Marie Jaëll Video
pianista (1846-1925)
Commemorazioni 2025 (Morte: Marie Jaëll)
- pianoforte
- Francia
- compositore, pianista, musicologo, docente, insegnante di musica
Ultimo aggiornamento
2024-06-15
Aggiorna
Franz Liszt Cyprien Katsaris Camille Saint Saëns Humphrey Searle Marie Jaëll Gordon Jacob Constant Lambert Leslie Howard François Joseph Fétis 1880 1881 1883 1885 1955
Cyprien Katsaris, piano. (http•••) Score edition engraved by Imre Mező and Imre Sulyok - available from IMSLP for free. 0:00 - No. 1, S.514 The most popular of the series and, along with the third Waltz, most praised musically, the Der Tanz in der Dorfschenke: Erster Mephisto-Walzer ("The Dance in the Village Inn: First Mephisto-Waltz"), or the First Mephisto Waltz, is the second of two short works he wrote for orchestra under the title Zwei Episoden aus Lenaus Faust. While the work preceding it, Midnight Procession (Der nächtliche Zug), is rarely given (though both works have been recorded together), the waltz has been a concert favorite, with its passion, sensuality and dramatics generating an emotional impact. 11:09 - No. 2, S.515 The Second Mephisto Waltz, S.515, followed the first by some 20 years. Its composition took place between late 1880 and early 1881. Liszt wrote the orchestral version (S.111) first, then based both the piano solo (S.515) and four-hand (S.600) versions on it. The orchestral version was premiered in Budapest in 1881. After this performance Liszt extended the work and changed the ending radically. The printed music for all three versions is based on this revision and is dedicated to Camille Saint-Saëns. 22:12 - No. 3, S.215a and S.216 Composed in 1883, the Third Mephisto Waltz, S.216, takes the harmonic language even further, featuring chords built up by fourths with numerous passages of descending minor triads whose roots are a semitone apart. The chord on which these progressions are based, according to Alan Walker, "is difficult to explain in terms of traditional harmony. It is best regarded as a 'fourths' chord in its last inversion." Tonally, the music is pulled between F♯ major, D minor and D♯ minor. As in its predecessors, the Third Waltz has the devil dancing in triple time while other groups of three move past so quickly that a larger rhythm of four is established, and triple time is abandoned altogether in the dreamlike passage near the work's conclusion. Humphrey Searle, in his book The Music of Liszt, considers this piece to be one of Liszt's finest achievements. This waltz bore no dedication initially. After French pianist Marie Jaëll played the work for the composer (who asked her to repeat certain passages over and over again), he made extensive changes to the work and dedicated it to her. Saint-Saëns, Jaëll's composition teacher at the Paris Conservatoire (who also dedicated his first piano concerto to her), commented about her interpretation of Liszt's works that "only one person in the world [besides Liszt] who can play Liszt—Marie Jaëll". Liszt made no orchestral version of the piece. However, British composer and arranger Gordon Jacob orchestrated this along with other late works of Liszt for the Sadlers Wells ballet Apparitions, a project conceived by composer Constant Lambert. 30:55 - No. 4, S.216b The Fourth Mephisto Waltz, S.696, remained unfinished and was not published until 1955. Liszt worked on the piece in 1885. Like the second waltz, the fourth uses an introduction and coda which do not stick to the basic key. While the work is mainly in D, it begins and ends on a C♯. This, writes noted Australian Liszt scholar and pianist Leslie Howard, was an encouragement while working on his performing version to refer to the main material in the slow Andantino and to recapitulate a portion of the fast Allegro before Liszt's coda. Some critics do not consider this waltz as original as its predecessors and surmise that, had Liszt lived to complete it, he might have made considerable improvements. No orchestral version of this waltz was made by Liszt. 33:44 - Bagatelle sans tonalité, S.216a Bagatelle sans tonalité ("Bagatelle without tonality", S.216a) is a piece for solo piano written by Franz Liszt in 1885. The manuscript bears the title "Fourth Mephisto Waltz" and may have been intended to replace the piece now known as the Fourth Mephisto Waltz when it appeared Liszt would not be able to finish it; the phrase Bagatelle ohne Tonart actually appears as a sub-title on the front-page of the manuscript. The Bagatelle is a waltz in a typical sectioned dance form, with repeated sections given inventive variation. While this piece is not especially dissonant, it is extremely chromatic, becoming what Liszt's contemporary François-Joseph Fétis called "omnitonic" in that it lacks any definite feeling for a tonal center. Some critics have suggested, however, that the various underpinnings of the piece—in other words, the main bass notes and melodic elements—work together to imply an underlying tonality of D, which would link the Bagatelle in terms of tonality with the Fourth Mephisto Waltz. Wikipedia, footnotes are omitted. I do not own anything in this video except for the score video. All rights goes to the respective copyright owners. Contact me for any concern.
