Heino Kaski: Mietiskelevä Fauni (Contemplative Faun) c. 1924 Clark Bryan 2026-09-27 | Heino Kaski: Mietiskelevä Fauni (Contemplative Faun) c. 1924
Sergei Rachmaninoff: Romance Op.10, No. 6 Clark Bryan, piano Clark Bryan 2026-09-25 | Sergei Rachmaninoff: Romance Op.10, No. 6 Clark Bryan, piano
David Duke: Seagulls Clark Bryan, piano Clark Bryan 2026-09-22 | David Duke: Seagulls Clark Bryan, pianoBorn in Vancouver in 1950, Duke studied musicology at UBC, the University of North Carolina and the University of Victoria, and studied composition with two important Canadian composers, Jean Coulthard and Violet Archer. Alongside his work as a composer and educator, he has written extensively about Canadian music and has had a long career as a classical music critic.Seagulls is an absolutely gorgeous piece. Romantic, soaring and wonderfully expansive, it has a deep sense of nostalgia that immediately drew me in. There is something about the music that seems to capture both the freedom of birds in flight and the vastness of the landscape beneath them. It unfolds naturally, with a lyricism that feels both intimate and spacious.I’m thrilled that this recording marks the beginning of a deeper exploration of David Duke’s piano music. There are many more works I hope to record and share in the months ahead.One of the great pleasures of this ongoing recording journey is discovering remarkable Canadian music that deserves to be heard more widely. Seagulls is certainly one of those discoveries.
Vladimir Sokalsky: Memories of the Past Op. 1, No. 1 Clark Bryan, piano Clark Bryan 2026-09-18 | Vladimir Sokalsky: Memories of the Past Op. 1, No. 1 Clark Bryan, piano
Philipp Scharwenka: Lento esspressivo from Für die Jugend Op. 71, No. 4 Clark Bryan, piano Clark Bryan 2026-09-10 | Philipp Scharwenka: Lento esspressivo from Für die Jugend Op. 71, No. 4 Clark Bryan, pianoAnother forgotten gem from the Romantic piano repertoire.There is something wonderfully familiar about this little piece. At moments it reminds me of a Beethoven Bagatelle: simple, direct and noble, with an expressive world that seems much larger than its dimensions. But Schumann is never far away either. The very idea of writing poetic miniatures for young players recalls Schumann’s Album for the Young, where music intended for developing musicians never means music without emotional depth.And then, every so often, Scharwenka seems to slip into the character of a folk dance. There is a naturalness and simplicity to the rhythm and melody that gives the music an almost timeless quality.Philipp Scharwenka (1847–1917) was the older brother of the better-known Xaver Scharwenka, but he was a significant musical figure in his own right: a Polish-German composer, teacher and director of the influential Klindworth-Scharwenka Conservatory in Berlin. His music was performed by some of the leading musicians of his day, and Max Reger was among his admirers.What I love about this piece is its lack of pretension. It is expansive without being grand, expressive without becoming sentimental, and simple without ever seeming slight.Another reminder that there is an enormous world of beautiful music waiting just beyond the familiar repertoire.
J. S. Bach: Menuet BWV Anhang 113 (Notenbüchlein für Anna Magdalena Bach) Clark Bryan, piano Clark Bryan 2026-09-09 | J. S. Bach: Menuet BWV Anhang 113 (Notenbüchlein für Anna Magdalena Bach) Clark Bryan, piano
Antonio Vivaldi: Largo from Concerto for Flautino RV 443 arr. Clark Bryan Clark Bryan 2026-09-07 | Antonio Vivaldi: Largo from Concerto for Flautino RV 443 arr. Clark Bryan Clark Bryan, pianoI’ve just completed a piano arrangement of the Largo from Vivaldi’s Concerto RV 443, a work of such transporting beauty that words can barely describe it.It begins as a sorrowful lament suspended in a dreamworld, its melody seeming to reach upward toward the heavens. As the theme unfolds through its beautiful sequences, there is a sweeping sense of nostalgia, of longing for something perhaps just beyond our grasp.I often reflect that when we search for meaning, we inevitably encounter the darker emotions of melancholy, sorrow and loss. Yet somehow, even in those moments, the light remains within view. Vivaldi seems to understand this perfectly. The music does not deny sadness. Instead, it transforms it into something luminous.Perhaps that is why this Largo moves me so deeply. For a few minutes, it seems to lift us out of the everyday world and carry us somewhere beyond it.I hope my arrangement brings you a little peace and, for a moment, transports you into those heavens.
