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The sonata-elegy by Medtner is one of the saddest piece ever written. a beautiful performance, thank you!

Introduction to the Beethoven Sonata Series Mejoueva’s 2020 recording of the Beethoven 32 sonata cycle is one of the most incredible that I have encountered so far. Her tone is always robust and clear, but not without effective contrasts of tempi and subtle dynamic shading. Her faster tempi do not seemed rushed, her slower tempi are not plodding. Unlike certain famous pianists - particularly of late - who seem to be in a rush to get the thing over with (you would think they’re playing John Cage), the integrity of the musical line always has pride of place in Mejoueva’s playing. Alas, Mejoueva's recording - like most “complete” recordings of the Beethoven sonata cycle - is, for all its merits, incomplete. It lacks the three “Kurfürstensonaten" ("Prince Elector Sonatas"), WoO 47 that Beethoven composed when he was about 12 years old. Nevertheless, the main 32 sonatas of Beethoven's adult years are given their due in these superb recordings.

First comment mwahaha

SONG TEXTS Translations by Henry Drinker *Бабочка | The Butterfly (Op. 28, No. 3)* _Fet_ You’re right, whatever of me charms and pleases, are airy things. These velvet pennons, flutt’ring in the breezes are my two wings. Ask not from where I come in such a hurry, or where I go; Here on this flow’r I settle, free from worry, no care I know. Do you suppose that aimless here I’ll flitter the whole long day? Just wait, and soon my spreading wings will glitter, I’ll fly away! *Серенада | Serenade (Op. 52, No. 6)* _Pushkin_ I come, Inesilla, my sweetest and best, in silent Sevilla, where all are at rest. la, la, la, etc. My mantle around me, with sword and guitar, I fear no opponents, whoever they are. What matters the old man asleep there by you? If he should awaken, I’ll cut him in two! Your long silken ladder will reach to the ground. Why wait you? Perhaps there’s a rival around? I come, Inesilla, my sweetest and best, in silent Sevilla, where all are at rest. *Муза | The Muse (Op. 29, No. 1)* _Pushkin_ She loved me as a child, ah yes, she loved me ever, and handed me the pipe, and bade that I endeavor, with childish lips and eager fingers, if I can, to play for her the seven-reeded pipe of Pan. And with a gentle smile she listened to me striving to play the stately airs from hymns of gods deriving, and then the peaceful songs the Phrygian shepherds play. Beneath the oak on many a sunny summer day, with diligence I strove to profit by her teaching; and then, at times, the Mystic Maid, at my beseeching, with toss of golden curls from off her lovely brow, herself took up the reed and sought to show me how. And as the tones, with breath divine I heard her capture, my heart and soul, rejoicing, thrilled with holy rapture. *Mailied | Spring Song (Op. 6, No. 2)* _Goethe_ In the barley and corn, thru the thicket and thorn, in the bushes and grass, O where are you, my sweet lass? My beloved is not at home; in the meadow she must roam; where the flow’rs are green and fair. I will find my dearest there. In the spring-time, in May, where I kissed her that day, by the old apple tree, I see something. Is it she? *Frisch gesungen | Gaily singing (Op. 46, No. 7)* _Chamisso_ At home we sit in a circle, at ease on the sweet-smelling grass, and when we’re singing together, how happy the hours pass. And when, alone, I am tortured, by cares that drive me insane, no sooner I begin singing, than all will be well again. And many a time when I’m boiling with anger I cannot restrain, I only have to start singing, and all will be well again. So tell us not of your troubles, nor yet of your woes complain, but just start gaily singing, and all will be well again. *Gleich und gleich | Like to like (Op. 15, No. 11)* _Goethe_ A little snow-drop, quite early in May, sprang up and blossomed, one lovely spring day. A bee came buzzing, and sipped its dew. “You must have been made for each other, you two!" *Sie liebt mich! | She loves me! (Op. 15, No. 4)* _Goethe_ She loves me, she loves me! What fantasies teeming! Am I alive now, or am I dreaming? She loves me, she loves me! Now nothing matters! Is this the sun-light? Is that my cottage? How can you bear it, rapturous heart? She loves me, she loves me!

I really want to learn this piece lol

I thought she is a flutist.

so impressive.

SONG TEXTS on poems of Sylvaine De Buyst *Empreintes | Impressions* Footprints in the snow, Footprints in the sand, Ephemeral impressions That will disappear With the first sign of spring, With the very first tide. So it goes with our lives… Footprints in the snow, Footprints in the sand… *Je pense à toi. | I think of you* I think of you And the wave is less tranquil. I think of you And the wind turns raw. I think of you And the rocks recount. I think of you And the lighthouse dances on the water. I think of you And believe I am a siren… *En noir et blanc | In black and white* You love Paris in black and white like in the films of Truffaut, the silvery sun on the Seine somewhat gray, but evenings on the Pont des Arts the sunset will be a bouquet of colors.

