class

Collection of all the piano recordings I have put on Soundcloud

Fionas piano music

Various pieces of music composed by Pyotr Ilyich Tchaikovsky

Pyotr Ilyich Tchaikovsky

Tchaikovsky - Nutcracker Ballet - for piano

tchaikovsky

Popular and soothing classical piano music by some of the greatest composers that has ever lived.

Perfect as background music for the evening dinner party, relaxing at home or just for the ultimate "hygge" time!

Soothing and relaxing piano music

Calming music to send both baby and parent off to the "Land of Nod"

Baby sleep

instrumental

Anoushka Shankar Beautiful Sitaar

Perfect music for resetting your life balance, stress levels and general wellbeing.

Piece written for solo piano by Claude Debussy in 1909-1910. The title "La fille aux cheveux de lin" translates roughly to "The girl with the flaxen hair"

Performed by Fiona Bechmann in October 2021

Debussy - The girl with the flaxen hair (La fille aux cheveux de lin)

Peter Ilyich Tchaikovsky (1840 - 1893)

"Dance Of The Reed Flutes" from the "Nutcracker Suite"

The piece is 30 second sequence for an animation project. Recorded digitally from the orchestral score one voice at the time.

Recorded by Fiona Bechmann in 2002

Tschaikowsky, Dance of the Reed Flutes

Tchaikovsky - Dance Of The Reed Flutes

Tchaikovsky - Dance of the cygnets from the ballet Swan Lake
(Danse des petits cygnes)

Composed by Pyotr Ilyich Tchaikovsky in 1875–76
Piano reduction recorded by Fiona Bechmann November 2021

Tchaikovsky - Dance of the cygnets from Swan Lake

Tchaikovsky - Swan Lake Ballet - Dance of the cygnets

Tchaikovsky - Swan Lake Ballet Suite Scene 1

Composed by Pyotr Ilyich Tchaikovsky in 1875–76
Piano reduction recorded by Fiona Bechmann November 2021

Tchaikovsky - Swan Lake Ballet Suite Scene 1

Tchaikovsky - Swan Lake Ballet - Scene 1

Traditional Bhutanese Flute Tune

Tchaikovsky - Dance of the sugar-plum fairy (from the Nutcracker Ballet)

Recorded November 2022 by Fiona Bechmann

Tchaikovsky - Dance of the sugar-plum fairy (from the Nutcracker Ballet)

Tchaikovsky - Nutcracker - Dance of the sugar-plum fairy

Tchaikovsky - Nutcracker - Arabian Dance

Tchaikovsky - Nutcracker - Overture

Tchaikovsky - Nutcracker - Dance of the reed pipes

Recorded by Fiona Bechmann 2022

Tchaikovsky - Nutcracker - Dance of the reed pipes

Tchaikovsky - Swan Lake - Waltz

Recorded by Fiona Bechmann, November 2022

Tchaikovsky - Swan Lake - Waltz

Tchaikovsky - Swan Lake - Pas de deux

Recorded by Fiona Bechmann, November 2022

Tchaikovsky - Swan Lake - Pas de deux

Tchaikovsky - Nutcracker - Waltz of the flowers

Il lago dei cigni è uno dei più famosi e acclamati balletti del XIX secolo, musicato da Pëtr Il'ič Čajkovskij (op. 20). La prima rappresentazione ebbe luogo al Teatro Bolshoi di Mosca il 20 febbraio 1877 (calendario giuliano), con la coreografia di Julius Wenzel Reisinger.
Il libretto di Vladimir Petrovic Begičev, direttore dei teatri imperiali di Mosca insieme al ballerino Vasil Fedorovič Geltzer, è basato su un'antica fiaba tedesca, Der geraubte Schleier (Il velo rubato), seguendo il racconto di Jophann Karl August Musäus.
Primo dei tre balletti di Čajkovskij, fu composto tra il 1875 e il 1876. Viene rappresentato in quattro atti e quattro scene (soprattutto fuori dalla Russia e nell'Europa Orientale) o in tre atti e quattro scene (in Russia e Europa occidentale). Sebbene esistano molte versioni diverse del balletto, la maggior parte delle compagnie di danza basa l'allestimento, sia dal punto di vista coreografico che musicale, sul revival di Marius Petipa e Lev Ivanov per il Balletto Imperiale, presentato la prima volta il 15 gennaio 1895 (data come sopra) al Teatro Imperiale Mariinskij a San Pietroburgo, Russia.

