| Brahms Klavierstucke Op.118 No.1,2 Piano Cathal Breslin Live - 575 sec
Brahms Klavierstucke Op.118 No.1 Intermezzo, No.2 Intermezzo. Piano Pieces Op.118. Cathal Breslin Live in Concert
Auteur : pianoarchives
Tags:Brahms Klavierstucke Op.118 Piano Pieces Opus 118 Cathal Breslin Live in Concert
 | | Brahms: Klavierstücke Op.119 No. 1 & 2 - 549 sec
Brahms: Klavierstücke Op.119, No. 1 & 2. Mudi Han
Auteur : mudihan
Tags: Brahms Klavierstücke Op.119 intermezzo Mudi Han Piano
| | Brahms Klavierstucke Op.118 Piano Nos 3,4,5 Cathal Breslin - 617 sec
Brahms Klavierstucke Op.118 Piano Nos 3 Ballade,4 Intermezzo,5 Romanze Cathal Breslin
Auteur : pianoarchives
Tags:Brahms Klavierstucke Op.118 Piano Pieces No.3 Ballade 4 Intermezzo 5 Romanze Cathal Breslin
| | Drei frühe Klavierstücke - 198 sec
3 medieval keyboardpieces on clavichord
Paumann, Buxheimerbuch, Kotter) ernst stolz netherlands
edition: Ferguson, Oxford press
Auteur : ernststolz
Tags: Clavichord Klavichord Buxheimerorgelbuch pianoles den haag buxheimer orgel
| | E.L.P./Keith Emerson Piano Pieces - 365 sec
Here I am "semi" sight-reading (clams and all) through Keith Emerson's "Fugue", "Benny the Bouncer", and "Karn Evel 9- 2nd Impression" on my kid's digital piano. I say "semi" because I used to play them in a band over 30 years ago but haven't touched them since, so it's not officially sight-reading. I transcribed this stuff when I was 12 and have never fixed the errors of my youthful ears, so it's not completely accurate, but you'll get the general idea. I slowed 'em down quite a bit to reduce mistakes and injury; the action on this keyboard is HORRIBLE! Seeing those clips of my more recent E.L.P. tribute band's debut gig from 11 years ago on YouTube (and the positive comments) inspired me to dust off some of my old Emerson transcriptions. The dude sure wrote some great music. Unfortunately, we didn't play any of these tunes in that band. The camera was still rolling and caught me fiddling around with some standards, so I thought I'd include 'em. Nothing to do with E.L.P., but a little improv, followed by a bit of "Round Midnight", "Lush Life", and "Stablemates". Kudos to my kid for having Corea, Patitucci, Weckl, and Ohm posters on his wall. Although it would be kinda cool to have one of Kate Beckinsale to look at... :)
http://www.myspace.com/garycalame
Auteur : Fusionhead
Tags: Fugue EndlessEnigma KeithEmerson ELP Prog Trilogy BennytheBouncer BrainSaladSurgery KarnEvel9 2ndImpression Stablemates
| | Hitomi Code Geass Innocent Days piano sheet music - 250 sec
http://www.chuckmcknight.com/ - Download this and more original piano sheet music arrangements (PDF and MIDI) from movies, tv, and video games.
Auteur : ChuckMcKnightDotCom
Tags: soundtrack film anime tv score piano sheet music notes Hitomi Code Geass Innocent Days Chuck McKnight chuckmcknight.com
| | Schumann - Emil Gilels, 4 Klavierstucke Op. 32 - I - 261 sec
Scherzo in B flat minor
(Moscow, 27 december 1977)
Emil Grigoryevich Gilels (Ukrainian: Емі́ль Григо́рович Гі́лельс, Russian: Эми́ль Григо́рьевич Ги́лельс, Emi'li Grego'rievič Gi'lelis; October 19, 1916 October 14, 1985) was a Soviet pianist, widely considered to be one of the greatest pianists of the 20th century. His last name is sometimes transliterated Hilels.