Nicely played! But the audio and video aren't quite in sync, and the lovely lady appears to be singing away from, rather than towards the viewer 🙃

I'm interesting that how this song has changed for the year 😮

I love this Mozart sonata! Who did you play it with?

Medtner is such an underrated composer - thank you for playing his awesome music for us!!! This was so good 👏🏻 Subscribed to your channel 👍🏻🎶

genial chico. Genial.

Genial.

Song Texts... 0:00 Im Frühling | In Spring (Ernest Schulze) Still sitz ich an des Hügels Hang, | I sit silently on the hillside. Der Himmel ist so klar, | The sky is so clear, Das Lüftchen spielt im grünen Tal, | the breezes play in the green valley Wo ich beim ersten Frühlingsstrahl | where once, in the first rays of spring, Einst, ach, so glücklich war. | I was, oh, so happy. Wo ich an ihrer Seite ging | Where I walked by her side, So traulich und so nah, | so tender, so close, Und tief im dunkeln Felsenquell | and saw deep in the dark rocky stream Den schönen Himmel blau und hell, | the fair sky, blue and bright, Und sie im Himmel sah. | and her reflected in that sky. Sieh, wie der bunte Frühling schon | See how the colourful spring Aus Knosp’ und Blüte blickt! | already peeps from bud and blossom. Nicht alle Blüten sind mir gleich, | Not all the blossoms are the same to me: Am liebsten pflückt’ ich von dem Zweig, | I like most of all to pluck them from the branch Von welchem sie gepflückt. | from which she has plucked. Denn alles ist wie damals noch, | For all is still as it was then, Die Blumen, das Gefild; | the flowers, the fields; Die Sonne scheint nicht minder hell, | the sun shines no less brightly, Nicht minder freundlich schwimmt im Quell | and no less cheerfully, Das blaue Himmelsbild. | the sky’s blue image bathes in the stream. Es wandeln nur sich Will und Wahn, | Only will and delusion change, Es wechseln Lust und Streit, | and joy alternates with strife; Vorüber flieht der Liebe Glück, | the happiness of love flies past, Und nur die Liebe bleibt zurück, | and only love remains; Die Lieb’ und ach, das Leid! | love and, alas, sorrow. O wär ich doch ein Vöglein nur | Oh, if only I were a bird, Dort an dem Wiesenhang! | there on the sloping meadow! Dann blieb’ ich auf den Zweigen hier, | Then I would stay on these branches here, Und säng ein süsses Lied von ihr, | and sing a sweet song about her Den ganzen Sommer lang. | all summer long. (English Translation copyright Richard Wignore) 4:45 Ständchen | Serenade (Ludwig Rellstab) Leise flehen meine Lieder | Softly my songs plead Durch die Nacht zu Dir; | through the night to you; In den stillen Hain hernieder, | down into the silent grove, Liebchen, komm’ zu mir! | beloved, come to me! Flüsternd schlanke Wipfel rauschen | Slender treetops whisper and rustle In des Mondes Licht; | in the moonlight; Des Verräters feindlich Lauschen | my darling, do not fear Fürchte, Holde, nicht. | that the hostile betrayer will overhear us. Hörst die Nachtigallen schlagen? | Do you not hear the nightingales call? Ach! sie flehen Dich, | Ah, they are imploring you; Mit der Töne süssen Klagen | with their sweet, plaintive songs Flehen sie für mich. | they are imploring for me. Sie verstehn des Busens Sehnen, | they are imploring for me. Kennen Liebesschmerz, | they know the pain of love; Rühren mit den Silbertönen | with their silvery notes Jedes weiche Herz. | they touch every tender heart. Lass auch Dir die Brust bewegen, | Let your heart, too, be moved, Liebchen, höre mich! | beloved, hear me! Bebend harr’ ich Dir entgegen! | Trembling, I await you! Komm’, beglücke mich! | Come, make me happy! (English translation copyright Richard Wigmore) 8:49 Gretchen am Spinnrade | Gretchen at the spinning-wheel (Johann Wolfgang von Goethe) Meine Ruh’ ist hin, | My peace is gone Mein Herz ist schwer, | My heart is heavy; Ich finde sie nimmer | I shall never Und nimmermehr. | Ever find peace again. Wo ich ihn nicht hab’ | When he’s not with me, Ist mir das Grab, | Life's like the grave; Die ganze Welt | The whole world Ist mir vergällt. | Is turned to gall. Mein armer Kopf | My poor head Ist mir verrückt | Is crazed, Mein armer Sinn | My poor mind, Ist mir zerstückt. | Shattered Meine Ruh’ ist hin, | My peace is gone Mein Herz ist schwer, | My heart is heavy; Ich finde sie nimmer | I shall never Und nimmermehr. | Ever find peace again. Nach ihm nur schau’ ich | It’s only for him Zum Fenster hinaus, | I gaze from the window, Nach ihm nur geh’ ich | It’s only for him Aus dem Haus. | I leave the house. Sein hoher Gang, | His proud bearing Sein’ edle Gestalt, | His noble form, Seines Mundes Lächeln, | The smile on his lips, Seiner Augen Gewalt. | The power of his eyes, Und seiner Rede | And the magic flow Zauberfluss. | Of his words, Sein Händedruck, | The touch of his hand, Und ach, sein Kuss! | And ah, his kiss! Meine Ruh’ ist hin, | My peace is gone Mein Herz ist schwer, | My heart is heavy; Ich finde sie nimmer | I shall never Und nimmermehr. | Ever find peace again. Mein Busen drängt sich | My bosom Nach ihm hin. | Yearns for him. Ach dürft’ ich fassen | Ah! if I could clasp Und halten ihn. | And hold him, Und küssen ihn | And kiss him So wie ich wollt’ | To my heart's content, An seinen Küssen | And in his kisses Vergehen sollt’! | Perish! (English translation copyright Richard Stokes) 12:33 La rosa y el sauce (Fernan Silva Valdés) La rosa se iba abriendo | The rose began to bloom Abrazada al sauce, | Embracing the willow tree, El árbol apasionada, | The passionate tree, passionately La amaba tanto! | It loved the rose so much. Pero una niña, una niña coqueta | But a little girl, a coquettish girl Pero una niña, una niña coqueta | But a little girl, a coquettish girl Se la ha robado | Has stolen the rose Y el sauce desconsolado | And the desolate willow tree La está llorando. | Is crying for the rose. La está llorando. | Is crying for the rose. (English translation copyright Lorena Paz Nieto)

