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Such a beautiful melody coming from brass at 3:39, but the long 1st vln 1/16 note passage is so annoying to play.

Nice sonata to listen to, but it seems very technically demanding to play!

Is it lied or lieder?

This is great

今日の、音源探して、私📱録音したかったんだよ、音源ないと、💦🎹頭に入れて帰れるなかったよ、🚌😮

Ich kann mir gut vorstellen, wie bei den Schubertiaden die feinen Damen gern zu diesen schönen Walzern getanzt haben. Schon allein deshalb war Schubert beliebt, weil diese Melodien einfach so aus ihm heraus flossen.

Beautiful pieces from Schubert! ❤

When 4/4 is too basic, there's always 2/2

This is one of the most overlooked and underrated masterpiece in all symphonic repertoir, it's one of my most favourites symphonic poems actually!

Paradise...

Crying when young Clara’s theme came out. Pure love.

1:42

Sublime immenso❤

What a miniature masterpiece ! Interesting to hear where Mascagni likely got his "inspiration" for the beginning of this "Intermezzo": in the first 8 seconds or so of Schubert's Symphony No. 1, Movement II (Andante). Both, wonderful symphonic works !!

Divină melodie,genială inspirație,tragică istorie...Cavalleria rusticana!🙏🇮🇹💌🇷🇴🌹

0:11

Is this French?

This is splendid miniature, the texture is in the main theme surprisingly not very Medtneresque, but the harmony and the mode still gives me that typical irreplaceable Medtner mood!

Thank you for arranging and posting! Please is the score available for purchasing?

Xpincher dggs

❤bravi!@

Enescu was one of the most naturally gifted musicians in history. His pupil, Yehudi Menuhin, described him as the "Absolute by which I judge all others... the most extraordinary human being, the greatest musician and the most formative influence I have ever experienced." Famously, when Ravel asked him to play through his new violin sonata in 1927, the two of them ran through the 3 movements, after which Enescu closed his part and said "and now from memory". They then played the entire work again, Enescu playing the virtuosic violin part from memory after a single play-though. The 'Carillon Nocturne' movement (29:10) of the Op. 18 suite is something of a miracle: Enescu seems to have notated actual bell sonorities with such precision that the piano actually transforms into bells! It's an amazing piece.

Ce inseamna sa fii AGRAMAT mai draga - vezi ca nu e vb de aripile "viermilor sai [intestinali, eventual]" ci ale VERSURILOR SALE -

2:38

A beautiful piece - th-cam.com/video/JKM8rwmFLBY/w-d-xo.html&start_radio=1&rv=vdQtCssBfKY

What absolutely beautiful pieces.

Danke 3x

YES!

1:38 for reference

Another unsung Masterpiece by Liszt that gets overlooked. Regardless, a profound gem, especially the Grave section with its spiritually ethereal and mysterious ending.

Perfection

At 9:10, she inserts her own "Romance Variee, op. 3" tune in the tenor voice -- the very tune upon which Robert based his Impromptus, op. 5 which he treated similarly to the manner in which Beethoven conceived his "Eroica" Variations op. 35. (Subsequent research reveals that the tune existed in some of Robert's earliest sketches and was likely his, not Clara's.)

Underrated Schubert piano Music waltzes nos 1 8 and 9 are my favorite in character contrast

Thank you! Can you share this sheet notes, please? We play this Suite with my colleague, but we didn’t find this type of notes - it is the best, when you can see together both parts❤

Êxtase 1:42

Bravoooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo..........................

