The Best Of YIRUMA

September 2, 2015

Published on Jul 26, 2015

Evgeny Kissin playing 8 of Chopin’s Etudes from op. 10 and op. 25, live in Moscow in 2009. This recital was in memory of Yevgeny Svetlanov, and at the end Kissin made a very graceful touch by laying all the flowers at the foot of the enlarged photo of Svetlanov. Timing below:

00:00 – etude op. 10 no. 1
02:03 – etude op. 10 no. 2
03:27 – etude op. 10 no. 3
07:45 – etude op. 10 no. 4
09:53 – etude op. 10 no. 12 ‘Revolutionary’
12:44 – etude op. 25 no. 5
16:22 – etude op. 25 no. 6
18:31 – etude op. 25 no. 11

Евгений Кисин – Фредерик Шопен – Этюды

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

newFranzFerencLiszt’s channel


qaqaqa353’s channel

Elodie Gendreau


Ariel Lanyi

Liszt’s Sonata in B minor, written in 1853 and published in 1854, is widely considered to be one of Liszt’s supreme works. A work in one movement containing three large sections, it was structurally unique at its time. Most of the thematic material of the piece appears in the opening bars and transforms as the piece unfolds. I hear in Liszt’s Sonata in B minor a colorful variety of writing: numerous pianistic passages intertwined with lyrical operatic sections and orchestra-like writing throughout the sonata. Performing the sonata is a “tour de force” because of its scope, its great musical content, and its technical challenges.
One-take studio recording performed at the Eden-Tamir Music Center, in Jerusalem, Israel.

Kenny McCabe

Published on Sep 19, 2014

“Technology and art have always had a tumultuous relationship at best. Advancements in technology have often been greeted by the artistic community by a split response: Some embrace the new technology and experiment with it, reaching out for new forms of expression that were impossible before; others shun the advances, dismissing them and those that use them as poor synthetic substitutions for “real” artistic struggle and creativity.
Today, a great deal of this controversy centers around the use of computers in both the visual and audio arts. Sampling, digital replication, and plagiarism are all issues debated regularly. However, in 1963, the topic of debate was overdubbing, a practice that we regularly take for granted today. And at the center of the debate about this “new” technology was Bill Evans.

Universally considered as one of the top jazz pianists in history today, in 1963 Bill Evans was yet to experience huge commercial success. Drugs, non-focused career management, and bad luck had all conspired to place Bill Evans on tenuous ground, career wise, in 1963. An idea, however, the an album of Bill Evans playing with Bill Evans was hatched, and Evans was game. The rest, as they say, is history….or rather the album Conversations With Myself. Conversations With Myself was a major undertaking, and perhaps, an even greater risk. Overdubbing was sneered at by most jazz people, looked at as “gimmicky” and “synthetic”. But Evans, one of the most lyrical musicians the jazz world has ever known, was intrigued with taking the “conversational” approach his trio had been practicing to the next logical level. If three musicians could practice and play together long enough to be able to carry on musical conversations during a song, then wouldn’t the musical ideas expressed and explored by multiple tracks of the same musician be even closer to an “idealized” perfection? In 1963, the answer was unclear. In 1997 though, the answer is clear, and Conversations With Myself ‘s inclusion in Verve Master Edition set exemplifies the positive response.

Garnering a 5 star review from Downbeat in 1963, and a Grammy, Conversations With Myself was an instant classic for the jazz community. Evans work on the ten tunes included here is truly inspired and amazing to behold. In each song, it is as if three distinctive “sides” or “personalities” of Bill Evans are playing together…each keenly aware of what the others are doing, and perhaps more importantly, will do. Evans’ amazing musical comprehension is given center stage while running through classic jazz sides like “‘Round Midnight,” “Stella By Starlight” and “Just You, Just Me.” “Blue Monk” showcases a muscularity to Evans’ playing that he rarely displayed, while the “Love Theme From Spartacus” showcases Evans’ signature use of space, time and inference.

Overall, this album is rather unique for Evans. Known as one of jazz’s “prettiest” pianists, the extensive use of overdubbing here adds so much substance to these tracks that it is somewhat difficult for the uninitiated to keep up with everything that is going on. For the fan of Evans though, this glimpse of the artist at a heightened level of expression is very rewarding indeed. However, for the casual fan, I would not suggest this disc. The musical vocabulary is complex enough that the simple beauty of the songs, and Evans playing, is at times lost. Better to start with some of Evans’ Riverside albums, or any of Verve’s trio albums first, allowing the listener to “build up” a sense of Evans and his ideas…then come back to this album. And prepare to be impressed.

Artistically important, but not the most accessible – 3 1/2 Stars (Out of 5)

Track Listing:

‘Round Midnight; How About You?; Spartacus Love Theme; Blue Monk; Stella By Starlight; Hey, There; N.Y.C.’s No Lark; Just You, Just Me; Bemsha Swing; A Sleepin’ Bee.


Bill Evans – Piano.

Record Label: Verve Music Group

Style: Straight-ahead/Mainstream”

Miguel Tuna

Mihran Kalaydjian

Melody: Love Me ” Sheri Bessi”
Lyrics: Edward Khoury & Elias Bandak
Music Arrangements: Edward Khoury
Pianist: Mihran Kalaydjian ” Mino”
Record Labels: Paramount Studios
Location: San Fransisco


Ghost Waltz, by Stephen Vincent Situm III, performed by Kevin Fitz-GeraldLudwig, with an animated graphical score by Stephen Malinowski.

Q: Where can I learn more about the composer?
A: Here is his YouTube channel ……
… here is his Facebook page…
… and here is a link to other music by him …

Q: Where can I get the sheet music for this?
A: The composer plans to make the score available soon; when that happens, I’ll post a link in this FAQ.

Q: What do the colors indicate?
A: In this video, colors are assigned based on pitch class, to highlight the shifts in tonality. You can read more about the system I use here: