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Piano, page 51

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Rachmaninov & Tchaikovsky Piano Trios - Gould Piano Trio

Rachmaninov & Tchaikovsky Piano Trios - Gould Piano Trio
ID: CHRCD012
CDs: 1
Type: CD
Subcollection: Piano

Tchaikovsky wrote comparatively little chamber music, yet his Piano Trio in A minor, Op. 50, with its kaleidoscopic succession of moods, is probably the first important piano trio by a Russian composer; and it proved very influential. Up to his forties Tchaikovsky had felt an antipathy to the piano trio-combination, and had refused to write one for his patroness, Nadezhda von Meck (whose resident piano trio included, as pianist, a French teenager called Claude Debussy). The occasion that caused Tchaikovsky to change his attitude was the death in March 1881 of the pianist and pedagogue Nikolai Rubinstein, founder of the Moscow Conservatoire, who had not only been a friend but one of Tchaikovsky's sternest critics and most faithful supporters. Deeply affected by losing this significant figure in his life, for a while Tchaikovsky seemed quite unable to compose. He planned a new opera, but then found himself composing the Piano Trio as a tribute to Rubinstein's memory - the dedication actually reads ‘in memory of a great artist'. Tchaikovsky told Countess von Meck that he selected the genre as a means of ‘testing himself', perhaps in order to assure himself that he was still fulfilling Rubinstein's exacting standards. The Trio was composed in Rome during the winter of 1881-2; Tchaikovsky wrote to his brother Anatoli that he was ‘completely engrossed in my new trio, and attracted by this new form of music which I have not tried before and is quite new to me'. After he had finished it he wrote again that ‘it pleases me greatly. Later, maybe, I shall renounce it, and hate it as much as I hate most of my works. At the moment, however, I am proud of it, it satisfies me, and raises me in my own esteem. Lately I felt sure I should not be able to compose any more and life without creative work is pretty pointless.'
Certainly the Trio is a big, ambitious piece in which the composer sets himself a multitude of challenges in what was for him a new medium. After a private performance in April 1882 Tchaikovsky made some revisions before the public premiere, which took place at the Moscow Conservatoire on 18 October with Taneyev playing the taxing piano part. The work was not well received by the press, but did not take long to make its way into the repertoire, where it stands to this day as one of the supreme examples of the piano trio in the Romantic era. Tchaikovsky later sanctioned substantial cuts in its formidable length. The expansive and passionate first movement brims with melodic ideas; it begins with a lyrical tune entrusted to the cello which produces many offshoots in the course of a lengthy exposition. Contrasting with this is a heroic, even martial theme distinguished by massive chordal writing in the piano - indeed the piano part throughout this Trio often resembles the solo part in a concerto. The development section includes a substantial dialogue between cello and piano, and in the coda the opening theme turns elegiac, with a tender duet for violin and cello before the movement finds its calm, sad close. The slow movement is a Theme and Variations, a form of which Tchaikovsky was already an established master. This E major movement is perhaps the most personal and unusual in inspiration of all his variation-sets. He associated the poised and almost classical theme - first stated by the piano - with Rubinstein himself, and the ensuing eleven variations chronicle incidents in Rubinstein's life and memories of times he and Tchaikovsky spent together. As the composer wrote to his halfbrother Modest, ‘one variation is a memory of a trip to an Amusement Park out of town, another of a ball to which we both went and so on'. The Amusement Park is probably to be heard in the quicksilver scherzo of the third variation, the ball in the sixth variation's sumptuous waltz - which also refers to Tchaikovsky's opera Eugene Onegin. But it is better not to look for particular ‘programmatic' connotations in the others. The brief fifth variation, with its high piano writing, is clearly a brilliant evocation of a musical box, according to some commentators - but a ‘troika' or
