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Everyday’s to-do list for your #mentalhealth🫶🏻 #piano #pianist #hungarianrhapsody #liszt
We are celebrating 🥳 today our channel’s anniversary!🤩 https://www.youtube.com/watch?v=_S7Jq8FJ9d0
I just can’t imagine that it’s already been 10 years since this very first video on my YouTube channel went online. 🫣 😀 Visit: http://www.anastasiahuppmann.com 😀 facebook: https://www.facebook.com/huppmannanastasia 😀 instagram: https://www.instagram.com/anastasia_huppmann Title: My Journey to Mastering the Hungarian Rhapsody: Overcoming Doubt and Defying the Odds Intro: Sometimes, the most powerful source of inspiration comes from the most unexpected places. For me, it was a Tom and Jerry cartoon that introduced me to the captivating Second Hungarian Rhapsody by Franz Liszt. Little did I know that at the age of 5, I would set my heart on learning this complex piano piece, and in doing so, would defy all expectations and become a Grand Prix and the title „the most promising piano prodigy“. The Challenge: When I finally decided to learn the Hungarian Rhapsody no.2 by Franz Liszt at 9 years old, I was met with skepticism from nearly every teacher I encountered. They told me it was too difficult, my hands were too small, I was too young, and that it wasn't the right piece for a girl. These discouraging words might have broken someone else's spirit, but I was determined to prove them wrong. I knew in my heart that following my passion and staying true to myself was the only way to achieve my dream. Finding Support: Thankfully, my professor recognized my dedication and decided to support my efforts, stating that they hadn't seen anyone so young attempting such a difficult piece. She knew I would continue on this journey with or without her guidance, so she made sure to help me practice without injuring my hands. This was a turning point for me, as her belief in my abilities gave me the confidence I needed to succeed. The Triumph: After months of rigorous practice, I entered and, to my absolute astonishment, won the grand prize in a piano prodigy competition, despite the incredible talents of my fellow participants. My dream of mastering the Hungarian Rhapsody had come true, and in the process, I discovered that hard work and dedication can lead to rapid progress and invaluable learning experiences. The Unexpected Apology: In a surprising twist, one of the professors who initially doubted me approached me to congratulate me on my success and apologize for his earlier skepticism. This moment was a powerful reminder that even when others doubt us, we must believe in ourselves and stay true to our passions. Conclusion: My journey to mastering the Second Hungarian Rhapsody by Franz Liszt was a testament to the power of perseverance and self-belief. No matter the obstacles or the naysayers, it's essential to follow your heart and stay true to your dreams. Remember, with hard work, dedication, and the support of those who believe in you, anything is possible.
Liszt Hungarian Rhapsody No 2
Just a regular Monday‘s morning🤦🏼‍♀️#piano #classicalmusic #pianist #pianists #figaro #funnyshorts
Andante Spianato and Grande Polonaise Brillante, Op. 22: Unveiling Chopin's Piano Masterpieces 😀 Visit: http://www.anastasiahuppmann.com 😀 facebook: https://www.facebook.com/huppmannanastasia 😀 instagram: https://www.instagram.com/anastasia_huppmann Chopin's Masterworks for the Piano: Revealing the Andante Spianato and Grande Polonaise Brillante, Op. 22. The Andante Spianato and Grande Polonaise Brillante showcase the composer's unparalleled ingenuity and virtuosity. Discover the mesmerizing harmonies and intricate artistry of Chopin's piano masterworks as we delve into the essence of his distinctive musical language. Explore the realms of Chopin's music as I reveal the enthralling tale of how I recorded the enchanting Andante Spianato and Grande Polonaise Brillant. In a world where music had the power to transcend time, I set out on a mission to unearth Frédéric Chopin's legacy's hidden gems. I set sail across the vast ocean of sound, navigating through uncharted waters and melodic currents as I was guided by the mysterious echoes of an ancient melody. A swirling vortex of notes enveloped me during a stormy night, transporting me to a bygone era. I walked the cobblestone streets of Warsaw, where the melodies of Chopin's youth reverberated in the air, while surrounded by the ambiance of the nineteenth century. As I meandered through the city, I discovered an abandoned manor that was the birthplace of Chopin's forgotten masterpieces, the Andante Spianato and Grande Polonaise Brillante. The piano in the stately ballroom of the manor was covered in cobwebs, its strings straining to play again. I began playing the masterpiece in a moment of inspiration, its ethereal tones resonating through the empty corridors. As the final note persisted in the air, an apparition of Chopin himself materialized before me. I returned to the present with the lost knowledge of the Andante Spianato and Grande Polonaise Brillante, overcome by the immensity of my discovery. I recorded the mesmerizing piece with unwavering determination, sharing its entrancing story with the world. Chopin's Andante Spianato and Grande Polonaise Brillante, Op. 22, is a masterwork that combines two distinct musical forms into a dazzling composition. The piece demonstrates Chopin's virtuosity, lyricism, and his distinct ability to combine Polish nationalism