Uploaded June 2020 | Updated September 2026, 2 weeks ago
Franz LISZT: BALLADE no.2 S. 171 - Valentina LISITSA
Photos:Hungary
From Wikipedia, the free encyclopedia
The Ballade (ballad) No. 2 in B minor, S. 171, is a piano composition by Franz Liszt, written in 1853. Liszt plied one of his favorite genres—the programmatic one movement tone poem designed to provide both the variety and unity of a sonata or symphony.
He drew his program from Gottfried August Bürger’s once widely read Gothic horror ballad Lenore. Punctuated with the grisly refrain "The dead ride quickly! Are you afraid," the poem tells of Lenore’s wild hundred-mile midnight ride with the zombie of her recently slain soldier-fiancé, toward a cemetery where their nuptials are solemnized amid a riotous gathering of skeletons and spectres. However, Claudio Arrau, who studied under Liszt's disciple Martin Krause, defended that the Ballade was actually based in the Greek myth of Hero and Leander, with the piece's chromatic ostinati representing the sea: "You really can perceive how the journey turns more and more difficult each time. In the fourth night he drowns. Next, the last pages are a transfiguration".[1]
The ballad is based largely on two themes: a broad opening melody underpinned by menacing rumbles and a luminous ensuing chordal meditation. These themes are repeated a half-step lower; then march-like triplet-rhythms unleash a flood of virtuosity. Eventually, Liszt transforms the opening melody into a rocking major-key cantabile and reiterates this with ever-more grandiose exultation. The luminous chords provide a contemplative close.[
Franz LISZT: BALLADE no.2 S. 171 - Valentina LISITSA
Photos:Hungary
From Wikipedia, the free encyclopedia
The Ballade (ballad) No. 2 in B minor, S. 171, is a piano composition by Franz Liszt, written in 1853. Liszt plied one of his favorite genres—the programmatic one movement tone poem designed to provide both the variety and unity of a sonata or symphony.
He drew his program from Gottfried August Bürger’s once widely read Gothic horror ballad Lenore. Punctuated with the grisly refrain "The dead ride quickly! Are you afraid," the poem tells of Lenore’s wild hundred-mile midnight ride with the zombie of her recently slain soldier-fiancé, toward a cemetery where their nuptials are solemnized amid a riotous gathering of skeletons and spectres. However, Claudio Arrau, who studied under Liszt's disciple Martin Krause, defended that the Ballade was actually based in the Greek myth of Hero and Leander, with the piece's chromatic ostinati representing the sea: "You really can perceive how the journey turns more and more difficult each time. In the fourth night he drowns. Next, the last pages are a transfiguration".[1]
The ballad is based largely on two themes: a broad opening melody underpinned by menacing rumbles and a luminous ensuing chordal meditation. These themes are repeated a half-step lower; then march-like triplet-rhythms unleash a flood of virtuosity. Eventually, Liszt transforms the opening melody into a rocking major-key cantabile and reiterates this with ever-more grandiose exultation. The luminous chords provide a contemplative close.[





![Frederic CHOPIN: SCHERZO NO.3 - Adam Harasiewicz
Frederic CHOPIN: SCHERZO NO.3 - Adam Harasiewicz
Photos : POLAND
The Scherzo No. 3, Op. 39, in C♯ minor by Frédéric Chopin, completed in 1839, was written in the abandoned monastery of Valldemossa on the Balearic island of Majorca, Spain.[1] This is the most terse, ironic, and tightly constructed of the four scherzi, with an almost Beethovenian grandeur.
Frédéric Chopin dedicated this composition to one of his closest pupils, Adolphe Gutmann.
Structure
The piece begins in the key of C♯ minor, then moves to D♭ major, and returns to C♯ minor, concluding with a Picardy third. The composition opens with an almost Lisztian introduction, leading to a subject in octaves of pent-up energy. The key changes to D♭ major, with a chorale-like subject, interspersed with delicate falling arpeggios. Louis Kentner thinks of it as a Wagnerian melody of astonishing beauty, recalling the sound of tubas, harps and all the apocalyptic orchestra of Valhalla.[citation needed]
It begins with an introduction progressing into the fierce main theme. This is particularly difficult to perform, due to the technique needed to accurately and quickly execute the running octave patterns. The scherzo then moves into a transition section that leads back to the main theme. The following, singing style (cantabile) section is in D♭ major. The main theme and its sequences begin with strong chords that hold the melody followed by a downward flutter of notes. There follows a brief section consisting of a series of arpeggios. The elements of this lyrical section repeat themselves a few times and the piece then moves back into the main theme. Frederic CHOPIN: SCHERZO NO.3 - Adam Harasiewicz](https://i.ytimg.com/vi/iGAfRipRrIg/mqdefault.jpg)

