classic

Live from Paul Hall, The Juilliard School

LIVE Beethoven String Quartet in E minor Op. 59 No. 2 - IV. Finale, Presto

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

Hungarian Rhapsody No. 13 in A minor, S. 244/13, was written in 1847 and published in 1853. It was dedicated to Count Leo Festetics. It is the least performed, but one of the most musically beautiful rhapsodies by Liszt. It begins with a rich sound of a melancholy melody in the middle piano register, gradually growing more impassioned and effervescently embellished. The following A major section has a merrier mood and dance-like turns, although at times interrupted with anguish of the introductory motif. Virtuosic and fiery Friska section  is in Vivace tempo, and is building with impetuous energy towards the grandiloquent Presto assai coda in A Major.  The last tune is the authentic Hungarian folk song Nem, nem, nem, nem megyünk mi innen el. It also quotes Akkor szép az erdő, mikor zöld and is based on the 17th number of Magyar Dallok, Volume I.  In this rhapsody Liszt truly captures sounds of Gypsy bands, “Hungarian cadence” rhythm and Hungarian Gypsy minor scale.

Franz Liszt: Rhapsodies, Études and Transcriptions

02 Liszt. Hungarian Rhapsody No. 13 In A Minor

Hungarian Rhapsody No. 6 in D-flat Major, S. 244/6, was written in 1847, published in 1853, and dedicated to Count Anton von Apponyi. Based on themes from Liszt's Magyar Dalok, and Magyar rapszódiák, from S. 242, it was orchestrated four years later, together with his other 5 rhapsodies. Liszt wrote a third version for piano 4 hands in 1874. This rhapsody has four sections, each employing a separate Hungarian folk melody (Chlopitzky nóta, Cserebogár, sárga cserebogár, and verbunkos). The first two are part of an introduction, consisting of a glorious march followed by a rapid dance, both imbued with off-beat accents producing bizarre and wild flavor. Lassan is based on a morbid Hungarian poem. Liszt’s music reflects its pensive crying and eruptive mood in improvisatory Gypsy style. Friska is playful and sunny, leading to exhilaration of repeated notes and scales in octaves toward a bravura conclusion. This rhapsody is one of Liszt’s most technically challenging and extroverted.

01 Liszt. Hungarian Rhapsody No. 6 In D - Flat Major

......finally the final version of this piece.......
please visit my website for more information and recordings:  https://homeofficepianist.de

Franz Liszt Romance S.169

00:00 Largo
01:19 Allegro
04:52 Largetto
07:51 Gigue

George Frideric Handel: Concerto Grosso in F Major (Op 6 No 9)

THOMAS GOULD Live in Riga
Sinfonietta Riga

1-3. Violin Concerto in D, Op. 61 - Ludwig van Beethoven
	I. Allegro ma non troppo
	II. Larghetto
	III. Rondo (Allegro)

4. The Lark Ascending - Ralph Vaughan Williams  

Produced by Raphaël Mouterde
Executive producer Dave Stapleton

‘Live in Riga’ is the major new album from the celebrated 31 year old British violinist Thomas Gould.  Recorded live in concert with Sinfonietta Riga on April 11th 2014 at the Great Guild Hall in Riga, Latvia, it confirms Gould’s enormous potential as one of the most inventive and colourful instrumentalists of his generation.  Gould is no ordinary classical musician but one of a new generation who refuse to be defined by a single genre.  He has developed impressive jazz credentials, but it is in this environment as soloist/director of classical repertoire where he really excels.  The Times recently described Gould as “intent on becoming the Nigel Kennedy of his generation”.  Gould, however, is incomparably his own musician.  Bold and courageous enough to forge his own path and follow his singular vision, he steps outside the footsteps of the greats.

‘Live in Riga’ is a defining album for Gould, his first disc of a three-album deal with forward-thinking British jazz and classical record label Edition Classics.  Over the last decade he has been in demand as a soloist with major orchestras worldwide, including the Royal Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Hallé Orchestra and LA Phil New Music Group.  He is also much in demand as a leader/director, working with Britten Sinfonia, Aurora Orchestra, Mahler Chamber Orchestra and the Australian Chamber Orchestra’s ACO2, but it’s when he brings these disciplines together that the magic happens.  As Gould explains, “It means that everyone plays in a more engaged way. There is a group commitment to making it work, so the process is much more collaborative than when working with conductor.”

Sinfonietta Riga is an orchestra with a story to tell.  Formed in 2006, their vision is as bold as Gould’s.  Equally happy to play in concert dress or T-shirts they are intent on building new audiences for the music while reaching for the highest artistic standards.  Their collaboration is a perfect match and a unique experience for both the orchestra and for Gould.  This live concert recording bears witness to this special musical symbiosis.

