Michael Rabin and Garvey plays the 2nd movement of Brahms Violin Sonata No.3 (Carnegie Hall - 1953) The Piano Experience 2020-12-06 | Please subscribe to my channel.Michael Rabin plays the 2nd movement of Brahms's Violin Sonata No.3 at Carnegie Hall in 1953, accompanied by David Garvey on the piano. Recently released by the Carnegie Hall Digital Collection. So great to watch this from the original source material.BIOGRAPHYMichael Rabin (May 2, 1936 – January 19, 1972) was an American violinist. He has been described as "one of the most talented and tragic violin virtuosi of his generation". His complete Paganini "24 Caprices" for solo violin are available as a single CD, and an additional 6-CD set contains most of his concerto recordings. Despite his brief career—he died at 35—they remain seminal interpretations.Michael Rabin was of Romanian-Jewish descent. His mother Jeanne was a Juilliard-trained pianist, and his father George was a violinist in the New York Philharmonic. He began to study the violin at the age of seven. His parents encouraged his musical development. After a lesson with Jascha Heifetz, the master advised him to study with Ivan Galamian, who said he had "no weaknesses, never." He began studies with Galamian in New York and at the Meadowmount School of Music and the Juilliard School. His Carnegie Hall debut took place in January 1950, at the age of 13, as soloist with the National Orchestral Association, playing Vieuxtemps' Concerto No. 5 under the direction of Léon Barzin. Subsequently, he appeared with a number of American orchestras before his Carnegie Hall debut on 29 November 1951, at the age of 15, in the Paganini D major Concerto, with Dimitri Mitropoulos conducting the New York Philharmonic. His 1958 recording of this concerto is considered by many to be the most impressive recording of this work, and the recording itself is notable for the fullness of tone.His first London appearance took place on 13 December 1954, at age 18, playing the Tchaikovsky Concerto in D at the Royal Albert Hall with the BBC Symphony Orchestra.Rabin recorded concertos by Mendelssohn, Glazunov, Paganini (No. 1 in D major; 2 recordings), Wieniawski (No. 1 in F-sharp minor, No. 2 in D minor) and Tchaikovsky, as well as Bruch's Scottish Fantasy and the Paganini Caprices for solo violin. He recorded the Bach Sonata No. 3 in C major for solo violin, and the Third and Fourth sonatas for solo violin by Eugène Ysaÿe, as well as other virtuoso pieces, including an album with the Hollywood Bowl Orchestra.Rabin played in a bel canto style. For many years, he played the "Kubelik" Guarnerius del Gesù of 1735. He toured widely, playing in all major cities in the U.S., Europe, South America, Southern Africa, and Australia. He even appeared on a 1951 episode of the variety television series "Texaco Star Theatre."During a recital in Carnegie Hall, he suddenly lost his balance and fell forward. This was an early sign of a neurological condition which was to limit his career from then on. His death, at 35, resulted from a fall in his apartment in New York City.
Vladimir Horowitz : Carnegie Hall Rehearsal, 7 April 1965 (Improvising, Conversations, Scriabin etc) The Piano Experience 2022-07-22 | 🎹🎶 LIKE and SUBSCRIBE for more videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Vladimir Horowiz : Carnegie Hall Rehearsal, 7 April 1965 (Bach, Busoni, Schumann, Scarlatti, Rachmaninoff, Chopin, Moszkowski, Liszt, Chopin, Scriabin, Conversations etc...)Performer : Vladimir Horowitz, pianoDate : 7 April 1965Place : Carnegie HallProgram : Rehearsal00:00 Horowitz improvising02:45 Conversation I03:28 Bach/Busoni : Preludio, from Toccata in C Major, BWV. 564 09:51 Conversation II10:05 Bach/Busoni : Toccata insert12:26 Conversation III12:41 Bach/Busoni : Adagio, from Toccata in C Major, BWV. 564 17:48 Conversation IV18:05 Bach/Busoni : Fuga, from Toccata in C Major, BWV. 56422:57 Conversation V23:45 Schumann : Fantasy in C major, op. 17 : II, Mässig 28:30 Conversation VI28:40 Schumann : Fantasy in C major, op. 17 : III Langsam getr38:25 Conversation VII38:38 Conversation VIII39:04 Scarlatti : Sonata in E Major, K. 380 (L 23)41:58 Rachmaninoff : Prelude in G Sharp Minor Op. 32, No. 12,44:33 Chopin : Nouvelle Etude No. 2 in A-flat Major, Op. posth46:32 Moszkowski : Etude in A-flat Major Op. 72, No. 1147:54 Liszt : Valse Oubliée No. 1, in F sharp Major50:40 Chopin : Etude Op. 10, No 8 in F Major fragment ending51:13 Scriabin : Sonata No. 9 "Black Mass" in F Major for Piano, Op. 68 58:38 Conversation IXBIOGRAPHY The most famous pianist of the twentieth century, his name known to the proverbial man on the street the world over, Vladimir Samoylovich Horowitz (1903–1989) was born in 1903 in Kiev. Horowitz showed enough prodigious talent to play for Alexander Scriabin in 1915, just before the Russian composer-pianist’s early death. Horowitz would become a superlative interpreter of Scriabin’s music, which the pianist described as “mystical… expressionistic.” Horowitz also became friends with another great Russian composer-pianist (and Scriabin’s former schoolmate), Sergei Rachmaninoff – who was the acme of Romanticism. He also made a benchmark recording of Rachmaninoff’s Piano Sonata No. 2. Emigrating from Russia in 1925 and eventually settling in New York City, Horowitz made his American debut with Tchaikovsky’s Piano Concerto No. 1 in 1928 at Carnegie Hall, which would become his home venue, the site of many recordings. Impressed by the pianist’s tonal dynamism, conductor Thomas Beecham, who led that concert, reportedly said: “Really, Mr. Horowitz, you can’t play like that – it shows the orchestra up.” Horowitz made a series of solo recordings for HMV at London’s Abbey Road Studios in 1932, including several Chopin pieces and an electrifying take on Liszt’s B Minor Sonata, helping to establish the piece in the standard repertoire. A review of a 1933 London concert declared Horowitz “the greatest pianist dead or alive.” Horowitz would make hit recordings with Toscanini of the Tchaikovsky concerto and the Brahms Piano Concerto No. 2 in 1940–41.Over the course of his career, Horowitz’s recorded repertoire stretched far beyond those early specialties of Chopin, Brahms, Liszt, Tchaikovsky, Scriabin and Rachmaninoff; in long associations for RCA, then Columbia and, finally, Deutsche Grammophon, Horowitz also ranged from Scarlatti, Haydn and Clementi to Beethoven, Schumann and miniatures across the ages with artistic and commercial success; in a period of applying himself to modern music, he premiered Samuel Barber’s Sonata in 1950, along with recording sonatas by Prokofiev and Kabalevsky. Driven to “grow until I die,” he said, the pianist reapplied himself to select Beethoven sonatas in his middle period and then several Mozart works as he grew older. Horowitz also crafted his own transcriptions and arrangements, including such showstoppers as his variations on Carmen and Stars and Stripes Forever. In his book The Great Pianists, critic Harold Schonberg wrote: “As a technician, Horowitz was one of the most honest in the history of modern pianism. Famously high-strung, his art always a mental-physical high-wire act, Horowitz took four sabbaticals from public performance to deal with various issues, his returns much-ballyhooed events. The first layoff was for two years in 1936; the longest was 1953 to 1965, followed by a tremendous homecoming to Carnegie Hall. But even over his later breaks, he recorded regularly at home in his Manhattan townhouse, documenting his art as it subtly evolved even beyond great venues and the recording studio. A 1985 film, The Last Romantic, captured the pianist in his last years, performing at home as well as reminiscing about Scriabin and Rachmaninoff. The next year, Horowitz returned to Russia, 61 years after leaving — a hugely emotional event for both artist and audience, documented in the concert album and film Horowitz in Moscow. In 1987, he played his final recital, in Hamburg; he died two years later.
Dinu Lipatti plays Ravel - Miroirs, Alborada del Gracioso [Audio + Score] The Piano Experience 2022-07-04 | 🎹🎶 LIKE and SUBSCRIBE for more videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1Dinu Lipatti plays Ravel : Miroirs "Albarado del Gracioso" [Audio + Score]Piece : Maurice Ravel - Miroirs "Albarado del Gracioso"Pianist : Dinu LipattiDate of Recording : JJJJJJBIOGRAPHYJoseph-Maurice Ravel was a French composer, conductor and pianist. He is often mentioned alongside Claude Debussy as one of the pioneers of impressionist music. Ravel was also known for his extremely difficult piano pieces; which demanded perfect technique and resonating skill from pianists.Maurice Ravel was born on March 7, 1875 in Basque, Ciboure, France. Ravel’s father was a Swiss inventor who was rumored to have provided an early design for the internal combustion engine. His father had a keen musical insight, and he would often encourage his wife (Ravel’s Mother) to educate her son of her Spanish heritage. At the age of six, Ravel started taking piano lessons with Henry Ghys, and after making rapid progress, he went on to study composition, harmony and counterpoint with Charles-Rene. Soon, at the tender age of fourteen, he gave his first piano recital.Around 1890, Ravel’s obvious talents at the piano had him admitted to the Paris Conservatoire. There, most people were of the opinion that he was utterly heedless, even so, Ravel won first prize in a piano student competition at the Conservatoire in 1891. Ravel was expelled from the institution in 1895 as he had failed to win a competitive medal in three years (as was the requirement at the Conservatoire). Ravel however, readmitted himself to the Conservatoire in 1898, this time with an emphasis on composition, and yet again he was expelled in 1900 for the same reason. Even though Ravel was studying under the great Gabriel Faure and the eminent André Gedalge; this was a difficult time for Ravel as music critics were not particularly fond of his work. However, he did produce one masterpiece in 1900 which was a piano piece titled “Jeux d’eau”.By 1905, Ravel was silencing his critics head on, he released a series of five piano pieces itled “Miroirs” or “Mirrors”. “Mirrors” was highly appreciated due to its vivid expressions and technical intricacies. “Mirrors” was also highly renowned for its fantastic use of harmony. Ravel’s other major works from this period include his “Histoires Naturelles”, which were a series of humorous animal songs, and his “Rapsodie Espagnole”, which was a piano four hands work. “Rapsodie Espagnole” was also scored for a full orchestra due to its outstanding success. He also composed the highly famous opera “L’heure espagnole” during this time, which was renowned for its spectacular orchestration and instrumentation. Another honorable mention from this period is Ravel’s masterpiece; “Gaspard de la Nuit”.During World War I, Ravel served as a truck driver at the Verdun Front. He also composed a few pieces, amongst which his most popular work was included, his “Le Tombeau de Couperin”, which was revered for its astounding harmonic elements. After the war, Ravel wrote a piece for a ballet which was titled “La Valse”. He was also named as a member of the French “Legion d’honneur” in 1920, but he refused to attend the ceremony.Ravel’s most popular work was written ten years before his death, and it was an orchestral work titled “Bolero”. Ravel was quite surprised by the success of the work and he was known to have stated that “it has no music in it”. Maurice Ravel died on December 28, 1937. Historians believe that his death could be attributed to the critical injuries that he received in a car accident in 1932, after which his mental health rapidly deteriorated.
Rachmaninoff and Plevitskaya perform Rachmaninoff : Powder and Paint (1926) The Piano Experience 2022-06-07 | 🎹🎶 LIKE and SUBSCRIBE for more videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperienceS. Rachmaninoff performs with Plevitskaya, the Russsian Folk Song : Powder and Paint (1926)Piece : Belilitsï rumyanitsï, vy moi (Powder and Paint) (Russian folk song, arranged by Rachmaninoff).Performers : Sergei Rachmaninoff, piano with Nadezhda Plevitskaya, mezzo soprano.Label : Victor Talking Machine Company private recording, made for the composer.Date and Place : 22 February 1926, New York City.BIOGRAPHYSergei Rachmaninoff, one of the greatest pianists of all time and one of the most outstanding melodists amongst composers, was born at Oneg, near Novgorod, on 20 March 1873 (1 April New Style), into a musical family: his grandfather had been a pupil of John Field and his father, too, played the piano. When Sergei was nine, financial difficulties forced the sale of the family estate and they moved to St Petersburg, where he took piano lessons at the Conservatoire. Rachmaninoff’s cousin, the pianist and conductor Alexander Siloti, had studied in Moscow with the strict Nikolai Zverev, and suggested that Rachmaninoff go to Zverev as well, and so in 1885, he made the journey to Moscow, staying with Zverev for three years. In 1888 Rachmaninoff began to study piano with Siloti himself and composition with Sergei Taneyev and Anton Arensky; he also received advice from Tchaikovsky, who was a friend of Siloti and his former teacher.Even before his graduation as a pianist in 1891, Rachmaninoff had composed what was to become his best-known work, the Prelude in C sharp minor. His graduation as a composer came in 1892: he was awarded a gold medal for his Pushkin opera Aleko. The premiere of his First Symphony, in Moscow in 1897, was a disaster (word was that the conductor, Alexander Glazunov, was drunk), and Rachmaninoff destroyed the score (fortunately, a set of parts survived, which allowed the reconstruction of the score after Rachmaninoff’s death).Rachmaninoff’s early career established a pattern he was to follow throughout his life: an uneasy struggle between performing and composing, with economic pressures usually ensuring that precedence needed to be given to the demands of the platform. He was an international figure as early as 1899, when he conducted a concert of his orchestral works in London, also playing some of his piano music.Rachmaninoff began his Second Piano Concerto, one of the most frequently performed of all works in the genre, in 1900, completing it the following year, when his Cello Sonata was also composed. The little-heard cantata Spring followed in 1902, the year in which he married his cousin Natalya Satina; their daughter Irina was born in 1903. In 1904 Rachmaninoff took up a conductor’s post at the Bolshoi Opera in Moscow, stimulating the completion of two further operas, Francesca da Rimini and The Miserly Knight, in 1906. The pressures of conducting life in the Bolshoi persuaded the Rachmaninoffs to spend some time away from the capital, and they moved for a short while to Dresden, where he worked on his Second Symphony; Rachmaninoff himself conducted the premiere, in St Petersburg, in 1908.The years up to the Russian Revolution were spent in an exhausting whirl of playing and conducting, with the family’s country estate at Ivanovka, in the countryside south-east of Moscow, offering a haven of peace where he could concentrate on composition. The works that emerged during this period include the Third Piano Concerto, the symphonic poem The Isle of the Dead, the choral symphony The Bells, and two a cappella choral works, the Liturgy of St John Chrysostom and the Vespers.After the October Revolution in 1917 Rachmaninoff determined that he and his family would have to leave the country, and he accepted an invitation to perform in Stockholm. The composer, his wife and their two daughters left in December; he was never to return. They stayed briefly in Stockholm and Copenhagen, sailing to America in November 1918. There, his concertising increased, reducing his time for composition; he also began a career in the studio, producing recordings that eighty-odd years later are still regarded as some of the most valuable interpretations, of his own and others’ music, ever committed to disc.Rachmaninoff sought to recreate the peace he had found at Ivanovka by building a villa on the shores of Lake Lucerne, far from the insistent pressures of the international concert circuit, and here he wrote the Rhapsody on a Theme of Paganini and the Third Symphony which, in 1939, he recorded with the Philadelphia Orchestra, which maintained a long association with his music. His last large-scale masterpiece was the Symphonic Dances, composed in 1940; at the time of his last recital, on 17 February 1943, in Knoxville, Tennessee, he was already gravely ill, and he died on 28 March, in Beverley Hills.
