Uploaded October 2022 | Updated September 2026, 2 weeks ago
I. HANNIKAINEN : Piano Concerto in B-Flat Minor, Op. 7 (1917)
Photos: Finland
Ilmari Hannikainen (1892-1955) (Finlande)
Piano Concerto in B flat minor (1917-1920)
Original audio:
Arto Satukangas (piano), Finnish Radio Symphony Orchestra (cond. Petri Sakari)
“Hannikainen composed this in 1917-20 in St. Petersburg while studying with Siloti. The score was left slightly unfinished and was not printed during the composers lifetime. Hannikainen gave the premier with Kajanus in 1920. Then, in 1958 pianist Tapani Valsta and Helsinki Philharmonia (dir. Tauno Hannikainen) recorded it. In 1980 it was performed by pianist Nijole Kasperaviciute with dir. Onni Kelo with two different Finnish orchestras.
Toivo Ilmari Hannikainen (19 October 1892, in Jyväskylä – 25 July 1955, in Kuhmoinen) was a Finnish composer and virtuoso pianist.
Hannikainen was the son of Pekka Juhani Hannikainen and the brother of Väinö Hannikainen, both of whom were composers and of Tauno Hannikainen who was a conductor. After studying at the University of Helsinki (1911–14), he became a pupil of Franz Schreker at the Musikakademie in Vienna, and continued his studies with Alexander Siloti in Saint Petersburg (1915–17) and with Alfred Cortot in Paris (1919). Returning to Finland, he taught piano at the Helsinki Conservatory and later gained a Professorship at the Sibelius Academy.
Hannikainen steered Finnish classical music from late Romanticism towards Impressionism. In addition to his piano miniatures, which best illustrated this development, he composed one opera, one piano concerto, one piano quartet, lieder, and film scores (notably, Sången om den eldröda blomman, Sweden, 1934).
Hannikainen drowned during a sailing trip in Kuhmoinen in 1955. Some musical colleagues, like Aarre Merikanto, considered his death a suicide. He is buried in the Hietaniemi Cemetery in Helsinki.[1]
In the 1970s, the Ilmari Hannikainen Pianokilpailu (Ilmari Hannikainen Piano Competition) was created dedicated to Hannikainen. In 2020, the competition renewed its format style.[2]
I. HANNIKAINEN : Piano Concerto in B-Flat Minor, Op. 7 (1917)
Photos: Finland
Ilmari Hannikainen (1892-1955) (Finlande)
Piano Concerto in B flat minor (1917-1920)
Original audio:
Arto Satukangas (piano), Finnish Radio Symphony Orchestra (cond. Petri Sakari)
“Hannikainen composed this in 1917-20 in St. Petersburg while studying with Siloti. The score was left slightly unfinished and was not printed during the composers lifetime. Hannikainen gave the premier with Kajanus in 1920. Then, in 1958 pianist Tapani Valsta and Helsinki Philharmonia (dir. Tauno Hannikainen) recorded it. In 1980 it was performed by pianist Nijole Kasperaviciute with dir. Onni Kelo with two different Finnish orchestras.
Toivo Ilmari Hannikainen (19 October 1892, in Jyväskylä – 25 July 1955, in Kuhmoinen) was a Finnish composer and virtuoso pianist.
Hannikainen was the son of Pekka Juhani Hannikainen and the brother of Väinö Hannikainen, both of whom were composers and of Tauno Hannikainen who was a conductor. After studying at the University of Helsinki (1911–14), he became a pupil of Franz Schreker at the Musikakademie in Vienna, and continued his studies with Alexander Siloti in Saint Petersburg (1915–17) and with Alfred Cortot in Paris (1919). Returning to Finland, he taught piano at the Helsinki Conservatory and later gained a Professorship at the Sibelius Academy.
Hannikainen steered Finnish classical music from late Romanticism towards Impressionism. In addition to his piano miniatures, which best illustrated this development, he composed one opera, one piano concerto, one piano quartet, lieder, and film scores (notably, Sången om den eldröda blomman, Sweden, 1934).
Hannikainen drowned during a sailing trip in Kuhmoinen in 1955. Some musical colleagues, like Aarre Merikanto, considered his death a suicide. He is buried in the Hietaniemi Cemetery in Helsinki.[1]
In the 1970s, the Ilmari Hannikainen Pianokilpailu (Ilmari Hannikainen Piano Competition) was created dedicated to Hannikainen. In 2020, the competition renewed its format style.[2]



![Frederic CHOPIN: BOLERO - Ingolf WUNDER
Frederic CHOPIN: BOLERO - Ingolf WUNDER
Photos: Majorca
From Wikipedia, the free encyclopedia
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The Boléro, Op. 19, is a short piano work written by Frédéric Chopin and published in 1834. It is one of his lesser-known piano pieces, although it has been recorded numerous times.