Song Texts... 0:00 No Bird (Theodore Roethke) Now here is peace for one who knew The secret heart of sound. The ear so delicate and true Is pressed to noiseless ground. Slow swings the breeze above her head, The grasses whitely stir; But in this forest of the dead No bird awakens her. 1:42 Song (Theodore Roethke) My wrath, where’s the edge Of the fine shapely thought That I carried so long When so young, when so young? My rage, what’s to be The soul’s privilege? Will the heart eat the heart? What’s to come? What’s to come? O love, you who hear The slow tick of time In your sea-buried ear, Tell me now, tell me now. 3:19 Intrusion (Denise Levertov) After I had cut off my hands and grown new ones something my former hands had longed for came asking to be rocked. After my plucked out eyes had withered, and new ones grown something my former eyes had wept for came asking to be pitied. 6:09 The Swan (Theodore Roethke) The moon draws back its waters from the shore. By the lake’s edge, I see a silver swan, And she is all I would. In this light air, Lost opposites bend down- Sing of that nothing of which all is made, And listen into silence, like a god. 8:07 Love, Over All (Inscription from an English sundial) Time flies, suns rise, and shadows fall. Let time go by. Love reigns forever over all.

Song Texts... 0:00 Je ne puis ... | I may not ... Je ne puis exister qu'au soleil | I may not exist but in the sunlight de tes bras | of your arms je renaîtrai | I shall be reborn rebelle | rebellious Du fond de tes prunelles. | from the depth of your eyes. Je suis femme | I am a woman pour toi | for you C'est toi qui me rend belle. | It is you who make me beautiful. (Marion Lubréac) 2:42 Moments perdus au Parc Floral | Lost Moments in Floral Park Tu venais de jouer : nous étions assises | You had just been playing: we were sitting Sur un banc, sur les fleurs, dans la brise. | On a bench, amid the flowers, in the breeze. Peut-être, qui sait, tu étais de musique | Perhaps, who knows, you were made of music Comme on est de marbre. De musique. | As one is made of marble. Of music. Chopin le fou chantait encore au loin | The wild Chopin kept chanting in the distance Son air de fantôme qui me revient. | His ghostly air that comes back to me. La brise est-elle mélomane, crois-tu ? | Is the breeze a lover of music, do you think? Ou se fiche-t-elle des moments perdus ? | Or does it care nothing for lost moments? (Thérèse Guilbert) 5:08 Exigences | Exigencies Je te voudrais rivière | I would have you be a river Pour plonger dans tes eaux | To plunge into you waters La source de jouvence | The fountain of youth Je te voudrais colline | I would have you be a hill Pour gravir tes coteaux | To climb your slopes La clé de l’espérance | The key of hope Je te voudrais légende | I would have you be a legend Et boire tes paroles | And drink in all your words Je te voudrais promesse | I would have you be a promise Et me nourrir d’espoir | And feed upon a wish Je te voudrais caresse | I would have you a caress Pendant mes nuits frivoles | During my empty nights Je te voudrais lavande | I would have you be lavender Pour parfumer le soir | To perfume the evening Si tu étais mirage | If you were a mirage Je deviendrais reflet | I would become a reflection Si tu étais nuage | If you were a cloud Vers toi je monterais | Toward you I would ascend (Liza Lo Bartolo Bardin) 7:03 Dans le chaud de tes mains ... | In the warmth of your hands ... Dans le chaud de tes mains | In the warmth of you hands Il y a les étoiles, | Are the stars, La mer et le soleil, | The sea and the sun, L’univers tout entier. | The entire universe. Dans le chaud de tes mains | In the warmth of your hands J’ai trouvé la puissance, | I have found strength, La force et le courage, | Force and courage, Le « vouloir continuer ». | The “will to carry on.” Dans