Two years after his death: A tribute to the great Allan Evans The Piano Experience 2022-06-06 | Two years ago, the great "sound archaeologist", record producer and writer Allan Evans died.His tragic deat has left the music world in shock.On September 3, 2020 a Memorial was held in his honor.This video is a reupload of this memorial to pay tribute to his work.September 3 2020 , a Memorial for the late, great, much loved “sound archaeologist” Allan Evans was held at 3pm New York Time. The event featured recollections by Allan’s friends and associates, a sampling of his own early music making, and live performances by guests. A celebration of Allan's life - see the recording from Roulette Intermedium in Brooklyn on September 3rd.On Friday, September 3 2020, the well-lived earthly journey of our late, most beloved Allan Evans was celebrated. The Memorial took place at ROULETTE-INTERMEDIUM - 509 Atlantic Ave (entrance on Third Avenue) in Brooklyn. Here are two interesting articles that you can consult :arbiterrecords.org/allan-evans-sound-archaeologistrobccowan.com/2020/06/07/a-diamond-in-the-sky-historic-recordings-guru-allan-evans-dies-in-new-york
Leo Ornstein - A Wild Mans Dance : Documentary w/ Interviews of Ornstein, Performances of Hamelin.. The Piano Experience 2022-05-23 | 🎹🎶 LIKE and SUBSCRIBE for more videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Documentary on Leo Ornstein, featuring Interviews of Ornstein, Performances of Hamelin and more! Name : Do Not Go Gently - The Power of Imagination in Aging.Directors : Melissa Godoy, Eileen Littig.00:00 Beginning of the documentary.00:52 Interview of Leo Ornstein I01:53 Vivian Perlis talks about Ornstein I02:02 Michael Broyles talks about Ornstein I02:53 Vivian Perlis talks about Ornstein? II03:03 Denise Von Glahn talks about Ornstein I04:32 Michael Broyles talks about Ornstein II04:38 Denise Von Glahn talks about Ornstein II04:43 Michael Broyles talks about Ornstein III05:13 Vivian Perlis talks about Ornstein III05:19 Hamelin plays Ornstein : Suicide in an Airplane05:31 Denise Von Glahn talks about Ornstein III06:15 Vivian Perlis talks about Ornstein IV06:24 Hamelin plays Orstein : Danse Sauvage06:39 Vivian Perlis talks about Ornstein V06:55 Interview of Leo Ornstain (and his wife) II07:23 Michael Broyles talks about Ornstein's Danse Sauvage IV07:36 Hamelin plays Ornstein : Danse Sauvage II07:39 Vivian Perlis talks about Ornstein VI8:04 Interview of Leo Ornstein III8:29 Hamelin plays Ornstein : Piano Sonata No. 88:41 Vivian Perlis talks about Ornstein VII09:02 Interview of Leo Ornstein IV09:10 Denise Von Glahn talks about Ornstein IV09:58 Vivian Perlis talks about Ornstein VIII10:05 Ornstein plays the piano V11:29 Hamelin plays Ornstein : Piano Sonata 8 12:10 Video of Ornstein VI12:44 Interview of Leo Ornstein VII13:34 Vivian Perlis talks about Ornstein IX13:46 Ornstein composes and interview of Leo Ornstein and his wife.14:57 Hamelin plays Ornstein : Piano Sonata 815:06 Interview of Leo Ornstein VIII16:15 Hamelin plays Ornstein : Piano Sonata 816:28 Vivian Perlis talks about Ornstein X17:19 Interview of Leo Ornstein IX17:52 Inerview of Helen Desotell18:10 Interview of Leo Ornstein X18:45 Credits18:53 Hamelin plays Ornstein : Danse Sauvage IIIBIOGRAPHYLeo Ornstein was born the son of a Jewish cantor. As a child, Ornstein demonstrated exceptional talent at the piano, and was sent at age ten to the St. Petersburg Conservatory on a recommendation from his uncle, legendary pianist Josef Hofmann. Owing to renewed hostility towards Jews in Russia, Ornstein's family fled to the United States in 1907. In the U.S., Ornstein studied with Bertha Fiering Tapper at the New England Conservatory of Music and Percy Goetschius at the Institute for Music Art in New York City (later Julliard). Ornstein made his debut as pianist in New York in March 1911.In the 1920s Leo Ornstein was respected as one of the chief talents on the piano recital circuit. In 1923, Ornstein launched his Piano Concerto in Philadelphia under the baton of Leopold Stokowski. That year he also co-founded the League of Composers, going on to serve on its board of directors. By this time, Ornstein began to temper his ultra-modernism with late-Romantic elements, realizing as early as the Sonata for violin and piano (1915) that he'd reached a saturation point with dissonance.In 1933, at age 41 Leo Ornstein dropped out of the concert circuit. He and Pauline founded the Ornstein School of Music in Philadelphia, which they piloted until Leo retired in 1955. In 1936, the League of Composers commissioned his Nocturne and Dance of the Fates, which were premiered in St. Louis under Vladimir Golschmann. This would be the last honor for Ornstein for some 40 years, as he and his music slipped into total obscurity. The Ornsteins took up residence in a mobile home in Brownsville, TX. Throughout this period, Ornstein continued to compose, oblivious to changing trends in the concert world.In the 1970s, Ornstein was rediscovered, and in 1975 he was awarded the Marjorie Waite Peabody Award by the American Academy and National Institute of Arts and Letters. Musicologist Vivian Perlis arranged for Ornstein to devote his papers to Yale University. In 1985, Pauline Ornstein died, and the composer relocated to Green Bay, WI. In 1990, Ornstein's son Severo published a 10-volume edition of Ornstein's piano works, oddly coinciding with Ornstein's own final work, the Piano Sonata No. 8. Having outlived most of his contemporaries by a substantial period of time, Leo Ornstein is the only concert musician known to have inhabited the nineteenth, twentieth, and twenty-first centuries. Ornstein died on February 24, 2002.
Vladimir Horowitz - Carnegie Hall Rehearsal, 13 January 1965 (Practicing, Conversations, Chopin etc) The Piano Experience 2022-05-03 | 🎹🎶 LIKE and SUBSCRIBE for more videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Vladimir Horowiz : Carnegie Hall Rehearsal, 13 January 1965 (Chopin, Conversations etc...)Performer : Vladimir Horowitz, pianoDate : 13 January 1965Place : Carnegie HallProgram : Rehearsal00:00 Conversation I00:30 Chopin - Polonaise Fantaisie Op. 61 Soundcheck 02:08 Conversation II02:20 Chopin - Polonaise Fantaisie, Op. 61 Take 1 [Bars 1 - 39]04:35 Chopin - Polonaise Fantaisie, Op. 61 Take 1 [Bars 21 - 87]06:57 Chopin - Polonaise Fantaisie, Op. 61 Take 1 [Bars 56 - 61]07:11 Chopin - Polonaise Fantaisie, Op. 61 Take 1 [Bars 60 - 198]12:39 Chopin - Polonaise Fantaisie, Op. 61 Take 1 [Bars 196 - end]16:43 Conversation III16:59 Nocturne in F Minor Op. 55 No. 1 Take 122:00 Conversation IV22:42 Nocturne in F Minor, Op. 55 No. 1 Insert 1 Take 1 [Bar 41]22:49 Nocturne in F Minor, Op. 55 No. 1 Insert 1 Take 1 [Bars 41 - 89]24:52 Nocturne in F Minor, Op. 55 No. 1 Insert 1 Take 1 [Bars 86 - 93]25:05 Nocturne in F Minor, Op. 55 No. 1 Insert 1 Take 1 [Bars 90 - 93]25:12 Nocturne in F Minor, Op 55 No 1 Insert 1 Take 1 [Bars 90 - 100]25:30 Conversation V25:49 Ballade No. 1 in G Minor, Op. 23 Take 1 [Bars 1 - 36]27:41 Ballade No. 1 in G Minor, Op. 23 Take 1 [Bars 32 - 179]32:17 Ballade No. 1 in G Minor, Op. 23 Take 1 [Bars 162 - 258]34:53 Ballade No. 1 in G Minor, Op. 23 Take 1 [Bars 257 - end]35:04 Conversation VI35:27 Ballade No. 1 in G Minor, Op. 23 Insert 1 Take 1 [Bars 6 - 9]35:39 Ballade No. 1 in G Minor, Op. 23 Insert 1 Take 1 [Bars 6 - 163]40:48 Ballade No. 1 in G Minor, Op. 23 Insert 1 Take 1 [Bars 162 - 177]41:12 Ballade No. 1 in G Minor, Op. 23 Insert 1 Take 1 [Bars 177 - 190]41:38 Ballade No. 1 in G Minor, Op. 23 Insert 1 Take 1 [Bars 188 - 229]42:46 Ballade No. 1 in G Minor, Op. 23 Insert 1 Take 1 [Bars 228 - 250]43:11 Ballade No. 1 in G Minor, Op. 23 Insert 1 Take 1 [Bars 242 - 256]43:10 Ballade No. 1 in G Minor, Op. 23 Insert 1 Take 1 [Bars 242 - 256]43:27 Ballade No. 1 in G Minor, Op. 23 Insert 1 Take 1 [Bars 255 - end]44:06 Conversation VII44:18 Chopin - Mazurka Op. 41 No. 2 Take 146:22 Conversation VIII46:32 Chopin - Mazurka Op. 33 No. 4 Take 149:50 Conversation IX50:06 Chopin - Mazurka Op. 59 No. 3 Take 153:07 Conversation X53:25 Chopin - Polonaise Fantaisie Op. 61BIOGRAPHY The most famous pianist of the twentieth century, his name known to the proverbial man on the street the world over, Vladimir Samoylovich Horowitz (1903–1989) was born in 1903 in Kiev. Horowitz showed enough prodigious talent to play for Alexander Scriabin in 1915, just before the Russian composer-pianist’s early death. Horowitz would become a superlative interpreter of Scriabin’s music, which the pianist described as “mystical… expressionistic.” Horowitz also became friends with another great Russian composer-pianist (and Scriabin’s former schoolmate), Sergei Rachmaninoff – who was the acme of Romanticism. He also made a benchmark recording of Rachmaninoff’s Piano Sonata No. 2. Emigrating from Russia in 1925 and eventually settling in New York City, Horowitz made his American debut with Tchaikovsky’s Piano Concerto No. 1 in 1928 at Carnegie Hall, which would become his home venue, the site of many recordings. Impressed by the pianist’s tonal dynamism, conductor Thomas Beecham, who led that concert, reportedly said: “Really, Mr. Horowitz, you can’t play like that – it shows the orchestra up.” Horowitz made a series of solo recordings for HMV at London’s Abbey Road Studios in 1932, including several Chopin pieces and an electrifying take on Liszt’s B Minor Sonata, helping to establish the piece in the standard repertoire. A review of a 1933 London concert declared Horowitz “the greatest pianist dead or alive.” Horowitz would make hit recordings with Toscanini of the Tchaikovsky concerto and the Brahms Piano Concerto No. 2 in 1940–41.Driven to “grow until I die,” he said, the pianist reapplied himself to select Beethoven sonatas in his middle period and then several Mozart works as he grew older. Horowitz also crafted his own transcriptions and arrangements, including such showstoppers as his variations on Carmen and Stars and Stripes Forever. In 1987, he played his final recital, in Hamburg; he died two years later. “Piano playing consists of intellect, heart and technique,” Horowitz said. “All should be equally developed. Without intellect, you will be a fiasco; without technique, an amateur; without heart, a machine. The profession has its perils.”
Vladimir Horowitz : Carnegie Hall Rehearsal, 7 January 1965 (Improvising, Conversations, Chopin etc) The Piano Experience 2022-04-17 | 🎹🎶 LIKE and SUBSCRIBE for more videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Vladimir Horowiz : Carnegie Hall Rehearsal, 7 January 1965 (Bach, Chopin, Debussy, Schumann, Conversations etc...)Performer : Vladimir Horowitz, pianoDate : 7 January 1965Place : Carnegie HallProgram : Rehearsal00:00 Horowitz improvising03:24 Conversation and Horowitz testing the piano05:24 Horowitz improvising II10:31 Conversation I11:28 Bach : Toccata Adagio and Fugue in C Major, BWV 564, I Preludio17:57 II Intermezzo Adagio22:15 III Fuga Moderamente scherzando un poco umoristico27:19 Conversation II28:15 Chopin - Polonaise Fantaisie in A Flat Major Op. 6141:19 Conversation III41:42 Debussy : Etudes Livre II No. 11 Pour les arpeges composés45:45 Conversation IV47:12 Schumann : Fantasie in C Major Op. 17 I Durchaus phantastisch und leidenschaftlich vorzutragen fragment58:08 Conversation V58:24 Chopin : Nocturne No. 15 in F Minor Op. 55 No. 1BIOGRAPHY The most famous pianist of the twentieth century, his name known to the proverbial man on the street the world over, Vladimir Samoylovich Horowitz (1903–1989) was born in 1903 in Kiev. Horowitz showed enough prodigious talent to play for Alexander Scriabin in 1915, just before the Russian composer-pianist’s early death. Horowitz would become a superlative interpreter of Scriabin’s music, which the pianist described as “mystical… expressionistic.” Horowitz also became friends with another great Russian composer-pianist (and Scriabin’s former schoolmate), Sergei Rachmaninoff – who was the acme of Romanticism. He also made a benchmark recording of Rachmaninoff’s Piano Sonata No. 2. Emigrating from Russia in 1925 and eventually settling in New York City, Horowitz made his American debut with Tchaikovsky’s Piano Concerto No. 1 in 1928 at Carnegie Hall, which would become his home venue, the site of many recordings. Impressed by the pianist’s tonal dynamism, conductor Thomas Beecham, who led that concert, reportedly said: “Really, Mr. Horowitz, you can’t play like that – it shows the orchestra up.” Horowitz made a series of solo recordings for HMV at London’s Abbey Road Studios in 1932, including several Chopin pieces and an electrifying take on Liszt’s B Minor Sonata, helping to establish the piece in the standard repertoire. A review of a 1933 London concert declared Horowitz “the greatest pianist dead or alive.” Horowitz would make hit recordings with Toscanini of the Tchaikovsky concerto and the Brahms Piano Concerto No. 2 in 1940–41.Over the course of his career, Horowitz’s recorded repertoire stretched far beyond those early specialties of Chopin, Brahms, Liszt, Tchaikovsky, Scriabin and Rachmaninoff; in long associations for RCA, then Columbia and, finally, Deutsche Grammophon, Horowitz also ranged from Scarlatti, Haydn and Clementi to Beethoven, Schumann and miniatures across the ages with artistic and commercial success; in a period of applying himself to modern music, he premiered Samuel Barber’s Sonata in 1950, along with recording sonatas by Prokofiev and Kabalevsky. Driven to “grow until I die,” he said, the pianist reapplied himself to select Beethoven sonatas in his middle period and then several Mozart works as he grew older. Horowitz also crafted his own transcriptions and arrangements, including such showstoppers as his variations on Carmen and Stars and Stripes Forever. In his book The Great Pianists, critic Harold Schonberg wrote: “As a technician, Horowitz was one of the most honest in the history of modern pianism. Famously high-strung, his art always a mental-physical high-wire act, Horowitz took four sabbaticals from public performance to deal with various issues, his returns much-ballyhooed events. The first layoff was for two years in 1936; the longest was 1953 to 1965, followed by a tremendous homecoming to Carnegie Hall. But even over his later breaks, he recorded regularly at home in his Manhattan townhouse, documenting his art as it subtly evolved even beyond great venues and the recording studio. A 1985 film, The Last Romantic, captured the pianist in his last years, performing at home as well as reminiscing about Scriabin and Rachmaninoff. The next year, Horowitz returned to Russia, 61 years after leaving — a hugely emotional event for both artist and audience, documented in the concert album and film Horowitz in Moscow. In 1987, he played his final recital, in Hamburg; he died two years later. “Piano playing consists of intellect, heart and technique,” Horowitz said. “All should be equally developed. Without intellect, you will be a fiasco; without technique, an amateur; without heart, a machine. The profession has its perils.”
Vladimir Horowitz - Parody of the promotional message for the RCA album “Showcase in Sound” (1954) The Piano Experience 2022-04-04 | 🎹🎶 LIKE and SUBSCRIBE for more videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Vladimir Horowitz - Parody of the promotional message for the RCA album “Showcase in Sound” (1954, New York City)This recording is from the CD "Landmarks of Recorded Pianism Vol. 1" by Marston Records. It is an amazing CD with many excellent recordings such as this one. I recommend purchasing it : marstonrecords.com/products/landmarks1?_pos=2&_sid=5e1886854&_ss=rBIOGRAPHY The most famous pianist of the twentieth century, his name known to the proverbial man on the street the world over, Vladimir Samoylovich Horowitz (1903–1989) was born in 1903 in Kiev. Horowitz showed enough prodigious talent to play for Alexander Scriabin in 1915, just before the Russian composer-pianist’s early death. Horowitz would become a superlative interpreter of Scriabin’s music, which the pianist described as “mystical… expressionistic.” Horowitz also became friends with another great Russian composer-pianist (and Scriabin’s former schoolmate), Sergei Rachmaninoff – who was the acme of Romanticism. He also made a benchmark recording of Rachmaninoff’s Piano Sonata No. 2. Emigrating from Russia in 1925 and eventually settling in New York City, Horowitz made his American debut with Tchaikovsky’s Piano Concerto No. 1 in 1928 at Carnegie Hall, which would become his home venue, the site of many recordings. Impressed by the pianist’s tonal dynamism, conductor Thomas Beecham, who led that concert, reportedly said: “Really, Mr. Horowitz, you can’t play like that – it shows the orchestra up.” Horowitz made a series of solo recordings for HMV at London’s Abbey Road Studios in 1932, including several Chopin pieces and an electrifying take on Liszt’s B Minor Sonata, helping to establish the piece in the standard repertoire. A review of a 1933 London concert declared Horowitz “the greatest pianist dead or alive.” Horowitz would make hit recordings with Toscanini of the Tchaikovsky concerto and the Brahms Piano Concerto No. 2 in 1940–41.Over the course of his career, Horowitz’s recorded repertoire stretched far beyond those early specialties of Chopin, Brahms, Liszt, Tchaikovsky, Scriabin and Rachmaninoff; in long associations for RCA, then Columbia and, finally, Deutsche Grammophon, Horowitz also ranged from Scarlatti, Haydn and Clementi to Beethoven, Schumann and miniatures across the ages with artistic and commercial success; in a period of applying himself to modern music, he premiered Samuel Barber’s Sonata in 1950, along with recording sonatas by Prokofiev and Kabalevsky. Driven to “grow until I die,” he said, the pianist reapplied himself to select Beethoven sonatas in his middle period and then several Mozart works as he grew older. Horowitz also crafted his own transcriptions and arrangements, including such showstoppers as his variations on Carmen and Stars and Stripes Forever. In his book The Great Pianists, critic Harold Schonberg wrote: “As a technician, Horowitz was one of the most honest in the history of modern pianism. Famously high-strung, his art always a mental-physical high-wire act, Horowitz took four sabbaticals from public performance to deal with various issues, his returns much-ballyhooed events. The first layoff was for two years in 1936; the longest was 1953 to 1965, followed by a tremendous homecoming to Carnegie Hall. But even over his later breaks, he recorded regularly at home in his Manhattan townhouse, documenting his art as it subtly evolved even beyond great venues and the recording studio. A 1985 film, The Last Romantic, captured the pianist in his last years, performing at home as well as reminiscing about Scriabin and Rachmaninoff. The next year, Horowitz returned to Russia, 61 years after leaving — a hugely emotional event for both artist and audience, documented in the concert album and film Horowitz in Moscow. In 1987, he played his final recital, in Hamburg; he died two years later. “Piano playing consists of intellect, heart and technique,” Horowitz said. “All should be equally developed. Without intellect, you will be a fiasco; without technique, an amateur; without heart, a machine. The profession has its perils.”
