5 Persons are tagged with #piano

#piano

orauzel@diasp.org
Ora

Impromptu June 8, 2022

Impromptu June 8, 2022

I've started a shared public folder where I'll try to put my recordings of my improvisations, so they're publicly available online. I long since ran out of room on Soundcloud. Ideally this will allow for more space. It's not about all the social features of Soundcloud anyways. It's just about giving people a chance to hear what's going on right now with me musically.

Feel free to listen personally. Do not re-use in any media. Besides, it will be old and out of date in no time. Improv music is like that. It has a shelf life. Best listened to date: June 29, 2022. Yeah, 3 weeks is about right. Much will be different by then.

The key thing is to enjoy. Let the music do whatever it's going to do. If it doesn't, move on. If it does... At some point, I really need to get a Patreon. It's not like I'm ever not going to keep doing this. I'd imagine I'm going to improv on piano until the day I die.

#music #piano #improvisation #classical

yew@diasp.eu
YA

Vladimir Rebikov - Snow White, Op.39

I will try to make subtitles for this (ok it should be already there. UGGGGGHHHHH it was annoying work).
I HIGHLY recommend to turn them on if you cannot understand german or russian. Everybody probably knows this fairy tale. But this video is almost like a movie inside your head, you have to imagine everything to the music. This is difficult if one does not understand what it is about, especially later when all the other fairy tales start.

So...I was working on this the last three days and now it's done! First of all, sorry for mistakes, it's just impossible to spot them all, and to have a perfect recording after such a short time. There are some really mean and unplayable passages due to bad orchestra reduction. Also, some technical challanging parts appear. This work can be seen as a summary of almost all techniques Rebikov had until 1907. It is a very complex work, there are a lot of different themes which appear in different variations at different parts of the work.

Roughly one can say that there are 3 acts: The introduction of characters and the anger of the queen to the princess snow white, then the well known story of her death and the gnomes, and in the end her 'resurrection' and the marriage with the king (i know, hunter, all the other fairy tales etc etc, it was a rough summary).

There will be not enough place here for a very detailed summary of beginnings... so I will select important passages.

0:16 Start

1:12 Dance of the Queen

4:10 First appearance of snow white. This motive corresponds to her in the whole composition. It appears often.

5:18 Queen is jealous

5:42 First appearance of the Prince.

7:02 Little negros present coffee, wine and fruits.

10:09 Oriental Dance I.

11:22 Oriental Dance II.

12:44 The Hunter

14:10 The Hunter grabs Snow White and the Queen is happy and laughs

ACT II.

14:42 Forest

17:19 Gnomes

21:20 The Hunter and the Madonna

24:56 The Hunter wants to give the Queen a Heart of a deer to betray her

26:19 Forest - Atmosphere

28:21 The Personification of Freeze appears

32:30 Mysterious figure (spring) appears who wants to save snow white

COMPOSITIONS OF REBIKOV FROM NOW ON (like a collection)

34:53 Fairys of the Forest (nice waltz)

37:17 Dance of butterflies

39:06 Dance of the lily of the valley

41:10 Waltz of roses (Main Theme gets introduced)

46:17 Spring disappears (Continuation of main theme)

Story goes on:
47:55 Snow white wakes up

50:09 She enters the cave of the gnomes and eats

56:17 The Queen is disguised as apple vendor

56:50 Snow White eats and falls to the ground

58:20 Funeral March of the Gnomes

1:00:20 The Prince sees the dead princess

1:02:08 The Prince lifts her from the coffin

1:02:27 She wakes up

1:04:04 The love of them to each other

ACT III. The Marriage of The Princess

1:05:40 Introduction

1:07:15 Which guests will appear?

Guests:
1:07:41 Fairy appears
1:09:00 Struwwelpeter
1:10:00 Little Red Riding Hood
1:11:43 Human Eater
1:13:12 Liliputian King
1:14:09 Puss In Boots
1:14:56 The Witch arrives on a broom
1:15:38 Frog Prince
1:16:30 The Marriage Dance of the girls (AMAZING PIECE!)
1:19:52 The Marriage Dance.
1:22:13 A little reminiscence-coda-waltz
END. A music-psychological mime.