Structure
The overall key of the Boléro is difficult to establish. It was often listed as Boléro in C major - A minor, as the work opens with three unison octaves in G (dominant chords of C major) in fortissimo, then a lengthy Introduction in C major, moving to A minor (relative minor) for the Boléro proper. It is interrupted by sections in A major, A-flat major and B-flat minor before returning to A minor. It ends triumphantly in A major (parallel major).
Composition
The work was dedicated to the Scottish-born but half-French Mademoiselle la Comtesse Émilie de Flahaut,[1] then aged only 14, and a pupil of Chopins.[2] She was later to become Countess of Shelburne.The apparent inspiration for the Boléro was Chopins friendship with the French soprano Pauline Viardot, whose father, the famed Spanish tenor Manuel García, had introduced boleros to Paris by the time of Chopins arrival there.[3] His biographer Frederick Niecks speculated that it was inspired by the Bolero in Daniel Aubers La muette de Portici (1828).[2] Despite the ostensibly Spanish flavour of the piece, it has been described as a polonaise in disguise, or a boléro à la polonaise,[4] as its rhythms are more redolent of the national dance of Chopins homeland than anything Spanish. It was written five years before Chopin first visited Spain (1838). Frederic CHOPIN: BOLERO - Ingolf WUNDER](https://i.ytimg.com/vi/xft3rwdEddA/mqdefault.jpg)
![Franz LISZT: Concert Étude Un Sospiro - Valentina LISITSA
Franz LISZT: Concert Étude Un Sospiro - Valentina LISITSA
Photos:Hungary
Three Concert Études
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Three Concert Études (Trois études de concert), S.144, are a set of three piano études by Franz Liszt, composed between 1845–49 and published in Paris as Trois caprices poétiques with the three individual titles as they are known today.[1]
As the title indicates, they are intended not only for the acquisition of a better technique, but also for concert performance. Liszt was himself a virtuoso pianist and was able to easily play many complex patterns generally considered difficult. The Italian subtitles now associated with the études—Il lamento (The Lament), La leggierezza (Lightness), and Un sospiro (A sigh)—were not in early editions.
The third of the Three Concert Études is in D-flat major, and is usually known as Un sospiro (Italian for A sigh). However, it is likely that the title did not originate with Liszt. Although there is no evidence that he actively attempted to remove the subtitle, none of the editions or subsequent printings of the Three Concert Études published by Kistner during Liszts lifetime used them; he simply ignored such subtitles in later years, always referring to the piece by key.
The étude is a study in crossing hands, playing a simple melody with alternating hands, and arpeggios. It is also a study in the way hands should affect the melody with its many accentuations, or phrasing with alternating hands. The melody is quite dramatic, almost Impressionistic, radically changing in dynamics at times, and has inspired many listeners. The étude has been considered by many pianists as one of the most beautiful piano pieces ever composed.[7][failed verification] Liszt kept the étude in his repertoire until his final years.
Un sospiro consists of a flowing background superimposed by a simple melody written in the third staff. This third staff—an additional treble staff—is written with the direction to the performer that notes with the stem up are for the right hand and notes with the stem down are for the left hand. The background alternates between the left and right hands in such a way that for most of the piece, while the left hand is playing the harmony, the right hand is playing the melody, and vice versa, with the left hand crossing over the right as it continues the melody for a short while before regressing again. There are also small cadenza sections requiring delicate fingerwork throughout the middle section of the piece.
Towards the end, after the main climax of the piece, both hands are needed to cross in an even more complex pattern. Since there are so many notes to be played rapidly and they are too far away from other clusters of notes that must be played as well, the hands are required to cross multiple times to reach dramatic notes near the end of the piece on the last page.
This étude, along with the other Three concert études, was written in dedication to Liszts uncle, Eduard Liszt (1817–1879), the youngest son of Liszts grandfather and the stepbrother of his own father. Eduard handled Liszts business affairs for more than thirty years until his death in 1879. Franz LISZT: Concert Étude Un Sospiro - Valentina LISITSA](https://i.ytimg.com/vi/xt9Gx3bzxbw/mqdefault.jpg)