Leo Ornstein plays Ornstein : Tarantelle, S. 155 (1963?) The Piano Experience 2022-04-01 | 🎹🎶 LIKE and SUBSCRIBE for more score videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperienceThis recording was made at the time he completed the S. 155 Tarantelle. You can hear him hesitate as he struggles to remember just what he had written.From : http://leoornstein.net/audio.html
Leo Ornstein : Composing Sessions The Piano Experience 2022-03-28 | 🎹🎶 LIKE and SUBSCRIBE for more score videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience"These recordings of working (composing) sessions were made many years ago on an ancient reel-to-reel tape recorder in Ornstein's tiny studio in New Hampshire where he worked on a bad upright piano. The sound quality is dreadful, but these samples are included to give some insight into the way he worked. They were made during a period in which he tried using a tape recorder to capture ideas. Not surprisingly, searching for a desired segment turned out to be too difficult as it became thoroughly lost among the welter of material that got laid down. Often the tape was simply allowed to run while he worked, then it would be backed up and more things recorded on top of earlier material. The result is a montage of snatches of music, but it gives some insight into his inspirational style of composing. Among other things, you can hear him working on the material that eventually turned into S102 A Long Remembered Sorrow. You can also hear other ideas that were never finished. There is a considerable quantity of such material stored in the sound archives at Yale University."0:00 Composing Session 110:49 Composing Session 2
George Crumb - Makrokosmos IV, Celestial Mechanics (1979) [Audio + Score] The Piano Experience 2022-03-24 | 🎹🎶 LIKE and SUBSCRIBE for more score videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperienceGeorge Crumb - Makrokosmos IV, Celestial Mechanics [Audio + Score] (1979) [Audio + Score]George Crumb (b.1929)'s Makrokosmos is recognized as one of the masterpieces of twentieth century piano writing. Inexplicably, volume four of Makrokosmos, Crumb's only four-hand piano piece, is rarely studied by Crumb scholars. According to Crumb's program notes, his Makrokosmos is meant to be a hybrid of piano and orchestral sound. Crumb devised a list of signs and abbreviated letters to explain his specific instructions to the performers. The pianists who plan to perform Makrokosmos need to study Crumb's notations carefully in order to faithfully realize the composer's intentions. The American composer George Crumb was born in Charleston, West Virginia on 24 October 1929. This year, he celebrates his eightieth birthday. To mark the occasion, we will be presenting the complete Makrokosmos cycle, a monumental four-part work for piano that rates as one of the most outstanding musical works of the twentieth century.Ever since his childhood, nature has been a major source of inspiration in the composer’s life. This is reflected in his music. George Crumb transports the listener into transcendental and mythical-magical worlds suffused with symbols and universal ideas, earthly realities and cosmic speculation. He produces “world music” in the medieval tradition of the “musica mundana”. His compositions draw on mythology, religion, the peace movement and green movement, the Vietnam protest movement, natural phenomena, mythical spirits, astronomy and astrology.Makrokosmos I and II (1972/73), both scored for a solo amplified piano, consist of twelve highly complex fantasy pieces based on the zodiac. In 1974, Crumb composed Music for a Summer Evening (Makrokosmos III) for two amplified pianos and an impressive array of percussion instruments from various cultures. It was followed in 1979 by the fourth part Celestial Mechanics (Makrokosmos IV). With this suite of majestic “cosmic” dances, Crumb returns once more to the medium of a solo amplified piano, but this time scored for four hands.BIOGRAPHYGeorge Crumb (1929-2022) is one of the most frequently performed composers in today's musical world. Crumb was the winner of Grammy and Pulitzer Prizes. Crumb's music often juxtaposes contrasting musical styles, ranging from music of the western art-music tradition, to hymns and folk music, to non-Western musics. Many of Crumb's works include programmatic, symbolic, mystical and theatrical elements, which are often reflected in his beautiful and meticulously notated scores.A shy, yet warmly eloquent personality, Crumb retired from his teaching position at the University of Pennsylvania after more than 30 years of service. Honored by numerous institutions with honorary Doctorates, and the recipient of dozens of awards and prizes, Crumb made his home in Pennsylvania, in the same house where he and his wife of more than 60 years raised their three children. George Crumb's music is published by C.F. Peters and an ongoing series of "Complete Crumb" recordings, supervised by the composer, is being issued on Bridge Records.
George Crumb - Makrokosmos II, Twelve Fantasy Pieces after the Zodiac (1972) [Audio + Score] The Piano Experience 2022-03-19 | 🎹🎶 LIKE and SUBSCRIBE for more score videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperienceGeorge Crumb - Makrokosmos II, Twelve Fantasy Pieces after the Zodiac (1972) [Audio + Score]Alluding to Bartók’s Mikrokosmos, the first and second volumes of Crumb’s Makrokosmos bear the subtitle Twelve Fantasy-Pieces after the Zodiac. They require the pianist to go beyond that which is concrete and comfortable—beyond the security of the keyboard. For the listener, these pieces toe the line that separates fantasy from reality. They explore a world in which dreams can seem real and reality an illusion, leaving us to question the sources of otherworldly sounds—whether they are part of Crumb’s plan, or merely aural figments of our own imagination.Crumb was born into a musical family in Charleston, West Virginia. After completing a master’s degree at the University of Illinois, Crumb enrolled for doctoral studies with Ross Lee Finney at the University of Michigan. Finney’s meticulous approach to musical notation is reflected in the exquisite calligraphy that distinguishes Crumb’s manuscripts, as evidenced in the last piece of each part of Makrokosmos II. BIOGRAPHY George Crumb (1929-2022) is one of the most frequently performed composers in today's musical world. Crumb was the winner of Grammy and Pulitzer Prizes. Crumb's music often juxtaposes contrasting musical styles, ranging from music of the western art-music tradition, to hymns and folk music, to non-Western musics. Many of Crumb's works include programmatic, symbolic, mystical and theatrical elements, which are often reflected in his beautiful and meticulously notated scores.A shy, yet warmly eloquent personality, Crumb retired from his teaching position at the University of Pennsylvania after more than 30 years of service. Honored by numerous institutions with honorary Doctorates, and the recipient of dozens of awards and prizes, Crumb made his home in Pennsylvania, in the same house where he and his wife of more than 60 years raised their three children. George Crumb's music is published by C.F. Peters and an ongoing series of "Complete Crumb" recordings, supervised by the composer, is being issued on Bridge Records.
Nobuo Uematsu - Main Theme from Final Fantasy VII [Audio + Score] The Piano Experience 2022-03-10 | 🎹🎶 LIKE and SUBSCRIBE for more score videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Nobuo Uematsu - Main Theme from Final Fantasy VII [Audio + Score]Nobuo Uematsu (植松 伸夫, Uematsu Nobuo, born March 21, 1959) is a Japanese composer and keyboardist best known for his contributions to the Final Fantasy video game series by Square Enix. A self-taught musician, he began playing the piano at the age of twelve, with English singer-songwriter Elton John as one of his biggest influences. Uematsu joined Square in 1986, where he first met Final Fantasy creator Hironobu Sakaguchi. The two later worked together on many games at the company, most notably in the Final Fantasy series. After nearly two decades with Square, Uematsu left in 2004 to create his own production company and music label, Dog Ear Records. He has since composed music as a freelancer for other games, including ones developed by Square Enix and Sakaguchi's development studio, Mistwalker.Many soundtracks and arranged albums of Uematsu's game scores have been released. Pieces from his video game works have been performed in various Final Fantasy concerts, where he has worked with Grammy Award–winning conductor Arnie Roth on several of these performances. In the 2000s, he was the keyboardist in the hard rock band The Black Mages, along with Square Enix colleagues Kenichiro Fukui and Tsuyoshi Sekito. The band played various arranged rock versions of Uematsu's Final Fantasy compositions. He has since performed with Earthbound Papas, which he formed as the successor to The Black Mages in 2011. He is sometimes referred to as the Beethoven of video game music and has made several appearances in the annual Classic FM Hall of Fame.
Sergei Lyapunov - Mazurka 8 in G minor, Op. 36 (Anthony Goldstone) [Audio + Score] The Piano Experience 2022-03-10 | 🎹🎶 LIKE and SUBSCRIBE for more score videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Sergei Lyapunov - Mazurka 8 in G minor, Op. 36 (Anthony Goldstone) [Audio + Score]BIOGRAPHYSergei Mikhailovich Lyapunov (30 November 1859 – 8 November 1924) was a Russian composer, pianist and conductor.Lyapunov was born in Yaroslavl in 1859. After the death of his father, Mikhail Lyapunov, when he was about eight, Sergei, his mother, and his two brothers (one of them was Aleksandr Lyapunov, later a notable mathematician) went to live in the larger town of Nizhny Novgorod. There he attended the grammar school along with classes of the newly formed local branch of the Russian Musical Society. On the recommendation of Nikolai Rubinstein, the Director of the Moscow Conservatory of Music, he enrolled in that institution in 1878. His main teachers were Karl Klindworth (piano; a former pupil of Franz Liszt), and Sergei Taneyev (composition; a former pupil of Pyotr Ilyich Tchaikovsky and his successor at the Conservatory).He graduated in 1883, more attracted by the nationalist elements in music of the New Russian School than by the more cosmopolitan approach of Tchaikovsky and Taneyev. He went to St. Petersburg in 1885 to seek Mily Balakirev, becoming the most important member of Balakirev's latter-day circle. Balakirev, who had himself been born and bred in Nizhny Novgorod, took Lyapunov under his wing, and oversaw his early compositions as closely as he had done with the members of his circle during the 1860s, now known as The Five. Balakirev's influence remained the dominant influence in his creative life.Conductor Hans Winderstein (far left), Sergei Lyapunov, pianist Ricardo Viñes (standing) and publisher Julius Heinrich Zimmermann (far right) in Leipzig in 1907.In 1893, the Imperial Geographical Society commissioned Lyapunov, along with Balakirev and Anatoly Lyadov, to gather folksongs from the regions of Vologda, Vyatka (now Kirov) and Kostroma. They collected nearly 300 songs, which the society published in 1897. Lyapunov arranged 30 of these songs for voice and piano and used authentic folk songs in several of his compositions during the 1890s.Lyapunov recording for the Welte-Mignon reproducing piano in St. Petersburg or Moscow in January 1910.From 1904, Lyapunov made appearances as a conductor, mounting the podium by invitation in Berlin and Leipzig in 1907. He also enjoyed a successful career as a pianist. In the spring of 1910, Lyapunov recorded some of his own works for the reproducing piano Welte-Mignon (Op. 11, Nos. 1, 5, and 12; Op. 35). Lyapunov made several tours of Western Europe, including one of Germany and Austria in 1910–1911.He succeeded Nikolai Rimsky-Korsakov as assistant director of music at the Imperial Chapel, became a director of the Free Music School, then its head, as well as a professor at the St. Petersburg Conservatory in 1911. After the Revolution, he emigrated to Paris in 1923 and directed a school of music for Russian émigrés, but died of a heart attack the following year. For many years the official Soviet line was that Lyapunov had died during a concert tour of Paris, no acknowledgement being made of his voluntary exile.Lyapunov is largely remembered for his Douze études d'exécution transcendente. This set completed the cycle of the 24 major and minor keys that Franz Liszt had started with his own Transcendental Études but had left unfinished. Not only was Lyapunov's set of études as a whole dedicated to the memory of Franz Liszt, but the final étude was specifically titled Élégie en mémoire de François Liszt. In the UK the pianist Edward Mitchell was an early advocate, first performing and broadcasting the Douze études in 1927.Louis Kentner made the premiere recording in 1949.
Film : Serge Koussevitzky rehearses and conducts Rimsky-Korsakovs Scheherazade (1940s) The Piano Experience 2022-03-09 | 🎹🎶 LIKE and SUBSCRIBE for more score videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperienceFilm : Serge Koussevitzky rehearses and conducts Rimsky-Korsakov's Scheherazade (1940s)Source : huntleyarchives.com/preview.asp?image=1008407&itemw=4&itemf=0004&itemstep=1&itemx=2
Frederic Rzewski - Les Moutons de Panurge (1969) [Audio + Score] The Piano Experience 2022-03-04 | 🎹🎶 LIKE and SUBSCRIBE for more score videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperienceFrederic Rzewski - Les Moutons de Panurge (1969) [Audio + Score]BIOGRAPHYSometimes recognized as a virtuoso pianist, sometimes as a composer in his own right, Frederic Rzewski is one of the most consistent, creative personalities of the last few decades. He is capable of exhilarating energy, performing his long piano compositions as to develop insightful ideas about the role of artists in a broader socio-historical context. The Sixties took Rzewski to Europe performing Stockhausen, Boulez, Cage, Bussotti, Kagel and many other composers as well as co-founding the influential electronic ensemble MEV with Alvin Curran and Richard Teitelbaum. Around 1969, he composed "Les Moutons de Panurge," a radical experiment with additive melodic formulas labeled after as minimalism. A few years after this piece, Rzewski balanced minimal accented cells with political texts in the remarkable "Attica" and "Coming Together" (both 1972). During the seventies, he was deeply concerned about problems relating to crises in musical theory, sociopolitical questions and aesthetic language. Regarding all of this, Rzewski's music has coped with many tensions and, in his own words, "it seemed to me (that) there was no reason why the most difficult and complex formal structures could not be expressed in a form which could not be understood by a wide variety of listeners", something for which he was criticized for. But heterogeneity has been the landmark of Rzewski's work, a point clearly stated by new music authority Kyle Gann about an early American period - eclectic, bristling with Ivesian quotation and collage, tinged with folk song and minimalism - and his recent European works: enigmatic, dense in their motivic logic, often even 12-tone.In the seventies, his work included the remarkable North American Ballads (1979) and his epic variations on El Pueblo Unido Jamás Será Vencido! (1975), this last as an enormous example of political music in the most broader sense, putting Rzewski at the same tradition beside composers like Cornelius Cardew, Hans Werner Henze, Hanns Eisler, Kurt Weill and Luigi Nono. In this second group of works could fit other projects that he did during the '80's such as Antigone Legend (1982), based on Bertolt Brecht, The Triumph of Death (1987), about a play by Peter Weiss on the Auschwitz trial of 1964, and The Waves (1988) based on Shakespeare's sonnet sixty, all of which use different instrumental resources. In the last years, Frederic Rzewski has been focused on long works using piano and text resources like De Profundis (1992) "for a speaking pianist" in which performer recites selected passages from Oscar Wilde's letter to Lord Alfred Douglas during author's imprisonment in Reading. One of his most recent works is a mammoth three-and-a-half-hour "novel for piano" called The Road, including 64 movements "darted angularly, driven by small, reiterated motives"; they often lapsed into clusters and accompanying vocal sounds, but always with thoughtful calm rather than violence. Occasional programmatic moments (at one point, Rzewski blew a toy train whistle and rattled bells in a choo-choo rhythm) didn't do much to render the music's interval-based atonality less abstract. The work was supposed to evoke the experience of driving down a winding road; in reality, the movements (called "miles") suggested self-contained units, each with its own aphoristic logic". Frederic Rzewski gave a memorable concert in his only visit to Buenos Aires, Argentina during Festival Internacional Experimenta from October 2nd to 11th, 2000. This conversation took part the day after the concert in which he has performed some of his "piano novels" as soon as a delicate piece by Belgian Henri Pousseur ("Memoires d'Icare," 1994 in memoriam Karel Goeyvaerts) and an outstanding version of Cornelius Cardew's "We Sing for the Future" (1981) just previous to its release on the New Albion label. A lot of intelligent, sensitive and powerful music was heard at the recital. Taking into account this fact, I preferred to talk not only about music but also about some ideas and concerns behind Rzewski's creative personality.
Josef Hofmann plays Beethoven : Sonata No.14 Moonlight Op. 27 (1936) [Audio + Score] The Piano Experience 2022-02-27 | 🎹🎶 LIKE and SUBSCRIBE for more score videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperienceJosef Hofmann plays Beethoven : Sonata quasi una fantasia, No.14 in C# Minor, op. 27, "Moonlight" (1936) This live recording was made in 1936.Cadillac Hour, 15 March 1936, New York.0:00 I. Adagio sostenuto05:26 II. Allegretto07:02 III. Presto agitatoBIOGRAPHYJosef Hofmann, the pianist, teacher, composer and inventor, born on 20th January 1876 in Krakow. He came from the family of musicians. His father, Kazimierz Hofmann, was a famous composer, pianist and conductor, his mother, Matylda Pindelska and the father’s two sisters, Honorata Majeranowska and Josefa Hofmann-Rapacka were singers. When Josef was three years old he began to learn playing the piano. The boy’s outstanding gift, his father’s pedagogical care and also the artistic atmosphere in his family contributed to his continuous progress. In 1887 he went to the United States, where he made a great success performing in the Metropolitan Opera House. He was engaged for a few dozen concerts. Despite his great success he achieved and the admiration for his mature performances, after 10 weeks during which he gave 52 concerts, the tournée was cancelled at the request of New York Society for the Prevention of Cruelty to Children. They decided that the tournée was too an excessive burden for the 11 years old boy and might be dangerous to his health.However, thanks to the publicity young Hofmann gained by playing, Alfred Clark funded him a scholarship, under the condition, however, that the boy would not perform in public before his 18th birthday. The scholarship helped him to complete music studies in Berlin in 1888-1894. He was taught by such teachers as Moszkowski (piano), Urban (composition), and by Anton Rubinstein. In 1894 he received the first prize at the Anton Rubinstein competition in Hamburg during which he performed his D-Minor Concert Op. 70. After this success, he began the real career as a pianist performing in many European countries, where he enjoyed great popularity, especially in Petersburg (1913). Apart from performances in Europe he gave annual concerts in United States, which became his second homeland. In 1926-1938 he was the Principal of the music school Curtis Institute of Music in Philadelphia. On 28th November 1937, on the 50th anniversary of his American debut the jubilee concert was held in Metropolitan Opera House. He finished his career as the pianist on 19th January 1946 when he gave his last recital in Carnegie Hall. He died in Los Angeles on 16th February 1957. http://www.josef-hofmann.infoAvailable here : http://www.vaimusic.com/product/1020-2.html
Film : Josef Hofmann smoking with his wife Betty Short and with friends. (1920s?) The Piano Experience 2022-02-23 | 🎹🎶 LIKE and SUBSCRIBE for more score videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperienceFilm : Josef Hofmann smoking with his wife Betty Short and with friends.BIOGRAPHYJosef Hofmann, the pianist, teacher, composer and inventor, born on 20th January 1876 in Krakow. He came from the family of musicians. His father, Kazimierz Hofmann, was a famous composer, pianist and conductor, his mother, Matylda Pindelska and the father’s two sisters, Honorata Majeranowska and Josefa Hofmann-Rapacka were singers. When Josef was three years old he began to learn playing the piano. The boy’s outstanding gift, his father’s pedagogical care and also the artistic atmosphere in his family contributed to his continuous progress. When he was eight he appeared in Warsaw, where he played the Mozart’s Concert D-Minor conducted by his father. Two years later, he had his first European tournée. He was performing in Prague, Germany, Denmark (where his performance was admired by the King of Denmark), Sweden, Holland, France (in the presence of Camille Saint-Saëns) and in England. In 1887 he went to the United States, where he made a great success performing in the Metropolitan Opera House. He was engaged for a few dozen concerts. Despite his great success he achieved and the admiration for his mature performances, after 10 weeks during which he gave 52 concerts, the tournée was cancelled at the request of New York Society for the Prevention of Cruelty to Children. They decided that the tournée was too an excessive burden for the 11 years old boy and might be dangerous to his health.However, thanks to the publicity young Hofmann gained by playing, Alfred Coming Clark funded him a scholarship, under the condition, however, that the boy would not perform in public before his 18th birthday. The scholarship helped him to complete music studies in Berlin in 1888-1894. He was taught by such teachers as Maurycy Moszkowski (piano), Heinrich Urban (composition), and by Antoni Rubinstein. In 1894 he received the first prize at the Antoni Rubinstein competition in Hamburg during which he performed his D-Minor Concert Op. 70. After this success, he began the real career as a pianist performing in many European countries (England, Scandinavian countries, Russia, Poland), where he enjoyed great popularity, especially in Petersburg (1913). Apart from performances in Europe he gave annual concerts in United States, which became his second homeland. In 1926, he received American citizenship. In 1926-1938 he was the Principal of the music school Curtis Institute of Music in Philadelphia. On 28th November 1937, on the 50th anniversary of his American debut the jubilee concert was held in Metropolitan Opera House. He finished his career as the pianist on 19th January 1946 when he gave his last recital in Carnegie Hall. He died in Los Angeles on 16th February 1957. He was married twice. Maria Eustis was his first wife and he had one daughter with her, the second wife was Betty Short and they had 3 sons.
