 38, 39, 40, 41 Wiener Philharmoniker Leonard Bernstein
Mozart – Symphonies No. 25, 29, 35, 36, 38, 39, 40, 41 (Bernstein)
Claudio Arrau Beethoven Piano Sonata No. 30
historic musical bits: MOZART Symphony No 40 in G minor, KV550, LEONARD BERNSTEIN|Boston Symphony Orchestra
MOZART Symphony No 40 in G minor KV550 LEONARD BERNSTEIN
Franz Schubert Symphony No.8 “Unfinished” D 759, Leonard Bernstein
Leonard Bernstein “Overture König Stephan” Beethoven
Beethoven Piano Sonata 10 G major Barenboim
Historic Musical Bits: Mozart: Piano concerto n. No. 21 in C major, K.467(“Elvira Madigan”) Pollini-Muti
Mozart: Piano concerto n. No. 21 in C major, K.467 (“Elvira Madigan”) Pollini-Muti
Great compositions/performances: Mendelssohn – Violin Sonata in F minor, Op. 4 Classical Music Best Piano and Violin
Mendelssohn – Violin Sonata in F minor, Op. 4 – Classical Music Best Piano and Violin