Buy Liszt - Concertos for Piano Nos 1 & 2; Mephisto Waltz & other piano works by Franz Liszt, Constantin Silvestri, Colin Davis, Bournemouth Symphony Orchestra, BBC Symphony Orchestra, John Ogdon from Amazon's Classical Music Store. Everyday low prices and free delivery on eligible orders/5(6). stars (4 for concerto #1, 5 for #2/. I deducted 1/2 a star from #1 because these artists play the first movement about two minutes too slowly, I think. In their defense, they are following the "maestoso" instruction literally, which Claudio Arrau has stated is a necessity/5(9). Buy Liszt: Piano Concertos Nos. 1 & 2 by Franz Liszt, Manuel de Falla, Robert Schumann, Kyrill Kondrashin, Gennadi Rozhdestvensky, Moscow Philharmonic Orchestra, Moscow Radio Symphony Orchestra, Byron Janis from Amazon's Classical Music Store. 4/5(9).
In my experience the cause of this can to an extent be environmental. Pianists who regularly practise on a piano possessing a shallow action often relax into a default flat-fingered attack; in other words, they permit the limitations of the instrument to skew their technique, which can be hard to rectify later.
This type of compromise may come off acceptably well on that particular instrument, but does not anticipate the requirement for a firmer approach when tackling pianos with a heavier action. Aim, in general, to play more decisively than instinct might suggest when playing an excessively light piano, even when practising pieces like Debussys Doctor Gradus ad Parnassum No 1, Childrens Suite.
Those who play on digital pianos even those models that possess a well-designed weighted action are at risk of falling into a false sense of security when it comes to playing at a more daringly quiet dynamic level. You may have overlooked an opportunity to adjust the touch setting built into the keyboard itself Id advise playing at the keyboards heaviest setting. Following a protracted period of playing on a keyboard with a flimsy action, you may find it necessary to have a wholesale.
Rethink your dynamic range to permit a decisive, solid tone at the softer extreme, avoiding an over-reliance on the una corda pedal. Whether playing at speed or not, aim to be tension-free and responsive; your softer moments playing should be just as authoritative as your tempestuous explosions.
Dont tickle attack! Aim to play crisply when practising on light-actioned pianos or digital keyboards, and keep in mind how your lighter touch will project in a larger performing space. Take written descriptions of technical matters with a pinch of salt trust your ears and fingers to convey quieter leggiero passages effectively. Mark Tanner is a pianist, composer and writer. Aim to play really crisply, whatever the dynamic or mood of the music, maintaining curved, active fingers, and in general expect to hear yourself produce a much greater volume of sound when playing quietly.
This tactic will help prepare you for playing in a larger performing space with greater bloom to the acoustic, where you can usually expect to be playing on a much larger, louder instrument. Headphone practice is particularly prone to giving a false reading on the dynamic level you are really producing, so it may be good to turn the volume down a notch or two to encourage you to project more clearly. Small in a big way There is a critical difference between playing quietly and making a small sound.
A soloists piano by which I mean that a soloist must always project, even when operating within the confines of a score which happens to state p still implies a degree of projection and intensity. A divinely nuanced sound is the opposite of one lacking control and decisiveness; alas, the latter will cause your audiences attention to evaporate within seconds. Good piano playing has a tendency to appear overly projected in a small room its in the very nature of the instruments percussive attack but on.
A more projected sound is not an option but a prerequisite in a larger performing space. Indeed, effective piano playing needs to etc. (CD) assertive and committed at all times, even when playing at a level of pp, which arises surprisingly commonly in music composed in the past hundred years or so. No composer ever wanted you to produce a wispy, thin sound, as distinct from the veiled or distant effects required by the so-called Impressionist composers.
Remarkably, within the works 33 bars Debussy includes no fewer than 26 indications to play at either p or pp; moreover, nothing louder is marked in anywhere. From the opening static crotchet chords it is vital to sink to the bottom of the keys in a series of progressive, caressing downward actions, allowing the wrist to return upwards unhurriedly after each, and resist the urge to stab sharply as though the keys were red hot.
Only then will you be able to link up the chords warmly and persuasively, aided of course by deft touches of pedal. As with all aspects of piano playing, listening is the key to success if we are to enter the composers soundworld and not become intimidated by the score markings we must be our most critical audience if we are to monitor and respond to what is actually Allegro Marziale Animato - Presto - John Ogdon - Liszt: Piano Concertos Nos.
1 & 2 from the instrument. Debussy does hint, albeit obliquely, at places where hed like a firmer attack p marqu to balance off the translucent effect hes after elsewhere in Canope, so be bold with these, or you will flatten out the composers carefully constructed tapestry of effects.
Not unlike the aforementioned Debussy piece, this lullaby inhabits a rather narrow dynamic range: pp-p throughout. The songlike mood nonetheless presupposes a clear contrast between tune and accompaniment think along the lines of mp for the right hand and pp for the left and a brave shaping of the right hand quavers to counter any possibility of non-speaking notes.
An effective way to practise both the above examples would be to imagine they were marked f-ff, so that you overcome tension and frailty simultaneously. Once under control, you can gradually ease off the downward exertion from your upper body you should be left with a beautifully radiant effect; soft, but still colourful. Bear in mind that, on the. Quietly speedy Let us take a brief look at so-called leggiero touch Liszts Concert Etude Gnomenreigen is a splendid examplewhich to all intents and purposes can be interchanged with legero and leggeramente, all of which crop up frequently in 19th-century piano scores.
If you read the rather wordy descriptions of leggiero, alongside other facets of touch control such as staccato, legato, non-legato, portato by Walter Gieseking, Tobias Matthay or Denes Agay, you will doubtless find yourself reeling at the subtle variants in terminology, the sum of which may serve to confuse rather than clarify matters. The precise point at which, for example, legato turns into nonlegato is terribly hard to describe in words but comparatively easy to hear or demonstrate.
Then we have jeu perl, a form of touch control sported magnificently by the likes of Alfred Cortot, and which remains the envy of many modern pianists. It involves playing lightly at high speed, but with an effect that sounds closer to nonlegato than legato. Some pedagogues, notably Agay, emphasise the concept of weightless arms i. This approach has a certain allure in that it can be applied, at will, to either a legato or a staccato touch as a requisite for attaining velocity with a leggiero touch.
Tension quickly becomes an unintended consequence of attempting to play leggiero, so the importance of learning to relax can hardly be overstated. It is possible to play very fast and very loudly, especially if you have massive hands, but unless you happen to be Sergei Rachmaninov or John Ogdon, it is more pragmatic to accept a trade-off between speed and power.
Paradoxically, when we practise fast running passages at a slower tempo, we may inadvertently adopt an inappropriate technique. Its a bit like trying to practise sprinting but at a walking pace! Practising high finger action is definitely beneficial, whether to strengthen individuality and a more assertive attack for deployment in Baroque or Classical repertoire, or as a precursor to playing with hardly any visible finger movement, which is invaluable when playing filigree passages in Romantic or contemporary pieces.
When practising scales, why not experiment more adventurously with. Mark Tanners advice for improving your leggiero in 3 of the pieces in this issues Scores. Telemann Minuet [Scores page 29]: Theres a lot going on in this minuet.
Straight away you will spot how the emphasis is different in the hands: a fatter sound, involving the wrist for the second chord in the RH and the opposite in the left surely a case for independent work to ensure the all-important rhythmic patterns do not become unduly distorted while finessing the articulation. The LH has a very melodic-sounding line in the second half not a mere accompaniment so let it dance in a courtly, graceful manner.
Mozart Adagio [Scores page 32]: This piece requires your subtlest shaping and just the right amount of weight in the fingers and wrists. Though its marked Adagio, dont be lured into taking it too slowly on the basis of the opening two bars.