Henry Cowell - Two Pieces, II. The Tiger [1928] [Audio + Score] The Piano Experience 2022-02-19 | 🎹🎶 LIKE and SUBSCRIBE for more score videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Henry Cowell - Two Pieces, II. 'The Tiger' [1928] [Audio + Score]Henry Dixon Cowell (March 11, 1897 – December 10, 1965) was an American composer, writer, pianist, publisher and teacher. A leading figure of avant-garde music, Cowell was an early proponent of many modernist compositional techniques and sensibilities.Of all the early twentieth century American musical revolutionaries, perhaps composer Henry Cowell wielded the most vivid and far-reaching influence. Born in 1897 to a rural California family, Cowell began to study the violin at age five, though his parents' hopes of creating a prodigy on the instrument remained unfulfilled when the lessons had to be stopped on account of the boy's poor health. After his parents' divorce in 1903, Cowell spent several years traveling around the country visiting relatives with his mother. It was during one such journey in 1908 that he began to write his own music, his first known effort at composition being an unfinished setting of Longfellow's Golden Legend.Until he began musical studies with Charles Seeger at the University of California at Berkeley in 1914, Cowell remained a basically self-taught musician, as well as a young man who had never spent so much as a day in school in his life. Seeger was impressed by the young Cowell's output -- over 100 compositions of varying quality by 1914 -- but was much more interested in the young composer's hyper-creative, open-minded musical personality. Free of the often confining attitudes which govern formal musical education, Cowell had come to view any sound as musical substance with which he could work, and his early music owes more to the influence of birdsong, machine noises and folk music than it does to any knowledge of earlier masterworks. In The Tides of Manaunaun, Cowell asks the pianist to use his or her fist, palm, and forearm on the keys of the instrument's bass register to evoke massive tidal waves, an early example of what he called the tone cluster. Cowell used this and similar techniques in many later works, which proved to be highly influential for many of the "sound mass" composers of later decades, including Penderecki, Ligeti, and numerous electronic composers.However, Seeger felt that without structure and guidelines Cowell would remain an unskilled, if impressively inventive, musician, and he encouraged the young composer to make a rigorous study of traditional harmony and counterpoint. In 1919, at Seeger's suggestion, Cowell finished a systematic treatise on his own music entitled New Musical Resources, in which he discusses new musical techniques, aesthetic directions, and possible alterations to the accepted system of musical notation. Concert appearances throughout North America and Europe during the 1920s earned Cowell countless friends and enemies throughout the musical establishment. Although he had earned the respect of such luminaries as Bartók and Schoenberg, his concerts frequently caused audience riots and invoked the wrath of critics who wondered if Cowell's headstrong independence disguised a lack of true musical craftsmanship. In the Aeolian Harp (1923), for piano, Cowell instructs the pianist to play "inside" the piano by sweeping, scraping, strumming, and muting the strings. The Banshee (1925) applies indeterminacy and graphic notation with instructions for the pianist to play exclusively inside the piano while an assistant holds down the damper pedal. Playing techniques include scraping the strings with a fingernail, and pizzicato effects, all performed in the lowest registers of the instrument, yielding resonant and primarily non-pitched waves of sound.Later music, such as the Amerind Suite for piano (1939) and the 26 Simultaneous Mosaics (1964) incorporate generous helpings of indeterminacy, though from the 1930s onward, Cowell's compositional language grew increasingly tonal and rhythmically simplified. Cowell died after several years of serious illness
Julius Eastman - Evil Nigger [Audio + Score] (1979) The Piano Experience 2022-01-27 | 🎹🎶 LIKE and SUBSCRIBE for more score videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Julius Eastman - Evil Nigger [Audio + Score]Julius Eastman's Evil Nigger (1979) was premiered on four pianos in January 1980 at Northwestern University with Eastman playing and guiding the performance. Although usually performed on four pianos, Evil Nigger can be played on any number of similar instruments, which on melody instruments would be seventeen.It opens at a blistering pace with a simple downward melodic figure that is repeated throughout the piece. There is also a continuo-like figure played in the bass that occurs throughout, which acts as a 'meeting place' at times, its entry counted off for a unison entry, as in pop music. The initial melody and continuo figure are fairly tonal, in a minor key, until about midpoint, played against repeated strings of consonant and dissonant notes. At the midpoint of the piece, the melody is heard in all keys, creating clouds of sound, and then it thins out, beginning to slow down, with the melody and continuo figures appearing less frequently, until about three quarters of the way, long sustained pitches appear, as confrontational and unexpected as the title would have led you to believe the whole piece would be like. And then the sounds become untethered, longer and sparser, like balloons released into the air &mdah; they float off into the distance until they can no longer be heard. BIOGRAPHY Julius Eastman (1940–1990) was an African-American composer, pianist, vocalist, and dancer. Eastman grew up in Ithaca, New York, where he began studying piano at age 14 and made rapid progress.He began college at Ithaca College and transferred to the Curtis Institute of Music, where he studied piano with Mieczyslaw Horszowski and composition with Constant Vauclain.He made his debut as a pianist in 1966 at Town Hall in New York City. He was also possessed of a rich, deep, and extremely flexible singing voice. The latter became famous owing to his 1973 Nonesuch recording of “Eight Songs for a Mad King” by the British composer Peter Maxwell Davies.Eastman's talents brought him to the attention of composer-conductor Lukas Foss, who conducted his music with the Brooklyn Philharmonic.Eastman's music was often written according to what he considered an "organic" principle by which each new section of a work contained all the information from previous sections, though sometimes "the information is taken out at a gradual and logical rate." The principle is most evident in his three works for four pianos, ”Evil Nigger”, “Crazy Nigger”, and “Gay Guerrilla”, all from around 1979. The last of these appropriates Martin Luther's hymn "A Mighty Fortress Is Our God" as a gay manifesto. Eastman's “Stay On It” from 1973 was an influential post minimalist piece that incorporated pop music influences.In 1970, Eastman joined the Center for the Creative and Performing Arts at SUNY Buffalo, where he met the Czech-born composer, conductor, and flutist Petr Kotik. Eastman and Kotik performed together extensively in the early to mid 1970s. Eastman was a founding member of the S.E.M. Ensemble. From 1971 he performed and toured with the group, and composed numerous works for it. Many of the earliest performances of Eastman's works were given by the Creative Associates ensemble of University at Buffalo, of which he was a member from 1968.A 1980 piece for Eastman's voice and cello ensemble, “The Holy Presence of Jeanne d'Arc”, was performed at The Kitchen in New York City, and in 1986 choreographer Molissa Fenley used his work “Thruway “for a dance, “Geologic Moments”, at the Brooklyn Academy of Music.Also a vocalist, he recorded with Meredith Monk's ensemble for her influential album Dolmen Music (1981).Despondent about what he saw as a dearth of professional possibilities worthy of him, Eastman grew increasingly dependent on alcohol and crack after 1983, and let his life fall apart. He had taught theory at University at Buffalo, but not very successfully, and a promised job at Cornell University failed to materialize. At one point he was evicted from his apartment, his belongings (including scores) confiscated by the sheriff, and he was forced to live in Tompkins Square Park. Despite a temporary attempt at a comeback, he died alone in Millard Fillmore Hospital in Buffalo of cardiac arrest. So far had he descended from the public eye that no public notice was given to his death until an obituary in the Village Voice by Kyle Gann on January 22, 1991, eight months after his death.
Sergei Bortkiewicz - 10 Etudes Op. 15 [Audio + Score] The Piano Experience 2022-01-15 | 🎹🎶 LIKE and SUBSCRIBE for more videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience S. Bortkiewicz - 10 Etudes Op. 15 [Audio + Score]00:00 Etude No. 1. F major01:58 Etude No. 2. E-flat minor06:18 Etude No. 3. B-flat major08:21 Etude No. 4. A major11:09 Etude No. 5. A-flat major13:18 Etude No. 6. G-sharp minor18:27 Etude No. 7. C-sharp major20:04 Etude No. 8. D-flat major25:55 Etude No. 9. F-sharp minor27:37 Etude No. 10. E minorPerformed by Jouni SomeroBIOGRAPHYSergii Bortkevych (28 February 1877 - 25 October 1952) was a Ukrainian Romantic composer and pianist of Polish ancestry.
Kernis - Superstar Etude № 1 [Audio + Score] The Piano Experience 2022-01-09 | 🎹🎶 LIKE and SUBSCRIBE for more score videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Kernis - Superstar Etude № 1 [Audio + Score]
Ferruccio Busoni - Sonatina № 6 Fantasia da Camera super Carmen [Audio + Score] The Piano Experience 2022-01-06 | 🎹🎶 LIKE and SUBSCRIBE for more score videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Busoni - Sonatina No. 6 "Fantasia da Camera super Carmen" KiV 284 (1920) [Audio + Score].Pianist : John Ogden0:00 --- Allegro deciso1:24 --- Andantino3:08 --- Allegretto tranquillo (Habanera)3:53 --- Tempo della Habanera (II)4:29 --- Tempestoso (Overture)4:50 --- Allegro ritenuto (II)6:12 --- Andante visionarioBIOGRAPHYFerruccio Busoni (1 April 1866 – 27 July 1924) was an Italian composer, pianist, conductor, editor, writer, and teacher. His international career and reputation led him to work closely with many of the leading musicians, artists and literary figures of his time, and he was a sought-after keyboard instructor and a teacher of composition.From an early age, Busoni was an outstanding if sometimes controversial pianist. He studied at the Vienna Conservatory and then with Wilhelm Mayer and Carl Reinecke. After brief periods teaching in Helsinki, Boston, and Moscow, he devoted himself to composing, teaching, and touring as a virtuoso pianist in Europe and the United States. His writings on music were influential, and covered not only aesthetics but considerations of microtones and other innovative topics. He was based in Berlin from 1894 but spent much of World War I in Switzerland.He began composing in his early years in a late romantic style, but after 1907, when he published his Sketch of a New Esthetic of Music, he developed a more individual style, often with elements of atonality. His visits to America led to interest in North American indigenous tribal melodies which were reflected in some of his works. His compositions include works for piano, among them a monumental Piano Concerto, and transcriptions of the works of others, notably Johann Sebastian Bach (published as the Bach-Busoni Editions). He also wrote chamber music, vocal and orchestral works, and operas—one of which, Doktor Faust, he left unfinished when he died, in Berlin, at the age of 58.
Moritz Moszkowski - Suite for Two Violins and Piano in G minor Op. 71 [Audio + Score] The Piano Experience 2021-12-23 | 🎹🎶 LIKE and SUBSCRIBE for more score videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Moritz Moszkowski - Suite for Two Violins and Piano in G minor Op. 71 [Audio + Score]BIOGRAPHYMoritz Moszkowski (23 August 1854 – 4 March 1925) was a German composer, pianist, and teacher of Polish-Jewish descent. His brother Alexander Moszkowski was a famous writer and satirist in Berlin.Ignacy Paderewski said: "After Chopin, Moszkowski best understands how to write for the piano, and his writing embraces the whole gamut of piano technique." Although less known today, Moszkowski was well respected and popular during the late nineteenth century.He was born in Breslau, Kingdom of Prussia (now Wrocław, Poland), into a wealthy Polish-Jewish family whose parents had come to Breslau from Pilica, near Zawiercie, in 1854. He was an ardent Jew at a time when many Jews downplayed their Jewishness. He showed early talent from a very tender age, beginning his musical training at home until 1865, when his family moved to Dresden. There he continued his piano studies at the conservatory. He moved to Berlin in 1869 to continue his studies first at the Julius Stern Conservatory, where he studied piano with Eduard Franck and composition with Friedrich Kiel, and then at Theodor Kullak's Neue Akademie der Tonkunst, where he studied composition with Richard Wüerst and orchestration with Heinrich Dorn. There he became close friends with the Scharwenka brothers, Xaver and Philipp. In 1871 he accepted Kullak's offer to become a teacher in his academy; as he was also a more than competent violinist, he sometimes played first violin in the orchestra.In 1873 Moszkowski made his first successful appearance as a pianist, and soon began touring the nearby cities in order to gain experience and establish his reputation. Two years later he was already playing his piano concerto on two pianos with Franz Liszt at a matinée before a selected audience invited by Liszt himself.Retaining his post as a teacher at the Berlin conservatory from 1875, he had among his pupils Frank Damrosch, Joaquín Nin, Ernest Schelling, Joaquín Turina, Carl Lachmund, Bernhard Pollack, Ernst Jonas, Wilhelm Sachs, Helene von Schack, Albert Ulrich and Johanna Wenzel. Moszkowski then travelled successfully throughout Europe with the reputation of being an exceptional concert pianist and brilliant composer, having also gained some recognition as a conductor. In 1884 Moszkowski married the younger sister of pianist and composer Cécile Chaminade, Henriette Chaminade, with whom he had a son named Marcel and a daughter named Sylvia. By the mid-1880s, Moszkowski began suffering from a neurological problem in his arm and gradually diminished his recital activity in favor of composing, teaching and conducting. There he was awarded honorary membership of the Royal Philharmonic Society. Three years later his wife left him for the poet Ludwig Fulda and a divorce was issued two years later.In 1897, famous and wealthy, Moszkowski moved to Paris, where he lived on rue Blanche with his daughter. In Paris he was frequently sought after as a teacher, and was always generous in investing his time on aspiring musicians. Among his Parisian students were Vlado Perlemuter, Thomas Beecham (who took private lessons in orchestration with him on the advice of André Messager in 1904), Josef Hofmann (of whom he claimed once that there was nothing anyone could teach him), Wanda Landowska, and, informally, Gaby Casadesus. He was many times invited by piano manufacturers to appear in the United States to show off their pianos, but despite being offered massive fees, he always refused.In 1908, by the age of 54, Moszkowski had already become a recluse as he began to suffer from poor health. His popularity began to fade and his career slowly went into decline. He stopped taking composition pupils because "they wanted to write like artistic madmen such as Scriabin, Schoenberg, Debussy, Satie ...".His last years he spent in poverty for he had sold all his copyrights and invested the whole lot in German, Polish and Russian bonds and securities, which were rendered worthless on the outbreak of the war. Two of his former pupils, Josef Hofmann and Bernhard Pollack came to his aid. The concert netted US$13,275 (the equivalent of US$187,793.67 in May 2017), with one part transferred to the Paris branch of the National City Bank of New York in order to provide immediate relief from his financial problems, and an annuity purchased at the Metropolitan Life Insurance Company, whereby he would receive US$1,250 annually for the rest of his life. However, Moszkowski's illness lingered and he died from stomach cancer on 4 March of the next year, before the supply of funds could reach him. The money raised went instead to pay his funeral expenses and to his wife and son.
