Sonatas and Impromptus; Andras Schiff, piano (ECM New Series) The masterful Mr. Schiff has already recorded Schubert's complete sonatas and impromptus (and some of the works more than once).
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I remember years ago I was doing the "Impromptus," and in the first impromptu of the first set you get these repeated triplets.
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He begins with Bach's French Suite No. 6, detours to Schubert's second set of Impromptus, returns to a Mozart rondo and finishes with Beethoven's last sonata.
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Yet on this new release, he plays two late sonatas and both sets of impromptus, on an 1820 Brodmann fortepiano, giving these works an historically authentic sound.
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All-Day Chopin Marathon (Saturday) The classical music radio station WQXR presents this daylong celebration of Chopin's works for solo piano — over 200 waltzes, nocturnes, impromptus and more, including the composer's daunting ballade.
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Part of the ever-reliable Mr. Ax's clever program concentrates on impromptus by Schubert and Chopin, with a contemporary interloper: Samuel Adams's "Impromptu (After Schubert)," commissioned to be heard with Schubert's D. 935 set.
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Born in 1810 in Warsaw to a middle-class family, he was a child prodigy and became a noted pianist and composer of small-scale but exquisite Romantic pieces of music, such as ballades, études, impromptus, mazurkas, nocturnes and polonaises.
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Her interpretations of Schubert's popular four D. 899 Impromptus — spontaneous-seeming works that traverse a range of moods and character — were gracefully shaped, with an alluring intimacy and singing tone in the G flat impromptu and vivid contrasts of color in the C minor.
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The Opus 90 impromptus consist of four typical Romantic-era pieces, each with distinct elements. The name Impromptus was given by the publisher.
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After this, Scriabin played a selection of his études, préludes and impromptus at the piano.
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How often have I hover'd at the edge of a crowd of them, to hear their repartees and impromptus!
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In a complex ternary form each section is itself in ternary form in the scheme of By convention each part is repeated and only on its first rendition: . An example are the Impromptus (Op. 7) by Jan Voříšek."An Analysis of Three Impromptus for Piano Op. 68 by Lowell Liebermann" by Tomoko Uchino.
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They are considered to be among the most important examples of this popular early 19th-century genre.Ham, Ina (2005). Franz Schubert's Impromptus D.899 and D.935: An Historical and Stylistic Study Three other unnamed piano compositions (D. 946), written in May 1828, a few months before the composer's death, are known as both "Impromptus" and Klavierstücke ("piano pieces").
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"Studies, Preludes and Impromptus." In Frédéric Chopin: Profiles of the Man and the Musician. Ed. Alan Walker. London: Barrie & Rockliff, 1966, p. 132.
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The melody of the Fantaisie-Impromptus middle section was used in the popular Vaudeville song "I'm Always Chasing Rainbows". That theme was quoted in Variation 10 of Federico Mompou's Variations on a Theme of Chopin, which is otherwise based on Chopin's Prelude No. 7 in A major. George Crumb's Makrokosmos, Volume 1: 11. Dream Images (Love-Death Music) (Gemini) includes three quotations from the Fantaisie-Impromptus middle section.
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As the first and last pieces in this set are in the same key (F minor), and the set bears some resemblance to a four- movement sonata, these Impromptus have been accused of being a sonata in disguise, notably by Robert Schumann and Alfred Einstein, who claim that Schubert called them Impromptus and allowed them to be individually published to enhance their sales potential.Einstein However, this claim has been disputed by contemporary musicologists such as Charles Fisk, who established important differences between the set of Impromptus and Schubert's acknowledged multi-movement works.Fisk It is also believed that the set was originally intended to be a continuation of the previous set, as Schubert originally numbered them as Nos. 5–8.
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Frédéric Chopin's Impromptu No. 3 in G major, Op. 51, for piano, was published in February 1843. It was the last in order of composition of his four impromptus, but the third published. The piece is written in time.
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Rochester's manor house in Adderbury, Oxfordshire Rochester's poetic work varies widely in form, genre, and content. He was part of a "mob of gentlemen who wrote with ease",Alexander Pope, "First Epistle of the Second Book of Horace", line 108. who continued to produce their poetry in manuscripts, rather than in publication. As a consequence, some of Rochester's work deals with topical concerns, such as satires of courtly affairs in libels, to parodies of the styles of his contemporaries, such as Sir Carr Scroope. He is also notable for his impromptus,Rochester composed at least 10 versions of Impromptus on Charles II luminarium.
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911), the Fantasy in C major for violin and piano (D. 934, first published as op. post. 159), the Impromptus for piano, and the two piano trios (the first in B-flat major (D. 898), and the second in E-flat major, (D.
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The works he composed in these years include songs, dances, bagatelles, impromptus and the G minor Piano Sonata.Large, pp. 29–35 In 1846 Smetana attended concerts given in Prague by Berlioz, and in all likelihood met the French composer at a reception arranged by Proksch.Clapham (1972), p.