Alberto Nepomuceno: Prélude Op. 11, No. 1 from Suite Antiga Clark Bryan, piano Clark Bryan 2026-09-01 | Alberto Nepomuceno: Prélude Op. 11, No. 1 from "Suite Antiga" Clark Bryan, piano I’ve returned to the music of Alberto Nepomuceno (1864–1920), one of the most important figures in the emergence of a distinct Brazilian classical tradition. I recently recorded one of his wonderfully expressive Folhas d’Álbum (album leaves), but this time I’ve gone in a very different direction with the Prelude from his Suíte Antiga, Op. 11.Nepomuceno was a fascinating musical figure. Brazilian by birth, he studied extensively in Europe and absorbed the Germanic and French traditions of his time, while becoming an important advocate for a musical culture that could speak with a distinctly Brazilian voice. He was also a significant force in Brazilian musical life as a composer, conductor and teacher.The Suíte Antiga looks much further back. As its title suggests, Nepomuceno turns to older forms and the sound world of the Baroque. But this Prelude certainly doesn’t feel like a polite exercise in historical style!I find it fiery, dramatic and intensely contrapuntal. The voices seem to propel one another forward, creating an extraordinary sense of momentum. At several points, the tightly woven counterpoint gives way to almost cadenza-like flourishes, as though the accumulated energy simply has to overflow.What particularly interests me as a performer is the tension between the Baroque model and Nepomuceno’s Romantic musical world. He actually indicates the use of pedal, and I think the music also invites a certain freedom of tempo. After all, the Baroque prelude itself often carried something of an improvisatory character.So I’ve approached this not as music that needs to be kept rigidly in time, but as something that can surge forward, pull back, breathe and then gather momentum again.Freedom with driving intensity perhaps sums it up best.Another remarkable discovery from a Brazilian composer whose music deserves to be heard much more widely.
Clark Bryan: Nocturne Populaire in d minor Clark Bryan 2026-08-30 | Clark Bryan: Nocturne Populaire in d minorDedicated to my Swedish friend Roger Gustavsson. Thank you for your friendship and passion for music. You have helped me discover so many wonderful hidden treasures.
W. A. Mozart: Kleiner Trauermarsch K. 453a Clark Bryan, piano Clark Bryan 2026-08-21 | W. A. Mozart: Kleiner Trauermarsch K. 453a Clark Bryan, piano I’ve just recorded one of Mozart’s smallest and strangest little works: the Kleiner Trauermarsch (“Little Funeral March”) in C minor, K. 453a.It lasts barely a minute without the repeats, but there’s a wonderful story behind it.Mozart wrote the piece in 1784 and placed it in the album of his gifted pupil Barbara Ployer, for whom he also wrote two piano concertos. He gave the march the wonderfully grand title "Marche funèbre del Signor Maestro Contrapunto" — “Funeral March for Signor Master Counterpoint.”And “Master Counterpoint” appears to have been Mozart himself.The joke gets even better: despite that lofty title, the piece contains virtually no counterpoint. Instead, Mozart gives us an exaggeratedly solemn little C-minor funeral procession — dotted rhythms, heavy chords and an almost comically serious sense of tragedy. Scholars have described it as a parody of the funeral-march style, and one can imagine Mozart and Ployer enjoying the joke together.What I love about it, though, is that the music itself never really winks at us. Played completely seriously, it can sound genuinely dark and mournful. The humour comes from the disproportion: all this gravity and ceremony compressed into sixteen tiny measures.Perhaps that’s the best way to approach Mozart’s joke — with a perfectly straight face.