and Romantic era elegance. The composition of the piece consumed his final months in Poland prior to his departure for Vienna. There, in this famous city of music, he completed it. A few years later, in 1834, the Andante spianato introduction for solo piano was added to produce a more expansive and cohesive work. In 1836, the final version was published, with both sections performed simultaneously. The composition consists of two contrasting sections, with the lyrical, placid, and tranquil Andante Spianato serving as an introduction to the lively and virtuosic Grande Polonaise Brillante. Composed in G Major, the Andante Spianato is distinguished by its mellow, flowing melody and subtle ornamentation. This was the only occasion Chopin ever used the term "spianato" to describe any of his works. The lyrical and tranquil Andante Spianato exemplifies Chopin's ability to compose gentle, flowing melodies that elicit a sense of serene beauty. This entrancing piece is the ideal prelude to the lively and virtuosic Grande Polonaise, which captivates listeners with its bold chords, sweeping arpeggios, and brilliant fingerwork. Composed in E-flat Major, the Grande Polonaise Brillante is an energizing and scintillating display of pianistic skill, featuring bold chords, sweeping arpeggios, and intricate fingerwork. Chopin included the polonaise's characteristic cadence and grandeur in the Grande Polonaise Brillante. The polonaise is a Polish dance in triple meter. Chopin celebrated his Polish heritage through his compositions, including this one, which helped popularize the polonaise as a musical genre. In actuality, Andante spianato and Grand Polonaise in E-flat major is Chopin's last brilliant composition of concertizing music. Chopin's Grande Polonaise, which was inspired by the regal Polish dance, exemplifies the composer's proud heritage. His Polonaise compositions have captivated audiences for generations with their sense of grandeur and elegance. The Andante Spianato and Grande Polonaise Brillante is one of Chopin's most popular and frequently performed compositions, cherished for its entrancing melodies and technical virtuosity. Indulge in the delectable sounds of Andante Spianato and Grande Polonaise Brillante by Chopin to experience the enchantment of his piano music. This hypnotic excursion into the world of Chopin's piano compositions will leave you spellbound, displaying the timeless allure of his captivating melodies and unmatched virtuosity. #classicalmusic #piano #chopin #polonaise #andantepiano #andantespianato #grandepolonaise #chopinpiano #chopincompetition #pianosolo
Andante Spianato and Grande Polonaise Brillante, Op. 22: Unveiling Chopin's Piano Masterpieces
Hint of the day: this piece is by Frédéric Chopin and previously has never been recorded by me😃
🤩The first right answer wins! 🤩Chop chop, the new video is almost ready!🤩 #piano #classicalmusic
Rachmaninoff Etude Tableau Op 39 No 5 by Anastasia Huppmann 😀 Visit: http://www.anastasiahuppmann.com 😀 facebook: https://www.facebook.com/huppmannanastasia 😀 twitter: https://twitter.com/anahuppmann 😀 instagram: https://www.instagram.com/anastasia_huppmann 🔳 NFT https://opensea.io/AnastasiaHuppmann The Études-Tableaux Op. 39 is the second opus of piano etudes composed by Sergei Rachmaninoff. The Opus 39 includes nine études, this, an absolutely extraordinary one, humbly marked as opus 39, number 5 in e-flat minor, is the dramatic peak of both the Op. 33 and Op. 39 sets. Sergei Rachmaninoff composed his Études-Tableaux Op. 39 between 1916 and 1917, during a period of intense study of the works of his friend Alexander Scriabin, who tragically died in 1915. The études-tableaux Op. 39 are the last works written by Rachmaninoff before he fled Russia with his family to escape the turmoil of the Russian Revolution. The Étude-Tableau Op. 39 No. 5 in e-flat minor is the most difficult and dramatic of all Rachmaninoff’s études. It’s explosive character is passionate, tumultuous, despairing and somber. This étude combines the darkest dramatical pathetic and the highest heroism with the deepest possible lyricism. Not only this wide diapason of spirit, but also the enormously rich palette of intensity and nuance transcend each listening soul with a spacious range of emotional colours. Because of its difficulty in both, harmonic language and pianistic technique, please be patient and let this tough, but fragile étude-tableaux Op. 39 No. 5 embrace your soul. #rachmaninoff #rachmaninov #rachmanartis #pianist #pianistas #horowitz #anastasiahuppmann #pianomusic #pianosolo #classicalmusic #music #musica #etude #étude #рахманинов #этюд #ラフマニノフ #라흐마니노프
Rachmaninoff Etude Tableau Op 39 No 5 by Anastasia Huppmann