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In Howard Jacobson's 2010 Man Booker Prize winning novel The Finkler Question, Impromptu Opus 90 No.3 is referred to as having been played by the character Libor's dead wife Malkie. Impromptus Nos. 1 and 3, D.899 appeared in Michael Haneke's Palme d'Or winning film Amour.
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The pieces, played by Alexandre Tharaud, were released in a soundtrack album by EMI Classics. Impromptus nos. 3 and 4 from the D.899 set were played in the 1996 film of The Portrait of a Lady, from the novel by Henry James. The Klavierstück no.
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Program notes // Four impromptus, op. 90 / Franz Schubert; Five pieces. La cathédrale engloutie ; La Puerta del vino ; General Lavine : eccentric ; Hommage a Rameau ; Reflets dans l'eau / Debussy. — Kingsway: KLP 201. [1955] On the other hand, in 1931 and 1932 MacGregor studied painting in Wien with Franz Lerch.
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Savary has also recorded the Toccatas of Bach, as well as the Impromptus of Schubert. Since 2015 she has been an associate piano professor and an ensemble coach of the Royal Academy of Music. In September 2019, she founded the Salieca Trio with Jack Liebeck (violin) et Thomas Carroll (cello).
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In 1999, Waltz took over as artistic director at Schaubühne am Lehniner Platz in Berlin alongside Thomas Ostermeier, Jens Hillje and Jochen Sandig. She opened the Schaubühne under new direction with the debut of Körper (2000). This was followed by S (2000), noBody (2002), insideout (2003), Impromptus (2004) and Gezeiten (2005).
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An example from Liszt's time is Schumann. He composed his Paganini Studies, Opp. 3 and 10. The subject of his Impromptus, Op. 5, is a melody by Clara Wieck, and that of the Études symphoniques, Op. 13, is a melody by the father of Ernestine von Fricken, Schumann's first fiancée.
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Julius Schulhoff Julius Schulhoff (Julius Šulhov) (2 August 182515 March 1898) was a Bohemian pianist and composer of Jewish birth. As a composer, he was best known for his virtuosic salon pieces for solo piano, which included a grand sonata in F minor, twelve études, and various caprices, impromptus, waltzes, and mazurkas.
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14 to be "common." Blanchard declared Klemczyński ignorant of musical rules because he composer chose unusual keys for the movements of his string quartet. Later reviews from 1842 gave a negative review of Klemczyński's entire oeuvre, calling his Impromptus op. 10 worse than those of Frederic Chopin and describing a raw modulation in the duet, op.
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Portrait by Anton Depauly, of Schubert at the end of his life Franz Schubert's Impromptus are a series of eight pieces for solo piano composed in 1827. They were published in two sets of four impromptus each: the first two pieces in the first set were published in the composer's lifetime as Op. 90; the second set was published posthumously as Op. 142 in 1839 (with a dedication added by the publisher to Franz Liszt). The third and fourth pieces in the first set were published in 1857 (although the third piece was printed by the publisher in G major, instead of G as Schubert had written it, and remained available only in this key for many years). The two sets are now catalogued as D. 899 and D. 935 respectively.
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Six moments musicaux, D. 780 (Op. 94) is a collection of six short pieces for solo piano composed by Franz Schubert. The movements are as follows: Along with the Impromptus, they are among the most frequently played of all Schubert's piano music, and have been recorded many times. No. 3 in F minor has been arranged by Leopold Godowsky and others.
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Fauré in 1907 The French composer Gabriel Fauré (1845–1924) wrote in many genres, including songs, chamber music, orchestral pieces, and choral works.Jones, p. 8 His compositions for piano, written between the 1860s and the 1920s, include some of his best known works. Fauré's major sets of piano works are thirteen nocturnes, thirteen barcarolles, six impromptus, and four valses-caprices.
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His discography includes works by Chopin (Piano Concertos, complete Ballades, Scherzi, Impromptus, Sonatas and Mazurkas) Debussy, Schumann, Prokofiev, as well as Beethoven. Arte Nova Classics has released live performances with the SWF Orchestra of Tchaikovsky’s Concerto in B-flat minor with Ahronovich and Rachmaninoff’s Paganini Variations with Sinopoli. His recording of Chopin’s Mazurkas was doubly acclaimed because of the Joyce Hatto hoax.
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It has been said that Schubert was deeply influenced in writing these pieces by the Impromptus, Op. 7, of Jan Václav Voříšek (1822).Grove's Dictionary of Music and Musicians, 5th ed. 1954 They were published by Leidesdorf in Vienna in 1828, under the title "Six Momens [sic] musicals [sic]". The correct French forms are now usually used – moments (instead of momens), and musicaux (instead of musicals).
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In 1955, the employees in Munich moved to a newly acquired publishing house in Schongauerstraße 24. For several decades, engraving was done by the Universitätsdruckerei H. Stürtz (Würzburg), and were later joined by engravers in Leipzig and Darmstadt. The first works published were Wolfgang Amadeus Mozart’s Piano Sonatas in two volumes, edited by Walther Lampe, and Franz Schubert’s Impromptus and Moments Musicaux, edited by Walter Gieseking.