le chaud de tes mains | In the warmth of your hands Il y a le désespoir, | There is despair, L’angoisse d’un enfant | The anguish of a child Qui ne se trouve pas. | Who cannot find himself. Deux mains qui se tendent | Two hands stretched forth Réclamant les miennes. | Asking for my own. Et le chaud de mes mains | And the warmth of my hands Calme ton cœur d’enfant | Calms your child’s heart Et rassure ton âme. | And reassures your soul. Dans le chaud de nos mains | In the warmth of our hands Tout existe, tout se créé, | All exists, all is created, Dans le chaud de nos mains | In the warmth of our hands Il y a l’amitié. | There is companionship. C’est l’union de deux âmes | It is the union of two souls Qui n’ont plus à chercher, | Who no longer have to seek, Puisqu’elles ont tout trouvé ! | For they have found everything! (Marion Lubréac)

Bravo ! These three sonatas are so much harder than they may appear to the listener. You keep a clear head through all this sonata's intricacies, and manage not to bungle up its very demanding coda. Well done.

I forgot to put the piano lid up for my solo... oops!

Program Notes: I will open the program with the sprightly Sonata in D Major by Mateo Albéniz. It is in the vein of the Baroque composer Domenico Scarlatti, but has a unique Spanish flavor. The tone drastically changes as we travel to Russia and hear Sergei Rachmaninoff’s melancholic and pensive Prelude in G Major, Op. 32, No. 5. This prelude, composed in 1910, opens with arpeggiated figures in the left hand. A gorgeous melody then enters in the right hand, and the piece quickly becomes more elaborate. After a brief cadenza, the theme comes back in G minor, complemented by subdued trills, but quickly returns to the major key. The chromatics of the final bars are breathtakingly beautiful. Before intermission, I will perform the famous Chaconne in D Minor of Bach. The German Romantic composer Johannes Brahms wrote of this work, “[Bach’s] Chaconne is for me one of the most wonderful, incomprehensible pieces of music. On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings.” A chaconne is a type of continuous variation on a bass pattern; it is of a moderately slow tempo in triple meter. In Bach’s time, it was well-known as a slow mourner’s dance. Composed for solo violin, his chaconne has since been transcribed for many different instruments, including piano, guitar, organ, and accordion. The Italian composer Ferruccio Busoni took considerable artistic liberties when he transcribed the work for piano in 1892, adding many harmonic and textural elements to create truly pianistic sonorities. Following intermission, we hear a lighthearted piano sonata by a Spanish composer virtually unknown today, Nicolás Ledesma. This sonata is written in the Classical style, with all the elegance and refinement of Haydn, Mozart, and Clementi - composers whose styles greatly influenced Ledesma’s own. A graceful Allegro is followed by a melodic Andante, and the sonata concludes with a wonderful theme and variations. Next, I will play a lovely lullaby based on the ancient Gregorian chant “Dies irae” (Day of Wrath). Many classical composers have used this theme in their compositions, including Hector Berlioz and Sergey Rachmaninoff. Composed by my father in 2022, this lullaby is an example of the multitude of possibilities which can be derived from a single musical idea. To close the program, we travel to Spain yet again to hear the dazzling and humorous El Pelele (“The Straw Man”) by Enrique Granados. It depicts a painting of the same name by Francisco Goya, a Spanish artist of the early 19th century. El Pelele is a mixture of graceful melodic lines and a strong rhythmic drive characteristic of Spanish music. It is often included as the last piece of his Goyescas, a hallmark of Spanish Romantic pianism.

