I Write The Music

Franck: Violin Sonata / Mutter Orkis

Posted in Uncategorized by Higher Density Blog on August 10, 2018


Published on Apr 6, 2017

S-VHS → PC 1st [0:27] 2nd [10:32] 3rd [14:58] 4th [22:18] Anne-Sophie Mutter [vn] Lambert Orkis [pf] 1989.12.9 Tokyo. Japan Live




Obit: Cecil Taylor — Hawkins Bay Dispatch — Hipster Sanctuary

Posted in Uncategorized by Higher Density Blog on July 8, 2018




Jazz pianist with a radical improvisation style described as one of the most ‘incorrigibly sublime’ figures in the recent history of music 08 April 2018 |John Fordham | The Guardian “The maverick African-American jazz pianist and poet Cecil Taylor, who has died aged 89, gave an impression of constant motion and restless speed. He fused […]

via Obit: Cecil Taylor — Hawkins Bay Dispatch — Hipster Sanctuary

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Posted in Uncategorized by Higher Density Blog on June 29, 2018


Published on Apr 25, 2008

Musica cubana tradicional (salsa). Homenaje a Elio Reve, fallecido musico cubano.Salsa Dance,Timba y Rumba
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Rachmaninoff – Étude-Tableaux Op. 39 No. 5 (Kissin)

Posted in Uncategorized by Higher Density Blog on June 28, 2018

Published on Jan 31, 2016

Sergei Rachmaninoff – Étude-Tableaux, Op. 39 No. 5 in E-flat minor Piano: Evgeny Kissin



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Paul Hindemith – Bassoon Sonata – Royal Concertgebouw Orchestra Chamber Soloists

Posted in Uncategorized by Higher Density Blog on June 24, 2018

Saint-Saens Bassoon Sonata:



Published on Dec 19, 2016

Royal Concertgebouw Orchestra Chamber Soloists play Paul Hindemith. Bassoon Sonata (1938) – Helma van den Brinck, Bassoon; Sepp Grotenhuis, Piano;

Italian Summer – Piano, Violin

Posted in Uncategorized by Higher Density Blog on June 21, 2018


Provided to YouTube by TuneCore Italian Summer (Piano and Violin) · Classical New Age Piano Music Classical New Age Piano and Violin Duets ℗ 2014 BrianCrain.com Records Released on: 2011-11-14


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Articulations at Piano,

Posted in Uncategorized by Higher Density Blog on May 27, 2018


Published on Jan 23, 2013

Pianist magazine http://www.pianistmagazine.com presents Graham Fitch’s in-depth piano lesson on Articulation and Phrasing. This lesson complements his full-length article inside Pianist No 70. The masterclass takes place on a Steinway Model D concert grand at Steinway Hall, London http://www.steinwayhall.co.uk


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GEORGE GERSHWIN – Virtuosic arrangements by EARL WILD – 7 Etudes

Posted in Uncategorized by Higher Density Blog on April 18, 2018




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Bruce Tippette – 2 movements for Trumpet, Horn, and Piano. – I. Waves

Posted in Uncategorized by Higher Density Blog on March 4, 2018


Published on Apr 29, 2014

Trumpet – Derek Blankenship Horn – Mathew Evans Piano – Beau Mansfield Composer – Bruce Tippette
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Mozart Piano Sonata, K. 331, third movement, “Alla Turca,“ – Music analysis / music appreciation

Posted in Uncategorized by Higher Density Blog on March 2, 2018

Published on Nov 11, 2014

This video analyzes and explains important musical characteristics of the third movement of Mozart’s Piano Sonata in A Major, K. 331, “Alla Turca,” including its structure and themes. A piano performance is also included.


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Bill Evans – Like Someone in Love

Posted in Uncategorized by Higher Density Blog on February 19, 2018

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Beethoven / Alfred Brendel, 1965 – Rondo a Capriccio in G Op. 129, “Rage Over a Lost Penny”

Posted in Uncategorized by Higher Density Blog on January 18, 2018

From the LP shown above, “Beethoven” Variations and Vignettes.”

via Beethoven / Alfred Brendel, 1965: Rondo a Capriccio in G Op. 129, “Rage Over a Lost Penny” — davidhertzberg

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JOHANNES BRAHMS – Piamo, Strings Quartet in Cm – Great Clarity, Passion – EXCITING PERFORFORMANCE

Posted in Uncategorized by Higher Density Blog on January 16, 2018


Published on Jul 25, 2015

2014. 7.25 (Fri) 7:30pm / 알펜시아 콘서트홀 Alpensia Concert Hall, PyeongChang, Korea Brahms Piano Quartet No. 3 in C minor, op. 60 Allegro non troppo Scherzo: Allegro (10:55) Andante (15:11) Finale: Allegro comodo (24:12) Svetlin Roussev 스베틀린 루세브, violin Maxim Rysanov 막심 리자노프, viola Jian Wang 지안 왕, cello Yeol Eum Son 손열음, piano
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Bill Evans – Portrait in Jazz