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Sonata for oboe and piano (1949) "I Saltimbanchi" (1960) for flute, oboe, clarinet, harp, string quartet and double bass (also version with string orchestra instead of 5 strings) "Three Impromptus" (1974) for flute and piano "Ricordanza" (in memoriam for Samuel Barber) (1981) for oboe, violin, viola and cello "Academic Festival Procession" (1984) for two French horns, three trumpets, two trombones, tuba and timpani "Reflections and Diversions" (1985) for clarinet, piano.
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On 27 May 1945, as a tribute to his 25th anniversary as head of the cello department at the Conservatory, four of his cello students premiered Joaquín Rodrigo's Dos piezas caballerescas for four-piece cello orchestra.joaquin-rodrigo.com In 1951 he founded the Asociación Española de Música de Cámara, with which he continued to play until 1969. He composed a small number of pieces, including "Six Cello Impromptus". He died in 1972, aged 82.
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In a marked departure from his customary practice, Fauré gave each of the six movements a descriptive, sometimes whimsical, title. Ordinarily he disliked fanciful titles for musical pieces, and maintained that he would not use even such generic titles as "barcarolle" unless his publishers insisted upon them. His son Philippe recalled, "he would far rather have given his Nocturnes, Impromptus, and even his Barcarolles the simple title Piano Piece no. so-and-so".Nectoux, p.
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In the year 1767, his writings in belles lettres were issued in six volumes, edited by his half brother, J. C. Bökman. Amid an enormous mass of occasional verses, anagrams, epigrams, impromptus and the like, his satires and serious poems were almost buried. But some of these former, even, are found to be songs of remarkable grace and delicacy, and many display a love of natural scenery, and a knowledge of its forms.
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Although he wrote for numerous different instrumental combinations, the piano features prominently in many of his works. Despite this, Bowen's varied instrumental proficiencies are evident in his technical and musical understanding of individual instrumental capabilities. The varying standards of difficulty of his compositions make Bowen's instrumental music accessible to a wide range of musicians. This is particularly true of Bowen's piano works which span from study pieces such as Twelve Easy Impromptus, Op. 99.
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Austrian composer Franz Schubert chose this key for his third impromptu from his first collection of impromptus (1827). Polish composer Frédéric Chopin wrote two études in the key of G-flat major: Étude Op. 10, No. 5 "Black Key" and Étude Op. 25, No. 9 "Butterfly". French composer Claude Debussy used this key for one of his most popular compositions, La fille aux cheveux de lin, the eighth prélude from his Préludes, Book I (1909-1910).
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London: Joseph Williams, Ltd. (1946) Reprinted Mineola, New York: Dover (2005): 11. "No key suits it [the flute] better than D-flat [major]." Although this key was relatively unexplored during the Baroque and Classical periods and was not often used as the main key for orchestral works of the 18th century, Franz Schubert used it quite frequently in his sets of écossaises, valses and so on, as well as entering it and even flatter keys in his sonatas, impromptus and the like.
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Wilcox joined RCA Red Seal Records in 1958, as a music editor. In 1959, he started to work as producer for Arthur Rubinstein until 1976. Their recordings include Sonatas, Piano Concerto No. 1 (1961), Waltzes, Polonaises, Impromptus (1964), Mazurkas (1965/66), Nocturnes (1965/67) by Frédéric Chopin and the five piano concertos by Ludwig van Beethoven with Daniel Barenboim and the London Philharmonic Orchestra (1976), which won the Grammy Award for Best Instrumental Soloist(s) Performance (with orchestra) in 1977.
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Uninsky was quickly signed up in the early 1950s by the newly formed Philips recording company. His Chopin playing is well represented in his recordings, including the complete Études, recorded in the 1950s, the complete Mazurkas and Impromptus recorded between 1959 and 1971, the Scherzos and Waltzes, as well as the piano concertos. His other recordings included works by Liszt. His style is greatly reminiscent of Nikita Magaloff, who underwent the same influences of pre-revolutionary Russia and post- revolutionary Paris.
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There is space for doubts, though, as to whether these pieces actually constitute a cycle or they were arbitrarily united by Brahms (the third piece was written on different paper sheets than the first two even though there were empty sheets after the second one). For the same reasons, the dating of the third piece is rather problematic. Some musicologists refrain from naming these pieces Impromptus though, since whereas the Impromptus D. 899 and D. 935 tend to be closer to sonata-allegro form, the construction of the pieces D. 946 is different and is rather closer to the Moments musicaux, both in how Schubert treats the inner sections of the pieces and how he introduces second themes.Preface by Walther Dürr to Bärenreiter edition Pianists who have recorded the pieces include Imogen Cooper on Ottavo and Avie; Noël Lee on Disques Valois; András Schiff on Decca; Claudio Arrau, Alfred Brendel, and Mitsuko Uchida on Philips; Wilhelm Kempff, Maria João Pires, Maurizio Pollini, and Grigory Sokolov on Deutsche Grammophon; Steven Osborne on Hyperion; Sviatoslav Richter on Melodiya; Yulianna Avdeeva on Mirare; Michael Endres on Oehms Classics and Eliso Virsaladze on Live Classics.