(After that I might take some days of with uploads haha)

#VladimirRebikov #classical #piano #music

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yew@diasp.eu
YA

Gennady Lukinykh - 21 Miniatures (2002-12)

Born 1965, Perm, RSFSR. Russian composer, arranger, pianist, vocalist, and journalist. Laureate of International (1996, 2006), All-Russian (1993, 2005) competitions and the Perm Prize composer A.P. Nemtin (2002), full member of the Russian Authors' Society (1997), director and artist of the creative association ‘Perm Lira’.

In 1984, Lukinykh graduated from the conductor-choral department of the Perm Music School. In 1991, he graduated from the conducting and choral faculty of the Ural State Conservatoire in Yekaterinburg.

In 1991, he was one of the founders of the male vocal ensemble ‘Cantus Quartet’ (1991-2003), in which he won the All-Russian (Nizhny Novgorod, 1993) and International (Rychnov nad Knezhnou, Czech Republic, 1996) competitions. Since 1996, he has been the artistic director of the Cantus Quartet of the Perm Regional Philharmonic. In 2000, together with Victoria Lukins (soprano), he organized the ‘Romantic Duet’ festival and in 2004, he founded the creative association ‘Perm Lyre’ which included ‘Romantic Duet’ and a number of other performers. As such he has gone on to win numerous awards. Primarily noted for his choral works and romances.

  1. Canzonetta 0:00
  2. Arioso 1:23
  3. Aria 2:46
  4. Invention 5:10
  5. Menuet 6:44
  6. Snow Waltz 8:39
  7. Cantabile 10:00
  8. Romance 12:30
  9. Autumn Nocturne 15:34
  10. Prelude 18:05
  11. Ballade 19:33
  12. Shutka (Joke) 22:21
  13. Funny Arpeggios 23:55
  14. Sunny Day 24:29
  15. Jazz Waltz 25:29
  16. Little Swing (Etude) 26:42
  17. Surf Rumba 27:33
  18. Evening Waves 29:21
  19. On a Quiet Bay (Ballade-Bossanova) 31:53
  20. Morning Samba 34:34

#GennadyLukinykh #piano #music

yew@diasp.eu
YA

CĂ©cile Chaminade - Selected Piano Works (Score Video Compilation {5k bonus})

This is almost all Chaminade which I have played in the last 2 years or so, starting with a new performance, the Humoresque. It's been a long journey discovering her wonderful music, and I am glad to see that my work and uploads enabled many other people to realized her music as well; the Arabesque No.1 is my most watched video on the channel. Many of my performances are the first ever. I will still play the one or other piece from her output, but I am near the end in that sense. Of course, replaying the pieces on a real and nice grand is always the final thought.

Here are the timestamps. As you can imagine, doing all these videos was a lot work. If you appreciate that work and passion, a donation always makes me happy :)
www.paypal.me/gamma1734

And here the stamps:

0:00 Humoresque, Op.25/1
3:40 Andante et Scherzettino, Op.59
8:22 Arabesque No.1, Op.61
12:47 Arabesque No.2, Op.92
16:50 Arlequine, Op.53
19:43 Aubade, Op.140
21:56 La Barque D'Amour, Op.135
27:08 Caprice-Impromptu, Op.153
31:44 Dans La Lande, Op. 127/1
37:40 Danse Créole, Op.94
40:10 Écossaise, Op.151
43:14 Guitare, Op.32
47:10 Interlude, Op.152
51:10 IntermĂšde, Op.36/1
56:21 Le Passé, Op.127/3
1:01:01 Les Willis (Caprice), Op.42
1:05:56 La Lisonjera, Op.52
1:10:00 Marche Américaine, Op.131
1:13:30 Mazurk' Suédoise, Op.58
1:16:54 Menuet Galant, Op.129
1:19:48 L'Ondine, Op.101
1:23:17 Passacaille, Op.130
1:26:12 Pastel, Op.128
1:30:05 PĂȘcheurs De Nuit, Op.127/4
1:35:29 Prélude, Op.84/1
1:38:12 Sérénade Espagnole, Op.150
1:41:31 Solitude, Op.127/2
1:47:45 PiĂšce Dans le Style Ancien, Op.74
1:50:28 Valse D'Automne
1:53:48 Zingara, Op.27/2
1:57:50 Scherzando, Op.10
2:01:05 MĂ©lancolie, Op.25/1
2:04:18 Studio, Op.66
2:07:09 Berceuse Arabe, Op.166
2:10:09 Suédoise, Op.141
2:13:17 Souvenirs Lointains, Op.111
2:18:50 Vert-Galant, Op.85
2:22:37 Duetto, Op.27/1

