ive run out of superlatives Archie..I'm simply enthralled and will take the time to really get to know this piece. its epic! thank you for sharing this

Deeply impressed by your subtile, energic and clear interpretetation. Thanks so much!

Nice track! Thank you for sharing with Piano Emotions

@john-e-martin-iii: Thank you ~ I take requests ---> Barcarolle op. 60 coming your way soon!

Georges Bizet: L'Arlésienne Suite No. 1 & 2, GB 121

Georges Bizet: L'Arlésienne Suite No. 1, GB 121: III. Adagietto (Adagio)

SALES TEXT
Cellist Beatriz Blanco and pianist Federico Bosco follow the success of their first Odradek album with Of Love and War, a sumptuous programme of music by Nadia Boulanger, Richard Strauss, Debussy, Webern, Hindemith and Fauré, featuring mezzo-soprano Solenn’ Lavanant-Linke.

Of Love and War, partly inspired by Eduardo Galeano’s novel Days and Nights of Love and War, draws parallels between the isolation and pent-up passions of wartime and the experiences of the current pandemic. Much of this repertoire was composed around the time of the First World War, but also embraces broader themes of beginnings and endings, night and day, love and loss. 

Nadia Boulanger is celebrated as a teacher of great composers, but was a composer in her own right; her Three Pieces occupy a similar soundworld to that of Debussy, whose Cello Sonata is at the heart of the programme, and Fauré, whose song Les berceaux we hear in an arrangement for cello and piano. There are works by Webern that show us ‘before and after’ his early lessons with Schoenberg: the Zwei Stücke für Cello und Klavier of 1899, written when Webern was only 16, and the Drei Kleine Stücke, Op. 11 and Cello Sonata, both dating from 1914. The album discovers a softer side to Hindemith in his richly Romantic Three Pieces, Op. 8, and the whole recital is framed by glorious songs by Strauss and Debussy, performed by Solenn’ Lavanant-Linke.

13 - GABRIEL FAURE - Les Berceaux From 3 Songs, Op. 23, No. 1

I have again the honour and pleasure to share with you a piece composed and performed by myself and the added cello by my good friend Michael Hanrahan..
I hope you will have pleasure listening...

More music by Michael...@michaelhanrahanmoore78

Art picture by Erik-Karits on Unsplash



Prelude en La Bémol wav

Do you feel like you are broken
And the pieces of you are sharp like glass
Sometimes the pieces are put back incorrectly
And what's true shines through cracks
It wasn't your fault
But you have to mend yourself
To be pottery
Might've been easier

To Be Pottery

Sunday, May 28th
St Mary's Nativity Church (Flushing, NY)
Composer: Max Bruch
Conductor: Jin Soo Lee
Concertmaster: Kae Nakano

03 - Scottish Fantasy For Violin With Orchestra And Harp, Introduction

Du Bist Die Ruh (D. 776; Op. 59, No. 3)  by Franz Schubert
Erika Mädi Jones (soprano)
Panaretos Kyriatzidis (piano)

Du Bist Die Ruh (D. 776; Op. 59, No. 3) by Franz Schubert (Soprano, Erika Mädi Jones)

Chopin may have first dabbled in the world of Impromptus in 1834, but it wasn't until six years after his death that his "Fantaisie Impromptu" hit the streets (and eventually inspired the Tin Pan Alley classic "I'm Always Chasing Rainbows"). His earliest published Impromptu was in A-flat Major, written in 1837, the same year he met the one and only George Sand. Dedicated to Countess de Lobau, one of his fancy-pants pupils, it was published in December.

Fast forward to the summer of 1838, and Chopin's health was in serious decline. In a move that would make anyone question his judgement, he decided to spend the damp Parisian winter on the sunny, fresh-aired island of Majorca (which his friends, who had never been there, assured him was delightful). Spoiler alert: it was not delightful. Terrible weather, shabby accommodations, and a distinct lack of a piano meant that by the time he was diagnosed with TB, things were looking pretty grim. But a piano finally arrived from Paris, and by the end of December, Chopin was well enough to start composing again.

The Impromptu No. 2 in F-sharp Major, which was sketched during his unfortunate stay with George on Majorca and completed at her country house in Nohant, has the chill vibes of a nocturne. The opening section has two contrasting melodies, and the central episode is all about a more assertive theme with a dotted-rhythm ostinato in the bass. The big surprise comes at the end, when the opening phrase returns in the unexpected key of F Major, delaying the reappearance of the second theme with some sweeping figurations in the right hand.

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

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

My SoundCloud Channel: https://soundcloud.com/archie-chen
Official Website: http://www.archiechen.com
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Festival Website: http://www.pianofestival.ie
Teaching Website: http://www.pianoacademy.ie

Frédéric Chopin Impromptu no. 2 in F sharp major, op. 36

Johannes Brahms 4 Klavierstücke, Op.119

Video: https://www.youtube.com/watch?v=v1SEBIvLOIY

Piano Recital: Chopin, Haydn, Grieg

Frederic Chopin: Waltz in F minor, Op. 70, No. 2

Recorded live with the CSO; Ken Lam, conductor, Yuriy Bekker, solo Violin, MaryAnn McCormick, mezzo-soprano.

MaryAnn McCormick with the CSO

Morgen Op. 27, No. 4 by Richard Strauss

Archie Chen is a concert pianist, creator, and cultural leader whose music spans from the world’s great stages to the quantum unknown. Praised by the Irish Times for his “daring velocity” and “fiery temperament,” he has performed at Carnegie Hall, Lincoln Center, the Gewandhaus, and beyond — captivating audiences across Europe, Asia, and the Americas.

As Executive Director of Holy Names Music Center in Spokane, Archie brings the same artistry and vision he brings to the keyboard: bold, creative, and committed to transformation. His recordings on Sony Classical and Carnegie Artists showcase not just technical brilliance but an alchemist’s touch — turning rhythm into resonance, matter into music.

This page is where it all comes together: live takes, studio sessions, and sound experiments. A space to step inside the frequency and hear music not just as notes, but as energy in motion.

Frédéric Chopin Impromptu no. 2 in F sharp major, op. 36

Archie Chen

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