Uploaded December 2022 | Updated September 2026, 2 days ago
This is the fourth piece of Schumann‘s (1810-1856) cycle „Album für die Jugend“ (Album of for the youth). He composed it in 1848 and it contains 43 pieces. The first 18 pieces are meant to be composed for the „Kleineren“ (The younger ones), from the 19th piece it‘s purposed to target „Erwachsenere“ (More mature ones). His intention was to compose compositions of high quality already for beginners that they can develop a good musical taste from the very start.
The pieces of this cycle can be called a „Charakterstück“ (a piece of certain character or theme). In this particular piece a mourning melody portrays grief combined with some swelling sorrow that is expressed with energetic chords.
More approachable and beautiful piano pieces to impress:
Gymnopedie nr. 1: youtu.be/8F8QcN07-0o
Comptine d‘une autre été: youtu.be/5AGcrc9DEeA
From foreign lands and people: youtu.be/UwNpGalZHOM
My best Joe Hisaishi Collection: youtu.be/PzUiA9mNVNk
Robert Schumann (8 June 1810 – 29 July 1856) was a German composer, pianist, and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann left the study of law, intending to pursue a career as a virtuoso pianist. His teacher, Friedrich Wieck, a German pianist, had assured him that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing.
In 1840, Schumann married Clara Wieck, after a long and acrimonious legal battle with her father, Friedrich, who opposed the marriage. A lifelong partnership in music began, as Clara herself was an established pianist and music prodigy. Clara and Robert also maintained a close relationship with German composer Johannes Brahms.
Until 1840, Schumann wrote exclusively for the piano. Later, he composed piano and orchestral works, and many Lieder (songs for voice and piano). He composed four symphonies, one opera, and other orchestral, choral, and chamber works. His best-known works include Carnaval, Symphonic Studies, Kinderszenen, Kreisleriana, and the Fantasie in C. Schumann was known for infusing his music with characters through motifs, as well as references to works of literature. These characters bled into his editorial writing in the Neue Zeitschrift für Musik (New Journal for Music), a Leipzig-based publication that he co-founded.
Schumann had mental disorder that first manifested in 1833 as a severe melancholic depressive episode—which recurred several times alternating with phases of "exaltation" and increasingly also delusional ideas of being poisoned or threatened with metallic items. What is now thought to have been a combination of bipolar disorder and perhaps mercury poisoning led to "manic" and "depressive" periods in Schumann's compositional productivity. After a suicide attempt in 1854, Schumann was admitted at his own request to a mental asylum in Endenich (now in Bonn). Diagnosed with psychotic melancholia, he died of pneumonia two years later at the age of 46, without recovering from his mental illness.
#FirstLoss AlbumForTheYouth #Schumann #piano
This is the fourth piece of Schumann‘s (1810-1856) cycle „Album für die Jugend“ (Album of for the youth). He composed it in 1848 and it contains 43 pieces. The first 18 pieces are meant to be composed for the „Kleineren“ (The younger ones), from the 19th piece it‘s purposed to target „Erwachsenere“ (More mature ones). His intention was to compose compositions of high quality already for beginners that they can develop a good musical taste from the very start.
The pieces of this cycle can be called a „Charakterstück“ (a piece of certain character or theme). In this particular piece a mourning melody portrays grief combined with some swelling sorrow that is expressed with energetic chords.
More approachable and beautiful piano pieces to impress:
Gymnopedie nr. 1: youtu.be/8F8QcN07-0o
Comptine d‘une autre été: youtu.be/5AGcrc9DEeA
From foreign lands and people: youtu.be/UwNpGalZHOM
My best Joe Hisaishi Collection: youtu.be/PzUiA9mNVNk
Robert Schumann (8 June 1810 – 29 July 1856) was a German composer, pianist, and influential music critic. He is widely regarded as one of the greatest composers of the Romantic era. Schumann left the study of law, intending to pursue a career as a virtuoso pianist. His teacher, Friedrich Wieck, a German pianist, had assured him that he could become the finest pianist in Europe, but a hand injury ended this dream. Schumann then focused his musical energies on composing.