Edvard Grieg: Cradle Song Op. 41, No. 1 Clark Bryan, piano Clark Bryan 2026-08-20 | Edvard Grieg: Cradle Song Op. 41, No. 1 Clark Bryan, pianoEdvard Grieg’s Cradle Song, Op. 41, is one of his own piano transcriptions of his songs.This is a haunting little work. Beneath the tenderness of the lullaby there is sadness, longing and, at times, an almost overwhelming surge of passion.The original song is “Vuggesang" Op. 9, No. 2, set to a poem by the Norwegian poet Andreas Munch. Its story is heartbreaking: a child’s mother has died, and the imagery of the poem turns the familiar comfort of a lullaby into something much darker. The mother rests peacefully in the grave, unable to return to care for her child.Knowing that story makes Grieg’s piano transcription feel very different. The gentle rocking motion is still there, but it seems to carry a profound grief within it. At times the music swells with extraordinary intensity, as though sorrow can no longer be contained, before returning to the quiet intimacy of the cradle song and then floating away to eternal sleep. Grieg had a remarkable ability to say a great deal in a small space. Although we often associate him with Norwegian folk influences, sweeping landscapes and national identity, some of his most affecting music is intensely personal and intimate.#EdvardGrieg #Grieg #CradleSong #Vuggesang #RomanticMusic #ClassicalPiano #PianoMusic #Pianist #ClassicalMusic #NorwegianMusic
Anatole Liadov: Prelude Op. 24, No. 1 Clark Bryan, piano Clark Bryan 2026-08-18 | Anatole Liadov: Prelude Op. 24, No. 1 Clark Bryan, piano
Vladimir Rebikov: Mazurka Op. 8, No. 9. Clark Bryan, piano Clark Bryan 2026-08-17 | Vladimir Rebikov: Mazurka Op. 8, No. 9. Clark Bryan, piano
César Cui: Berceuse Op 20, No 8 Clark Bryan, piano Clark Bryan 2026-08-15 | César Cui: Berceuse Op 20, No 8 Clark Bryan, piano
Alberto Nepomuceno: Folhas DÁlbum No. III Andante Mosso. Clark Bryan, piano Clark Bryan 2026-08-13 | Alberto Nepomuceno: Folhas D'Álbum No. III "Andante Mosso" Clark Bryan, piano
Vladimir Rebikov: Berceuse Op. 8, No. 16 Clark Bryan, piano Clark Bryan 2026-08-12 | Vladimir Rebikov: Berceuse Op. 8, No. 16 Clark Bryan, piano
Sergei Rachmaninoff: Six Moments Musicaux Op. 16, No. 5 Adagio sostenuto, Clark Bryan, piano Clark Bryan 2026-08-11 | Sergei Rachmaninoff: Six Moments Musicaux Op. 16, No. 5 "Adagio sostenuto", Clark Bryan, pianoApparently, YouTube thinks I’m Nikolai Lugansky. I suppose I should be flattered! 😄I’ve just recorded Sergei Rachmaninoff’s Moment musical in D-flat major, Op. 16, No. 5, and YouTube’s copyright system has identified my performance as a recording by the celebrated Russian virtuoso Nikolai Lugansky.It isn’t. It’s me. Those are my hands, my piano and my interpretation, with different timings and plenty of other evidence to prove it. So, I’ve filed the dispute and expect that little case of mistaken pianistic identity will eventually be sorted out!In the meantime, what a beautiful piece this is.The fifth of Rachmaninoff’s Six moments musicaux is surrounded by considerably more virtuosic music, and for me it provides a kind of emotional resting place within the set. Much of the work seems suspended over its persistent D-flat pedal point, while gently undulating triplets in the left hand create an almost hypnotic sense of stasis.There is something nocturne-like about it: intimate, loving and deeply meditative. Yet, as so often happens with Rachmaninoff, tranquillity never means an absence of emotion. The middle of the piece rises into passionate outcries, with moments of angst and yearning, while that underlying triplet motion continues almost as though time itself has refused to stop.Eventually the turbulence subsides and we return to that extraordinary stillness.Sergei Rachmaninoff (1873–1943) was one of the great pianist-composers of the late Romantic tradition. A graduate of the Moscow Conservatory, he developed an unmistakably personal musical language: sweeping lyricism, rich harmonic colours, intricate textures and an extraordinary understanding of the expressive possibilities of the piano. Following the Russian Revolution, he left Russia permanently and eventually settled in the United States, where performing increasingly dominated his career.I find Op. 16, No. 5 particularly beautiful because it doesn’t need Rachmaninoff’s enormous virtuoso gestures to make its impact. Its power comes from restraint, suspension and the feeling that something deeply human is stirring beneath an apparently tranquil surface.And Nikolai, if you happen to be watching — this one really is mine. 😊#Rachmaninoff #MomentsMusicaux #ClassicalPiano #Piano #Pianist #RomanticMusic #SergeiRachmaninoff #PianoMusic #ClassicalMusic
