Dazzling, fresh and beautifully played. I love the contrast of kinetic energy and contemplation.

Really love how all the whirly birding cacophony resolves so beautifully in the end.  Such tremendous skill and sensitivity.  Well done.

This performance was relatively unrehearsed, returning to the piece after not playing it for many months. It embodies my take on Beethoven's 'Impassioned Style' as recalled by Czerny.  It also takes account of Czerny's precise instruction that a rit. starts as early as bar 4 (!) and that 'con espressione' is invariably an invitation to play slower, with feeling (Schnabel's edition also bears witness to this in his subtle metronome changes at this point). Not only this but Czerny talks about how emphatic Beethoven's musical rhetoric was, in other pieces pausing on notes in a way that perhaps comes from C.P.E. Bach (there is probably a direct line from there via Czerny to Liszt who was known for this style of rubato).   At the very least this to my mind is a plausible mid-19th-century interpretation.

Beethoven: Op.2 No.1 Allegro

Arctic Concerto for Piano and Orchestra - Movement 1

Sonata in F minor, K. 466

Domenico Scarlatti: Sonata in F minor, K. 466

Quoting from Tobias Matthay's book on Interpretation (1913):

"For a Rubato of slightly longer extent in Bach and Beethoven let us take the second subject of Bach's Prelude in F minor...and the opening of the Allegretto from Beethoven's "Moonlight" Sonata.  I will first play these, trying to give them their proper feeling without the use of Rubato, and you will see that it is impossible.  I will then play them both with the proper Time-curves (or Rubato) and you will see how the phrases at once leap into life".  See image file for Matthay's annotated score of the Bach.

Bach: Prelude in F minor (WTC II) according to Matthay

Precious Stone

Bus Ride To Hobbiton

Enter Sandman and Hold The Door

Montage et photographies :
@2024, Chartrand Saint-Louis
Lien vers la vidéo : https://youtu.be/DXqFMdp1N7I

Musique :
@2024, pièce de piano, titre : "Solstice d'hiver", par Chartrand Saint-Louis, 1:55 min.

Mixage, révision et sonorisation par Albert

Solstice d'hiver

"Solstice d'hiver", par Chartrand Saint-Louis; Mixage, rév. et sonorisation par Albert [lien vidéo]

Giorgio Colombo Taccani NOX, TELLUS for female voice on fragments from Ovid's Metamorphoses (2004)
dedicated to: Akiko Kozato
EDIZIONI SUVINI ZERBONI - MILANO
Akiko Kozato, voice
More at www.colombotaccani.it/nox.html

"Nox, Tellus" for female voice on fragments from Ovid's Metamorphoses (2004)

'Tourbillonnant' = 'Whirling.'  These small doodles, or ‘paper improvisations,’ if you will, began as just that—scribbles that went down without the usual planning devoted to so much of my preceding music for solo piano. As such, they probably sound much different from the Aquarelles or even the more ‘open’ Piano Set, and the player may note some features that are a bit experimental—at least for somewhat conservative me. This is not a set, but the pieces may be played together if desired. They are dedicated to my friend and supporter, Johan de Cock. Available for download: https://doc.co/T5T5qn

Printemps: Tourbillonnant (Completed)

Performed by the Camden Hills Regional High School Treble Choir and treble voices of the Chamber Singers, conducted by Kim Murphy and accompanied by Matt Mainster and Myles Kelley.
Arrangement of two American murder ballads, "On the Banks of the Ohio" and "Pretty Polly".

Digging On Her Grave: two American murder ballads for SSA choir

R.A. Moulds studied composition with William Presser at the University of Southern Mississippi. His early music exhibited an idiosyncratic, non-dogmatic post-tonal style, which was soon abandoned in favor of a more eclectic manner.

Printemps: Tourbillonnant (Completed)

R.A. Moulds

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