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The Schubert Series - Live - Pt. 1 was commercially released in April 2017 as the first installment of a three-part series all-Schubert albums, recorded live in concert. Part 1 features Schubert's Opus 90 Impromptus and the Sonata in B-flat major, D 960, along with a live improvisation performed as an encore. This concert was described by the Boston Musical Intelligencer as “gripping, frankly, both spellbinding and spellbound, quite unlike most such solo recitals I’ve heard over the decades.” The Schubert Series - Live - Pt. 2 was released commercially in 2020.
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Mask of the god Pan, detail from a bronze stamnoid situla, 340–320 BC, part of the Vassil Bojkov Collection, Sofia, Bulgaria In ancient Greek religion and mythology, Pan (;"Pan" (Greek mythology) entry in Collins English Dictionary. ) is the god of the wild, shepherds and flocks, nature of mountain wilds, rustic music and impromptus, and companion of the nymphs.Edwin L. Brown, "The Lycidas of Theocritus Idyll 7", Harvard Studies in Classical Philology, 1981:59–100. He has the hindquarters, legs, and horns of a goat, in the same manner as a faun or satyr.
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Following a series of impromptus, and consuming pizza and coffee, they completed the song after an all-nighter. While writing "Cruel Memories", Jung envisioned Yoon Do-hyun of rock band YB singing the song. Yoon expressed his desire to see CNBLUE flourish into a "true band" and decided that "it'd be great to give him [Jung] a hand". In conceiving "Cruel Memories...", the pair sought to "create a boom among Korean men so that they go to karaokes in duos and sing their hearts out with this song, facing each other".
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Ivanhoé proved to be Sieg's only major composition, although he later published several piano pieces including Trois Impromptus, Tarentelle and Caprice-Valse. After he returned from Rome where he had worked on composing an opéra-comique, he took up a post in Paris as organist at the church of Notre-Dame de Clignancourt and devoted himself to teaching. He also served as the organist of the Church of Saint-Merri and as the singing inspector for Paris city schools. Sieg died in Colmar in 1899 at the age of 61.Pougin, Arthur (16 April 1899).
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The Drei Klavierstücke D. 946, or "Three Piano Pieces", are solo pieces composed by Schubert in May 1828, just six months before his early death. They were conceived as a third set of four Impromptus, but only three were written. They were first published in 1868, edited by Johannes Brahms, although his name appears nowhere in the publication.Preface to G. Henle Verlag edition In comparison with the D. 899 and D. 935 sets, these works are largely neglected and are not often heard in the concert hall or recorded.
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A prolific author, from 1793 to 1825 he wrote libretto for operas comiques, vaudevilles, comedies and impromptus, alone or in collaboration with René de Chazet and Dumersan, as well as poems and novels. Appointed archivist secretary at Les Invalides under the Bourbon Restauration regime, he lost his position in 1830 with the fall of Charles X. Charles-Augustin Bassompierre died in Paris 22 April 1853 and was buried in the Montparnasse cemetery. A knight in the ordre de la Légion d'honneur, he was married to Louise-Julie des Acres de l'Aigle (1787–1845).
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Radoslav Kvapil (born 15 March 1934 in Brno) is an internationally acclaimed Czech pianist. At the end of the 20th century, he devoted his concert programmes to works by Frédéric Chopin, particularly in France, in the Chopin International Piano Festival in Nohant. On 21 October 2016 Radoslav gave a recital of Beethoven, Chopin, Dvořák, Janáček and Martinu at St Mary's parish church in Hay-on-Wye. He has recently recorded a C.D. for Alto of Chopin Complete Ballades and Impromptus, some of which he performed at the concert.
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The first recorded use of impromptu as a musical term occurred in 1817, in the Allgemeine musikalische Zeitung, an idea of the publisher to describe a piano piece by Voříšek . His Impromptus Op. 7 were published in 1822, pieces known to his friend Schubert who subsequently used the description for several sets of music for piano, as did Frederic Chopin and numerous other composers. In 1823-24, like Schubert, he was one of the 50 composers to contribute a variation on the same waltz by Anton Diabelli for the Vaterländischer Künstlerverein on which Beethoven composed his 33 variations (Op. 120).
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Maria Wodzińska, 1835 The great bulk of Frédéric Chopin's output consists of pieces for solo piano: his ballades, études, impromptus, mazurkas, nocturnes, polonaises, preludes, rondos, scherzos, sonatas and waltzes. There are also the two piano concertos, four other works for piano and orchestra, and a small amount of chamber music. However, Chopin also produced a number of other compositions, mostly for solo piano, but some for other forces. Some of these are well-known, such as the Barcarolle in F-sharp, the Fantaisie in F minor, the Berceuse in D-flat, and some of the 19 Polish songs.
