１２月になると歌いたくなる、大好きなたまの曲。

ぎが(cover)

For Clarinet in Bb/Bass Clarinet in Bb, Harpsichord, Violin and Violoncello.

Le Tombeau de Escher (2021-2022)

15. 03/07　立ち上がり歩き出そうのキモチを込めて。

Impr: 5. Romance

Chopin: Prelude Bb Op. 28 no.16, Ellen Ballon in 1922, on Duo-Art 6496.
Re-recorded Mar 9, 2017* by VViljanen (by permission)from the digitized copy of the original reproducing piano roll with virtual Grand Bluethner Model One, tone/sound modified/designed by VV.
COMMERCIAL USE PROHIBITED.
Photo: Ellen Ballon (1898-1969), Canadian pianist, was born in Montreal of Russian parents. She was a child prodigy and at the age of 6, in the inaugural year of the McGill Conservatory (1904), won the first director's scholarship awarded at that school. She studied there with Clara Lichtenstein. As a child Ballon was praised by Josef Hofmann (whose pupil she became later, in Switzerland and again in New York), Adele aus der Ohe, and Raoul Pugno. Artur Rubinstein is said to have declared her 'the greatest pianistic genius I have ever met'. (more of her carrier on page http://www.bach-cantatas.com/Bio/Ballon-Ellen.htm 
The info of the original piano roll:
PRELUDE, Op. 28, No. 16 in B-flat minor
Roll Number: 6496, 64969
Composer/Creator: Chopin
Pianist: Ballon
Roll System: Duo-Art
Country: US
Date: January, 1922
Category: classical
Original Price: $2.25 (Price after 1922)

Chopin: Prelude Bb Op. 28 no.16, Ellen Ballon in 1922, on Duo-Art 6496

Johannes Brahms: Capriccio in B Minor Op. 76 No 2. Arthur Rubinstein on Duo-Art 6596.
Recorded 6 Mar, 2018 by VViljanen (by permission)from reconstructed and digitally simulated original reproducing piano roll.
ANY KIND OF COMMERCIAL USE PROHIBITED.
Photo: Arthur Rubinstein  (1887-1982) with his wife
The basic info* of the original piano roll:
CAPRICCIO, Op. 76, No. 2 in B-minor from "Eight Clavierstucke"
Roll Number: 6596, 65969
Composer/Creator: Brahms
Pianist: Rubinstein 
Roll System: Duo-Art
Country: US
Date: February, 1923
Category: classical
Original Price: $2.25
*source: from The Piano Player Group web page (by permission)


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Johannes Brahms: Capriccio in B Minor Op. 76 No 2. Arthur Rubinstein 1923 on Duo-Art 6596

Amy Beach: The Fairy Of The Fountain. Augusta Schnabel-Tollefsen** on Ampico 54314.
c Recorded for educational and pedagogical purposes by VViljanen Feb 10, 2019, and ANY KIND OF COMMERCIAL USE IS PROHIBITED.
Photo: Amy Beach (1867-1944)was an American composer and pianist of Scottish descent. She was the first successful American female composer to make a name for herself in music. Most of her compositions and performances have been done under the name of Mrs. HHA Beach.
Amy Marcy Cheney was born as a child of a distinguished New England family . She was a prodigy who was said to be able to sing forty songs as a one-year-old. She learned to read herself at the age of three and composed three simple rolls when she was four. She received her first lessons from her mother when she was six, and a year later she gave her first recitals . She played works by Händel , Beethoven , Chopin , as well as her own works. In 1875 her parents moved to Boston, where they were advised to register Amy at a European conservatory. Instead, they chose to have her take classes in Boston, and they first hired Ernst Perabo, and later Carl Baermann. When she was fourteen, Amy got her only official composition training from Junius W. Hill, with whom she studied harmony and counterpoint for a year . Apart from that one year, Amy Beach did not have any lessons and taught herself everything especially by studying classical pieces, such as Bach's Wohltemperiertes Klavier .
In 1883 she made her professional debut in Boston: she played Chopins Rondo in E and Moscheles ' concert in g minor. Shortly thereafter she performed as a soloist with the Boston Symphony Orchestra . After her marriage in 1885 with Dr. Henry Harris Aubrey Beach - a Boston surgeon who was 24 years older than she - agreed to limit her performances to one public recital a year and donate the proceeds to a charitable cause. Responding to the wishes of her husband, she devoted herself to composing. Her first major success was the Mass in E major , in 1892 by the Handel and Haydn Societywas carried out. The well-received execution of this mass led to Beach from then on being counted among America's most important composers. She composed the Jubilate dedicated to the Woman's Building at the World's Columbian Exposition . [1]
After her husband died in 1910, she toured Europe as a pianist and she played her own compositions at the concerts. She was determined to acquire a reputation both as a pianist and as a composer. In 1924 she returned to America where she spent most of her time on the MacDowell Colonyin Peterborough (New Hampshire). In 1915 she wrote the "Ten Commandments for Young Composers", which included many of her theses for self-study. Later, Amy Beach moved to New York, where she became the virtual house composer of St. Bartholomew's Episcopal Church. She used her status as the most important female composer of America to promote the career of young musicians; she was also at the head of various organizations, such as the Society of American Women Composers, of which she was the first president. Heart failure led to Beach withdrawing in 1940, until her death in 1944.
**Augusta Schnabel-Tollefsen (Augusta Tollefsen, née Schnabel, 1885 - 1955).
Info* of the original piano roll:
LA FES DE LA FONTAINE (THE FAIRY IN THE FOUNTAIN) "Les Reves De Columbine" Op. 65, No. 1
Roll Number: 54314, 54314G
Composer/Creator: Beach
Pianist: Tollefsen
Roll System: Ampico
Country: US
Date: n/a
Category: classical
Original Price: $1.75
*Info source: The Player Piano Group web page (by permission)