Johann Strauss II - The Blue Danube Waltz 😀 Visit: http://www.anastasiahuppmann.com/nft 😀 facebook: https://www.facebook.com/huppmannanastasia 😀 twitter: https://twitter.com/anahuppmann 😀 instagram: https://www.instagram.com/anastasia_huppmann 🔳 NFT https://opensea.io/AnastasiaHuppmann An der schönen blauen Donau op. 314 was originally titled On the Beautiful Blue Danube and was written as a waltz by Johann Strauss II in the year 1867. The usual English title of this piece is The Blue Danube. Since its first performance on February 9, 1867 at a concert hosted by the Wiener Männergesangsverein (Vienna Men's Choral Association), this piece of music has gone on to become one of the most popular works in the classical repertoire. It is believed that Strauss stated something along the lines of "The devil take the waltz, my only sorrow is for the coda — I wish it had been a success!" after the first performance of the piece was only a moderate success. The song lyric that was initially intended to accompany the waltz was composed by Josef Weyl. In the same year, Strauss converted it into a version that was performed only by an orchestra at the World's Fair that was held in Paris, and it was a huge hit in this form. The instrumental version is by far the one that is played the most often in modern times. On occasion, Donau so blau, another phrase written by Franz von Gernerth, is also used. Donau so blau translates to "Danube, so blue." The tune is now considered something of an unofficial national anthem for Austria due to the nostalgic Viennese undertones that it has. The encore performance of this piece at the annual Vienna New Year's Concert is a tradition. The first few bars are also used as the interval signal for programs broadcast outside of Austria by Österreich Rundfunk. It was reported by another composer, Norman Lloyd, in his "Golden Encyclopedia of Music," that when Frau Strauss asked Johannes Brahms for an autograph, Brahms responded by writing the first few bars of "Blue Danube" on a fan that Mrs. Strauss had given him. Mrs. Strauss kept the fan as a memento of their encounter. Unfortunately, it was not composed by Johannes Brahms, as he had written below it. This is an amazing transcription by Jakob Gimpel, born in Lviv, now Ukraine 🇺🇦 Unfortunately, despite its incredible virtuosity, beautiful tenderness of the slow sections, brilliant elegance and genial brevity, this transcription is extremely rare to be heard. Jakob Gimpel was a Polish concert pianist and instructor. He was born on April 16, 1906, and passed away on March 12, 1989. Gimpel started his studies on the piano with his father, Adolph, and then went on to study the instrument with Cornelia Tarnowska, Eduard Steuermann, and Alban Berg. Gimpel also studied music theory with Alban Berg. In 1923, Gimpel had his debut with the Concertgebouw Orchestra, which was led by Pierre Monteux. His debut took place in Vienna, Austria. He performed Rachmaninoff's second piano concerto for the audience. Gimpel embarked on a tour with violinists Bronisaw Huberman, Erika Morini, Nathan Milstein, and Gimpel's brother, Bronislav Gimpel. In 1937, Gimpel assisted Huberman in establishing what would later become the Israel Philharmonic Orchestra (then known as the Palestine Symphony Orchestra). In 1938, Gimpel made his way to New York City, and a few years later, he relocated to Los Angeles. Recorded appearances by Gimpel may be found in movies such as Gaslight, Possessed, Letter from an Unknown Woman, Strange Fascination, The Story of Three Loves, Planet of the Apes, and The Mephisto Waltz, amongst others. Gimpel's cinematic credits are extensive. Gimpel also provided the music for two of the most iconic cartoons of all time, namely Rhapsody Rabbit and the Tom and Jerry short Johann Mouse, which won an Academy Award. Gimpel was one of the first European-American musicians to return to Europe after World War II, and he gave hundreds of performances in West Germany in the year 1954. He was also one of the first European-American artists to return to the United States. Between the years 1971 and 1986, Gimpel held the position of professor in residence at California State University, Northridge. In 1975, he was presented with the Ben-Gurion Award from the State of Israel, and in 1975, the West German Order of Merit, First Class, was bestowed upon him. #bluedanube #waltz #strauss #bluedanubewaltz #bluedanubewaltzdance #andrerieubluedanubewaltzdance #johannstraussii-thebluedanubewaltzdance #bluedanubewaltzpiano #bluedanubewaltzpianoeasy #bluedanubewaltzpianotomandjerry #bluedanubewaltzepic #bluedanubewaltzorchestra #bluedanubewaltzorchestravienna #bluedanubewaltzlondonsymphony #bluedanubewaltzlondonphilharmonic #bluedanubewaltzstrauss #johannstraussbluedanubewaltzpiano #famouswaltzbluedanubestrauss #straussthebluedanubewaltzorchestra #musicastrauss–bluedanubewaltz #bluedanubewaltzshortversion #bluedanubewaltzviennaphilharmonic
Johann Strauss II - The Blue Danube Waltz
Rachmaninoff Moment No 6 by Anastasia Huppmann 😀 Visit: http://www.anastasiahuppmann.com/nft 😀 facebook: https://www.facebook.com/huppmannanastasia 😀 twitter: https://twitter.com/anahuppmann 😀 instagram: https://www.instagram.com/anastasia_huppmann 🔳 NFT https://opensea.io/AnastasiaHuppmann In an interview in 1941, Rachmaninoff said, "What I try to do, when writing Rachmaninoff Moment No 6 down my music, is to make it say simply and directly that which is in my heart when I am composing." Even though Moments musicaux were written because he was short of money, the pieces summarize his knowledge of piano composition up to that point. Andantino opens the set with a long, reflective melody that develops into a rapid climax. The second piece, Allegretto, is the first of the few in the set that reveal his mastery of piano technique. Andante cantabile is a contrast to its two surrounding pieces, explicitly named "funeral march" and "lament." Presto draws inspiration from several sources, including the Preludes of Frédéric Chopin, to synthesize an explosion of melodic intensity. The fifth, Adagio sostenuto is a respite in barcarolle form, before the finale Maestoso, which closes the set in a thick three-part texture. Background of Rachmaninoff Moment No 6 By the fall of 