The RH sighs, which heavily populate the piece bar 2 presents the first clear exampleinvolve applying more firmness to the first chord in each pair and an upward motion of the wrist to ensure the lightest possible placing of the second. The LH also has sighs, e. Chopin Waltz [Scores page 49]: Bring your most poetic touch, systematic fingering and persuasive legato line to this charming miniature waltz. Though dynamics are conspicuously inconspicuous throughout, you have choices to make with regard to shaping the phrases and holding musical interest, especially during the more expansive-sounding second half, where the RH becomes rather more florid.
Practise the LH on its own, keeping the wrist nicely light on the second and third crotchets of each bar and getting to the bottom of the bass notes with a fraction more solidity of tone. Its easy-going nature needs an unflustered, flexible view throughout.
You might ultimately see if you can achieve something akin to Cortots dazzling leggiero effect, to really impress in an exam! A deft lateral movement of the hand and arm will, by necessity, prove critical in faster-moving music, which is immediately apparent if you watch videos of Horowitz, who seems to glide effortlessly up and down the keyboard, avoiding jerks and jolts.
Finally, abstinence from una corda pedal is a good idea, at least while you recalibrate your dynamic palette in favour of a more focused and robust soft sound. Over-reliance on the una corda is a crutch, which can unfavourably affect the tone in many circumstances, though it does admittedly make quiet playing a whole lot easier as a quick fix. Aim to trust in the flexibility of your fingers and wrists, whether playing quickly or slowly at a quieter dynamic, and you will find yourself nearer to possessing Reizensteins cherished control.
In the next issue, Mark Tanner talks about how to achieve a musical overview in the pieces you learn. Dont panic, just let teacher and performer Graham Fitch count the many ways you can polish your polyrhythms. A polyrhythm sometimes referred to as a cross rhythm is the effect produced when two conflicting rhythms are played together. The music requires one hand to divide the beat into two, for example, while the other hand has to divide the beat into three simultaneously.
There are all sorts of possible ratios that a pianist might have to deal with, and depending on the context they can prove very challenging indeed! In this article, I will look at solutions for handling two of the most common polyrhythms two against three, and three against four. Before you can hope to manage a polyrhythm, we need to be very adept at keeping a steady beat and subdividing it equally into twos, threes and fours and so on.
Clapping the beat with or without a metronome while counting out the various subdivisions is a very good way to develop the skill away from the piano. Be able to switch with no hesitation from one subdivision to another at will, or on command. I recommend using this kind of scale practice to hone the skill there are many ways to do it; take a look my video demonstration on the Pianist website for some suggestions.
Even though the two-against-three polyrhythm is simple to figure out, there are many passages with this kind of polyrhythm in the repertoire that cause a problem because of their speed. This example, from the development section of the first movement of Beethovens Sonata No 10 opus 14 no 2 springs immediately to mind:.
I recommend that when you begin to put this passage together at the correct tempo Allegrofirst block the RH as chords to come on the quaver beats, or just play the RH fifth finger notes together with the LH. More often than not the second note of the duplet comes early, destabilising the pulse. A very good way to correct this kind of error is to count out loud as you practise.
In the case of this Debussy work, I would suggest firstly speaking out loud words with three then two syllables, such as trip-o-let, dup-let, dup-let, etc. Next, count only the three main beats in each bar. Two Against Three The simplest polyrhythm we have to deal with in piano playing is the two against three, or duplet against triplet and vice versa. One hand plays in beat divisions of two while the other hand plays against it in divisions of three.
Since the way the two rhythms fit together is precise the second note of the duplet falls exactly halfway between the second and third notes of the triplet it is not that difficult to master this skill. The first thing for any polyrhythm is to drum it out on a table or on your knees, saying or thinking the words not diff-i-cult rhythmically i. If the triplet is in the RH, it fits together thus: together-right, left, right; together-right, left, right or together-left, right, left if the triplet is in the LH [see example at top of next column].
Practising scales two against three is also a great way to develop this necessary skill. You will cover two octaves in one hand and three octaves in. Three Against Four We are often called upon to play a three-against-four or four-against-three polyrhythm, which is more of a challenge.
Lets look at the coda of the second movement of Beethovens Pathtique Sonata last beat of the first bar : Adagio cantabile. A quick fix is to map the hands in a similar way to the two-against-three example earlier in this case together, right, left, right, left, right but the group of three will not be even. To do the job properly you need to feel precisely where each note comes in one hand in relation to the other.
There is an easy way to work out the mathematics so you can see at a glance the rhythmic placement of each note: multiply the two numbers together to find the lowest common multiple this works for any polyrhythm. In a polyrhythm, we multiply 3 by 4 and can then write out 12 numbers in two rows, as 3 groups of 4 RH and 4 groups of 3 LH :. This phrase puts the emphasis on the threes, whereas a phrase such as where do you work today?
Practising the polyrhythm slowly is only somewhat useful. Its a good first step, but it wont necessarily enable you to play it in context at speed. As is always the case with rhythmic matters, it is essential to feel rhythm in your physical body, not just to know in your head the mathematics of a particular pattern. Clapping and counting aloud is excellent practice try clapping in threes while counting in fours, making sure to do it the other way around too.
Here is an exercise for three against four and four against three. For it to work, it is important to maintain a rock-steady pulse and to feel this pulse in your body rather than just drilling the fingers.
Do the repeats as often as necessary to anchor the triplet versus the semiquaver divisions of the main beat, and dont expect it to work perfectly first time. Needless to say, it can be played in any key major or minor : Rhythmically. Eventually, after many attempts, you will be able to play the polyrhythm successfully. This may not happen the first day, but persist and eventually you will be able to do it without thinking.
This process will work beautifully with another famous example of a cross rhythm the Fantasie-Impromptu by Chopin opus We know that Chopin began his piano practice every day with preludes and fugues from Bachs Well-Tempered Clavier.
It is said this was the only score he took with him in to Majorca, where he completed his own set of 24 Prludes opus I cant help but wonder if the inspiration for the FantasieImpromptu might have come from the D major Prlude from Book I strongly suggest practising a skeleton version of the Fantasie-Impromptu, like this:.
If you do this with no pedal and strictly in time, Allegro Marziale Animato - Presto - John Ogdon - Liszt: Piano Concertos Nos.
1 & 2, you will be synchronising the notes in the LH that fall on the beats with Bachian precision and clarity. Master it and make it sound great at a variety of speeds and dynamic levels you will be laying a very firm foundation indeed for when you add the missing LH notes.
These processes will work for any polyrhythm you might come across in piano music. Even though the difficulty lies in coordinating both hands together, there is no substitute for regular practice with each hand alone. If you want to build up your level of skill, you can practise exercises away from the piano based on the principles of mile Jaques-Dalcroze, a Swiss pianist who invented a method of learning and experiencing music through movement.
When you are next out for a stroll, use your footsteps as a sort of metronome and make a cross rhythm against them either by clapping, snapping your fingers or using your voice. Walk or run the fours and clap or speak the threes, and make sure to do it the other way around too. I would like to share a process that will help you play any polyrhythm smoothly, accurately and without the need for conscious thought in performance but it might take a little time to acquire the knack.
Think back to when you learned to ride a bicycle; you probably wobbled around and fell off quite a number of times before you learned to ride easily and automatically. Mastering a tricky skill such as a polyrhythm relies on perseverance but after you acquire it, it remains with you.
Here is the exercise applied to the Pathtique example: Set the metronome to pulse in quavers eighth notes at the performance tempo you have chosen. We are going to confine ourselves only to the notes of the polyrhythm, stopping on the downbeat over the next bar line the downbeat stop is most important as it gives us an end point to aim for.