Gilels was born in Odessa (now part of Ukraine). He began studying the piano at the age of five[3] under Yakov Tkach, who was a student of the French pianists Raoul Pugno[4] and Alexander Villoing[3] Thus, through Tkach, Gilels had a pedagogical genealogy stretching back to Chopin, via Pugno, and to Muzio Clementi, via Villoing. Tkach was a stern disciplinarian who emphasized scales and studies. Gilels later credited this strict training for establishing the foundation of his technique.[3]
Gilels made his public debut at the age of 12 in June 1929 with a well-received program of Beethoven, Scarlatti, Chopin, and Schumann.[3] In 1930, Gilels entered the Odessa Conservatory where he was coached by Berta Reingbald, whom Gilels credited as a formative influence.
After graduating from the Odessa Conservatory (Ukraine) in 1935 , he moved to Moscow where he studied under the famous piano teacher Heinrich Neuhaus until 1937.
A year later he was awarded first prize at the 1938 Ysaÿe International Festival in Brussels by a distinguished jury whose members included Arthur Rubinstein, Samuil Feinberg, Emil von Sauer, Ignaz Friedman, Walter Gieseking, Robert Casadesus, and Arthur Bliss.[5] His winning performances were of both volumes of the Brahms-Paganini variations, and the Liszt-Busoni Fantasie on Two Motives from Mozart's "Marriage of Figaro". The other competitors included Moura Lympany in second place, and Arturo Benedetti Michelangeli in seventh place.[6]
Following his triumph at Brussels, a scheduled American debut at the 1939 New York World's Fair was aborted due to the outbreak of the Second World War.
During the War, Gilels entertained Soviet troops with morale-boosting open-air recitals on the frontline, of which film archive footage exists.[7]
In 1945, he formed a chamber music trio with his brother-in-law, the violinist Leonid Kogan and the cellist Mstislav Rostropovich.
After the war, he toured the Soviet Bloc countries of Eastern Europe as a soloist. He also gave two-piano recitals with Yakov Flier, as well as concerts with his violinist sister, Elizaveta.
Gilels was one of the first Soviet artists, along with David Oistrakh, allowed to travel and concertize in the West. His delayed American debut in 1955 playing Tchaikovsky's Piano Concerto No. 1 in Philadelphia with Eugene Ormandy was a great success. His British debut in 1959 met with similar acclaim.
In 1952, he became a professor at the Moscow Conservatory, where his students included Valery Afanassiev[1] and Felix Gottlieb[2]. He presided over the International Tchaikovsky Competition for many years, and as chair of the jury awarded first prize to Van Cliburn at the sensational inaugural event in 1958.
He made his Salzburg Festival debut in 1969 with a piano recital of Weber, Prokofiev and Beethoven at the Mozarteum, followed by a performance of Beethoven's Third Piano Concerto with George Szell and the Vienna Philharmonic Orchestra.
In 1981, he suffered a heart attack after a recital at the Concertgebouw in Amsterdam,[8] and suffered declining health thereafter. He died unexpectedly during a medical checkup in Moscow, only a few days before his 69th birthday. Sviatoslav Richter, who knew Gilels well and was a fellow-student of Neuhaus at the Moscow Conservatory, believed that he was killed accidentally when an incompetent doctor at the Kremlin hospital gave him the wrong injection during a routine checkup.
Gilels is universally admired for his superb technical control and burnished tone.[10]
He had an extensive repertoire, from Baroque to Late Romantic and 20th Century Classical composers. His interpretations of the central German-Austrian classics formed the core of his repertoire, in particular Beethoven, Brahms, and Schumann; but he was equally illuminative with Scarlatti, Bach, as well as with twentieth-century music like Debussy, Bartók, and Prokofiev. His Liszt was also first-class, and his recordings of the Hungarian Rhapsody nº 6 and the Sonata in B minor have acquired classic status in some circles.[11]
Gilels premiered Sergei Prokofiev's Piano Sonata No. 8, dedicated to Mira Mendelssohn, on December 30, 1944, in the Great Hall of the Moscow Conservatory.[12]
He was in the midst of completing a recording cycle of Beethoven's piano sonatas for the German record company Deutsche Grammophon when he died. His recording of the "Hammerklavier" sonata received a Gramophone Award in 1984.
