Claude Debussy 12 Studies Videos
- Premiere on 1916-12-14 (12 Studies, Debussy)
- Published in 1916 (12 Studies, Debussy)
- dedicated to Frédéric Chopin
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2024-03-23
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Vladimir Samoylovich Horowitz Chopin Bach Debussy Schumann Alexander Scriabin Sergei Rachmaninoff Tchaikovsky Thomas Beecham Liszt Toscanini Brahms Scarlatti Haydn Clementi Beethoven Samuel Barber Prokofiev Kabalevsky Schonberg Carnegie Hall 1757 1903 1915 1925 1928 1932 1933 1936 1940 1950 1953 1965 1985 1987 1989
LIKE and SUBSCRIBE for more videos ! (http•••) SUBSCRIBE to my PATREON ! → (http•••) Vladimir Horowiz : Carnegie Hall Rehearsal, 7 January 1965 (Bach, Chopin, Debussy, Schumann, Conversations etc...) Performer : Vladimir Horowitz, piano Date : 7 January 1965 Place : Carnegie Hall Program : Rehearsal 00:00 Horowitz improvising 03:24 Conversation and Horowitz testing the piano 05:24 Horowitz improvising II 10:31 Conversation I 11:28 Bach : Toccata Adagio and Fugue in C Major, BWV 564, I Preludio 17:57 II Intermezzo Adagio 22:15 III Fuga Moderamente scherzando un poco umoristico 27:19 Conversation II 28:15 Chopin - Polonaise Fantaisie in A Flat Major Op. 61 41:19 Conversation III 41:42 Debussy : Etudes Livre II No. 11 Pour les arpeges composés 45:45 Conversation IV 47:12 Schumann : Fantasie in C Major Op. 17 I Durchaus phantastisch und leidenschaftlich vorzutragen fragment 58:08 Conversation V 58:24 Chopin : Nocturne No. 15 in F Minor Op. 55 No. 1 BIOGRAPHY The most famous pianist of the twentieth century, his name known to the proverbial man on the street the world over, Vladimir Samoylovich Horowitz (1903–1989) was born in 1903 in Kiev. Horowitz showed enough prodigious talent to play for Alexander Scriabin in 1915, just before the Russian composer-pianist’s early death. Horowitz would become a superlative interpreter of Scriabin’s music, which the pianist described as “mystical… expressionistic.” Horowitz also became friends with another great Russian composer-pianist (and Scriabin’s former schoolmate), Sergei Rachmaninoff – who was the acme of Romanticism. He also made a benchmark recording of Rachmaninoff’s Piano Sonata No. 2. Emigrating from Russia in 1925 and eventually settling in New York City, Horowitz made his American debut with Tchaikovsky’s Piano Concerto No. 1 in 1928 at Carnegie Hall, which would become his home venue, the site of many recordings. Impressed by the pianist’s tonal dynamism, conductor Thomas Beecham, who led that concert, reportedly said: “Really, Mr. Horowitz, you can’t play like that – it shows the orchestra up.” Horowitz made a series of solo recordings for HMV at London’s Abbey Road Studios in 1932, including several Chopin pieces and an electrifying take on Liszt’s B Minor Sonata, helping to establish the piece in the standard repertoire. A review of a 1933 London concert declared Horowitz “the greatest pianist dead or alive.” Horowitz would make hit recordings with Toscanini of the Tchaikovsky concerto and the Brahms Piano Concerto No. 2 in 1940–41. Over the course of his career, Horowitz’s recorded repertoire stretched far beyond those early specialties of Chopin, Brahms, Liszt, Tchaikovsky, Scriabin and Rachmaninoff; in long associations for RCA, then Columbia and, finally, Deutsche Grammophon, Horowitz also ranged from Scarlatti, Haydn and Clementi to Beethoven, Schumann and miniatures across the ages with artistic and commercial success; in a period of applying himself to modern music, he premiered Samuel Barber’s Sonata in 1950, along with recording sonatas by Prokofiev and Kabalevsky. Driven to “grow until I die,” he said, the pianist reapplied himself to select Beethoven sonatas in his middle period and then several Mozart works as he grew older. Horowitz also crafted his own transcriptions and arrangements, including such showstoppers as his variations on Carmen and Stars and Stripes Forever. In his book The Great Pianists, critic Harold Schonberg wrote: “As a technician, Horowitz was one of the most honest in the history of modern pianism. Famously high-strung, his art always a mental-physical high-wire act, Horowitz took four sabbaticals from public performance to deal with various issues, his returns much-ballyhooed events. The first layoff was for two years in 1936; the longest was 1953 to 1965, followed by a tremendous homecoming to Carnegie Hall. But even over his later breaks, he recorded regularly at home in his Manhattan townhouse, documenting his art as it subtly evolved even beyond great venues and the recording studio. A 1985 film, The Last Romantic, captured the pianist in his last years, performing at home as well as reminiscing about Scriabin and Rachmaninoff. The next year, Horowitz returned to Russia, 61 years after leaving — a hugely emotional event for both artist and audience, documented in the concert album and film Horowitz in Moscow. In 1987, he played his final recital, in Hamburg; he died two years later. “Piano playing consists of intellect, heart and technique,” Horowitz said. “All should be equally developed. Without intellect, you will be a fiasco; without technique, an amateur; without heart, a machine. The profession has its perils.”