Posted in Uncategorized by Higher Density Blog on December 16, 2017



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HERZOGENBERG, HEINRICH – Trio for piano oboe and horn Op.61

Posted in Uncategorized by Higher Density Blog on November 26, 2017

Published on Nov 22, 2015

Chamber music concert (26-05-2015) HERZOGENBERG, HEINRICH – Trio for piano oboe and horn Op.61 – Mov: I – Allegretto III – Andante con moto II – Presto Grupo: Trio Scarlatti de Casa de la moneda Oboe: Ángel Luis Sánchez Moreno Horn: Manuel Escauriaza Peñuela Piano: David Bekker Prof: Marta Gulyas Escuela Superior de Música Reina Sofía Auditorio Sony
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Beethoven – Sonata No.17 in D Minor, “Tempest” – Harmonic Analysis

Posted in Uncategorized by Higher Density Blog on November 22, 2017
00:00 – Theme Group 1, Motif A (Rising Arpeggio)
00:14 – TG1, Motif B (Scalar Passage, with notes in groups of 2)
00:18 – TG1, Motif C (Turn)
00:24 – Counterstatement of TG 1, entering in a surprise E6, the dominant of III
00:37 – Motif B
00:48 – Transition (or an extension of TG 1): Motif A rising in bass, answered by Motif C in RH. Surprisingly substantial.
01:06 – Theme Group 2, Theme 1 (= Motif B!, with Motif C in the LH.) A minor.
01:18 – TG2, Theme 2 (= Motif C, with lengthened 2nd note)
01:26 – TG2, Theme 2, with Motif C now in the deep bass
01:31 – TG2, Theme 3 (Cadential Theme) DEVELOPMENT
03:51 – Motif A, repeated thrice, arriving in F#
04:37 – Transition Theme (Motif A + C), sequentially deployed, rising constantly
04:58 – 22(!) bars of dominant preparation, totally devoid of any thematic allusion. Short recitative (with a little Neapolitan Eb) leads into RECAPITULATION
05:19 – TG1, with 4 bars of recitative attached to each statement of the largo. This section hangs on a Ab, which is transformed
06:43 – into a G# (in enharmonic implied Gb minor!) in a darkly guttural 4 chords. This ushers in a extraordinary modulating section.
06:55 – TG2, in tonic.
07:59 – Theme 1. (Motif A = rising double-dotted 3-note figure)
09:38 – Transition, with stately rising theme. (Motif B = drumroll in bass) 10:55 – Theme 2. At
11:42 Motif B enters, building into dominant minor 9th chord RECAPITULATION 12:08 – Theme 1, with Motif A immediately used as inner voice.
At 13:00 a demisemiquaver accompaniment drifts down the keyboard 13:42 – Transition
14:54 – Theme 2 CODA
15:42 – Motif B, again building into a dominant minor 9th
16:26 – Motif A, rounded-off, in LH then RH
16:45 – Recalling Theme 1
17:19 – A new, 2-bar long 3rd theme enters and is repeated in the middle voice, before the movement ends. MVT III EXPOSITION
18:06 – Theme Group 1, Theme 1. A single motif (Motif A) repeated 16 times in RH. Note codetta with chromatic descending line
18:29 – Transition. Theme 1 in bass, interspersed with arpeggiated figure
18:38 – Theme Group 2, Theme 1, entering with insistent hemiola and 6 bars of dominant harmony
18:55 – TG2, Theme 2
19:05 – TG2, Theme 3 (Cadential Theme) DEVELOPMENT
20:26 – Motif A in dim7 of iv, modulating into A min 20:37 – The bass uses Motif A to climb up a dim7 in D min, then shifts to D min harmony, then shifts into C min by flattening the A and introducing the inversion of Motif A in the RH. Then movement into the dim7 of Bb min
20:54 – Dramatic entrance of inverted A motif in RH, while LH climbs up bass chromatically.
21:06 – TG1 Theme 1, in Bb min
21:12 – Chromatic rising, landing on a dominant 7, suddenly revealed
21:19 – to be a augmented 6th when it resolves into the dominant of D min 21:23 – Dominant preparation begins, oscillating between G min and D min
21:41 – 16 bars of continuous descent to the home dominant RECAPITULATION
21:53 – TG1, Theme 1. The bII in bar 18 becomes the subdominant of Bb, introduction a surprisingly lyrical passage.
22:14 – Transition. Tonal movement around circle of 5ths. G min harmony becomes augmented 6th chord, leading back into
22:34 – D min, TG2. Note how at
23:00 (Theme 3) Beethoven omits the expected high G, since his piano didn’t have the note, and substitutes a really nice repetition of the high D instead. CODA
23:12 – Mimicking the beginning of the development, without forte outbursts 23:21 – for 16 bars(!) we dwell on the dominant, leading to
23:33 – a violent restatement of TG1 Theme 1, with an A pedal in the highest registers 23:54 – The original codetta from Theme 1 is now presented in full. With another familiar tonic-dominant swing the sonata ends.

