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A soundtrack for the altitude — music that lifts you above the noise and into pure clarity. These tracks are my private jet journal: moments of turbulence, smooth ascents, and sky-high views, all translated into sound. It’s more than a playlist; it’s a field of motion and possibility, proof that music (like life) is best lived at cruising altitude. Buckle up, press play, and take the ride.

Archie Chen: First Class Sound

clear ur mind ?

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Classical

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Behold, Archie Chen's superhuman pianistic feats as he tackles Leopold Godowsky's gravity-defying reimaginings of the Chopin Etudes. Archie doesn't merely perform the Godowsky versions; he ups the ante by kicking off with the original Chopin version, leaving your jaw on the floor! The Studies unveil a pianist whose technical prowess is so mind-boggling that one could mistake Chopin's originals for child's play. Don't miss Archie's dazzling interpretation of Frederic Chopin's Etude in C major, Op. 10 No. 1, followed by Leopold Godowsky's Study No. 1 in C major.

Godowsky, a pianistic wizard of his time, shares his magical secrets with ingenious fingerings and enchantingly expressive pedaling. At first glance, some Studies, particularly those for the left hand, seem like Herculean tasks only fit for a Greek god. But fear not! Godowsky, the crafty problem-solver, has provided solutions that mere mortals can attempt. His metronome marks, often seemingly beyond human capabilities, taunt us with lofty aspirations of unattainable virtuosity, invoking the image of a pianist as a finely-tuned, unstoppable machine.

Picture this: you're a budding pianist encountering Carl Czerny's studies, which, let's be honest, are about as exciting as watching paint dry. Yet, they inspired some of the most extraordinary études of the 19th century, like those by Franz Liszt and our beloved Frederick Chopin. These works strike the perfect balance of technique, virtuosity, and refined expressiveness, much like a tightrope walker gracefully balancing between two skyscrapers.

The interwoven relationships between these composers are akin to a love triangle of musical dedications, with Liszt dedicating his 'Transcendental' Études to Czerny, Chopin dedicating his Opus 10 to Liszt, and Opus 25 to Comtesse Marie d'Agoult, Liszt's mistress. While Liszt's Études shattered records for virtuosity, his revisions often tamed the beasts, removing leaps and stretches that would make even an octopus sweat.

Chopin, in contrast, left his Études untouched after publication. Enter the annotated editions: a treasure trove of posthumous wisdom from Chopin's disciples and top interpreters. These editions offer a backstage pass to the artistry of the masters, from Ignaz Friedman to Alfred Cortot, whose notes could rival the length of a Tolstoy novel.

Take, for instance, Chopin's Étude Op. 10, No. 1 in C major, nicknamed the "Waterfall" étude. This thrilling solo piece challenges the right hand to stretch its fingers like a superhero wielding superpowers. The enchanting cascade of notes conjures images of Piranesi's dizzying staircases. Even Vladimir Horowitz, the legendary pianist, wouldn't dare perform this étude in public, dubbing it the most challenging of all.

Godowsky's Studies on Chopin's Études, a staggering set of 53 arrangements, are the Mount Everest of piano challenges. As critic Harold C. Schonberg puts it, they're "the most impossibly difficult things ever written for the piano." With several studies featuring right-hand parts shifted to the left hand, and others solely for the left hand, these Herculean tasks are not for the faint-hearted.

Join Archie Chen on this extraordinary adventure as he conquers Godowsky's Everest, scaling the heights of pianistic technique and musical artistry. Witness the impossible become possible!

Live from the Hugh Lane Gallery on August 4th, 2013 as part of the concert series of the Dublin International Piano Festival & Summer Academy. Please comment and share.

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

Piano: Hamburg Steinway B
Piano Technician: Martin Walsh
Recording Engineer: Joey McDonald
Piano provided by Pianos Plus

Frédéric Chopin Etude in C major, op. 10 no. 1 plus Leopold Godowsky Study no. 1 in C major

Ladies and gentlemen, boys and girls, pianophiles, and adventure seekers alike, prepare to embark on an auditory journey like no other. Today, the great pianist Archie Chen will perform Leopold Godowsky's mesmerizing Study no. 4 in A minor "Ignis Fatuus" – a composition so delightfully treacherous it will leave you questioning the very limits of human dexterity.

From the mind of Godowsky, the mad scientist of piano, comes a set of 53 arrangements that would make even Chopin's most nimble fingers tremble in fear. Schonberg once quipped that they are "the most impossibly difficult things ever written for the piano," and we dare say he wasn't far off the mark!

