Dustin O’Halloran, Chilly Gonzales, Bach, Igor Stravinsky, Lubomyr Melnyk, Mozart, Arvo Pärt, Nils Frahm, Keith Jarrett, Verdi, Scarlatti, Dimitri Chostakovitch, Franz Liszt, Max Richter, Paganini, Chopin, Arthur Rubinstein, Mischa Maisky, Vivaldi, Maria Callas, Barbara Bonney, Ophélie Gaillard, Dmitri Hvorostovsky, Tina Lerner, Paquita Madriguera, Irene Scharrer, P.I. Tchaikovsky, Ciprian Porumbescu, Martha Argerich

https://feverup.com/paris/candlelight-paris?utm_source=parissecret&utm_medium=post&utm_campaign=candlelight-paris&utm_term=cta1&utm_content=candlelight

Classical & Post Classical

Picture: Lee Miller by Man Ray

Billie Holiday, Joséphine Baker, Tommy Kinsman and his Ciro's Club Band, Leadbelly, Juan Maglio, Roberto Maida, Carlos Gardel, Tanzoni and his Dance Orchestra, Carroll Gibbons, The Savoy Orpheans , Emil Gilels, Fréhel, Red Nichols, Artie Shaw, Benny Goodman, Django Reinhardt, Stéphane Grapelli, Andrew Sisters, Marek Weber and his Orchestra, Count Basie, Lester Young, Al Bowlly, Tino Rossi, Adam Aston, Ray Noble & his Orchestra, Marlene Dietrich, Glenn Miller Orchestra, Ray Ventura, Fred Astaire

Années 30 I Thirties

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 - Nocturne Op.9 No.1 in B-Flat Minor (Arthur Rubinstein)

Giulio Caccini - Ave Maria

Harry Hudson dir. 2t / tb / 2cl - as / cl - ts / vn / p / bj - g / bb - sb / d / Sam Browne, v.

Edison Bell 5547 mx. 14584-2

London, c. December 27, 1932.

Tanzoni & his Dance Orchestra - I'm Playing With Fire - 1932

One of the most beautiful waltzes of 1932, "Moonlight on the river", was ignored by most of the dance bands and clearly did not gain much popularity at the time.  Despite this, had it  been recorded by Al Bowlly with Ray Noble, I am quite certain that it would now be considered as one of Al's greatest recordings. Here, Harry Bentley sings with real feeling and emotion in a delightfully smooth arrangement from carroll Gibbons. Incidentally, Ray Noble did provide the orchestral accompaniment when Melville Gideon recorded the song for HMV, what a pity that he didn't also record a version with his resident vocalist. 

"Moonlight on the river" by Carroll Gibbons & the Savoy Hotel Orpheans

Masquerade_Jack hylton&his orch(1932)

Im Portrait: Marlene Dietrich

Ich bin die fesche Lola

Young GILELS Plays RAMEAU Le Rappel Des Oiseaux

Goodnight Sweetheart( Pathé98084)

Puccini -Madame Butterfly

As seis suítes para violoncelo desacompanhado por Johann Sebastian Bach são algumas das composições de solo mais realizados e reconhecível já escritas para violoncelo . Eles foram provavelmente composto durante o período de 1717-1723, quando Bach serviu como um Kappelmeister em Köthen . O título de Anna Magdalena Bach manuscrito 's foi Suites á Violoncello Solo senza Basso.

As suites foram transcritas para vários instrumentos, incluindo o violino, viola, contrabaixo, viola da gamba, bandolim, piano, marimba, guitarra clássica, gravador, baixo elétrico, trompa , saxofone, clarinete, fagote, trompete, trombone, euphonium , tuba, ukulele, e charango 

Bach   Cello Suite No.1 i Prelude

دائمُ الخضرةِ يا قلبي وإن بان بعينيَّ الأسى
دائمُ الثورةِ يا قلبي وإن صارت صباحاتي مسا.
❤

Young GILELS Plays RAMEAU Le Rappel Des Oiseaux

Ola Al Khash