so solemn and very passionate. love the emotions in the progressionsa nd chords. So emotive.

Buena pista amigo buen trabajo realizado sigue asi

Thats why the music is passion, surely studio version capture all frecuencies, therefore feellings, great work!!!

Get ready for Chopin's 3rd Ballade, Op. 47, a sunny and optimistic tale with a side of dance and mischief. It's like a feel-good movie compared to the darker, stormier siblings in the Ballade family.

Featuring two main themes that play "opposites attract," our first melody soars sky-high, before echoing left-hand responses. Then, a burst of celebratory arpeggios adds some fireworks. The second theme? A flirty dance number, dipping into minor keys but never fully embracing tragedy.

Watch as the dancelike theme gets all dressed up, while the first remains elegantly unchanging. And let's not forget the flamboyant, keyboard-spanning joyride in between.

Written in 1841, the 3rd Ballade proves that Chopin's final decade was nothing short of musical genius. We might never know the exact story behind this lyrical piece, but its narrative roots and natural flow make it the most romantic of the set.

So, sit back and enjoy this delightful Chopin adventure, where epic narration meets warm-hearted charm, and let your imagination fill in the blanks! 🎹📖💃🌞

Live from the National Concert Hall in Dublin, Ireland, 11th October, 2010. Please comment and share!

Unedited
My SoundCloud Channel: https://soundcloud.com/archie-chen
Official Website: http://www.archiechen.com
Youtube DIPF https://www.youtube.com/c/PianofestivalIe
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Festival Website: http://www.pianofestival.ie
Teaching Website: http://www.pianoacademy.ie

Piano: Hamburg Steinway D
Piano Technician: Paul Wade
Recording Engineer: Darby Carroll

Frederic Chopin Ballade no. 3 In A Flat Major, op. 47

Recorded live from the "Jefferson's Library" concert on February 9, 2013 in Pittsburgh, PA. With Andrew Appel, harpsichord, and Laura Heimes, soprano.


"The White Cockade," Franz Joseph Haydn

Nocturnes Op.10 No.19

Svyatoslav Levin - F.Chopin: Variations, B flat Major, Op. 2, on La ci darem la mano

Fanfare for Full Fathom Five
by John Mackey
performed by the Columbus State University Wind Ensemble, conducted by Jamie L. Nix
scored for 6 trumpets, 6 horns, 3 tenor trombones, 2 bass trombones, contrabass trombone, 2 tubas, and 4 percussionists

Full score and program note here: http://ostimusic.com/FullFathom.php

John Mackey: Fanfare For Full Fathom Five

While Bach was the end-all-be-all of the Baroque period, Chopin was the golden boy of the Romantic era. Just like the early Romantics rejected the cool objectivity of their predecessors, Chopin's music was all about expressing the self in all its various forms. In exploring new harmonic realms and tonal relationships, he had to come up with new forms to contain his highly individual creative messages. This resulted in his "character pieces" or piano miniatures - the shortest of which weighs in at just 16 measly measures. His Nocturnes, 19 in all, are particularly soulful and expressive, making them some of Chopin's most intimate pieces. Interestingly, Chopin has been wrongly credited with creating the genre of the romantic night piece. In fact, that honor goes to John Field, who composed 17 Nocturnes, the first three of which appeared when Chopin was just four years old. But don't let that take away from Chopin's supreme talent in the Nocturne genre. In short, Chopin was a true master of the Nocturne and his contributions to the genre will never be forgotten. Or at least until the next guy comes along and claims he invented it.

The Dublin-born Field was a pianist of wide acclaim throughout Europe. He was a student of Muzio Clementi and even worked in his piano shop. Field composed a ton of music, including eight piano concertos and 17 Nocturnes, the first three of which appeared in 1814 - when Chopin was just four years old. Most authors of books on Chopin try to downplay the influence of the Irish composer on the Polish master. Field may have invented the genre, but it was Chopin who really took it to the next level. You could say that Chopin took the essentials of the Nocturne and intensified them a thousandfold - like adding extra hot sauce to your already spicy burrito.

Even if you believe that Field invented the genre of the Nocturne, there's no denying that Chopin was a supreme practitioner in the field (pun intended). His piano style fully exploited the singing quality of the instrument and created a whole world of sonorities. He also used the sustaining pedal to amplify the piece's distinctive sonority, and his use of rubato contributed to the poetic ambiance. On a musical level, Chopin introduced the element of chromaticism into his harmonic structure, which influenced virtually all composers who came after him. Chopin's 19 Nocturnes are a real mixed bag - some are dreamy, some are tear-jerkers, and some are just plain stoic. The E-major Nocturne on this program is the 18th and final one that Chopin published in his lifetime (he did leave us with one more, but that was published posthumously). It's a real crowd-pleaser - it's got a nice, flowing melody and some fancy filigree, all held together by some sturdy chordal accompaniment. But don't worry, things don't stay calm for long - the left hand starts moving like crazy, and we get a new melody to go along with it. Then things get really interesting - we've got some syncopated, agitated music that really raises the tension. But don't worry, the main theme comes back to calm things down. And just when you think it's over, Chopin pulls out a little two-measure epilogue that some people might find a little unnecessary. But hey, who are we to question the master?