sleigh-ride, according to others. The eighth is a robust fugue, followed by a lamenting ninth variation marked flebile (mourning, plaintive) with Aeolian-harp figuration in the piano, and a tenth in lively mazurka rhythm. The eleventh variation closes the movement with an enriched restatement of the original theme. Though the second movement is over, the variation process is not. Tchaikovsky's third movement opens with what is, in effect, the twelfth variation in the sequence - a splendidly exciting and vivacious one, large and bold enough to initiate a full-scale finale in A major. It enacts a more or less complete sonata design before its triumphal elation is interrupted by the return of the soulful lyric theme that began the ‘Pezzo elegiaco' first movement, in drastically afflicted unison on the strings against a turbulently emotional piano part. This sudden outpouring of grief issues in a doom-laden coda marked lugubre, where the opening theme is heard for the last time against a Chopinesque funeral-march rhythm in the piano, ebbing away into silence. Tchaikovsky's Trio, with its function as a memorial for Nikolai Rubinstein, seems to have initiated a Russian tradition of ‘elegiac' piano trios - Arensky, for instance, wrote a trio inspired by the death of his (and Tchaikovsky's) friend, the cellist Davidoff. The young Sergei Rachmaninov actually entitled both his early piano trios, composed in quick succession in 1892 and 1893, Trio élégiaque; and the second of those was written under the shock of hearing of the sudden death of Tchaikovsky, who had encouraged him while Rachmaninov was still a student. That three-movement Trio in D minor is by far the better known of the two. Its predecessor, the Trio élégiaque No. 1 in G minor, was written at white-hot speed between 18 and 21 January 1892 and premiered in a recital that the 18-year-old Rachmaninov gave at Moscow Conservatory, where he was still a student, on 30 January. Rachmaninov naturally took the piano part, with his friends the violinist
David Krein and the cellist Anatoly Brandukov (for whom he would later compose a celebrated Cello Sonata.) As far as is known this was its first and last hearing in Rachmaninov's lifetime, and the work was not published until 1947. The fact that it was so speedily written, for performance by the composer himself, probably accounts for the large number of errors in the manuscript and almost complete lack of dynamics in the manuscript, which had to be heavily edited before it was printed. If the later D minor Trio is an elegy for Tchaikovsky, there is no evidence to suggest who might be the subject of the G minor. Its ‘elegiac' nature quite possibly arose from Rachmaninov's own current emotional state. The previous August he had caught a fever as a result of swimming in the chilly waters of the River Matir; his health had deteriorated throughout the Autumn and, though he gradually recovered, he had spent much of the winter in a state of depression. This would seem an adequate explanation for the mood of the Trio, which despite a fine show of activity in its central section seems to end in darkness and despair. The work is in a single movement in a broad sonata-form, with room for some contrasting episodes. Not surprisingly, Rachmaninov assigns pride of place to the piano, making the Trio almost a miniature piano concerto (it was in fact composed shortly after his Piano Concerto No. 1). It opens (with the characteristic expressionmark Lento lugubre) with murmuring, wind-blown string figures that create an evocative background to the dolorous - and already highly charcteristic - main theme, enunciated by the piano. After the strings have had a chance with this melody the music moves to a more active contrasting subject in story-telling style. The development section, marked Apassionato, is principally based on the opening theme and, after a climax and a silence, leads to a full-scale recapitulation of the opening materials. The work concludes with an impressively gloomy coda in the style of a funeral march.
Notes (c) 2010, Malcolm MacDonald
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Berceuses - Lullabies - Various Composers, A. Alberti, piano

