je joue sa au piano aussi et j'ai pas de grosse difficulté (je joue pas le moment de rapidité)

Et moi j'aimerais bien le jouer comme çà mais j'ai quelques années de retard

Merci! Votre son est très claire et beau!

Pourquoi je t'imagine entrain de sourire ;)

Classique

live performance of
Oblivion by Piazzolla, transcribrd for four celli by Villarejo.
Cellists- Avigail Arad, Michal Beck, Emanuele Silvestry and Micha Haran
at BYU Jerusalem Center, July 7th 2013

Piazzolla Oblivion

Ah vous dirais-je maman (12 variations) - Mozart

#21 Recorded 10-26-2025. "Lips, teeth, tip of the tongue" is a diction exercise many vocalists and actors use to warm up.  This piece employs a repeating and recurring spritely motif that spins through many keys trying to express what's just on the "Tip of the Tongue." This sketch was the genesis of #20 "Hey Ditty Ho (and tra-la-la!)" 

SKETCHES 21 -Tip of the Tongue

Music by: Johann Pachelbel (Canon in D)
                      Darlene Zschech (Shout to the Lord)
                      Highland Cathedral by:  Ulrich Roever and Michael Korb

Enjoy this EPIC edition of these 3 songs, mixed for you to enjoy!


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EPIC Medley

Chopin Waltz Op64 No2

From the album 'Schubert: Fantasie in C Major, Op. 15, D. 760 "Wanderer"; Chopin: 4 Ballades'. 
More information: http://sophiagranovich.com/discography
Buy: http://amzn.to/1PmG9qn

Frederic Chopin: Ballade No.1 in G minor, Op. 23

Although the “Kreutzer” Sonata, Op. 47, is dedicated to Rodolphe Kreutzer, the original dedication was to George P. Bridgetower (1779-1860), for whom the piece was written. Bridgetower, an African-Polish violinist who lived in London.
Rodolphe Kreutzer (1766-1831) was a French violinist of great renown whom Beethoven met in Vienna in 1798.

Beethoven’s decision to dedicate the sonata to Kreutzer instead of Bridgetower was probably related to his intended move to Paris and a wish to ingratiate himself with French musical luminaries. Legend has it that Beethoven changed the dedication because he and Bridgetower quarreled over a woman. Kreutzer most likely never knew of the dedication, and it is almost certain that he never played the piece.

The “Kreutzer” Sonata was published in 1805. Beethoven described the piece as “written in a very concertante style, like that of a concerto,” explaining the internal conflict generally associated with his larger works.

Beethoven’s “new path” is everywhere evident in the first movement of the “Kreutzer” Sonata. The only slow introduction Beethoven ever wrote for a violin sonata is actually the only portion of the movement in A major, which gives way to A minor at the beginning of the Presto sonata-form section. Development of the first theme does not occur until the lengthy, weighty coda, which is much more symphonic than chamber-style in conception.

Ludwig van Beethoven. Sonata No. 9 "Kreutzer" for violin and piano, op. 47

Scott Joplin - Maple Leaf Rag

Schumann - Kinderszenen (Lorenzo Cossi)

Claude Debussy’s Clair de Lune is the third movement of his Suite Bergamasque, written for solo piano and completed in 1905. The title, meaning “Moonlight,” is inspired by Paul Verlaine’s poem, evoking a serene and reflective atmosphere. The piece epitomizes French Impressionism, focusing on mood and imagery over traditional form.
Structure and Atmosphere

The piece is in ternary form (ABA):

    Opening (A):
    A soft, flowing melody emerges over delicate arpeggios. The music feels weightless, like moonlight shimmering on water. Debussy uses rich harmonies and seventh chords to create a dreamlike quality, with a tender, introspective mood.

    Middle Section (B):
    The dynamics intensify, with fuller textures and soaring melodic lines. This section brings a sense of emotional depth and urgency, contrasting with the calm opening. Arpeggios cascade dramatically, giving the impression of moonlight suddenly brightening or revealing hidden beauty.

