Felix Mendelssohn

classical

for us

Every Good Boy Does Fine - Jeremy Denk

Copy of Felix Mendelssohn

La Dolce Volta

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

Felix Mendelssohn - The Hebrides (Fingal's Cave) - Overture

Valse sentimentale Opus 51 Nr 6 Peter I. Tschaikowsky

Beethoven Moonlight Sonata Op 27 # 2 Mov 3 Played by Valentina Lisitsa

Frederic Chopin Valse A minor

Georges-Emmanuel Schneider, violin
Ondřej Kukal, Conductor
The Louis Poulet Chamber Orchestra
recorded live during the concert on April 30th, 2009, in the Great Academic Hall of the Liege University, Belgium.

Pablo de Sarasate Zigeunerweisen Op. 20

Follow me on SPOTIFY:  http://sptfy.com/93U
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After the unexpected success of "Not Fur Elise" (https://soundcloud.com/milanazilnik/not-fur-elise-tribute-milana) Arty asked me if I can play a set of "Not classical" improvisations. I am a huge fan of Chopin, no less than I am a fan of Beethoven. So, here is the next "not classical" piece. Enjoy :)

Not A Nocturne - Not Chopin

Not A Nocturne - Not Chopin - by Milana

Johannes Brahms ( 7 May 1833 – 3 April 1897) was a German composer and pianist. Born in Hamburg into a Lutheran family, Brahms spent much of his professional life in Vienna, Austria. In his lifetime, Brahms's popularity and influence were considerable. He is sometimes grouped with Johann Sebastian Bach and Ludwig van Beethoven as one of the "Three Bs", a comment originally made by the nineteenth-century conductor Hans von Bülow.


Just Close your eyes and imagine :)


Johannes Brahms - Hungarian Dance No. 5

Air On The G String - Johann Sebastian Bach (Piano)

Extrait du Concert enregistré le 8 Février 2014 à la Fondation Pierre Gianadda Martigny Suisse - Aber der Herr sieht es nicht

Elias Felix Mendelssohn-Bartholdy  - Aber der Herr sieht es nicht - Ensemble Vocal Renaissance

Felix Mendelssohn: Songs Without Words, Book 1, Op. 19b: No. 1 in E Major

Mendelssohn Gary Hoffman (début sonate op58)

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

In the pantheon of 20th century Spanish composers, Joaquin Turina was the only one to devote a considerable part of his compositional talents to chamber music. He lived and studied music in Paris, where he was encouraged by the likes of D’Indy, Ravel, and Debussy. In this brief tone poem for string quartet, La Oración del Torero ("The Bullfighter’s Prayer"), the influence of Debussy can be heard, especially in the use of lush descending parallel ninth chords. The influence of music of the Andalusian Gypsies is also quite evident. This piece became one of the composer’s most popular works, often performed in an arrangement for string orchestra.

Buy on Itunes

Quatuor Talich, Turina // La Oración del Torero

La Dolce Volta se met à la musique de chambre   ...

Excellente idée que d'avoir confié à Gary Hoffman et David Selig une intégrale de l'oeuvre pour violoncelle de Mendelssohn, dont la production chambriste hormis l'Octuor et les Quatuors, demeure assez méconnue.
Si le joyau en est sans nul doute la magistrale Seconde Sonate, les interprètes s'amusent dans les juvéniles Variations concertantes, chantent à plein poumons dans la Romance sans paroles en ré, investissent avec chaleur la Première Sonate et n'omettent pas un très bref Feuillet d'Album.

Gary Hoffman, Mendelssohn // Variations Concertantes op. 17

Philippe Bianconi, pianiste niçois plus justement reconnu à l’étranger que dans son propre pays, s’appuie sur les deux piliers - pour ne pas dire les garde-fous - de l’interprète debussyste : la sonorité et l’exactitude musicale. Il nous donne non pas des Préludes « du juste milieu », ce qui serait réducteur, mais de sublimes pièces à la fois très simples et très mystérieuses, ce qui paraîtra frustrant aux Giesekino-Michelangeliens, mais caractérise bien ces deux fois douze ovnis musicaux sur lesquels on ne finira jamais de s’interroger.