Berceuses - Lullabies - Various Composers, A. Alberti, piano
ID: CNT2027
CDs: 1
Type: CD
Collection:
Instrumental
Subcollection: Piano

Piano (Kawai gran coda)

DDD 32 bit recording, 64 bit remastering
6 pages booklet Italian/English


In French they're called Berceuse, in German, Wiegenlied, in English Lullaby, in Italian Ninnananna.
The oldest example included in this recording "Le Dodo ou L'amour au berceau" is a piece which could easily belong to the prehistory of the genre and it's taken from the Fifteenth Ordre for harpsichord by François Couperin. Published in 1722, this piece uses the same lullaby melody that lies at the heart of Debussy's "Jardin sous la pluie" almost two hundred years later. The CD explores the history of the berceuse genre: proceeding in chronological order, we encounter the beautiful pieces by Chopin (who, by writing his Berceuse in 1844, did, in fact, invent a genre), Schumann, von Henselt, Liszt, Raff, Alkan, Brahms/Cortot, Grieg, Cˇajkovskij/Rachmaninov, Feruccio Busoni, Sibelius, Balakirev, Debussy. The collection of berceuses presented in this CD ( of course incomplete) is concluding with the Vingt regards sur l'Enfant-Jésus by Olivier Messiaen.

Iconography: Henry de Toulouse Lautrec, Berceuse
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Allegro Danzante - One Century of Italian Music - R. Parisi, clarinet / G. Rota, piano

Allegro Danzante - One Century of Italian Music - R. Parisi, clarinet / G. Rota, piano
ID: CNT2005
CDs: 1
Type: CD
Subcollection: Piano

Towards the end of the 19th century, instrumental music re-emerged in Italy ending melodrama's centuries-long stranglehold, thanks to a generation of composers who dragged Italian musical culture from the backwards state of isolation that it had gradually fallen into to complete integration in the European scene. Along with it came enough precise objectives and successful implementations that make it possible to talk of an Italian school (much as in the past) or at the very least, an Italian approach to music in the modern world and the ramifications of which continue, to a certain extent, exert influence today.
This recording, dedicated to M° Giuseppe Garbarino, intends to provide a special perspective of this very rich instrumental flowering which, if not complete, is, at any rate, indicative of the various tendencies that have been transmitted to us.
(from the booklet by Gabriele Rota)

View Also: Ennio Morricone, Ferruccio Busoni, Mario Castelnuovo-Tedesco, Michele Dall'Ongaro, Nino Rota, Raffaele Cacciola, Vittorio Fellegara

Iconography: Marzio Tamer, Cavalluccio marino, 2006, oil on wood
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Ignacio Cervantes - Danzas Cubanas (complete) -Ciudad de la Habana 1847 - 1905

Ignacio Cervantes - Danzas Cubanas (complete) -Ciudad de la Habana 1847 - 1905
ID: CNT2054
CDs: 1
Type: CD
Collection:
Instrumental
Subcollection: Piano

2005 Van Cliburn Piano Competition Finalist

Ignacio Cervantes Kawanagh (Havana, 1847-1905) is not quite known outside the American continent. Only occasionally a Dance of his will show up in a concert program or within a recording, though he was a significant figure of his times - times of change and inspired by revolutionary ideals in politics and art. From the point of view of the history of music, his importance is justly attributed to the "creole-ization" of Cuban music - or rather a fusion of styles, that show the local patrimony at its best by melding it with external influences, in constant tension by searching for a new identity (we could call it a type world music ante litteram). However destiny would have him be more than just an enfant prodige. It also led him to be twenty years old in '68 - a date that has the power of overturning the status quo even in other centuries and at other latitudes. Encouraged by the American composer Louis Moreau Gottschalk (from whom a second surname) to study at the Paris Conservatory, one of the best at that time. There he worked with highly respected musicians such as Antoine François Marmontel and Charles-Valentin Alkan, studying composition and harmony and graduating with brilliant results. In his career he played with many artists, but especially two merit mentioning: the Swedish Christina Nilsson and our own Adelina Patti, both famous singers, and rivals. As concert musician and virtuoso he travelled around the world, even for a noble cause: raising funds for the war for independence from Spain that began in '68 with the War de los Diez Años (1868-1878), the first of three wars for independence.
The Danzas surely represent his masterpiece. They are presented here for the first time as complete recording, splendidly performed by Davide Cabassi.
The introduction on the booklet has been written by the well-known Cuban musicologist José Ruiz Elcoro. For the first time a pianist of international projection , not a native Cuban, assumes such an undertaking by doing it brilliantly and with high interpretative sensibility and extraordinary technique. This book Cervantes 40 Danzas Cubanas by Publications De Blanck even revealed various unknown works.
A climatic moment in this CD production is the participation of the Russian pianist Tatiana Larionova, joining Cabassi. Together they solve with absolute cohesiveness, all the rhythmic labyrinths, seemingly simple, of the Three dances for four hands: (*) Los Delirios de Rosita, La Camagüeyana y Muñecos.
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F. J. Haydn - Sonatas for Violin and Fortepiano Hob. XVa - XV 31, 32 - Alberto Bologni, violino - Giuseppe Fausto Modugno, fortepiano

