https://itunes.apple.com/us/album/debussy-nature-myth-legend/id716186796
From my Cd album 'Debussy-Nature Myth Legend
Arabesque-derivation: French, from Italian arabesco Arabian in fashion, from arabo Arab, from Latin Arabus
An elaborate design of intertwined floral figures or complex geometrical patterns. An ornamental design that is fanciful and free flowing. 
   Many pianists professional and amateur alike play this piece in the style of a 'romantic' Chopin nocturne. However, Debussy's tempo indication is clearly marked 'Con Moto' (with motion) and this piece is more akin to a baroque dance, than a romantic nocturne. I have played it in the manner of the great French pianist 's Philippe Entremont and Gaby Casadesus, a contemporary of Debussy. I share their opinion on the interpretation of this work.

Debussy-Nature Myth Legend

Deux Arabesques, L. 66: I. Première Arabesque

Arabesque No.1

This piece originates from Robert Schumann's 'Album für die Jugend' - a collection of 43 short works that were composed for his three daughters. The opus 68 'Album für die Jugend' is, unlike 'Kinderszenen', meant to be played by children, although the collection is divided in two parts - and the second is marked 'Für Erwachsenere', from no. 19, 'Kleine Romanze', onwards. 

'Wilder Reiter', or - as it is more commonly referred to, 'The Wild Horseman', is the eight piece of the collection. It is a short and easy, albeit wonderful piece due to its evocative, enthralling composition. It is essentially a lesson in staccato phrasing (one can really imagine the horseman trotting about), and teaches the pianist how to lead the cantabile with both hands, while accompanying with the other. The first section, where the melody is led by the right hand, is repeated. What follows is an intermezzo, if you will, where the left hand leads the melody - an inverse variation on the first section. The piece concludes with a third repetition of the first section. 

I am fascinated by the images that the piece conjures. Is the horseman clad in medieval armour, riding past you in a jousting roundabout? In measures 5 through 8 I deliberately retained some intensity in favour of conveying how the horseman has galloped past the listener (who is of course, stationary), and is making another pass. The second section, measures 9 through 16, seem to indicate the 'wild' in the horseman. Is he perhaps struggling to contain the horse, who has run amok? But then the first section is repeated, and the controlled, frivolous atmosphere reassures and consoles the listener. 

illustration: Géricault - 'Head of White Horse', ca. 1810, Musée du Louvre, Paris

R. Schumann - Wilder Reiter (The Wild Horseman) op. 68 no. 8 in A minor

Beethoven Sonata 8 Opus 13 "Pathetique" 2nd Movement

12 Tchaikovsky - The Nutcracker Suite, Op. 71a - Arabian Dance (Coffee)

Although the “Kreutzer” Sonata, Op. 47, is dedicated to Rodolphe Kreutzer, the original dedication was to George P. Bridgetower (1779-1860), for whom the piece was written. Bridgetower, an African-Polish violinist who lived in London.
Rodolphe Kreutzer (1766-1831) was a French violinist of great renown whom Beethoven met in Vienna in 1798.

Beethoven’s decision to dedicate the sonata to Kreutzer instead of Bridgetower was probably related to his intended move to Paris and a wish to ingratiate himself with French musical luminaries. Legend has it that Beethoven changed the dedication because he and Bridgetower quarreled over a woman. Kreutzer most likely never knew of the dedication, and it is almost certain that he never played the piece.

The “Kreutzer” Sonata was published in 1805. Beethoven described the piece as “written in a very concertante style, like that of a concerto,” explaining the internal conflict generally associated with his larger works.

Beethoven’s “new path” is everywhere evident in the first movement of the “Kreutzer” Sonata. The only slow introduction Beethoven ever wrote for a violin sonata is actually the only portion of the movement in A major, which gives way to A minor at the beginning of the Presto sonata-form section. Development of the first theme does not occur until the lengthy, weighty coda, which is much more symphonic than chamber-style in conception.

Ludwig van Beethoven. Sonata No. 9 "Kreutzer" for violin and piano, op. 47

The Wild Ones - 
Not as wild as they seem - after all, they were 'gallant' - as were the composer.

After all, it was 'the Industry' (- read: the Spanish) that killed them.

Rameau 2

Les Sauvages

Tchaikovsky: Swan Lake (Highlights)

Swan Lake: Act I: Dance of the goblets

Liszt - Mephisto Waltz

YouTube: Trumpeter Choi

https://youtube.com/user/TrumpeterCHOI

Schubert Serenade-Trumpeter Choi

C.P.E. Bach: Solfeggietto

Young Artist Competition, First Place, Junior Division

Isaiah Wu, cello
Shine Wu, piano

Recorded LIVE
March 24, 2013

The Huntington Recital Hall
Conservatory of Music
Capital University
Columbus, Ohio

Photographer: Gregory Pruden, Columbus OH

12 Tchaikovsky - The Nutcracker Suite, Op. 71a - Arabian Dance (Coffee)

Chris Palmer

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