Love reading while this is on in the background

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

Frederic Chopin, Vol. 1

Nocturne Op. 72 No.1 in E Minor

MAHLER, Gustav
Symphony #5 in C sharp minor - 4. Adagietto, sehr langsam

Gustav Mahler - Symphony #5 in C sharp minor - 4. Adagietto, sehr langsam

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The Piano Sonata No. 12 in F major by Wolfgang Amadeus Mozart, K. 332/300k, was written at the same time as the Piano Sonata, K. 330 and Piano Sonata, K. 331 (Alla turca), Mozart numbering them as a set from one to three. They were once believed to have been written in the late 1770s in Paris, but it is now thought more likely that they date from 1783, by which time Mozart had moved to Vienna.

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Some believe, however that Mozart wrote this and the other sonatas during a summer 1783 visit to Salzburg made for the purpose of introducing his wife, Constanze to his father, Leopold. All three sonatas were published in Vienna in 1784.

Adagio - The second movement is a slow movement in the key of B flat major with two halves repeated. In the autograph, the second half is essentially a repeat of its initial presentation with some minor tonal adjustments. In the earliest printed editions, however, it is considerably elaborated.

Retailers:

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Piano Sonata No.12 in F-Major, K. 332: II. Adagio



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Napster

Piano Sonata No.1 in C-Major, K. 279: I. Allegro



The Concerto for Flute, Harp, and Orchestra in C major, K. 299/297c, is a composition by Wolfgang Amadeus Mozart for flute, harp, and orchestra. It is one of only two true double concertos that he wrote, as well as the only piece of music by Mozart that contains the harp.

The piece is one of the most popular such concerti in the repertoire, as well as often being found on recordings dedicated otherwise to either one of its featured instruments.

III. Rondeau – Allegro

The harmonic form is: A–B–C–D–C–B–{cadenza}–A(coda). Some music theorists feel that this is actually more of an arch than a typical rondo form, because music from the A section is still audible in the C and D sections.

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Orchestral samples included in this recording from the Vienna Symphonic Library.

YouTube

Concerto in C Major for Flute, Harp and Orchestra, KV 299 / 297c: III. Rondeau, Allegro



Mozart's Clarinet concerto in A major, K. 622 was written in 1791, shortly before Mozart's death, for the clarinetist Anton Stadler. It consists of the usual three movements, in a fast–slow–fast form:

Allegro (in A major and in sonata form)
Adagio (in D major and in ternary form)
Rondo: Allegro (in A major and in rondo form)

It was also one of Mozart's final completed works, and his final purely instrumental work (he died less than two months after its October premiere). The concerto is notable for its delicate interplay between soloist and orchestra, and for the lack of overly extroverted display on the part of the soloist (no cadenzas are written out in the solo part).

The closing rondo has a cheerful refrain, with episodes either echoing this mood or recalling the darker colours of the first movement. It is a blend of sonata and rondo forms that Mozart developed in his piano concertos, most notably the A major Piano Concerto, K. 488.


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Orchestral samples included in this recording from the Vienna Symphonic Library.

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Concerto for Clarinet & Orchestra In A-Major, KV. 622: III. Rondo, Allegro

The Piano Concerto No. 24 in C Minor, K. 491, is a concerto for piano and orchestra. 

Mozart composed the concerto in the winter of 1785–1786, finishing it on 24 March 1786, three weeks after the completion of the Piano Concerto No. 23 (K. 488) in A Major. He premiered the work in early April 1786 at the Burgtheater in Vienna.

The concerto consists of three movements. The first, Allegro, is in sonata form and is the longest opening movement for a concerto that Mozart had hitherto composed. The second movement, Larghetto, is in the relative major of E flat and features a strikingly simple principal theme. The final movement, Allegretto, returns to the home key of C minor and presents a theme followed by eight variations.

The work is one of Mozart's most advanced compositions in the concerto genre. Its early admirers included Ludwig van Beethoven and Johannes Brahms. Musicologist Arthur Hutchings considered it to be Mozart's greatest piano concerto.


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Orchestral samples included in this recording from the Vienna Symphonic Library.

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Piano Concerto No. 24 In C-Minor, KV 491: I. Allegro

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European Melodies

Andante Spianato et Grande Polonaise Brillante in E-Flat Major, Op. 22

Chopin - Andante spianato et grande polonaise brillante in E-flat major, Op. 22 (Live)

M017-Wolfgang Amadeus Mozart – Piano Concerto No. 21 in C major, K. 467, Elvira Madigan II. Andante

Bach: Concert For Violin And Oboe in C Minor, BWV 1060: II. Adagio

Official MOZART artist persona of Tom Connell (PRS writer).
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•Tom Connell 671594418 
• Mozart 1187246925 
• Wolfgang Amadeus Mozart 1187246827 
USCO: SR 809-097 (Wolfgang Amadeus Mozart, pseud 2017).
Modern recordings/arrangements by Tom Connell; not affiliated with historical estates/publishers.

Piano Sonata No.1 in C-Major, K. 279: I. Allegro

Mozart

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