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Violin Concerto Hilary Hahn

Franz Liszt must have really been blown away by the cities of Venice and Naples on his travels with Marie d'Agoult, because he ended up composing four pieces named after them: Venezia e Napoli. But apparently, the original four pieces weren't good enough for old Franz, so he went back and revised them until only the last two were left: the Andante placido (aka Gondoliera) and the Tarantelles Napolitaines (aka just plain ol' Tarantella). Then he stuck a sad song called Canzone in between them and voila! The triptych known as Venezia e Napoli was born. It was published as a supplement to Deuxième Année in 1861, so if you want to check it out, you better hit up this recording!

Liszt must have been feeling pretty darn romantic when he composed Gondoliera, because it's based on a love song by Giovanni Battista Peruchini called "La biondina in gondoletta." But unlike the original version, Liszt's revision starts off with a fancy introduction in the key of F-sharp minor. The music sounds all calm and serene, like a peaceful Venetian canal (or at least what I imagine one would sound like). And then, once it hits that F-sharp major chord, it's like BAM! The melody comes in and it's all lovey-dovey and stuff. And let me tell you, it's so sweet and soft, it'll make your teeth hurt. But don't worry, there's some fancy flourishes in there to keep things interesting.

The Canzone that comes after Gondoliera (or "Gondolier's Song") is actually part of a larger piece, and it leads directly into the Tarantella without missing a beat. It's based on a song called "Nessun maggior dolore" from Rossini's opera Otello, which is weird because the opera is set in Venice but it premiered in Naples. Anyway, Liszt messed around with the melody and rhythm a bit, and he also changed the key from G minor to E-flat minor, which makes it sound all dark and moody. It starts off with some creepy tremolo, and then the melody comes in and it's all woe is me. But don't worry, it's not all doom and gloom, because there's some fancy piano stuff in there to keep things interesting. And at the end, the music gets all happy and major-key-y, so it's not a total downer.

The Tarantella is like a firework show on piano. It's based on some themes by a French composer named Guillaume-Louis Cottrau, who lived and worked in Naples. It starts off with a Presto tempo, and the introduction leads you from the E-flat key of the Canzone to the G minor key of the first theme. And let me tell you, this thing is full of energy! The music shifts between different meters, so it's like a never-ending party. Then the second theme comes in, and it's like BAM! Fortissimo! And then the music goes to the relative major key, but it doesn't stay there long because it sidesteps into D-flat major with a funny little passage in contrary motion. And then it's back to G minor, and the first theme returns, and it's like a three-part design or something. And then the music closes in B-flat major, and there's a pause, and then there's a new theme in E-flat major, and it's all lyrical and stuff. And then there's some fancy flourishes and variations, and then it goes to E major, and then to G major, and then there's a coda and it's like WHAM! Prestissimo! And the music is rushing towards the end, and it's all virtuosic and impressive.

I. Gondoliera
II. Canzone
III. Tarantella

Recorded live from Dublin City Gallery - The Hugh Lane on July 27th, 2014 as part of the concert series of the Dublin International Piano Festival & Summer Academy.

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Piano: Bluthner Model 1
Piano Technician: Martin Walsh
Recording Engineer: Darby Carroll
Piano provided by Bluthner UK

Franz Liszt Venezia e Napoli, s. 159

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

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Il bell’Antonio (Handsome Antonio), the 1960 classic directed by Mauro Bolognini, is a cornerstone of Italian cinema. Starring Marcello Mastroianni, the film follows a man whose legendary charm conceals a deeply humiliating secret: his inability to consummate his marriage. Adapted from Vitaliano Brancati’s acclaimed novel, it’s a story that dives into desire, honor, and the suffocating weight of social hypocrisy. Piero Piccioni’s elegant score enriches every scene with its refined touch, making this soundtrack an essential listen for lovers of vintage Italian drama.

#smoothjazz #lofi #pieropiccioni #jazz #vintage #chill #soundtrack #ost #film

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Extrait de "Amandine Beyer / Portrait"
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Amandine Beyer, violin

Buy here: http://www.outhere-music.com/en/albums/portrait-zzt-325
ZZT 325

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İlk albümünü yayımladığı 1996 yılından bu yana Sufi/Dünya müziğine getirdiği benzersiz yorum ve yenilikçi müzik projeleriyle dünya çapında tanınan Mercan Dede (namı diğer Arkın Allen), yeni albümü Dünya–Earth ile uzun bir aradan sonra müzikseverlerin karşısında. Mercan Dede’nin prodüktörlüğünü de üstlendiği Dünya albümü, ONEARTH Records etiketiyle 21 Mayıs 2013 günü raflardaki yerini aldı.

Since releasing his first album in 1996, Mercan Dede (aka Arkın Allen) has become a world-renowned artist with his unparalleled interpretations and contributions to Sufi music as well as his cutting edge musical projects. After a long hiatus, he is back in the spotlight with his new album Dünya–Earth. Produced by him and released under his new label ONEARTH Records on May 21st.

Violin Concerto Hilary Hahn

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