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In 1998 Pompa-Baldi received the 3rd Prize at the Marguerite Long-Jacques Thibaud Competition in Paris, France. He also received the special prize for the best interpretation of a contemporary work written for the competition ("Tumultes" by Serge Nigg). In 1999 he won the first prize in the Cleveland International Piano Competition, which lead to over 450 concert engagements within two years. In 2001 Pompa-Baldi won a silver medal at the 11th Van Cliburn International Piano Competition in 2001 in addition to the special prize for the best performance of a new work ("Three Impromptus" by Lowell Liebermann).
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Among the many recordings by Demus are sets of the complete piano works by both Robert Schumann and Claude Debussy. He also recorded Schubert's Impromptus on the Deutsche Grammophon label. He made recordings on historical keyboard instruments, including, for example, the earliest such recording of Beethoven's "Waldstein" sonata in 1970, on a Broadwood dating from 1802. He recorded several of his own compositions with cellist Maria Kliegel, including Poetische Sonate (Poetic Sonata) in G minor, Op. 8, Liebe (Love), Op. 21, after Verlaine's Crimen Amoris, the Cello Sonata in C minor, "Il Tramonto", Op. 35, and Nacht der Sterne (Starry Night), Op. 14.
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Melodic fragment (introduced in measures 7-8), Chopin's Fantaisie-Impromptu Piano Sonata No. 14, third movement Ernst Oster observes that the Fantaisie-Impromptu draws many of its harmonic and tonal elements from Beethoven's Moonlight Sonata, which is also in C minor, and from the third movement in particular. Two measures after the melody sets in, an abrupt run features the same notes, only one octave higher, like the cadenza in the sonata's third movement (Presto agitato). The climax on a chord is similar in both pieces. Additionally, the Fantaisie-Impromptus middle part and the second movement of the Moonlight Sonata are in D major.
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Nowadays Marco de Goeij lives in Bodegraven. He is active as a composer and arranger, having written pieces for carillon, guitar, cello, pipe organ and brass. His original compositions include Dialogue (1989) for saxophone and piano, Canticles, four songs for mourning (1996) and A Rainy Day with Carillons (1997) for carillon, and two works for brass trio titled Intrada (2007) and Jazz Impromptus (2012).YouTube video of a performance of Dialogue for saxophone and pianoShort bio at website of a music school in Bodegraven (in Dutch)Post about Marco de Goeij at Darker than Blue, a blog about Deep Purple and related topicsGronings beiaardboek vol.
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Dark Intervals is a live solo piano album by American pianist Keith Jarrett recorded on April 11, 1987 at Tokyo's Suntory Hall and released on the ECM label in 1988.. For a change in Jarrett's solo career on stage, it contains eight short pieces (from 2:55 to 12:53), each with a title and accompanied by applause. Shaping the whole performance as a formal concert, it does not have the pianist signature free-form and long impromptus feel of previous recordings of its kind and it is the first time that the tunes are not tagged with the venue's name and the date of the concert.
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Stravinsky had been the honoured guest of Prince Max Egon zu Fürstenberg, patron of the Donaueschinger Musiktage, during the 1957 and 1958 festivals. When the prince died in April 1959, Stravinsky was asked to write a short composition in his memory. The result was Epitaphium, which received its premiere on 17 October 1959, on one of that year’s three concerts, each of which included a newly composed musical tribute to the prince. The other two pieces were by Pierre Boulez (Tombeau, for soprano and instrumental ensemble, which later became the final movement of Pli selon pli) and Wolfgang Fortner (Parergon zu den Impromptus, for soprano and orchestra) (; ).
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The same year he adapted Mozart's singspiel Der Schauspieldirektor, replacing Gottlieb Stephanie's libretto with his own which included the characters of Mozart, Emmanuel Schikaneder, Mozart's sister-in-law Aloysia Lange among others. Schneider's version was first performed in Berlin on 25 April 1845.Alfred Loewenberg, Annals of Opera, 1597-1940, 3rd edition (London: John Calder, 1978), column 422. Ludwig's bold patriotic couplets and impromptus during the revolutionary year 1848 necessitated his retirement, and thereafter he translated and adapted for the stage Mozart's Cosi fan tutti; published, under the pseudonym “L. W. Both,” Das Buhnenrepertoire des Auslandes; and founded, as a result of his experiences as a soldier in the Danish war of 1849, the periodical Der Soldatenfreund.
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Most are for solo piano, though he also wrote two piano concertos, a few chamber pieces, and some 19 songs set to Polish lyrics. His piano writing was technically demanding and expanded the limits of the instrument, his own performances noted for their nuance and sensitivity. His major piano works also include mazurkas, waltzes, nocturnes, polonaises, the instrumental ballade (which Chopin created as an instrumental genre), études, impromptus, scherzos, preludes and sonatas, some published only posthumously. Among the influences on his style of composition were Polish folk music, the classical tradition of J. S. Bach, Mozart, and Schubert, and the atmosphere of the Paris salons of which he was a frequent guest.