Play one hand and then the other hand in alternation many times in a row, listening carefully that you are playing evenly, and synchronising precisely with the metronome. Do this without stopping the rhythmic flow literally without skipping a beat. After several repetitions, without thinking too much, attempt to play hands together it is important not to stop or pause beforehand keep with the metronome and with the beat!
The chances are you will be unsuccessful on your first attempt; this is normal. The temptation is to try it again immediately with both hands together, but go back to a few separate-hand alternations before trying again. Playing and pedal tips: This piece is extremely tender, and therefore demands a warm tone and good phrasing.
Each note needs to mean something even in the accompaniment part, which also needs to be phrased beautifully. Read Melanie Spanswicks lesson on this piece on page Dedicated to Schumanns young daughters, and evidently meant for their small hands to play at the keyboard, the Album for the Young op 68 dates from Though meant for beginners, it presents challenges for pianists of all levels and ages, not least in keeping a simple and clear style.
Melodie is an exquisite miniature with an endearing melody and simple harmonies. Its the first of the 43 short pieces in Schumanns Album for the Young, a collection intended for children and for beginners of any age.
The tempo marking, Nicht schnell not fastindicates a flowing, song-like character. A metronome marking of crotchet equals 96 beats per minute would be optimal. The texture consists of a melody in the right hand RHand accompaniment in the left hand LH. The piece is formed mainly of short, two-bar phrases. At first glance, Melodie seems fairly simple. Yet to be able play it with effective tonal control and nuance will take practice. Start by playing through the LH bass line slowly.
Then secure the fingering Ive written some into the score and locate all the notes. The LH line is stylistically similar to an Alberti bass a repeated broken chord or arpeggiated accompaniment in the way it meanders around various chord progressions. To play these progressions with ease, try to assimilate each pattern by blocking out or playing the notes all together. Melanie Spanswick is a pianist, author and music educator.
She adjudicates for the British and International Federation of Festivals and has curated the Classical Conversations Series, where she interviewed many eminent classical pianists on camera published on YouTube.
Find out more about Melanie at www. Once you have digested the patterns, make your quaver movement accurate by using your wrist flexibly and in a rotational motion. As discussed, the LH line consists almost entirely of quavers. These should be per cent rhythmical as well as tonally even. Use a degree of wrist rotation to give the bottom notes which often provide a countermelody in each bar greater colour and timbre than the repeated top notes.
For practising purposes only, play each quaver heavily, freeing and rotating your wrist between every note, and, as always, ensuring fingers play into the. When you have worked thoroughly in this way and can play through producing a big sound without tiring, particularly on the weaker fingers generally the fourth and fifththen lighten the touch.
Your aim is to play lightly throughout, skimming the keys. Playing lightly will enable you to attain a rhythmic and even LH it also helps to count aloud. The thumb must be light at all times, allowing the bass parts to sing out for instance, notes C, F, E and C in bar 1 should be illuminated with a sonorous tone. You are essentially balancing the sound using the same hand. Some parts of the LH line at bar 10 and 11, for examplewill need a little more practice, requiring lots of flexible motion, in order to reach notes comfortably while still providing accuracy and colour.
The RH will benefit from a clear, deep cantabile or a singing style in keeping with the song character. It must effortlessly soar above the accompaniment.
Rather as you did in your LH practice, work by playing all notes into the key bed, using plenty of wrist motion and added arm weight to produce a warm, rich sound. Learn fingering and note patterns, and then determine the depth of key needed to really sing. Taking the first phrase, as you play the first note bar 1listen to the sound at the end of the first crotchet beat an E as it dies away, before playing the next note and match that sound. Try with a slower speed at first, as this will help hone legato and sense of phrase structure.
The part-playing and chordal patterns at bars 8, 11, 16 and 19 will need complete legato. Keep the top line to the forefront of the overall sound by turning the wrist and hand slightly away from the body to the rightthereby.
The RH melody must reign at all times, so balancing the sound judiciously between the hands will be the deciding factor in the success of any performance. Experiment with sound here, leaning a little on the first note of each phrase, ensuring a Romantic flavour. The odd accidental at bars 5 and 6 in the LH, for example needs this approach too, colouring each note with a deeper sound, adding expressivity.
Ive put a few pedal markings into the score the sustained right pedal is required. These markings are the minimum needed for a convincing interpretation. However, its possible to pedal on virtually every beat. To do this, practise taking your foot up and down very quickly between beats, certainly between every crotchet beat, and occasionally on quaver beats too i. Listening is vital. If pedalling proves tricky smudging can cause issuesyou can get a beautiful legato by joining the fingers.
This will produce the desired although less resonant effect without using too much pedal. Rubato borrowing time can be employed tastefully at the end of sections.
Once example is the end of bar 8; another is right at the end of the piece. Producing complete legato throughout is the goal when practising this Romantic jewel. Phrasing and rubato are everything always think where the melody is leading. The RH filigree passagework between bars is tricky and should be taken out of context, RH alone, with slow practice.
Listen to Chenyin Li play this piece on the CD and notice her dynamics; even if not marked on the score Chopin is etc.
(CD) not to include dynamics its necessary to incorporate them into your playing. Pedal tips: All pedal markings are on the score. Read Janet Newmans step-by-step lesson on this piece on page Chopin wrote many waltzes, all of which had a charm and vigour making them suitable for the concert hall rather than the dance floor.
This waltz was composed ca. Playing tips: While the LH plays an accompanimental role in this piece, it is still the foundation and it needs to be per cent secure. We therefore advise you to study the LH first, practising it on its own.
Also try blind practice not looking at the keyboardas that should really secure those LH jumps. The apoggiaturas in the RH should be light, keeping the wrist flexible. This modest little waltz offers technical challenges in the left hand but the greatest trick is bringing variety to the repeating phrases.
This elegant and melancholy little waltz was written aroundand was one of many of Chopins works published posthumously. Chopin composed 36 waltzes over the course of his lifetime, the first when he was just 14 and the final just before his death in Many of his compositions pose enormous challenges technically even among some of the shorter works from the sets of Mazurkas, Waltzes and Nocturnes but this particular waltz, with its unassuming and almost modest melody and repetitious nature, offers the less-confident pianist a chance to explore the nuances of Chopin without placing too many obstacles in the way!
To ensure the security of the chord placement, practise moving to the chords by building them up from the bottom of the chord, adding a note each time. Lets use the first bar of the piece as an example of how to do this.
Start by playing the bass A on the first beat and then the A only of the chord on the second beat, followed by the bass A again; then the A and C of the second-beat chord and finally, the bass A followed by the complete chord, A, C and E.
As you do this, youll probably discover that there will be an uncertainty within the fingers in finding the chord shape which this method of practice will help to eliminate. When I watch my students playing this kind of piece, I often notice how their LH hovers uncertainly over the keys. Employing this technique really does help to strengthen the overall sense of geography and resulting tone control. If you still find that there is vulnerability in the LH part, then make it even more challenging for yourself by moving the second- and third-beat chords up a further octave this is another incredibly helpful tool to getting accuracy and freedom of movement in chord work, as well as making you grateful for small mercies!
Structurally, there are two main ideas. First, theres the theme in A minor and then a smaller eight-bar idea at bar 17, which, when repeated in bar 33, has a slight variation to it, both melodically and harmonically, as it moves into the tonic major. When a piece that essentially lasts a little over two minutes has as much repetition within it as this waltz does, one of the first things to consider is how you decide to vary the material so that the performance steers clear of dullness.
If you choose to play the repeats as well, then you must use a variety of dynamics and potentially articulation too, in order to keep the music buoyant and meaningful. Start your work with the left hand LH part. In my experience of teaching Chopins waltzes, the LH usually is the hardest thing to master. The difficulty of keeping the LH chords balanced and sensitively placed, while at the same time making sure that every note sounds especially the first-beat bass note takes quite a lot of intelligent practice.