Theo Bruins Willem Pijper Beinum Ravel Debussy Mahler Toscanini Boulez Lark Leeuw Visser Johan Wagenaar Concertgebouw Orchestra 1456 1912 1916 1921 1931 1934 1937 1938 1940 1941 1943 1944 1945 1946 1947 1948 1955 1957 1958 1959 1960 1961 1964 1966 1967 1968 1969 1971 1977 1980
Rudolf Escher +••.••(...)) Arcana : suite for piano solo, Op. 9 (1944) 1. Preludio (Largo) - 00:00 2. Toccata (Presto) - 04:26 3. Ciaccona (Lento Con Grazia) - 08:48 4. Finale (Moderato Molto - Allegro Risoluto) - 14:56 Theo Bruins, piano dedicated to Luctor Ponse Rudolf Escher was a Dutch composer. From 1916 to 1921 he lived with his parents on Java, where his father worked as a geologist and mineralogist. Back in the Netherlands he studied the piano, the violin and harmony privately. At the Rotterdam Conservatory he studied the piano +••.••(...)) and composition (with Pijper, 1934--1937). Until 1940 he lived in Rotterdam, where most of his scores were destroyed during the bombing by the Germans in May of that year. During World War II Escher composed Musique pour l'esprit en deuil +••.••(...)), which was first performed in 1947 by the Concertgebouw Orchestra under van Beinum and which made him overnight the most important composer in the Netherlands. From 1945 until his death he lived in Amsterdam. After a short study at the Electronic Studio of the Delft Technical University he taught +••.••(...)) at the Amsterdam Conservatory. From 1964 to 1977 he taught theory of contemporary music at the University of Utrecht. The result of his teaching is to be found in many studies in the field of music theory and audiology. He was also a talented writer and painter, continuing to publish poetry in literary magazines until well into the 1950s. From 1945--1946 he wrote on music and art for the Groene Amsterdammer. Escher's music is lyrical, expressive and elegiac, with a great propulsive force, more French then German in its orientation (the main influences being Ravel, Debussy and Mahler). It is always basically tonal, and mostly cast in a strictly contrapuntal frame with chains of variations. Everything he wrote can be clearly discerned by the ear. In 1938 he wrote: 'The miracles of a piece of music will never be revealed, unless in a natural way, through sounding and hearing. That means sounding well and hearing well. The latter condition is a priori impossible if the former one cannot be fulfilled'. (Toscanini en Debussy). Apart from this technical aspect of composing, Escher discerned a psychic one: 'The technique of a composer is intimately related to his spiritual and intellectual self, his psyche'. This can be seen in his war compositions, such as Musique pour l'esprit en deuil, the Sonate concertante (1943) for cello and piano, Arcana (1944) for piano (originally called Arcana Musae Dona), and the first two movements of the Sonata for cello solo (1945; the third movement was completed in 1948). Each of these compositions is in a way an impressive 'document humain'. The works written immediately after 1945 do not reflect the war in the same way, but Escher's longing for peace is reflected in the 'Arcadian' choral works such as Songs of Love and Eternity (1955) and Ciel, air et vents (1957). As a theorist, Escher analysed many 20th-century scores from Debussy to Boulez, explaining the latter on the basis of Escher's own analysis of the former's music. As a composer, however, he preferred to remain true to the music of Debussy and Ravel without denying the technical implications of the music of the serialists, as in his Second Symphony (1958, revised in 1980), Wind Quintet (1967) and Monologue for flute solo (1969). In the early sixties Escher tried to extend his technique towards electronic music and serialism, but after several crises he was unable to find a technique which would allow him at the same time to remain true to his psyche. The results of this search are nevertheless interesting, and the brilliant Wind Quintet (1967) and Summer Rites at Noon for two orchestras (1971) are examples of Escher's technical and emotional powers. The sound of the Wind Quintet is dominated by the timbres of alto flute, oboe d'amore and bass clarinet. Only at the end is the alto flute replaced by a normal flute for a brilliant and exciting 'lark solo'. Here Escher combines Debussian intervallic manipulations with Boulezian structural formulae. Kernels of intervals grow into motifs and melodies through rhythmical development. The main structure consists of three movements (A1--B--A2), which are linked by two short bridges (Z1 and Z2). Each movement consists again of three segments (a--x--a), which results in six 'a' segments accelerating from Largo to Prestissimo, while at the same time the 'x' segments slow down from Moderato to Largo. The Prestissimo combines the flute's 'lark solo' with the other instruments playing Largo underneath. Escher received several prizes for his compositions, including the van der Leeuw Prize (1959) for Le tombeau de Ravel, the Visser-Neerlandia Prize (1961 and 1968) for Nostalgies and the Wind Quintet, the Willem Pijper prize (1966) for the Sonata concertante for cello and piano and the Johan Wagenaar prize for his total output.