But what's all this about Ignis Fatuus, you ask? A term that conjures images of spectral lights and ghostly marshes, it refers to the deceptive luminous phenomena that have haunted folklore for centuries. These mischievous lights, known as Will o' the Wisps or Jack o' Lanterns, have been said to lead travelers astray, luring them to their untimely doom. Whether the spirits of the drowned or the souls of unbaptized infants, these eerie orbs have captured the imagination and terror of many a night wanderer.

And so, the stage is set for Archie Chen's spellbinding rendition of "Ignis Fatuus." Listen in awe as he transfers Chopin's already devilish right-hand etude into the left hand – a feat of pianistic prestidigitation that would leave even Houdini gasping for breath. As the haunting melody flits and flickers like the enigmatic lights it emulates, you may find yourself lost in its bewitching allure.

But fear not, dear listener! For Archie Chen is your guide through this labyrinth of notes, and he shall lead you safely back from the brink of pianistic pandemonium. So sit back, relax, and let the otherworldly beauty of Godowsky's Study no. 4 in A minor "Ignis Fatuus" wash over you like a mysterious, flickering flame.

And remember, don't follow the light... unless, of course, it's Archie Chen's dazzling fingers dancing across the keyboard!

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

Unedited live recording
Piano: Hamburg Steinway B
Piano Technician: Martin Walsh
Recording Engineer: Joey McDonald
Piano provided by Pianos Plus

Frédéric Chopin Etude in A minor op. 10 no. 2+Leopold Godowsky Study no. 4 in A minor "Ignis Fatuus"

Step right up for Chopin's Revolutionary Etude, where piano playing transforms into a thrilling and daring spectacle! Dive into this masterpiece that pushes the boundaries of piano technique while tickling your eardrums with a devilish twist.

Chopin was like the mad scientist of Etudes, experimenting with split chords, thirds and octaves, counter-motifs, and arpeggiated chord constructions. The result? An innovative musical landscape that would make even Beethoven raise an eyebrow.

Etude No. 12 is Chopin's pièce de résistance, a fiery expression of passion that storms the stage with hurricane-like intensity. This powerhouse piece showcases heroic melodies, accompanied by stormy waves of left-hand passages – it's like Beethoven's symphonies cranked up to eleven!

Chopin's genius lies in his ability to turn melody into a living force. The Revolutionary Etude is a testament to that, as tension and relaxation weave together to form a harmonious whole. And thanks to Chopin's mastery of counterpoint, the piece achieves an unparalleled level of expression.

Even the likes of Liszt and Schumann had high praise for Chopin. Delacroix called him the "purest and best-tasting artist" he'd ever encountered. Liszt compared his music to an Aeolian harp that could magically blend all musical scales. And Schumann said Chopin's playing was like a "deep fundamental tone and a soft continuously-singing upper voice."

The Revolutionary Etude is a workout for the left hand, demanding precision, neatness, and respect for Chopin's writing. Accents every four semiquavers and a rapid tempo make this Etude an exhilarating challenge for any pianist.

So, buckle up for a rollercoaster ride of technical mastery and unbridled passion with Chopin's Revolutionary Etude – it's a musical adventure that'll leave you breathless! 🎹🔥🌪️

Live from the Hugh Lane Gallery on August 4th, 2013 as part of the concert series of the Dublin International Piano Festival & Summer Academy. Please comment and share.

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

Piano: Hamburg Steinway B
Piano Technician: Martin Walsh
Recording Engineer: Joey McDonald
Piano provided by Pianos Plus

Frédéric Chopin Etude op. 10 no. 12 "Revolutionary"

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
Youtube Archie https://www.youtube.com/c/ArchieChenPianist
Festival Website: http://www.pianofestival.ie
Teaching Website: http://www.pianoacademy.ie

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

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

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!

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

Piano: Yamaha C7
Piano Technician: Martin Walsh
Recorded at Cauldron Studios, Dublin
Recording Engineers: Ciarán Byrne & Michael Manning
Please share and comment.

An NFT of this track will be available from the artist soon!

Franz Liszt Consolation no. 3 in D flat Major, S. 172

Very different from the other version I put up, this is more the speed its normally performed at. Performed on my old Waldstein Upright, poor thing I played it till its death! Needed new strings, hammers and regulating. Cost more to repair than it was worth so unfortunately it went:(


Another recording of the Chopin Nocturne E minor

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https://bio.to/aleksandra​

Chopin: Balladen

Nocturne in F Major, Op. 15: No. 1

Chopin - Nocturne in F Major op. 15 No. 1

Chopin's Fantasie-Impromptu (1834) may be the musical equivalent of a posthumous tell-all book, but with more class, of course. Published after his death in 1855, this piece had Chopin channeling his inner Beethoven, and musicologist Ernst Oster was convinced that Chopin "got" Beethoven like no one else.