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The first electrically recorded Red Seal record was Chopin's "Impromptus" and Schubert's "Litanei" performed by Alfred Cortot for Victor in Camden, New Jersey.Jacques Chailley – 40,000 Years of Music: Man in Search of Music – 1964 p. 144 "On March 21st, 1925, Alfred Cortot made for the Victor Talking Machine Co., in Camden, New Jersey, the first classical recording to employ a new technique, thanks to which the gramophone was to play an important part in musical life: electric ..." A 1926 Wanamaker's ad in The New York Times offers records "by the latest Victor process of electrical recording".Wanamaker (1926-01-16). Wanamaker's ad in The New York Times, January 16, 1926, p. 16.
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Hopkins was born Ernest William Antony Reynolds in London. Following the death of Antony's father in 1925, the headmaster at Berkhamsted School, Major Thomas Hopkins, and his wife volunteered to take the five-year-old Antony under a joint guardianship agreement; seven years later they officially adopted him, and his surname was changed to Hopkins. In 1937 he went to a summer school for pianists in Schwaz on the Innthal in Austria, where, hearing a performance of Schubert's Op. 90 Impromptus, he was inspired with the desire to become a musician. Hopkins entered the Royal College of Music (RCM) in 1939, where he studied harmony with Harold Darke and composition with Gordon Jacob.
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This Impromptu contains hemiola effects (where two bars of three beats seem to become three bars of two beats), brilliant passagework as well as cross modulations that take this piece to keys not traditionally associated with F minor, such as A minor (for instance, in bar 111), C major (as in bar 142), and A major (bar 165). It is written roughly in rondo form and contains a coda that further heightens the drama in this already intense piece. The work is the most technically demanding of the Impromptus, employing a wide variety of keyboard writing, including scale runs (at times in unison), arpeggios, broken chords, quick passages in thirds, and trills.
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In 2004, Lavinia produced a CD album entitled "1685" with works from Handel, Bach and Scarlatti, which features several self-transcribed preludes and fugues from Bach's Das Wohltemperierte Klavier. In 2008, Lavinia released a Super Audio CD album on Channel Classics Records, entitled "Divertissements" with works from French composers, including Carlos Salzedo, André Caplet and Jacques Ibert. In 2009, Lavinia released a Super Audio CD album, produced by Channel Classics Records, entitled "Visions" with works from 20th century composers, including Benjamin Britten, Paul Patterson, Garrett Byrnes, Isang Yun and Toru Takemitsu. In 2011, Lavinia released a Super Audio CD album, produced by Channel Classics Records, entitled, "Fantasies and Impromptus" with works from, among others, Louis Spohr, Gabriel Fauré, Gabriel Pierné, Camille Saint-Saëns.
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Like F-sharp major, G-flat major is rarely chosen as the main key for orchestral works. It is more often used as a main key for piano works, such as the impromptus of Chopin and Schubert. It is the predominant key of Maurice Ravel's Introduction and Allegro for harp, flute, clarinet and string quartet. A striking use of G-flat major can be found in the love duet "Tu l'as dit" that concludes the fourth act of Giacomo Meyerbeer's opera Les Huguenots. Italian composer Ottorino Respighi composed Notturno in G-flat major, composed in 1904. When writing works in all 24 major and minor keys, Alkan, Rachmaninoff, Scriabin, Shchedrin and Winding used G-flat major over F-sharp major.
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Fauré's major sets of piano works are thirteen nocturnes, thirteen barcarolles, six impromptus, and four valses- caprices. These sets were composed across the decades of his career, and display the change in his style from uncomplicated youthful charm to a final enigmatic, but sometimes fiery introspection, by way of a turbulent period in his middle years. His other notable piano pieces, including shorter works, or collections composed or published as a set, are Romances sans paroles, Ballade in F major, Mazurka in B major, Thème et variations in C major, and Huit pièces brèves. For piano duet, Fauré composed the Dolly Suite and, together with his friend and former pupil André Messager, an exuberant parody of Wagner in the short suite Souvenirs de Bayreuth.
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Li's debut in the United States took place in June 2003 at Carnegie Hall, as part of Steinway and Sons' 150th Anniversary Gala. His United States concert debut took place the next month, when he performed Chopin's Piano Concerto No. 1. He was also honoured at a special reception at the home of the Chinese Ambassador to the United States, where he performed for various officials of the US State Department. Li's second recording of Liszt for Deutsche Grammophon, for whom he exclusively recorded until November 2008, was released in August 2003 and was named "Best CD of the Year" by The New York Times. His third recording, comprising Chopin's four Scherzi and three Impromptus, was released in late 2004. Deutsche Grammophon released his recording of Beethoven sonatas in late 2012.
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Józef Wieniawski also had works by contemporary Polish composers in the repertoire, such as Stanisław Moniuszko, Moritz Moszkowski, Carl Tausig, Władysław Żeleński, Antoni Stolpe and Edouard Wolff. As a chamber musician he frequently performed with the most renowned violinists, cellists and singers of his time, including Pablo de Sarasate, Henri Vieuxtemps, Apolinary Katski, Eugène Ysaÿe, Jenő Hubay, Leopold Auer, Joseph Joachim, Carlo Alfredo Piatti, Ignacy Jan Paderewski, Louis Diémer, Pauline Viardot and Marcella Sembrich. In addition to a symphony and a piano concerto, Wieniawski composed among others a piano sonata, 24 études, two concert études, a ballad in E flat minor, polonaise, mazurka, barcarolles, impromptus, waltzes, and many short piano pieces. His compositions, written to be played at his own concerts, bear superior artistic qualities and technical difficulties of the highest level, giving so a clear idea of their author's performing abilities.
