I paid for 88 keys, and I’m going to use 88 keys

Classical

This is a studio recording from 2012 for the BBC film 'Loving Miss Hatto'. A biopic penned by the British comedian Victoria Wood about pianist Joyce Hatto.

The character piece is like the art song's fun-loving cousin who always shows up to the party with a bottle of emotional perfume. It's perfect for those intimate gatherings or solo rendezvous with your piano. Thanks to the piano's rise to fame in the 1800s, character pieces were popping up everywhere, and composers were flaunting their creations at the hottest recital events of the time. Basically, character pieces were the 19th century's version of a hot new single. If you thought Franz Liszt's music was boring, think again! This guy was all about giving his character pieces creative and whimsical titles, like "Sposalizio" and "Vallée d'Obermann". But don't worry, he didn't forget about those of us who like our music titles to be a little more straightforward - he also composed plenty of works with no-nonsense names like "Album Leaves" and "Klavierstücke". With his "Consolations" (a.k.a. "Six Poetic Thoughts"), Liszt took a page out of Chopin's book and delved into the world of nocturnes. And let me tell you, the third Consolation in D-flat major is pure Chopin - even the key is pianist-friendly, unlike those pesky "easy" keys like C major. Looks like Liszt knew a thing or two about pleasing his audience! If you're a Chopin fan, you're gonna love Liszt's "Consolation No. 3"! I mean, talk about a tribute - this piece is basically a carbon copy of Chopin's Opus 27, no. 1. And while it might not have the same flashy piano solos that Liszt is known for, it more than makes up for it with its dreamy, slow-moving melodies. Plus, it's in the same key as Chopin's original, so you know it's gotta be good.

Despite the unusual title, the Consolations were inspired by both poetry and religious contemplation, just like Harmonies Poétiques et Religieuses. Some say the title comes from an 1830 poetry collection by Sainte-Beuve, while others think it's based on a poem by Lamartine called A Tear (or Consolation). Either way, it seems like Liszt was in a pretty contemplative mood when he wrote these pieces. But don't worry, Liszt didn't completely forget his roots - he snuck in a little Hungarian folk song as the primary theme, which he later used in his "Hungarian Rhapsody No. 1". So even though this piece might not match the wild, hair-flailing image we have of Liszt, it's still got a little bit of that old-school flavor. Liszt's "Consolation No. 3" wasn't just a musical masterpiece - it was also a major turning point in the composer's life. And let me tell you, Liszt's early life was a doozy - it was basically one big, crazy party. But don't take my word for it, just ask his first mistress (and mother of his three children) Marie d'Agoult, who wrote all about it under the pen name Daniel Stern. And if you're feeling really adventurous, you can even watch the 1975 film "Lisztomania" for all the juicy details. Talk about living the dream! Liszt's life was like something out of a Hollywood movie - seriously, this guy was breaking class barriers and performing like a superstar. But as he got older, he decided to trade in the limelight for a little bit of privacy. He started conducting orchestras and composing more, and even started teaching aspiring pianists from around the world. I guess you could say he was the original piano man!

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Piano: Yamaha C7
Piano Technician: Martin Walsh
Recorded at Cauldron Studios, Dublin
Recording Engineers: Ciarán Byrne & Michael Manning
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Franz Liszt Consolation no. 3 in D flat Major, S. 172

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For more information: http://necmusic.edu

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I produced this track using midi and EW Gold Pianos in order to perfection the performance as I imagine it.

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Praised for her powerful command of the instrument, unique interpretations and clarity of sound, Alina Kiryayeva captivates the audiences with her profound philosophical insight and charismatic stage presence.

A native of the Ukraine, Ms.Kiryayeva performed her first solo recital at age 8 and her solo debut with an orchestra at the age of 11. The First Prize winner of the Senigallia International Competition, Italy, Ms. Kiryayeva has also claimed top prizes in several international piano competitions in the USA, including the Grace Welsh International Competition, and the California Young Artist International Competition. She was honored by the Ukrainian President, Leonid Kravchuk, with the State Award for Achievements in Arts. She has also been awarded the Fannie Gottlieb-Harkavi Scholarship and Susan Rose Piano Scholarship.

Ms. Kiryayeva has toured her native Ukraine as well as Russia, Mexico, France Germany, Austria, Italy, Holland, Japan and United States. In recent seasons she has performed with the Kharkov State Philharmonic and State Opera Theatre Orchestras, The Imperial Valley Symphony orchestra and New York Symphonic Ensemble Orchestra.

In an award-winning collaboration with the internationally acclaimed clarinetist Maksim Shtrykov Alina appeared in New York debut recital in Weill Hall at Carnegie Hall, participation in Chamber Music Marathon at the Morse Recital Hall, New York, the Concerto Takes Manhattan Series at Yamaha Hall in New York, Young Artist Concert Series in Bergenfield, NJ and the Concert Series at Jefferson’s Ferry, NY. This season’s upcoming chamber music performances include multiple appearances on stage in USA, Belarus and Ukraine.

Completing her Bachelor of Music and Master of Music Degrees as a scholarship recipient at The Juilliard School, where she was a student of Dr. Oxana Yablonskaya and Prof. Jerome Lowenthal, she continues her education on the Doctoral Program at The Graduate Center of the City University of New York.

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Alina Kiryayeva Pianist

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