Vol  01

1. What Kind of Fool Am I? [Take 1]
2. Medley: My Favorite Things/Easy to Love/Baubles, Bangles, & Beads
3. When I Fall in Love
4. Medley: Spartacus Love Theme/Nardis
5. Everything Happens to Me
6. April in Paris

Bill Evans – Piano

Vol 02

1. All the Things You Are
2. Santa Claus Is Coming to Town
3. I Loves You Porgy
4. What Kind of Fool Am I? [Take 2]
5. Love is Here to Stay
6. Ornithology
7. Medley: Autumn in New York/How About You?

Bill Evans – Piano

I know most of you fans of Bill Evans must’ve heard this interview.
Themes on this Video:
Waltz for Debby (Bill)
All of You (Bill)
All of You (Bill-Marian)

In Your Own Sweet Way (Bill-Marian)

Gustavo del Pino

Aventi Music


From Piano Sonata Op.35 No.2 played by Arturo Benedetti Michelangeli




Martha Argerich playing Piano Concerto by Maurice Ravel live from Torino
Andrej Boreyko, conductor
Orchestra Sinfonica Nazionale della Rai


Daniel Barenboim live from Berlin, 2006
Sonata No. 8 in C minor Op. 13 “Pathetique” 2nd movement
From concert No. 3


Daniel Barenboim live from Berlin, 2006
Sonata No. 8 in C minor Op. 13 “Pathetique” 2nd movement
From concert No. 3

The Masterclass Media Foundation

Joanna MacGregor’s masterclass on Olivier Messiaen’s Vingt Regards sur L’Enfant Jésus, filmed at the Royal Academy of Music. In this clip, MacGregor stresses the importance of pacing oneself in No.3 L’échange (The Exchange), so that there is adequate room to develop the crescendo and atmosphere. The full 143-minute class is available to buy at our download store – http://bit.ly/UfjwJy &
DVD store – http://www.masterclassfoundation.org/…

The Masterclass Media Foundation films and records world-class musicians giving masterclasses and teaching students.

The mission is to give both music students and music lovers the chance to benefit from the inspired teaching of great musicians and to create an important archive for future generations.

Subscribe to our YouTube channel here – http://uk.youtube.com/subscription_ce…

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I had the good fortune to see Mary Lou Williams twice, once in a solo concert up in the Berkeley area, and once at the Hollywood Bowl as a part of the Giants of Jazz package. She had replaced Monk in a group that included Dizzy, Sonny Still and J.J. Johnson, and did not disappoint! In both instances, solo and with a combo, Mary Lou impressed me an an artist who had developed an approach to her music early in life, but who had never ceased to grow and develop. She wrote this variation on the blues, “Little Joe From Chicago,” in the latter part of the 1930s. Here, in the 1970s, Mary Lou reinvents the tune in this concert performance.



Hazel Dorothy Scott (June 11, 1920 – October 2, 1981) was an internationally known, American jazz and classical pianist and singer; she also performed as herself in several films.


Arthur Rubinstein

Boris Giltburg performs Bach-Busoni – Chaconne in D minor at the Arthur Rubinstein Piano Master Competition (May, 2011, Tel Aviv).

The Arthur Rubinstein International Piano Master Competition is an international piano competition specializing in the classical music championed by Arthur Rubinstein. The competition has being held every three years in Tel Aviv, Israel since 1974. Subscribe for more classical piano music videos: http://www.youtube.com/user/AthurRubi.


George Cables – “Inner Glow” (Cables’ Vision, 1979)

George Cables – Piano, Electric Piano
Tony Dumas – Bass
Freddie Hubbard – Flugelhorn
Bobby Hutcherson – Vibraphone
Ernie Watts – Tenor Saxophone
Vince Charles – Percussion
Peter Erskine – Drums

Ashish Xiangyi Kumar

A stupendous recording of the greatest post-Beethoven sonata (at least, by popular academic consensus). Along with Andre Laplante’s recording this is probably one of the pinnacles of classical pianism. (Zimerman took 76 takes before he managed to get a recording of the Sonata he was satisfied with.) I have a great fondness for the ending of this sonata, with its very daring augmented-fourth leap from an F major (arrived from A minor) to B major chord.