Firstly and most importantly, make sure that when you play the first-beat note that you keep your hand open over the keys with your thumb placed on the octave above the actual note played i.
This helps you to find the bass note without looking as you can see the. The thumb acts as a marker and makes the accuracy of the bass part much more reliable. When you have the notes securely in your memory, practise this with your eyes closed this helps your muscle memory to develop too. In addition to her teaching, she is in demand as a freelance pianist and is an examiner for the ABRSM.
One final word of advice on the LH is to keep your fingers very gripped or braced when playing the chords. Try to shape the chord within the fingers but at the same time, etc. (CD), relax within the wrist and pull down into the keys using your arm weight. I know that this sounds like a contradiction in terms, but being able to keep relaxed, soft arms while at the same time having very strong, almost steely fingers is one of the key skills that makes for good piano playing and one of the things that makes learning piano so demanding!
The RH in this piece should prove less involved to learn. Always remember to adhere to the chosen fingering so that the best phrasing and melodic shaping can be consistently played.
There should be a flowing movement throughout the line but try to avoid overdoing the rubato. Because of the repetition within the piece, if you employ too much rubato, it can feel sentimental rather than touching, and queasy rather than moving. Keep it simple! Start the piece quite matter-of-factly, using a positive dynamic and just allow the music to speak for itself.
Use a little rit in bars and perhaps a little more in the corresponding bars so that you. Practise adding the pedal alone to the LH, taking great care to catch the first beat in the pedal. Dont move to the second beat too soon!
There is a different quality in the new section at bar I would allow the music to move ahead slightly now, as there is a feeling of trying to break free of the rather restrained and reined-in nature established within the first section.
Consider adding a little more warmth to your dynamic too especially in the repeat. There is an impassioned quality here which, although it doesnt last for long, needs to be shown.
However, die away at bars and when you play the section for the second time, let the rit be quite a generous one. At bar 25, the returning theme could be played very quietly almost hesitantly as this will make the change of key at bar 33 much more contrasting and surprising.
This is the point where you can let the music move as freely as you feel; all restraint is gone and the joyous quality which was hinted at in the earlier section can now come to the fore. Stay quite bold dynamically at bar 41 but gradually let the music subside.
By the time you arrive at the codetta bar 49there should be a complete unwinding of the music, both in tempo and dynamic, so that it ends as it began, unassuming and with great simplicity.
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For more information go to www. UK WWW. Concert pianist and teacher Lucy Parham shares a gem from her treasure trove of forgotten Liszt and tells how to master its tremendous power, fierce passion and undeniable lyricism Ability rating Info Key: F sharp Tempo: Animato, con passione Style: Romantic. I discovered this Impromptu when I was researching my Liszt words-andmusic programme, Odyssey of Love. This Impromptu was written later in Liszts life and encapsulates a romantic freedom within a new style of piano writing.
It was at this time in his life that Liszt was striving to bring new sounds out of the piano, and some of the music from this period can be said to look forward to Debussy. This charming Impromptu is rarely played, and for that reason it is a forgotten gem in Liszts vast solo piano repertoire. There is an inherent lyricism in this piece that a player should be careful not overlook. In some editions, this Impromptu is given the subtitle Nocturne, but for me the tempo of the piece is too flowing to be nocturnal.
Liszt marks the piece Animato, con passione and this underlying passion is always at the heart of the work. Begin by looking at the left hand LH. It is interesting how Liszt begins on the second beat of the bar, with a silent upbeat. It is almost a Schumannesque cross rhythm, which will definitely throw the listener off guard.
It can throw a player off guard too, as our instinct is always taking us to the first beat of the bar. Note how Liszt highlights the first quaver, then the sixth quaver on to the seventh quaver which is also a crotchet.
This forms a rocking style almost like a barcarolle and you need to try and point this out; highlight it so that we have a sense of fluidity and elasticity. This coffee concert version of the new show will be at Kings Place, London. For more info, go to www. Notice Liszts marking of dolcissimo very gentle here. The RH really needs to grip this chord as it has to project over the bass while never being too loud.
Voice your top finger almost with a steely fingertip. You also need to remember that this chord is repeated five times! Observe the different accents and portamento markings on each chord and try to make a difference in each one. The luxurious spread chord at the beginning of bar 6 should sound almost harp-like and slightly ethereal.
The LH at bar 6 has a slightly larger stretch. You need to prepare for this bottom D and not a grab at it. Just sit on it and take an extra moment if needed.
Sometimes giving yourself this space can get you over a tricky problem. The RH G minim in bar 8 needs to really ring out. I would suggest playing this with a third finger and then changing it to a fifth. The following notes in bar 9 are portato and need to be weighted accordingly. They should melt into the generous trill at bar Keep your forearm free while you are trilling and try not to seize up.
Start the trill a little slower and ease into it. Make sure there is a little bit of a rallentando at the end of the bar when you need to gently melt out of this trill into the pause on the A. It is a good idea to change the pedal on this note too. When the theme returns at bar 14, notice how it is more embellished this time.
You will need to spread all of. Make sure the chords are really luscious and try not to grab them. Also, it is vital to give them a sense of direction in order that they dont all sound the same.
Keep the LH wrist supple here; you want to have a sense you are travelling and you must try not to get jammed. The most challenging part of the piece is the cadenza from bar It needs to shimmer! Learn it first, and build it up note by note. Crescendo through bars 18 and There is a long line that runs from bar 18 to bar 25; try to keep a sense of unity and direction, and avoid stopping at the bar lines. We are looking for a flowing line here. Ease into the trill at bar 21 and let the cadenza run smoothly from the end of the trill so that there are no bumps.
The cadenza at bar 22 lies well under the hand if you stick to the pattern of fingering. Think of it in groups almost like a bunch of fingers, although retaining a clarity within each semiquaver. A small rit should ease you into bar Bar 25 marks the start of the central section. This section has a short development of the themes we have already heard. The next few bars form a duet: the lower part played by the RH and marked espressivo is in bars and is then gently answered by the higher register from barsmarked languendo languidly.
The LH remains constant while the RH should seamlessly float over the top of it, trying to avoid bumps at all costs. In this passage you will notice how Liszt has marked certain notes in the LH to be held or leaned into. These notes, seen in bar 27 to 32 and then continuing until bar 59, form an inner melody. This second melody is crucial and I would suggest practising it by playing it alone and omitting all the triplet figuration around it.
Meanwhile, the RH needs to have two different qualities one for the higher soprano voice and one for the tenor voice. Try projecting your fifth finger in the higher register and give it a steely quality. Leave the pedal down from the beginning until bar 6. You want to be bathed in the key of F sharp. I always think there is something a very soothing about the key of F sharp major; just think about Chopins famous Nocturne and Beethovens Sonata opus 78 that is also in this key to see exactly what I mean.
F sharp major fits very well under the hand, so that when the right hand RH enters in bar 3, the feeling 24 Pianist As Lucy points out in her lesson, start off by mastering the cadenza first, which starts at bar It really needs to shimmer.
Once you have this under your fingers, youll be extra motivated to tackle the rest of the piece. This gorgeous work is one of Liszts lesser-known works, but it is well worth the effort! Read Lucy Parhams lesson on this piece on page In the later part of his long life, the Hungarian composer Franz Liszt led a threefold life, dividing his time between Rome, Weimar and Budapest.
While teaching became more important, he continued to experiment with form and colour in his compositions, as in this Impromptu, which dates from Pedal and playing tips: Listen to Lucy Parhams recording of this work on our covermount CD and you will immediately realise that one needs playing.
I always think there is something very soothing about the key of F sharp major it fits very well under the hand, so when the right hand enters in bar 3, the feeling in both hands should be very pianistic and comfortable From bar 42 you need to move forward, as the directions indicate poco a poco accel.