(Wikipedia)
Auteur : Stravinskij0
Tags: emil gilels schumann schuman klavierstucke piano stucke op 32 opus mosca moscow scherzo flat minor min si bemolle
| | Schumann - Emil Gilels, 4 Klavierstucke Op. 32 - II - 91 sec
Gigue in G minor
(Moscow, 27 december 1977)
Emil Grigoryevich Gilels (Ukrainian: Емі́ль Григо́рович Гі́лельс, Russian: Эми́ль Григо́рьевич Ги́лельс, Emi'li Grego'rievič Gi'lelis; October 19, 1916 October 14, 1985) was a Soviet pianist, widely considered to be one of the greatest pianists of the 20th century. His last name is sometimes transliterated Hilels.
Gilels was born in Odessa (now part of Ukraine). He began studying the piano at the age of five[3] under Yakov Tkach, who was a student of the French pianists Raoul Pugno[4] and Alexander Villoing[3] Thus, through Tkach, Gilels had a pedagogical genealogy stretching back to Chopin, via Pugno, and to Muzio Clementi, via Villoing. Tkach was a stern disciplinarian who emphasized scales and studies. Gilels later credited this strict training for establishing the foundation of his technique.[3]
Gilels made his public debut at the age of 12 in June 1929 with a well-received program of Beethoven, Scarlatti, Chopin, and Schumann.[3] In 1930, Gilels entered the Odessa Conservatory where he was coached by Berta Reingbald, whom Gilels credited as a formative influence.
After graduating from the Odessa Conservatory (Ukraine) in 1935 , he moved to Moscow where he studied under the famous piano teacher Heinrich Neuhaus until 1937.
A year later he was awarded first prize at the 1938 Ysaÿe International Festival in Brussels by a distinguished jury whose members included Arthur Rubinstein, Samuil Feinberg, Emil von Sauer, Ignaz Friedman, Walter Gieseking, Robert Casadesus, and Arthur Bliss.[5] His winning performances were of both volumes of the Brahms-Paganini variations, and the Liszt-Busoni Fantasie on Two Motives from Mozart's "Marriage of Figaro". The other competitors included Moura Lympany in second place, and Arturo Benedetti Michelangeli in seventh place.[6]
Following his triumph at Brussels, a scheduled American debut at the 1939 New York World's Fair was aborted due to the outbreak of the Second World War.
During the War, Gilels entertained Soviet troops with morale-boosting open-air recitals on the frontline, of which film archive footage exists.[7]
In 1945, he formed a chamber music trio with his brother-in-law, the violinist Leonid Kogan and the cellist Mstislav Rostropovich.
After the war, he toured the Soviet Bloc countries of Eastern Europe as a soloist. He also gave two-piano recitals with Yakov Flier, as well as concerts with his violinist sister, Elizaveta.
Gilels was one of the first Soviet artists, along with David Oistrakh, allowed to travel and concertize in the West. His delayed American debut in 1955 playing Tchaikovsky's Piano Concerto No. 1 in Philadelphia with Eugene Ormandy was a great success. His British debut in 1959 met with similar acclaim.
In 1952, he became a professor at the Moscow Conservatory, where his students included Valery Afanassiev[1] and Felix Gottlieb[2]. He presided over the International Tchaikovsky Competition for many years, and as chair of the jury awarded first prize to Van Cliburn at the sensational inaugural event in 1958.
