CSMA Symphony Orchestra - Juan Luis Martínez - 2007

WAGNER: Tristan - Vorspiel und Liebestod

Flute: Cristina Polis
Acustic Guitar: Ricardo Marui

Gabriel FAURE - Pavane Opus 50

Pavane, Opus 50 Gabriel Fauré

Franz Liszt must have really been blown away by the cities of Venice and Naples on his travels with Marie d'Agoult, because he ended up composing four pieces named after them: Venezia e Napoli. But apparently, the original four pieces weren't good enough for old Franz, so he went back and revised them until only the last two were left: the Andante placido (aka Gondoliera) and the Tarantelles Napolitaines (aka just plain ol' Tarantella). Then he stuck a sad song called Canzone in between them and voila! The triptych known as Venezia e Napoli was born. It was published as a supplement to Deuxième Année in 1861, so if you want to check it out, you better hit up this recording!

Liszt must have been feeling pretty darn romantic when he composed Gondoliera, because it's based on a love song by Giovanni Battista Peruchini called "La biondina in gondoletta." But unlike the original version, Liszt's revision starts off with a fancy introduction in the key of F-sharp minor. The music sounds all calm and serene, like a peaceful Venetian canal (or at least what I imagine one would sound like). And then, once it hits that F-sharp major chord, it's like BAM! The melody comes in and it's all lovey-dovey and stuff. And let me tell you, it's so sweet and soft, it'll make your teeth hurt. But don't worry, there's some fancy flourishes in there to keep things interesting.

The Canzone that comes after Gondoliera (or "Gondolier's Song") is actually part of a larger piece, and it leads directly into the Tarantella without missing a beat. It's based on a song called "Nessun maggior dolore" from Rossini's opera Otello, which is weird because the opera is set in Venice but it premiered in Naples. Anyway, Liszt messed around with the melody and rhythm a bit, and he also changed the key from G minor to E-flat minor, which makes it sound all dark and moody. It starts off with some creepy tremolo, and then the melody comes in and it's all woe is me. But don't worry, it's not all doom and gloom, because there's some fancy piano stuff in there to keep things interesting. And at the end, the music gets all happy and major-key-y, so it's not a total downer.

The Tarantella is like a firework show on piano. It's based on some themes by a French composer named Guillaume-Louis Cottrau, who lived and worked in Naples. It starts off with a Presto tempo, and the introduction leads you from the E-flat key of the Canzone to the G minor key of the first theme. And let me tell you, this thing is full of energy! The music shifts between different meters, so it's like a never-ending party. Then the second theme comes in, and it's like BAM! Fortissimo! And then the music goes to the relative major key, but it doesn't stay there long because it sidesteps into D-flat major with a funny little passage in contrary motion. And then it's back to G minor, and the first theme returns, and it's like a three-part design or something. And then the music closes in B-flat major, and there's a pause, and then there's a new theme in E-flat major, and it's all lyrical and stuff. And then there's some fancy flourishes and variations, and then it goes to E major, and then to G major, and then there's a coda and it's like WHAM! Prestissimo! And the music is rushing towards the end, and it's all virtuosic and impressive.

I. Gondoliera
II. Canzone
III. Tarantella

Recorded live from Dublin City Gallery - The Hugh Lane on July 27th, 2014 as part of the concert series of the Dublin International Piano Festival & Summer Academy.

My SoundCloud Channel: https://soundcloud.com/archie-chen
Official Website: http://www.archiechen.com
Youtube DIPF https://www.youtube.com/c/PianofestivalIe
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Festival Website: http://www.pianofestival.ie
Teaching Website: http://www.pianoacademy.ie

Piano: Bluthner Model 1
Piano Technician: Martin Walsh
Recording Engineer: Darby Carroll
Piano provided by Bluthner UK

Franz Liszt Venezia e Napoli, s. 159

Listening to the chaconne is as rich and layered an experience as the story behind the music. Whatever meaning you ascribe to the chaconne — personal, civic, divine, or none at all — it's certain to leave its mark.

Johann Sebastian Bach's chaconne has been arranged for nearly every instrument: from the ominous-sounding organ to the solo flute or the delightfully sparse marimba. Or, listen to these renditions by an enterprising clarinetist and an equally ambitious saxophonist. Or how about this menacing arrangement for trumpet and orchestra and this lyrical performance by two cellos. There is truly an arrangement for everyone.

But it's something spectacular when a great violinist performs the chaconne.

Tim Fain's live performance during Krista's conversation with Bernard Chazelle at WXQR's Bachstock is no exception. Before a full house at The Greene Space, he played Bach's chaconne, the fifth and final movement from Partita No. 2. As our executive editor Trent Gilliss observed, "It's a rarity and a privilege to be able to listen to a 15-minute violin solo without an orchestra." Especially a great performance like Tim Fain's, who is known for his electrifying recordings in Black Swan and 12 Years a Slave.

This performance is included in On Being's radio production, "Discovering the Cosmology of Bach" (http://www.onbeing.org/program/bernard-chazelle-discovering-the-cosmology-of-bach/7026)

Johann Sebastian Bach: "Chaconne" from Partita in D Minor for Solo Violin - Tim Fain

Vivaldi: Concerto Op.3 No.9 In D Major, RV 230 (Violin, strings and continuo) - 3.Allegro

Czardas is a lively Hungarian folk-inspired piece, most famously arranged for violin by composer Vittorio Monti in 1904. Based on the traditional csárdás dance, it captures the spirited contrasts of Hungarian gypsy music: starting with a slow, mournful lassú section and building into a fast, fiery friss. Its passionate melodies, sudden tempo changes, and virtuosic runs make it both a showcase for instrumental skill and an energetic expression of Central European folk tradition.

Czardas

Performed by the North Allegheny Senior High School Orchestra on April 16, 1999, at the Pennsylvania Music Educators Association conference in Valley Forge.

Originally recorded by Al Teare Recording in Wexford, Pennsylvania.  North Allegheny's orchestras were under the direction of Mrs. Christine Loverti at that time.

Live At Valley Forge

Bach's Brandenburg Concerto

Beethoven-Romance no.2 in F major,for violin and orchestra,op.50

https://www.aleksandramikulska.com​

https://bio.to/aleksandra​

Chopin: Balladen

Fantaisie-Impromtu in C Sharp Minor, Op. 66

Chopin - Fantaisie-Impromptu in C-sharp minor op. 66

‪Sonata in D K.535 - ‪Domenico Scarlatti‬ (1685 – 1757)

Pianist: Ryo Fukaura, UCL medical student, playing the piece from memory, in the Peter Samuel Hall at the Royal Free Hospital.

We'll be releasing more recordings with Ryo regularly over the next couple weeks:
soundcloud.com/uclsound/sets/ryo-fukaura-piano

UCL is consistently ranked as one of the world's top universities. Across all disciplines our faculties are known for their research-intensive approaches, academic excellence and engagement with global challenges. This is the basis of our world-renowned degree programmes. Visit us at http://ucl.ac.uk.

Beethoven-Romance no.2 in F major,for violin and orchestra,op.50

SharifYoussef