F. J. Haydn - Sonatas for Violin and Fortepiano Hob. XVa - XV 31, 32 - Alberto Bologni, violino - Giuseppe Fausto Modugno, fortepiano
ID: CNT2048
CDs: 1
Type: CD
Subcollection: Violin

World Premiere Recording
DDD 32 bit recording - mastered at 64 bit
12 pages booklet I/E

Alberto Bologni, violin, Santo Serafino 1734
Giuseppe Fausto Modugno, fortepiano, Johann Schantz 1815

It's known that in the Hoboken catalogue, except for Hob:32 - which has been for a long time considered as the sole authentic Sonata for violin and piano by Haydn and published in Vienna in 1794 by Artaria - there isn't any further Sonata for these instruments; surely a bit surprising since we are talking about the composer who has been from everyone acknowledged as the father of string quartet. However Alberto Bologni and Giuseppe Modugno have discovered within the archives of the Civico Museo Bibliografico in Bologna, the copy of a printed edition dating to the early 1800's which are supposedly including other three Sonatas, i.e. XVa. Among these at least the entire Sonata in C major had been performed by the well-known Italian violinist Sandro Materassi together with his friend Luigi Dallapiccola. Remarkable the fact that both of the last concerts he performed in his career opened with the Sonata in C. Let's leave to the musicologists any discussion to this regard, we should just enjoy this delightful music which is enhanced by the extraordinary instruments which have been used for this recording: an original fortepiano Johann Schantz dated from 1815 (which was considered as the "Stradivari" among fortepianos in Vienna during the 19th century and even Franz Joseph Haydn was fond of such precious instrument) and a beautiful violin Santo Serafino dated from 1734. The recording is well performed by two excellent artists as Giuseppe Modugno and Alberto Bologni who give us moments of real good music.
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Ildebrando Pizzetti - Sonata in A for piano and violin - Sonata in F for piano and cello

Ildebrando Pizzetti - Sonata in A for piano and violin - Sonata in F for piano and cello
ID: CNT2057
CDs: 1
Type: CD
Subcollection: String instruments

Not even three years stand between the two Sonatas presented together in this CD. In this short period of time the composer's personal life was turned completely upside down by the sudden and unexpected death of his wife.
We can feel just the same dramatic tension animates the Sonata in A from beginning to end; "Tempestoso", a dialogue between two characters - the piano and the violin - opens the first movement and the dramatic tension, riddled with a suffering humanity. Pizzetti's dualism between dramatic excitement and soothing meditation is strongly reinforced in the second movement: entitled by the composer "Preghiera per gli Innocenti" [Prayer for the Innocents. Here, too, is the echo of a distant polyphonic response. In the end comes the catharsis, through the gentleness of the prayer, the final, liberating movement where Pizzetti opens to a different, but just as basic, sensibility, one enlivened by hints of the rustic life, riddled with popular whims.
Finished in March 1919 and published by the English editor Chester, the Sonata was first performed in July 1919 played by Ernesto Consolo and Mario Corti and was to become part of the repertoire of many famous performers.
The emotional circumstances surrounding the creation of the Sonata for Cello can be seen in the very structure of the piece in the arch drawn by the three movements. When Pizzetti began to compose the Sonata in F on July 27th, 1921, only a few months had passed since his wife, a young pianist had tragically died. The composer introduces the Cello in the opening "Largo", which is clearly a dialogue between the two instruments. The piano evokes and talks of things, while the cello is suffering personified. It is a dialogue infused with a secret restlessness. This gentleness however does not stop the grief from erupting violently in the second movement "Molto concitato e angoscioso" with the piano's tumultuous, unisonous quadruplets over which the various, harsh notes of the cello are introduced: ephemeral moments of suspense, interrupted by the plundering return of the quadruplets. It is only in the final bars of the soul's torment seems to abate. With the beginning of the third movement, the cello has melted, and becomes "stanco e triste" in an anxious monologue where it gradually evolves into sweet melodic whisper. The piano enters discretely with arpeggiated sequences to slowly, gently, "con crescente emozione" arrive at a delicate embrace that lets comforting light shine through to the "perdendosi" finale.
The Sonata was first performed at the Società del Quartetto in Milan in December 1921 by Ernesto Consolo and Enrico Mainardi.
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J. S. Bach - Goldberg Variations BWV 988 - Irina Zahharenkova, piano