Robert Schumann – Fantasiestücke Op. 12 (1837) – Piano Score

Posted in Uncategorized by Higher Density Blog on November 21, 2017


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Trio by Madeleine Dring – for Flute, Oboe and Piano

Posted in Uncategorized by Higher Density Blog on November 4, 2017


Published on Aug 25, 2012

Trio, Madeleine Dring. Performed live on the 24th August 2012, by: Flute: Hollie Macdonald Oboe: Sam Baxter Piano: Zi Wang For bookings and enquiries contact: Holliemacdonaldflute@live.co.uk http://www.holliemacdonaldflute.com Filmed and Recorded by Tom Lukas
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Cédric Tiberghien plays Bartók

Posted in Uncategorized by Higher Density Blog on October 28, 2017




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Chopin: 19 Nocturnes – Pianist Ivan Moravec – w/ Piano Score

Posted in Uncategorized by Higher Density Blog on September 18, 2017


Published on Jan 28, 2017
A capital-G Great Recording.
Once in a very rare while one of these comes along that is so stubbornly & irreducibly beautiful that it’s sort of hard to say anything sensible about it, which obviously leaves reviewers and aficionados with a bit of a problem.
I don’t think I really knew what legato playing was before I heard this recording, or what Chopin’s long phrase marks were actually meant to mean *aurally*.
There’s too much to praise here: ultra-fine dynamic control, tempi neither fast or slow but always reverential, rubato as free as it is natural, the sheer glory of the tone as Moravec unfurls those long melodies.
Even the relatively pedestrian opening of a nocturne like the 15.1 suddenly makes the breath catch. It’s weird and deeply uplifting and makes you want to learn all the nocturnes but despair at actually doing it at the same time.
Everyone likes Chopin’s nocturnes, but perhaps because they’re so generous and immediate in what they offer the listener, their quality is often underestimated: they aren’t (at first blush) difficult or weird in the way that we sometimes expect really great music to be.
But the nocturnes aren’t just excellent pieces: you could plonk them down beside both books of the Well-Tempered Klavier and they wouldn’t be out of place. They still stand as one of the all-time big feats of lyrical composition in any genre and time period: all the melodies sound songlike while being (for the most part) unsingable.
Right from the first nocturne you’ve given a 22-tuplet, and then fiorituri (structural ones, not just ornamental fluff) and colouristic novelties and hidden countermelodies and harmonic innovations will deluge you until you reach the last one.
Analysing just one nocturne is an exhausting affair, and I won’t attempt an analysis of all 19 here. (Do check out Ohlsson’s lecture on just one bit of the 27.2, though.)
I guess I’ll just make three very brief observations. First, the nocturnes closely track Chopin’s stylistic maturation: he uses counterpoint more and more frequently as we approach the late nocturnes, culminating in 55.2, 62.1, and the middle (and very Bachian) section of 62.2.
Second, there are in the nocturnes some sections that achieve a kind of late-Beethoven stillness: listen to some of the more minimalist middle sections that Chopin writes, for instance. And lastly: despite being relatively short pieces, some of these nocturnes cover a lot of musical ground in a very concentrated narrative-like structure, almost like ballades in miniature
(see 15.3, which also has an interesting structure, 27.1, 62.1). 00:00
Op.9 No.1 in Bb Min 05:37
Op.9 No.2 in Eb Maj 10:03
Op.9 No.3 in B Maj 16:28
Op.15 No.1 in F Maj 20:55
Op.15 No.2 in F# Maj 24:55
Op.15 No.3 in G Min 29:31
Op.27 No.1 in C# Min 34:47
Op.27 No.2 in Db Maj 42:04
Op.32 No.1 in B Maj 47:09
Op.32 No.2 in Ab Maj 52:40
Op.37 No.1 in G Min 58:57
Op.37 No.2 in G Maj 1:04:37
Op.48 No.1 in C Min 1:10:47
Op.48 No.2 in F# Min 1:17:44
Op.55 No.1 in F Min 1:22:40
Op.55 No.2 in Eb Maj 1:26:54
Op.62 No.1 in B Maj 1:33:59
Op.62 No.2 in E Maj 1:39:30
Op.72 No.2 (posth.)
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