He made his Salzburg Festival debut in 1969 with a piano recital of Weber, Prokofiev and Beethoven at the Mozarteum, followed by a performance of Beethoven's Third Piano Concerto with George Szell and the Vienna Philharmonic Orchestra.
In 1981, he suffered a heart attack after a recital at the Concertgebouw in Amsterdam,[8] and suffered declining health thereafter. He died unexpectedly during a medical checkup in Moscow, only a few days before his 69th birthday. Sviatoslav Richter, who knew Gilels well and was a fellow-student of Neuhaus at the Moscow Conservatory, believed that he was killed accidentally when an incompetent doctor at the Kremlin hospital gave him the wrong injection during a routine checkup.
Gilels is universally admired for his superb technical control and burnished tone.[10]
He had an extensive repertoire, from Baroque to Late Romantic and 20th Century Classical composers. His interpretations of the central German-Austrian classics formed the core of his repertoire, in particular Beethoven, Brahms, and Schumann; but he was equally illuminative with Scarlatti, Bach, as well as with twentieth-century music like Debussy, Bartók, and Prokofiev. His Liszt was also first-class, and his recordings of the Hungarian Rhapsody nº 6 and the Sonata in B minor have acquired classic status in some circles.[11]
Gilels premiered Sergei Prokofiev's Piano Sonata No. 8, dedicated to Mira Mendelssohn, on December 30, 1944, in the Great Hall of the Moscow Conservatory.[12]
He was in the midst of completing a recording cycle of Beethoven's piano sonatas for the German record company Deutsche Grammophon when he died. His recording of the "Hammerklavier" sonata received a Gramophone Award in 1984.
(Wikipedia)
Auteur : Stravinskij0
Tags: emil gilels schumann schuman klavierstucke piano stucke op 32 opus mosca moscow gigue sol minor min si bemolle
| | Schumann - Emil Gilels, 4 Klavierstucke Op. 32 - III - 247 sec
Romance in D minor
(Moscow, 27 december 1977)
Emil Grigoryevich Gilels (Ukrainian: Емі́ль Григо́рович Гі́лельс, Russian: Эми́ль Григо́рьевич Ги́лельс, Emi'li Grego'rievič Gi'lelis; October 19, 1916 October 14, 1985) was a Soviet pianist, widely considered to be one of the greatest pianists of the 20th century. His last name is sometimes transliterated Hilels.
Gilels was born in Odessa (now part of Ukraine). He began studying the piano at the age of five[3] under Yakov Tkach, who was a student of the French pianists Raoul Pugno[4] and Alexander Villoing[3] Thus, through Tkach, Gilels had a pedagogical genealogy stretching back to Chopin, via Pugno, and to Muzio Clementi, via Villoing. Tkach was a stern disciplinarian who emphasized scales and studies. Gilels later credited this strict training for establishing the foundation of his technique.[3]
Gilels made his public debut at the age of 12 in June 1929 with a well-received program of Beethoven, Scarlatti, Chopin, and Schumann.[3] In 1930, Gilels entered the Odessa Conservatory where he was coached by Berta Reingbald, whom Gilels credited as a formative influence.
After graduating from the Odessa Conservatory (Ukraine) in 1935 , he moved to Moscow where he studied under the famous piano teacher Heinrich Neuhaus until 1937.
A year later he was awarded first prize at the 1938 Ysaÿe International Festival in Brussels by a distinguished jury whose members included Arthur Rubinstein, Samuil Feinberg, Emil von Sauer, Ignaz Friedman, Walter Gieseking, Robert Casadesus, and Arthur Bliss.[5] His winning performances were of both volumes of the Brahms-Paganini variations, and the Liszt-Busoni Fantasie on Two Motives from Mozart's "Marriage of Figaro". The other competitors included Moura Lympany in second place, and Arturo Benedetti Michelangeli in seventh place.[6]
Following his triumph at Brussels, a scheduled American debut at the 1939 New York World's Fair was aborted due to the outbreak of the Second World War.