Feel the momentum that pushes towards the big climax at bars Each bar is more passionate and powerful than the preceding one.
Trill for a generous bar and then melt into the cadenza. This should start strongly and gradually diminuendo as you descend. Note the instruction to put on the una corda as you merge and melt beautifully into the ppp. Notice where the LH has accents and crotchets within the triplet figuration.
This predominates at bars 42, 44 and 45 and then continues in the same pattern. It should always be your aim to let the whole section flow in one long line.
You can also practise the LH in block chords rather than in the triplets that they are written in. Block chords are always a good practice method for this type of figuration.
This will be an advantageous way to learn this section as well, as you will get a good sense of the hand placement, which can be a little awkward here. Tempo 1 at the end of bar 62 is like a recalling of the main theme. You must, however, try to keep the tone dolce, always moulded and warm. I always like to think this is a voice from afar, as if you were recalling something beautiful. Try to capture this sense of retrospective and change the mood from all the appassionata that has preceded it.
By the time you reach bar 55, both hands should be at equal strength and power. Again, when you reach the trill in bar 60, keep your. Ensure that all the spread chords are beautifully rolled. Imagine the sound of a harp and try to imitate that. Sink into the beautiful deep bass F. From bar 77, the piece unwinds emotionally. In the final seven bars make sure you pedal with care. You dont want too much overlap. Keep the pedal down for the last two chords and lift it up slowly before you lift your hands off calmly to keep a sense of repose.
More Liszt gems to try If you enjoyed learning this piece, and want to uncover more Liszt hidden gems, Lucy Parham suggests his Valse oublie No 1, which appeared in issue 73 and on which Lucy also gave a lesson. Other pieces to try are the Petrach Sonnet NoAu lac de Wallenstadt this piece appeared in issue 58 and Les cloches de Genve the latter two come from the Premire anne of his Annes de plerinage.
These pieces are of the same level, if not slightly easier, than the Impromptu featured here. Liszt wrote copious amounts of piano music 99 CDs worth, in fact! Piano Streets Instructive Editions are designed to support in the beginning stages of the learning process. Try a sample now at:. Dear Reader I am thrilled to announce the launch of our brand-new website. Our new look site features a completely updated design that improves the usability, navigation and overall customer experience.
Now you can also enjoy browsing our site much more comfortably from your tablet or mobile, as it has been designed to be fully responsive. You will be able to watch our exclusive online piano lessons in a much more user-friendly way. The lessons are mapped out into clear sections, which means you will know exactly where to look for the lesson you want.
There are some 60 lessons to date and forever growing from Graham Fitch, Tim Stein and John Maul from the most simple of topics as how to sit at the piano and easy scales to more advanced subjects such as voicing and ornaments. You can also delve into our Pianist Digital Store which features hundreds of scores that have appeared in past issues. A score can cost you as little as 1!
The Pianist site still contains all the great content you are accustomed to, such as breaking piano news, enticing competitions, features on the makers, CD reviews, star interviews and more. Enjoy the new experience! Erica Worth, Editor. Remember to lean into the notes with the accents e. Notice all the changes of dynamics as well. No need for pedal. Take a look at the technical tips within the score. Like Beethoven, Schubert wrote many sets of cossaises the name means Scottish and that may be where this quick dance originated.
This cossaise, comes from a set of eight, that was not published until Playing tips: This needs to sound energetic. Keep the fingers close to the. The RH has its work cut out! The thumb has to move under the hand a lot, and there are also places with a wide-open hand position e. Be prepared. Also, take note of the accents.
This is in the key of D major. However, in the second section, it reverts to the relative minor of D major B minor. Bring out the LH here. It now faces a lot of the challenges the RH had at the start. There should be a feeling of elegance and poise imagine courtiers dancing in their elegant and elaborate costumes. The German composer Georg Philipp Telemann was prolific in many genres and wrote many works for the harpischord, including this seven-movement suite.
This minuet is the last movement of the suite. Playing tips: Its really important to feel the pulse of this piece. We suggest The notes need a detached quality in both hands. In the RH, always lean onto the accented minim. It will make for a syncopated feeling, as the usual accent is on the first beat of the bar, not the second. On the repeat, play Now return to the opening this last bar marked and repeat the first 8 bars.
This is the only phrase, below starting end of last barwith quavers from beginning to end. Keep the line smooth and even. The last eight bars present the biggest challenges due to the ornaments. Practise these extremely slowly, hands separately. Pedal is not required. This lively piece was written by German composer, theorist and pedagogue Daniel Gottlob Trk around Make sure to tail off nicely at the end of every four-bar phrase.
The music will Though marked Poco presto a little quickthis should not sound rushed at all. Listen to Chenyin Li play it on our CD. The first four bars are repeated, but you must play forte this time instead of piano. For the mordent, on the D below, play D-E-D.
The beat should fall on the last D. Something tricky for the LH, above. The fingers need to be prepared for the stretches. A tricky bar below for the RH because of the accidentals.
Learn the notes well! Have you ever tried to play a drinking glass by moistening the rim and moving the finger rapidly around it? Using this idea, the glass harmonica or armonica is made up of multiple concentric glasses; its design was refined by American polymath and politician Benjamin Franklin.
This is an arrangement of a piece Mozart likely wrote after hearing the glass harmonica played in Playing tips: Notice the Adagio tempo. When you listen to Chenyin Li play this piece on the CD, you may well be shocked about the slow tempo, which means it may be a challenge to shape the phrases. You dont want it to sound. A good idea is to practise the piece faster than Adagio refer at Graham Fitchs masterclass in issue 78 in which he discusses practising pieces at opposite tempos.
Try to get the fingers to do all the legato work, rather than cheat with the pedal. Weve offered some good fingering as help for this. Once youve mastered it, you will really enjoy playing this poignant work. Pedal tips: Pay attention to the pedal markings. You will need to depress the pedal a fraction after the fourth beat, and then lift it after the first beat of the next bar.
A prodigy who studied with Mozart and became one of the first touring concert pianists, Johann Nepomuk Hummel wrote much for the keyboard, and although he was influential in his day, his music is only recently being seriously revived again by the likes of Howard Shelley. Playing tips: The rhythm in this piece has to be really precise and clipped.
Experiment with clapping the rhythm first. The crotchet-quaver timing has to be extremely accurate. Try to feel a bouncing sensation in the RH wrist. Even if the three groups of quavers are slurred e. Try to imagine youre at the typewriter for those of you who remember the typewriter! Make sure to observe all the different dynamic markings, and aim to create an air of cheerfulness that should preside throughout.
Pedal tips: Pedal is not necessary for this light and articulated gigue. Notes from the composer: This piece was inspired by self-healing, and the sense of peace and happiness that manifests from positive thoughts. The warm key of E major and tuneful melody felt appropriate for this sentiment. Composers playing tips: Hand positions will prove important, so aim to work through the piece by blocking out patterns, locating notes and fingerings.
The repetitious movement will require an even touch. Try practising with strong fingers both hands, but especially the LHplaying powerfully to start. Full cantabile will highlight the melodic material effectively.
Endeavor to cushion your sound with the use of arm weight and a loose wrist. Pedal tips: Touches of pedal will add a resonant feel and quick footwork will achieve the best results! Karma features in Melanie Spanswicks collection of five short pieces entitled Digressions.
The book was reviewed in issue FFFF-mp mp mp? Adolf Henselt was a student of another composer featured in this edition: Hummel. Henselt was a fine pianist, teacher and composer venerated by all, according to Grove. Much of his career was in Russia, where he influenced the likes of Tchaikovsky and Balakirev. This romance dates from about Playing tips: This is a calm yet passionate Romantic work. Be sure to make the RH melody sing out, with lots of pathos. The LH accompaniment should remain calm and rocking throughout.
