Puccini – Nessun Dorma
Tommaso da Celano – Pie Jesus
Donizetti – Spargi D’ Amaro Pianto
Puccini – O Mio Babbino Caro
Gounod- Ah je veux vivre dans ce reve (Romeo et Juliette)
Puccini – The Humming Chorus
Delibes – The Flower Duet
Delibes – Ou va la jeune hindoue
Donizetti – L’elisir D’amore – Una Furtiva
Bizet – Pearlfisher’s Duet
Mozart – Cosi Fan Tutte
Carmen – Habanera
Offenbach – Les Oiseaux Dans La Charmille
Verdi – Rigoletto – La Donna E Mobile
Verdi – La traviata: Brindisi
A musician friend visited my web site and listened to the second movement of Beethoven’s piano sonata number 8 (the Pathetique) played by Wilhelm Kempff, who was particularly well known for his Beethoven interpretations. My friend then sent me a link to the same piece played by Radu Lupu. Incredible difference! The Kempff version runs 4:56 while Lupu’s goes 7:05! Have a listen to Kempff first, and then the slower, poetic and beatific version by Lupu.
Beethoven piano sonata 8 / 2nd movement by Kempff
by Lupu
After reading the article below and a few others about Radu I began seeking his music out and I’m now a real ‘fan.’ I was amazed that I hadn’t found him before, during my lengthy and exhaustive searches and downloads, for the great pianist of the 20th century. Unfortunately it so far appears that his recorded catalog is fairly small. After the link there are a few more examples of how ‘Slow is better’! Exquisite Brahms.
http://www.scena.org/lsm/sm13-4/sm13_4_lupu_en.html
Brahms intermezzo 118 second movement played by Idil Biret
Played by Radu
Brahms Intermezzi, op117 (1) Andante moderato played by Kempff
Played by Radu
Piano Concerto #2 – second movement (*Sorry I lost the “tag” for who the artist is)
24 Preludes Op.28 No.6 in B minor played by Garrick Ohlsson
Fantaisie-Impromptu #4 in C sharp min, Op. 66 played by Martha Argerich
Waltz in A flat op.69 1 Valse de l’adieu played by Claudio Arrau
Polonaise No. 6 in A flat major, Op. 53, “Heroic” played by Rafal Blechacz
Berceuse, Op. 57 played by Maurizio Pollini
Scherzo no.2 in B flat minor, Op.31 played by Yundi Li
Mazurka #43 in g, op67- 2 played by Arturo Benedetti Michelangeli
Andante Spianato and Grand Polonaise, op. 22 part 1 played by Alfred Brendel
Chopin – Piano Concertos no. 1 – 2. Romanze. Larghetto played by Yundi Li
This Long Play runs approx. 40 minutes
Beethoven Long Play
Piano Concerto #5 Second movement
Rondo e capriccio Op. 129 (Rage over a lost penny)
Paino Sonata no. 23 “Appassionata” 2nd movement
Moonlight Sonata
Duo for Clarinet & Bassoon in C Woo27 / third movement
Sextet / Adagio
Violin Sonata no. 3 Second movement
I stumbled upon Anton Arensky when I went to a concert in my local small town. While introducing this piece, the pianist in the trio mentioned that Arensky taught Scriabin and Rachmaninoff. My ears perked up!
http://en.wikipedia.org/wiki/Anton_Arensky
It so happened that my wife Tricia had painted the violinist and entered the painting in a prestigious Australian art prize. We took it along and showed Niki.
http://www.dancingdust.com/large/niki.html
So many ignored and forgotten great composers. Now with the internet we all can find them much more easily!
Enjoy Arensky’s Trio in D minor, op. 32: Elegia – Adagio
The Nash Ensemble – Arensky- Trio in D minor, Op.32- Elegia – Adagio
Beethoven IS “The Greatest.” (IMHO)
Did Beethoven ‘inherit'(or use and transform to a higher level): Compositions from Haydn?
Did Beethoven rely on – or come back to Haydn for inspiration? … Haydn’s humor, spontaneity and Joie de vivre? … and the ability to transform pure ‘sweetness’ into a challenging/deeper probing? This a question for “Scholars”? Let’s just listen!
Well … Beethoven dedicated this piece to Haydn. (*played by Paul Lewis) You be the Judge. How much does Ludwig owe Haydn?!
Beethoven Sonata No. 2 in A major Op. 2 No. 2 III. Scherzo. Allegretto
How about watching a new ‘hot shot’ play the same piece? Rafal Blechacz.
Here’s one comment when Rafal Blechacz won all five first prizes! … at the 15th International Frederick Chopin Piano CompetitionWarsaw According to ABC News, one of the judges, Professor Piotr Paleczny, said that Blechacz “so outclassed the remaining finalists that no second prize could actually be awarded.”
Another judge, the distinguished Irish pianist John O’Conor, said “He is one of the greatest artists I have had a chance to hear in my entire life,” according to PBS. Blechacz was the first Pole to win the prize (given every five years) since 1975, when Krystian Zimerman[1][2][3][4][5] won.
What a sweet, honest and straightforward man he appears to be!
