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Composer: Johann Sebastian Bach
Artist: Yuan Sheng piano

This is the third instalment of Yuan Sheng’s complete Bach cycle played on the piano, previous issues include the Goldberg Variations and the Italian Concerto/French Overture.
“China’s premier interpreter of Bach”, is what International Piano Magazine called Yuan Sheng. A pupil of Solomon Mikowsky (Manhattan School of Music) and notably Rosalyn Tureck Yuan Sheng extensively studied the performance practice of Baroque music. Equally at home at the harpsichord he has an instinctive feeling for the possibilities, sonorities and touch of the instrument at hand, so that “the listener might easily have imagined the composer at the keyboard” (Boston Intelligencer).
This recent recording of the complete 6 Partitas is again a marvel of elegance, wit, rhetoric and brilliance, played on a modern Steinway.
Besides pursuing an international career Yuan Sheng is Professor of Piano at the Bejing Central Conservatory of Music.

00:00:00 Partita No. 1 in B-Flat Major, BWV 825: I. Praeludium
00:01:43 Partita No. 1 in B-Flat Major, BWV 825: II. Allemande
00:05:37 Partita No. 1 in B-Flat Major, BWV 825: III. Corrente
00:08:35 Partita No. 1 in B-Flat Major, BWV 825: IV. Sarabande
00:14:10 Partita No. 1 in B-Flat Major, BWV 825: V. Menuet I

J.S. Bach Brandenburg Concertos 1 — 6

Disc 1
1. Brandenburg Concerto No. 1 in F, BWV 1046 0:00
2. Brandenburg Concerto No. 3 in G, BWV 1048 17:54
3. Brandenburg Concerto No. 5 in D, BWV 1050 28:22

Disc 2
4. Brandenburg Concerto No. 6 in B flat, BWV 1051 47:25
5. Brandenburg Concerto No. 4 in G, BWV 1049 1:03:55
6. Brandenburg Concerto No. 2 in F, BWV 1047 1:20:01

Antonio Vivaldi

CONCERTO in E Minor RV 432:
I. Allegro

CONCERTO in G Major RV 436:
I. Allegro
II. Largo
III. Allegro

CONCERTO in D Major RV 429:
I. Allegro
II. Andante
III. Allegro

CONCERTO in A Minor RV 440:
I. Allegro non Molto
II. Larghetto
III. Allegro

CONCERTO in C Major RV 533:
I. Allegro Molto
II. Largo
III. [Allegro]

CONCERTO in G Major RV 438:
I. Allegro
II. Andante
III. Allegro

CONCERTO in G Major RV 438 «bis»:
I. [Allegro]

CONCERTO in D Major RV 427:
I. Allegro
II. Largo
III. [Allegro]

CONCERTO in E Minor RV 431:
I. Allegro
II. Allegro

Academia Montis Regalis
Barthold Kuijken [flauto traversiere, direction]

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2004 ITS Philharmonic Orchestra, Louis Jullien / All Rights Reserved
Violin Concerto in A minor, BWV 1041
00:00:00 Allegro moderato
00:03:46 Andante
00:09:26 Allegro assai

Violin Concerto in E major, BWV 1042
00:12:56 Allegro
00:20:47 Adagio
00:26:38 Allegro assai

Double Violin Concerto in D minor, BWV 1043
00:29:16 Vivace
00:32:59 Largo, ma non tanto
00:39:19 Allegro

Concerto for 3 Violins and Strings in D major, BWV 1064r
00:43:55 Adagio
00:50:30 Allegro
00:56:07 Allegro

Violin Concerto G minor, BWV 1056r
01:00:42 Allegro
01:04:23 Largo
01:06:58 Presto

Concerto for Violin and Oboe in C minor, BWV 1060r
01:10:06 Allegro
01:14:52 Adagio/ Largo
01:19:31 Allegro

Violin Concerto in D minor BWV 1052a
01:23:03 Allegro
01:31:03 Adagio
01:37:31 Allegro

Concerto for Flute, Violin, Harpsichord and Strings in A minor, BWV 1044
01:45:32 Allegro
01:53:51 Adagio ma non tanto e dolce
01:59:44 Tempo di Allabreve

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#classicalmusic #bach #violin

Relaxing Sleep Music Soft Rain Sounds — Insomnia, Peaceful Piano Music, Meditation Music

