The second instalment of the Complete Keyboard Sonatas contains the sonatas Op. 8, 10, 13 and 15.#LeopoldKozeluch #classical #piano #music #JennySoonjinKim
Leopold Kozeluch (1747-1818) was born in Bohemia but spent his professional life in Vienna, where he became a famous musician and composer, for a time even eclipsing Mozart’s fame!
The sonatas in this second volume have 3 or 4 movements, of the same scope as Haydn’s sonatas. They are written in the Galante Style, with easy flowing melodies, featuring a highly developed keyboard virtuosity in the abundance of scales, arpeggios, runs in thirds and sixths, repeated notes and tremolos.
Jenny Soonjin Kim plays a fortepiano (Kozeluch preferred fortepianos to harpsichords). The first volume of the complete Kozeluch Sonatas (BC 94770) was praised by the press for its spontaneity, keen sense of the style and effortless and brilliant technique.
Composer: Leopold Kozeluch
Artist: Jenny Soonjin Kim (fortepiano)
Following the successful release of the first volume (BC94770) in 2015, Jenny Soonjin Kim continues her cycle of sonatas by Leopold Kozeluch, Czech contemporary of C.P.E. Bach and then Mozart. The sonatas (he wrote 49 in total) share qualities with the work of his teacher Dussek, and Burney’s contemporary assessment of Kozeluch’s music stands true today: easier on the ear than CPE, ‘Haydn or Mozart; it is natural, graceful and flowing, without imitating any great model, as almost all his contemporaries have done. His modulation is natural and pleasing… His rhythm is well phrased, his accents well placed, and harmony pure.’
Volume 2 contains the complete Opp. 8, 10 and 13 sets, ending with Op.15 No.1. All these sets were published by 1785. Seven years earlier Kozeluch had moved to Vienna, and made such a name for himself as a performer, teacher and composer that he could afford to decline an offer made in 1781 to succeed Mozart as court organist to the Archbishop of Salzburg. He composed music in all the major genres of the day but his sonatas rejoice in a particular enthusiasm for expanding the potential of the keyboard instrument as it evolved radically during his lifetime, from harpsichord through fortepiano towards pianoforte, gaining ever more volume, projection and sustaining lyrical qualities in the process.
Composer: Ludwig Schuncke
Artists: Tatiana Larionova
Born the same year as Robert Schumann, 1810, Ludwig Schuncke died at the tender age of 24 from tuberculosis. Thus was cruelly abbreviated the life of a pianist and composer who, had he lived on, might well have attained more of the fame accorded to Schumann himself. The two men met at a Leipzig drinking establishment in December 1833 and quickly became firm friends. Up to that point Schunke had pursued the career of a prodigal musician, including studies in Paris with Anton Reicha, even a brief meeting with Chopin.
The influence of Chopin can be heard in the reflective introduction to Schunke’s Grand Sonata, which is the largest piece in this valuable collection of his piano music, which will captivate anyone with an ear or interest for the stirrings of the 19th-century Romantic tradition of piano music. Schuncke dedicated the Sonata to Schumann, who returned the compliment with his Toccata Op.7: some indication of the mutual respect between the two men but also Schuncke’s capability as a performer. The Sonata’s brief but stormy Scherzo leaps through torrents of passagework, and the following Andante owes more to the songful German tradition than Chopin’s brand of melancholy.
#LudwigSchunke #TatianaLarionova #classical #piano #music
Composer: Isaac Albéniz#IsaacAlbéniz #classical #piano #music
Artist: Sebastian Stanley (piano)
This album contains the Piano Sonata Nos. 3, 4, 5 and Suite Ancienne Nos. 1, 2 by Albéniz, presented by Piano Classics, a label of Brilliant Classics.
Isaac Albéniz’ most famous work is undoubtedly his suite Iberia, a landmark of Spanish culture and the perfect example of “Españolismo”, the fusing of folkloristic elements in romantic music. Albéniz wrote seven piano sonatas during the 1880s, but only Nos. 3, 4, and 5 survive as complete works. As with so much of his output they are now better known in the form of guitar transcriptions – at least for Nos. 3 and 5 – but the piano originals show the same fantastical imagination and romantic temperament as his masterpiece Iberia, while conforming to a more conventionally Classical form. Their craftsmanship in harmony, scoring, and voice-leading are beyond reproach, but it is the lyric sweep and often playful touches of harmony that secure their place on the fringes of the repertoire.
Teaser de#ErikSatie #MarcelleMeyer #classical #piano #music
« Cabaret Satie »
Concert - spectacle de
Philippe Nesme [Le compositeur Erik Satie]
Carmen Martinez-Pierret [La pianiste Marcelle Meyer]
Elsa Fabrega [L’ artiste peintre Suzanne Valadon]
Musiques & Textes d'Erik Satie
Styliste / Assistante à la mise en scène : Elsa Fabrega
Metteur en scène / Réalisateur : Philippe Nesme [Les Films de peu, 2016]
Contact programmateurs : firstname.lastname@example.org
+ info teaser :
Musique : « Gnossienne II », par Carmen Martinez-Pierret
No.1 en mi bémol mineur Op.33 No.1 (00:00)#GabrielFauré #ÉricHeidsieck #classical #piano #music
No.2 en si majeur Op.33 No.2 (08:09)
No.3 en la bémol majeur Op.33 No.3 (13:33)
No.4 en mi bémol majeur Op.36 (18:39)
No.5 en si bémol majeur Op.37 (24:56)
No.6 en ré bémol majeur Op.63 (32:05)
No.7 en do dièse mineur Op.74 (40:53)
No.8 en ré bémol majeur / Pièces brèves (49:07)
No.9 en si mineur Op.97 (50:55)
No.10 en mi mineur Op.99 (55:14)
No.11 en fa dièse mineur Op.104 No.1 (59:16)
No.12 en mi mineur Op.107 (1:03:33)
No.13 en si mineur Op.119 (1:08:02)
Thème et variations en Do dièse mineur Op.73
Variation I (1:18:03)
Variation II (1:19:15)
Variation III (1:20:04)
Variation IV (2:20:43)
Variation V (1:21:29)
Variation VI (1:22:21)
Variation VII (1:24:22)
Variation VIII (1:25:17)
Variation IX (1:26:25)
Variation X (1:27:59)
Variation XI (1:29:05)
Piano : Éric Heidsieck
n°1 Andante con moto 0:00The Six Bagatelles of Op 126 formed Beethoven’s last work for piano. When he offered it to the publishers Schott & Co. in November 1824, together with the Consecration of the House Overture Op 124, he described the pieces as ‘6 Bagatelles or Trifles for solo piano, some of which are rather more developed and probably the best pieces of this kind I have written.’ This is, in fact, music that already belongs to the spiritual world of the late string quartets Beethoven began composing in its wake. [+]
n°2 Allegro 3:05
n°3 Andante 6:09
n°4 Presto 8:49
n°5 Quasi allegretto 12:44
n°6 Presto - Andante amabile e con moto - Tempo I 14:18
Studio recording, London, 13.I.1937