In 1840, Schumann married Clara Wieck, after a long and acrimonious legal battle with her father, Friedrich, who opposed the marriage. A lifelong partnership in music began, as Clara herself was an established pianist and music prodigy. Clara and Robert also maintained a close relationship with German composer Johannes Brahms.
Until 1840, Schumann wrote exclusively for the piano. Later, he composed piano and orchestral works, and many Lieder (songs for voice and piano). He composed four symphonies, one opera, and other orchestral, choral, and chamber works. His best-known works include Carnaval, Symphonic Studies, Kinderszenen, Kreisleriana, and the Fantasie in C. Schumann was known for infusing his music with characters through motifs, as well as references to works of literature. These characters bled into his editorial writing in the Neue Zeitschrift für Musik (New Journal for Music), a Leipzig-based publication that he co-founded.
Schumann had mental disorder that first manifested in 1833 as a severe melancholic depressive episode—which recurred several times alternating with phases of "exaltation" and increasingly also delusional ideas of being poisoned or threatened with metallic items. What is now thought to have been a combination of bipolar disorder and perhaps mercury poisoning led to "manic" and "depressive" periods in Schumann's compositional productivity. After a suicide attempt in 1854, Schumann was admitted at his own request to a mental asylum in Endenich (now in Bonn). Diagnosed with psychotic melancholia, he died of pneumonia two years later at the age of 46, without recovering from his mental illness.
#FirstLoss AlbumForTheYouth #Schumann #piano



![[Seaside Café Jazz] Queen of the hearts by Herman Beeftink + Improvisation (Jazzy Friday #10)
Jazzy Friday is my 10 part series where I present the piano pieces of the Junior Jazz 1 Series by Herman Beeftink. This is a great book to start in Jazz Piano. The melodies are catchy, the chords pretty cool. On the left page there are always exercises for rhythmic patterns and on the right is the piece. ”Queen of the hearts“ is written in Seaside Café Jazz style. The improvisation starts at 0:42.
For a relaxing weekend check out my 80 minutes Ghibli Playlist:
https://youtu.be/PzUiA9mNVNk
I didn‘t know Herman Beeftink before. He is a composer who dares to write modern instrumental music beautifully especially for flute and piano: https://www.youtube.com/user/EliteSourceMusic
Have nice weekend!
#HermanBeeftink #CafeJazz #JazzyFriday [Seaside Café Jazz] Queen of the hearts by Herman Beeftink + Improvisation (Jazzy Friday #10)](https://i.ytimg.com/vi/Hs7mQh5-7BI/mqdefault.jpg)
![Johann Pachelbel Sarabande in f#minor from Suite P439
Hello friends of this channel! Today I am coming with a lovely Sarabande from Pachelbel‘s Suite P439.
More performances of Baroque Music:
Bach minuet in d minor: https://youtu.be/dMm8NkW4g0Q
Bach prelude in c major: https://youtu.be/xaujaqJ_xgw
Petzold minuet in g minor: https://youtu.be/F8HJnmtulW0
Johann Pachelbel (also Bachelbel; baptised 11 September [O.S. 1 September] 1653[ – buried 9 March 1706) was a German composer, organist, and teacher who brought the south German organ schools to their peak. He composed a large body of sacred and secular music, and his contributions to the development of the chorale prelude and fugue have earned him a place among the most important composers of the middle Baroque era.
Pachelbel’s music enjoyed enormous popularity during his lifetime; he had many pupils and his music became a model for the composers of south and central Germany. Today, Pachelbel is best known for the Canon in D; other well known works include the Chaconne in F minor, the Toccata in E minor for organ, and the Hexachordum Apollinis, a set of keyboard variations.