Moritz Moszkowski - 12 Etudes for Left Hand Solo Op. 92 [Audio + Score] The Piano Experience 2021-12-17 | 🎹🎶 LIKE and SUBSCRIBE for more score videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Moritz Moszkowski - 12 Etudes for Left Hand Solo Op. 92 [Audio + Score]Pianist: Alain RaësBIOGRAPHYMoritz Moszkowski (23 August 1854 – 4 March 1925) was a German composer, pianist, and teacher of Polish-Jewish descent. His brother Alexander Moszkowski was a famous writer and satirist in Berlin.Ignacy Paderewski said: "After Chopin, Moszkowski best understands how to write for the piano, and his writing embraces the whole gamut of piano technique." Although less known today, Moszkowski was well respected and popular during the late nineteenth century.He was born in Breslau, Kingdom of Prussia (now Wrocław, Poland), into a wealthy Polish-Jewish family whose parents had come to Breslau from Pilica, near Zawiercie, in 1854. He was an ardent Jew at a time when many Jews downplayed their Jewishness. He showed early talent from a very tender age, beginning his musical training at home until 1865, when his family moved to Dresden. There he continued his piano studies at the conservatory. He moved to Berlin in 1869 to continue his studies first at the Julius Stern Conservatory, where he studied piano with Eduard Franck and composition with Friedrich Kiel, and then at Theodor Kullak's Neue Akademie der Tonkunst, where he studied composition with Richard Wüerst and orchestration with Heinrich Dorn. There he became close friends with the Scharwenka brothers, Xaver and Philipp. In 1871 he accepted Kullak's offer to become a teacher in his academy; as he was also a more than competent violinist, he sometimes played first violin in the orchestra.In 1873 Moszkowski made his first successful appearance as a pianist, and soon began touring the nearby cities in order to gain experience and establish his reputation. Two years later he was already playing his piano concerto on two pianos with Franz Liszt at a matinée before a selected audience invited by Liszt himself.Retaining his post as a teacher at the Berlin conservatory from 1875, he had among his pupils Frank Damrosch, Joaquín Nin, Ernest Schelling, Joaquín Turina, Carl Lachmund, Bernhard Pollack, Ernst Jonas, Wilhelm Sachs, Helene von Schack, Albert Ulrich and Johanna Wenzel. Moszkowski then travelled successfully throughout Europe with the reputation of being an exceptional concert pianist and brilliant composer, having also gained some recognition as a conductor. In 1884 Moszkowski married the younger sister of pianist and composer Cécile Chaminade, Henriette Chaminade, with whom he had a son named Marcel and a daughter named Sylvia. By the mid-1880s, Moszkowski began suffering from a neurological problem in his arm and gradually diminished his recital activity in favor of composing, teaching and conducting. There he was awarded honorary membership of the Royal Philharmonic Society. Three years later his wife left him for the poet Ludwig Fulda and a divorce was issued two years later.In 1897, famous and wealthy, Moszkowski moved to Paris, where he lived on rue Blanche with his daughter. In Paris he was frequently sought after as a teacher, and was always generous in investing his time on aspiring musicians. Among his Parisian students were Vlado Perlemuter, Thomas Beecham (who took private lessons in orchestration with him on the advice of André Messager in 1904), Josef Hofmann (of whom he claimed once that there was nothing anyone could teach him), Wanda Landowska, and, informally, Gaby Casadesus. He was many times invited by piano manufacturers to appear in the United States to show off their pianos, but despite being offered massive fees, he always refused.In 1908, by the age of 54, Moszkowski had already become a recluse as he began to suffer from poor health. His popularity began to fade and his career slowly went into decline. He stopped taking composition pupils because "they wanted to write like artistic madmen such as Scriabin, Schoenberg, Debussy, Satie ...".His last years he spent in poverty for he had sold all his copyrights and invested the whole lot in German, Polish and Russian bonds and securities, which were rendered worthless on the outbreak of the war. Two of his former pupils, Josef Hofmann and Bernhard Pollack came to his aid. The concert netted US$13,275 (the equivalent of US$187,793.67 in May 2017), with one part transferred to the Paris branch of the National City Bank of New York in order to provide immediate relief from his financial problems, and an annuity purchased at the Metropolitan Life Insurance Company, whereby he would receive US$1,250 annually for the rest of his life. However, Moszkowski's illness lingered and he died from stomach cancer on 4 March of the next year, before the supply of funds could reach him. The money raised went instead to pay his funeral expenses and to his wife and son.
Samuil Feinberg plays Feinberg : Piano Sonata No. 1 Op. 1 The Piano Experience 2021-12-14 | 🎹🎶 LIKE and SUBSCRIBE for more score videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Samuil Feinberg plays Feinberg : Piano Sonata No. 1 Op. 1 This recording is from Feinberg's home archive. The piece was played on a Bechstein piano by the composer himself (Samuil Feinberg) in the 1950s.BIOGRAPHYSamuil Feinberg (born in Odessa on 26th May 1890) is a Russian pianist and teacher. He wrote numerous works, principally for piano and for voice, and his œuvre can be divided into two parts according to his stylistic development as a composer. In the works from the period 1910-1933, we can observe an increasingly rich and virtuoso style of writing, very chromatic, often violent and rich in contrasts, but sometimes imbued with a 'symbolist' fragility that owes something to the influence of Scriabin. Then, from 1934 until his death in 1962, Feinberg moved progressively towards greater simplicity, towards a diatonic style and a preponderance of melody - somewhat reminiscent of the development of Prokofiev or of Myaskovsky. Feinberg achieved fame as an interpreter at an early age; in 1914 he bacame the first pianist in Russia to perform Bach's complete Well-Tempered Clavier in concert, and he later presented various cycles of Ludwig van Beethoven's sonatas and championed the music of Scriabin, Prokofiev and Debussy; his interpretation of Scriabin's Fourth Sonata was much admired by the composer.The Piano Sonata No. 6 enjoyed great success at the Festival of Contemporary Music in Venice on 4th September 1925, played by the composer, as did the Piano Concerto No. 1, Op. 20, when it was premièred in Moscow in 1932, conducted by Albert Coates. He was one of the first performers to give a 'live' radio concert, in Berlin in 1927.Starting in the 1930s, Feinberg was no longer permitted to leave the USSR except for two appearances as a competition jury member, in Vienna in 1936 and in Brussels in 1938 and, as his music did not correspond to the criteria of 'socialist realism', he stopped performing his earlier works, preferring to hide in silence or to produce scores that were relatively simple for the listener. His Piano Concertos No. 2 (1944) and No. 3 (1947) date from this period. After the war, however, Feinberg remained one of Russia's most eminent artists and, towards the end of his life (especially after he gave up performing in public in 1956 for health reasons), he managed to commit a number of recordings to disc. In addition, from 1922 until his death on 22nd October 1962, Feinberg was one of the most outstanding professors at the Moscow Conservatory: he was deeply admired by his pupils who, after his death, fulfilled his wish by posthumously publishing his book Pianism as an Art.Samuil Feinberg never married and lived with his brother, a painter, and his family. This situation may have been partly occasioned by an unhappy 'love affair' with Vera Efron (the sister-in-law of Marina Tsvetayeva) before 1914. He was a very cultured man, spiritual, modest, and with a profound dislike of self-promotion; he was also a deeply visionary artist who was fully aware of the abysses and ambiguities of modern life.Feinberg's stylistic evolution may explain why he did not make a clear mark as a composer: his major works were those written before the Second World War. The historical circumstances in Russia, however, did not permit this 'modernist' trend to continue. It is rather remarkable to observe that the Western press could write that Feinberg was an 'of.cial .gure' of the Soviet Union, an absurdity for a Jewish musician who had never belonged to the Party and had felt constrained to retreat into silence. Nevertheless, Feinberg - even if he was one of the 'cosmopolitans' in Moscow, received a certain protection from his great 'aura' as a pianist and teacher. During his lifetime, Feinberg the composer achieved public success and enjoyed the praise of musicians who admired him. Even after his death, however, it was not the done thing for his pupils and friends to draw attention to his 'non-conformist' side; this problem means that all the documentation from this period must be interpreted with caution.It is now time to rediscover scores which stand out for their expressivity, their rigorous piano writing and their great imaginative power, and which certainly re.ect the anguished inner world of their composer.The great formal originality of scores such as the Piano Sonatas Nos. 3, 5, 6, 7 and 8 or the Piano Concerto No. 1, often combined with their emotional content, the specific character of the keyboard writing, and even the symbolist, nostalgic charm of his melodies, all make the work of Feinberg an indispensable part of the musical inheritance of the twentieth century; he also left an inestimable legacy as an interpreter, saved for posterity on his recordings.
Arturo Márquez - Danzón № 2 (1994) [Audio + Score]. The Piano Experience 2021-12-11 | 🎹🎶 LIKE and SUBSCRIBE for more score videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Arturo Márquez - Danzón № 2 [1994 - Audio + Score].Conductor : Gustavo DudamelLive At Centro de Acción Social por la Música, Sala Simón BolivarDanzón No. 2 is an orchestral composition by Mexican composer Arturo Márquez. Along with Carlos Chávez's Sinfonia India and Silvestre Revueltas' Sensemaya, Danzón No. 2 is one of the most popular and most frequently performed orchestral Mexican contemporary classical music compositions. Danzón No. 2 gained great popularity worldwide when the Simón Bolívar Youth Orchestra of Venezuela under Gustavo Dudamel included it on their programme for their 2007 European and American tour.Written for full orchestra, the piece features solos for clarinet, oboe, piano, violin, French horn, trumpet, flute, and piccolo. The piece has also gained an important spot in the modern concert band literature through Oliver Nickel's arrangement.Danzón No. 2 was commissioned by the National Autonomous University of Mexico and was premiered in 1994 in Mexico City by the Orchestra Filarmonica de la UNAM under the direction of Francisco Savín. The rhythmic interest in the piece is maintained through the use of varying accents and tempo. This staple of the contemporary Mexican music literature expresses and reflects on the dance style named danzón, which has its origins in Cuba but is a very important part of the folklore of the Mexican state of Veracruz. The music was inspired by a visit to a ballroom in Veracruz.A short film was made in 2009 by Mexican filmmaker Guillermo Ortiz Pichardo, using the piece as the main narrative device, in a Fantasia-like manner. It is set in Mexico City in the 1940s, the golden age of danzón, and the style is an homage to the Mexican cinema of the period. The film features Arturo Márquez in a cameo as the pianist of the dance-hall. It was premiered at the 8th Morelia Film Festival as part of its official lineup.The piece is included in the web television series Mozart in the Jungle in season two, episode six. A youth orchestra in Mexico City plays it under the direction of Rodrigo De Souza (a character based on Dudamel), a talented young conductor and former member of the youth orchestra.
Steve Reich - Music for 18 Musicians (1978) [Audio + Score] The Piano Experience 2021-12-07 | 🎹🎶 LIKE and SUBSCRIBE for more score videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperienceSteve Reich - Music for 18 Musicians [Audio + Score]00:00 Pulses04:04 Section I07:58 Section II12:34 Section IIIA16:15 Section IIIB20:28 Section IV25:06 Section V30:49 Section VI34:57 Section VII38:55 Section VIII42:36 Section IX46:13 Section X48:23 Section XI52:20 PulsesTemple University Percussion EnsembleMobius Percussion and Special GuestsClarinet: Elisabeth Stimpert, Sean BaileyVoice: Chelsea Reed, Elisa Sutherland, Laura Lizcano, Steven BradshawXylophone: Joseph Lysiak, John VinesViolin: Anastasiia MazurokVibraphone: Phillip O'BanionCello: Erin BuschMarimba: Andrew Malonis, David Degge, Thomas Kolakowski, Austin AndrulisPiano: Yumi Tamashiro, Frank Tyl, Malavika Godbole, Emilyrose Ristine, Jacob MauersbergLive video, Vic FirthMusic for 18 Musicians is a work of musical minimalism composed by Steve Reich during 1974–1976. Its world premiere was on April 24, 1976, at The Town Hall in New York City. Following this, a recording of the piece was released by ECM New Series in 1978.COMPOSITIONIn his introduction to the score, Reich mentions that although the piece is named Music for 18 Musicians, it is not necessarily advisable to perform the piece with that few players due to the extensive need for musicians to perform on multiple instruments.The piece is based on a cycle of eleven chords. A small piece of music is based on each chord, and the piece returns to the original cycle at the end. The sections are named "Pulses", and Section I-XI. This was Reich's first attempt at writing for larger ensembles, and the extension of performers resulted in a growth of psycho-acoustic effects, which fascinated Reich, and he noted that he would like to "explore this idea further". A prominent factor in this work is the augmentation of the harmonies and melodies and the way that they develop this piece. Another important factor in the piece is the use of human breath, used in the clarinets and voices, which help structure and bring a pulse to the piece. The player plays the pulsing note for as long as they can hold it, while each chord is melodically deconstructed by the ensemble, along with augmentation of the notes held. The metallophone (unplugged vibraphone), is used to cue the ensemble to change patterns or sections.Some sections of the piece have a chiastic ABCDCBA structure, and Reich noted that this one work contained more harmonic movement in the first five minutes than any other work he had previously written.RECEPTIONIn a review of the 1978 release, AllMusic wrote that "when this recording was released in 1978, the impact on the new music scene was immediate and overwhelming. Anyone who saw potential in minimalism and had hoped for a major breakthrough piece found it here. The beauty of its pulsing added-note harmonies and the sustained power and precision of the performance were the music's salient features; and instead of the sterile, electronic sound usually associated with minimalism, the music's warm resonance was a welcome change." Reviewing the 1978 LP in Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau wrote of Music for 18 Musicians: "In which pulsing modules of high-register acoustic sound—the ensemble comprises violin, cello, clarinet, piano, marimbas, xylophone, metallophone, and women's voices—evolve harmonically toward themselves. Very mathematical, yet also very, well, organic—the duration of particular note-pulses is determined by the natural breath rhythms of the musicians—this sounds great in the evening near the sea." Critic Edward Strickland argues that Music for 18 Musicians is "the high point of ensemble music of the 1970s by composers identified as Minimalist". In 2003, David Bowie included it in a list of 25 of his favourite albums, "Confessions of a Vinyl Junkie", calling it "Balinese gamelan music cross-dressing as minimalism".STRUCTUREWith only 18 musicians, the parts are divided as follows: Violin, Cello, 3 Female voices, 2 Pianos, Piano and maracas, Marimba and maracas, 3 Marimba and xylophone, Metallophone and piano, Piano and marimba, Marimba, xylophone, and piano2 Clarinet and bass clarinet, Female voice and piano
Film : Funeral of Pianist Vladimir Horowitz in Milan (Italy) (1989) The Piano Experience 2021-11-30 | Please subscribe to my channel.Film : Funeral of Pianist Vladimir Horowitz in Milan (Italy) (1989)BIOGRAPHY The most famous pianist of the twentieth century, his name known to the proverbial man on the street the world over, Vladimir Samoylovich Horowitz (1903–1989) was born in 1903 in Kiev. Horowitz showed enough prodigious talent to play for Alexander Scriabin in 1915, just before the Russian composer-pianist’s early death. Horowitz would become a superlative interpreter of Scriabin’s music, which the pianist described as “mystical… expressionistic.” Horowitz also became friends with another great Russian composer-pianist (and Scriabin’s former schoolmate), Sergei Rachmaninoff – who was the acme of Romanticism. He also made a benchmark recording of Rachmaninoff’s Piano Sonata No. 2. Emigrating from Russia in 1925 and eventually settling in New York City, Horowitz made his American debut with Tchaikovsky’s Piano Concerto No. 1 in 1928 at Carnegie Hall, which would become his home venue, the site of many recordings. Impressed by the pianist’s tonal dynamism, conductor Thomas Beecham, who led that concert, reportedly said: “Really, Mr. Horowitz, you can’t play like that – it shows the orchestra up.” Horowitz made a series of solo recordings for HMV at London’s Abbey Road Studios in 1932, including several Chopin pieces and an electrifying take on Liszt’s B Minor Sonata, helping to establish the piece in the standard repertoire. A review of a 1933 London concert declared Horowitz “the greatest pianist dead or alive.” Horowitz would make hit recordings with Toscanini of the Tchaikovsky concerto and the Brahms Piano Concerto No. 2 in 1940–41.Over the course of his career, Horowitz’s recorded repertoire stretched far beyond those early specialties of Chopin, Brahms, Liszt, Tchaikovsky, Scriabin and Rachmaninoff; in long associations for RCA, then Columbia and, finally, Deutsche Grammophon, Horowitz also ranged from Scarlatti, Haydn and Clementi to Beethoven, Schumann and miniatures across the ages with artistic and commercial success; in a period of applying himself to modern music, he premiered Samuel Barber’s Sonata in 1950, along with recording sonatas by Prokofiev and Kabalevsky. Driven to “grow until I die,” he said, the pianist reapplied himself to select Beethoven sonatas in his middle period and then several Mozart works as he grew older. Horowitz also crafted his own transcriptions and arrangements, including such showstoppers as his variations on Carmen and Stars and Stripes Forever. In his book The Great Pianists, critic Harold Schonberg wrote: “As a technician, Horowitz was one of the most honest in the history of modern pianism. Famously high-strung, his art always a mental-physical high-wire act, Horowitz took four sabbaticals from public performance to deal with various issues, his returns much-ballyhooed events. The first layoff was for two years in 1936; the longest was 1953 to 1965, followed by a tremendous homecoming to Carnegie Hall. But even over his later breaks, he recorded regularly at home in his Manhattan townhouse, documenting his art as it subtly evolved even beyond great venues and the recording studio. A 1985 film, The Last Romantic, captured the pianist in his last years, performing at home as well as reminiscing about Scriabin and Rachmaninoff. The next year, Horowitz returned to Russia, 61 years after leaving — a hugely emotional event for both artist and audience, documented in the concert album and film Horowitz in Moscow. In 1987, he played his final recital, in Hamburg; he died two years later. “Piano playing consists of intellect, heart and technique,” Horowitz said. “All should be equally developed. Without intellect, you will be a fiasco; without technique, an amateur; without heart, a machine. The profession has its perils.”
Xian Xinghai - The Yellow River Piano Concerto (1970) (Yundi Li) [Audio + Score] The Piano Experience 2021-11-27 | 🎹🎶 LIKE and SUBSCRIBE for more score videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Yundi Li Plays Xian Xinghai - The Yellow River Piano Concerto (黃河鋼琴協奏曲) [Audio + Score].Based on The Yellow River Cantata (黃河大合唱) by Xian Xinghai (洗星海) (1905-1945)arranged by Yin Chengzong (殷承宗), Chu Wanghua (儲望華), Sheng Lihong (盛禮洪) and Liu Zhuang (劉莊 ).00:00 1. Prelude. The Song of the Yellow River Boatman "The Song of the Yellow River Boatmen" describes the momentum of the terrifying waves of the Yellow River and uses the rapid chromatic crescendo and long rolls of the timpani and cymbals typical of the revolutionary operas.03:30 2. Ode to the Yellow River The original heroic tenor solo melody of the "Ode to the Yellow River" is sung in praise of the history and presence of the Yellow River, signifying the cultural pride of the Chinese. This broad Chinese recitative is supported by the deep and rich timbre of the cello, and is considered as an example of the nationalistic style.07:47 3. The Wrath of the Yellow River "The Wrath of the Yellow River", originally sung by a soprano solo, begins with a dizi solo accompanied by the piano. This is obviously inspired by the Jiangnan melody of the Butterfly Lovers' Violin Concerto, but rewritten in the style of northwest Shanbei folk idioms. In the third movement, the piano brings out the melody taken from the "Ballad of the Yellow Rivers", originally a mellow number sung by female chorus. We then hear the "Lament at the Yellow River" taking over for this movement.14:40 4. Defend the Yellow River As the finale of this piano concerto, the theme is arranged into a polyphonic canon. It is also apparent that the tune from "The East is Red" is persistent throughout the entire movement; among the various versions of the Yellow River Concerto that are currently in circulation, including Yin Chengzong's film recording, we can hear a recapitulation of the theme of "Defending the Yellow River" played canonically against the strings after the climatic tutti of "The East is Red". Then the first phrase of "The East is Red" is played by the trumpet, and tightly followed by the final phrase of the "Internationale", as an example of thematic writing huan wei (換尾; literally "Changing the end") that is often found in traditional Chinese music.