Amy Beach: La Fée de la fontaine. Augusta Schnabel-Tollefsen 1910's on Ampico 54314

Medtner, Rachmaninov et Scriabine. Trois personnalités prodigieuses de la culture slave et dont les œuvres ont pris des chemins bien différents. Pour autant, nul doute dès les premières mesures de ces partitions : il s’agit bien de musiques russes...  Après s’être fait remarquer au Concours Chopin 2015 en se classant parmi les finalistes, Dmitry Shishkin rafle le Premier Prix au Concours de Genève en 2018 puis le Second Prix du Concours Tchaïkovski en 2019. Ce Russe de 27 ans est originaire de l’Oural, comme Noureev. Il en a l’élégance et le feu intérieur… 

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“The playing itself is of a very high order, as befits a Geneva first prize and Tchaikovsky Silver Medal winner. The 27-year-old Russian has a rare feeling for the gentle wistfulness of Medtner’s ‘Canzona serenata’ and ‘Danza col canto’, and he is no less at home in the more Schumannesque solidity of the ‘Danza sinfonica’. But it is above all the Scriabin Sonata-fantasy that reveals his credentials as a poet-pianist.”
(Gramophone, June 2020)

MEDTNER - Danza col Canto op.40 n°1 // Dmitry SHISHKIN

"Sigi Weissenberg, pianiste Israélien"
One of the first recitals of A.Weissenberg in France
Works by C. Franck (Prelude, Fugue & Variation), J. Haydn (Sonata C-flat Major), F. Liszt (B minor Sonata), R. Schumann (Scenes from Childhood) and D. Kabalevsky (Sonata No.3, 1st audition in Paris)
Salle Gaveau, Paris, 19 December 1950

1950 Salle Gaveau: Récital Sigi Weissenberg

Medtner, Rachmaninov et Scriabine. Trois personnalités prodigieuses de la culture slave et dont les œuvres ont pris des chemins bien différents. Pour autant, nul doute dès les premières mesures de ces partitions : il s’agit bien de musiques russes...  Après s’être fait remarquer au Concours Chopin 2015 en se classant parmi les finalistes, Dmitry Shishkin rafle le Premier Prix au Concours de Genève en 2018 puis le Second Prix du Concours Tchaïkovski en 2019. Ce Russe de 27 ans est originaire de l’Oural, comme Noureev. Il en a l’élégance et le feu intérieur…

Nicolai Medtner, Danza Sinfonica op.40 n°2 - Dmitry Shishkin

Philippe Bianconi revient enfin à Debussy après le succès des Préludes en 2012 (Diapason d’Or de l’année, Grand Prix de l’Académie Charles Cros, Victoires de la Musique, 
Il offre de ces pages tardives mais essentielles une lecture claire et limpide, servie par une énergie remarquable.
Au-delà de leur défi technique redoutable, voire expérimental, les Etudes — dédiées à Chopin, que Debussy vénérait —, se révèlent sous les doigts de Phillipe Bianconi, poésie, rythme et couleur.
En complément de programme, les deux pièces ultimes de son œuvre, ainsi que celles de la suite tirée du Martyre de saint Sébastien, montrent un visage différent de Debussy, spirituel, dépouillé et poignant."

Impr: 5. Romance

543wolves

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