The melody starts at bar 3 and goes through to bar 18 and then repeats. Bar 34 sees the beginning of the. The theme returns at bar 55 make the return even more heartbreaking with a short coda. Pedal tips: Although this piece is marked one pedal change per bar, there will be places where you need to change more often, depending on the harmony. An example of this is towards the end of bar 9, where you will have to work on half pedalling, or changing the pedal very quickly, in order not to smudge the semitones in the melody line.
We suggest extremely slow practice and at first, hands separately. Try to work out where the melody is leading and where you can breathe.
Its often worth marking these types of observations in the score, too. In this kind of a piece, you may find that you encounter the tendency to speed up or even slow down for the hard bits! Make sure to follow the dynamics. Pedal tips: No pedal required.
The great Baroque composer George Frideric Handel wrote 16 suites for keyboard, most likely composing them for the harpischord. The second suite in F major contains the famous Harmonious Blacksmith. This Allemande, a very stylised dance with possible German origins as the name indicates, is the third movement in the eighth suite, which was published in Playing tips: Finger dexterity is the key to success in playing this piece.
One needs to hear every single note with clarity, played with the same type of. Allegro moderato Allegro moderato 5 3 b. On these four pages, Pianist covers the most basic stages of learning the piano through a series of lessons by Hans-Gnter Heumann.
Lesson No 17 covers the D major scale with triads, cadences, exercises and pieces. D major triad with inversions Play these two exercises with each hand separately then with both hands together. Begin with the LH one octave lower, or two octaves lower for the broken chords. Externas gentes, quibus tuto ignosci potuit, conservare quam excidere malui. Millia civium Romanorum sub sacramento meo fuerunt circiter quingenta. Ex quibus deduxi in colonias aut remisi in municipia sua stipendis emeritis millia aliquanto plura quam trecenta, et iis omnibus agros adsignavi aut pecuniam pro praemiis militiae dedi.
Naves cepi sescentas praeter eas, si quae minores quam triremes fuerunt. Bella terra et mari civilia externaque toto in orbe terrarum saepe gessi, victorque omnibus veniam petentibus civibus peperci. Bella terra et mari civilia externaque tot. A lndler is an Austro-Bavarian folk dance that dates from around Mozart, Beethoven and Schubert adopted the lndler into their compositions. Turn the page for another piece in the key of D major this time by JS Bach. Hans-Gnter Heumann continues his beginner series in the next issue.
To find out more about Heumann, go to www. Bach JS Bachs keyboard works have enjoyed a further existence in arrangements by later composers, and one of the most famous of these is the arrangement of the E minor Prelude BWV a made by Ukranian-born pianist and composer Alexander Siloti. You may enjoy comparing the original prelude, which appeared issue 69, to this one. For instance, the original is in E minor while Siloti has B minor; Siloti also changed the voicing significantly.
Playing tips: See the learning tips from Maria Ramuzovsky that are dotted throughout the score. Pedal tips: There are markings on the score. Remember, though, that the markings are a guide we always suggest that you use your ear to create the pedalling that works for you.
Read Maria Razumovskys article on Emil Gilels on page Fingering note: using 3 followed by 2 in the LH e. As an alternative, both notes can be played by 3. Take time with this wider spacing. It will be easier to play and add expression to the high point at the start of bar 11! Bar 11 is an important arrival point. Dont rush into a diminuendo too soon.
Instead, in the RH, sing out the D and match the B to what is left of its dying sonority. Again, take time for this wider spread to make space for the next arrival point the climax of the piece. In the LH in bar 17, listen to the nostalgic drop in the line from E to A sharp, and hear its resolution to B in bar Norwegian composer Edvard Grieg composed the Holberg Suite op 40 into mark the th anniversary of the birth of Ludwig Holberg, an important Danish-Norwegian playwright and philosopher.
We have presented selections from this five-movement work before, most recently the Gavotte in etc. (CD) Playing tips: This piece requires you to think in long phrases, using the accents on the notes to bring out the melody. The hands should be relaxed and the wrist loose, but the fingers totally firm. When you pass the semiquavers from one hand to the other, you must still think of the semiquavers as being. Notice that each group of four semiquavers is a broken chord using this knowledge, you might try practising in chords, in order to feel the structure and general line.
You need an air of musical confidence in order to make this wonderful prelude soar. Note: Bars should be repeated, even our pianist has not done so on the CD. Pedal tips: Pedal markings have been placed on the score, but remember to use your ear at all times. Too much pedal will drown out the music; too little will make it sound dry. Each volume has been compiled in a progressive order to aid learning. An accompanying audio CD features demonstration performances by Iain Farrington.
Allegro con brio Adagio molto Allegretto moderato Recorded at the home of Mr. Theme: Andantino Variation II Variation III Variation IV Scarlatti: Sonata, K. Polonaise-Fantaisie, Op. Presto Brahms: Intermezzo, Op. Prelude, Op. Nocturne in C-Sharp Minor, Op. Barcarolle, Op. Allegro assai Andante con moto Allegro ma non troppo Sonata No.
Presto Largo e mesto Menuetto: Allegro Thema: Andante espressivo Variation I: Stesso tempo Variation II: Stesso tempo Variation III: Vivace Variation IV: Sostenuto Allegro assai Clementi: Rondo from Sonata Op. Variation IV Lieder ohne Worte: Spring Song, Op.
Fuga: Allegro con spirito Prokofiev: Sonata No. Precipitato Moszkowski: Etude in A-Flat, Op. Allegro giocoso Tchaikovsky: Dumka, Op. Sonata K. Etude No. Serenade to the Doll Horowitz: Danse excentrique Chopin: Capriccio Concert Etude, Op. Impromptu, D. Allegro brillante Molto commodo Quasi variazioni. Andantino de Clara Wieck Prestissimo possibile Scriabin: Nocturne No. Einfach Sehr rasch und leicht Noch rascher Hastig Einfach und zart Intermezzo Innig Sehr lebhaft Mit einigem Pomp Humoresque, Op.
Consolation No. Mephisto Waltz No. Molto vivace ed appassionatamente Con forza, assai marcato Schumann: Nachtstucke Op. Scherzo a capriccio. Presto Rachmaninov: Sonata No. Non allegro. Lento L'istesso tempo. Sonata in A-Flat, Kk. Sonata in F Minor, Kk. Sonata in A, Kk. Sonata in B Minor, Kk. Sonata in E, Kk. Waltz in A-Flat, Op. Prelude in G Minor, Op. Allegro con spirito Adagio e cantabile, con espressione Prelude in G, Op. Moment musicale, Op. Polka V. God Save the Queen Chopin: Ritter vom Steckenpferd Der Dichter spricht Scriabin: Etude, Op.
Nocturne in E Minor, Op. Etude in C-Sharp Minor, Op. Presto in B-Flat Moszkowski: Etude in F, Op. May Breezes, No. Variations on a Theme from "Carmen" Carmen Fantasy Sousa: Grave - Doppio movimento Presto Rachmaninov: Arabeske in C major, Op. Hasche-Mann Der Dichter spricht Toccata in C major, Op.
Allegro Scarlatti: Sonata in E Major, K. Sonata in A Major, K. Sonata in G Major, K. Impromptu in G-flat Major, Op. Grave - Allegro di molto e con brio Adagio cantabile Calme General Lavine - eccentric. Dans le style et le Mouvement d'un Cake-Walk Chopin: Sonata in D Major, K. Sonata in A minor, K. Sonata in F Major, K. Sonata in F minor, K. Sonata in E-flat Major, K. Sonata in E minor, K. Preludio, quasi improvvisando.