Henryk Pachulski: Prelude Op. 8, No 6. Clark Bryan, piano Clark Bryan 2026-08-10 | Henryk Pachulski: Prelude Op. 8, No 6. Clark Bryan, piano
Henri Soro: Trois petits Morceaux No. 3 Retour Clark Bryan, piano Clark Bryan 2026-08-08 | Henri Soro: Trois petits Morceaux No. 3 "Retour" Clark Bryan, piano
Julian Aguirre: Aires Nacionales Argentinos No. 5 Triste (Córdoba) Clark Bryan, piano Clark Bryan 2026-08-06 | Julian Aguirre: Aires Nacionales Argentinos Op. 17, No. 5 "Triste" (Córdoba) Clark Bryan, pianoToday I complete my recording of the five Tristes from Julián Aguirre's Aires Nacionales Argentinos, Op. 17Argentine composer and pianist Julián Aguirre (1868–1924)was one of the pioneers of Argentina's national musical voice. Born in Buenos Aires, he studied at the Madrid Royal Conservatory, where the great Spanish composer Isaac Albéniz recognized his remarkable talent. Returning to Argentina, Aguirre blended the lyricism of the Romantic tradition with the rhythms, colours and spirit of Argentine folk music, creating a body of piano music that remains one of the country's hidden treasures.The fifth Triste opens with an arresting flourish that immediately evokes the sound of the guitar, establishing the atmosphere before giving way to a wonderfully lyrical melody filled with unexpected turns and expressive twists. Throughout the work, the guitarist's pulse never seems to disappear completely. The challenge at the piano is to allow the melody to breathe and sing while preserving the rhythmic vitality and unmistakable character of those accompanying figures.Like the previous piece in the set, this Triste has been associated with Córdoba, and it provides a fitting conclusion to the cycle. Rather than ending with grand virtuosity, Aguirre leaves us with music that is intimate, poetic and unmistakably Argentine.I've thoroughly enjoyed exploring these five remarkable miniatures and introducing them to a wider audience. Fortunately, Aguirre didn't stop here—he later composed a second set of Aires Nacionales Argentinos, and I'm looking forward to exploring and recording those works in the near future.I hope you enjoy this beautiful conclusion to one of the gems of the Argentine piano repertoire.
Julian Aguirre: Aires Nacionales Argentinos No. 4, Triste (Córdoba) Clark Bryan, piano Clark Bryan 2026-08-05 | Julian Aguirre: Aires Nacionales Argentinos No. 4, Triste (Córdoba) Clark Bryan, pianoJulián Aguirre (1868–1924)Aires Nacionales Argentinos, Op. 17 – Triste No. 4 "Córdoba"Argentine composer and pianist Julián Aguirre was one of the pioneers of Argentina's national musical identity. Born in Buenos Aires in 1868, he spent his formative years in Spain, where he studied piano, harmony, counterpoint and composition at the Madrid Royal Conservatory. During his studies, the celebrated Spanish composer Isaac Albéniz recognized Aguirre's exceptional talent and predicted a brilliant future for the young musician.Returning to Argentina in 1886, Aguirre devoted himself to developing a distinctly Argentine voice in classical music. Rather than simply quoting folk melodies, he absorbed the spirit, rhythms and lyricism of his country's musical traditions into refined piano miniatures that blend Romantic warmth with the colours of Spanish and Argentine folklore.The Aires Nacionales Argentinos are among his finest achievements. Each piece reflects the character of a different region or musical tradition, capturing the intimacy and poetry of Argentina's folk heritage.Triste No. 4, "Córdoba" possesses an almost hypnotic simplicity. Its graceful melody unfolds like a gentle lullaby or an old folk song, returning again and again with quiet inevitability while delicate ornamentation and flowing arpeggios lend it warmth and subtle colour. There is nothing overtly virtuosic about the writing; instead, Aguirre invites the listener into a world of quiet reflection, where the music speaks with sincerity rather than brilliance.As the final phrases gradually dissolve into silence, the music seems less to end than to drift away, leaving behind the lingering memory of a distant voice. It is a miniature of remarkable restraint and beauty, demonstrating Aguirre's extraordinary ability to express profound emotion with the simplest of musical means.I hope you enjoy this beautiful gem by one of Argentina's most lyrical and undeservedly overlooked composers.
