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

Johann Sebastian Bach - Piano: Anne Queffélec - BWV 639 "Ich ruf zu dir Herr Jesu Christ" Aus dem Orgelbüchlein von J.S. Bach.

Johann Sebastian Bach - Piano  Anne Queffélec  - BWV 639  Ich Ruf Zu Dir Herr Jesu Christ

Home recording of the third and final Intermezzo (Op.117) by Johannes Brahms.

Johannes Brahms Intermezzo No 3 Op 117

Pieces

Nocturne in C minor for Violin and Piano

The Amarillo Symphony opened its 2015-2016 Season with a Celebration of the Stellar Talent and Musical Power within our orchestra.

Maestro Bairos has chosen powerhouse works of Bach, Stravinsky and Brahms to showcase the breadth and depth of the musical talent within the Amarillo Symphony.

Symphony No. 2 in D. major, Op. 73 - Johannes Brahms | II. Adagio Non Troppo

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European Melodies

Andante Spianato et Grande Polonaise Brillante in E-Flat Major, Op. 22

Chopin - Andante spianato et grande polonaise brillante in E-flat major, Op. 22 (Live)

Gabriel Fauré - Après un rêve
Claudius Popp - Cello

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Gabriel Fauré - Après un rêve

Felix MENDELSSOHN BARTHOLDY (1809-1847)
Lieder ohne Worte Op. 62
Nr. 1 Mailüfte

DUO CORD'EOLE
Fanny MAYNE, Querflöte
Nicolas FAURE, Violoncello
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Felix MENDELSSOHN BARTHOLDY (1809-1847) - Lieder ohne Worte Op. 62 - Nr. 1 Mailüfte

Wolfgang Amadeus Mozart - String Quartet No. 17 in Bb Major, K. 458 'The Hunt' - Allegro vivace assai

Johann Sebastian Bach - Fuga from Sonata in G minor BWV 1001

Stanford and Norma Jean Calderwood Director of Orchestras Hugh Wolff, leads the New England Conservatory Philharmonia in a performance of Schumann's Symphony No. 1 in B flat. Recorded live April 24, 2013 in Jordan Hall, Boston.

Schumann: Symphony no 1 in B flat major, Op. 38  Andante un poco maestoso   Allegro molto vivace

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Claudius Popp - Cellist and teacher

Claudius Popp was born in Weimar, Germany in 1982. He began playing the cello at the age of four, receiving instruction from his father, Professor Gotthard Popp, a cellist himself. At age six, his talent became known as he won First Prizes in the prestigious "Jugend Musiziert" and at the International Cello Competition in Liezen, Austria. Considered a prodigy, he was accepted by Professor Karine Georgian and Heinrich Schiff as a student and continued his studies dually in Detmold, Germany and at the Mozarteum Salzburg, Austria. His precocious musicianship continued to thrive as he pursued advanced studies at the Hochschule for Musik Hanns Eisler in Berlin with David Geringas, graduating with a diploma in 2004 and a masters with distinction and honors in 2007. Whilst a student, Claudius continued his winning streak in world competitions, taking top prizes at Tchaikovsky Competition Moscow (2002), Osaka International Music Competition, ARD International Music Competition (Barenreiter Prize), the International Concertino Prague Competition, and the Competition of the Deutsche Musikrat (2003). He is a scholarship holder of the Oscar and Vera Ritter Foundation, Studienstiftung des Deutschen Volkes and the Werner Richard-Dr. Carl Doerken Foundation. 

Claudius made his concerto debut as a soloist at age nine. Since then, he has performed with leading orchestras such as NDR Sinfonie, Berlin Staatskapelle, Mozarteum Orchestra Salzburg and the Chamber Orchestra of the Berlin Philharmonic, playing in renowned halls such as Berlin Philharmonie, Cologne Philharmonie, Konzerthaus Berlin, Suntory Hall in Tokyo, Rudolfinum in Prague, Tchaikovsky Hall and Great Hall of the Tchaikovsky Conservatory in Moscow, the Tonhalle in Dusseldorf and the Musikforum in Weimar under the baton of greats such as Daniel Barenboim and Eiji Oue.

Claudius is an in demand avid chamber musician as well. He plays throughout Europe's most prestigious festivals including the Rheingau, Mecklenburg Vorpommern, the Schleswig-Holstein, Heidelberg Fruhling, and the Music Festival Cervo. He has held recitals with Elena Bashikrova, Alfredo Perl, Daniel Barenboim, Joerg Widmann and Paul Rivinius.  

Through collaboration and performance, he receives artistic direction and aesthetic cues from world acclaimed musicians such as Yo-Yo Ma, Lynn Harrell, Harvey Shapiro and Daniel Barenboim, with whom he enjoys a special working relationship. In 2003, in rather unprecedented fashion maestro Barenboim made Claudius, who was then only 21 years of age, principal cellist of his home orchestra, Staatskapelle Berlin overnight. Claudius frequently plays chamber concerts with him; while relishing the romantic repertoire for piano and cello, together their concerts insightfully elaborate upon modern music as well. In 2009, the NY Times hailed his interpretation of Elliot Carter's cello sonata, and concluded this "extremely modern" piece had become "entirely accessible" through his impassioned and dynamic performance, "a musician that can lend even new music new notes." The latest of many collaborations with Daniel Barenboim was a highly successful concert tour with Strauss' Don Quixote in 2014.

Next to his solo and orchestra work, Claudius Popp holds a teaching position at the School of Music 'Hanns Eisler' in Berlin.

Gabriel Fauré - Après un rêve

claudiuspopp