Bach: Trio Sonatas

Trio Sonata in C Major, BWV 529: II. Largo

Johann Sebastian Bach - Prelude BWV 998 (classical guitar)

Composer : Gabriel Fauré
Piece : Dolly Suite, Op. 56 No. I  "Berceuse"

Primo : Ms. Hellen
Secondo : me

you can see the video version at my YouTube channel :)
https://www.youtube.com/watch?v=SYfCt62NL38

Dolly Suite, op. 56 I. Berceuse

Gabriel Fauré - Dolly Suite, Op. 56 I. Berceuse

Track: Nr. 1 Scene in the Garden / Szene Im Garten 

Robert Schumann: „Szenen aus Goethes Faust“ / 
„Scenes from Goethe’s Faust“
Chor & Symphonieorchester des Bayerischen Rundfunks
Daniel Harding, conductor
Christian Gerhaher, Christiane Karg et al.

The work is not an opera, nor is it an oratorio, a cantata or a choral symphony. Indeed, Robert Schumann's "Scenes from Goethe's Faust" is very hard to categorize. The professional world has recently re-appraised the "Faust Scenes" as one of Schumann's major works, and this BR-KLASSIK recording reflects today's increased interest in a piece considered by the composer himself to be among his best. At the helm of the Symphonieorchester des Bayerischen Rundfunks is the outstanding English conductor Daniel Harding, and with the "Faust Scenes" he presents a large-scale masterpiece that traces Goethe's complex and highly philosophical literary work in a loose sequence of musical scenes. In the last decade of his life in particular, Schumann repeatedly fathomed the possibilities of music-dramatic and vocal-symphonic composition. In his "Genoveva", "Manfred," "Requiem for Mignon" and also the "Faust Scenes" he goes beyond the opera, oratorio and cantata and treads entirely new musical ground. The development process for the work lasted over a decade, and Schumann only finally completed it in 1853 shortly before the sudden deterioration in his health. With its lyrical and dramatic movements, Schumann's creation spans the story from Gretchen to Faust's death, and on to the mysterious transfiguration and redemption of the final Chorus mysticus. The part of Faust is sung by outstanding baritone Christian Gerhaher. He is joined by Christiane Karg as Gretchen and other internationally renowned soloists, together with the Chamber Choir of Augsburg Cathedral Boys' Choir and the Bavarian Radio Choir. 



Robert Schumann: Szenen aus Goethes Faust.  Chor und Symphonieorchester des Bayerischen Rundfunks

Sonata.m4a at Inside the Storm

THE SALON OF SCYLLA AND GLAUCUS
Les Nouveaux Caractères, Sébastien D'Hérin

iTunes: https://itunes.apple.com/album/id1062849852
Extracts taken from « The Salon of Scylla and Glaucus » – Out on 2015-11-30
Extraits issus de « The Salon of Scylla and Glaucus » – Sortie le 2015-11-30

Production: Fuga Libera
http://www.outhere-music.com/en/labels/fugalibera

LECLAIR: Ouverture III in A Major for Two Violins and Continuo (Grave - Allegro) – from op. 13

J.C.F.  Bach  -  Allegretto F major

Erik Satie -Gnossiennes No 1 cello version By Rashed Abdullah

On you tube clip 
http://www.youtube.com/watch?v=2Nue-9f7GMo&feature=youtube_gdata_player


Erik Satie -Gnossiennes No 1 cello version By Rashed Abdullah

https://www.aleksandramikulska.com​

https://bio.to/aleksandra​

Expressions: Haydn, Szymanowski, Chopin

Prelude in C-Sharp Minor, Op. 45

Chopin - Prelude in C-sharp minor op. 45

The “Waldstein Sonata” is one of Beethoven's most famous sonatas, and is an excellent example of one of his more Romantic sonatas. Its first movement is a sonata in somewhat standard sonata form; however, Beethoven modulates to the mediant when moving from theme I to theme II, which is not a typical key relation in a classical sonata. The development involves repeated instances of various themes from the exposition set over myriad modulations throughout various obscure keys.
	The second movement is an extremely slow introduction to the third movement. Its slow speed is not calm, but rather tense. The tension increases slowly throughout the piece, reaching a strong climax and then leading the listener to a suspenseful transition into the third movement. Most of the material of the piece is built on a simple dotted rhythm with a rising interval.
	The final movement of the Waldstein sonata is a long journey from a large variety of emotions, from dark and blisteringly fast, to soft and quiet. This is perhaps the most romantic of the movements of the sonata, with many blurred harmonies due to long pedal markings, dramatic moments, and extreme emotions. It achieves a sort of transcendental feeling found in compositions of the Romantic periods with its long pedal markings, shimmering textures, and its slow harmonic rhythm. These characteristics foreshadow elements of Beethoven's later sonatas where he capitalized on slow harmonic rhythm and muddied textures that seem to lose any melodic content.

This is from my senior recital on December 2, 2012.

Erik Satie -Gnossiennes No 1 cello version By Rashed Abdullah

Rashed cello