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In addition to standard works by J. S. Bach, Beethoven, Brahms, Chopin, Rachmaninoff and Schubert, Ferber played many lesser-known twentieth century works such as the piano sonatas by Ernest Bloch, Frank Bridge and Robert Simpson, and Robert Gerhard's Don Quixote suite. In July 1947 he gave the first performance of Lennox Berkeley's Six Preludes for Piano at Broadcasting House and in May 1951 premiered Gerhard's Three Impromptus at the Wigmore Hall. Even when playing works by mainstream composers, Ferber tended to avoid the obvious and introduced audiences to comparative rarities such as Beethoven's Variations on Salieri's La Stessa, la Stessissima, Chopin's Variations on a German Folksong and Schumann's Sonata No. 3. However, the artist was especially drawn to French repertoire, in particular the music of Gabriel Fauré and Claude Debussy, whose œuvre often featured in his concerts.
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This Impromptu is written in rondo form, A1–B1–A2–B2–A3. The returning A section appears always in the tonic, F minor; the first B section, B1 is in A major, the relative major, whereas B2 is in the tonic. This structure can also be interpreted as a sonata form without a development section, supporting the view of the four Impromptus as movements of a single sonata. The B episodes contain a passage invoking a unique pianistic effect: the left hand presents short melodic fragments in the form of antecedent and consequent, steadily alternating between the upper (antecedent, creating a crossing of the hands) and lower (consequent) registers of the instrument; the right hand accompanies with an even flow of semiquaver arpeggios in the middle register; the sustain pedal further enriches the sonority, and the dynamics are mostly pianissimo, as often in Schubert's music.
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Other classic recordings by Fischer include Bach keyboard concertos, miscellaneous solo Bach works such as the Chromatic Fantasy and Fugue, various concertos and sonatas by Mozart and Beethoven, Schubert's "Wanderer" Fantasie (although he was not up to the transcendental technical demands of the finale) and Impromptus, and Beethoven's "Emperor" and Brahms' Second Concerto, both conducted by Wilhelm Furtwängler. Fischer's historically important recordings have been reissued on CD by EMI and specialty labels such as APR, Music & Arts, Pearl and Testament. Those of the Mozart Concertos K. 453, 466, 482, 491 and 503 (G major, D minor, E-flat major, C minor and C major) are particularly outstanding, especially the last three with the inspired, powerful conducting of John Barbirolli, Lawrance Collingwood and Josef Krips respectively, in 1935, 1937 and 1947. Fischer also accompanied Elisabeth Schwarzkopf in a renowned early-to-mid-1950s EMI LP of Schubert Lieder.
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Gabriele Baldocci (born May 10, 1980 in Livorno, Italy) is an Italian pianist. Baldocci is known worldwide for performing with the legendary Argentinean pianist Martha Argerich Martha Argerich and Gabriele perform Mozart Sonata KV448Martha Argerich and Gabriele Baldocci in concert, article After studying with Ilio Barontini, Franco Scala, William Grant Naboré, and Sergio Perticaroli and having studied with or having been coached by Alicia De Larrocha, Leon Fleisher, and Dmitri Bashkirov at the International Piano Academy Lake Como, Baldocci began an intense solo career performing in important venues worldwide (Tonhalle in Zurich, Teatro Colón in Buenos Aires, Sala Verdi in Milan). His large repertoire ranges from Bach to contemporary music and is especially focused on the composers of the Romantic Period such as Fryderyk Chopin (of whom he has recorded the complete Ballades and Impromptus), Franz Liszt,Baldocci performs Liszt transcription of Wagner Isoldes Liebestod for Sky Classica TV and Robert Schumann.Baldocci plays Schumann Carnaval op.
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The protagonist, who is genetically defective as well (has myopia, a fragile body, etc.) and is hiding his condition so as not to be discriminated, is astonished that someone could be accepted and admired despite being defective and says, "Twelve fingers or one, it's how you play." To his dismay his counterpart responds, "That piece can only be played with twelve fingers". Impromptu No. 2 in E major was performed in its entirety by Françoise Rosay in a segment of the 1948 anthology film Quartet starring Dirk Bogarde and Honor Blackman. Impromptus Nos 2 (in E major) and 3 (in G major) featured prominently in the 1989 French film Trop Belle Pour Toi, starring Gérard Depardieu. In the 2002 French film L'homme du train, the old Monsieur Manesquier (played by Jean Rochefort) is more than once depicted playing a part of the Impromptu in A major, Op. 142, No. 2, on his grand piano.
