classic

Vivaldi Concerto for 2 Violins in G minor, RV517 | Fabio Biondi Europa Galante

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

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Track 13 - Violin Concerto in D Major, Op. 3 No. 12 “Harmonic Labyrinth”: I. Allegro – Capriccio

......finally the final version of this piece.......
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Franz Liszt Romance S.169

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

Vanessa Williams - Colors of the Wind (Pocahontas), slower ballad piano

alan walker & emma steinbakken - not you (piano)

﻿Improvised piano music. classical base with a touch of Jazz and contemporary piano.
No editing or overdubbing. 
Please use a good pair of headphones in order to fully appreciate the
recordings.
Comments and suggestions or just an encouraging word are much appreciated.
All cover pictures are by my dear wife Michela Pizzol Giacomini.
Thank you for listening!
Who will win the eternal battle between Dionysus and Apollo?

Tags for indexing: Improvised piano music, Jazz improvisations, contemporary piano, ﻿improvised piano, classical improvisations, piano impros, crossover piano, Fantasia, Impromptu, Preludio, Prelude, Capriccio, Ad-libbing, Spontaneity, Extemporization, Unrehearsed performance, Jam session, Freestyling, instant composition, Cadenzas, Real-time composition, in the moment,

impro535

Luke Faulkner - Day Dreaming

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

please visit my website: https://homeofficepianist.de

A few years ago, utilising the time at home afforded by the well known reasons, the homeofficepianist embarked on an expansive exploration of the musical universe, with each journey catalogued in a collection of periodic recordings. 

Initially, these recordings were made as a tool to self-monitor practice progression. However, these humble recordings capture something of the feeling of performance, and therefore the homeofficepianist began to share them with friends and colleagues. The positivity of this experience has inspired him to create a platform to welcome you into this musical exchange, joining him on a mystical and enlightening path.

Franz Liszt Romance S.169

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