Remember that you are able to watch the lectures as many times as you like, at whatever pace is comfortable for you. The dates and locations will be posted in the Announcements and Events section, as part of the course content.
So please remember to check back there for details. Like part 1 and 2, this deep insights in Beethoven's Piano Sonatas by Jonathan Biss, and the way how he explains them, is all of superb quality.
Great course. Excellent teacher. The course is well thought out, concise, understandable and efficiently covers a lot of material. Very comprehensive details course. Suitable for students who need to refresh their Harmony knowledge and composition skill. This module builds off of the concept of chord substitution that was introduced previously. Opus 10 number 1: The "c minor Mood" Opus 10 number 1: Extremes of Tempo and Character Taught By.
Be the first to review this title. This CD is reissued by ArkivMusic. Notes and Editorial Reviews Le carillon is a one-act ballet first performed in the same year as Massenet's Werther, The story, stronger than in most ballets, tells of a Flemish clock-maker trying to repair the carillon in the local church in time for the arrival of the Duke of Burgundy; if he fails he will lose his fiancee and be imprisoned.
Moy Mell was dedicated to two other Matthay pupils - Scharrer and Hess are therefore of great documentary importance. It is thus hugely surprising that this important legacy has been completely neglected since the s and this issue is the first CD release ever devoted to their recordings.
English born pianist Harold Bauer originally hoped to make his career as violinist but his piano playing so impressed Paderewski that he subsequntly focussed on that instrument. Bauer was not a crowd-pleasing virtuoso firebrand but rather a true musician; there is always a wonderful poetry to his art and he excelled in miniatures, such as the Grieg presented here, though his legendary recording of the Brahms f minor sonata still a benchmark shows he had the requisite virtuosity when needed.
His pedigree was marvellous - a student of Godowsky-disciple David Saperton at the Curtis Institute, there he was also able to play for Godowsky himself and Josef Hofmann. Shortly after, he was signed to Decca and went on to make many award winning discs.
But what of the early years? His very first disc was of Latin-American repertoire that he was never to record again. London Bridge; V. Vogel als Prophet No 7 from Waldszenen, Op Impromptu No 5 Op Though he had a virtuoso technique it was fallible and the careless slips he was renowned for became more pronounced as he became older. This set, recorded in the last days of 78s, had only a limited life as LP technology arrived within a year and brought with it improved recording quality. It appears that when some of these titles were reissued on LP different takes, recorded on tape, were used so these versions are included as an appendix.
Nocturne No 2 in E flat major Op. Sadly, by this time his failing health meant that many works remained unissued as they did not meet the standards of his earlier magnificent versions, however some old warehorses did stand the test of time, as can be heard in the Carnaval featured here.
Along with Schnabel, in the first half of the 20th century Edwin Fischer was generally regarded as the greatest interpreter of the Germanic classics - Bach, Mozart, Beethoven, Schubert and Brahms. This was the period when recording came of age, and many first recorded performances, regarded as definitive in their time and still thought amongst the greatest even today, were set down by Fischer.
These are the only Mozart concerto recordings Fischer was to make commercially except for a LP remake of the D minor in We continue our comprehensive survey of the many great pianists who worked in Russia in the Soviet era with the first two discs in the Igumnov School.
The bulk of the issues will be divided into 'schools' which represent the three main teachers of this period - Neuhaus, Goldenweiser and Igumnov, - and their pupils. Igumnov was the oldest of the thre great teachers we are considering. Flier arrived at the Moscow Conservatiore a prodigy and rapidly went on to become one of the greatest of Igumnov's many pupils. He had a friendly rivalry with Emil Gilels, beating him in competition in , only for the roles to be reversed in the Queen Elizabeth Competition of In many ways his career mimicked that of his teacher Igumnov, as Flier also taught at the Moscow Conservatiore from an early age until his death and produced many illustrious pupils, though perhaps his own fame, at least internationally, suffered as a result.
Flier had a large repertoire and specialized particularly in the great works of the Romantic period which suited his all-encompassing, but undemonstrative, technique. Unfortunately he made surprisingly few recordings though all we have are very fine. Of particular interest here is the world premiere recording of Kabalevsky's 24 Preludes Op. These and all the other material included, are new to CD. Pickwick Esq. Minstrels Preludes, Book I, No 12 ; 8.
These four titles are the first in a comprehensive survey of the many great pianists who worked in Russia in the Soviet era. Here, in a selection of his earliest recordings, we see a different side to his talent as he reveals an astonishing virtuosity in such warhorses as the Liszt Hungarian Rhapsodies and the Schumann Toccata.
That Gilels and Zak began performing together is perhaps not surprising as they both grew up in Odessa and then moved to Moscow to study with Neuhaus, however it was probably the Second World War, and their confinement to the Soviet Union where there was a need for morale boosting concerts, which brought the duo together in a partnership which lasted about ten years.
With the exception of a performance of Carnival of the Animals their complete recordings are featured here, and a fascinating selection they are. Gilels was one of the few Russian pianists who played Mozart successfully and these recordings, either as original works, or transcribed by Busoni, present both pianists revelling in an easy virtuosity and joie-de-vivre. Perhaps surprisingly, its very French brilliance seems particularly suited to these two Russians!
This CD is the second of two devoted to his earliest 78rpm recordings mainly dating from around These discs are extremely rare and many of the performances included will be unknown to even the most ardent collectors. Of particular interest to pianophiles will be his supremely elegant Strauss transcriptions and the Schumann arrangements of Paganini Caprices.
These three titles inaugurate the Goldenweiser School, the last of the three great teaching traditions to be covered in this comprehensive survey of the many great pianists who worked in Russia in the Soviet era. Along with Goldenweiser himself we start with Nikolayeva and Ginzburg. Alexander Goldenweiser was born in and studied at the Moscow Conservatoire with the great generation that included Rachmaninov, Scriabin and Medtner.Circling Back and Moving Forward: Comparing the First Movements Op. 10, No. 1, and Op. Circling Back and Moving Forward: Comparing the First Movements Op. 10, No. 1, and Op. Variations as By contrast, the second theme, while in the dominant B major, as it ought to be, takes several measures to establish it and begins on a.