Live concert recording of Dvorak's Cello Concerto

Recorded on February 13th, 2011 in Roswell, GA, USA

Ludwig Symphony
Thomas Ludwig - conductor
Laszlo Mezo - cello

Dvorak- Cello Concerto 01

Claire de Lune - Debussy

While Bach was the end-all-be-all of the Baroque period, Chopin was the golden boy of the Romantic era. Just like the early Romantics rejected the cool objectivity of their predecessors, Chopin's music was all about expressing the self in all its various forms. In exploring new harmonic realms and tonal relationships, he had to come up with new forms to contain his highly individual creative messages. This resulted in his "character pieces" or piano miniatures - the shortest of which weighs in at just 16 measly measures. His Nocturnes, 19 in all, are particularly soulful and expressive, making them some of Chopin's most intimate pieces. Interestingly, Chopin has been wrongly credited with creating the genre of the romantic night piece. In fact, that honor goes to John Field, who composed 17 Nocturnes, the first three of which appeared when Chopin was just four years old. But don't let that take away from Chopin's supreme talent in the Nocturne genre. In short, Chopin was a true master of the Nocturne and his contributions to the genre will never be forgotten. Or at least until the next guy comes along and claims he invented it.

The Dublin-born Field was a pianist of wide acclaim throughout Europe. He was a student of Muzio Clementi and even worked in his piano shop. Field composed a ton of music, including eight piano concertos and 17 Nocturnes, the first three of which appeared in 1814 - when Chopin was just four years old. Most authors of books on Chopin try to downplay the influence of the Irish composer on the Polish master. Field may have invented the genre, but it was Chopin who really took it to the next level. You could say that Chopin took the essentials of the Nocturne and intensified them a thousandfold - like adding extra hot sauce to your already spicy burrito.

Even if you believe that Field invented the genre of the Nocturne, there's no denying that Chopin was a supreme practitioner in the field (pun intended). His piano style fully exploited the singing quality of the instrument and created a whole world of sonorities. He also used the sustaining pedal to amplify the piece's distinctive sonority, and his use of rubato contributed to the poetic ambiance. On a musical level, Chopin introduced the element of chromaticism into his harmonic structure, which influenced virtually all composers who came after him. Chopin's 19 Nocturnes are a real mixed bag - some are dreamy, some are tear-jerkers, and some are just plain stoic. The E-major Nocturne on this program is the 18th and final one that Chopin published in his lifetime (he did leave us with one more, but that was published posthumously). It's a real crowd-pleaser - it's got a nice, flowing melody and some fancy filigree, all held together by some sturdy chordal accompaniment. But don't worry, things don't stay calm for long - the left hand starts moving like crazy, and we get a new melody to go along with it. Then things get really interesting - we've got some syncopated, agitated music that really raises the tension. But don't worry, the main theme comes back to calm things down. And just when you think it's over, Chopin pulls out a little two-measure epilogue that some people might find a little unnecessary. But hey, who are we to question the master?

This is a live recording from Auer Hall at Indiana University Jacobs School of Music of one of Frederic Chopin's last works, the Nocturne in E major, op. 62, no. 2. 
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Piano: New York Steinway & Sons Model D

Frédéric Chopin Nocturne in E major, op. 62, no. 2

Antonio Vivaldi - Concerto for oboe and orchestra in a minor RV 461
Allegro ma non troppo
Magdalena Karolak - oboe
La Folia Barockorchester
released by Sony 2015

Antonio Vivaldi - Concerto for oboe and orchestra in a minor RV 461

Grieg - Peer Gynt Suite No. 1 - II. The Death of Aase

Vals que Frederic Chopin dedicara a Maria Wodzińska

Valse de l'adieu

Soyoung Choe performs excerpts from Debussy's Preludes, Book 1. Recorded live during the Marion Rubin Berman ’31 Piano Honors Concert April 12, 2012 in NEC's Jordan Hall in Boston.

Debussy: Préludes, Book 1- La fille aux cheveux de lin

Some of the songs are featuring Cello & Piano others just fir the new age piano category. I'll keep updating as I go along. This entire set is by Brian Crain except the last two. Those are by Phillip Wesley

Go here to listen to even more of his songs and albums and I can get the song for you. Most of them I already got though.

http://www.briancrain.com/newpages/PCDuet1.html


The Garden Gate Brian Crain

violoncello da spalla and the performance by violin-maker Badiarov

2-07 J.S.Bach  Cello Suite 5 in C minor BWV.1011 - 1. Prélude

A melancholy orchestral trinket featuring Pascale Scarabin, vocalist from Montpellier, France.

https://soundcloud.com/pascale-scarabin

Original melody written and sung by Pascale Scarabin.
Original production by Oliver Sadie, composed, performed and recorded in London.

Photograph in track art by Pascale Scarabin.

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Oliver Sadie & Pascale Scarabin — Un Jour Sans Vent ("A day without wind")

Another dreamy piano improvisation: it's what I do!

You can also follow me on Spotify at https://spoti.fi/2MRR1lV and stream the albums I have released there.

2-07 J.S.Bach Cello Suite 5 in C minor BWV.1011 - 1. Prélude

Dmitry Badiarov