#CĂ©cileChaminade #classical #piano #music

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yew@diasp.eu
YA

CĂ©cile Chaminade: Piano Music

CĂ©cile Chaminade (1857-1944) was a highly successful female pianist and composer. As a pianist she toured the European countries, in 1892 making her debut in England, making acquaintance with one of her biggest fans, Queen Victoria. In 1908 she made her American debut, gaining instant and immense popularity.

Mark Viner is recognized as one of the most exciting British pianists of his generation, and is becoming increasingly well-known for his bold championing of unfamiliar repertoire. Viner has made his own selection from the hundreds of piano pieces, some light, others more serious, composed by CĂ©cile Chaminade (1857-1944). Periodically revived in tokenistic ways, Chaminade’s output is now being seen in the round, and it reveals a voice of not only feminine delicacy and charm, but also a melodist of refinement whose gift for a well-turned tune never left her in a career spanning over six decades.

Tracklist:
0:00:00 Pierette air de ballet, Op. 41

6 Etudes de concert, Op. 35:
0:02:22 I. Scherzo
0:05:27 II. Automne
0:11:44 III. Fileuse
0:16:19 IV. Appassionato
0:19:12 V. Impromptu
0:22:49 VI. Tarentelle

0:26:49 Les sylvains in D Major, Op. 60
0:30:06 Arabesque No. 1, Op. 61

PoÚme provençal, Op. 127:
0:34:40 I. Dans la lande
0:37:54 II. Solitude
0:42:04 III. Le passé
0:45:39 IV. PĂȘcheurs de nuit

0:49:57 La lisonjera, Op. 50

6 Romances sans paroles, Op. 76:
0:53:26 I. Souvenance
0:55:33 II. Elévation
0:58:05 III. Idylle
1:00:45 IV. Eglogue
1:03:13 V. Chanson brétonne
1:05:06 VI. MĂ©ditation

1:09:42 ThÚme varié in A Major, Op. 89

#CĂ©cileChaminade #classical #piano #music

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yew@diasp.eu
YA

Giovanni Sgambati: Complete Piano Music, Vol. 1

Composer: Giovanni Sgambati
Artist: Gaia Federica Caporiccio (piano)

Born in Rome in 1841, Giovanni Sgambati cut an impressive but relatively familiar figure as a prodigious young virtuoso until, as a 21-year-old keyboard lion in the making, he was introduced to Franz Liszt. The encounter changed Sgambati’s life. Liszt, perhaps the single most influential figure in European musical life in the middle of the 19th century, took the young Sgambati under his wing, and his faith was richly repaid. Still in his 20s, Sgambati conducted the Italian premiere of the Dante Symphony and even the premiere of the first (lengthy) part of the Christus oratorio.

There is an irony that the single piece through which his name has travelled worldwide is a piano Melodie, a sensuously achieved transcription of the Dance of the Blessed Spirits from Gluck’s opera Orfeo ed Euridice. Guaranteed to hush a rapturous audience into silence, it became the much-loved encore piece for the late Nelson Freire, among others.

Too little of Sgambati’s music for his own instrument is known beyond the Melodie. This neglect is being redressed in style by the Italian pianist Gaia Federica Caporiccio, born in Florence in 1988. The first volume of a projected complete series of Sgambati’s piano works proceeds in mostly chronological fashion. Thus the curtain is drawn back with a flourish in the Gothic, Bachian arpeggios of the Prelude and Fugue Op.6.