¡Felicitaciones! Por difundir esta maravillosa música. Extraordinaria y poco común. Le da parecido a los preludios de Claude Debussy. ¡Gracias! Saludos desde México.

~~~~~Composer biography~~~~~ Samuel Coleridge-Taylor (1875-1912) was an Afro-British composer who wrote in a tonal, Romantic style. His output includes 82 published opuses, comprising chamber works; cantatas; orchestral works; songs; a violin concerto; and works for violin and piano, as well as solo piano. Coleridge-Taylor's father, Daniel Taylor, was a doctor from Sierra Leone; his ancestors were enslaved people in the Thirteen Colonies whom the British freed and repatriated to Africa. His mother, Alice Hare Martin, was a white Englishwoman. As the elder Taylor left England without knowing he had a son, Coleridge-Taylor grew up with his mother and her family in Croydon, just south of London. He started learning the violin from his grandfather on a small fiddle they had at home. Later, he took lessons from a local musician named Joseph Beckwith, and sang in choirs with a much-praised boy soprano voice. At the age of 15, Coleridge-Taylor entered the Royal College of Music as a violin student, with a minor in piano. Soon he switched his primary focus to composition, having had some music published already. His composition teacher was Charles Villiers Stanford, who also taught Gustav Holst, Ralph Vaughan Williams, and a host of other notable English composers. Coleridge-Taylor met with considerable success, having been recognized by some of England’s most eminent composers. In 1898, the Three Choirs Festival wrote to the composer Edward Elgar to commission an orchestral work. Elgar declined the offer, but recommended that Coleridge-Taylor take up the offer, saying that he was "far away the cleverest fellow going amongst the young men [composers in England]." Coleridge-Taylor accepted it and composed his Ballade for Orchestra, op. 33. That same year, he completed what would become his most famous work, the spirited cantata Hiawatha's Wedding Feast, with text from Longfellow's epic poem “The Song of Hiawatha." The premiere was attended by another famous composer - Sir Arthur Sullivan, who wrote in his diary, "Much impressed by the lad's genius. He [Coleridge-Taylor] is a composer, not a music-maker." Around then, Coleridge-Taylor also began to write music influenced by his African identity. He corresponded with African-Americans in the United States, including members of the Samuel Coleridge-Taylor Society, a choral society named after him in Washington, D.C. W.E.B. DuBois, the famous writer on African-American social issues and civil rights, commended him as well. Coleridge-Taylor toured the United States twice and met President Theodore Roosevelt at the White House - a rare honor, especially given the deep divide between Black and White Americans. Back in England, Coleridge-Taylor’s works would be performed in some of the country’s grandest venues, including the Queen's Hall and Royal Albert Hall. He continued to compose prolifically for various combinations of instruments, including piano solo (e.g. his 24 Negro Melodies op. 59, which are settings of African songs and African-American spirituals); full orchestra (e.g. his Symphonic Variations on an African Theme [the spiritual “I’m Troubled in Mind"] op. 63); and SATB chorus (e.g. his part-song Summer Is Gone, published in 1910 without opus number). Rather unjustly, Coleridge-Taylor's renown and prolific output did not grant him financial stability. He did not receive royalties for many of his works, including Hiawatha's Wedding Feast, which would have yielded a considerable fortune. A main source of income came from his post as conductor of the Croydon Conservatoire's orchestra. He also traveled throughout England as a conductor and judge at music festivals. Coleridge-Taylor found little time for rest, and he died at the age of 37 from pneumonia, not long after he revised his thoroughly striking Violin Concerto. With his wife, fellow RCM graduate Jessie Walmisley, Coleridge-Taylor had two children: a son Hiawatha and a daughter Gwendolen (who later went by Avril). Both children had distinguished musical careers of their own; Hiawatha was a conductor, and Avril was a composer as well as conductor. Despite the stresses of his career, Coleridge-Taylor said the following about his life: "I have been very happy in my surroundings all my life, first in my mother and then in my marriage. Even without any moderate success, I think I should have been one of those rare beings - a happy man." ~~~~~Program notes~~~~~ Samuel Coleridge-Taylor’s Six Sorrow Songs were composed in 1904, just before his first tour of the United States in October that same year. While a direct connection has not been documented, the title “Sorrow Songs” echoes the title of an essay by W.E.B. Du Bois from The Souls of Black Folk, which, according to his friend and biographer W. C. Berwick Sayers, Coleridge-Taylor called “the greatest book he had ever read.” In the book’s