Johannes Brahms Hesse Loup Manen Cottet Géry Moutier Giulini Jean Marc Luisada Noël Lee Vignola Liszt Naoumoff Holm Marie Jaëll Calvi Pogorelich Conservatoire Royal Bruxelles Schola Cantorum 2006 2008 2012 2015 2018
Axel Lenarduzzi plays Johannes Brahms Sonate pour piano No. 1 in C Major, Op. 1: III. Scherzo piano Yamaha cfx The relationship between the piano and Axel Lenarduzzi started as a pinnacle that brought on many more: the end of his education, in the mythic city of Rome, was crowned by a prestigious diploma - Diplôme supérieur de perfectionnement à l’unanimité - issued by the no less prestigious Académie nationale supérieure Santa Cecilia, and earned under the teachings of Sergio Perticaroli. The encounter with the maestro, which will occur during the festival de Salzburg, will bring about the end of his apprenticeship, open up his artistic vision of the piano, and of life as a concert pianist. To Axel, practicing the piano, life as a musician, and the role of the musician as an interpret are opportunities to open up spiritually, to discover not only the self, but humanity as a whole, because playing for the public implies having a humanitarian side, because interpreting, seeking the truth, and the artist within, implies self-discovery and working on the self. Aside from his passion for the piano, he has also fed his love of literature and philosophy, via the works of such masters as Nikos Kazantzakis, Herman Hesse, Fédor Dostoïevski, and great thinker Jean-Yves Le loup, just to name a few… His long apprenticeship in music, which ended in Rome, actually started at the Cconservatoire d’Asnières, under the direction of Christian Manen, where he brillliantly mastered every level. Next came the Conservatoire National de Région de Boulogne-Billancourt with Geneviève Ibanez, followed by the Conservatoires Nationaux de Région de Montpellier with Patrick Zygmanovski, and the Conservatoire National de Paris with Jean-Marie Cottet. During those years, he also attended several Masterclasses with Pascal Devoyon, and worked with pianist Géry Moutier at the Académie Internationale du Moulin d’Andé. He was then introduced to Bruno Rigutto with whom he perfected his skills for a few years, before he would meet Jean-Claude Vanden Eynden, at the Festival de Novarra, whose class he joined at the Conservatoire Royal de Bruxelles, and earned the first prize in piano, music history, harmony, chamber music and analysis. He also started studying with Sergio Perticaroli at la Schola Cantorum in Paris, before returning to his Italian roots in Rome. During his Italian journey, he has the opportunity to play and work in the Rodi Garganico Masters-class, to stay at the Medici Giulini villa, and to meet composer Davide Liani. His desire for exchange and for experiencing different styles of interpretation cause him to further perfect his skills with pianists Jean Marc Luisada and Elena Rozanova, and to play with violonist Svetlin Roussev. He will also collaborate with l'atelier lyrique de Normandie, directed by Philippe Hui, accompanying French and German opera singers. During that priod of time, he finds his mentoring by Noël Lee most beneficial. Intrigued by musical and physical movement, he gets deeply involved in Tai-chi and sport. The prize-winner of many International competitions, in Italy, France, Vignola Classica, Liszt, Naoumoff, Lyon's Club, he starts playing professionally on a regular basis: Festival Tempietto di Roma, Festival Notte Classice, and more. In 2006, he is invited in the USA, where he performs a triomphant series of concerts in Alabama andFlorida, a recital with pianist Robert Holm, and the recording of In concert and of Famous piano Duo. Back in France, his presence is requested from one festival to the next: Coream, with Svetlin Roussev, Gorges du Tarn , Les Week-end du Piano at Maisons-Laffitte, Parc de Bel Ebat in Avon, Musique en Fête in Alsace, where he recreated on stage the Conservatoire National de la grande sonate de Marie Jaëll, Classique et Jazz in Val-Thorens, the Festival du Château de Martigny. In 2008, he is asked to return to the US. This new tour takes him to Louisiana, Mississipi, and other Southern states. He plays in the New Orleans Trinity Concert series, gives a recital, performs a duet with Robert Holm, collaborates with several U.S. universities, namely South Alabama University and Birmingham University, and performs a live radio concert. He will be invited in several Usa tour after this, 2012, 2015, 2018... Festival invitations keep coming: Château de Nailly , Festival de l’abbaye de Vauluisant, Festival de Calvi, Hulencourt Art Project, Festival de Lagord, Le piano dans tous ses éclats, les musicales de l’Arbousière, Classique et Jazz in Val-Thorens, Festival de l’abbaye de Talloires, Paris Deco-off for the unique presentation « piano haute couture », Festival Les Musicales d’Epernay, and PagArt Festival, directed by Lovro Pogorelich.