During the War, Gilels entertained Soviet troops with morale-boosting open-air recitals on the frontline, of which film archive footage exists.[7]
In 1945, he formed a chamber music trio with his brother-in-law, the violinist Leonid Kogan and the cellist Mstislav Rostropovich.
After the war, he toured the Soviet Bloc countries of Eastern Europe as a soloist. He also gave two-piano recitals with Yakov Flier, as well as concerts with his violinist sister, Elizaveta.
Gilels was one of the first Soviet artists, along with David Oistrakh, allowed to travel and concertize in the West. His delayed American debut in 1955 playing Tchaikovsky's Piano Concerto No. 1 in Philadelphia with Eugene Ormandy was a great success. His British debut in 1959 met with similar acclaim.
In 1952, he became a professor at the Moscow Conservatory, where his students included Valery Afanassiev[1] and Felix Gottlieb[2]. He presided over the International Tchaikovsky Competition for many years, and as chair of the jury awarded first prize to Van Cliburn at the sensational inaugural event in 1958.
He made his Salzburg Festival debut in 1969 with a piano recital of Weber, Prokofiev and Beethoven at the Mozarteum, followed by a performance of Beethoven's Third Piano Concerto with George Szell and the Vienna Philharmonic Orchestra.
In 1981, he suffered a heart attack after a recital at the Concertgebouw in Amsterdam,[8] and suffered declining health thereafter. He died unexpectedly during a medical checkup in Moscow, only a few days before his 69th birthday. Sviatoslav Richter, who knew Gilels well and was a fellow-student of Neuhaus at the Moscow Conservatory, believed that he was killed accidentally when an incompetent doctor at the Kremlin hospital gave him the wrong injection during a routine checkup.
Gilels is universally admired for his superb technical control and burnished tone.[10]
He had an extensive repertoire, from Baroque to Late Romantic and 20th Century Classical composers. His interpretations of the central German-Austrian classics formed the core of his repertoire, in particular Beethoven, Brahms, and Schumann; but he was equally illuminative with Scarlatti, Bach, as well as with twentieth-century music like Debussy, Bartók, and Prokofiev. His Liszt was also first-class, and his recordings of the Hungarian Rhapsody nº 6 and the Sonata in B minor have acquired classic status in some circles.[11]
Gilels premiered Sergei Prokofiev's Piano Sonata No. 8, dedicated to Mira Mendelssohn, on December 30, 1944, in the Great Hall of the Moscow Conservatory.[12]
He was in the midst of completing a recording cycle of Beethoven's piano sonatas for the German record company Deutsche Grammophon when he died. His recording of the "Hammerklavier" sonata received a Gramophone Award in 1984.
(Wikipedia)
Auteur : Stravinskij0
Tags: emil gilels schumann schuman klavierstucke piano stucke op 32 opus mosca moscow romance re minor min si bemolle
| | Michail Goleminov plays KLAVUERSTUECK IX by Stockhausen - 591 sec
Recorded live on March 28 at Greaves Concert Hall during the American-Bulgarian New Music Festival at NKU.
Auteur : Bulmerica
Tags: Michail Goleminov Karlheinz Stockhausen American Bulgarian New Music Festival Richard Floeckher Kurt Sander
| | Schumann - Emil Gilels, 4 Klavierstucke Op. 32 - IV - 156 sec
Fughette in G minor.
(Moscow, 27 december 1977)
Emil Grigoryevich Gilels (Ukrainian: Емі́ль Григо́рович Гі́лельс, Russian: Эми́ль Григо́рьевич Ги́лельс, Emi'li Grego'rievič Gi'lelis; October 19, 1916 October 14, 1985) was a Soviet pianist, widely considered to be one of the greatest pianists of the 20th century. His last name is sometimes transliterated Hilels.