Philippe Bianconi, Des pas sur la neige

Mahler: Complete Symphonies

Symphony No. 1 in D Major "Titan": I. Blumine. Andante

Transcender une œuvre qu’il joue depuis l’adolescence, telle a été l’ambition d’Aldo Ciccolini, 86 ans, l’un de nos plus grands pianistes, sur ce disque La Dolce Volta. 

En retrouvant le « son de son enfance » sur les ivoires Bechstein, le virtuose offre un regard neuf sur ces sonates grâce à un jeu poétique sublimé par l’expérience d’une vie.

Aldo Ciccolini , Mozart / Das Butterbrot

La lenteur hypnotique de son premier album Mozart chez La Dolce Volta avait de quoi déstabiliser, elle s'élève ici jusqu'à des sommets parfois vertigineux. Prenez le finale de la Sonate en ut mineur : son ternaire est presque désincarné, jusqu'à faire oublier les contours rythmiques du thème... puis vient l'explosion avec des accords assénés tels des coups de poignards. Cette allure générale n'a en effet rien d'un train de sénateur : elle permet à Aldo Ciccolini de creuser le son de chaque note, d'accuser les oppositions d'attaques, de dynamiques, de phrasés au profit d'une vision hautement théâtralisée.

Aldo Ciccolini, Mozart // Sonate n°14 (Molto allegro)

Friday Morning Music Club Chorale & Orchestra - Webster A Rogers, jr. Conductor
Mendelssohn Symphony no. 2 Lobgesang Hymn of Praise
Emily Bentgen, oboe - Maria De La Certa Rohde, flute

1. Sinfonia - All men, all things, all that have life and breath

Mendelssohn-Symphony no. 2 Hymn of Praise 1. Sinfonia -FMMC Chorale

Franck: Symphony - Saint-Saëns: Symphony No. 3 with Organ

Saint-Saëns: Symphony No. 3 in C Minor, Op. 78 "Organ Symphony": II. (b) Maestoso - Allegro [feat. Daniel Chorzempa]

Ludwig van Beethoven - Piano Concerto No. 5 in E Flat Major, 'Emperor' - Adagio un poco mosso

Piano Lessons - Piano Sonatinas by Beethoven, Clementi, Diabelli, Dussek, Kuhlau

Clementi: Piano Sonatina in F Major, Op. 36 No. 4: III. Rondeau. Allegro vivace

Clementi: Piano Sonatina in F Major, Op. 36 No. 4: I. Con spirito

Clementi: Piano Sonatina in F Major, Op. 36 No. 4: II. Andante con espressione

Creativity is not something that can be turned on and off like a tap . . . 
Art is a labour of love, a question of patience and concentration. To place demands on it, criteria, quotas, damages it, slowly kills it. Art, like nature, must be allowed to develop and to grow, in order to attain plenitude. Following this principle, La Dolce Volta prefers to privilege quality over quantity. Releases are limited to ten albums a year, but each of them is the fruit of in-depth work, and above all a special relationship between the soloist and the composer. The artists’ virtuosity is coupled with their ineffable and highly personal approach, a feeling that can only be expressed through music. 
And since jewels worthy of the name can only be offered in special cases, the albums La Dolce Volta releases are themselves works of art: each record cover is an original work of art; the digipack’s inner sleeve includes a booklet in four languages and an interview with the musician. A bandeau is wrapped around each album, on which is printed the name of the soloist, the name of the composer, and the work performed. 
For La Dolce Volta, music is not just a shrink-wrapped object for sale. Like all beautiful things in life, it must come to fruition naturally, the result of careful craftsmanship, and offered like an exquisite flower. 
For La Dolce Volta music is a question of elegance and beauty without concessions.

Gary Hoffman, Mendelssohn // Variations Concertantes op. 17

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