Film : The Museum of Alexander Scriabin The Piano Experience 2021-11-24 | Film : The Museum of Alexander Scriabin (1970-1979)🎹🎶 LIKE and SUBSCRIBE for more videos ! https://www.youtube.com/channel/UCYfx...🎹🎶 SUBSCRIBE to my PATREON ! → https://www.patreon.com/thepianoexper...Film : The Museum of Alexander Scriabin (1970-1979)BIOGRAPHYAlexander Scriabin was a Russian composer and pianist who invented the first colour keyboard and notation for lights and colors based on his scale of Synesthetic colors. He was born Alexander Nikolayevich Scriabin on January 6, 1872, (old calendar date December 25, 1871, the Russian Orthodox Christmas), in Moscow, Russia. His first piano teacher was Nikolai Zverev who was also teaching Sergei Rachmaninoff at the same time, and two composers developed a life-long friendship. From 1882-1889 he studied sciences and languages at the Moscow School of Cadets. From 1888-1892 Scriabin studied piano and composition under 'Sergei Taneyev' at Moscow Conservatory, graduating in 1892, as composer and pianist, then he became a professor at the same conservatory. In 1896 Scriabin married a famous Russian pianist, Vera Isakovich, who was the winner of the Gold Medal for performances of Scriabin's piano music.From 1904-1910 Scriabin was living and concertizing in Western Europe and in the United States. He was a remarkable pianist and successfully performed his original compositions before international audiences. At that time Scriabin became a curious student of contemporary philosophic trends and literature. His readings ranged from Oriental philosophies and Metaphysics, to Friedrich Nietzsche, whose 'ubermensch' theory Scriabin eventually outgrew, to Astrology and Medicine, and to Sir Isaac Newton's 'Optics'. Scriabin's search for inspiration was not limited to Mysticism, Astrology and other Esoteric writings of the time. From 1907-1910 Scriabin lived in Paris with his second wife, Tatiana Schletser. .Scriabin was gifted with syn-aesthetic ability, though probably different from that of the physiological gift of Wassily Kandinsky, or a cognate cross-sensational gift of Vladimir Nabokov. Scriabin was the first composer in the world who wrote the musical notation for the light and color, thus making color intertwined with sound in a cross-senses harmony. In his symphonic poem 'Prometheus: the Poem of Fire' (1909) he wrote the line with notation for 'Luxe', a specially designed multicolor light projector with colored light-bulbs which was controlled by Scriabin himself playing on a colour keyboard. The multi-colored keyboard was first built in Russia by physicist Alexander Moser in 1910 for the performances of 'Prometheus'. It's performances in Moscow and in New York were the first ever orchestral concerts with color accompaniment being projected on a special screen. Scriabin also experimented with such styles as musical impressionism and expressionism. His harmonic and melodic inventiveness became manifested in his piano works and especially in his orchestral compositions. The 'Prometheus' chord' was the beginning in Scriabin's search for the new tonal/harmonic means of expression. His theory of the 'Synthesis of arts' made profound effect on innovations in film and theatre, most notably those of Vsevolod Meyerhold at the Moscow Art Theatre.In 1915 Scriabin worked on developing of a new form of entertainment that would unite all Mankind through music, art, light, acting and interaction between performers and public. For this project Scriabin started a draft of a new cross-genre composition, which included music, literature, dance, architecture, natural landscape and light. He contemplated a seven-day long composition titled 'Misterium', of which he wrote down a few fragments on seventy pages shortly before his death. He described the composition in his draft as "a grandiose religious synthesis of all arts which would herald the birth of a New World." Scriabin planned his work to be performed at the foothills of the Himalayan mountains. Scriabin planned to include the Sunrises and the Sunsets into the measures of his unfinished music score. Part of that unfinished composition was performed under the title of 'Prefatory Action' by Vladimir Ashkenazy in Berlin with Aleksey Lyubimov at the piano. The idea of a seven-day music piece was later realized by Karlheinz Stockhausen.Alexander Scriabin was at the peak of his creativity and worked on his innovative breakthrough project of 'Mysteria', when he died of septicaemia, a complication from an inflammation on his upper lip, aged 43, on April 27, 1915, in Moscow. He was laid to rest in the Church of St. Nikolai na Peskah, near his home in Moscow, Russia. Since the 1910 premiere of 'Prometheus', Scriabin's large-scale symphonies has been successfully performed with light and color accompaniment at concert venues all over the world. Scriabin's ideas are now working in such projects as "Animusic" and other 3D visualization and MIDI-based music applications.
Tōru Takemitsu - November Steps for shakuhachi, biwa & orchestra [Audio + Score] The Piano Experience 2021-11-21 | 🎹🎶 LIKE and SUBSCRIBE for more score videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Tōru Takemitsu - November Steps for shakuhachi, biwa & orchestra [Audio + Score (Sheet music)]November Steps (ノヴェンバー・ステップス, Novenbā Suteppusu) is a musical composition by the Japanese composer Tōru Takemitsu, for the traditional Japanese musical instruments, shakuhachi and biwa, and western orchestra. The work was commissioned by the New York Philharmonic on the occasion of its 125th anniversary, and premiered in November 1967 by the orchestra under the direction of Seiji Ozawa.In his early career, Takemitsu had been reluctant to make use of traditional Japanese music in his compositions, as he said this music "always recalled the bitter memories of war". He began experimenting with traditional Japanese instruments in the early 1960s, using them in the soundtrack to Masaki Kobayashi's 1962 film, Harakiri. Other film soundtracks in which Takemitsu used traditional instruments include Shinoda's Assassination and Masaki Kobayashi's Kwaidan (both 1964). Takemitsu's first concert composition for traditional Japanese musical instruments was Eclipse (1966) for the biwa performer, Kinshi Tsuruta, and the shakuhachi player, Katsuya Yokoyama. When Seiji Ozawa played Leonard Bernstein a tape of Eclipse, Bernstein suggested combining the instruments in a composition with the western orchestra.Of the title to November Steps, Takemitsu offered two explanations. Taking a literal view of the title, he wrote, "It was performed in November, and to me that project represented a new step: thus, I titled the work November Steps." He further explained, "In Japanese music, danmono are the equivalent of western variations, and the word dan means step. My 'November Steps' are a set of eleven variations."During the composition of November Steps, Takemitsu secluded himself to a mountain villa, taking with him the scores to Debussy's Prelude to the Afternoon of a Faun (1894) and Jeux (1912). At first intending to unite the Japanese and the western musical instruments in the composition, he came to the decision early on that the differences between the two musical traditions were too vast to overcome On the brink of abandoning the project, he instead decided to make the difference between the two traditions a theme of the work. Following this line of thought, Takemitsu stated that he did not attempt to integrate the Japanese and western sounds but to display them in juxtaposition to one another, thereby emphasizing their differences. Nevertheless, the work does present correspondences between the two sounds. The plucking of the biwa with the plectrum is echoed in the orchestra by percussive effects on the strings. The shakuhachi's breath effects are echoed by clusters and glissandi in the strings. In this way, Takemitsu creates a harmony between the two instrumental bodies while maintaining their unique sound characteristics.Takemitsu reported that the natural sounds, such as birds and wind, at first disturbed his concentration. When he began listening to them more carefully, he came to view these sounds as not different from his own music. Later, when listening to November Steps while working in Africa, the cultural anthropologist Junzo Kawada commented that the sounds of nature did not interfere with the enjoyment of Takemitsu's composition.The performers of the New York Philharmonic were openly skeptical of playing with the two Japanese instruments, however, after hearing the first extended passage for the biwa and shakuhachi, concerns began to wane. Shouts of "Bravo!" came from the orchestra after the end of the first rehearsal. The first performance received compliments from Leonard Bernstein, Krzysztof Penderecki, Aaron Copland and other prominent musicians. Takemitsu expressed the view the positive reception of the work was proof that if a sound has value it will appeal to all people, not just to particular nationalities.The process of writing November Steps, and its success, resulted in a new direction for Takemitsu's music. Takemitsu wrote that the effort in writing the piece, "somehow liberated music from a certain stagnation and brought to music something distinctly new and different". One of the ways in which the work changed Takemitsu's music was in a less traditional approach to musical form, which was replaced with a "stream of sound". Green (1967), composed for orchestra at the same time as November Steps, is more conventional, shows the influence of the two Debussy scores in a more direct way than does November Steps. In contrast, November Steps does not adhere to traditional western concepts of musical form, but takes the view that each sound is the focus of attention.
Russian Documentary about Scriabin - Colour and Music (1972) The Piano Experience 2021-11-21 | 🎹🎶 LIKE and SUBSCRIBE for more videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperienceRussian Documentary about Scriabin - Colour and Music (1972)BIOGRAPHYAlexander Scriabin was a Russian composer and pianist who invented the first colour keyboard and notation for lights and colors based on his scale of Synesthetic colors. He was born Alexander Nikolayevich Scriabin on January 6, 1872, (old calendar date December 25, 1871, the Russian Orthodox Christmas), in Moscow, Russia. His first piano teacher was Nikolai Zverev who was also teaching Sergei Rachmaninoff at the same time, and two composers developed a life-long friendship. From 1882-1889 he studied sciences and languages at the Moscow School of Cadets. From 1888-1892 Scriabin studied piano and composition under 'Sergei Taneyev' at Moscow Conservatory, graduating in 1892, as composer and pianist, then he became a professor at the same conservatory. In 1896 Scriabin married a famous Russian pianist, Vera Isakovich, who was the winner of the Gold Medal for performances of Scriabin's piano music.From 1904-1910 Scriabin was living and concertizing in Western Europe and in the United States. He was a remarkable pianist and successfully performed his original compositions before international audiences. At that time Scriabin became a curious student of contemporary philosophic trends and literature. His readings ranged from Oriental philosophies and Metaphysics, to Friedrich Nietzsche, whose 'ubermensch' theory Scriabin eventually outgrew, to Astrology and Medicine, and to Sir Isaac Newton's 'Optics'. Scriabin's search for inspiration was not limited to Mysticism, Astrology and other Esoteric writings of the time. From 1907-1910 Scriabin lived in Paris with his second wife, Tatiana Schletser. .Scriabin was gifted with syn-aesthetic ability, though probably different from that of the physiological gift of Wassily Kandinsky, or a cognate cross-sensational gift of Vladimir Nabokov. Scriabin was the first composer in the world who wrote the musical notation for the light and color, thus making color intertwined with sound in a cross-senses harmony. In his symphonic poem 'Prometheus: the Poem of Fire' (1909) he wrote the line with notation for 'Luxe', a specially designed multicolor light projector with colored light-bulbs which was controlled by Scriabin himself playing on a colour keyboard. The multi-colored keyboard was first built in Russia by physicist Alexander Moser in 1910 for the performances of 'Prometheus'. It's performances in Moscow and in New York were the first ever orchestral concerts with color accompaniment being projected on a special screen. Scriabin also experimented with such styles as musical impressionism and expressionism. His harmonic and melodic inventiveness became manifested in his piano works and especially in his orchestral compositions. The 'Prometheus' chord' was the beginning in Scriabin's search for the new tonal/harmonic means of expression. His theory of the 'Synthesis of arts' made profound effect on innovations in film and theatre, most notably those of Vsevolod Meyerhold at the Moscow Art Theatre.In 1915 Scriabin worked on developing of a new form of entertainment that would unite all Mankind through music, art, light, acting and interaction between performers and public. For this project Scriabin started a draft of a new cross-genre composition, which included music, literature, dance, architecture, natural landscape and light. He contemplated a seven-day long composition titled 'Misterium', of which he wrote down a few fragments on seventy pages shortly before his death. He described the composition in his draft as "a grandiose religious synthesis of all arts which would herald the birth of a New World." Scriabin planned his work to be performed at the foothills of the Himalayan mountains. Scriabin planned to include the Sunrises and the Sunsets into the measures of his unfinished music score. Part of that unfinished composition was performed under the title of 'Prefatory Action' by Vladimir Ashkenazy in Berlin with Aleksey Lyubimov at the piano. The idea of a seven-day music piece was later realized by Karlheinz Stockhausen.Alexander Scriabin was at the peak of his creativity and worked on his innovative breakthrough project of 'Mysteria', when he died of septicaemia, a complication from an inflammation on his upper lip, aged 43, on April 27, 1915, in Moscow. He was laid to rest in the Church of St. Nikolai na Peskah, near his home in Moscow, Russia. Since the 1910 premiere of 'Prometheus', Scriabin's large-scale symphonies has been successfully performed with light and color accompaniment at concert venues all over the world. Scriabin's ideas are now working in such projects as "Animusic" and other 3D visualization and MIDI-based music applications.
John Adams - On the Transmigration of Souls (2002) [Audio + Score] The Piano Experience 2021-11-08 | John Adams - On the Transmigration of Souls (2002) [Audio + Score]On the Transmigration of Souls is a composition for orchestra, chorus, children's choir, and pre-recorded tape by the American composer John Adams (born 1947). It was commissioned by the New York Philharmonic and Lincoln Center's Great Performers (and an anonymous but prominent New York family) shortly after the September 11 terrorist attacks of 2001. Adams began writing the piece in late January 2002, and the music was premiered by the New York Philharmonic on September 19, 2002 at Avery Fisher Hall. The work is composed in a single movement and has a duration of approximately 25 minutes. Its sheet music is published by Boosey & Hawkes.In an interview, Adams explained: "I want to avoid words like 'requiem' or 'memorial' when describing this piece because they too easily suggest conventions that this piece doesn't share. If pressed, I'd probably call the piece a 'memory space.' It's a place where you can go and be alone with your thoughts and emotions. The link to a particular historical event – in this case to 9/11 – is there if you want to contemplate it. But I hope that the piece will summon human experience that goes beyond this particular event."According to the composer, "Transmigration means 'the movement from one place to another' or 'the transition from one state of being to another.' But in this case I meant it to imply the movement of the soul from one state to another. And I don't just mean the transition from living to dead, but also the change that takes place within the souls of those that stay behind, of those who suffer pain and loss and then themselves come away from that experience."The work is scored for an SATB chorus, a children's choir, and an orchestra comprising piccolo, three flutes (3rd doubling piccolo), three oboes, two clarinets, bass clarinet, contrabass clarinet, two bassoons, contrabassoon, four horns, four trumpets, three trombones, two tubas, timpani, four percussionists, piano, celesta, quarter tone piano, 2 harps, strings, and pre-recorded tape.Critical response Reviewing the world premiere, Anthony Tommasini of The New York Times wrote, "The richness and solemnity of this music come primarily from its harmony, a subtle mix of sturdy tonality and anxious, stacked-up orchestra chords spiked with shards of dissonance." He added, "Some listeners may find Mr. Adams's material to be insufficiently involving on a purely musical level. But this atypical concert work asks you to put aside typical expectations. And there is real musical method to its structure, for 30 minutes passed by almost too quickly."Awards On the Transmigration of Souls was awarded the 2003 Pulitzer Prize for Music. Its premiere recording (with Lorin Maazel conducting the New York Philharmonic, the New York Choral Artists, and the Brooklyn Youth Chorus) received the 2005 Grammy Award for Best Classical Album, Best Orchestral Performance, and Best Classical Contemporary Composition.
John Adams - Grand Pianola Music (1982) [Audio + Score] The Piano Experience 2021-11-07 | 🎹🎶 LIKE and SUBSCRIBE for more videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperienceJohn Adams - Grand Pianola Music (1982) [Audio + Score] Grand Pianola Music is a minimalist composition by American composer John Adams written in 1981. It was premiered on February 26, 1982 by the San Francisco Symphony in San Francisco's Japan Center as part of a series called "New and Unusual Music" and featured pianists Robin Sutherland and Julie Steinberg, sopranos Marlene Rozofsky and Eileen Williams, and alto Elizabeth Anker with the composer conducting.The work is in three movements:Part 1A (fast)Part 1B (slow)'On The Dominant Divide' (fast)It is a typical phase music work in that it is distinctly tonal, has a slow harmonic rhythm and stays in harmonically stable areas, and has a steady regular rhythmic pulse. As with many compositions in this genre, it is creative through its formal architecture, dramatically changing in mood and texture throughout its 30-minute length, especially in the first and third parts which both rise to a succession of highly dramatic crescendoes.The work's inspiration was a mixture of two elements. At the time of its composition, the composer was beginning to pay more attention to the subject matter of his subconscious, such as dreams. In one dream, he describes driving along Interstate 5, when he was approached from behind by two black limousines. As the vehicles drew up beside him, they transformed into two incredibly long Steinway pianos, giving off volleys of E♭ and B♭ major arpeggios. It reminded him of walking down the hallways of the San Francisco Conservatory of Music, where he used to hear students practicing the piano, creating a "sonic blur of twenty or more pianos playing Chopin, the 'Emperor' Concerto, Hanon, Rachmaninov, the Maple Leaf Rag, and much more." An example of this is clearly audible during Part I of the work, when the two pianos enter as soloists for the first time. Several of his other works, including his large-scale orchestral work, Harmonielehre, were inspired by similar visions.The piece is at times very delicate but makes full use of the dynamic capabilities of its large ensemble in the fast movements. The woodwinds remain quiet for most of the time, gently repeating the rhythmic pulses while the two pianos play waves of arpeggios. The three female voices (described in the notes to the full score of the work as "the sirens") sing wordless harmony, at some times singing very long slow triads over the chugging ensemble, at other times imitating the short fast notes of the winds and brass.After its successful San Francisco premiere, Grand Pianola Music was booed by a significant proportion of the audience at its New York premiere in the summer of 1982. According to the composer:True, it was a very shaky performance (Adams did not conduct), and the piece came at the end of a long concert of new works principally by serialist composers from the Columbia-Princeton school. In the context of this otherwise rather sober repertoire, Grand Pianola Music must doubtless have seemed like a smirking truant with a dirty face, in need of a severe spanking.Despite the reaction, Adams maintains that the piece was not intended to "thumb its nose" at the rest of the "high art" pieces being performed at the event and admits being alarmed by the severity of its reception. Retrospectively, he finds that he is "impressed by its boldness".[3]The piece has enjoyed a successful performance history, being one of his most popular works from that period. It has also been recorded by several different artists, twice in the presence of the composer.Grand Pianola Music appears in the Modern Era soundtrack of the computer game Civilization IV, along with several other pieces by Adams.