1896, 23-year old Rachmaninoff's financial status was precarious, not helped by his being robbed of money on an earlier train trip. Pressed for time, both financially and by those expecting a symphony, he "rushed into production." On December 7, he wrote to Aleksandr Zatayevich, a Russian composer he had met before he had composed the work, saying, "I hurry in order to get money I need by a certain date ... This perpetual financial pressure is, on the one hand, quite beneficial ... by the 20th of this month I have to write six piano pieces." Rachmaninoff completed all six during October and December 1896, and dedicated all to Zatayevich. Despite the hasty circumstances, the work evidences his early virtuosity, and sets an example for the quality of his future works. Six moments musicaux is a sophisticated work that is of longer duration, thicker textures, and greater virtuosic demands on the performer than any of Rachmaninoff's previous solo piano works. It is similar to Alexander Scriabin's momentous Étude in D♯ minor (Op. 8, No. 12)—in both compositions, detail is more functional than ornamentative in their musical argument. It is here, rather than in Morceaux de fantaisie (Op. 3, 1892) or Morceaux de salon (Op. 10, 1894), that Rachmaninoff places specific qualities of his own playing into his music. There is passionate lyricism in numbers three and Rachmaninoff Moment No 6, but the others require a pianist with virtuoso technique and musical perception. These were composed during the middle of Rachmaninoff's career, and created a foundation of inner voices that he would elaborate on in his Preludes (Op. 23) and Études-Tableaux (Op. 33). Although he usually gave the première of his own piano works, he was not the first to perform these, and the date of the first public performance has not yet been determined. 6. Maestoso, C major (Rachmaninoff Moment No 6) The last piece in the set is a quintessential nineteenth-century work, and has been described as an "apotheosis or completion of struggle." It appears to be inspired by the texture in the Präludium from Schumann's Bunte Blätter. The piece was once summarized as: Rachmaninoff Moment No 6 The final Rachmaninoff Moment No 6 piece or movement of a cycle that is virtuosic and brilliant, employing the entire range of dynamics and sonorities available to the piano, bringing a set of pieces to a glorious conclusion. This "stormy, agitated" (Rachmaninoff Moment No 6) work contains a "vehemently triple-dotted main theme and only some brief midsection hazy sunshine [that lightens] the storm before fortississimo thunders return and finally dominate." Despite the dark imagery presented to describe the piece, the work is in C major, and the end result is more light-hearted than dark, but not as triumphal as the Maestoso would make it sound. Like the second and fourth pieces, Rachmaninoff Moment No 6 is written in the form of an étude, with a repetitive but technically challenging chordal melody that is doubled in both hands. Rachmaninoff Moment No 6 is one of the most difficult pieces in the set. Stamina and strength are required to sustain a full resonant sound, while the continuous thirty-second figure can be tiring for the pianist. Consistent tempo from Rachmaninoff Moment No 6 is a problem for this piece, due to the melody being interspersed with two other elements. Additionally, the dynamics, mostly "loud" and "very loud," indicate that an accurate vision of relative volume is necessary. Maintaining this accuracy while managing every other element of the piece and successfully presenting a musically solid performance continues to be the ultimate challenge of all.
Rachmaninoff, Moment Musical Op. 16, No. 6 - Anastasia Huppmann
Claude Debussy : Feux d'artifice 😀 Visit: http://www.anastasiahuppmann.com/nft 😀 facebook: https://www.facebook.com/huppmannanastasia 😀 twitter: https://twitter.com/anahuppmann 😀 instagram: https://www.instagram.com/anastasia_huppmann 🔳 NFT https://opensea.io/AnastasiaHuppmann Debussy's cycle of twenty-four preludes for piano at the end of his career (1910-1913) essentially completed the development of the genre in Western European music, the most significant phenomenon of which were the preludes by Bach and Chopin. Debussy´s 24 preludes for piano occupy a special place in the composer's oeuvre. Rich in expression, varied in difficulty, these preludes sum up a style that revolutionised the musical language of the whole XXth century and represent a new writing style that ended III centuries of functional harmony. Each prelude has a programme title, stated only at the end of the piece."To name an object is to kill three-quarters of the pleasure of the poem; to suggest its image is the dream". /Stéphane Mallarmé/ Poet of sound and wizard of freedom, Debussy set music on a new course:“There is no theory: it is enough to hear. Pleasure is the rule". According to Jean et Brigitte Massin, Debussy is a 'pioneer of contemporary art, he refuses to adopt a pre-existing form for his work, and seeks a form of writing that escapes to the tyranny of the tonal…´ Debussy aims more at exploiting the variety of colours and richness of sound possible in each of the musical motifs. As his incredible genius humbly said: “I have been called „revolutionary“, but I have not invented anything. At most, I have presented old things in a new way. There is nothing new in art. My musical sequences, which are so widely discussed, are not inventions. I have heard them all