Uploaded November 2025 | Updated September 2026, 2 hours ago
Live Recording from February 28th, Yu Garden Cocert Venue, Hamburg, Germany.
Voice: Ying Xiao
Piano: Stefan Bötel
The brocaded harp is an ancient Chinese poem by poet Li Shangyin (813-858) put into music by composer Wang Long.
A very rough translation into English would go like this:
The ornate harp has fifty strings for no apparent reason,
Each string and each bridge is a reminder of years gone by.
Zhuangzi dreamed at dawn and mistook himself for a butterfly,
Emperor Wang transferred his springtime feelings to the cuckoo.
Under the moon above the vast sea, the pearl weeps tears,
Under the warm sun of Lantian, smoke rises from the jade.
These feelings might be worthy of remembrance,
But even then, they were filled with melancholy.
Check out my playlist for Chinese piano music:
youtube.com/playlist?list=PL6vPJToPyAlanbsOwo0nG4efO1ebeNVWv&si=4N3X2FOJMINm4FMz
Thanks for watching!
Live Recording from February 28th, Yu Garden Cocert Venue, Hamburg, Germany.
Voice: Ying Xiao
Piano: Stefan Bötel
The brocaded harp is an ancient Chinese poem by poet Li Shangyin (813-858) put into music by composer Wang Long.
A very rough translation into English would go like this:
The ornate harp has fifty strings for no apparent reason,
Each string and each bridge is a reminder of years gone by.
Zhuangzi dreamed at dawn and mistook himself for a butterfly,
Emperor Wang transferred his springtime feelings to the cuckoo.
Under the moon above the vast sea, the pearl weeps tears,
Under the warm sun of Lantian, smoke rises from the jade.
These feelings might be worthy of remembrance,
But even then, they were filled with melancholy.
Check out my playlist for Chinese piano music:
youtube.com/playlist?list=PL6vPJToPyAlanbsOwo0nG4efO1ebeNVWv&si=4N3X2FOJMINm4FMz
Thanks for watching!
![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)