Now, this piece is like a rollercoaster ride through the classical world: sextuplets, semiquavers, and polyrhythms? Oh my! It's no wonder it's used as a test piece! We go from C# minor chaos to the smooth, lyrical shores of Db major, with a Bellini-inspired melody that's as graceful as a swan on a lake.

But wait! The pandemonium returns in 'Presto' like a caffeinated squirrel, only to wind down and end on a Picardy third, leaving you wondering, "Was that a Fantasie or an Impromptu?"

Could this whirlwind of a piece be the result of Chopin showing off at a swanky salon for Baroness Frances Sarah d'Este? We'll never know for sure, but one thing is certain: Fantasie-Impromptu has become a timeless classic, and if you listen closely, you might just hear the echoes of Chopin chasing rainbows.

This track is from the album F. Chopin: 4 Impromptus - F. Chopin: Piano Sonata No 3 in B Minor, Op. 58 - F. Chopin: Ballade No. 3 in a Flat Major, Op. 47 - F. Chopin: Scherzo No 2 in B-Flat Minor, Op. 31 and is available for purchase on CD Baby here: http://www.cdbaby.com/cd/archiechen

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

Piano: Fazioli F278
Recording Engineer: Jeremy Krug
Piano Technician: Dave Severence
Recorded at Washington State University School of Music

Frédéric Chopin "Fantasie" Impromptu no. 4 in C Sharp Minor, op. 66

Franz Liszt must have really been blown away by the cities of Venice and Naples on his travels with Marie d'Agoult, because he ended up composing four pieces named after them: Venezia e Napoli. But apparently, the original four pieces weren't good enough for old Franz, so he went back and revised them until only the last two were left: the Andante placido (aka Gondoliera) and the Tarantelles Napolitaines (aka just plain ol' Tarantella). Then he stuck a sad song called Canzone in between them and voila! The triptych known as Venezia e Napoli was born. It was published as a supplement to Deuxième Année in 1861, so if you want to check it out, you better hit up this recording!

Liszt must have been feeling pretty darn romantic when he composed Gondoliera, because it's based on a love song by Giovanni Battista Peruchini called "La biondina in gondoletta." But unlike the original version, Liszt's revision starts off with a fancy introduction in the key of F-sharp minor. The music sounds all calm and serene, like a peaceful Venetian canal (or at least what I imagine one would sound like). And then, once it hits that F-sharp major chord, it's like BAM! The melody comes in and it's all lovey-dovey and stuff. And let me tell you, it's so sweet and soft, it'll make your teeth hurt. But don't worry, there's some fancy flourishes in there to keep things interesting.

The Canzone that comes after Gondoliera (or "Gondolier's Song") is actually part of a larger piece, and it leads directly into the Tarantella without missing a beat. It's based on a song called "Nessun maggior dolore" from Rossini's opera Otello, which is weird because the opera is set in Venice but it premiered in Naples. Anyway, Liszt messed around with the melody and rhythm a bit, and he also changed the key from G minor to E-flat minor, which makes it sound all dark and moody. It starts off with some creepy tremolo, and then the melody comes in and it's all woe is me. But don't worry, it's not all doom and gloom, because there's some fancy piano stuff in there to keep things interesting. And at the end, the music gets all happy and major-key-y, so it's not a total downer.

The Tarantella is like a firework show on piano. It's based on some themes by a French composer named Guillaume-Louis Cottrau, who lived and worked in Naples. It starts off with a Presto tempo, and the introduction leads you from the E-flat key of the Canzone to the G minor key of the first theme. And let me tell you, this thing is full of energy! The music shifts between different meters, so it's like a never-ending party. Then the second theme comes in, and it's like BAM! Fortissimo! And then the music goes to the relative major key, but it doesn't stay there long because it sidesteps into D-flat major with a funny little passage in contrary motion. And then it's back to G minor, and the first theme returns, and it's like a three-part design or something. And then the music closes in B-flat major, and there's a pause, and then there's a new theme in E-flat major, and it's all lyrical and stuff. And then there's some fancy flourishes and variations, and then it goes to E major, and then to G major, and then there's a coda and it's like WHAM! Prestissimo! And the music is rushing towards the end, and it's all virtuosic and impressive.

I. Gondoliera
II. Canzone
III. Tarantella

Recorded live from Dublin City Gallery - The Hugh Lane on July 27th, 2014 as part of the concert series of the Dublin International Piano Festival & Summer Academy.