Chopin Janusz Olejniczak Rachmaninoff Daniil Trifonov Liszt Beethoven Debussy 1849
All Chopin's Mazurkas, in a single video, here: (http•••) The playlist of all Chopin Mazurkas: (http•••) If you want to listen more relaxing piano music, here are some playlists you might like: Rachmaninoff Piano Concertos / (http•••) Relaxing Classical Piano Music / (http•••) Chopin Ballades / (http•••) Chopin Barcarolle / (http•••) Chopin Nocturnes / (http•••) Chopin Etudes / (http•••) Chopin Sonatas / (http•••) Chopin Mazurkas op. 56 by Daniil Trifonov / (http•••) Liszt Liebestraumes / (http•••) Chopin Fantaisies / (http•••) Liszt Etudes / (http•••) Beethoven Sonatas / (http•••) Debussy / (http•••) Chopin Grande Polonaise Brillante performed by Daniil Trifonov / (http•••)
Samson François Ravel Mascagni Bartók Alfred Cortot Yvonne Lefébure Nadia Boulanger Marguerite Long Chopin Schumann Debussy Maximilien John Bell Young 1924 1932 1935 1938 1955 1968 1970 2002
LIKE and SUBSCRIBE for more score videos ! (http•••) SUBSCRIBE to my PATREON ! → (http•••) Film : Samson François plays Ravel's Scarbo from Gaspard de la nuit (1970) The French pianist Samson François +••.••(...)) appeared at a recording studio for the last time in February 1970 eight month before he died at the age of 46. Rather sad to watch him in such a fragile condition. His face was marked by serious health issues. The clarity and brilliance in his playing had vanished. But he remains as one of the most remarkable individual pianist of the last century, most provocative and enigmatic in his playing in our opinion. He bequeathed many great recordings. BIOGRAPHY Samson Pascal François (May 18, 1924 - October 22, 1970) was a French pianist. François was born in Frankfurt where his father worked at the French consulate. His mother, Rose, named him Samson, for strength, and Pascal, for spirit. François discovered the piano early – at the age of two – and his first studies were in Italy, with Mascagni, who encouraged him to give his first concert at the age of six. Moving from country to country with his itinerant family, he studied in Belgrade with Cyril Licar, obtaining a first prize in performance. Licar also introduced him to the works of Bartók. Having studied in the Conservatoire in Nice from 1932 to 1935, where he again won first prize, François came to the attention of Alfred Cortot, who encouraged him to move to Paris and study with Yvonne Lefébure at the l'École Normale de Musique. He also studied piano with Cortot (who reportedly found him almost impossible to teach), and harmony with Nadia Boulanger. In 1938, he moved to the Paris Conservatoire to study with Marguerite Long, the doyenne of French teachers of the age. He was particularly admired for his performances of Chopin, Schumann, Debussy, and Ravel. Many of these interpretations are now available on compact disc. François was a keen jazz fan, and claimed that jazz influenced his playing. He composed, among other works, a concerto for piano and incidental music for film. He married Josette Bahvsar, and their son Maximilien was born in 1955. Maximilien published a biography of his father in 2002 (see bibliography below). Samson François' extravagant lifestyle, good looks, and passionate but highly disciplined playing, gave him a cult status as a pianist. Though, his passion for night life and his reckless behavior (characterized by lavish drinking and drug use) resulted in a heart attack on the concert platform in 1968. His early death followed only two years later. Critic John Bell Young, in the "St Petersburg Times" of Florida, called François (on May 5, 2002) "a charismatic figure, an iconoclast and musical maverick", who, along with Long and Cortot, was "the most important pianist in postwar France. There was something of the swashbuckler about him; his playing was as daring as it was rhapsodic, but also notable for its uncompromising integrity and extraordinary intelligence." François himself said "never play simply to play well". And, in a remark that was clearly inspired by his jazz influences, "It must be that there is never the impression of being obliged to play the next note".
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