Interview : Tōru Takemitsu speaks about his music, how he became a composer and about gardens The Piano Experience 2021-11-04 | I made the translation
Conlon Nancarrow - Transcendental Study for Player Piano 40a [Audio + Score] The Piano Experience 2021-11-03 | Conlon Nancarrow - Player Piano Study 40a "Transcendental" [Audio + Score]Studies for Player Piano (Nancarrow)The Studies for Player Piano is a series of 49 études for player piano by American composer Conlon Nancarrow. Often exploring complex rhythmic variations beyond the ability of a human pianist, these compositions are some of the best-known and celebrated compositions by Nancarrow, even though they are generally not considered a set of compositions, but rather individual compositions that were given the same title and status. The dates of composition are unknown, but approximate ranges have been given according to best evidence.Nancarrow's Studies for Player Piano were started when Nancarrow himself was first experimenting with the possibilities of the player piano. Most of these studies were never given a formal premiere and, given that Nancarrow lived his life in relative isolation, his studies became better known after the 80s. Furthermore, most of his studies were arranged for many different ensembles and instruments, including two pianos, small orchestra, string quartet, xylophone, vibraphone and celesta, synthesizers and computers.The Study No. 40 is a study for two player pianos. It is divided into two parts: 40a and 40b. The study a is a canon e/π for only one player piano, which makes a profuse use of glissandi.
George Antheil - Ballet Mecanique [Audio + Score] The Piano Experience 2021-10-24 | George Antheil - Ballet Mecanique [Audio + Score]🎹🎶 LIKE and SUBSCRIBE for more videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Ballet MécaniqueGeorge Antheil's Ballet Mécanique (1924) was originally conceived as an accompaniment for the film and was scheduled to be premiered at the Internationale Ausstellung neuer Theatertechnik. However before completion, director and composer agreed to go their different ways. The musical work runs close to 30 minutes, while the film is about 19 minutes long.Antheil's music for Ballet Mécanique became a concert piece, premiered by Antheil himself in Paris in 1926. Antheil assiduously promoted the work, and even engineered his supposed "disappearance" while on a visit to Africa so as to get media attention for a preview concert. The work enraged some of the concert-goers, whose objections were drowned out by the cacophonous music, while others vocally supported the work. After the concert, there were some fights in the street. Antheil tried to replicate this scandal at Carnegie Hall by hiring provocateurs, but they were largely ignored.Although the film was intended to use Antheil's score as a soundtrack, the two parts were not brought together until the 1990s. In 2000, Paul Lehrman produced a married print of the film. This version of the film was included in the DVD collection Unseen Cinema: Early American Avant Garde Film 1894–1941 released in October 2005.As a composition, Ballet Mécanique is Antheil's best known and most enduring work. It remains famous for its radical repetitive style and instrumentation, as well as its storied history. Antheil himself was not a Dadaist, though he had many friends in that community.In concert performance, the Ballet Mécanique is not a show of human dancers but of mechanical instruments. Among these, player pianos, airplane propellers, and electric bells stand prominently onstage, moving as machines do, and providing the visual side of the ballet. As the bizarre instrumentation may suggest, this was no ordinary piece of music. It was loud and percussive – a medley of noises, much as the Italian Futurists envisioned new music of the 20th century.In 1927, Antheil arranged the first part of the Ballet for Welte-Mignon. This piano-roll was performed on 1927 at the "Deutsche Kammermusik Baden-Baden 1927". Unfortunately, these piano rolls are now thought to be lost.The original orchestration called for 16 player pianos in four parts, 2 regular pianos, 3 xylophones, at least 7 electric bells, 3 propellers, siren, 4 bass drums, and 1 tam-tam. As it turned out, there was no way to keep so many pianolas synchronized, so early performances combined the four parts into a single set of pianola rolls and augmented the two human-played pianos with 6 or more additional instruments.In 1953, Antheil wrote a shortened version for four pianos, four xylophones, two electric bells, two propellers, timpani, glockenspiel, and other percussion. The original orchestration was first realized in 1992 by Peress.In 1999, the University of Massachusetts Lowell Percussion Ensemble, under the direction of Jeff Fischer, presented the first performance of the original score using 16 player pianos. In 1986, the film was premiered with a new score by Michael Nyman.The score and film were successfully combined in 2000 by Paul Lehrman, who used an edited version of the original orchestration in which he used player pianos recorded after the Lowell performance, with the rest of the instruments played electronically. This version is available in the DVD set Unseen Cinema: Early American Avant Garde Film 1894–1941 released in 2005 and also in the DVD set Bad Boy Made Good, which also contains Lehrman's documentary film about Antheil and the Ballet mécanique, which was released in 2006. The featured film print is the original version, premiered in Vienna on 24 September 1924 by Frederick Kiesler.In November 2002, a version of the score for live ensemble was premiered by Julian Pellicano. The performance, with the newly-realized soundtrack and the 1952 version of Ballet mécanique, was repeated at the Friedberg Concert Hall at Peabody Conservatory on February 17, 2003.In 2005, the National Gallery of Art in Washington, DC commissioned Lehrman and the League of Electronic Musical Urban Robots (LEMUR), Eric Singer, director, to create a computer-driven robotic ensemble to play the Ballet mécanique. This installation was at the Gallery from 12 March to 7 May 2006. It was installed in December 2007 at the Wolfsonian Museum in Miami and again in New York City, where it was used to accompany a play about Antheil and Hedy Lamarr, and their invention of spread-spectrum technology, called "Frequency Hopping." During the run of the play, the Léger film was shown, with the robotic orchestra performing the score, at two special "after-concerts."
Nikolai Kapustin plays Kapustin Prelude in Jazz Style No 4 Op 53 [Audio + Score] The Piano Experience 2021-10-21 | Nikolai Kapustin plays Kapustin Prelude in Jazz Style No 4 Op 53 [Audio + Score]🎹🎶 LIKE and SUBSCRIBE for more score videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience BIOGRAPHYNikolai Girshevich Kapustin (22 November 1937 – 2 July 2020) was a Soviet and Russian composer and pianist. He played with early Soviet jazz bands such as the Oleg Lundstrem Orchestra. In his compositions, mostly for piano, he used a fusion of jazz and classical forms. He and other pianists recorded his worksKapustin was born in Horlivka, Ukrainian SSR, USSR. When he was age four, with his father fighting in World War II, his mother and grandmother moved with him and his sister to the Kyrgyz city of Tokmak. He composed his first piano sonata at age 13. From age 14, Kapustin studied piano with Avrelian Rubakh (a pupil of Felix Blumenfeld, who also taught Simon Barere and Vladimir Horowitz). Beginning in 1945, he discovered jazz. His teacher supported his interest. Kapustin studied from 1956 with Alexander Goldenweiser at the Moscow Conservatory, graduating in 1961. He included Sergei Prokofiev's Piano Concerto No. 2 in his graduation recital.During the 1950s, Kapustin acquired a reputation as a jazz pianist, arranger and composer. He had his own quintet, which performed at an "upscale restaurant" monthly. He played as a member of Yury Saulsky's big band and later in the Oleg Lundstrem Orchestra. In his compositions, he fused the traditions of both classical piano repertoire and improvisational jazz, combining jazz idioms and classical music structures. His Suite in the Old Style, Op. 28, written in 1977, sounds like jazz improvisation but is modeled after Baroque suites such as Johann Sebastian Bach's keyboard partitas. Other examples of his fusion music are 24 Preludes in Jazz Style, Op. 53, 24 Preludes and Fugues, Op. 82, written in 1997, and the Sonatina, Op. 100.Kapustin regarded himself as a composer rather than a jazz musician: "I was never a jazz musician. I never tried to be a real jazz pianist, but I had to do it because of the composing. I'm not interested in improvisation – and what is a jazz musician without improvisation? All my improvisations are written, of course, and they became much better; it improved them."Among his works are 20 piano sonatas, six piano concertos, other instrumental concertos, sets of piano variations, études and concert studies.Record labels have released several recordings of the composer performing his own music. His music has been played by leading pianists including Ludmil Angelov, Marc-André Hamelin, Masahiro Kawakami, Thomas Ang, Nikolai Petrov, Steven Osborne, Yeol Eum Son and Vadim Rudenko, and by cellists such as Enrico Dindo and Eckard Runge.Kapustin had two sons, one of whom is Anton Kapustin, a theoretical physicist.Kapustin died on July 2, 2020, in Moscow. He was 82 years old.
Tōru Takemitsu - 12 Songs for Guitar [Audio + Score] (1974–1977) The Piano Experience 2021-10-17 | 🎹🎶 LIKE and SUBSCRIBE for more score videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Tōru Takemitsu - 12 Songs for Guitar [Audio Score] played by Andrea Dieci0:00 Londonderry Air3:37 Over the Rainbow6:40 Summertime10:24 A Song of Early Spring13:47 Amours Perdues16:48 What a Friend19:21 Secret Love21:47 Here, There, and Everywhere24:50 Michelle28:03 Hey Jude30:59 Yesterday34:25 The InternationalBIOGRAPHY Takemitsu was born in Tokyo, Japan, in 1930. He first decided to pursue a career in music when he was in his teens at the end of World War II. Recalling this time in an interview for the Los Angeles Herald Examiner, Takemitsu said that he was “very negative about everything Japanese. During the war it was forbidden to listen to anything but Japanese music, and we were thirsty to hear music of the West and wanted to learn just that music. Only afterwards could I find my own way to Japanese tradition.”At age 18 Takemitsu studied composition privately with Yosuji Kiyose, but otherwise is self-taught and holds no degrees in music. He told Edward Downes, program annotator for the New York Philharmonic Orchestra, that his teacher was “his daily life, including all of music and nature.” It is probably this lack of formal musical education and prolonged study with no particular composer that in part accounts for Takemitsu’s highly original style—and this in spite of his experimenting with every new musical method and current among other contemporary composers since World War II.Integrated Eastern And Western StylesTakemitsu has not always been able to use the word “bicultural” to describe his music. In the 1950s his music was entirely in the style of the Western avant-garde; only in the 1960s did he become seriously interested in traditional Japanese instruments, such as the lute-like biwa, and begin to combine them with Western instruments. By the 1970s his integration of Eastern and Western elements was nearly complete. While the ensembles and compositional technique are for the most part Western, the spirit of Takemitsu’sFor the Record…Born October 8, 1920, in Tokyo, Japan. Education: Studied composition with Yosuji Kiyose.music is Eastern and almost always evokes natural phenomena. His greatest artistry lies in creating timbres and textures, and the titles of his compositions most frequently allude to sound or sound color as it occurs in nature, for example, Garden Rain, Waves, In an Autumn Garden.Audience Defines TechniqueRather than having an all-consuming interest in the process of composing or in abstract musical problems, Takemitsu is intrigued by the contemplation of natural phenomena. Thus he has not written extensively about his own compositional procedure as the overwhelming majority of contemporary composers have, and what writing and lecturing he has done do not include any particular terminology to explain his compositional techniques. Instead, Takemitsu tends to focus on the listener’s potential response.Aside from his talent in the realm of sound and sound colors, Takemitsu’s music is also unique in its pacing. The listener may get the impression that the music evolves on its own, a characteristic that is directly related to Takemitsu’s evocation of natural phenomena. The structure and climax of his works are often strictly non-Western and thus the aspect of his music the most often misunderstood by Western listeners. Ellen Pfeifer, writing for the Boston Herald, said that there is an “unfortunate sameness about [Takemitsu’s] writing—unvarying dynamic level (quiet) and pace (slowish).” The Japanese critic Hidekazu Yoshida, writing for a Japanese recording of Takemitsu’s works, observed that “in Japanese music, however, it is not unusual for one to bring out the climax, which is supposed to be the cardinal element in the work concerned, very abruptly and without any preparation, or suddenly to cut it…. This traditional sense of beauty of the Japanese has been revived in a very vivid way in Takemitsu’s work. I do not think it was done unconsciously. This is the reason why a piece which at first may sound monotonous and lacking in compactness of structure leaves one with a generally fresh memory after one has listened to it.”Takemitsu gained his greatest international acclaim as a result of the immediate success of his 1967 work, November Steps, commissioned and performed by the New York Philharmonic as part of its 125th anniversary celebration. He continues to be an active and successful composer with a large catalog of published works for all media, including cinema, radio, and television. He is also a frequent lecturer and composer-in-residence at music schools and festivals throughout the world.
Jorge Bolet plays Marx - Romantic Piano Concerto in E major [Audio + Score] The Piano Experience 2021-10-10 | 🎹🎶 LIKE and SUBSCRIBE for more videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Jorge bolet plays Marx - Romantic Piano Concerto in E major [Audio + Score]This recording is from performance ofJorge Bolet and the New York Philharmonic under Zubin Metha. 29-May 4, 1982.A live recording with Jorge Bolet and the New York Philharmonic under Zubin Metha. 29-May 4, 1982.The Romantisches Klavierkonzert (which, as with all his works, bears no opus number) was composed in 1918/9 and first performed by Marx himself in a version for two pianos in the summer of 1919 with the Trieste- born pianist Angelo Kessissoglu, who also performed the orchestral premiere in Vienna in January 1921, conducted by Ferdinand Löwe. The concerto is in E major and laid out in three movements. It is scored for a normal-sized orchestra, but the piano part is of immense stature (Marx must have been a formidable pianist) and dominates throughout. As with Korngold’s later Concerto in C sharp (1922/3), this work resembles a symphony for piano and orchestra, for at no time is the piano solo reduced to mere display. The integration of melody and countermelody, the interplay between soloist and orchestra, and the truly orchestral characteristics of the piano part make for a symphonic whole. Marx was not a brilliant orchestrator, generally opting to allow the string section to support the piano with occasional flashes of colour coming from the wind and brass.In matters of form Marx was content to remain within Classical ideals: a traditional sonata structure in the opening movement, the slow movement in simple ternary form, while the finale is a lively rondo. In this respect, the concerto is more attuned to the nineteenth century than the twentieth. Its ‘Romantic’ characteristics are therefore suggested by its musical content.The opening movement, Lebhaft (Allegro moderato) (track 1), is in the tonic E major and, beginning with a discreet drum roll, immediately the heroic upswing of the main theme is announced, a fulsome and radiant melodic idea that is already being treated polyphonically in the inner voices. After this rapturous statement, the piano enters in the manner of a cadenza—a vigorous flourish, leading to a richly chordal repeat of the theme which immediately broadens and develops rapidly. A subsidiary theme, heavily accented with powerful octaves, darkens the optimistic tone before the second subject proper enters in the woodwinds. This slower theme is highly expressive and the Marxian harmony here is ravishing. The form is then broadened to include a sort of scherzo section in brisk time, heard in the orchestra alone, which replaces a more traditional development although references to the earlier material abound. A series of powerful climaxes leads to the recapitulation where the piano takes up the opening theme with great virtuosity as the orchestra fills out the second subject in response. After a terrific climax, the movement ends rapidly in the tonic major.The slow movement 2 is in F sharp minor and opens with a soulful pastorale for woodwinds, reminiscent of Bach and based on a plaintive melody. The piano enters and proceeds to embellish and almost improvise on this theme, building to a huge crescendo of spread chords and increasingly chromatic arpeggios, before the pastoral mood returns. The piano is frequently alone, musing to itself, and as the movement ends it is the piano which draws this highly individual elegy to a close, with the full orchestra only returning for the final chord.We return to E major for the finale 3—a glittering rondo which restores the exultant upswing of the first movement, replete with dance rhythms and many playful themes that are woven together in an extraordinary manner. At times, the harmony and wayward, ever- moving melodic material remind one of Delius. A subsidiary theme heard in the bassoon leads to an episode which is Russian in character but this is soon replaced by a heartfelt, lyrical, upward-leaping melody of considerable beauty. This reappears in full orchestra before the hectic coda, in which the piano hurtles through some incredibly difficult variations on the main idea (replete with double, consecutive, chromatic—and split—octaves, coupled with syncopated spread chords!) as the concerto ends triumphantly.The Romantisches Klavierkonzert was played in Austria and Germany throughout the 1920s, but (perhaps because of the phenomenal difficulty of the solo part) it had disappeared from the repertoire by the mid 1930s.
Rosina Lhevinne - Schubert : Fantasy in F Minor, D. 940 (1951) The Piano Experience 2021-09-30 | 🎹🎶 LIKE and SUBSCRIBE for more videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Rosina Lhevinne - Schubert : Fantasy in F Minor, D. 940 (3/11/1951)Name of the recital : WQXR Piano Duet Studio Recital Pianists : Rosina Lhevinne with Josef Raieff Date : 3 November 1951Piece : Schubert - Fantasy in F Minor, D. 94000:00 Allegro molto moderato04:40 Largo07:39 Scherzo: Allegro vivace11:22 Finale: Allegro molto moderato ROSINA LHÉVINNERosina Lhévinne (1880-1976) was a pianist and famed pedagogue. Among her students were many of the best young pianists of the 1940s, 50s and 60s, including Van Cliburn. She was a virtuoso performer who delayed a solo career until age seventy-six, twelve years after the death of her husband, pianist Josef Lhévinne.During the first year of their marriage, the Lhévinnes made their two-piano debut in Moscow. Rosina decided to abandon her solo career and devote all of her musical energies to the support her husband’s. Lhévinne did not resume her own solo performing career until 1956. That year she performed with the Aspen Festival Orchestra. During the following seasons she performed with orchestras around the country. In January of 1963, a few months before her eighty-third birthday, Lhévinne performed Chopin’s Piano Concerto No. 1 in E Minor—the same work she had played at her debut sixty-one years earlier—in four performances with the New York Philharmonic, to great critical acclaim.In a tribute to Lhévinne after her death in 1976, Peter Mennin, then the president of the Juilliard School, said, “She was quite simply one of the greatest teachers of this century. With her passing, a whole concept of teaching and performing goes with her.”