This is a live recording from Auer Hall at Indiana University Jacobs School of Music of one of Frederic Chopin's last works, the Nocturne in E major, op. 62, no. 2. 
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Teaching Website: http://www.pianoacademy.ie

Piano: New York Steinway & Sons Model D

Frederic Chopin Nocturne in E major, op. 62, no. 2

Tetra String Quartet perform  Franz Joseph Haydn's Quartet No. 32 in C major, Op.33, No. 3, "The Bird".   This is a Soundfield 2x 1bit Live-to-2track DSDIFF format recording.

HAYDN - Quartet in C - Opus 33 - No3 - The Bird

Franz Joseph Haydn's Quartet No. 32 in C major, Op.33, No. 3, "The Bird" ~ Tetra String Quartet

https://www.aleksandramikulska.com​

https://bio.to/aleksandra​

European Melodies

Hungarian Rhapsody, No. 11

Liszt - Hungarian Rhapsody No. 11 (Live)

Composed by @dan-cullen
Cello ensemble performed by Deryn Cullen

Blood Sunset

Mozart's "Adagio in B minor" (1788) is a real party in the key of B minor. It's not just the daring use of chromatic harmony that makes it stand out, but also the fact that B minor is a key that was hardly ever used by 18th and 19th century composers. And let's be real, it's probably because it's a real pain in the butt to play. Trying to modulate to the dominant key of F# major with all those sharps is like trying to read a novel written in wingdings. It's just not happening. But props to Mozart for not letting a little thing like modulations stop him from creating a masterpiece.

B minor isn't just a key, it's a state of mind. It's the musical equivalent of a haunted house on a dark and stormy night. It's spooky, it's eerie, and it's perfect for evoking abnormal psychological states and foretelling tragic musical events. Just listen to Bach's "B minor Mass," Liszt's "Sonata in B minor," Chopin's "B minor Scherzo," or Tchaikovsky's "Symphony No. 6 (Pathétique)" if you don't believe me. And Mozart's "Adagio in B minor K. 540" is no exception. He fully embraces the spooky vibe of B minor and takes it to new heights. It's like a horror movie score, but with more crescendos.

It is basically one big drama fest from start to finish. It starts off with a solo melodic line in the right hand that outlines the B minor triad. And then BAM! You're hit with a diminished 7th chord that's like a punch to the gut. And it just keeps getting more intense from there. You've got all the emotional rhetorical devices you could want: plangent appoggiaturas, yearning suspensions, dramatic silences, and rapid contrasts of loud and soft. It's like a classical music roller coaster. And just when you think you can't handle any more drama, it ends with a bang. Or maybe a whimper. I can never tell as it depends on my mood.

It may be composed in sonata form, but it's definitely not your typical classical music. It's like a fantasia, with short bursts of jagged, instrumentally-conceived melody that seem like they're almost improvised. And forget about those lovely operatic melodies that you often find in piano sonatas. This one is all about the drama and the intensity. It's like Mozart decided to throw out the rulebook and just let his emotions loose. And honestly, it's pretty wild. But in a good way. Like a classical music emotional rollercoaster ride!

It's definitely a trip, especially in the development section where the chromatic harmonies are used. It's like Mozart is taking you on a tour of tonal space and you never know where you're going to end up. Pianist Vladimir Horowitz even said that this work is like a preview of the harmonic language that Chopin, Wagner, and Verdi would use. It's like Mozart was a time traveler who went into the future and brought back some sweet harmonic secrets. And if Horowitz says it's okay to perform it in a Romantic style, then who are we to argue? Let's get this chromatic party started!

My SoundCloud Channel: @archie-chen
Official Website: www.archiechen.com
Youtube DIPF www.youtube.com/c/PianofestivalIe
Youtube Archie www.youtube.com/c/ArchieChenPianist
Festival Website: www.pianofestival.ie
Teaching Website: www.pianoacademy.ie

Piano: Fazioli F278
Recording Engineer: David Bjur
Piano Technician: Dave Severence
This track was recorded at Washington State University on June 26th, 2019.

Adagio in B minor, K. 540

Wolfgang Amadeus Mozart Adagio in B minor, K. 540

Richter Plays Schubert

Franz Schubert - Piano Sonata No. 19 in C minor, D. 958 - Sviatoslav Richter

According to the Irish Times, Taiwanese-American pianist Archie Chen is like a hot-blooded Latino lover, except with a piano instead of a guitar. His "gorgeously full tone" and "daring velocity" have earned him a reputation as a real heart-throb of the classical music world. But don't be fooled by his dreamy good looks and seductive melodies - the man's got serious skills. As International Piano Magazine attests, his interpretation of Alkan at the Dublin International Piano Festival was so steamy, it's still making audiences swoon months later. Talk about a performance that really sticks with you!

