Arnold Schönberg Concerto per pianoforte, Op. 42 Video
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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.”
Vytautas Bacevičius Schoenberg Scriabin André Jolivet Varèse Sikorski Nikolai Tcherepnin 1905 1926 1927 1940 1970
Gabrielius Alekna - Piano ((http•••) The pianist has several modern recordings of Vytautas Bacevicius works, including his fourth piano concerto, under the Toccata Classics Label. Totally recommended! Vytautas Bacevičius +••.••(...)) was a Lithuanian Composer. Most of his works are in an atonal idiom of his own devising. He developed a theory of 'cosmic music' and came to regard Schoenberg's 12-note music as out-dated, regarding himself as a successor to Scriabin, André Jolivet and Varèse. Bacevičius studied in Łódź, Poland with, among others, Kazimierz Sikorski and moved to Kaunas in Lithuania in 1926. In 1927 he went to Paris where he studied composition with Nikolai Tcherepnin. He was the first Lithuanian composer, who leads towards contemporary European music culture. Vytautas Bacevičius is credited for composing the first Lithuanian concerto for piano, and one of the first Lithuanian ballets. LITHUANIAN PLAYLIST - (http•••) His early works, written during his study years, were still influenced by romanticism and impressionism. In 1927-1940, so called the "Lithuanian period", Bacevičius turned toward constructivist approach, often employing a principle of contrasting organisation of musical material. Works, composed during this period, show influence of expressionism ("Poème électrique"). At the time Bacevičius began working on "Words" (mot) - a new genre of instrumental chamber music, invented by the composer himself (composed seven pieces). During these productive years Bacevičius composed an opera, a ballet, 2 concertos for piano and orchestra, other symphonic works. After settling in the USA, in the thirties and forties his music became more moderate displaying neo-classical features (Sonata for piano No.3). The fifties and sixties marked new so called "cosmic period". "Symphonie cosmique", "Graphique" for symphony orchestra, "Poème cosmique" for piano and "Rayons cosmiques" for organ are among his most significant works of this period. In his letters Bacevičius contemplated the unity between the idea of absolute music ("music itself is the essence") and cosmological nature of the process of music composition. He saw the idea of cosmic music as a universal music, a phenomenon that is elevated above the material world: "Music as a symbol of Supreme Mind reaches the nucleus and the springs of the Universe and in that it signifies the creator". Aiming to create incorporeal, immaterial music ("Poème cosmique" for piano, "Rayons cosmiques" for organ) the composer abandoned bar lines in his last opuses, while the notation of "Graphique" comes close to graphical scores. Please support me with a little recognition/alms for this channel that you love (i love it too). Feel free to toss a message at my email : •••@••• ; if you need any score. I am here to share, not hiding anything (unless private, and it is most likely not in my channel). Please support - (http•••) There is no copyright infringement intended. If you wish your recording to be removed, it can be done, please just leave me an email, which can be found at the channel's about section.
Pierre Amoyal Pierre Boulez Arnold Schönberg London Symphony Orchestra 1874 1951 1986
Provided to YouTube by Warner Classics International Schönberg : Violin Concerto Op.36 : I Poco Allegro - Vivace · Pierre Amoyal Schönberg : Pelleas und Melisande, Variations, Violin Concerto & Piano Concerto ℗ 1986 Erato Classics S.N.C. Orchestra: London Symphony Orchestra Violin: Pierre Amoyal Conductor: Pierre Boulez Composer: Arnold Schönberg +••.••(...)) Auto-generated by YouTube.
Schoenberg Bartók Krenek Beethoven Liszt Brahms Webern Liepāja Symphony Orchestra 1945
Having received widespread acclaim for her disc of Schoenberg’s complete solo piano works, Pina Napolitano now brings her unique combination of fierce intellect and emotional insight to Schoenberg’s Piano Concerto, in her second disc for Odradek, entitled ELEGY, with the Liepāja Symphony Orchestra conducted by Atvars Lakstīgala. Programmed alongside Bartók’s Third Piano Concerto, Pina finds a common thread uniting the two concerti in their shared sense of nostalgia and in this nostalgia’s redemption through dance. With characteristic perceptiveness, she explores their blend of the wistful and the joyous. Reinforcing the album’s elegiac character, the Liepaja Symphony Orchestra performs Schoenberg’s Accompaniment to a Film-Scene, harkening “danger, fear, catastrophe”, followed by Krenek’s Symphonic Elegy. Three composers exiled by war, expressing sorrow for the world they left behind, tempered by their new experiences of America. It is a CD that explores pathos and loss, whilst managing to find joy amid the tears. Schoenberg’s Piano Concerto uses his 12-tone method, yet there are many precedents referenced in the work, including Mozart, Beethoven, Liszt, and Brahms, as well as the expressionistic voice of his own past, from the Vienna he left behind. The Film Music belongs to this expressionistic period, and foreshadows the turmoil his land would see within a decade. Schoenberg’s close contemporary Webern is poignantly commemorated in Krenek’s Symphonic Elegy. Webern was accidentally shot by an American soldier in 1945, and the Elegy unfolds as one continuous lamentation, at times Mahlerian in its emotional expressivity. Bartók’s Third Piano Concerto was written during a time of turmoil for the composer: his career was languishing and his death was immanent. In the Third Concerto we find his rigorous writing softened with lyricism, particularly in the central Andante religioso, which alludes to Beethoven’s ‘holy thanksgiving’ from his Op.132. The dances which culminate in the final movement reference multiple styles and seem to summarize the history of music and the story of Bartók’s life, up until the final ascendant bars, which were completed by a student. Praise for Pina Napolitano – Schoenberg piano works: “rare penetration, understanding, grace and elegance.” BBC Music Magazine “Napolitano has a tensile strength to her playing that is distinctly hers” International Piano Magazine “consistently brilliant” Arts Desk “Schoenberg himself would probably have approved” The Examiner “in her hands the music sounds eminently approachable even when at its most iconoclastic” Music Web International Praise for Liepāja Symphony Orchestra/Atvars Lakstīgala – Kurland Sounds: “sonorities in dazzling combinations with an operatic intensity that will leave you breathless” BBC Music Magazine “admirably secure and understanding advocacy” Gramophone
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