Swan Lake is one of the most famous and acclaimed ballets of the nineteenth century , with music by Pyotr Ilyich Tchaikovsky ( Op. 20). The first performance took place at the Bolshoi Theatre in Moscow February 20, 1877 ( Julian calendar ) , with choreography by Julius Reisinger Wenzel .
The libretto by Vladimir Petrovic Begicev , director of the imperial theaters in Moscow together with the dancer Vasil Fedorovich Geltzer , is based on an old German fairy tale , geraubte Der Schleier ( The Stolen Veil ) , following the story of Karl August Jophann Musäus .
The first of the three ballets by Tchaikovsky , was composed between 1875 and 1876. It is represented in four acts and four scenes (especially outside Russia and Eastern Europe ) or in three acts and four scenes ( in Russia and Western Europe) . Although there are many different versions of the ballet , most dance companies setting up bases , both in terms of choreographic and musical , on the revival by Marius Petipa and Lev Ivanov for the Imperial Ballet , first presented January 15, 1895 ( as given above) at the Imperial Mariinsky Theatre in St. Petersburg , Russia.


P.I.Tchaikovsky - Swan Lake - Scene, Act I. Waltz - OFC live

Famous piano piece written by Claude Debussy (1862 - 1918)

Arabesque No. 1. Andantino con moto is the first of the "Two Arabesques"  (Deux arabesques) composed by Debussy when he was still in his twenties.

Recorded in 2001 by Fiona Bechmann

Debussy - Arabesque

Anoushka Shankar - Indian Summer

Anoushka Shankar - Lasya

Tchaikovsky - Autumn

"Plaisir d'amour" ("Pleasure of love") is a classical French love song written in 1784 by Jean-Paul-Égide Martini (1741–1816)

Martini - Plaisir D'amour

Sicilienne In G Minor composed by Johann Sebastian Bach (1685–1750)

Bach - Sicilienne In G Minor

“Caro mio ben” by Tommaso Giordani (1730-1806) conveys a deep sense of longing and desire for a loved one.

Giordani - Caro Mio Ben

Musical depiction of the "blue hour", a period of twilight when the sun is at a significant depth below the horizon. Popular amongst artists and photographers for the tranquil mood it sets.

Erkki Gustaf Melartin (1875-1937), a Finnish composer, conductor, and teacher, generally considered to be one of Finland's most significant romantic composers.

Melartin - L'heure Bleue

Lange - Muller - Serenade of renaissance by Peter Erasmus Lange-Müller (1850-1926), a Danish composer and pianist.

Recorded by Fiona Bechmann on 9th July 2024

Lange - Muller - Serenade of renaissance

The second in a set of three romances composed in 1839 by Robert Schumann (1810-1856)

Performed by Fiona Bechmann on 11th July 2024

Schumann - Romance Op. 28 No. 2

Tchaikovsky - 1812 Overture (Full With Cannons)

Mondonville: Grands Motets

Psalmus CXXIX "De profundis clamavi": II. Fiant aures tuæ (feat. Les Arts Florissants & Maarten Koningsberger)

Mondonville: Trio Sonatas Op. 2

J.-J.C. de Mondonville: Trio Sonata Op. 2, N. 6 - Allegro

Download WAV: https://mosemusica.bandcamp.com/track/anoushka-shankar-metamorphosis-mose-rework

Download

Anoushka Shankar - Metamorphosis (Mose Rework)

New England Conservatory Chamber Orchestra coached by Donald Palma performs Tchaikovsky's Serenade for Strings. Recorded live October 14, 2011 at NEC's Jordan Hall.
For more information: http://necmusic.edu

Tchaikovsky: Serenade for Strings in C major, Op. 48 -  Waltzer

Alfred Deller: The Complete Vanguard Classics Recordings - Folk Songs And Ballads

Thomas Arne- Which Is The Properest Day To Drink

Famous expressive piano piece written by Ludwig van Beethoven (1770 - 1827)

"Adagio cantabile" is the second movement of Beethoven's Piano Sonata No. 8 in C minor, Op. 13 (commonly known as Sonata Pathétique)

Recorded in 2001 by Fiona Bechmann

Beethoven - Pathetique

Famous sentimental piano piece written by Claude Debussy (1862 - 1918) 

Clair de lune (Moonlight) is the third movement from the work "Suite bergamasque".