Vladimir Horowitz - Tchaikovsky Concerto No. 1, Op. 23 (1932) Hi-Fi Sound The Piano Experience 2021-09-15 | 🎹🎶 LIKE and SUBSCRIBE for more videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience 00:00 Allegro non troppo – Allegro con spirito [excerpt, bars 375–579]05:56 Allegro non troppo – Allegro con spirito [excerpt, bars 605 to end of movement] 07:46 Andantino semplice – Prestissimo – Tempo One [excerpt, bars 1–57]11:19 Andantino semplice – Prestissimo – Tempo One [excerpt, bars 96 to end of movement]14:25 Allegro con fuoco [excerpt, bars 1–174]Philadelphia Orchestra conducted by Fritz Reiner 5-6 February 1932; (BTL 1955/56/68/70) The Bell Telephone Laboratory experimental recordings during two performances, unpublishedThis recording is from the CD "Landmarks of Recorded Pianism Vol. 1" by Marston Records. It is an amazing CD with many excellent recordings such as this one. I recommend purchasing it : marstonrecords.com/products/landmarks1?_pos=2&_sid=5e1886854&_ss=rBIOGRAPHY The most famous pianist of the twentieth century, his name known to the proverbial man on the street the world over, Vladimir Samoylovich Horowitz (1903–1989) was born in 1903 in Kiev. Horowitz showed enough prodigious talent to play for Alexander Scriabin in 1915, just before the Russian composer-pianist’s early death. Horowitz would become a superlative interpreter of Scriabin’s music, which the pianist described as “mystical… expressionistic.” Horowitz also became friends with another great Russian composer-pianist (and Scriabin’s former schoolmate), Sergei Rachmaninoff – who was the acme of Romanticism. He also made a benchmark recording of Rachmaninoff’s Piano Sonata No. 2. Emigrating from Russia in 1925 and eventually settling in New York City, Horowitz made his American debut with Tchaikovsky’s Piano Concerto No. 1 in 1928 at Carnegie Hall, which would become his home venue, the site of many recordings. Impressed by the pianist’s tonal dynamism, conductor Thomas Beecham, who led that concert, reportedly said: “Really, Mr. Horowitz, you can’t play like that – it shows the orchestra up.” Horowitz made a series of solo recordings for HMV at London’s Abbey Road Studios in 1932, including several Chopin pieces and an electrifying take on Liszt’s B Minor Sonata, helping to establish the piece in the standard repertoire. A review of a 1933 London concert declared Horowitz “the greatest pianist dead or alive.” Horowitz would make hit recordings with Toscanini of the Tchaikovsky concerto and the Brahms Piano Concerto No. 2 in 1940–41.Over the course of his career, Horowitz’s recorded repertoire stretched far beyond those early specialties of Chopin, Brahms, Liszt, Tchaikovsky, Scriabin and Rachmaninoff; in long associations for RCA, then Columbia and, finally, Deutsche Grammophon, Horowitz also ranged from Scarlatti, Haydn and Clementi to Beethoven, Schumann and miniatures across the ages with artistic and commercial success; in a period of applying himself to modern music, he premiered Samuel Barber’s Sonata in 1950, along with recording sonatas by Prokofiev and Kabalevsky. Driven to “grow until I die,” he said, the pianist reapplied himself to select Beethoven sonatas in his middle period and then several Mozart works as he grew older. Horowitz also crafted his own transcriptions and arrangements, including such showstoppers as his variations on Carmen and Stars and Stripes Forever. In his book The Great Pianists, critic Harold Schonberg wrote: “As a technician, Horowitz was one of the most honest in the history of modern pianism. Famously high-strung, his art always a mental-physical high-wire act, Horowitz took four sabbaticals from public performance to deal with various issues, his returns much-ballyhooed events. The first layoff was for two years in 1936; the longest was 1953 to 1965, followed by a tremendous homecoming to Carnegie Hall. But even over his later breaks, he recorded regularly at home in his Manhattan townhouse, documenting his art as it subtly evolved even beyond great venues and the recording studio. A 1985 film, The Last Romantic, captured the pianist in his last years, performing at home as well as reminiscing about Scriabin and Rachmaninoff. The next year, Horowitz returned to Russia, 61 years after leaving — a hugely emotional event for both artist and audience, documented in the concert album and film Horowitz in Moscow. In 1987, he played his final recital, in Hamburg; he died two years later. “Piano playing consists of intellect, heart and technique,” Horowitz said. “All should be equally developed. Without intellect, you will be a fiasco; without technique, an amateur; without heart, a machine. The profession has its perils.”
Arthur Rubinstein plays Chopin Mazurka No. 2 Op. 67 The Piano Experience 2021-09-13 | 🎹🎶 LIKE and SUBSCRIBE for more videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Arthur Rubinstein plays Chopin Mazurka No. 2 Op. 67
Enrico Caruso - The Greatest Recordings of Italys greatest tenor The Piano Experience 2021-09-12 | 🎹🎶 LIKE and SUBSCRIBE for more videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Enrico Caruso - The Greatest Recordings of Italy's greatest tenor00:00 Donizettei : Una furtiva lagrima (from Act 2 'L'elisir d'amore'')04:24 Flotow : M'appari tutt'amor (from Act 3 'Marita')08:13 Verdi : La donna è mobile10:32 Verdi : Ella mi fu Rapita...parmi veder le lagrime15:14 Verdi : Se quel guerrier io fossi celeste (from Act 1 "Aida")20:07 Mascagni : Addio alla madre (from ''Cavalleria Rusticana'')24:09 Bizet : Il fior che avevi a me tu dato (from Act 2 "Carmen")28:05 Leoncavallo : Vesti la giubba (from Act 1 "I Pagliacci")31:36 DiCapua : O sole mio35:00 Fucito : Sultanto a te37:55 Donaudy : Vaghissima sembianza41:14 Cottrau : Addio a napoli44:25 Gastaldon : Musica proibita, Op. 5 48:02 Barlett : A dream51:23 D'Hardelot : Because53:59 Gheel : For you alone56:18 Gartner : Trusting Eyes59:13 O'Hara : Your eyes have told me what I did not knowThis video is to commemorate the 100th anniversary of the death of Enrico Caruso 25th February 1873 to 2nd August 1921.Have a good listenning !
Film : Samson François plays the ending of Chopin Sonata No.3 in B minor (1966) The Piano Experience 2021-09-04 | 🎹🎶 LIKE and SUBSCRIBE for more videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience BIOGRAPHYThe admired French pianist, Samson Pascal François, was born in Frankfurt where his father worked at the French consulate. His mother, Rose, named him Samson, for strength, and Pascal, for spirit. François discovered the piano early - at the age of two - and his first studies were in Italy, with Mascagni, who encouraged him to give his first concert at the age of 6, in which he played a W.A. Mozart concerto under Mascagni. Moving from country to country with his itinerant family, he studied in Belgrade with Cyril Licar, obtaining a first prize in performance. Licar also introduced him to the works of Béla Bartók. Having studied in the Conservatoire in Nice from 1932 to 1935, where he again won first prize, François came to the attention of Alfred Cortot, who encouraged him to move to Paris and study with Yvonne Lefébure at the l'École Normale de Musique, the school Cortot co-founded with Auguste Mangeot. He also studied piano with Alfred Cortot (who reportedly found him almost impossible to teach), and harmony with Nadia Boulanger. In 1938, he moved to the Paris Conservatoire to study with Marguerite Long, the doyenne of French teachers of the age. In 1940 he won premier prix at this Conservatoire.In 1943, be reaching the age of 20, Samson François won the Long-Thibaud Competition and thereafter embarked on a career, one of international scale once World War II had ended. Even during the war, Jacques Thibaud brought François to the attention of Walter Legge, the English recording producer turned wartime concert organiser; François was soon flown to England for an extended tour of factories and camps. From 1945 he toured regularly in Europe, and in 1947 he made his first appearances in the USA. He subsequently played all over the globe, including Communist China in 1964. Concentrating on the Romantic piano literature, and especially the French repertoire, he was acclaimed for his performances of Franz Liszt, Robert Schumann, and Frédéric Chopin, as well as Gabriel Fauré, Debussy, and Ravel. His Prokofiev, too, was impressive. French critics and audiences were especially receptive to his virtuosic approach. François found an appreciative audience in London as well, and enjoyed a largely positive reputation there during his mature years. His extravagant lifestyle, good looks, and passionate but highly disciplined playing, gave him a cult status as a pianist. Though, his passion for night life and his reckless behaviour resulted in a heart attack on the concert platform in 1968. His early death followed only two years later.Samson François' early death denied the world a chance to hear how the pianist might have developed had he lived longer. He was a pianist of exceptional persuasiveness in live performance, but only intermittently as arresting in the recording studio. Nonetheless, he left on disc several samples of work approaching his best concert form, albeit with some evidence of the eccentricities critics complained about. His recordings preserve sufficient work of high interest to assure him a place as a major artist. Many of these interpretations are now available on compact disc. Among his remastered and re-released recordings are discs of the F. Chopin and Ravel piano concertos on EMI's Great Recordings of the Century series. The former, recorded with the Orchestre National de L'Opera de Monte-Carlo and its then-director Louis Frémaux, reveals much of what made François special. Containing what Gramophone Magazine deemed "personal and immediate" playing, the artist's quicksilver intensity was awarded with a Diapason d'Or upon its original release. The Ravel recording holds both the concertos, accompanied by André Cluytens and the Orchestre de la Société des Concerts du Conservatoire, and a mercurial account of the composer's Gaspard de la nuit, all of it a fitting remembrance of an artist who pursued his own singular vision. This disc was originally a recipient of the Prix de L'Académie du Disque Français.Samson François was a keen jazz fan, and claimed that jazz influenced his playing. Among his other pursuits was that of composition. He composed, among other works, a concerto for piano and incidental music for film. Among his recordings is one of his own piano concerto. In addition, he once composed music for the legendary jazz singer and cabaret artist Peggy Lee.
Samson François - Un grand pianiste Documentary (1966) The Piano Experience 2021-09-04 | 🎹🎶 LIKE and SUBSCRIBE for more videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience [2:51] Samson François playing Chopin Sonata in B minorBIOGRAPHYThe admired French pianist, Samson Pascal François, was born in Frankfurt where his father worked at the French consulate. His mother, Rose, named him Samson, for strength, and Pascal, for spirit. François discovered the piano early - at the age of two - and his first studies were in Italy, with Mascagni, who encouraged him to give his first concert at the age of 6, in which he played a W.A. Mozart concerto under Mascagni. Moving from country to country with his itinerant family, he studied in Belgrade with Cyril Licar, obtaining a first prize in performance. Licar also introduced him to the works of Béla Bartók. Having studied in the Conservatoire in Nice from 1932 to 1935, where he again won first prize, François came to the attention of Alfred Cortot, who encouraged him to move to Paris and study with Yvonne Lefébure at the l'École Normale de Musique, the school Cortot co-founded with Auguste Mangeot. He also studied piano with Alfred Cortot (who reportedly found him almost impossible to teach), and harmony with Nadia Boulanger. In 1938, he moved to the Paris Conservatoire to study with Marguerite Long, the doyenne of French teachers of the age. In 1940 he won premier prix at this Conservatoire.In 1943, be reaching the age of 20, Samson François won the Long-Thibaud Competition and thereafter embarked on a career, one of international scale once World War II had ended. Even during the war, Jacques Thibaud brought François to the attention of Walter Legge, the English recording producer turned wartime concert organiser; François was soon flown to England for an extended tour of factories and camps. From 1945 he toured regularly in Europe, and in 1947 he made his first appearances in the USA. He subsequently played all over the globe, including Communist China in 1964. Concentrating on the Romantic piano literature, and especially the French repertoire, he was acclaimed for his performances of Franz Liszt, Robert Schumann, and Frédéric Chopin, as well as Gabriel Fauré, Debussy, and Ravel. His Prokofiev, too, was impressive. French critics and audiences were especially receptive to his virtuosic approach. François found an appreciative audience in London as well, and enjoyed a largely positive reputation there during his mature years. His extravagant lifestyle, good looks, and passionate but highly disciplined playing, gave him a cult status as a pianist. Though, his passion for night life and his reckless behaviour resulted in a heart attack on the concert platform in 1968. His early death followed only two years later.Samson François' early death denied the world a chance to hear how the pianist might have developed had he lived longer. He was a pianist of exceptional persuasiveness in live performance, but only intermittently as arresting in the recording studio. Nonetheless, he left on disc several samples of work approaching his best concert form, albeit with some evidence of the eccentricities critics complained about. His recordings preserve sufficient work of high interest to assure him a place as a major artist. Many of these interpretations are now available on compact disc. Among his remastered and re-released recordings are discs of the F. Chopin and Ravel piano concertos on EMI's Great Recordings of the Century series. The former, recorded with the Orchestre National de L'Opera de Monte-Carlo and its then-director Louis Frémaux, reveals much of what made François special. Containing what Gramophone Magazine deemed "personal and immediate" playing, the artist's quicksilver intensity was awarded with a Diapason d'Or upon its original release. The Ravel recording holds both the concertos, accompanied by André Cluytens and the Orchestre de la Société des Concerts du Conservatoire, and a mercurial account of the composer's Gaspard de la nuit, all of it a fitting remembrance of an artist who pursued his own singular vision. This disc was originally a recipient of the Prix de L'Académie du Disque Français.Samson François was a keen jazz fan, and claimed that jazz influenced his playing. Among his other pursuits was that of composition. He composed, among other works, a concerto for piano and incidental music for film. Among his recordings is one of his own piano concerto. In addition, he once composed music for the legendary jazz singer and cabaret artist Peggy Lee.
Film : Jazz Pianist Erroll Garner on the Big Record Performs Where or When The Piano Experience 2021-08-23 | 🎹🎶 LIKE and SUBSCRIBE for more videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Jazz Pianist Erroll Garner performs. Garner on the piano leads a jazz trio.Source : http://fastimages.net/catdv/clip-details.jsp?id=588914
FILM : Wilhelm Backhaus at a rehearsal of Brahms Piano Concerto No 2 (1966) The Piano Experience 2021-08-10 | 🎹🎶 LIKE and SUBSCRIBE for more videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Wilhelm Backhaus at a rehearsal of Brahms (1966)A very rare film recording from 1966. The late Wilhelm Backhaus at a rehearsal of Brahms's Piano Concerto No 2 in Cologne with the WDR-Sinfonieorchester under Christoph von Dohnányi.
Film : TOSCANINI OFF FOR ITALY TO RETIRE?? (1954) The Piano Experience 2021-08-07 | 🎹🎶 LIKE and SUBSCRIBE for more videos ! youtube.com/channel/UCYfxUOsroDhIEyXiZa_zglA?sub_confirmation=1🎹🎶 SUBSCRIBE to my PATREON ! → patreon.com/thepianoexperience Conductor Arturo Toscanini boards a plane bound for Italy from Idlewild Airport in New York City. Toscanini pauses before boarding the plane. Well wishers wave as the plane departs.Date : 06/14/1954BIOGRAPHY OF TOSCANINIFew orchestral conductors have attained the public recognition accorded Arturo Toscanini, due in part to his many recordings and frequent broadcast performances, but also to his dedication to the art of music-making. In a career spanning 68 years, he did more than anyone to revive the popular image of the all-powerful maestro.In 1885, at age 19, he graduated from the Parma Conservatory as a cellist, and joined an opera company for a tour of South America. When in Rio de Janeiro, the incompetence of the Brazilian conductor engaged for the tour so incensed the Italian singers and players that he was forced to resign, and the 20-year-old cellist was asked to take the baton for Verdi's Aida. By the end of the tour he had led 26 performances of 11 operas, all from memory.Between 1887 and 1895, Toscanini conducted in many Italian opera houses, and in 1896 became the principal conductor of Turin's Regio Opera House, leading the first Italian performances of Wagner's Götterdämmerung, Tristan and Isolde and Die Walküre, and the première of Puccini's La Bohème, as well as a series of highly successful orchestral concerts. He was the principal conductor at La Scala, Milan, from 1900 to 1908, and first appeared at New York's Metropolitan Opera in 1915, where he conducted the première of Puccini's La fanciulla del West. In the same year he made his debut in the U.S. as a symphonic conductor.Recalled to La Scala in 1919, he reformed the orchestra and took it on a triumphant tour of the U.S., conducting 67 concerts in 77 days, followed by an Italian tour in which he led 38 concerts in 56 days. From 1926-1927, he was a guest conductor with the New York Philharmonic Orchestra, and in 1929 left La Scala to become its permanent conductor, a post he filled until 1939.In 1937 Toscanini was invited by NBC to conduct broadcast concerts in America with a new symphony orchestra specifically created for the purpose. He then toured with that orchestra to South America in 1940 and throughout the United States in 1950. He also conducted a memorable series of concerts with the BBC Symphony Orchestra in London between 1935 and 1939.Toscanini's opposition to Fascism and Nazism was implacable. In 1931, he was attacked for refusing to play the Giovanezza, a Fascist anthem. In the same year he was the first non-German conductor to appear at the Wagner Festspielhaus in Bayreuth, but refused to return in 1933 in protest of the Nazi's treatment of Jewish musicians. He also turned his back on the Salzburg Festival because the Jewish conductor Bruno Walter's performances there were not broadcast in Germany. In 1938-1939, he conducted without fee at a festival in Lucerne, Switzerland, where the orchestra was composed entirely of musicians who had fled German persecution.Toscanini's conducting style featured a precise, vigorous beat and vivid body-language, which orchestras understood and responded to with dramatic results. By the end of his career he had memorized 250 symphonic works, and over 100 operas. Though he enthusiastically embraced post-Romantic, twentieth century music, he virtually ignored the Second Viennese School and the new breed of American composers that were making their mark by the 1950s. It was not false modesty, but genuine humility that led him to say in an interview "I am no genius. I have created nothing. I play the music of other men. I am just a musician."