The two Etudes de Concert Op.10 already show Sgambati’s gift for sketching a tone-painting while focusing on a particular piece of technique. While Sgambati made considerable use of patterned keyboard figurations to seize an audience’s imagination, He was scarcely less adept than Schumann or Chopin at outlining a mood and then drawing a veil over it. Thus there are no sonatas or even long-form ballades here, but a series of evocative impromptus, lyric pieces and nocturnes, each of them memorable in their own right, adding up to an absorbing portrait of a young pianist-composer with Romantic-era Europe at his feet.

Born in Florence in 1988, Gaia Federica Caporiccio’s first encountered the piano at the age of 5 showing a clear interest and an undeniable musical gift. At the age of 18, she received the Bachelor Diploma at the "Cherubini" Conservatory. Two years later, she obtained the Master in Music Performance – Concert with highest score. During the following years, she refined her art by attending some of the best musical academies with Pietro De Maria, Marian Mika, and Vovka Ashkenazy, performing in many concerts and winning several Piano Competitions.

Tracklist:
Prélude et fugue in E-Flat Minor, Op. 6:
0:00:00 I. Prélude
0:03:45 II. Fugue

2 Études de concert, Op. 10:
0:11:17 I. Tranquillo
0:16:03 II. Agitato

0:23:23 Étude triomphale in A Major

6 PiĂšces lyriques, Op. 23:
0:25:46 I. Rapelle-toi!
0:28:46 II. Á la Fontaine
0:30:50 III. Vox populi
0:34:11 IV. Do-do
0:36:51 V. LĂ€ndler
0:38:23 VI. Gigue

0:40:07 Sérénade valsée
0:43:31 Nocturne No. 1 in B Minor, Op. 20
0:47:31 Nocturne No. 2 in G Major, Op. 20
0:50:05 Nocturne No. 3 in C Minor, Op. 20
0:55:49 Nocturne in B Major per l'album di Bellini
1:01:07 Nocturne in D-Flat Major, Op. 31
1:05:25 Nocturne in E Major, Op. 33
1:09:41 Nocturne in G Major

Impromptus:
1:13:38 I. Allegretto in E- Flat Major
1:17:39 II. Allegro moderato in B-Flat Major
1:20:51 III. Allegretto grazioso in E-Flat Major
1:25:28 IV. Animato allegramente in E Major
1:30:45 V. Andantino in A Major
1:33:15 VI. Allegro appassionato ma non troppo mosso in F-Sharp Minor

1:38:09 Gavotte in A-Flat Minor, Op. 14

#GiovanniSgambati #classical #piano #music

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yew@diasp.eu
YA

Claude Debussy - Piano Solo

00:00 Deux arabesques, L. 66: No. 1, Andantino con moto
04:45 RĂȘverie, L. 68
08:53 Préludes, Livre 1, L. 117: No. 8, La fille aux cheveux de lin
11:36 Suite bergamasque, L. 75: No. 3, Clair de lune
16:28 Images, PremiÚre série, L. 110: No. 1, Reflets dans l'eau
Piano: Rogerio Tutti

22:45 La plus que lente, L. 121
26:30 Ballade, L. 70
Piano: Carlo Balzaretti

33:30 Petite Suite pour Piano Ă  Quatre Mains, L. 65: I. En Bateau
36:34 Petite Suite pour Piano Ă  Quatre Mains, L. 65: II. CortĂšge
39:44 Petite Suite pour Piano Ă  Quatre Mains, L. 65: III. Menuet
42:23 Petite Suite pour Piano Ă  Quatre Mains, L. 65: IV. Ballet
45:17 Symphonie in B Minor, L. 10: I. Allegro ben marcato
54:04 Symphonie in B Minor, L. 10: II. Andante cantabile
01:03:08 L'Enfant Prodigue, L. 57: No. 1, PrĂšlude
01:03:35 L'Enfant Prodigue, L. 57: No. 4, CortĂšge, Air de Dance
Piano: Carlo Balzaretti, Kuniko Kumagai