He was influenced by southern German composers, such as Johann Jakob Froberger and Johann Caspar Kerll, Italians such as Girolamo Frescobaldi and Alessandro Poglietti, French composers, and the composers of the Nuremberg tradition. He preferred a lucid, uncomplicated contrapuntal style that emphasized melodic and harmonic clarity. His music is less virtuosic and less adventurous harmonically than that of Dieterich Buxtehude, although, like Buxtehude, Pachelbel experimented with different ensembles and instrumental combinations in his chamber music and, most importantly, his vocal music, much of which features exceptionally rich instrumentation. Pachelbel explored many variation forms and associated techniques, which manifest themselves in various diverse pieces, from sacred concertos to harpsichord suites. Johann Pachelbel Sarabande in f#minor from Suite P439](https://i.ytimg.com/vi/I5Uzr01W9RE/mqdefault.jpg)


![Smetana: Vltava (The Moldau) Four Hand Piano Duet (Live)
Live recording from March 9th, 2025
Ying Xiao and Stefan Bötel
Hello dear music lovers,
this time I like to share a recording and piece that is very dear to my heart: The symphonic poem Vlatava (The Moldau) as a four hand piano version originally arranged by the composer himself in 1879.
The Moldau is really one of my most beloved pieces in music history. I always used to listen to the piece at my grandmas home on a cassette with a compilation of famous pieces conducted by Herbert von Karajan. Ever since I was a teenager I dreamed of performing the four hand piano version in a concert as I find it incredible how the piano can imitate the orchestra on the one hand while on the other hand emphasize certain parts of the music just differently than the orchestra.
I was really happy that my colleague Ying Xiao asked me to make a concert together where we could finally work on this gorgeous but also challenging piece of music. So I really hope that you enjoy this recording!
Má vlast: Symphonic poems by Bedřich Smetana
Má vlast (Czech pronunciation: [maː vlast]), also known as My Fatherland, is a set of six symphonic poems composed between 1874 and 1879 by the Czech composer Bedřich Smetana. The six pieces, conceived as individual works, are often presented and recorded as a single work in six movements. They premiered separately between 1875 and 1880. The complete set premiered on 5 November 1882 in Žofín Palace, Prague, under Adolf Čech.
Má vlast combines the symphonic poem form, pioneered by Franz Liszt, with the ideals of nationalistic music of the late nineteenth century. Each poem depicts an aspect of Bohemias countryside, history, or legends.
The works have opened the Prague Spring International Music Festival, on the 12 May anniversary of the death of their composer, since 1952.
Structure of the Symphonic Poem
Vyšehrad (The High Castle)
Vltava (The Moldau)
Šárka
Z českých luhů a hájů (From Bohemias Woods and Fields)
Tábor
Blaník
Vltava
Vltava, also known by its English title The Moldau, and the German Die Moldau, was composed between 20 November and 8 December 1874 and was premiered on 4 April 1875 under Adolf Čech. It is about 13 minutes long, and is in the key of E minor. It is the most well known of the poems, often performed separately from the full work.
In this piece, Smetana uses tone painting to evoke the sounds of one of Bohemias great rivers. In his own words:
The composition describes the course of the Vltava, starting from the two small springs, the Studená and Teplá Vltava, to the unification of both streams into a single current, the course of the Vltava through woods and meadows, through landscapes where a farmers wedding is celebrated, the round dance of the mermaids in the nights moonshine: on the nearby rocks loom proud castles, palaces and ruins aloft. The Vltava swirls into the St Johns Rapids;[n 2] then it widens and flows toward Prague, past the Vyšehrad, and then majestically vanishes into the distance, ending at the Elbe.
Vltava contains Smetanas most famous tune. It is an adaptation of the melody La Mantovana, attributed to the Italian Renaissance tenor Giuseppe Cenci, which, in a borrowed Romanian form, was also the basis for the Israeli national anthem Hatikvah. The tune also appears in an old Czech folk song, Kočka leze dírou (The Cat Crawls Through the Hole); Hanns Eisler used it for his Song of the Moldau [de]; and Stan Getz performed it as Dear Old Stockholm (possibly through another derivative of the original tune, Ack Värmeland du sköna). Horst Jankowski played a syncopated version of the tune on his easy listening hit, A Walk in the Black Forest.