Consider: What music would someone want to hear when they knew they were dying?
It’s especially fascinating to consider when that someone had devoted their entire life to music. She met and collaborated with some of the 19th Century’s greatest composers: Married and lived with one of those Great composers.
That was Clara Schumann – Robert’s wife – a musical heroine if there ever was one! (Google her to find out why she was such a Heroine, raising 8 children, touring Europe and taking care of her husband – it’s a great story)
She asked to hear this piece on her deathbed.
In March 1896, Clara Schumann suffered a stroke. Her friend Johannes Brahms canceled plans for an Italian vacation to wait for news of her improvement. On her deathbed, she asked her grandson Ferdinand to play her husband’s F-sharp major romance for her. That was the last music Clara Schumann heard. She died May 20, 1896. Brahms attended the funeral. He died eleven months later.
Robert Schumann: Romance in F# Op.28
Robert Schumann: Romance, Op.28 in F sharp
This piece is already on the site (see: A Little Satie and then some more!) – under Blog Titles.
I thought it was worth putting it out again on it’s own, instead of just part of a Satie medley. I like it a lot. How ’bout you? (*this version is played a bit faster and with more intensity than some I’ve found and it sounds “right” to me)
Did something Transcendent happen? … somewhere?
Eric Satie 5ieme Gnossienne Modere
With floating sandalwood candles and milk liquour. (Rubber ducky falls in, and very briefly makes a few waves, about two thirds through)
Pianist is one of the truly greats – Benedetti Michelangeli
Ravel’s Piano Concerto in G / Second movement / Adagio assai
Mozart piano sonata #12 – K332 / Adagio
In an earlier posting titled “Madmen of the piano” I focused on composers. Here let’s focus on the pianists.
I’ve recently spent a lot of time updating my Chopin collection; seeking out the greatest pianists I can find. The more I listen to these virtuosic dynamos … the more amazed I am that the human body can accomplish these feats. How can fingers move so rapidly? How can the rythym and timing of striking the right note go on and on … when it’s different between the two hands? – Sometimes a variable speed, rythm, reach and tone going on between the two hands. I don’t get it. I mean… they don’t all have a touch of Tourettes Syndrome do they!?
(*I remember reading that some Tourettes people have much faster reflexes and mechanical movements than normal)
Just listen to, and watch, what 10 fingers, 2 hands, 2 wrists and forearms can do!
(My vote for the “impossible” goes to Cziffra in the video)
Claudio Arrua plays Chopin’s Etude #1 op. 10
Georges Cziffra – Chopin Etude Op. 25 No. 2
Martha Argerich – Chopin prelude 16, op. 28
Vladimir Horowitz – Franz Liszt / Tarentella
Here’s what a music reviewer wrote about this late piano piece by Schubert:
I find it hard to account for the intensity of the spiritual response that the slow movements of late Beethoven and late Schubert produce in me… the slow movement of D960, one of the last creations of a desperately ill 31-year-old-man who has lost his Catholic faith, is frightened out of his wits by the ordeal that lies ahead, and yet produces music of the most magical serenity.
Piano sonata #21 D960/ second movement
And this second piece with its ‘inherent weirdness.’ It fascinates me how accu
rate, poetic and articulate some music critics can be!
In the great Andantino movement of the A major, the pianist is alive to its inherent weirdness as Schubert sends a nostalgically beautiful melody off the deep end to fragmentation, then reassembles it into a broken shadow of itself.
Piano sonata #20 in A major second movement
Schubert PS 20 second movement
Here is a comment I just received today.
I recently found your website and have been listening to and enjoying some of your selections. Unlike most other genres of music it seems to be difficult to find classical music on the web without having to pay for the privilege. So your endeavours are much appreciated. It saddened me somewhat to read your “Opera Apology”. Although I’m not an avid fan of opera, it seems to me that you are missing out on so much beautiful music. I put my thinking cap on and thought if “The Evening Prayer” from Humperdink’s opera Hansel and Gretel doesn’t move you then you really must have a very deep phobia.
Here is the uTube link: http://www.youtube.com/watch?v=V6Fr3I4fUAo
No Comment I say! Up to you dear listener. It’s your site!
In an attempt to broaden the site, I’ve gone searching for those ‘well known’ composers who until now haven’t been on the site. It was a quick and superficial effort to find either their better known works, or those that I felt had a great appeal. Apologies to anyone who knows and appreciates these composers … if my choices were poor ones!
Under the composer name are links to Biographies.
