I Write The Music

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

 

BillEvansArchive 

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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
 
MVT I EXPOSITION
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.
07:36 – CODA MVT II EXPOSITION
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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Animated Sheet Music – So What – by Miles Davis

Posted in Uncategorized by Higher Density Blog on September 15, 2017

 

How to create a jazz piano arrangement

Posted in Uncategorized by Higher Density Blog on August 17, 2017

 

KeyboardImprov.com

Here’s how to take a jazz standard and create a full arrangement on piano. Get my free ebook: Jazz Piano Left Hand Techniques: https://keyboardimprov.com/jazz-left-…

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Witold Lutosławski (1913-1994) – Piano Sonata (1934)

Posted in Uncategorized by Higher Density Blog on August 15, 2017

 

Published on May 23, 2016

00:00 – I. Allegro
10:27 – II. Adagio ma non troppo
18:08 – III. Andante – Allegretto
Pf. Gloria Cheng
Lutosławski’s Piano Sonata, the only composition preserved from his early student years, was completed on 29 December 1934. That three-movement work was modelled on the music of Debussy and – to a certain extent – Ravel (especially his Sonatine). The composer himself acknowledged Szymanowski’s influences. The rich palette of sound colours reveals impressionistic origins and, in most of the Sonata (and especially its first movement), the basis of the timbre is the quick succession of broken chords, providing, by means of the pedal, a glimmering background for the subjects and independent motives. The Sonata places certain technical demands on the pianist . In order to perform it correctly, considerable dexterity is required as well as a mastery of passage-work and octave technique, sensitivity to instrumental colouring and skill in bringing polyphony into prominence vividly. In later years Lutosławski’s attitude towards his youthful Sonata was so critical that, though the manuscript survived the turmoil of war, he never decided to publish it. In the 1970s Ryszard Bakst acquired a copy of the music and recorded it for Polish Radio, albeit against the wishes of the composer. Danuta Gwizdalanka, Krzysztof Meyer (excerpt from the book Lutosławski. A Road to Mastery)

 

Sihyeon Choe 

Carl Vine – Piano Sonata No. 1 – Uses Cross Rhythms

Posted in Uncategorized by Higher Density Blog on August 8, 2017

 

olla-vogala 

Published on Jan 11, 2016

– Composer: Carl Vine, AO (8 October 1954 — present)
– Performer: Michael Kieran Harvey
– Year of recording: 1991

Piano Sonata No. 1, written in 1990.

00:00 – I. [no dynamic tempo marking]
08:23 – II. Leggiero e legato

Australian composer Carl Vine uses a lot of open fourths and fifths in this piano sonata, and chords/arpeggios are often based on stacked fourths or fifths. The sonata is reminiscent in its form of Elliot Carter’s piano sonata, and in its intensity of Samuel Barber’s piano sonata.

Notes by the dedicatee, Michael Harvey:
“Drawing on the lithe beauty and contrapuntal elegance of the earlier Piano Sonata (1946) by Elliot Carter, the [1st] Piano Sonata by Carl Vine is a work characterised by intense rhythmic drive and the building up of layers of resonance. These layers are sometimes delicate and modal, archieving a ‘pointed’ polyphony by the use of complex cross-rhythm, at other times they are granite-like in density, creating waves of sound which propel the music irresistibly towards its climax.

The scheme is similar to the Carter Sonata – Two movements, with the slow section built into and defining the faster portions of the first movement. The second movement is based on a ‘moto perpetuo’ which soon gives way to a chorale section, based on parallel fifths.

In discussing the work, Vine is reticent about offering explanations for the compositional processes involved, feeling that these are self-evident, and indeed the work is definitely aurally ‘accessible’ on first hearing. However one of the main concerns in this sonata is the inter-relationship between disparate tempi, which is the undercurrent of the work and its principle binding element.

The work is dedicated to me and was commissioned by the Sydney Dance Company to be choreographed by Graeme Murphy. The first concert performance of this work was on 23 June 1991 in Melbourne. The first dance performance of Piano Sonata was in the Drama Theatre of the Sydney Opera House in May, 1992.”