The piece is featured in Don Hertzfeldts short film Everything Will Be OK (2006) and in Terrence Malicks The Tree of Life (2011). Smetana: Vltava (The Moldau) Four Hand Piano Duet (Live)](https://i.ytimg.com/vi/JRpS-OHvcwQ/mqdefault.jpg)

![Antonin Dvorak: Slavonic Dance in e-minor op.72 nr.2 (Dumka) - Piano 4 hands
Live recording from March 9th, 2025
Ying Xiao and Stefan Bötel
Hello friends! Here another performance of our concerts this year. This time we are playing the beautiful Slavonic Dance op.72 nr.2 by Antonin Dvorak. This dance is written in a style of a Dumka a Ukrainian dance.
The Moldau for piano four hands: https://youtu.be/JRpS-OHvcwQ
Hungarian Dance for Four Hands: https://youtu.be/sdx4sDRicDI
The Slavonic Dances (Czech: Slovanské tance) are a series of 16 orchestral pieces composed by Antonín Dvořák in 1878 and 1886 and published in two sets as Op. 46 and Op. 72 respectively. Originally written for piano four hands, the Slavonic Dances were inspired by Johannes Brahmss own Hungarian Dances and were orchestrated at the request of Dvořáks publisher soon after composition. The pieces, lively and full of national character, were well received at the time and today are considered among the composers most memorable works, occasionally making appearances in popular culture. As described on Europeana, Contrary to what the title might suggest, the dances are not so much inspired by Slavic folk music generally, but specifically by styles and forms from Bohemia. In these pieces, Dvořák never actually quotes folk melodies, but evokes their style and spirit by using traditional rhythmic patterns and structures in keeping with traditional folk dances.
The Op. 46 set is listed in the Burghauser catalogue as B. 78 in the original piano four hand version, and as B. 83 in the orchestral version. The Op. 72 set is catalogued as B. 145 in the piano four hand version, and as B. 147 in the orchestral version.
In Simrocks original edition of the piano duet, no. 3 was the D major Sousedská and no. 6 the A flat major Polka, an order apparently approved by Dvořák. Their positions were reversed in the orchestral version. Both orders are still found.
Composition
Prior to the publication of the Slavonic Dances, Op. 46, Dvořák was a relatively unknown composer and was of modest means. Consequently, he had applied for the Austrian State Prize fellowship (German Stipendium) in order to fund his composing work. After he won the prize three times in four years (1874, 1876 and 1877), Johannes Brahms, as one of the members of the committee responsible for awarding the stipend, referred Dvořák to his own publisher, Fritz Simrock. The first of Dvořáks music to be published by Simrock was the Moravian Duets, which attained widespread success; encouraged, Simrock asked the composer to write something with a dance-like character.
Unsure how to begin, Dvořák used Brahmss Hungarian Dances as a model—but only as a model; there are a number of important differences between the two works.[4] For example, whereas Brahms made use of actual Hungarian folk melodies, Dvořák only made use of the characteristic rhythms of Slavic folk music: the melodies are entirely his own. Simrock was immediately impressed by the music Dvořák produced (originally for piano four hands), and asked the composer for an orchestral version as well. Both versions were published within the year, and quickly established Dvořáks international reputation. The enormous success of the Op. 46 dances led Simrock to request another set of Slavonic Dances in 1886; Dvořáks subsequent Op. 72 dances met with a similar reception.
The types of dances upon which Dvořák based his music include the furiant, the dumka, the polka, the sousedská, the skočná, the mazurka, the odzemek, the špacírka, the kolo and the polonaise. Most of the Slavonic Dances make use of Czech dance patterns with the exception of dumka (Ukrainian), kolo (Serbian) and odzemek (Slovak). A full performance of each opus typically takes approximately 35–40 minutes. Antonin Dvorak: Slavonic Dance in e-minor op.72 nr.2 (Dumka) - Piano 4 hands](https://i.ytimg.com/vi/KnbB8PMFao0/mqdefault.jpg)