To release an album featuring Beethoven’s Violin Concerto and Vaughan Williams’s The Lark Ascending is a bold decision.  As two cornerstones of the violin repertoire, there are plenty of performances to compare, but Gould’s versions demonstrate a brilliance of tone and colour that demands attention.  His flexibility and breadth of musical interests is fully evident.  Gould’s playing has the clarity you would expect from any major performer but radiates a freedom in its expression as though improvised with an immediate elegance and poise.

For Gould it’s all about achieving the right balance.  Whether it’s jazz or classical, written or improvised, as soloist or director, Gould is right in the eye of the storm.  If the dark clouds gathering in the wider music world imply that the days of the single-minded virtuoso are coming to an end; if to succeed in that brave new world we need to attract more diversity and brighter colours, then in Thomas Gould we may have found the lightning conductor to spark a new generation.


THOMAS GOULD Beethoven - Violin Concerto In D, Op.61 - II. Larghetto

Mendelssohn Four Pieces For String Quartet Op. 81

Artea String Quartet
Thomas Gould, violin I
Rhys Watkins, violin II
Benjamin Roskams, viola
Ashok Klouda, cello

Champs Hill Records, 2014

04 Four Pieces For String Quartet Op. 81  IV. Fugue In E - Flat Major, MVW. R 25

The legendary Hungarian Rhapsody No. 2, originally composed by Franz Liszt and rendered through Impact Soundworks' upcoming "Pearl Concert Grand" instrument for Kontakt Player!

"Hungarian Rhapsody No. 2" by Franz Liszt - Romantic Classic

the script-  for the first time piano cover

Album release: 24th of February 2017

The hugely talented pianist makes his recording debut with the phenomenally difficult Liszt transcriptions of well-known opera melodies. A broad and thoughtful musician, Chiyan Wong’s special interest in the music of Franz Liszt, has led to him perfecting his own editions of these popular operatic fantasies. Following Liszt’s own advice regarding transcriptions, Wong concentrates on communicating the spirit and intention of the music whilst applying his own personal touches. A decade of performing Réminiscences de ‘Don Juan’ de Mozart has created a most effective version, whilst Wong adds a new coda to Fantasie über Themen aus Mozarts Figaro und Don Giovanni in a fitting tribute to Liszt’s pupil Carl Tausig. Wong has performed Liszt around the world: in Hong Kong as part of the composer’s bicentenary celebrations, in London at his Wigmore Hall debut, and in concert for the Liszt Society in Europe.

Chiyan Wong has been astonishing audiences with not just the sincerity and sheer authority of his playing, but is also fêted by critics and colleagues as a rising star of the piano world. Wong was the sole recipient of the Bernard van Zuiden Music Fund of the Hong Kong Philharmonic Orchestra in 2007 and won First Prize at the Jaques Samuel Pianos Intercollegiate Piano Competition in 2011. In addition, he has been awarded prizes by the Hattori Foundation in London, the International Piano Competition in Memory of Vladimir Horowitz in Ukraine and the Premio Liszt in Parma. He is a recipient of the Postgraduate Performance Award by the Musicians Benevolent Fund and the ABRSM Macklin Bursary. Wong has performed in Singapore, Italy, France, Germany and the UK and will return to the Singapore International Piano Festival in 2017.

 ‘Chiyan Wong is an exciting, original and thoughtful pianist. Nothing sounds ‘bought in’; everything sounds freshly but not self-consciously conceived.’ Stephen Hough

Liszt Transfigured: Operatic Fantasies for Piano

LISZT // Réminiscences de 'Don Juan' de Mozart - Grande fantaisie, S. 418

اجرای معروفترین قطعه از پاگانینی "لا کامپانلا" - تنظیم شده برای پیانو سلو از فرانتس لیست - پیانیست: نیکولای لوگانسکی - انتشار: ۲۰۱۲

اجرای بسیار شفاف و تمیز این پیانیست روس از این قطعه را بشنوید

Frantz Liszt - La Campanella

Felix MENDELSSOHN BARTHOLDY (1809-1847)
Lieder ohne Worte Op. 62
Nr. 1 Mailüfte

DUO CORD'EOLE
Fanny MAYNE, Querflöte
Nicolas FAURE, Violoncello
www.duocordeole.com

Felix MENDELSSOHN BARTHOLDY (1809-1847) - Lieder ohne Worte Op. 62 - Nr. 1 Mailüfte

Johannes Brahms Variations and Fugue on a Theme by Handel, Op. 24

Ludwig van Beethoven: Sonata No. 3 for Cello and Piano in A Major, Op. 69
Benjamin Capps, cello; David Kaplan, piano

Recorded at Vermont Public Radio, Colchester, VT
Producer: Joe Goetz
Audio Engineers: Sam Sanders, John Billingsley

LISZT // Réminiscences de 'Don Juan' de Mozart - Grande fantaisie, S. 418

Outhere Music

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