before. Not in churches. In myself. Music is everywhere. It is not locked up in books”. The composer hoped to be working on things that will only be understood by the grandchildren of the 20th century. „Only they will see that "clothes do not make the musician". What is your opinion on this point? Have we, as humankind, ever improved so greatly to meet his demanding expectations? Write your thoughts in the comments below. He went further: “The best thing one could wish for French music is: to see the abolition of the study of harmony as it is practised in school, which is the most solemnly ridiculous way of assembling sounds. It has, moreover, the serious defect of unifying to such an extent that all musicians, with a few exceptions, harmonise in the same way.” And just like that, his preludes for piano represent a unique opportunity to understand the new writing that ended three centuries of functional harmony. Yet this enormous breakthrough was not enough for his unstoppable talent: "I am becoming more and more convinced that music is not, in its essence, something that can be cast in a rigorous and traditional form. It is of colours and rhythms.” Debussy's music is full of complex contrapuntal textures, written on three instead of typically two staves, furthermore, with two to three different sonorities at once with the same hand. Besides that, the improvised nature of Debussy´s preludes adds another interpretive difficulty: rubato, that legacy of Romanticism. “It was also here that he was best able to free the melodic phrase from the tyranny of the bar line” /Harry Halbreich/ The stunning virtuosity of the passages in Fireworks (originally „Feux d´artifice) is wholly subservient to the pictorial task of creating the illusion of an aerial space illuminated by flashes of artificial lights. A little hint for motivated pianist: Feux d`artifice is classified as a the highest level 9 work by Henle, be ready to sweat a little;-) But the game is worth the candle, isn`t it? With that combination of Debussy composition and Huppmann genius, Feux d’artifice seemed the natural place to start Anastasia’s NFT collection.
Claude Debussy : Feux d'artifice (Anastasia Huppmann)
Chopin funeral march | Trauermarsch | Frederic Chopin Piano Sonata No. 2 in B-flat minor, Op. 35, Part 3: Marche funèbre: Lento Please be kind with the piano tuning: in times of the COVID-19 pandemic, the second lockdown and the terror attack on 02.11.2020 it is not easy to get a piano tuner... German: „Im Gedenken an die Opfer des Terroranschlages am 02.11.2020 in meiner wunderschönen Heimatstadt Wien“ „In memorial to the victims of the terror attack on 02.11.2020 in my beautiful home town Vienna“ Frédéric Chopin's Piano Sonata No. 2 in B-flat minor, Op. 35, is a piano sonata in four movements. Chopin completed the work while living in George Sand's manor in Nohant, some south of Paris, a year before it was published in 1840. The third movement of the Piano Sonata No. 2 is Chopin's famous funeral march (French: Marche funèbre) which was composed at least two years before the remainder of the work and has remained, by itself, one of Chopin's most popular compositions. The Piano Sonata No. 2 carries allusions and reminiscences of music by Bach and by Beethoven; Beethoven's twelfth piano sonata also has a funeral march as its third movement. The compositional origins of the Piano Sonata No. 2, the first mature piano sonata Chopin wrote,are centred on its third movement (Marche funèbre), a funeral march which many scholars indicate was written in 1837. However, Jeffrey Kallberg believes that such indications are because of an autograph manuscript of eight bars of music in D-flat major marked Lento cantabile, apparently written as a gift to an unnamed recipient. The manuscript, which is dated 28 November 1837, would later become part of the trio of the Marche funèbre. However, Kallberg suggests this manuscript may have been intended as the beginning of an earlier attempt of a different slow movement instead of being part of the Marche funèbre, writing that "it would have been unusual for Chopin to make a gift of a manuscript that, if it did not contain an entire piece, did not at least quote the beginning of it", as almost all of his other presentation manuscripts did. Some time after writing the Marche funèbre, Chopin composed the other movements, completing the entire sonata by 1839. In a letter on 8 August 1839, addressed to Fontana, Chopin wrote: I am writing here a Sonata in B flat minor which will contain my March which you already know. There is an Allegro, then a Scherzo in E flat minor, the March and a short Finale about three pages of my manuscript-paper. The left hand and the right hand gossip in unison after the March. ... My father has written to say that my old sonata (in C minor, Op. 4) has been published by and that the German critics praise it. Including the ones in your hands I now have six manuscripts. I'll see the publishers damned before they get them for nothing. Haslinger's unauthorised dissemination of Chopin's early C minor sonata (he had gone as far as engraving the work and allowing it to circulate, against the composer's wishes) may have increased the pressure Chopin had to publish a piano sonata, which may explain why Chopin added the other movements to the Marche funèbre to produce a sonata. The first part of this March is passionate, with the left hand laying heavy chords in a low register, evoking the sound of a ringing church