miércoles, 31 de julio de 2013

Chick Corea - Giant Steps

Ariel plays Giant Steps

Gonzalo Rubalcaba Improvisation #2 from the Album "Fé"

Vijay Iyer Improvises on Coltrane's Giant Steps and Discusses his Approa...

Nicholas Cook - Between art and science: Studying music as performance




Video explains the world's most important 6-sec drum loop

Legato -- The World of the Piano -- Episode 4 Pierre-Laurent Aimard -- C...

OAE: Pierre-Laurent Aimard talks about Ravel's piano concerto for the le...

Charles Koechlin: Quartetto per archi No.2, op.57 (1915/1916)

Charles Koechlin: Poème pour cor et orchestre op. 70b (1927)

Anatomy of a Fugue

Charles Koechlin: Épitaphe de Jean Harlow (1937)

Charles Koechlin: Trio, Op.92 (1924)

Charles Koechlin: Offrande musicale sur le nom de Bach (1942/1946)









Charles Koechlin: Le Livre de la Jungle (1899-1940)











Harmonic Function, Counterpoint, & Compound Melody in Beethoven's Ich li...

Counterpoint as the source of suspensions and retardations

Study of Counterpoint Test 4 (Arpeggios)

Study of Counterpoint Test 3 (14 Parts, Full Loaded ;)

Study of Counterpoint Test 2

Study of Counterpoint Test 1

Species Counterpoint - Examples of All Five Species

martes, 30 de julio de 2013

Charles Koechlin: Paysages et marines, per Ensemble da camera (1917-1950)



Charles Koechlin: Les Heures persanes (1913/1919)





Charles Koechlin: 4 Nouvelles sonatines pour piano, Op.87 (1923-1924)




Charles Koechlin: Paysages et marines, pour piano (1917)




Godowsky: Java Suite (Borobudur in the Moonlight, Mt. Bromo and the Sand...

Godowsky: Java Suite (Gamelan, Puppet Shadow Play, Hari Besaar ) Esther ...

Finnissy: How Dear to Me (1991)

Alscribjiani: A Free Fantasy in Three Movements (2006) [Clint Tibbs, piano]



According to Tibbs:

"The form of [Alscribjiani] and certain thematic elements were preconceived, but the execution of most of the content was 'made up on the spot.' Preconceived ideas came together at the moment they were played, mixed with many moments of an improvised nature. None of this music was composed with pen and staff paper. It only exists in this recording and in the mind of the performer.

[Alscribjiani] was influenced by Alkan, Scriabin, and Sorabji. Sorabji was influenced by Alkan and Scriabin; an all the more fitting reason for such an amalgam of a title. The listener will notice that the greatest influence is from Sorabji not only in the music but also in the names of the first and second movements. Alscribjiani is also influenced by the music of two equally important and innovative Russian composer-pianists, namely, Nikolai Roslavets and Samuel Feinberg.

While there is no discernable tonal center for Alscribjiani, the music tends to wander around in D minor, C-flat major, B-flat minor, D-flat major, and G-flat major (and maybe other keys). The music is asymmetrical and does not conform to the symmetry of traditional 'classical' music; influences extend far beyond the range of traditional classical music. Thematic material exists in three forms: melodic themes, rhythmic themes, and textural themes; themes that are stated, developed, and interwoven to form a single tapestry throughout the entire piece.

All three movements are related through a similar soundscape that binds the piece together; tonality and atonality are blended to form a seamless 'impressionistic' sound without falling into total atonal abstraction and oblivion. The dissonant seconds and grace notes are played intentionally in chords and scales and are not mere 'mistakes.' They are meant to contribute to the overall ornamental effect of the music not unlike the effect of Sorabji's ornate music. Despite the duration of Alscribjiani, it is meant to be heard in one sitting.

The opening of the first movement, Rapidum Balisticum, mimics the opening of Scriabin's 7th sonata, 'White Mass.' The movement exhibits the kind of restlessness that Nikolai Medtner depicts in his Sonata Minacciosa in F minor, with hints of impressions from Ives' Concord Sonata and possibly from Copland's Piano Variations."

Sorabji: II. Toccata (1920) from "Two Pieces" [Live]

Sorabji / Fredrik Ullen - Transcendental Etude No. 32 [Piano + Score]

Pierre-Laurent Aimard talks about Debussy's Préludes (English)

M Finnissy's English Country Tunes






Sorabji - Variazione maliziosa e perversa sopra ''La Morte d'Åse'' da Grieg

Kaikhosru Sorabji: Fantaisie Espagnole - Yan Long - International Colleg...

Michael Finnissy - Eadweard Muybridge ‒ Edvard Munch [w/ score]

Choirbook for the Queen - Michael Finnissy

Michael Finnissy plays two Gershwin Arrangements. Rare piano film

Michael Finnissy about "bas & koen & nora"

Debussy, Préludes, Pierre-Laurent Aimard, piano

Pierre-Laurent Aimard talks about Beethoven's op.110 Sonata

Hamelin plays Copland - Piano Variations Audio + Sheet music

Debussy: Pagodes (orch. Grainger) / Philharmonia Orchestra, Geoffrey Simon

Maurice Ravel - Miroirs

Ravel Piano Trio in A minor - Menuhin, Cassadó, Kentner

Messiaen: Quartet for the End of Time

Takemitsu - Rain Tree Sketch [w/ score]

Helmut Walcha, Bach, and the Art of Fugue [from Desert Fugue]

PIERRE-LAURENT AIMARD Bach The Art of Fugue



















Prélude à l'après-midi d'un faune - Debussy (piano solo)

Ravel: Daphnis et Chloé - Haitink/RCO(1999Live)

Daphnis et Chloé - Ravel - Dutoit

Ravel - Piano Concerto in G - Alicia De Laroccha

Ravel - Piano Concerto for the Left hand - Leon Fleisher

Andre Boucourechliev - [Nika Shirocorad - piano]




Introducing the 'fluid piano'

lunes, 29 de julio de 2013