Ladies and gentlemen, it's not every day you get to see a world-renowned doctor who also happens to be an international musical sensation! Dr. Chen is a true Renaissance man, traveling the globe and performing at some of the most prestigious venues in the world. From Carnegie Hall and Lincoln Center to the Gewandhaus and the Vatican Auditorium, this guy has played them all. And don't even get me started on his tours of Asia, the Middle East, and Europe! He's played at the National Concert Hall in Dublin, Benaroya Hall, and countless concert halls throughout China. So if you're feeling ill, just come to one of Dr. Chen's shows and let his music heal your soul. 

He's not just a performer, he's a multimedia superstar! Not only has he graced the stages of some of the world's most prestigious venues, but he's also been featured on radio and TV in the US and Europe. And if that's not impressive enough, he's even been in movies! Just check out BBC Films' "Loving Miss Hatto" where he tackles the notoriously tricky Godowsky-Chopin Etudes. But don't worry, Archie's not a one-man show. He's an active chamber musician who's performed with some of the best, including English cellist William Butt and trumpeters Alan Vizutti and John Wallace. And he's not just a big city guy - Archie's performed with symphonies all across the US, from the Spokane Symphony to the Northwest Chamber Orchestra. And to top it all off, he's recorded for both Sony Classical and Carnegie Artists Records. So if you're in the mood for some top-notch entertainment, look no further than Archie - the pride of Spokane! This guy has been tickling the ivories since he was old enough to reach the keys. At just 11 years old, he gave his first Piano Concerto performance with the Spokane Youth Symphony. And he just kept getting better and better, winning the Northwest Young Artist series at 13 and the Young Artist award at Musicfest Northwest at 16. Talk about a prodigy! But Archie didn't stop there. He caught the attention of the legendary Maestro Gunther Schuller, who took him under his wing and made him a regular guest artist at the Festival at Sandpoint. 

And if that wasn't enough, he even went on to get his Bachelor and Master of Music degrees from the prestigious Jacobs School of Music at Indiana University, where he studied with the likes of Menahem Pressler and the late Edmund Battersby. Alright folks, let's get serious for a second - this guy is a scholarship machine! Archie Chen may be a native of Spokane, but he's been racking up accolades all over the country. At Indiana University, he won the Nina Neal Piano Scholarship and even earned the Performer's Certificate - the school's highest honor. But don't worry, he didn't stop there. After completing his studies at Indiana University, he went on to earn his Recital Artist Diploma and Doctorate of Music in Piano Performance. And if that wasn't impressive enough, he even focused his research on Chopin at the Royal Irish Academy of Music under the direction of John O'Conor. 

So when it comes to scholarships and awards, Archie's got it covered! Folks, let me tell you - this guy's got some serious talent. Not only has Archie Chen won countless awards and scholarships, but he's also been recognized by some of the biggest names in the business. He was the recipient of the Arts Council of Ireland Music Bursary Award, in support of his performances and research. And some of the biggest names in music have been his teachers, including Leonard Hokanson and Alicia De Larrocha. But don't just take my word for it - in 2013, Archie was named Artist of the Year by the New York Classical Music Society and he won First Prize at the Bradshaw & Buono International Piano Competition. And if that wasn't impressive enough, he's even been awarded a Fellowship from the Tyrone Guthrie Centre, a prestigious residency program for artists.

Not only is he a world-class pianist, but he's also an educator and a festival founder. That's right, folks - Dr. Chen has served as Assistant Lecturer of Piano at the Royal Irish Academy of Music and at the Conservatory of Music & Drama at TU Dublin. And if that wasn't enough, he's also the Founder & Artistic Director of the Dublin International Piano Festival & Summer Academy. But don't worry, he's not just a one-man show - he's also the Director of Development at the Piano Academy of Ireland. 

Not only is Archie Chen a world-renowned pianist, but he's also a top-notch teacher! His students have won top prizes in international piano competitions and have been accepted to some of the best universities and conservatories in the world. And he doesn't just teach at home - he regularly gives master classes across the US, Europe, and Asia, and is an active adjudicator at both national and international levels. But don't worry, Spokane - he hasn't forgotten about you. Recently returned to his hometown, Archie is an active member of MTNA, CMS, SMTA, and EPTA, and he even serves on the board of Musicfest Northwest. And when he's not busy with all that, he still finds time to maintain a private studio with his wife Rhona Gouldson.

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Frederic Chopin Nocturne in E major, op. 62, no. 2

Archie Chen Pianist

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