Introvert Songs 😌

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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Official Website: http://www.archiechen.com
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Teaching Website: http://www.pianoacademy.ie

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

A recording of J.S. Bach's 'Preludie in C' played by Neil Balfour.

When J.S. Bach began working on his epic Well-Tempered Clavier in 1722, chances are he wasn't thinking that it would become one of the defining musical texts in keyboard history. But, somehow, it has - and the Prelude No. 1 in C Major is where it all starts.

The Well-Tempered Clavier (there are two volumes of it, each containing a prelude and a fugue in each musical key) kicks off in C Major, the most 'natural' musical key, so he obviously made sure that the first entry is a good one. Few pieces of keyboard music sound so delicate and fragile, but there's a very Bach-ian stability to it as well. 

It's a strikingly simple piece to begin with, gently phasing through different chords and registers, but it's one of those pieces that demands to be tinkered with. Consequently, you'll hear plenty of different interpretations of this much-loved work.

Prelude No. 1 In C Major | Bach

David Loebel conducts the New England Conservatory Symphony and soloist Elina Akselrud in a performance of Chopin's Concerto for Piano no 1 in E minor. Recorded live in Jordan Hall November 13, 2013 by Jeremy Sarna.

Chopin: Concerto for Piano no 1 in E minor-Rondo  Vivace

My take on Chopin's saddest little prelude.  Two and a half minutes of ache.


Chopin Prelude No. 4 In E Minor, Op. 28

the little dippers - Forever 1960

Love Letter-Cavendish Music

Claude Debussy: Rêverie

Laufey - Santa Baby (KIWI's CUT)

clean bandit & zara larsson - symphony, slower ballad cover

Chopin: Waltz in C#minor op.64 no.2

Porównanie brzmienia Cort'a na aktywnych przetwornikach z Vintage na pasywnych przetwornikach ;) pierwszy na nagraniu jest Cort, a po krótkiej przerwie wchodzi Vintage ;)

Cort Z42 Vs. Vintage V100 Porównanie

Mendelssohn Violin Concerto E Minor OP.64 (Full Length) - Hilary Hahn & FRSO

Avigail Arad Cello
Victor Stanislavsky Piano
Live Performnce in Tel Aviv 2007

Gabriel Fauré Sicilienne Op78

Frederic Chopin: Ballade No. 1, Op. 23

The movie  the song is from: If Bale Street Could Talk. 

A song for the people who really wanted this, Agape- by Nicholas Britel, I was looking for this track everywhere, so I downloaded it, to share it with fellow SoundCloud users. please watch If Bale Street Could Talk. it's amazing! 

(picture edited by me) 

Agape - Nicholas Britell

Chopin Waltz op69 n1 performed by Gian Marco La Serra

Classically trained pianist. I enjoy playing not only the traditional repertoire but also pieces from unusual composers.

Claude Debussy: Rêverie

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