Julian Aguirre: Aires Nacionales Argentinos No 3 Triste Clark Bryan, piano Clark Bryan 2026-08-04 | Julian Aguirre: Aires Nacionales Argentinos No 3 "Triste" Clark Bryan, pianoJulian Aguirre's Aires Nacionales Argentinos No. 3 – Triste is one of those rare works that seems to linger in the air long after the final note has faded.The opening and closing Recitativo unfold like a solitary voice in quiet reflection—a solemn soliloquy that feels like an ode to unrequited love. Between them emerges a haunting melody infused with the colours of the guitar, its Moorish inflections giving the music an unmistakable sense of longing, nostalgia, and quiet resignation.Aguirre (1868–1924) was among Argentina's most important composers. After studying in Madrid, where Isaac Albéniz recognized his extraordinary talent, he returned home and became one of the pioneers of an authentic Argentine musical voice. His tristes drew upon the folk melodies, rhythms, and harmonies of his homeland, transforming them into intimate piano miniatures of remarkable beauty and emotional depth.It is a privilege to share this forgotten gem from a composer whose music deserves to be heard far more often.
Julian Aguirre: Aires Nacionales Argentinos No 2 Triste Clark Bryan, piano Clark Bryan 2026-08-03 | Julian Aguirre: Aires Nacionales Argentinos No 2 "Triste" Clark Bryan, piano
Henri Soro: Souvenir No. 2 from Trois Petits Morceaux. Clark Bryan, piano Clark Bryan 2026-08-02 | Henri Soro: Souvenir No. 2 from Trois Petits Morceaux Clark Bryan, piano
Julian Aguirre: Canciones Nacionales Argentinos No. 1: Triste (Sadness). Clark Bryan, piano Clark Bryan 2026-07-22 | Julian Aguirre: Canciones Nacionales Argentinos No. 1: "Triste" (Sadness). Clark Bryan, piano
Henri Soro: Éloignement from Trois petits Morceaux Clark Bryan, piano Clark Bryan 2026-07-20 | Henri Soro: Éloignement from Trois petits Morceaux Clark Bryan, piano
Frank Hutchens: Evening Clark Bryan, piano Clark Bryan 2026-07-18 | Frank Hutchens:Evening Clark Bryan, piano
Erkki Melartin: Evening in Venise Op 85, No 6 Clark Bryan, piano Clark Bryan 2026-07-17 | Erkki Melartin: Evening in Venise Op 85, No 6 Clark Bryan, pianoVenice has always held a special place in my imagination, and this beautiful miniature by Finnish composer Erkki Melartin instantly transports me back to an evening spent gliding through its canals.The opening feels like a ceremonial trumpet fanfare echoing across St. Mark's Square as the day draws to a close. I imagine the pageantry of Venice—the last golden light, the sound of distant brass, and the city preparing for night.Soon the music drifts onto the canals. The gently undulating figures in the left hand suggest both the rhythmic stroke of a gondolier's oar and the movement of the water itself, while shimmering flourishes in the right hand create an almost dreamlike atmosphere. Throughout the work, the recurring fanfare ties the journey together before gradually fading into silence, as though the sun has finally disappeared below the horizon and Venice settles into the night.What I find especially fascinating is that this musical postcard was written not by an Italian composer, but by a Finn. Melartin captures the romance, mystery, and quiet grandeur of Venice with remarkable imagination, creating a scene that feels both exotic and deeply evocative.I hope you enjoy this enchanting glimpse of Evening in Venice#ErkkiMelartin #EveningInVenice #PianoMusic #ClassicalPiano #FinnishComposer #RomanticMusic #HiddenGems #ForgottenComposers #PianoRepertoire #ClassicalMusic #Venice #Gondola #MusicDiscovery #Pianist #ClarkBryan
