Tag Archives: Piano
make music part of your life series: Maurizio Pollini – Frederic Chopin – Barcarolle in F sharp op.60 (excerpt)
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
historic musical bits: Beethoven, Sonata para piano Nº 24 en Si flat major op.78 ‘À Thérèse’. Daniel Barenboim, piano
Beethoven, Sonata para piano Nº 24 en Si flat major op.78 ‘À Thérèse’. Daniel Barenboim, piano
Brahms – 16 Waltzes Op. 39, Karin Lechner, Piano
Wilhelm Kempff plays Chopin Impromptu No. 3 in G flat Op. 51 (rec.1958)
Beethoven “Für Elise” Valentina Lisitsa Seoul Philharmonic
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
Rudolf Firkušný: Humoresques op. 101, Antonín Dvořák
Itzhak Perlman-Pugnani Kreisler-Preludium and Allegro
Great compositions/performances: Beethoven, Piano Sonata No. 7 in D major Op 10, No. 3. Daniel Barenboim, piano
Beethoven, Piano Sonata No. 7 in D major Op 10, No. 3.
Daniel Barenboim, piano
Pollini Chopin Mazurka op.56 No.3 Live
Julia Fischer – Tchaikovsky – Souvenir d’un lieu cher, Op 42
great compositions/performances: Saint-Saëns – Le carnaval des animaux (The Carnival of the Animals) (1886)
Saint-Saëns – Le carnaval des animaux (The Carnival of the Animals) (1886)
great compositions/performances: 12 Variations in E-Flat Major on “Je suis Lindor,” K. 354| Karl Engel (Piano)
12 Variations in E-Flat Major on “Je suis Lindor,” K. 354
Beethoven, Sonata para piano Nº 24 en Fa♯ (F sharp Major) major op.78 ‘À Thérèse’. Daniel Barenboim, piano
Beethoven, Sonata para piano Nº 24 en Fa♯ (F sharp major) mayor op.78 ‘À Thérèse’. Daniel Barenboim, piano
ENRIQUE GRANADOS.- Danzas Españolas
Martha Argerich Schumann – Kinderszenen (Scenes from Childhood) Op. 15
great compositions/performances: Annie Fischer plays Beethoven – Piano Sonata 26,Op.81a Les Adieux’ (Color-Coded Analysis)
Beethoven – Piano Sonata 26,Op.81a “Farewell” (Color-Coded Analysis)
BIZET Jeux d’enfants Op.22 | Duo Kontarsky | 1982 *vinyl*
Saint-Saëns – Concerto no 1 pour piano et orchestre – Jeanne-Marie Darré
Schumann Symphonic Etudes Op. 13 & Op.Posth. Valentina Lisitsa
Michelangeli Debussy Preludes
Saint-Saëns – Concerto no 1 pour piano et orchestre – Jeanne-Marie Darré
Schumann Kinderszenen op. 15 Radu Lupu
Robert Schumann Kinderszenen, op. 15
Radu Lupu , January 1993
Kinderszenen (German pronunciation: [ˈkɪndɐˌst͡seːnən]; original spelling Kinderscenen, “Scenes from Childhood”), Opus 15, by Robert Schumann, is a set of thirteen pieces of music for piano written in 1838. In this work, Schumann provides us with his adult reminiscences of childhood. Schumann had originally written 30 movements for this work, but chose 13 for the final version. Robert Polansky has discussed the unused movements.
Nr. 7, Träumerei, is one of Schumann’s best known pieces; it was the title of a 1944 German biographical film on Robert Schumann. Träumerei is also the opening and closing musical theme in the 1947 Hollywood film Song of Love, starring Katharine Hepburn as Clara Wieck Schumann.
Schumann had originally labeled this work Leichte Stücke (Easy Pieces). Likewise, the section titles were only added after the completion of the music, and Schumann described the titles as “nothing more than delicate hints for execution and interpretation”. Timothy Taylor has discussed Schumann’s choice of titles for this work in the context of the changing situation of music in 19th century culture and economics.