    Closing (A):
    The opening material returns, slightly varied, fading into a gentle, whisper-like conclusion. The piece ends as quietly as it began, leaving a sense of stillness and wonder.

Musical Features

    Harmonics: Debussy’s use of whole-tone scales, parallel chords, and non-functional harmony creates a suspended, ethereal soundscape.
    Melody: The lyrical melody floats effortlessly above the accompaniment, expressing both simplicity and emotional depth.
    Texture: Light, transparent textures alternate with moments of lush, resonant fullness, embodying the interplay of light and shadow.

Mood and Interpretation

Clair de Lune evokes the quiet magic of a moonlit night, combining serenity with subtle melancholy. Its poetic quality invites listeners to imagine moonlight reflecting on a calm lake, whispering through trees, or illuminating a tranquil landscape. The music feels timeless, blending stillness with fleeting moments of intensity.

Cultural Impact

This iconic piece has been widely used in films (Ocean’s Eleven, Twilight) and pop culture, often accompanying scenes of romance, nostalgia, or quiet reflection. Its universal appeal lies in its ability to evoke deep emotion while remaining understated.
Performance Notes

Expressive dynamics, fluid phrasing, and careful pedaling are essential to capturing its delicate atmosphere. A balance between freedom and control ensures its dreamlike flow remains intact.

Clair de Lune is a masterpiece of impressionistic music, celebrated for its ability to transport listeners into a realm of quiet beauty and introspection.

Claude Debussy - The Essential Collection

Clair de Lune

Here is a beautiful piece from Claude Debussy that I recorded today in the studio - Debussy's work and art is very special, & I kept the tempo at 70'ish - i prefer this speed and feeling as I believe Debussy initially intended it to be performed like this.

hope you enjoy xx

glenn


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Classical Piano Pieces Volume III

Clair De Lune

Buy on iTunes

Claude Debussy - Clair de Lune - Glenn Morrison playing on a Yamaha Grand Piano

Scott Joplin - The Entertainer

Gittit Boasson - Harp, Israel Camerata Orchestra, Jerusalem, Avner Biron - Conductor, Tel Aviv Museum, 2007. Recorded by Alex Zborovsky.

Claude Debussy: Danse sacree et profane

The Swan (Saint-Saëns)

Dedico esta grabación con gran cariño a mis padres.

https://itunes.apple.com/us/album/debussy-deux-arabesques-single/id1109105473

Debussy: Deux Arabesques

Arabesque No. 1 in E Major, L. 66: Andante con moto

Claude Debussy: Première Arabesque

Pianiste Diplômée d'Etat, Ornella Ortiz a commencé le piano au Conservatoire de Musique et d'Art Dramatique d'Antibes.

Premier prix première nommée des concours Steinway, Bach, et UFAM,  elle obtient une médaille d'Or au Conservatoire de Musique et d'Art Dramatique d'Antibes, et un DEM dau CRR d'Avignon.  Elle a la chance de travailler avec Jean-Claude Pennetier, Gabriel Tacchino, Jean-François Heisser et Bruno Rigutto lors de différentes Master Class.

Elle a l'opportunité de se produire en récital  à Monaco (Concert des Jeunes Talents), dans l'arrière pays niçois,  à Antibes (Palais des Congrès), à Fréjus (Villa Aurélienne), en Avignon, à Hyères,  à Schwabisch Gmünd (Allemagne), avec l'ensemble orchestral de Fréjus et l'orchestre de Musique de Chambre de la Côte d'Azur. Elle est invitée  à Moscou (Russie) en avril 2012 dans le cadre d'un échange interculturel avec la ville de Cannes. 

Ornella est actuellement professeur de piano au Conservatoire à Rayonnement Départemental de Gap (05).

Booking : flyzz@hotmail.fr

Ah vous dirais-je maman (12 variations) - Mozart

Ornella Ortiz

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