01:07:24 Children's Corner, L. 113: No. 1, Doctor Gradus ad Parnassum
1:09:50 Children's Corner, L. 113: No. 2, Jimbo's Lullaby
1:13:15 Children's Corner, L. 113: No. 3, Serenade for the Doll
1:15:38 Children's Corner, L. 113: No. 4, The Snow Is Dancing
1:17:46 Children's Corner, L. 113: No. 5, The Little Shepherd
01:20:41 Children's Corner, L. 113: No. 6, Golliwog's Cake-walk
Piano: Giovanni Umberto Battel

01:23:28 Préludes, Livre 1, L. 117: No. 1, Danseuses de Delphes
Piano: Rogerio Tutti

1:26:43 Préludes, Premier livre, L. 117: No. 10, La cathédrale engloutie
1:33:43 Images, DeuxiÚme série, L. 111: No. 1, Cloches à travers les feuilles
1:38:27 Images, DeuxiÚme série, L. 111: No. 2, Et la lune descend sur le temple qui fut
1:44:14 Images, DeuxiÚme série, L. 111: No. 3, Poissons d'or
Piano: Giovanni Umberto Battel

#ClaudeDebussy #classical #piano #music

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anne_har@diaspora.psyco.fr
Anne Har

#Musique #Classique #Piano #Bertrand_Chamayou #Saint_Saëns
Je découvre et l'interprÚte et le concerto, c'est magnifiqu ! Je vais l'applaudir ce soir dans un Concerto de #Félix_Mendelssohn à notre excellent #Auditorium à #Dijon.

Saint-Saëns : Concerto pour piano et orchestre n°2 (Bertrand Chamayou)

Bertrand Chamayou joue, avec l' #Orchestre_national_de-France placé sous la direction de #Cristian_Măcelaru , le 2e Concerto pour piano et orchestre de #Camille_Saint_Saëns. Extrait du concert donné le 20 mai 2021 à la #Philharmonie_de_Paris.

Structure :
Andante sostenuto
Allegro scherzando
Presto

Au printemps 1868, le cĂ©lĂšbre Anton Rubinstein accepte de diriger Ă  Paris une Ɠuvre de son ami Camille Saint-SaĂ«ns, Ă  condition que celui-ci en soit le soliste, et que sa partition soit nouvelle. En dix-sept jours, Saint-SaĂ«ns compose son DeuxiĂšme Concerto pour piano. L’Ɠuvre devient vite l’une des plus cĂ©lĂšbres de son auteur, Ă  juste titre. Son architecture est bien proportionnĂ©e, ses thĂšmes sĂ©duisants et contrastĂ©s, son pianisme dĂ©coule Ă©lĂ©gamment de Chopin, quoique l’orchestre ne pĂąlisse pas devant lui. L’Ɠuvre maintient en outre l’auditeur sous tension. DĂ©pourvue de mouvement lent, elle prĂ©sente en effet une singuliĂšre dynamique d’accĂ©lĂ©ration (moyennement rapide / rapide / trĂšs rapide). De son introduction « en style d’orgue » Ă  sa tarentelle finale, la partition joue enfin de registres variĂ©s, ce qui fit dire Ă  un critique qu’elle « commence avec Bach et finit avec Offenbach » !

L’Andante sostenuto s’ouvre et se clĂŽt par une majestueuse cadence du piano, dans le style d’un prĂ©lude de Bach. De ton sĂ©rieux, le mouvement s’inscrit clairement dans la filiation des concertos de Chopin, mĂȘme si ton thĂšme principal est empruntĂ© par Saint-SaĂ«ns Ă  son Ă©lĂšve FaurĂ©. Contre toute attente, le mouvement suivant est un Allegro scherzando, dans lequel piano et orchestre dialoguent. L’animation rythmique et la lĂ©gĂšretĂ© de trait trahissent l’influence du Scherzo du Songe d’une nuit d’étĂ© de Mendelssohn. Enfin, le Presto gĂ©nĂšre une vĂ©ritable ivresse. Son thĂšme rappelant la Tarentelle de Chopin s’enchaĂźne Ă  une toccata d’une volubilitĂ© diabolique. Un Ă©pisode plus calme contraste, dans lequel de malicieux trilles traversent le clavier.

https://youtu.be/VACnwogYT_E

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