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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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

Chopin Heroic Polonaise Op.53 A Flat Major - Played by Valentina Lisitsa

This seldom heard work by Claude Debussy is from my new CD album:
 'Debussy-Nature Myth Legend'

YouTube link:
http://youtu.be/fX1fqb3bJLA


Debussy-Nature Myth Legend

Nocturne, L. 82

'Nocturne' by Claude Debussy

These are some of my favorite classical piano pieces performed by some of the greatest pianists I've heard, you'll love at least one. 

Chopin Valse Op 64 No 2 Waltz In C Sharp Minor 7 Valentina Lisitsa

S. Rachmaninov - V. Gryaznov. Italian Polka

Claude Debussy: Rêverie

Kreisler-Rachmaninoff: Liebesleid played by Rachmaninoff 1923, on Ampico piano roll 62103. which scanned and converted into a digital form by Terry Smythe et al,, and audio-recorded (by permission)in 2015 by VViljanen, and the rec. updated 19 May 2017 from the digitized copy of the original reproducing piano roll.
ANY KIND OF COMMERCIAL USE PROHIBITED.
Photo: Sergei Rachmaninoff 1873-1943
Info* of the original roll:
LIEBESLIED (LOVE'S SORROW) "alternating roll with silent sections Weiner Tanzweisen" (Old Viennese Dance Melodies) No. 2
Roll Number: 62103, 62103H
Composer/Creator: Kreisler, Rachmaninoff
Pianist: Rachmaninoff
Roll System: Ampico
Country: US
Date: June, 1923
Category: classical, popular
Original Price: $2.00
* source: from The Piano Player Group web page (by permission)

Kreisler-Rachmaninoff: Liebesleid. Sergei Rachmaninoff in 1923, on Ampico 62103

World Premiered by Katherine Cheng	(violin) and Jeongmin Oak (piano) Kilbourn	Hall,	Eastman	School of Music Rochester,	NY | 
Friday, November	22,	2024

Program Notes:

“Tea with Debussy & Pärt in Casablanca” is a musical dream born from a vacation in Havana, Cuba. This piece imagines an encounter with the esteemed composers Arvo Pärt and Claude Debussy in the vibrant city of Casablanca, over Moroccan tea. It is not an imitation of their styles but rather a heartfelt conversation between us, infused with elements of both composers’ musical languages. Originally commissioned by Vincent Delorme for viola and piano, the piece was premiered in Montreal. The clarinet version, performed by double Grammy-nominated clarinetist Tasha Warren and pianist Yun Hao, premiered at the Mostly Modern Festival in Saratoga Springs, NY, in June 2024. Katherine Cheng, inspired by both the clarinet version and her experience performing in the sextet premiere of the first movement of my Suite “Moroccan Dances,” felt a strong connection to my compositional style. Her expressive playing and nuanced interpretation are well-suited to the music’s blend of minimalist and impressionistic elements. Katherine’s excitement about this collaboration led to the creation of this violin and piano version, marking the beginning of our artistic partnership. The piece begins with minimalist touches, a nod to Pärt’s recent works, where the piano introduces serene arpeggios that intertwine with expressive violin melodies. As the music progresses, it incorporates Debussy’s harmonic richness, weaving a tapestry of sound that captures the essence of typical Moroccan conversations—dynamic, lively, and filled with unexpected turns.

Franz Liszt-Liebestraum No. 3 in A-Flat Major

Kevin Likai Kao

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