classics

The poignant 'Agnus Dei' from Bach's Mass in B Minor, with the alto part performed here on virtual trumpet ("The Trumpet" from Samplemodeling). Other instruments include 4 violins (solo violin playing duet with trumpet + 3 other violins playing in unison during trumpet tacits), cello, contrabass, and Baroque organ.

Bach:  Mass In B Minor, BWV 232 - Agnus Dei - Trumpet (updated 2016.06.03)

Please visit us at http://www.reverbnation.com/thesydneyconsort for concert info, tickets, music and more. 
All comments appreciated :)

ARTIST BIO

The Sydney Consort is one of Australia’s most energetic music ensembles devoted to early music of the 17th and 18th Century. 
Originally consisting of three members the group brings together Australia’s finest musicians and singers to a small chamber orchestra of up to fifteen performers. Formed in 1997 and led by artistic directors Monika and Stan Kornel, the Sydney Consort is an ensemble dedicated to bringing beauty and wisdom of Baroque music to a rapidly growing audience. The ensemble has performed music ranging from the 16th to 18th Century, as well as contemporary Australian music, and with concert themes such as English, French, German and Italian Baroque, Music and Poetry, and the Johann Sebastian Bach concertos. 

In the year 2000, the Sydney Consort celebrated the vocal and instrumental music of Bach, commemorating the 250th anniversary of the composer’s death with spectacular concerts at the St James’ Church. Frequently, the ensemble invites other well known and talented Australian artists, instrumentalists, and vocalists to further enrich performances and broaden the repertoire. The Sydney Consort performs regularly with Sydney actors and poets as a consequence of an ongoing relationship with the Poets and Writers Society. A concert of 17th Century English music and Shakespearian sonnets was a particularly successful product of this union of arts. 

The ensemble appears regularly on classical radio programs and on Sunday Live ABC Classic FM. From 2004 the group appeared for Musica Viva Australia with concerts in Sydney and NSW (countrywide program), and in June/July 2005 and 2007, the Sydney Consort performed on their European concert tour in Italy, Germany, Luxembourg, Denmark and Poland. The ensemble has been invited to return to Europe in 2009 and will perform in Luxembourg, Germany, Denmark, Prague and Poland

JOHANN SEBASTIAN BACH - Sonata for harpsichord & violin in C minor (Siciliano)

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.

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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

#1 Billboard Classical
#1 iTunes Classical Album (US)
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License this piece at - 
https://www.musicbed.com/songs/nocturneinfminore28093op552cno128variation29/12742

Steinway artist, Chad Lawson, decided Chopin needed a new introduction.  Along with violinist Judy Kang (Lady Gaga, Ryuichi Sakamoto) and cellist Rubin Kodheli (Kanye West, Norah Jones), Lawson has arranged ten Chopin works into a minimalist landscape.

It's a risk editing the "poet of the piano" but one that Chopin would be proud of.  

Taking 10 Chopin works, Lawson decided to scale the works down to a minimalist setting.  "I knew even if bare-bones, Chopin's works could still be as spellbinding as the original compositions we are so familiar with." says the pianist.  

Produced by Chad Lawson & Alejandro Clavijo. Mixed by Stephen Lee Price.  Mastered by Michael Graves of Osiris Studios (Atlanta, GA).

Chopin Nocturne in F Minor-Op. 55, No 1 (Variation) Piano, Violin, Cello - Chad Lawson

"Tones sound, and roar and storm about me until I have set them down in notes."
-Ludwig van Beethoven



Ludwig Van Beethoven - Sonata No. 17 In D Minor For Piano, Op. 31 - 2 (The Tempest)- III. Allegretto

One For The Road

Chopin, Étude In E Minor, Op 25, No 5 - La Fausse Note (Wrong Note)

The Symphony No. 2 by Gustav Mahler, known as the Resurrection Symphony, was written between 1888 and 1894, and first performed in 1895. Apart from the Eighth Symphony, this symphony was Mahler's most popular and successful work during his lifetime. It was his first major work that established his lifelong view of the beauty of afterlife and resurrection. In this large work, the composer further developed the creativity of "sound of the distance" and creating a "world of its own", aspects already seen in his First Symphony. The work lasts around eighty to ninety minutes and is conventionally labelled as being in the key of C minor; the New Grove Dictionary of Music and Musicians labels the work's tonality as C minor–E-flat major.

Gustav Mahler - Symphony No. 2 (Resurrection)

Beethoven: Piano Classics - The Very Best of Beethoven

Piano Sonata No. 1 in F minor, Op. 2, II. Adagio

Recorded by the Portland Chamber Music Festival, August 13, 2016

David McCarroll and Anna Lim, violins; Christine Grossman and Becca Albers, violas; Peter Stumpf and Trevor Handy, cellos

Pyotr Ilyich Tchaikovsky: String Sextet, Op. 70 “Souvenir de Florence”

Chopin Etude Op 25 No.12 "Ocean"

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

Badarzewska - La priere d'une vierge

Finally recorded a version I'm happy with. Took lots of practice and patience but it's more or less there...

Still could use some work on the dynamics though.

Piano Sonata No. 1 in F minor, Op. 2, II. Adagio

Solo Piano Classics

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Vladimir Andrés Escandón

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