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Beethoven — Moonlight Sonata (FULL) — Piano Sonata No. 14
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The Piano Sonata No. 14 in C♯ minor «Quasi una fantasia», op. 27, No. 2, by Ludwig van Beethoven

The sonata has three movements:

0:00 1 mvt: Adagio sostenuto
6:00 2 mvt: Allegretto
8:05 3 mvt: Presto agitato

Adagio sostenuto

The first movement, in C♯ minor, is written in an approximate truncated sonata form. The movement opens with an octave in the left hand and a triplet figuration in the right. A melody that Hector Berlioz called a «lamentation», mostly by the right hand, is played against an accompanying ostinato triplet rhythm, simultaneously played by the right hand. The movement is played pianissimo or «very quietly», and the loudest it gets is mezzo forte or «moderately loud».

The adagio sostenuto has made a powerful impression on many listeners; for instance, Berlioz said of it that it «is one of those poems that human language does not know how to qualify. The work was very popular in Beethovens day, to the point of exasperating the composer himself, who remarked to Carl Czerny, „Surely Ive written better things.

Allegretto

The second movement is a relatively conventional scherzo and trio, a moment of relative calm written in D-flat major, the enharmonic equivalent of C♯ major, the more easily-notated parallel major of C♯ minor. Franz Liszt described the second movement as “a flower between two chasms.»[citation needed] The slight majority of the movement is in piano, but a handful of sforzandos and forte-pianos helps to maintain the movements cheerful disposition.

Presto agitato

The stormy final movement (C♯ minor), in sonata form, is the weightiest of the three, reflecting an experiment of Beethovens (also carried out in the companion sonata, Opus 27, No. 1 and later on in Opus 101) placement of the most important movement of the sonata last. The writing has many fast arpeggios and strongly accented notes, and an effective performance demands lively and skillful playing.

It is thought that the C-sharp minor sonata, particularly the third movement, was the inspiration for Frédéric Chopins Fantaisie-Impromptu, which manifests the key relationships of the sonatas three movements.

Of the final movement, Charles Rosen has written «it is the most unbridled in its representation of emotion. Even today, two hundred years later, its ferocity is astonishing.

Beethovens heavy use of sforzando notes, together with just a few strategically located fortissimo passages, creates the sense of a very powerful sound in spite of the predominance of piano markings throughout. Within this turbulent sonata-allegro, there are two main themes, with a variety of variation techniques utilized.
Beethovens pedal mark
See also: Piano history and musical performance, Mute (music), and Piano pedals#Beethoven and pedals

At the opening of the work, Beethoven included a written direction that the sustain pedal should be depressed for the entire duration of the first movement. The Italian reads: „Si deve suonare tutto questo pezzo delicatissimamente e senza sordino“. (»One must play this whole piece [meaning «movement»] very delicately and without dampers.") The modern piano has a much longer sustain time than the instruments of Beethovens day, leaving for a rather blurry and dissonant tone.

One option for dealing with this problem is to perform the work on a restored or replicated piano of the kind Beethoven knew. Proponents of historically informed performance using such pianos have found it feasible to perform the work respecting Beethovens original direction.

#Beethoven #Piano #ClassicalMusic

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Suite Bergamasque, L. 75: III. Clair De Lune · Klara Barányi

Must Have Favourite Classics

℗ 2007 Gut TV Ltd under license from Edition Karun Unger Music Publishing

Released on: 2008-03-03

Composer: Claude Debussy

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00:00 Path 3 (7676)
11:00 Whose name is written on water
22:00 Path 17 (Before the ending of daylight)
48:20 Constellation 1
55:35 Constellation 2
1:10:10 Non-Eternal
1:33:35 Song, Echo

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This is a 2 hour looped version of Gnossienne no.1 by the French composer Erik Satie (1866-1925) and was composed in 1890. The piece is marked Lent — Slow.

The first Gnossienne, alongside the first Gymnopedie has got to be one of the most recognisable and most covered classical pieces of all time — and its no wonder — the composition conjures up so many images — mystery, suspense, dread and even violence are the first thoughts that come to my mind.

The score itself is also very interesting to look at — as it is written in free-time, with no bar lines or time signature, and can appear quite unusual to the eye to those more useto looking at more conventional forms of musical notation. But I love the amount of freedom with rhythm and interpretation that such writing allows the performer!

Feel free to check out my Gymnopedie and Gnossienne playlist to hear more of these wonderful pieces :)
www.youtube.com/playlist?list=PLDF8828B48FAD1900