The structural brilliance of this piece is unmatched, opening with a deliciously harmonically ambiguous descent. The sonata is constructed from five (or, depending on your choice of academic, four, or seven, or nine) motivic elements that are woven into an enormous musical architecture. The motivic units undergo thematic transformation throughout the work to suit the musical context of the moment. A theme that in one context sounds menacing and even violent, is then transformed into a beautiful melody (compare 0:55, 8:38, 22:22, 26:02). This technique helps to bind the sonata’s sprawling structure into a single cohesive unit. Michael Saffle, Alan Walker, and others contend that the first motive appears at the very start of the piece until bar 8, the second occurs from bar 9 until 12 and the third from measures 13 to 17. The fourth and fifth motives appear later in the piece at measures 105-108 and 327-338 respectively.

Broadly speaking, the sonata has four movements although there is no gap between them. Superimposed upon the four movements is a large sonata form structure, although the precise beginnings and endings of the traditional development and recapitulation sections has long been a topic of debate. Charles Rosen states in his book The Classical Style that the entire piece fits the mold of a sonata form because of the reprise of material from the first movement that had been in D major, the relative major, now reprised in B minor.

Walker believes that the development begins roughly with the slow section at measure 331, the lead-back towards the recapitulation begins at the scherzo fugue, measure 459, and the recapitulation and coda are at measures 533 and 682 respectively. Each of these sections (exposition, development, lead-back, and recapitulation) are examples of Classical forms in and of themselves, which means that this piece is one of the earliest examples of Double-function form, a piece of music which has two classical forms occurring simultaneously, one containing others. For instance the exposition is a sonata form which starts and ends with material in B minor, containing the second part of the exposition and development wandering away from the tonic key, largely through the relative major D.

Stephen Hough – Pianist

August 18, 2014

Lutoslawski: Variations on a Theme of Paganini – BBC Proms 2013 (Stephen Hough : Piano )

Liszt: Bénédiction de Dieu dans la solitude (Hough)

Liszt – Spanish Rhapsody, S254 (Hough)

Rachmaninov: Rhapsody on a Theme of Paganini – BBC Proms 2013 (Stephen Hough : Piano )



Variation 18 from Rhapsody on a Theme of Pagainini, Op. 43

Boston Pops Orchestra
Arthur Fiedler, conductor
Leonard Pennario, piano

The Rhapsody on a Theme of Paganini in A minor, opus 43, is a concertante work (20 to 25 minutes in length), written by Sergei Rachmaninoff. It is written for solo piano and symphony orchestra, closely resembling a piano concerto. The work was written at Villa Senar, according to the score, from July 3 to August 18 1934. Rachmaninoff himself, a noted interpreter of his own works, played the solo piano part at the piece’s premiere at the Lyric Opera House in Baltimore, Maryland, on November 7, 1934 with the Philadelphia Orchestra, conducted by Leopold Stokowski. The piece is a set of 24 variations on the twenty-fourth and last of Niccolò Paganini’s Caprices for solo violin, which has inspired works by several composers. The slow eighteenth variation is by far the most well-known, and it is often included on classical music compilations without the rest of the work. It is based on an inversion of the melody of Paganini’s theme. In other words, the A minor Paganini theme is played “upside down” in D flat major. Rachmaninoff himself recognized the appeal of this variation, saying “This one, is for my agent.”

Quoted from Michael Steinberg’s “The Concerto: a listener’s guide”

Sergei Rachmaninoff (1873 – 1943)

Opus 13

Johannes Brahms
Violin Sonata No 2 in A major, Op 100

1 Allegro amabile
2 Andante tranquillo – Vivace
3 Allegretto grazioso (quasi andante)

Anne-Sophie Mutter, violin
Lambert Orkis, piano