bell. The solemn and heroic melody played by the right hand ultimately makes it sound serious and elegiac. The second part of the Funeral March comes with another surprising contrast. Within one bar, the movement goes from the darkest mood to the warmest and calmest lullaby with a strikingly simple melody and harmonics. This part brings so much consolation and is so heart-warming that the listener can almost forget about the presence of death lurking around every bar of this movement. However, this ray of hope is soon to be brutally smashed by the return of the first theme – finishing with a cadence fading away, leaving the listener with nothing but dense silence. Chopin admitted this freely in a letter he wrote to Solange, George Sand’s daughter in 1848: When I was playing my ‘Sonata in B Flat Minor’ amidst a circle of English friends, an unusual experience befell me. I executed the allegro and scherzo more or less correctly and was just about to start the march, when suddenly I saw emerging from the half-opened case of the piano the cursed apparitions that had appeared to me one evening in the Chartreuse. I had to go out for a moment to collect myself, after which, without a word, I played on. Visit: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann
Chopin funeral march | Trauermarsch | In memorial to terror attack vienna 02.11.20
Scriabin Etude Op 42 No 5 by Anastasia Huppmann 😀 Visit: http://www.anastasiahuppmann.com 😀 facebook: https://www.facebook.com/huppmannanastasia 😀 twitter: https://twitter.com/anahuppmann 😀 instagram: https://www.instagram.com/anastasia_huppmann My very first Scriabin's video! Write in the comments below if you want me to play more of #Scriabin. 🙂 Scriabin's mother was a pianist, his father a diplomat, and he, Alexander Nikolayvich Scriabin was Russia's most unusual composer. During his short life-span of 43 years, Scriabin wrote three symphonies, two symphonic poems, variations for a string quartet, a romance for French horn, a romance for voice, one piano concerto, and more than two hundred compositions for the piano. The Etudes Op. 42, date to 1903, are among his most rewarding piano works -- works whose nascent modernity point toward the mystical and often weird compositional ideas of his final years. The music here is still post-Romantic, but sounds overripe, pushing out toward new horizons, harmonically, rhythmically, and thematically. In 1897 he had married the pianist Vera Isakovich , but in 1902 Tatyana Schloezer became his pupil; a romance developed and in 1904 Scriabin and Tatyana travelled to Paris together. They married later despite Russian legal complications. Significantly, the Op 42 Études were the last of Scriabin’s piano music that Vera worked on with him. Scriabin's Etude op.42 no.5 in c-sharp minor is eloquently marked ‘Affanato’—breathless and anxious. This atmosphere is created by a restless, dense texture and a harmonic language in which nearly every chord is darkened and destabilized by the addition of a seventh. An aspiring second subject, one of Scriabin’s finest melodic inspirations, affords some relief from the grip of nightmare. Speed, lightness, mobility and ceaseless fluid motion again create the sensation of exhilarating flight. Here Scriabin's canvas is galactic and his strokes are colossal. The cosmic ship is buffeted by giant breakers, waves that boom and bellow with primal authority. The ship's journey is rebellious and daring, its destiny and destination uncertain. Scriabin's music is an irrepressible, deeply human desire for freedom, joy, and enjoyment of life. ...by B. Asafyev #scriabin best piano pieces #skryabin piano #Scriabin Etude #ScriabinEtudes Op 42 #Скрябинэтюд
Scriabin Etude Op 42 No 5 by Anastasia Huppmann
Chopin Nocturne Op 9 No 2 in E flat major by Anastasia Huppmann 😀 Visit: http://www.anastasiahuppmann.com 😀 facebook: https://www.facebook.com/huppmannanastasia 😀 twitter: https://twitter.com/anahuppmann 😀 instagram: https://www.instagram.com/anastasia_huppmann 🎹 Chopin Nocturne Op. 9 No. 2 in e-flat major *the ornaments are original by Chopin. Which version do you prefer? This ornamented one or “the pure” one you can find played by me here: https://youtu.be/XLzhERtVpq0 ❗❗❗❗ WRITE IN THE COMMENTS BELOW ❗❗❗❗ Chopin’s Nocturne op. 9 no. 2 in E-flat major was composed between 1830-1832, when Chopin was around 20 years old. He dedicated 3 nocturnes op. 9 to Maria Pleyel, the wife of an acquaintance of Chopin’s. Maria was one of Chopin’s piano students, and he dedicated many of his works to his students. 🎼 Scores: There are no less than fifteen known variants for this Nocturne op. 9/2 alone. Why should these variants occur in such quantity in the Nocturne op. 9 no. 2 rather than elsewhere? Nobody knows it for sure, but maybe it’s popularity began to irritate Chopin and by including ornaments may have been acting to prevent the piece from labelling him a salon composer, since it was in the salons that his Nocturne too often ran the risk of being, in his own word, sentimentalisé. For this recording I used the original by Chopin ornamented version of this Nocturne. 🤩 Popularity: This Nocturne op. 9 no. 2 in E-flat major is very popular, maybe the most popular of all his nocturnes and has also made its way into many movies and TV shows, such as The Five Year Engagement, Bones, Dexter, Mad Men, Hannibal (the series) and the Simpsons.