Tempo moderato Moderamente scherzando, un poco umoristico Schumann: Fantasie Op. Durchaus phantastisch und leidenschaftlich vorzutragen Durchaus energisch Langsam getragen. Mazurka No. Serenade for the Doll from Children's Corner Scriabin: XVI Presto Schumann: Blumenstuck Op. Leise bewegt Scriabin: Andante grazioso e variazioni Menuetto - Trio Rondo alla Turca. Allegretto Chopin: Nocturne in F minor, Op. Polonaise in F-sharp minor, Op. Arabeske in C Major, Op. Sehr innig und nicht zu rasch Sehr aufgeregt Sehr langsam Sehr Lebhaft Sehr rasch Non allegro Allegro molto Prelude in G-sharp minor, Op.
Moments musicaux in B minor, Op. Polonaise-Fantaisie in A-flat Major, Op. Mazurka in A minor, Op. Introduction and Rondo in E-flat Major, Op. Waltz in A minor, Op. Polonaise in A-flat Major, Op. Feuillet d'album in E-flat Major, Op. Allegro moderato from Vers la flamme, Op. Presto agitato Schubert: Impromptu in A-flat Major, Op.
Impromptu in F minor, Op. Impromptu in E-flat Major, Op. Andante con moto - attacca Allegro, ma non troppo - Presto Beethoven: Sonata No. Adagio molto - attacca Mazurka in F-sharp minor, Op.
Mazurka in C-sharp minor, Op. Mazurka in D-flat Major, Op. Mazurka in F minor, Op. Mazurka in E minor, Op. Mazurka in D Major, Op. Waltz in C-sharp minor, Op. Polonaise in A Major, Op. Leonore Overture No. Pezzo elegaico V.
Horowitz, I. Rostropovich Rachmaninov: from Sonata Op. Andante V. Im wunderschonen Monat Mai, Aus meinen Thranen spriessen Die Rose, die Lilie, Wenn ich in deine Augen seh', Ich will meine Seele tauchen Im Rhein, im heilegen Strome, Ich grolle nicht, Und wussten's die Blumen, Das ist ein Floten und Geigen Hor'ich das Liedchen klingen, Ein Jungling liebt ein Madchen, Am leuchtenden Sommermorgen Ich hab'im Traum geweinet, Allnachtlich im Traume Aus alten Marchen winkt es Die alten, bosen Lieder, Vivace Largo ma non tanto Allegro Y.
Hallelujah Chorus from Messiah No. Sonata in G K. Sonata in B Minor K. Sonata in F-Sharp K. Sonata in D Minor K. Sonata in C Minor K. Fairy Tale in A Major, Op. Feuillet d'album, Op. Sonata in E-flat Major, Op. Sonata in B-flat Major, Op. Sonata in A Major, Op. Adagio sostenuto e patetico J. Bach: Sonata in F-sharp Major, K.
Andante con espressione Presto Beethoven: Sonata in A, Op. Allegretto ma non troppo Vivace alla marcia Toccata Fugue Clementi: Sonata in A, Op. Sonata Op. Un poco andante, quasi allegretto Mendelssohn-Bartholdy: Lieder ohne Worte Op. Fantaisie, Op. Polonaise, Op. Etude-tableau, Op. Pour les cinq doigts Pour les sixtes Pour les huit doigts Prokofiev: Cinderella Valse lente Poulenc: Intermezzo No.
Novellette No. Allegro moderato. Festivamente Presto assai Barber: Excursions Op. Un poco allegro In slow blues tempo Applause Schumann: Applause Rachmaninov: Etude-tableau in E-Flat Minor, Op. Waltz in A Minor, Op. Serenade of the Doll Children's Corner, No. Etude-tableau in D, Op. Moderamente scherzando, un poco umoristico Schumann: Fantasie in C, Op.
Durchweg leise zu halten Scriabin: Kuriose Geschichte Am Kamin Adagio e cantabile Tempo di Minuet Chopin: Fantaisie-Impromptu, Op. Nocturne in B Major, Op. Variations on a Theme by Clara Wieck, Op. Allegretto grazioso Prokofiev: Sonata No. Allegro inquieto Mazurka in B-Flat Minor, Op. Polonaise in C-Sharp Minor, Op. Etude in E-Flat Minor, Op.
Sonata in A Major, Kk. Song without words No. Etincelles, Op. Applause Beethoven: Sonata in A, Op. Etwas lebhaft und mit der innigsten Empfindung: Allegretto, ma non troppo Langsam und sehnsuchtsvoll: Adagio, ma non troppo, con affetto - attaca: IV. Geschwind, doch nicht zu sehr, und mit Entschlossenheit: Allegro Chopin: Barcarolle in F-Sharp Major, Op. Polonaise No. Applause Scarlatti: Sonata in F-Sharp Major, Kk. Sonata in G Major, Kk. Arabeske, Op. Etude-tableau in D Major, Op.
Kinderszenen, Op. Mazurka in F Minor, Op. Allegro 2. Adagio 3. Vivace 5. Largo 6. Andante 8. Adagio e dolce 9. Largo Vivace 2. Lente 3. Prelude 5. Prelude 7. Prelude 9. Prelude Prelude 2. Prelude 4. Prelude 6. Prelude 8. Fantasia 8. Fantasia Bach, composer unknown Toccata 2.
Toccata 4. Adagio 5. Toccata 7. Passacaglia Bach, composer unknown : Allegro 4. Bach, composer unknown : 9. Adagio 2. Pastorella II. A tempo giusto III. Adagio IV. Grave Adagio senza pedale a due Clav. Recitativo: Adagio 3. Allegro 6. Grave 7. Fuga 8. Largo e spiccato 9. Wachet auf, ruft uns die Stimme, BWV Wer nur den lieben Gott la? Schmucke dich, o liebe Seele, BWV 4. Nun danket alle Gott, BWV 7.
Von Gott will ich nicht lassen, BWV 8. Vater unser im Himmelreich, BWV Gottes Sohn ist kommen, BWV 9. Lob sei dem allmachtigen Gott, BWV Puer natus in Betlehem, BWV Der Tag, der ist so freudenreich, BWV Vom Himmel hoch, da komm ich her, BWV In dulci jubilo, BWV Jesu, meine Freude, BWV Christum wir sollen loben schon, BWV Das alte Jahr vergangen ist, BWV Herr Gott, nun schleu? Christus, der uns selig macht, BWV Hilf Gott, da? Christ lag in Todesbanden, BWV 5.
Christ ist erstanden, BWV 7. Erschienen ist der herrliche Tag, BWV 9. Liebster Jesu, wir sind hier, BWV Es ist das Heil uns kommen her, BWV Wenn wir in hochsten Noten sein, BWV Wer nur den lieben Gott lasst walten, BWV Alle Menschen mussen sterben, BWV Bach, attributed to Johann Gottfried Walther Bach, attributed to Johann Ludwig Kellner 6. Christ lag in Todesbanden, BWV Herzlich tut mich verlangen, BWV Jesus, meine Zuversicht, BWV Liebster Jesu, wir sind hier, BWV 2.
Liebster Jesu, wir sind hier, BWV 3. Fuga sopra il Magnificat, BWV 5. Fantasia super: Valet will ich dir geben, BWV 7. Valet will ich dir geben, BWV 8. Vater unser im Himmelreich, BWV 9. Wie schon leuchtet der Morgenstern, BWV Ach, was ist doch unser Leben, BWV Auf meinen lieben Gott, BWV In dulci jubilo, BWV attributed to J. Bach, composer: J. Vater unser im Himmelreich, BWV 5. Bach, composer unknown 6. Partite diverse sopra: Sei gegru? Das alte Jahr vergangen ist, BWV 6. Herzliebster Jesu, was hast du verbrochen, BWV 8.
Pachelbel Wenn dich Ungluck tut greifen an, BWV 2. Jesu, meine Freude, BWV 3. Gott ist mein Heil, BWV 4. Nun lasst uns den Leib begraben, BWV 9. Christus, der ist mein Leben, BWV Wie nach einer Wasserquelle, BWV Act 1.