 

Scott Joplin: Elite Syncopations – George Gershwin: Fascinating Rhythm

Posted in Uncategorized by Higher Density Blog on August 6, 2017

 

Alan Houghton 

Jim Gillson 12/20/11

 

 

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Learn Jazz Piano Comping

Posted in Uncategorized by Higher Density Blog on August 1, 2017

 

Freejazzlessons.com 

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Francis Poulenc – Piano Concerto FP. 146

Posted in Uncategorized by Higher Density Blog on July 31, 2017

thenameisgsarci 

*
ublished on Jun 28, 2016

This was the last of Poulenc’s five concertos. While in the first fifteen years of his career Poulenc had made a reputation as a light-hearted composer, personal crises in the late 1930s awakened a dormant religious sensibility. Thereafter, including the war years, he had written music of considerably more seriousness of purpose, but even in them retained his lightness of touch and his ability to charm. After the war ended, restoring communication between Paris and America, the Boston Symphony Orchestra commissioned this piano concerto from Poulenc. It was premiered by that orchestra, conducted by Charles Munch on January 6, 1950, with the composer as soloist.

Now Poulenc returned, for this composition, to his earlier breezy style. The composition is in three movements, each smaller than the previous one; their lengths are about ten, five and a half, and four minutes. The piano is not treated as an individual protagonist against the orchestra, but as a part of the entire ensemble.

The concerto opens with the piano playing one of Poulenc’s rhythmic ideas of faux gruffness, which is countered by a lovely tune on English horn. Reminiscent of various Rachmaninoff themes, the movement meanders here and there, never quite making up its mind; there are subdued hints of the approaching Poulenc opera “Dialogues of the Carmelites.”

The slow second movement is tender, with a sense of some sadness, using a string melody introduced with softly marching rhythms in the horns. The movement then acquires a certain airy repose after the start.

The finale is called Rondeau à la française and is in a very fast tempo. In one of the final episodes, a tune appears which has been traced back to A la claire fontaine, an old sea chanty dating back to the time of Lafayette. Its first few notes are the same as that of Foster’s song “Old Folks at Home” (or “Swanee River”), which some French commentators have mid-identified as a “Negro spiritual.” Poulenc blends it, surprisingly, with a Brazilian maxixe rhythm.

The concerto was not particularly well received, though; and was noted that there was “more sympathy than real enthusiasm,” which the composer attributed to the notion that the audience had listened to too much Sibelius. One critic wrote in Le Figaro: “Certainly it isn’t a concerto at all but a little picture of manners, done up by a minor master.” But Poulenc wrote: “I lead an austere existence in this very Puritan town.”

(AllMusic, Wikipedia)

Please take note that the audio AND the sheet music ARE NOT mine. Change the quality to a minimum of 480p if the video is blurry.

Original audio: classical-music-online.net
Original sheet music: imslp.org

 

Simply Piano – by Classical Music Thought Bubbles – 7-29-17

Posted in Uncategorized by Higher Density Blog on July 30, 2017

The Romantic Era is a time when the larger forms become more mammoth than ever, and the miniature forms become more intimate than ever. In solo piano, we find both extremes, made possible through the sheer imagination, genius, and artistic brain powers of individuals, as well as the emerging technology of the modern piano and […]

via Simply Piano — Classical Music Thought Bubbles

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The Self-Compassionate Pianist

Posted in Uncategorized by Higher Density Blog on July 15, 2017

The life of the pianist is, by necessity, solitary

(and I have written before about The Pianist’s Loneliness).

For many of us, the solitude is not an issue:

we crave a sense of apartness to enable us

to do our work and to create special connections

with audiences when we perform,

and we need quietude/

via The Self-Compassionate Pianist — The Cross-Eyed Pianist

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Aram Khachaturian – Trio for Clarinet, Violin and Piano (1932) [Score-Video]

Posted in Uncategorized by Higher Density Blog on June 30, 2017

Johannes Brahms – Piano Quartet No. 3 in C minor, Op. 60 “Werther” (Trio Arte and Gérard Caussé)

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