Gilels was born in Odessa (now part of Ukraine). He began studying the piano at the age of five[3] under Yakov Tkach, who was a student of the French pianists Raoul Pugno[4] and Alexander Villoing[3] Thus, through Tkach, Gilels had a pedagogical genealogy stretching back to Chopin, via Pugno, and to Muzio Clementi, via Villoing. Tkach was a stern disciplinarian who emphasized scales and studies. Gilels later credited this strict training for establishing the foundation of his technique.[3]
Gilels made his public debut at the age of 12 in June 1929 with a well-received program of Beethoven, Scarlatti, Chopin, and Schumann.[3] In 1930, Gilels entered the Odessa Conservatory where he was coached by Berta Reingbald, whom Gilels credited as a formative influence.
After graduating from the Odessa Conservatory (Ukraine) in 1935 , he moved to Moscow where he studied under the famous piano teacher Heinrich Neuhaus until 1937.
A year later he was awarded first prize at the 1938 Ysaÿe International Festival in Brussels by a distinguished jury whose members included Arthur Rubinstein, Samuil Feinberg, Emil von Sauer, Ignaz Friedman, Walter Gieseking, Robert Casadesus, and Arthur Bliss.[5] His winning performances were of both volumes of the Brahms-Paganini variations, and the Liszt-Busoni Fantasie on Two Motives from Mozart's "Marriage of Figaro". The other competitors included Moura Lympany in second place, and Arturo Benedetti Michelangeli in seventh place.[6]
Following his triumph at Brussels, a scheduled American debut at the 1939 New York World's Fair was aborted due to the outbreak of the Second World War.
During the War, Gilels entertained Soviet troops with morale-boosting open-air recitals on the frontline, of which film archive footage exists.[7]
In 1945, he formed a chamber music trio with his brother-in-law, the violinist Leonid Kogan and the cellist Mstislav Rostropovich.
After the war, he toured the Soviet Bloc countries of Eastern Europe as a soloist. He also gave two-piano recitals with Yakov Flier, as well as concerts with his violinist sister, Elizaveta.
Gilels was one of the first Soviet artists, along with David Oistrakh, allowed to travel and concertize in the West. His delayed American debut in 1955 playing Tchaikovsky's Piano Concerto No. 1 in Philadelphia with Eugene Ormandy was a great success. His British debut in 1959 met with similar acclaim.
In 1952, he became a professor at the Moscow Conservatory, where his students included Valery Afanassiev[1] and Felix Gottlieb[2]. He presided over the International Tchaikovsky Competition for many years, and as chair of the jury awarded first prize to Van Cliburn at the sensational inaugural event in 1958.
He made his Salzburg Festival debut in 1969 with a piano recital of Weber, Prokofiev and Beethoven at the Mozarteum, followed by a performance of Beethoven's Third Piano Concerto with George Szell and the Vienna Philharmonic Orchestra.
In 1981, he suffered a heart attack after a recital at the Concertgebouw in Amsterdam,[8] and suffered declining health thereafter. He died unexpectedly during a medical checkup in Moscow, only a few days before his 69th birthday. Sviatoslav Richter, who knew Gilels well and was a fellow-student of Neuhaus at the Moscow Conservatory, believed that he was killed accidentally when an incompetent doctor at the Kremlin hospital gave him the wrong injection during a routine checkup.
Gilels is universally admired for his superb technical control and burnished tone.[10]
He had an extensive repertoire, from Baroque to Late Romantic and 20th Century Classical composers. His interpretations of the central German-Austrian classics formed the core of his repertoire, in particular Beethoven, Brahms, and Schumann; but he was equally illuminative with Scarlatti, Bach, as well as with twentieth-century music like Debussy, Bartók, and Prokofiev. His Liszt was also first-class, and his recordings of the Hungarian Rhapsody nº 6 and the Sonata in B minor have acquired classic status in some circles.[11]
Gilels premiered Sergei Prokofiev's Piano Sonata No. 8, dedicated to Mira Mendelssohn, on December 30, 1944, in the Great Hall of the Moscow Conservatory.[12]
He was in the midst of completing a recording cycle of Beethoven's piano sonatas for the German record company Deutsche Grammophon when he died. His recording of the "Hammerklavier" sonata received a Gramophone Award in 1984.