final essay, “Of the Sorrow Songs,” Du Bois discusses the songs (or spirituals) sung by enslaved Africans in the United States. Du Bois writes that the sorrow songs are "the music of an unhappy people, of the children of disappointment; they tell of death and suffering and unvoiced longing toward a truer world, of misty wanderings and hidden ways.” The essay deserves to be read in full and can be found here: www.gutenberg.org/files/408/408-h/408-h.htm#chap14 For the Six Sorrow Songs, Coleridge-Taylor set poems by the English poet Christina Rossetti (1830-1894). The poems Coleridge-Taylor selected are all on melancholic, mournful themes, including longing, unrequited love, death, and grief, in keeping with the context of the title. With the exception of the final two poems, all of Rosetti’s poems were originally given the title “Song.” Below are timestamps and brief descriptions of each song; for a more in-depth look at the Sorrow Songs, we recommend musicologist Saeideh Rajabzadeh’s thesis “Haply I may remember, And haply may forget”: The Doubled Nature of Intertextual Genre Relationships in Samuel Coleridge-Taylor’s Six Sorrow Songs, Op. 57.” 0:10 - The first of the Sorrow Songs, “Oh, What Comes Over the Sea” is in E minor, with a stormy character, defined by a chromatic, declamatory vocal line and thunder-like tremolandi in the piano accompaniment. The desperation evoked in Coleridge-Taylor’s music aligns with Rossetti’s subject matter: the speaker waiting for someone or something “over the sea,” yet “nothing comes home to me.” 1:45 - “When I Am Dead, My Dearest,” in G major, is slow and calm, with a melodic, elegiac quality to both the vocal and piano parts. The song features a brief modulation to B minor in the first half of each stanza, before returning to the home key of G major. 4:03 - “O Roses for the Flush of Youth,” in F minor, begins with a warbling piano solo, punctuated by foreboding open fifths in the left hand. (Rajabzadeh, citing extensive scholarship, likens these open fifths to drum calls, or drum-like motifs, heard in African-American spirituals.) The vocal part features brief melismas that create a sighing effect, in line with the mournful text. 6:44 - “She Sat And Sang Alway” begins with a lilting, lullaby-like piano introduction in A major. Here, the vocal part is much more melismatic, while the character is initially peaceful and pastoral; however, by the second stanza (“I sat and wept alway…”), the music modulates to the parallel minor, corresponding with the darker subject matter. A short, haunting postlude - the same material as the introduction, but in minor - closes out the song, perhaps allowing listeners to contemplate the poem’s last line (“Her songs died on the air”). 8:59 - “Unmindful of the Roses,” in C-sharp minor, begins with a chordal piano introduction whose descending material is repeated throughout the song. The vocal part builds in intensity to the final line of each stanza, which ends in the relative key of E major. Rossetti’s poem was originally titled “One Sea-Side Grave.” 11:05 - “Too Late for Love” is set to stanzas 1, 2, and 6 of Rosetti’s epic poem “The Prince’s Progress.” The song begins forcefully, with its four opening outbursts (“Too late for love, too late for joy, too late, too late!”) clearly defined in the vocal part. The piano takes more of a soloistic role in this song than in the other Sorrow Songs: it “answers” each line of text with a lyrical accompaniment and bridges each stanza with a series of arpeggiated chords. In the second half of the song (beginning with “You should have wept yesterday…), Coleridge-Taylor introduces a new motif in the piano, supported by ominous, repeated open fifths in the left hand, again (according to Rajabzadeh) reminiscent of drums. The rhythm of this motif figures prominently in the vocal part, as well as the ensuing piano accompaniment. The song ends with a soft, plaintive phrase on the words “You should have wept her yesterday,” followed by two minor chords in the piano part.

Drammatica e dolce allo stesso tempo ecco la mia terra la Sicilia!!! Ti amo

Who are the musicians?

6:06 2:17

BRAMHS OP.9

The 9th and 10th ones are used in Liszt's 6th Valse Caprice after the Schubert Dances along with Schubert's 13th Valse Sentimentale.

How can I get completed score

1:16 what's with that triplet perfectly aligned with the dotted rhythms? I find this typically in German composers' music (even in one piece from the first set Schumann's Bünte Blatter). Regardless of how it's notated I am deeply fond of the music of both the Schumanns.

L'ombre de Brahms semble planer à plusieurs reprises tout au long de l'oeuvre...Vraiment très beau...

insane ~!!! so impressive 👍😄

Surprenant je ne sais pas premier fois, je vous remercie d'avance pour votre aide ssss précieuse merci beaucoup gratitude gros bisous Olivier

4:49

Undoubtedly, a great pianist she was. Nevertheless these variations lack the emotion and the profundity of Brahns'. Those are based on this very theme.