Mozart Violin Concerto No.3 In G Major - 2nd Movement

Swan Lake - Pyotr Ilyich Tchaikovsky

Swan Lake Act Four. No. 27. Dance of the Little Swans (Moderato) - Pyotr Ilyich Tchaikovsky (8D Binaural Sound - Music Therapy)

François Feldman - Les Valses De Vienne
By Niskens
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PAROLES - LETRAS - LYRICS :

Du pont des supplices
Tombent les actrices
Et dans leurs yeux chromés
Le destin s'est brouillé
Au café de Flore
La faune et la flore
On allume le monde
Dans une fumée blonde

Maintenant que deviennent
Que deviennent les valses de Vienne?
Dis-moi qu'est-ce que t'as fait
Pendant ces années?
Si les mots sont les mêmes
Dis-moi si tu m'aimes
Maintenant que deviennent
Que deviennent les valses de Vienne?
Et les volets qui grincent
D'un château de province?
Aujourd'hui, quand tu danses
Dis, à quoi tu penses?

Dans la Rome antique
Errent les romantiques
Les amours infidèles
S'écrivent sur logiciels
Du fond de la nuit
Remontent l'ennui
Et nos chagrins de mômes
Dans les pages du Grand Meaulnes

Maintenant que deviennent
Que deviennent les valses de Vienne?
Dis-moi qu'est-ce que t'as fait
Pendant ces années?
Si les mots sont les mêmes
Dis-moi si tu m'aimes
Maintenant que deviennent
Que deviennent les valses de Vienne?
Et les volets qui grincent
D'un château de province?
Aujourd'hui, quand tu danses
Dis, à quoi tu penses?

Maintenant que deviennent
Que deviennent les valses de Vienne?
Dis-moi qu'est-ce que t'as fait
Pendant ces années?
Si les mots sont les mêmes
Dis-moi si tu m'aimes, si tu m'aimes
Maintenant que deviennent
Que deviennent les valses de Vienne?
Et les volets qui grincent
D'un château de province?
Aujourd'hui, quand tu danses
Dis, à quoi tu penses? 
À quoi tu penses?

Paroliers : François Feldman / Jean-Marie Moreau
Paroles de Les Valses de Vienne © Joy Music Ltd

François Feldman - Les Valses De Vienne, By Niskens

2024 saw Tiffany's successful debut album release on Pentatone - "Diaries: Schumann" which has amassed over 10 million streams to date and charted at No.1 on Apple Music Classical across four continents in addition to the Billboard Charts (Traditional Classical Albums).

AN EXISTENTIAL QUEST THROUGH SCHUMANN’S MUSIC

Immerse yourself in the enchanting world of Tiffany Poon, “classical pianist of the new generation”, who makes her Pentatone debut with her album Diaries. Through her vivid interpretation of Robert Schumann’s masterpieces, Tiffany invites us on a journey through her musical diary.

With a selection ranging from the introspective Kinderszenen to the passionate Davidsbündlertänze, she creates a tapestry that reflects the different aspects of her life and her personal growth. With this album Tiffany aims to invite the listeners to connect with the different aspects of ourselves, be vulnerable and imaginative like Schumann’s Eusebius and Florestan. This album encourages daydreaming in open spaces, “feeling all the feels”, without any judgement. Experience the brilliance of this rising star as she shares her innermost thoughts and musical prowess through the captivating melodies of Schumann.



Buy from Artist

Schumann: Davidsbündlertänze Op.6, Heft II - 4. Wild und lustig

Chopin’s Waltz in A-flat major, Op. 42, is no ordinary dance—it’s a waltz supreme, a dance-poem where elegance collides with daring invention. On the surface, it dazzles with Parisian brilliance: swirling gowns, aristocratic pairs, a ballroom sparkling with wit and coquetry. But under the magnifying glass, it reveals Chopin’s genius for bending time itself. The left hand beats the familiar three of the waltz, while the right hand insists on two—duple against triple, particle against wave—creating an auditory illusion as if couples were gliding past each other in different dimensions.

Like a jeweler turning a diamond in shifting light, each return to this piece reveals new colors. Its interwoven themes play like refracted beams in a prism: amusement, drama, intimacy, and that unforgettable sostenuto melody blooming at the heart of the work, a melody Schumann said deserved to be danced only by countesses. Even Chopin’s humor flickers through—the sudden break in the reprise feels less like a mistake than sly stagecraft, as if a dancer had tripped, only for the music to whirl back into an ecstatic frenzy.

From a quantum lens, Op. 42 is superposition in sound: both gallop and glide, both order and abandon. Chopin carried fragments of it for years—echoes of youthful sketches, of tone-portraits of his beloved Maria, of earlier Valses Brillantes—before collapsing them into this final, mature form. The result is music that feels inevitable yet forever unstable, a ballroom spun inside a collider. It is Chopin the improviser and Chopin the architect fused into one: creating a waltz that is not just danced in time, but dances with time itself.

Piano Sonata No.8 in C Minor, Op.13: III. Rondo (Allegro)

l'Orchestra Filarmonica di Moss Weisman

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