J. S. Bach - Goldberg Variations BWV 988 - Irina Zahharenkova, piano
ID: CR140
CDs: 1
Type: CD
Collection:
Instrumental
Subcollection: Piano

Irina Zahharenkova is one of the most outstanding keyboard performers of her generation to emerge from Estonia today. She has won first prizes in such major international piano competitions as the Leipzig's Johann Sebastian Bach Competition (2006), Italy's Alessandro Casagrande Competition (2006), Romania's Georges Enesco Competition (2005), and Spain's Premio Jaen Competition (2004). In 2008 she became prize-winner in Arthur Rubinstein Piano Masters Competition in Tel Aviv, Israel.
Zahharenkova obtained her Master of Music degree in Estonian Academy of Music with Prof. Lilian Semper and in Sibelius Academy in Finland with Prof. Hui-Ying Liu-Tawaststjerna. In addition to piano she explored early keyboards, studying harpsichord with prof. Maris Valk-Falk and fortepiano with Prof. Pekka Vapaavuori. Irina Zahharenkova has also been a laureate in Prague Spring competition in Czech Republic (2005) - as a harpsichordist and in Festival van Vlaanderen competition in Bruges, Belgium (2004) - as fortepianist. She was a winner of 2007 Borletti-Buitoni Trust Fellowship Award.
Performing frequently in solo piano and harpsichord recitals in Europe and Japan, she has played among others in Klavier-Festival Ruhr in Germany, Spoleto Festival in Italy, Kuhmo Chamber Music Festival in Finland, Bergen International Festival in Norway and others. As soloist she has appeared with Orchestre de la Suisse Romande, Orchestre National de Lorraine, Israel Philharmonic, Pilsen Radio Simphony Orchestra, Helsinki City Orchestra, Prague Chamber Orchestra, Estonian State Symphony Orchestra, Sinfonia Finlandia and others, played with such conductors as Juha Kangas, Dmitri Aleksejev, Leif Segerstam, Patrick Gallois.Her repertoire encompasses a wide range of musical styles from baroque to contemporary. Apart from concert activities Irina Zahharenkova is teaching piano in Estonian Academy of Music and Theatre. In 2010 Zahharenkova had her debut DVD released by Estonian Record Productions, recorded live at Glasperlenspiel Festival in Tartu, Estonia, where she gave a recital playing harpsichord, fortepiano and modern piano.
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Elena Gladilina, Natalia Yurygina - Piano Duo

Elena Gladilina, Natalia Yurygina - Piano Duo
ID: SMCCD0100
CDs: 1
Type: CD
Collection:
Instrumental
Subcollection: Piano

Andrey Martynov, Sergey Shamov, percussion (2-4)
13.00 eur Buy

Sviatoslav Richter, piano - S. Rachmaninov, Twelve Preludes

Sviatoslav Richter, piano - S. Rachmaninov, Twelve Preludes
ID: SMCCD0034
CDs: 1
Type: CD
Collection:
Great Performers
Subcollection: Piano

Grand Hall: December4, 1954, February 16, 1955
13.00 eur Temporarily out of stock

Alexander Goldenweiser - Beethoven - Piano Sonatas Nos. 14, 6, 27, 21

Alexander Goldenweiser - Beethoven - Piano Sonatas Nos. 14, 6, 27, 21
ID: SMCCD0115
CDs: 1
Type: CD
Collection:
Instrumental

Live Recordings of 1940s - 1950s
13.00 eur Temporarily out of stock
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