Christian Sinding: Mélodie Op. 128, No. 4 Clark Bryan, piano Clark Bryan 2026-07-15 | Christian Sinding: Mélodie Op. 128, No. 4 Clark Bryan, pianoSome discoveries leave you wondering why they disappeared in the first place.Today I'm delighted to share my recording of Mélodie, Op. 128 No. 4 by the Norwegian composer Christian Sinding (1856–1941)Most listeners know Sinding for his famous piano miniature *Rustle of Spring*, but his catalogue contains many beautiful works that have quietly faded from the concert stage. *Mélodie* is one of them.Filled with love and nostalgia, the music unfolds over a gentle, harp-like accompaniment that seems to breathe beneath the melody. There is an unmistakable sense of longing throughout, yet the work never loses its warmth. At moments, the music blossoms into passionate, soaring climaxes before settling once again into quiet reflection. It is a piece of remarkable lyricism and emotional depth.As far as I have been able to determine, this may be the world premiere recordin of Mélodie, Op. 128 No. 4. Despite extensive searching, I have not found another recording of this work. If anyone knows of an earlier recording, I would genuinely love to hear about it.Sinding was one of Norway's most celebrated composers during his lifetime and was often regarded as the natural successor to Edvard Grieg. Although he composed symphonies, concertos, chamber music, songs, and opera, history has largely remembered him for a single piano piece. His legacy was further complicated after the Second World War when, while suffering from advanced dementia, he was controversially associated with Norway's Nazi Party under circumstances that historians continue to debate. Earlier in his life, however, he had publicly defended Jewish musicians and opposed many aspects of Nazi ideology.Whatever history's complexities, this music deserves to be heard on its own merits.I hope you'll enjoy discovering another hidden gem from the extraordinary world of piano music.#ChristianSinding #NorwegianMusic #PianoMusic #ClassicalMusic #RomanticMusic #HiddenGems #ForgottenComposers #WorldPremiereRecording #Pianist #Piano #DiscoverMusic #ClassicalPiano #MusicHistory #EdvardGrieg #ClarkBryan
Rheinhold Glière: Méditation Op. 34, No. 21 Clark Bryan, piano Clark Bryan 2026-07-01 | Rheinhold Glière: Méditation Op. 34, No. 21 Clark Bryan, piano
Rheinhold Glière: Ballade Op. 34, No. 11 Clark Bryan, piano Clark Bryan 2026-06-30 | Rheinhold Glière: Ballade Op. 34, No. 11 Clark Bryan, piano
Rheinhold Glière: En berceau Op. 34, No. 10 Clark Bryan, piano Clark Bryan 2026-06-30 | Rheinhold Glière: En berceau Op. 34, No. 10 Clark Bryan, piano
Benjamin Godard: Petit Canon Op. 58, No. 6 Clark Bryan, piano Clark Bryan 2026-06-27 | Benjamin Godard: Petit Canon Op 58, No. 6 Clark Bryan, piano
Federico Mompou: Impresiones Intimas No. 7 Cuna (Cradle) Clark Bryan, piano Clark Bryan 2026-06-26 | Federico Mompou: Impresiones Intimas No. 7 "Cuna" (Cradle) Clark Bryan, piano
Edward B Hill: Sketch No 3 after Stephen Crane Op. 7, No. 3 Clark Bryan, piano Clark Bryan 2026-06-25 | Edward B Hill: Sketch No 3 after Stephen Crane Op. 7, No. 3 Clark Bryan, piano
Sergei Bortkiewicz: First Sorrow Op. 14, No. 5 Clark Bryan, piano Clark Bryan 2026-06-18 | Sergei Bortkiewicz: First Sorrow Op. 14, No. 5 Clark Bryan, pianoLike an unsettled heartbeat pulsing beneath the surface, Sergei Bortkiewicz's "First Sorrow", Op. 14 No. 5, unfolds as a deeply personal meditation on grief. Anxious waves of accompaniment support a melody that seems to gasp for breath, repeatedly building toward emotional climaxes only to retreat into resignation. There is no triumph here, no easy consolation. Instead, the music gradually yields to a quiet denouement of tragic loss, ending with a prayerful plagal cadence that feels almost like the final blessing at a funeral—a moment of acceptance without reconciliation.Sergei Bortkiewicz (1877–1952)was a Ukrainian-born pianist and composer whose music carried the rich Romantic traditions of Chopin, Liszt, and Rachmaninoff into the twentieth century. Born near Kharkiv, he lived through revolution, war, exile, and the collapse of the world he had known. Forced to flee his homeland and later displaced repeatedly across Europe, Bortkiewicz poured his experiences of loss, nostalgia, longing, and resilience into his music.Although his works fell into relative obscurity during the modernist movement, they have experienced a remarkable revival in recent decades. Today, listeners are rediscovering a composer whose lyrical voice, emotional honesty, and sumptuous pianistic writing speak directly to the heart.First Sorrow is among his most intimate creations: a reminder that music can give voice to emotions that words often cannot express.#SergeiBortkiewicz #Bortkiewicz #FirstSorrow #PianoMusic #ClassicalPiano #RomanticMusic #LateRomantic #UkrainianComposer #PianoRecording #ClassicalMusic #Pianist #ConcertPianist #HiddenGems #PianoLiterature #MusicForTheSoul #CanadianPianist #clarkbryan