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His interest in twelve-tone technique was joined with musical- political engagement, though this was short-lived. The Impromptus I–IV, identified by the composer as his first true opus, abandoned these expressionistic tensions, and these four short pieces exhibit a close relationship to Webern's aphoristic style, while also moving closer to the European avant garde. Personal contact with Luciano Berio at the RAI electronic music studio in Milan also influenced Castiglioni's direction at that time, and his attendance at the Darmstädter Ferienkurse completed this development . During the years 1958 to 1965 he taught at the Darmstadt Summer Courses. From 1966 to 1970 he taught composition as composer-in-residence at SUNY Buffalo (1966), visiting professor at the University of Michigan in Ann Arbor (1967), Regent Lecturer in composition at the University of California at San Diego (1968), and professor of the history of Renaissance music at the University of Washington in Seattle (1969–70).
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It was not the first time that Schumann had tackled variation form.Examples include the Abegg Variations, Op. 1 (though much less complex); some incomplete youthful pages (from which stand out the Variations on the Allegretto of Beethoven's 7th Symphony, where the manner in which the variations are conceived is already completely alien to the virtuosically ornamented convention then prevalent); and the Impromptus on a theme of Clara Wieck, Op. 5 But here the variation principle is used more as free transformation, no longer of an actual theme, but of a musical 'cell' or cells (as for example in the same composer's Carnaval). The Études symphoniques learn the lesson of Beethoven's Diabelli Variations: the theme that acts as a unifying element is amplified and transformed, and becomes the basis from which blossom inventions of divergent expressive character. The work also shows the influence of the Goldberg Variations, most obviously in the use of a pseudo-French overture variation, and in the use of various canonic effects.
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He has been a frequent prize-winner at competitions, including First Prize and Gold Medal at the 42nd International Competition Premio Jaén de Piano; First Prize at the 8th International Piano Competition Fundación Jacinto e Inocencio Guerrero; and was a prize-winner at the 14th International Competition Vianna da Motta in Lisbon. Perianes has worked with leading conductors including Lorin Maazel, Daniel Barenboim, Zubin Mehta, Rafael Frühbeck de Burgos, Jesús López Cobos, Antoni Wit, Daniel Harding and Vasily Petrenko. Recent and forthcoming highlights include appearances with the Israel Philharmonic under Zubin Mehta, including a performance at the Lucerne Festival, the New World Symphony conducted by Michael Tilson Thomas, the London Philharmonic and Sao Paulo Symphony with Eduardo Portal, Tokyo Symphony Orchestra with Hiroshi Kodama, Warsaw Philharmonic, as well as recitals in Tokyo, Madrid’s Scherzo series, the Zurich Tonhalle and at the Moscow December Nights Festival. Perianes has received critical acclaim for his recordings on Harmonia Mundi of Schubert's Impromptus and Klavierstücke, MendelssohnManuel Blasco de Nebra’s keyboard sonatas and Federico Mompou’s Música Callada.
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O'Conor has made more than 20 recordings for the Telarc label including the complete Beethoven Piano sonatas, and the complete Beethoven Bagatelles, which latter was cited by the New York Times as the best recording of these works; the five Beethoven Piano concertos, released in 2008; four volumes of Mozart piano concertos with Sir Charles Mackerras and the Scottish Chamber Orchestra; numerous works of Schubert including the late A major Sonata, the complete Impromptus and Moments Musicals, Waltzes and the Trout Quintet with the Cleveland Quartet; and two volumes of short piano pieces entitled Piano Classics and Autumn Songs. An avid proponent of his fellow countryman John Field, he has recorded most of the composer's major works including the complete Concertos, Sonatas and Nocturnes. His recording of Field's Nocturnes was featured on Billboard Magazine's classical charts for many weeks. He has also recorded a popular CD of his favourite Irish Airs (including "Danny Boy", "Come back to Erin" and "The Banks of my own lovely Lee") on the After9 label (called Irish Classics).
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Wu Muye has won several awards and is laureate of many international piano competitions including 3rd Prize at the 2003 Ferruccio Busoni International Piano Competition in Bolzano, Italy, the Grand-Prix at the 2004 Marguerite-Long-Jacques-Thibaud Competition in Paris, France, and the gold medal at the 2005 Piano Campus International Piano Competition in Pointoise, France. He has performed at many prestigious events such as the Expo Shanghai 2010, the 60th Anniversary Gala of UNESCO, at the 50th Anniversary Ceremony for the establishment of diplomatic relations between China and France and at the APEC state banquet hosted for the US president Barack Obama in 2014; at the Milan Expo 2015; at the Opening Ceremony of the 2016 G20 Summit; at the World Health Organization Meeting dedictated to the 30rd World AIDS Day at the WHO headquarters and at the BRICS Leaders Meeting in 2017; and at the CCTV Spring Festival Gala in 2018. He had two soloist world tours, the Wu Muye "Complete Works of Schubert impromptus" Piano Recital Tour from 2018 to 2019, and in December 2019 his Wu Muye "Complete Works of Chopin Waltzes" Piano Recital World Tour started. In December 2018, he opened a piano studio, the Wu Muye Studio, in Hangzhou, that gives non-profit piano lessons to children and teenagers.
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