- Von fremden Ländern und Menschen (Of Foreign Lands and Peoples), G major
- Curiose Geschichte (A Curious Story), D major
- Hasche-Mann (Blind Man’s Buff), B minor
- Bittendes Kind (Pleading Child), D major
- Glückes genug (Quite Happy), D major
- Wichtige Bebebenheit (An Important Event), A major
- Träumerei (Dreaming), F major
- Am Camin (At the Fireside), F major
- Ritter vom Steckenpferd (Knight of the Hobby-Horse), C major
- Fast zu ernst (Almost too Serious), G-sharp minor
- Fürchtenmachen (Frightening), E minor
- Kind im Einschlummern (Child Falling Asleep), E minor
- Ffrom Der Dichter spricht (The Poet Speaks), G major
Description by Blair Johnston (ALL MUSIC)
historic musical bits: Sviatoslav Richter – Chopin – Andante spianato et grande polonaise brillante in E-flat major, Op 22
Sviatoslav Richter – Chopin – Andante spianato et grande polonaise brillante in E-flat major, Op 22
great compositions/performances: Beethoven, Sonata para piano Nº 1 en fa menor Opus 2 Nº 1. Daniel Barenboim, piano
Beethoven, Sonata para piano Nº 1 en fa menor Opus 2 Nº 1. Daniel Barenboim, piano
Evgeny Kissin – Schumann-Liszt – Widmung (Liebeslied)
Debussy – Arabesque No. 1 (Ciccolini)
Historic Musical Bits: Wilhelm Kempff plays Robert Schumann – Piano Concerto in A minor, Op. 54 (Symphonie-Orchester des Bayerischem Rundfunks, Rafael Kubelik)
Robert Schumann – Piano Concerto in A minor, Op. 54
Wilhelm Kempff, piano
Symphonie-Orchester des Bayerischem Rundfunks, Rafael Kubelik
Allegro affettuoso (A minor) 00:00:00
Intermezzo: Andantino grazioso (F major) 00:15:43
Allegro vivace (A major) 00:21:27
From Wikipedia, the free encyclopedia
The Piano Concerto in A minor, Op. 54, is a Romantic concerto by Robert Schumann, completed in 1845. The work premiered in Leipzig on 1 January 1846 with Clara Schumann playing the solo part. Ferdinand Hiller, the work’s dedicatee, conducted.
Schumann had earlier worked on several piano concerti: he began one in E-flat major in 1828, from 1829–31 he worked on one in F major, and in 1839, he wrote one movement of a concerto in D minor. None of these works were completed.
In 1841, Schumann wrote a fantasy for piano and orchestra, his Phantasie. His pianist wife Clara urged him to expand this piece into a full piano concerto. In 1845 he added the intermezzo and finale to complete the work. It was the only piano concerto that Schumann completed.
The work may have been used as a model by Edvard Grieg in composing his own Piano Concerto, also in A minor. Grieg’s concerto, like Schumann’s, employs a single powerful orchestral chord at its introduction before the piano’s entrance with a similar descending flourish. Rachmaninov also used the work as a model for his first Piano Concerto.
After this concerto, Schumann wrote two other pieces for piano and orchestra: the Introduction and Allegro Appassionato in G major (Op. 92), and the Introduction and Allegro Concertante in D minor (Op. 134).
The piece, as marked in the score, is in three movements:
Allegro affettuoso (A minor)
Intermezzo: Andantino grazioso (F major)
Allegro vivace (A major)
There is no break between these last two movements (attacca subito).
Schumann preferred that the movements be listed in concert programs as only two movements:
- Allegro affettuoso
- Andantino and Rondo
The three movement listing is the more common form used.
The piece starts with an energetic strike by strings and timpani, followed by a fierce, descending attack by the piano. The first theme is introduced by the oboe along with wind instruments. The theme is then given to the soloist. Schumann provides great variety with this theme. He first offers it in the A minor key of the piece, then we hear it again in major, and we can also hear small snatches of the tune in a very slow, A flat section. The clarinet is often used against the piano in this movement. Toward the end of the movement, the piano launches into a long cadenza before the orchestra joins in with one more melody and builds for the exciting finish.
This movement is keyed in F major. The piano and strings open up the piece with a small, delicate tune, which is heard throughout the movement before the cellos and later the other strings finally take the main theme, with the piano mainly used as accompaniment. The movement closes with small glimpses of the first movement’s theme before moving straight into the third movement.
The movement opens with a huge run up the strings while the piano takes the main, A major theme. Schumann shows great color and variety in this movement. The tune is regal, and the strings are noble. Though it is in 3/4 timing, Schumann manipulates it so that the time signature is often ambiguous. The piece finishes with a restating of the previous material before finally launching into an exciting finale, and ending with a long timpani roll and a huge chord from the orchestra.
- Donald Tovey, Essays in Musical Analysis: Concertos (London, 1936)
- Alfred Nieman, “The Concertos,” in Robert Schumann: The Man and his Music, edited by Alan Walker (London, 1972)
- Michael Steinberg, “The Concerto: A Listener’s Guide”, (Oxford, 1998)
Scholars believe that though Cristofori was employed as the custodian of musical instruments at the court of Prince Ferdinand de’ Medici, he was hired for the position largely because of his other talent—inventing instruments. His most successful creation was the pianoforte, which, unlike the harpsichord, varies the volume of its sound depending on the force with which its keys are struck. He is thus generally regarded as the inventor of the piano. What other instruments did Cristofori invent? More… Discuss
Best Classical Music, Kempff plays Schubert Piano Sonata in B Major D575, great compositions/performances
Kempff plays Schubert Piano Sonata in B Major D575
best classical music, ENRIQUE GRANADOS.- Danzas Españolas ENRIQUE , Piano: Alicia de Larrocha, gregaat compositions/performances
ENRIQUE GRANADOS.- Danzas Españolas, Piano: Alicia de Larrocha
Hamelin plays Gershwin – Concerto in F
Antonín Dvořák – Legends, Op. 59
LISZT: Concerto no. 2 – Riccardo Muti, conductor / Paolo Restani,
Beethoven: Piano Sonata No. 24 in F-sharp, op. 78 “À Thérèse” Daniel Barenboim, great compositions/performances