Laura Netzel: Prélude Op. 24, No. 1 Clark Bryan, piano Clark Bryan 2026-06-17 | Laura Netzel: Prélude Op. 24, No. 1 Clark Bryan, pianoLaura Netzel (1839–1927) was a Finnish-born Swedish composer, pianist, conductor, and philanthropist whose music blended rich Late Romantic lyricism with elegant French influences. Publishing early works under the pseudonym **N. Lago**, she became one of the most respected Scandinavian women composers of her era.A passionate advocate for social justice, Netzel organized charitable concerts that raised funds for women, children, and the poor, often ensuring that working-class audiences had access to great music. Her largest work, Stabat Mater, earned personal praise from King Oscar II of Sweden. Alongside Elfrida Andrée, Valborg Aulin, and Helena Munktell, she helped pave the way for future generations of women composers.#LauraNetzel #WomenComposers #ClassicalMusic #PianoMusic #RomanticEra #SwedishMusic #FinnishComposers #MusicHistory #ForgottenComposers #WomenInMusic #Pianist #Composer #ScandinavianMusic
Valborg Aulin: Minnen Memories Op. 7 , No. 5 Clark Bryan, piano Clark Bryan 2026-06-12 | Valborg Aulin: Minnen Memories Op. 7 , No. 5 Clark Bryan, pianoLaura Valborg Aulin (1860–1928) was a pioneering Swedish pianist, teacher, and composer whose remarkable talent earned her a prestigious Jenny Lind Scholarship and advanced studies in Copenhagen and Paris. A respected figure in Stockholm's musical circles, Aulin created works that blended Romantic lyricism with Scandinavian character, drawing inspiration from composers such as Schumann, Chopin, Grieg, and Tchaikovsky.Despite early success, her move from Stockholm to Örebro led to her music gradually disappearing from concert programs. Today, her works are being rediscovered as important contributions to Sweden's musical heritage. Among her most ambitious compositions is *Tableaux Parisiens*, an orchestral suite inspired by her studies in Paris and the music of Berlioz and Massenet—a work that, tragically, was never performed during her lifetime.Aulin's story stands as both a testament to extraordinary artistic achievement and a reminder of the challenges faced by women composers in the nineteenth century.#LauraValborgAulin #WomenComposers #SwedishMusic #ClassicalMusic #PianoMusic #RomanticEra #ForgottenComposers #NordicMusic #WomenInMusic #MusicHistory #ComposerSpotlight #PianoRepertoire #ScandinavianMusic
Arseni Gladkowski: Valse Lent (Kleine Tänzerin), Clark Bryan, piano Clark Bryan 2026-06-11 | Arseni Gladkowski: Valse Lent (Kleine Tänzerin), Clark Bryan, piano
Adolf Skulte: Arietta 1948 Clark Bryan, piano Clark Bryan 2026-06-09 | Adolf Skulte: Arietta 1948 Clark Bryan, pianoĀdolfs Skulte (1909–2000) was one of Latvia's leading composers, best known for his symphonies and orchestral music. His Arietta reveals a more intimate side: lyrical, expressive, and quietly beautiful. With its singing melodies and delicate colours, this miniature reflects Skulte's belief that "a score is a painting."#AdolfsSkulte #Arietta #PianoMusic #ClassicalPiano #BalticMusic #PianoMiniature #HiddenGems #PianoRecording #ClassicalMusic #ClarkBryan