😁 💝 Form: This Chopin’s Nocturne is full of symmetrical elegance: The entire piece is 34 bars long and built on phrases with the length of 4 bars. The A section is 4 measures and introduce the theme which leads to the first variation (4 bars long), followed by a ritornello (4 bars long too) and a transition leading to the second variation (guess how long... right! 4 bars), then a ritornello (how many bars? You know the answer😉) , the third variation and finally, by a ritornello and cadenza. So, everything is 4 measures until you get to the coda. 📖 Story: Here is a little story: “I sat down at the piano. Chopin: What about the score? -I didn’t bring it, I play this Nocturne by heart. Chopin: I don’t want any of this: are you reciting the lesson? I want to teach either precisely or not at all. I’ve ready told you you don’t know how to work. I gave you the Clementi and by the next lesson it had mysteriously vanished, just like the Moscheles Etudes. You played my Impromptu twice, and that was it already despatched; now it’s a Nocturne, and you forget to bring the score!” *from Zeleska/Hordyński 👨‍🏫 Chopin’s Teaching: Chopin’s Nocturne op. 9 no. 2, apparently so innocent and innocuous, poses particular problems of performance - as the composer himself frequently repeated. Chopin’s teaching of it is worth reproducing here. ‘Chopin wanted the bass line to be practiced first by itself, divided between the two hands, and each of the chords should sound like a chorus of guitars. Once the bass part is mastered - with two hands - with a full but piano sonority and in strict time, then the left hand can be trusted with the accompaniment played that way and the tenor invited to sing his part in the upper voice.’ The style should be modelled upon the great Italian school of singing, and the pathos should increase throughout the variations. ***** Especially thanks for these unique necklaces to BRUNA The Label. ***** „BRUNA The Label is the Auistrian ethical fine jewellery brand to watch. Combining expert craftmanship with recycled materials, genuine gemstones and ethically sourced pearls, the French Polynesian-born and inspired label brings sustainability and enviromental awareness to every one of their uniquely designed pieces. Visit www.brunathelabel.com or follow @brunathelabel_ on Instagram.“- British VOGUE
Chopin Nocturne Op 9 No 2 in E flat major by Anastasia Huppmann
Humoresque - Rodion Shchedrin by Anastasia Huppmann Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann Rodion Konstantinovich Shchedrin (Russian: Родио́н Константи́нович Щедри́н, romanized: Rodion Konstantinovič Ščedrin, pronounced [rədʲɪˈon kənstɐnʲˈtʲinəvʲɪtɕ ɕːɪˈdrʲin]; born 16 December 1932) is a Soviet and Russian composer and pianist, winner of USSR State Prize (1972), the Lenin Prize (1984), and the State Prize of the Russian Federation (1992), and is a former member of the Inter-regional Deputies Group (1989–1991). He is also a citizen of Lithuania and Spain. Rodion Shchedrin is one of the rare cases in composer's life - he has already become a legend during his life. Humoresque (or Humoreske) is composed in 1959 and generally is a genre of Romantic music characterized by pieces with fanciful humor in the sense of mood rather than wit. History The name refers to the German term Humoreske, which was given from the 1800s (decade) onward to humorous tales. Many humoresques can be compared to a gigue in their dance-like qualities, and many were used as dance music from the 1700s onwards. Notable examples of the humoresque style are: Schumann's Humoreske in B-flat major (Op. 20, 1839) Noel Rawsthorne's Hornpipe Humoresque (for organ, based on the Sailor's Hornpipe and including parts of "Rule Britannia" and the Widor Toccata) Dvořák's set of eight Humoresques (Op. 101, 1894), of which No. 7 in G-flat major is well known.
Humoresque Rodion Shchedrin by Anastasia Huppmann
Shchedrin A la Albeniz played by Anastasia Huppmann Щедри́н В подражание Альбенису | Schtschedrin Im Stile von Albéniz | Shchedrín Imitando a Albeniz | Chtchedrine A la Albéniz Visit: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann The first Soviet work on my channel is symbolic for me: I love Soviet classical music since my childhood and the music of Rodion Konstantinovich Shchedrin means a lot to me. Hope, you will enjoy this great masterpiece full of passion and anguish, resoluteness and desperation. Rodion Konstantinovich Shchedrin (Russian: Родио́н Константи́нович Щедри́н, romanized: Rodion Konstantinovič Ščedrin, pronounced [rədʲɪˈon kənstɐnʲˈtʲinəvʲɪtɕ ɕːɪˈdrʲin]; born 16 December 1932) is a Soviet and Russian composer and pianist, winner of USSR State Prize (1972), the Lenin Prize (1984), and the State Prize of the Russian Federation (1992), and is a former member of the Inter-regional Deputies Group (1989–1991). He is also a citizen of Lithuania and Spain. Rodion Shchedrin is one of the rare cases in composer's life - he has already become a legend during his life. The composer Rodion Shchedrin dedicated this masterpiece to his wife Maya: she was a beautiful world-famous Soviet ballet dancer, choreographer, ballet director, and actress. Having become “an international superstar” and a continuous “box office hit throughout the world,” Plisetskaya was treated by the Soviet Union as a favored cultural emissary. Although she toured extensively during the same years that other prominent dancers defected, including Rudolf Nureyev, Natalia Makarova, and Mikhail Baryshnikov, Plisetskaya always refused to defect. In 1991, she published her autobiography, I, Maya Plisetskaya.