Kein Zweifel! Rezitativ und Arie. Szene, Duett und Chor. Meine Tochter sein Weib? Act 2. Szene, Lied und Ballade. Bleib, Senta! Bleib nur einen Augenblick! Wirst du des Vaters Wahl nicht schelten? Act 3. Szene und Chor. Seht doch an! Ach, verloren! Ewig velornes Heil! Geliebter, sag, wo weilt dein Sinn? Geliebter, komm! Zieh hin, Wahnsinniger, zieh hin! Wilkommen, ungetreuer Mann! Der Gnade Wunder Heil!
Seht hin! Sie naht, die hart Beklagte! Nun sei bedankt, mein lieber Schwan! Erhebe dich, Genossin meiner Schmach! Helft jetzt meiner Rache! Haltet ein! Macht Platz dem Helden von Brabant! Mein lieber Schwan! Scene 1. Scene 2. Scene 3. Weh, ach wehe! Dies zu dulden! Scene 4.
Ihr Frauen! Frisch und froh! Herr Tristan trete nah! Scene 5. Einsam waschend in der Nacht! Lausch, Geliebter! Rette dich, Tristan! Sag, Kurwenal! Hei nun! Wie du kamst? Noch ist kein Schiff zu sehn! Bist du nun tot? Lebst du noch? O diese Sonne! Ha, dieser Tag! Ein zweites Schiff Was stehst? Mein Herr! Nun, Meister! Halt, Meister! Nicht so geseilt! Da ist er! Gleich, Meister! Ein Werbelied! Von Sachs!
Das Gedicht? Sieh, Evchen! Sankt Krispin, lobet ihn! Wacht auf! Woge, du Welle! Gastig glatter glitschriger Glimmer! Lugt, Schwestern! Zu mir, Freia! Endlich Loge! Was wollt ihr hier? Da Vetter, sitze du fest! Bin ich nun frei? Lauschtest du seinem Liebesgruss? Weiche, Wotan, weiche!
Was verlangst du? Lausche hieher! Zwangvolle Plage! So strab meine Mutter an mir? Heil dir, weiser Schmied! Verfluchtes Licht! Was flammt dort die Luft?
Den der Bruder schuf, den schimmernden Reif! Wir sind zur Stelle! Bleib hier stehn! He, du Alter! Aber, wie sah meine Mutter wohl aus? Wilkommen, Siegfried! Siegfried erschlug nun den schlimmen Zwerg! Wache, Wala! Heil dir, Sonne! O Siegfried! Seliger Held! Welch Licht leuchtet dort? Hehre Geschlechter! Hoiho, Hagen! Helle Wehr!
Heilige Waffe! Welches Unholds List liegt hier verhohlen? Trink, Gunther, trunk! War das sein Horn? Recht so! Habt Dank! Nicht Dank! Was wird es helfen? Mein Sohn Amfortas, bist du am Amt? Tiefe Nacht! Hier war das Tosen! Komm, holder Knabe! Was tat ich? Wo war ich? Die Wunde! Vergeh, unseliges Weib! Heil dir, mein Gast! O Herr! Nicht so! Gesegnet sei, du Reiner, durch das Reine! Ja, Wehe! Steinway Legends 21CD Beethoven : Piano Sonata no.
Mozart : Rondo in A minor, K. Schubert : Allegretto in C minor, D. Liszt : Sonata in B minor, S. Schumann : Faschingsschwank aus Wien, Op. Mozart : Rondo In A minor, K. Piano Sonata In D major, K. Fantasia in D minor, K. Schubert: Improptu No. Six German Dances, D. Piano Sonata in C major, D.
Schumann : Kreisleriana, Op. Debussy : Douze Etudes pour piano : Berg : Piano Sonata, Op. Scarlatti : Sonata in E major, K. Mozart : Piano Sonata in B flat major, K. Liszt : Consolation No. Chopin : Polonaise no. Chopin : Mazurka no. Chopin : Scherzo no. Schubert arr. Moszkowski : Etude in F major, op. Moszkowski : Etincelles, Morceau caracteristique, op. Mozart : Rondo in D major, K. Schubert : Impromptu in B flat major, D no. Schubert : Impromptu in A flat major, D no.
Schumann : Kreisleriana op. Auberst bewegt. Sehr aufgeregt. Sehr langsam. Sehr lebhft. Sehr rasch. Schnell und spielend. Scriabin : Etude in C sharp minor, op.
Piano Concertos 1 & 2 / Mephisto Waltzが交響曲・管弦楽曲・協奏曲ストアでいつでもお買い得。当日お急ぎ便対象商品は、当日お届け可能です。アマゾン配送商品は、通常配送無料（一部除く）。5/5(4). The Liszt Collection. DG: Buy download online. Krystian Zimerman (piano), Shura Cherkassky, John Ogdon & Brenda Lucas (piano), Vinson Cole (tenor), Roberto Szidon (piano), Lazar Berman (piano), Alice Sara Ott (piano), Jorge Bolet (piano), Wilhelm Kempff (piano), Nikita Magaloff (piano) Boston Symphony Orchestra, Berliner Philharmoniker, London. The genesis of Liszt's Piano Concerto No. 1 in E flat major dates to , when the composer sketched out the main theme in a notebook. It wasn't until the s, however, that Liszt actually commenced work on the concerto. As a neophyte in the art of orchestration -- his output to that point consisted almost entirely of keyboard music -- Liszt enlisted the assistance of his pupil Joachim Raff.
View credits, reviews, tracks and shop for the kbps File release of The Collection on Discogs.
Best Liszt. Warner Classics: Buy 6 CDs online. Michel Béroff (piano), Andrea Lucchesini (piano), Craig Sheppard (piano), Aldo Ciccolini (piano), Georges Cziffra (piano), Vladimir Ovchinnikov (piano), John Ogdon (piano), Kun-Woo Paik (piano), André Watts (piano), Jeanne Marie Darre, Jeanne-Marie Darré (piano), François-René Duchâble. View credits, reviews, tracks and shop for the kbps File release of The Collection on Discogs.
Composed By – Liszt* Conductor – André Previn Orchestra – London Symphony Orchestra* Piano – Horacio Gutiérrez: D2a: First Movement—Allegro Maestoso: D2b: Second Movement—Quasi Adagio—Allegretto Vivace—Allegro Animato: D2c: Third Movement—Allegro Marziale Animato: Cello Concerto In E Minor, Op.
Composed By – Liszt* Conductor – André Previn Orchestra – London Symphony Orchestra* Piano – Horacio Gutiérrez: D2a: First Movement—Allegro Maestoso: D2b: Second Movement—Quasi Adagio—Allegretto Vivace—Allegro Animato: D2c: Third Movement—Allegro Marziale Animato: Cello Concerto In E Minor, Op. CD 1: Liszt: Piano Concertos Nos.1 & 2; Totentanz Piano Concerto No.1 in E flat, S 1. 1. Allegro maestoso 2. 2. Quasi adagio - Allegretto vivace - Allegro animato 3. 3. Allegro marziale animato Piano Concerto No.2 in A, S 4. 1. Adagio sostenuto assai - Allegro agitato assai 5. 2. Allegro moderato - Allegro deciso 8 /5(31).
CD 1: Liszt: Piano Concertos Nos.1 & 2; Totentanz Piano Concerto No.1 in E flat, S 1. 1. Allegro maestoso 2. 2. Quasi adagio - Allegretto vivace - Allegro animato 3. 3. Allegro marziale animato Piano Concerto No.2 in A, S 4. 1. Adagio sostenuto assai - Allegro agitato assai 5. 2. Allegro moderato - Allegro deciso 8 /5(31).
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