Wow! LOVE that Prokofiev! Let's have more of him.

sounds great Stephan

Awesome very nice piece brother

Pianist sounds pretty good. Composer is a bloody GENIUS!

Interesting repertoire choice ! This is a composer I had not heard of. The first movement is thoroughly good and pleasant, much in the style of Mozart, Beethoven or Clementi - even Haydn at times. This movement made me think this was a composer I might need to dip into. The second movement however seemed like mostly more of the same, and the finale well ummm... As you say it's too long. I know repeating each half of each variation is a long-standing tradition in variation works (Brahms still did it in his mighty Händel Variations) but even leaving out the repeats would not save this finale from tedium IMO. You probably don't agree but I believe there is just too little contrast in the treatment of this somewhat trite theme. Good and affectionate playing, though I would have wished for a little more dynamic contrast. And if you decide to take all or most of the repeats, it pays off to try and make the repeats just a little different. Add some ornamentation, or some different dynamics, phrasing, voicing, or articulation - whatever it takes to relieve the monotony which otherwise lurks around the corner.

I don't agree El Pelele is beyond your abilities. Actually it is not especially hard compared to the regular Goyescas. Difficult, yes, but also quite straightforward and easy to read. And you are doing a pretty good job here, despite the few moments of confusion - that kind of sh*t happens in a live performance. There is a lot here that goes really well, and I am sure the audience will have enjoyed it. I am also sure you could produce a very good home recording of this with a bit more practice and polish.

From the program notes: Following intermission, we hear a lighthearted piano sonata by a Spanish composer virtually unknown today, Nicolás Ledesma. This sonata is written in the Classical style, with all the elegance and refinement of Haydn, Mozart, and Clementi - composers whose styles greatly influenced Ledesma's own. A graceful Allegro is followed by a melodic Andante, and the sonata concludes with a wonderful theme and variations.

From the program notes: The tone drastically changes as we travel to Russia and hear Sergey Rachmaninoff's melancholic and pensive Prelude in G Major, Op. 32, No. 5. This prelude, composed in 1910, opens with arpeggiated figures in the left hand. A gorgeous melody then enters in the right hand, and the piece quickly becomes more elaborate. After a brief cadenza, the theme comes back in G minor, complemented by subdued trills, but quickly returns to the major key. The chromatics of the final bars are breathtakingly beautiful.

From the program notes: To close the program, we travel to Spain yet again to hear the dazzling and humorous El Pelele ("The Straw Man") by Enrique Granados. It depicts a painting of the same name by Francisco Goya, a Spanish artist of the early 19th century. El Pelele is a mixture of graceful melodic lines and a strong rhythmic drive characteristic of Spanish music. It is often included as the last piece of his Goyescas, a hallmark of Spanish Romantic pianism.

From the program notes: I will open the program with the sprightly Sonata in D Major by Mateo Albéniz. It is in the vein of the Baroque composer Domenico Scarlatti, but has a unique Spanish flavor.

From the program notes: Before intermission, I will perform the famous Chaconne in D Minor of Bach. The German Romantic composer Johannes Brahms wrote of this work, "[Bach's] Chaconne is for me one of the more wonderful, incomprehensible pieces of music. On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings." A chaconne is a type of continuous variation on a bass pattern; it it is of a moderately slow tempo in triple meter. In Bach's time, it was well-known as a slow mourner's dance. Composed for solo violin, his chaconne has since been transcribed for many different instruments, including piano, guitar, organ, and accordion. The Italian composer Ferruccio Busoni took considerable artistic liberties when he transcribed when he transcribed the work for piano in 1892, adding many harmonic and textural elements to create truly pianistic sonorities.

It takes courage to perform a Chopin Ballade in concert. This performance, while not without its issues, has much to commend it. I am rather envious of your runs on the last page, which I've never been able to get right yet ( which is what you get for never practicing scales 🙄)

Who is that mounted soldier?

One of the best piano pieces of all time, the first ballade will always live even if the human civilization will perish, a future species will discover music again and an alien chopin will recompose it i belive, it simply exists.

wow

I admire your expressive yet solid playing, especially in the more demanding passages. This sumptuous piece is far from easy ! A pity that the sound is a bit boomy. PS Since you deleted the previous video you should maybe also delete the link to it here 😊

Well done ! Nice sounding piano too. Mompou's harmonies are very special and unique, there's no composer quite like him. I thought about recording this wonderfully introverted set too, but have not given it any priority yet.

Noice

Lovely piece