Piano Factory
Piano Factory 8. (D. 840)
In 1825 Schubert abandoned a C major piano sonata. After Schubert died in 1828 his brother Ferdinand gave the manuscript to Schumann who then passed it to first publisher K.F. Whistling. Whistling presumed the sonata was left incomplete because of the composer’s death and erroneously gave it the nickname “Reliquie” (Relic).
Piano Factory 8. (D. 840)
In 1825 Schubert abandoned a C major piano sonata. After Schubert died in 1828 his brother Ferdinand gave the manuscript to Schumann who then passed it to first publisher K.F. Whistling. Whistling presumed the sonata was left incomplete because of the composer’s death and erroneously gave it the nickname “Reliquie” (Relic).
Piano Factory 7.
I’ve been dipping into this fluent sampler between more difficult stuff, enjoying Halffter’s compact brightness and Santinelli’s flair and execution.
Piano Factory 7.
I’ve been dipping into this fluent sampler between more difficult stuff, enjoying Halffter’s compact brightness and Santinelli’s flair and execution.
Piano Factory 6.
Played in keeping with the epoch, Casals renders Blasco de Nebra’s unexpected dissonance and striking rhythms as the more exciting.
Piano Factory 6.
Played in keeping with the epoch, Casals renders Blasco de Nebra’s unexpected dissonance and striking rhythms as the more exciting.
Piano Factory 5: Haydn Sonatas
Coming off a Haydn year (2009), we’re awash in the man’s music. The piano sonatas are numbered according to Christa Landon’s ordering of the extant 62.
Piano Factory 5: Haydn Sonatas
Coming off a Haydn year (2009), we’re awash in the man’s music. The piano sonatas are numbered according to Christa Landon’s ordering of the extant 62.
Piano Factory 4.
No desiccated embryos here. The LTM pair enshrines Satie compositions from the early to mid-1890s, the period preceding the ironic collections with the wacky titles.
Piano Factory 4.
No desiccated embryos here. The LTM pair enshrines Satie compositions from the early to mid-1890s, the period preceding the ironic collections with the wacky titles.
Piano Factory 3.
Upon consideration, Fray’s programming makes sense: Both composers, lording over their respective periods, required and require subsequent generations to instigate new styles and techniques.
Piano Factory 3.
Upon consideration, Fray’s programming makes sense: Both composers, lording over their respective periods, required and require subsequent generations to instigate new styles and techniques.
Piano Factory 2.
Debussy and Messiaen live on in the filigree and chords of Murail’s poetic piano compositions.
Piano Factory 2.
Debussy and Messiaen live on in the filigree and chords of Murail’s poetic piano compositions.
Piano Factory 1.
Having negotiated the 20th century’s main styles, Silvestrov abandons them for an introspective Romantic cloud.
Piano Factory 1.
Having negotiated the 20th century’s main styles, Silvestrov abandons them for an introspective Romantic cloud.
1951 and Cage’s Music of Changes
Twentieth-century music began in 1951, the year Schoenberg died and Cage began to use chance.
1951 and Cage’s Music of Changes
Twentieth-century music began in 1951, the year Schoenberg died and Cage began to use chance.
Transcendentalist Studies: Aimard, Hamelin, Mayer, Mead Tackle Ives’ Concord Sonata
From the year of its publication, the sonata has infuriated as much as it intrigues. Many have attacked the music’s impracticality and presumptuousness. It is, in fact, a monster on the page.
Transcendentalist Studies: Aimard, Hamelin, Mayer, Mead Tackle Ives’ Concord Sonata
From the year of its publication, the sonata has infuriated as much as it intrigues. Many have attacked the music’s impracticality and presumptuousness. It is, in fact, a monster on the page.