13 Valse Scherzo (1960's)

1. GIULIANI Maestoso

el toreador - αποσπάσματα από Κάρμεν, ολοκληρωμένο για ακρόαση

Shikada Violin Concerto No. 1 III. Furioso in G minor

2025
Nicolò Biemmi, basson
Giulia Contaldo, piano

Mario Castelnuovo-Tedesco - Sonatina for bassoon and piano, Op. 130 - I. Allegretto

Tribute: a Journey of Notes is a 100% improvised piece by If Pianos Could, leveraging their unique new age-inspired style.

Tribute: A Journey of Notes

Please, remember: listening without wired headphones results in the loss of quality of the sound. The use of cabled headphones or earphones preserves the richness of the sound of all orchestral sections. This is very crucial for classical music.

Andante & Scherzo per Piano e Orchestra

Celestial Pianos (Notas do Infinito)

No Jardim Com Deus

I. Tocata Grande do Saltério, anônima (Paranaguá, Séc.XVIII/XIX)
II. Passio, J.J.E. Lobo de Mesquita (Arraial do Tejuco, 1782)
III. Fuga, anônima (Mariana, Séc. XVIII)

Americantiga, reg. Ricardo Bernardes

Gravação ao vivo, Theatre Chatelet, Paris, 05/07/2025.

Os três movimentos da suíte são releituras livres de obras que circularam no Brasil Colonial, em distintas regiões. A “Tocata Grande do Saltério”, anônima, aparece na coleção de “Cifras de Música para Saltério”, de António Vieira dos Santos, em Paranaguá/ PR, no início do Séc. XIX. “Passio” vem de um breve moteto à capela que anuncia a “Paixão segundo S. Mateus”, dentro do Ofício de Domingo de Ramos, de 1782, de José Joaquim Emerico Lobo de Mesquita, a partir de cópias de Mariana e Diamantina/MG. A “Fuga” é a última parte, “In te Domine speravi”, de um “Te Deum” anônimo, cujo manuscrito está preservado em Mariana/MG, erroneamente atribuído a Manuel Dias de Oliveira. As obras originais apresentam estilos e formas contrastantes entre si, mas tem em comum o fato de fazerem parte do passado colonial brasileiro.

Suite Antiga Brasileira no.2

A melancholic classical piano piece in A minor, with a slow 80bpm tempo, The primary instrument is a grand piano, playing a flowing, arpeggiated melody with a strong sense of rubato, The dynamics shift from soft to moderately loud, creating a sense of emotional depth, The piece features a clear, resonant piano tone with natural reverb, suggesting a spacious recording environment, The harmony is rich, utilizing extended chords and suspensions to enhance the emotional quality, The structure appears to be through-composed, with evolving melodic and harmonic ideas rather than strict verse-chorus repetition, The overall mood is reflective and sombre

Solace (Piano Solo)

An improvised song without any specific theme or emotion. This was primarily a test of a new microphone position, hence the title. Previously the mic was on the middle of the lid (partially open), but now the lid is fully open and the mic is resting on a music stand about a meter above the end of where the low-pitch longer strings begin. If you have any opinions about this sound compared to my previous recordings, please send me a comment! (Thanks to the folks at Piano World forums for giving some ideas about mic placement.) 

A New Place (experimental piano)

If Pianos Could creates music centered around an acoustic piano which is not bound to any genre (although jazz, classical, and new age are influences). Much of the music is improvised on the spot, leading to a feeling of freedom and being in the moment. Influences include classical music (Debussy), new age, jazz (David Benoit), and others such as Bruce Hornsby and Tori Amos.