Henry Purcell (10 September 1659 (?)– 21 November 1695)
http://www.naxos.com/composerinfo/Henry_Purcell_20995/20995.htm
Slow Air Suite from the Dramatic Music of Purcell
Purcell Slow Air Suite from the Dramatic Music of Purcell
Luigi Boccherini (February 19, 1743 – May 28, 1805)
http://en.wikipedia.org/wiki/Luigi Boccherini
Cello Concerto in B flat major, G. 482 Andante grazioso
Boccherini cello conc. B flat maj. G482 Andante grazioso
Giuseppe Sammartini (6 January 1695 – November 1750)
http://en.wikipedia.org/wiki/Giuseppe_Sammartini
Concerto grosso in E minor, Op. 3, No. 3 Allegro
Anton Reicha (February 26, 1770 – May 28, 1836)
http://en.wikipedia.org/wiki/Anton_Reicha
Wind Quartet In E Flat Major (Andante Grazioso)
Wind Quartet In E Flat Major (Andante Grazioso)
Muzio Clementi 24 January 1752, – 10 March 1832
http://www.naxos.com/composerinfo/Muzio_Clementi/25957.htm
Gradus ad Parnassum op.44 no. 5
Gradus ad Parnassum op.44 no. 5
Cesar Franck (10 December 1822 – 8 November 1890)
http://en.wikipedia.org/wiki/C%C3%A9sar_Franck
Wanting to include composers who weren’t already on the site, or whose music I didn’t know; or those I thought I didn’t like … I searched for something by Franck that I (and you?) could enjoy. I couldn’t find anything! I suppose I must really dislike his music. So I just picked a piece at random to illustrate why (so far) I don’t like his music.
The first 3 minutes of Les Dijnns (there is a slight (5 second) delay on this one playing)
Les Djinns, poeme symphonique
After my last posting “Clara Schumann – the only woman?!” (the next one down the page) my brother sent me an email with a link showing hundreds of female Classical composers. I took this as a sign! I needed to research and listen. How many of these female composers were considered to be very accomplished? On a par with the men? Why weren’t any of them included in that ‘Boy’s Club’ list of “Great Composers”? It was a fantastic journey into territory I knew nothing about.
The two big questions for you dear listener (and for me too; since I haven’t listened really carefully yet after acquiring the pieces – but I will!) 1) Can you hear the same ‘greatness’ in some of the pieces? 2) Can you detect a subtle (or maybe not so subtle) colour/tone/vibe of the Feminine Principle?
Under each composer is a link to Biographical information.
Since a reviewer I used in my research declared: “Madame Farrenc is certainly the greatest woman-composer in the history of classical music.” I’ll save her until last; along with some germain notes on the issue.
Marianne von Martines (Martinez) (May 4, 1744 – December 13, 1812) A student of Haydn. You can certainly hear it!
http://en.wikipedia.org/wiki/Marianne_von_Martinez
Sonata number 3 in A maj. all 3 movements (approx. 14 minutes)
Fanny Mendelssohn (14 November 1805 – 14 May 1847)
http://en.wikipedia.org/wiki/Fanny_Mendelssohn
Lied no. 3 op. 4 Andante Cantabile
Lied no. 4 op. 5 Lento Apassionatto
Teresa Carreno (December 22, 1853 – June 12, 1917)
http://en.wikipedia.org/wiki/Teresa_Carre%C3%B1o
String Quartet in B minor – II. Andante
Clara Schumann (13 September 1819 – 20 May 1896)
http://en.wikipedia.org/wiki/Clara_Schumann
Variacions op. 20
Cecile Chaminade (August 8, 1857 – April 13, 1944)
http://www.classiccat.net/chaminade_c/biography.htm
La Morena (Caprice Espangnole), Op. 67
Amy Beach (September 5, 1867 – December 27, 1944)
http://en.wikipedia.org/wiki/Amy_Beach
(if this wasn’t composed under a strong Rachmaninoff influence – I’ll eat my hat!)
Piano Concerto in C sharp minor, op. 45 III Largo
Lili Boulanger (21 August 1893–15 March 1918)
http://en.wikipedia.org/wiki/Lili_Boulanger
Dun vieu jardin
Louise Farrenc (May 31, 1804 – September 15, 1875)
http://en.wikipedia.org/wiki/Louise_Farrenc
Besides the wikipedia reference above, I found another review of her life and music in which the author declared: Madame Farrenc is certainly the greatest woman-composer in the history of classical music. In this review it was pointed out how highly regarded she was at the time, and the great composers she was associated with, or who admired her work. (she studied with Hummell, Anton Reicha and was admired by Schumann and Berlioz) SO? Why didn’t she join the ranks of The Greats? Some of the reasons are in the Wikipedia article, about half way down, titled ‘ Why did Farrenc remain unknown as a composer?’
But what about the elephant in the room?! Male Chauvinist attitudes? “…the best known Paris critic of the 19th Century, François-Joseph Fétis (1784–1871) included her name in his important lexicon “Universal Biography of Musicians” and stressed her “quasi masculine gift for musical organisation”. (*”quasi masculine gift”?!) The same critic who proclaimed her the greatest woman composer, in the next breath states: Notwithstanding her evident extraordinary artistic and technical qualities, Madame Farrenc’s works do not show the presence of this invisible and indefinable spark, which marks the difference between the great talent and the genius.”
Aha .. the invisible and indefinable spark. What’s a woman to do?!
Farrenc Long Play 24 minutes long
Sonata No. 1, Op. 37: II. Poco adagio
Etudes opus 26 – No 18 en re bemol majeur
Nonette pour cordes et vents en mi bemol majeur Adagiol
Variations concertantes sur une mélodie suisse, Op. 20
Improptu en Si Menor
Nonette pour cordes et vents en mi bemol majeur Adagio