Rheinhold Glière: Prelude Op. 43, No. 1. Clark Bryan, piano Clark Bryan 2026-06-08 | Rheinhold Glière: Prelude Op. 43, No. 1Clark Bryan, pianoReinhold Glière (1875–1956) was a Russian-Soviet composer, teacher, and musical bridge between the Romantic era and the 20th century. A student of Sergei Taneyev and mentor to composers including Sergei Prokofiev and Aram Khachaturian, Glière is best known for his epic Symphony No. 3 "Ilya Muromets," the ballet *The Red Poppy*, and richly melodic orchestral works. His music combines sweeping lyricism, colorful orchestration, and a deep connection to Russian folklore and tradition.#ReinholdGliere #ClassicalMusic #PianoMusic #RussianMusic #RomanticMusic #ComposerSpotlight #MusicHistory #SymphonicMusic #Pianist #ClassicalPiano
Federico Mompou: Impresiones Intimas No. 1 Clark Bryan, piano Clark Bryan 2026-06-05 | Federico Mompou: Impresiones Intimas No 1 Clark Bryan, pianoFrederic Mompou (1893–1987) was a Catalan composer and pianist whose music speaks in whispers rather than shouts. Born in Barcelona and influenced by both Catalan and French musical traditions, he studied in Paris and developed a deeply personal style marked by simplicity, introspection, and poetic beauty. Shy by nature, Mompou chose composition over a concert career, creating some of the most intimate and timeless piano music of the 20th century.#FredericMompou #Mompou #CatalanComposer #PianoMusic #ClassicalPiano #SpanishMusic #CatalanMusic #FrenchInfluence #Pianist #Composer #ClassicalMusic #SoloPiano #PianoRepertoire #MusicHistory #ListeningNotes
Federico Mompou: Secreto from Impresiones Intimas (1912). Clark Bryan, piano Clark Bryan 2026-06-05 | Federico Mompou: Secreto from Impresiones Intimas (1912). Clark Bryan, pianoFrederic Mompou (1893–1987) was a Catalan composer and pianist whose music speaks in whispers rather than shouts. Born in Barcelona and influenced by both Catalan and French musical traditions, he studied in Paris and developed a deeply personal style marked by simplicity, introspection, and poetic beauty. Shy by nature, Mompou chose composition over a concert career, creating some of the most intimate and timeless piano music of the 20th century.#FredericMompou #Mompou #CatalanComposer #PianoMusic #ClassicalPiano #SpanishMusic #CatalanMusic #FrenchInfluence #Pianist #Composer #ClassicalMusic #SoloPiano #PianoRepertoire #MusicHistory #ListeningNotes
Arthur Benjamin: Romance Impromptu. Clark Bryan, piano Clark Bryan 2026-06-03 | Arthur Benjamin: Romance Impromptu. Clark Bryan, pianoArthur Benjamin (1893–1960) was an Australian-born composer, pianist, conductor, and teacher whose career spanned Australia, Britain, and Canada. Best known for his beloved *Jamaican Rumba* and the *Storm Clouds Cantata* featured in Alfred Hitchcock's *The Man Who Knew Too Much*, Benjamin combined Romantic lyricism with vibrant international influences. A respected professor at the Royal College of Music and conductor of the CBC Symphony Orchestra in Vancouver during World War II, he left a rich legacy of orchestral, chamber, operatic, and film music.#ArthurBenjamin #ClassicalMusic #Composer #Pianist #AustralianComposer #CanadianMusic #BritishMusic #JamaicanRumba #FilmMusic #TheManWhoKnewTooMuch
Florence Price: Rhapsody in E flat Major Clark Bryan, piano Clark Bryan 2026-05-22 | Florence Price: Rhapsody in E flat Major Clark Bryan, piano
Cesar Cui: Petite Prelude No. 2 Clark Bryan, piano Clark Bryan 2026-05-17 | Cesar Cui: Petite Prelude No. 2 Clark Bryan, piano
Cesar Cui: Aveu timide Op 20, No 2 Clark Bryan, piano Clark Bryan 2026-05-16 | Cesar Cui: Aveu timide Op 20, No 2 Clark Bryan, piano
César Cui: Expansion naive Op 20, No 1 Clark Bryan, piano Clark Bryan 2026-05-15 | César Cui: Expansion naive Op 20, No 1 Clark Bryan, piano
César Cui: Souvenir douloureux Op. 20, No. 6. Clark Bryan, piano Clark Bryan 2026-05-14 | César Cui: Souvenir douloureux Op. 20, No. 6. Clark Bryan, piano
Enrique Granados: Sueños del poeta from Escenas Poeticas Book II No 4 Clark Bryan, piano Clark Bryan 2026-05-12 | Enrique Granados: Sueños del poeta from Escenas Poeticas Book II No 4 Clark Bryan, piano
Enrique Granados: Eva y Walter from Excenas Poéticas Clark Bryan, piano Clark Bryan 2026-05-09 | Enrique Granados: Eva y Walter from Excenas Poéticas (Eva and Walter from Poetical Scenes)Clark Bryan, piano Piano: Yamaha C7Microphones:AKG C451BAKG C414
