Rafael Joseffy Vídeos
músico húngaro
Conmemoraciones 2025 (Muerte: Rafael Joseffy)
- piano
- Imperio austrohúngaro, Estados Unidos
- músico, profesor de música, pianista
Última actualización
2024-05-15
Actualizar
Chopin Fredrik Ullén Rafael Joseffy 2000
Provided to YouTube by NAXOS of America Concert Study on the Waltz in D-Flat Major by Chopin · Fredrik Ullén Got A Minute? - Paraphrases On Chopin's "Minute Waltz" and Other Works ℗ 2000 BIS Released on: 2000-09-30 Artist: Fredrik Ullén Composer: Rafael Joseffy Auto-generated by YouTube.
Franz Xaver Scharwenka Neeme Järvi Rachmaninoff Chopin Liszt Fuller Rafael Joseffy Estonian National Symphony Orchestra National Symphony Orchestra 1850 1889 1924 2014
- Composer: Franz Xaver Scharwenka (6 January 1850 / 8 December 1924) - Orchestra: Estonian National Symphony Orchestra - Conductor: Neeme Järvi - Soloist: Alexander Markovich - Year of recording: 2014 Concerto for piano & orchestra No. 3 in C sharp minor, Op. 80, written in 1889. 00:00 - I. Maestoso 14:12 - II. Adagio 20:55 - III. Allegro non troppo All of Scharwenka’s concertos are in minor keys. The Third Piano Concerto, which followed the Second in 1889, after a substantial gap, is in the least common key of the four, C sharp minor. It opens with impressively powerful music reflective of this key signature, but in its highly romantic way it also introduces delicate and lyrical passages. - The opening Maestoso might be said to reflect this tonality (did Scharwenka perhaps have Rachmaninoff ’s Prelude in mind?) and its stentorian tone is mightily impressive. Yet the theme is cast as a mazurka in all but name, though with the Polish dance element completely removed. Scharwenka is now in a high-romantic mood, alternating strong passages with delicate and lyrical ones. The last of these, a winsome melody introduced by flutes and clarinets, answered by the piano, and given full form by violins and cellos in octaves, molto espressivo, also features in the central piano Cadenza. - The second movement, another Adagio, opens with a cantabile melody in the strings, and the piano’s response indicates that Chopin has been left behind in favour of something more full-bodied. For its second major entry, the piano revisits the winsome theme from the first movement, before joining with the orchestra in developing the main idea. But the music of the first movement cannot be restrained. Not only does the now less-than-winsome theme reappear, but the opening theme of the concerto comes to the fore: Liszt’s cyclic thematicism is back. - Without a break – the music pressesforward like a through-composed song – the finale emerges, the opening theme of the first movement recast anew as a mazurka (French horn), but this time more evidently so. What starts as a dainty dance soon receives fuller treatment by the piano, but at heart the movement is a lyrical outpouring rather than a rumbustious dance. A second major episode for the solo piano (neither of them is called a cadenza) recalls the first. The closing bars come full circle to the concerto’s opening material and tone. The concerto is dedicated: "Rafael Joseffy freundschaftlich zugeeignet", a Hungarian pianist, teacher and composer.
Frédéric Chopin Rafael Joseffy 1915
Is the "Minute" waltz really supposed to be played in a minute? Pianist Henrik Kilhamn takes a closer look at the famous piece in this video. 0:00 Introduction 1:03 Analysis 4:37 Middle section 9:02 Performance ️ PATREON: (http•••) WEBSITE: (http•••) ️ EASY ARRANGEMENTS Simple Solutions - For the Intermediate Pianist: (http•••) -15% DISCOUNT Code: "secretseeker" Sample videos: (http•••) / Frédéric Chopin: Waltz in Db major, Op. 64 no. 1 "Minute" Waltz Score: Schirmer edition (1915), editor Rafael Joseffy, (http•••) Emoji artwork provided by JoyPixels, (http•••)
Frédéric Chopin Rafael Joseffy Mikuli Arthur Rubinstein Theodor Kullak Karl Klindworth Julian Fontana James Huneker James Friskin
The Nocturne in B major is initially marked andante sostenuto and is in 4/4 meter. There are several ritardando markings throughout, followed by a tempo marking in the next measure, such as in measure 7, 8,17 and 18. The piece transitions to adagio in the last two measures, starting in measure 64. The piece is 65 measures long and, unusually, ends in the tonic minor key, B minor, although some editions (such as those by Rafael Joseffy as well as Chopin's student Carl Mikuli) and performances (such as that by Arthur Rubinstein) end with a B major chord, which has the effect of a Picardy third in the context of the minor-mode coda. There has also been confusion over a key in the first bar of the last line: Theodor Kullak and Karl Klindworth use a G, while Julian Fontana used an F-sharp. David Dubal found the nocturne to be "of less importance, though characteristic in design and melodic contour." However, he states the coda "completely shocks the listener out of reverie." According to Berkeley, the ending "defies analysis, but compels acceptance." Jim Samson states that "The interruption of the song by this startling passage of instrumental recitative submits to no formal logic, but rather brings directly into the foreground Chopin's desire to make the music 'speak'." James Huneker found the F-minor section to "[broaden] out to dramatic reaches" though he still viewed the overall piece negatively. The ending was both "dramatic and original" to James Friskin, in comparison to the simplicity of the rest of the piece.
o
- cronología: Compositores (Europa). Intérpretes (Europa).
- Índices (por orden alfabético): J...