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

Piano: Bluthner Model 1
Piano Technician: Martin Walsh
Recording Engineer: Darby Carroll
Piano provided by Bluthner UK

Franz Liszt Venezia e Napoli, s. 159

Beautiful nature videos and use the relaxing music in youtube channel: https://www.youtube.com/channel/UCf4iMeUCDs0NFkJI03aJSbQ
 
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Saturnino-8 Parole

Ladies and gentlemen, prepare to embark on a wild and fiery adventure with Archie Chen's rendition of Chopin's Étude Op. 10, No. 4, also known as the "Torrent Étude." If you thought your hands were fast, think again! This presto con fuoco masterpiece will leave you breathless, as it sweeps you away on a torrent of semiquavers, sforzatos, and spirited motifs.

Imagine an ocean of sound, waves crashing against the rocky shores of C♯ minor with a relentless, uproarious intensity. And just when you think you can catch your breath, you'll be hurled back into the tempest, tossed about by a whirlwind of left and right hand alternations reminiscent of Bach's most exhilarating preludes.

This étude is like a rollercoaster ride through a musical storm, filled with sforzati climaxes and powerful arpeggios in tenths. And as if that wasn't enough, the coda takes it up a notch with a fiery, passionate finish that demands the pianist unleash their inner virtuoso, as fiercely as humanly possible!

But what makes this piece truly remarkable is the upbeat character of the motif, a bubbling undercurrent of life and energy that persists throughout. It's like a dance of elemental spirits, each note weaving and swirling in a dizzying display of speed and lightness.

So hold on tight, and prepare to be amazed by Archie Chen's performance of this "magnificent tone-painting" that leaps off the page and roars like a raging torrent! With a touch of humor, a sprinkle of wit, and a healthy dose of impressive virtuosity, you'll be left wondering how on earth the human hands could ever achieve such a feat. Chopin, eat your heart out!

Live from the Hugh Lane Gallery on August 4th, 2013 as part of the concert series of the Dublin International Piano Festival & Summer Academy. Please comment and share.

Piano: Hamburg Steinway B
Piano Technician: Martin Walsh
Recording Engineer: Joey McDonald
Piano provided by Pianos Plus

http://www.archiechen.com
http://www.pianofestival.ie

Frédéric Chopin Etude in C-sharp minor, op. 10 no. 4

Frédéric Chopin wrote his first piano concerto ever in 1830. It was premiered that same year, and published after his next concerto, hence it came to be known as the Piano Concerto no. 2, in F minor, even though it was the first to be composed. Written before Chopin finished his formal education, the piece betrays a certain sophistication in terms of formal development. It features an extremely dominant piano part, with the orchestra leaving all responsibility for musical development to the soloist, thus ignoring the interplay that is the mainstay of an instrumental concerto. 

Piano sextet version. 

Live from the National Concert Hall in Dublin, Ireland.

Please comment and share!

www.archiechen.com
Piano: Hamburg Steinway D
Piano Technician: Paul Wade
Recording Engineer: Darby Carroll

Frédéric Chopin Piano Concerto no. 2 in F minor, op. 21 - II. Larghetto

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
Youtube DIPF https://www.youtube.com/c/PianofestivalIe
Youtube Archie https://www.youtube.com/c/ArchieChenPianist
Festival Website: http://www.pianofestival.ie
Teaching Website: http://www.pianoacademy.ie

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

Smooth Jazz - By Piano DJQuimi - 2012

Smooth Jazz Piano - Piano By DJQuimi -  2012 -

Give me your heart - Piano Jazz -  By DJQuimi  - Mayo 2012

Frederic Chopin - Prelude No. 4 in E Minor - Largo

Frederic Chopin:  Fantaisie-Impromptu in C-sharp Minor, Op. 66

hard to say I´m sorry.voices

Recorded in June 2012, this improvisation takes much inspiration from Frédéric Chopins "Ocean etude" Op. 25, No. 12 in C minor. I hope to one day play this piece, among many of Chopins other great works. 



Ocean Etude (Chopin Improvisation)

Franz Liszt - Polonaise mélancholique in C minor (Piano: Jean Dube)

Bodenseefestival 2011 - 10.06.2011

https://www.aleksandramikulska.com​

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Liszt - Sonata in B minor (Live)

Me & Sfefano Fontana AKA "Stylophonic" rare groove

More than November

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

Franz Liszt - La Campanella

Franz Liszt - Liebestraum - Love Dream

MORE by Riz Ortolani performed by Anna Barbero, Edoardo De Angelis and Saturnino.

MORE

This track is from the album Birth and is available for purchase on CD Baby here: http://www.cdbaby.com/cd/katerinaandzane

Swing

Liszt - Sonata in B minor, S178 (Yamaha)

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.