(Wikipedia)
Auteur : Stravinskij0
Tags: emil gilels schumann schuman klavierstucke piano stucke op 32 opus mosca moscow sol minor min fughette
| | Franz Schubert - Drei Klavierstücke (D 946) - 596 sec
Franz Schubert - Drei Klavierstücke (op. ph. D 946).
Andreas Staier.
Auteur : OedipusColoneus
Tags: Franz Schubert Drei Klavierstücke Andreas Staier
| | Lev Oborin plays Brahms Klavierstücke Op.119 - 581 sec
Part I
No. 1 Intermezzo b minor
No. 2 Intermezzo e minor
Auteur : truecrypt
Tags: oborin brahms Klavierstücke piano
| | Schubert: Klavierstücke 1, D.946 - 659 sec
Claudio Arrau en su visita histórica a Chile. Recital en el Teatro Municipal de Santiago, miércoles 16 de mayo de 1984.
Auteur : yolesdije
Tags:Schubert Klavierstücke 1 946 Arrau Chile
| | Brahms Klavierstücke, Op. 76 n.1 - Lucia Barrenechea - 232 sec
Lucia Barrenechea plays Johannes Brahms Klavierstücke, Op. 76 (1878): I.Capriccio: Un poco agitato at Harper Hall- University of Iowa, U.S.in December of 1999.
Visit our web site http://www.duobarrenechea.mus.br
------------------------------------
Lucia Barreneche toca Johannes Brahms Klavierstücke, Op. 76 (1878): I.Capriccio: Un poco agitato, no Harper Hall- University of Iowa, EUA em Dezembro of 1999.
Veja o nosso site http://www.duobarrenechea.mus.br
Auteur : duobarrenechea
Tags: brahms piano sonata lucia barrenechea chamber music classical
| | Sergio Fiorentino -- Brahms Klavierstucke Op.117 No.2 - 388 sec
Sergio Fiorentino, one of the greatest artist of last century. He was indeed the greatest pianist I heard and my best teacher as well
Auteur : abbjorko
Tags:Sergio Fiorentino Brahms Klavierstucke Op.117 No.2 great italian pianist piano Napoli Italy teacher of Andaloro
| | Grante at Teatro Ghione,Rome - Schubert Klavierstucke D946/3 - 329 sec
Carlo Grante live in concert at Teatro Ghione, Rome - Schubert - Klavierstucke D946/3
Unedited video recording - fixed camera
Auteur : benjaminte
Tags:Grante Ghione Schubert Klavierstucke piano pianist live carlo
| | Felix M. Blumenfeld: Zwei Klavierstücke, Op. 53 - 228 sec
1 - Danse; 2 - Postludium
Blumenfeld (1883-1931) is perhaps most remembered today as the teacher of Vladimir Horowitz and Simon Barere (no mean recommendation!). These pieces are reminiscent of late Scriabin. They carry relatively few expression or tempo indications, and I can imagine them being performed in many different ways.
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Played by Phillip Sear
http://www.psear.co.uk
Auteur : PSearPianist
Tags: Felix Blumenfeld Zwei Klavierstücke piano Russian expressionist Scriabin Phillip Sear
| | schubert-klavierstucke n.1 D.946 - 399 sec
me playing schubert 14.06.07
Auteur : fatinaLushina
Tags:schubert klavierstucke
| | Brahms Klavierstucke Op.118 No.6 Piano Cathal Breslin Live - 353 sec
Brahms Klavierstucke Op.118 No.6 Piano Cathal Breslin Live in Concert
Auteur : pianoarchives
Tags:Brahms Klavierstucke Op.118 No.6 Piano Cathal Breslin Live
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