![Luca Turilli: DARK FATE OF ATLANTIS
Luca Turilli: DARK FATE OF ATLANTIS
Singer: Alessandro CONTI
[Verse 1]
Thousands of years ago, at the limits of our world
A new kingdom rose on water, a new golden age for all
Human minds or entities, sons of astral infinity
But for sure the great Poseidon found his people and his throne
[Pre-Chorus 1]
Old world, to you we all belonged
Old world, the stars announced your fall
Ignotum fatum
[Verse 2]
Monumental growth, breaking rules of history
The lost continent was legend, soon the legend became myth
Power, strenght, prosperity, once too close to divinity
Until water became fire and swallowed all its lore
[Pre-Chorus 2]
Old world, the Icarus’ last fault
Old world, your fate lives on and on
Ignotum fatum
[Chorus 1]
Dark mantis, dark fate of Atlantis
At the gates of a timeless dimension
Dwell the ghosts of a myth not forgotten
Kept by the sirens and their infinite cry
The one surviving the ocean’s might
[Chorus 2]
Dark mantis, dark fate of Atlantis
At the gates of a timeless dimension
Dwell the ghosts of a myth not forgotten
Kept by the sea lords and their infinite force
The one surviving the Gods’ remorse
[Bridge]
Vita e morte in quell’umana vis
Che vibra ed arde vivida nei secoli
[Pre-Chorus 3]
Old world, to you we all belonged
Old world, the stars announced your fall
Ignotum fatum
[Chorus 1]
Dark mantis, dark fate of Atlantis
At the gates of a timeless dimension
Dwell the ghosts of a myth not forgotten
Kept by the sirens and their infinite cry
The one surviving the ocean’s might
[Chorus 2]
Dark mantis, dark fate of Atlantis
At the gates of a timeless dimension
Dwell the ghosts of a myth not forgotten
Kept by the sea lords and their infinite force
The one surviving the Gods’ remorse Luca Turilli: DARK FATE OF ATLANTIS](https://i.ytimg.com/vi/iVjLpWKtAiQ/mqdefault.jpg)


![P. TCHAIKOVSKY: PIANO CONCERTO NO.1 - R.MUTI,A.GAVRILOV
P. TCHAIKOVSKY: PIANO CONCERTO NO.1 - Riccardo MUTI;Andrei GAVRILOV
Photos: RUSSIA
From Wikipedia, the free encyclopedia
The Piano Concerto No. 1 in B♭ minor, Op. 23, was composed by Pyotr Ilyich Tchaikovsky between November 1874 and February 1875.[1] It was revised in the summer of 1879 and again in December 1888. The first version received heavy criticism from Nikolai Rubinstein, Tchaikovskys desired pianist. Rubinstein later withdrew his accusations and became a fervent champion of the work. It is one of the most popular of Tchaikovskys compositions and among the best known of all piano concerti.
Structure
The concerto follows the traditional form of three movements:
Allegro non troppo e molto maestoso – Allegro con spirito (B♭ minor – B♭ major)
Andantino semplice – Prestissimo – Tempo I (D♭ major)
Allegro con fuoco – Molto meno mosso – Allegro vivo (B♭ minor – B♭ major) P. TCHAIKOVSKY: PIANO CONCERTO NO.1 - R.MUTI,A.GAVRILOV](https://i.ytimg.com/vi/igimIFGD4FM/mqdefault.jpg)