Marie Jaëll Trautmann Ignaz Moscheles Alfred Jaëll Chopin Franz Liszt Camille Saint Saëns César Franck Beethoven
Level: Intermediate Link to score on IMSLP: (http•••)o/files/imglnks/usimg/b/b3/IMSLP611925-PMLP983954-Jours_pluvieux_les_Beaux_jours_-...-Jae-ll.pdf 0:22 Quelques gouttes de pluie (A few drops of rain) 1:19 Grisaille (Greyness) 2:50 En querelle (Quarreling) 3:37 A l'abri (Sheltered) 4:53 Roses flétries (Withered roses) 6:00 Ennuyeux comme la pluie (As tiresome as the rain) 7:21 On rêve au beau temps (Dreaming of good weather) Pianist: Erica Sipes Marie Jaëll +••.••(...)) France * Née Marie Trautmann, in the Alsace region of France. * Began her piano studies at the age of six, studying for part of the time with Ignaz Moscheles. * At the age of 10 she started studying at the Paris Conservatory and won a prestigious piano prize while there. * She quickly became a recognized and respected pianist. * Marie married a well-known pianist, Alfred Jaëll, at the age of 20. He had studied piano with Chopin. * Marie and Alfred performed together throughout Europe, performing not only work of others but also their own works. * Marie studied piano with Franz Liszt, Camille Saint-Saëns, and César Franck, also studying composition with the latter two composers. * She was introduced into the Society of Music Composers. * Marie was also a researcher, studying neuroscience and befriending scientists to help her study and understand how piano touch could affect sound. The method she developed is known as the Jaëll Method and is still taught today. * She wrote many books about piano pedagogy, most of which have not yet been translated into English. * During her lifetime she performed all of Liszt's compositions in addition to performing all of Beethoven's piano sonatas. To learn more about our project, please see our website at (http•••) To support this project and to gain access to the PMSW Directory we've put together listing all of the piano music composed by women that is available on imslp.org, please go to (http•••) For information on Erica and Sandra: (http•••) (http•••) You can also follow us individually on social media: Twitter: @pnomusshewrote, @ericasipes and @sandramogensen Instagram: @pianomusicshewrote, @erica.sipes and @enpleinelumiere YouTube: @ericaannsipes and @mogenpianist Thank you to the wonderful folks at IMSLP, and all who upload scores there. This is an important resource for all musicians. If you end up using a score from their site, please consider making a donation to them or becoming a member: (http•••)
Marie Jaëll Jaell Jules Delsart David Popper Schumann Brahms Liszt Wagner 1881
JAELL Marie (cliquez sur "Plus" / click on "Show more") Sonate en la mineur pour violoncelle et piano / for cello and piano Published by Editions Delatour France, Collection Musique & Patrimoine Lien vers la partition / Link to the score : (http•••) Cette première édition de la Sonate pour violoncelle et piano permet de découvrir cette magnifique œuvre en quatre mouvements, restée jusque-là inédite comme la plupart des compositions de Marie Jaëll. Les exécutions de cette sonate par Jules Delsart en 1881 à Paris puis, à la même époque, par David Popper (Marie Jaëll tenait alors la partie de piano) témoigne de l'intérêt des violoncellistes les plus grands de leur temps pour cette œuvre d'envergure au style si personnel, si envoûtant, évoquant davantage Schumann, Brahms, Liszt et Wagner que les compositeurs français.
o
- cronologia: Compositori (Europa). Interpreti (Europa).
- Indici (per ordine alfabetico): J...