Recorded in 2001 by Fiona Bechmann

Debussy - Clair De Lune

Debussy  - Clair De Lune

Swan Lake (Tchaikovsky)

MURCOF + PHILIPPE PETIT: 1st chapter
(LP + CD + Digital / Rev. Lab. - Aagoo)

Release date: September 2013

www.aagoo.com
www.revlaboratories.com

Fernando Corona
Hailing from Tijuana, on the Mexico/US border, and now a Barcelona resident, Fernando Corona rose to attention as part of Mexican collective Nortec, mostly for his work as Terrestre, but it is with another project, Murcof, that he has made an extremely strong impact. Merging micro-beats with samples of contemporary classical music, his work, often crystallised into sweeping haunting pieces, bridges the gap between Arvo Pärt or Henryk Górecki and part of the electronic scene of today. He is credited with being one of the main influences of the likes of Erik Skodvin and of many of the artists who have appeared on Miasmah in recent years.
www.murcof.com

Philippe Petit
This self-styled musical activist began his career as a journalist and DJ in his native Marseille, and went on to form Pandemonium Rdz., a label with which he explored the outer reaches of experimental rock, before turning his interest to electronic music by setting up BiP_HOp Records at the beginning of the noughties. Since 2009, his focus has shifted once again, this time on his own music, a refined blend which can incorporate elements of experimental rock rock or classical music and can take the form of complex electronic, electro-acousticism, experimentation or turntablism. Although Petit occasionally works alone, it is in the collaborative space where he truly thrives, casting his sonic world against that of the likes of Eugene S. Robinson, Lydia Lunch, Pietro Riparbelli, Bella Emerson, Cosey Fanni Tutti, Asva & loads more... 
www.philippepetit.info

The album
The meeting of such unconventional musicians was always going to result in a pretty incredible piece of work, but confronting such strong identities and getting them to work together was not a given. For the past three years, Philippe Petit and Fernando Corona have regularly played live together, undoubtedly refining their collaboration with each new performance and finding the right balance between their respective sound worlds. The result is this album which equally finds its roots in Murcof’s modern classical influences and Petit’s coarse post modernist soundscaping.
The album may barely reach the forty minute mark, but in the space of three tracks, Corona and Petit create a magnificent soundtrack which teems with haunting choral chants, lush string work and unsettling atmospherics. This album is rooted in ancient myths and legends, borrowing from Greek mythology for "The Call Of Circé", daughter of Helios and powerful enchantress, and winged divine horse "Pegasus", or from Nordic tales of giant squid-like sea monsters on "The Summoning Of The Kraken". This very much characterises the epic proportions of this album, echoing in parts the amplitude of Murcof’s "Cosmos" (Leaf, 2007), and in others Petit’s equally ambitious "Off To Titan" (Karlrecords 2010), but they temper this with much more delicate moments, for which they assemble incredibly detailed and refined atmospheric passages.
Clocking at just over twenty minutes, the opening piece "The Call Of Circé" is articulated around a series of sequences which range from stern, doom-like guitar stabs and harsh percussive noises to eerie choral laments and theatrical vocal flourishes. The haunting melodies and ambiences of the first half are slowly broken apart by the recurring thuds of metallic percussions. When these recede, the mood has become darker, grittier, more oppressive, and remains as such for much of the remainder.
"Pegasus" recalls some of the more baroque treatment Murcof experimented with on his commissioned work for Les Grandes Eaux Nocturnes de Versailles, especially through his use of the viola de gamba as a primary sound source, but this sound source becomes corrupted as the track progresses, perhaps subject to Philippe Petit’s radical decay processing, until only a few distorted strands of grating bowed strings remain.
With the last track, Corona and Petit opt for an overall softer, warmer atmosphere, but there is a lingering feeling of impending danger lurking below the surface of the whole piece. This is marked by the use of sparse percussions, magnified vinyl crackles and processed guitars and textures which, assembled in various combinations, weight heavily on the otherwise almost pastoral nature of the composition.
Philippe Petit knows how to find collaborators with whom he can go beyond his own sonic universe and make them venture into unfamiliar territories, and he is an expert in making these collaborations gel perfectly. And this is one hell of a collaboration: two artists, each with this visionary approach, working together to create a truly magnificent piece.
WRITTEN BY Bruno Lasnier / January 2013 (www.themilkfactory.co.uk/st/)