Shchedrin A la Albeniz played by Anastasia Huppmann
Asturias Albeniz (by Isaac Albeniz) played by Anastasia Huppmann Asturias (Leyenda), named simply Leyenda by its composer, is a musical work by the Spanish composer and pianist Isaac Albéniz (1860-1909). Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann The piece, which lasts around six minutes in performance,[1] was originally written for the piano and set in the key of G minor. It was first published in Barcelona, by Juan Bta. Pujol & Co., in 1892 as the prelude of a three-movement set entitled Chants d'Espagne. The name Asturias (Leyenda) was given to it posthumously by the German publisher Hofmeister, who included it in the 1911 "complete version" of the Suite española, although Albéniz never intended the piece for this suite. Despite the new name, this music is not considered suggestive of the folk music of the northern Spanish region of Asturias, but rather of Andalusian flamenco traditions. Leyenda, Hofmeister's subtitle, means legend. The piece is noted for the delicate, intricate melody of its middle section and abrupt dynamic changes. Albéniz's biographer, Walter Aaron Clark, describes Asturias (Leyenda) as "pure Andalusian flamenco". In the main theme the piano mimics the guitar technique of alternating the thumb and fingers of the right hand, playing a pedal-note open string with the index finger and a melody with the thumb. The theme itself suggests the rhythm of the bulería—a fast flamenco form. The "marcato"/"staccato" markings suggest both guitar sounds and the footwork of a flamenco dancer. Asturias (Leyenda) sounds as though it is written in the Phrygian mode which is typical of bulerías. The second section is a reminiscent of a copla—a sung verse following a specific form. Clark states that it is written in typical Albéniz form as it is "presented monophonically but doubled at the fifteenth for more fullness of sound. The music alters between a solo and accompaniment that is typical of flamenco. The short middle section of Asturias (Leyenda) is written in the style of a malagueña—another flamenco style piece. The malagueña borrows two motives from the previous copla and builds on them. The piece returns to its first theme until a slow "hymn-like" passage ends the piece.
Asturias Albeniz (by Isaac Albeniz) played by Anastasia Huppmann
Anastasia Huppmann plays Beethoven Piano Sonata No 8 in C minor Op 13 Pathetique * I. Grave/Allegro di molto e con brio 0:00 * II. Adagio cantabile 9:21 * III. Rondo: Allegro 15:01 Marry Christmas will come very soon. Thank you so much for supporting me with your subscriptions, comments, likes and views this year, you make me so happy!😃 As a humble sign of my endless gratitude I recorded this great masterpiece you’ve asked for most. Hope you will enjoy it and suggest more pieces you like to watch on my YouTube Channel in the future! Be free and feel you like at home. 🏠 P.S. hope you will’t miss my long hair, suddenly it became disturbing while playing Beethoven. Ludwig van Beethoven's Piano Sonata No. 8 in C minor, Op. 13, commonly known as Sonata Pathétique, was written in 1798 when the composer was 27 years old, and was published in 1799. It has remained one of his most celebrated compositions. Beethoven dedicated the work to his friend Prince Karl von Lichnowsky. Although commonly thought to be one of the few works to be named by the composer himself, it was actually named Grande sonate pathétique (to Beethoven's liking) by the publisher, who was impressed by the sonata's tragic sonorities.Prominent musicologists debate whether or not the Pathétique may have been inspired by Mozart's piano sonata K. 457, since both compositions are in C minor and have three very similar movements. The second movement, "Adagio cantabile", especially, makes use of a theme remarkably similar to one in the spacious second movement of Mozart's sonata. Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann  Beethoven Piano Sonata No 8 in C minor Op 13 Pathetique is played by Anastasia Huppmann. Beethoven Piano Sonata No 8 in C minor Op 13 Pathetique is recorded by Anastasia Huppmann in Vienna, Austria. All Audio and Video Rights belongs to Anastasia Huppmann
Anastasia Huppmann plays Beethoven Piano Sonata No 8 in C minor Op 13 Pathetique
Chopin Nocturne Op 9 No 2 recorded and played by Anastasia Huppmann in Steyr, Austria. Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann Chopin composed his best-known Nocturne Op 9 No 2 when he was around twenty years old. This well-known nocturne is in rounded binary form (A, A, B, A, B, A) with coda, C. The A and B sections become increasingly ornamented with each recurrence. The penultimate bar utilizes considerable rhythmic freedom, indicated by the instruction, senza tempo (without tempo). Nocturne in E-flat major opens with a legato melody, mostly played piano, containing graceful upward leaps which becomes increasingly wide as the line unfolds. This melody is heard again three times during the piece. With each repetition, it is varied by ever more elaborate decorative tones and trills. The Chopin Nocturne Op 9 No 2 also includes a subordinate melody, which is played with rubato. In the late memoirs of the interesting and mysterious figure Wilhelm von Lenz, a pupil of Liszt (then of Chopin) and an eminent music writer (author of an important study of Beethoven), one comes across an amusing, but thought-provoking story concerning this Nocturne. Lenz recalls the times when he took lessons from Chopin. ‘I tormented Chopin most’, he relates, ‘with the famous Nocturne in E flat major, Op. 9 […] in 1842 it was in the full bloom of fashion […] When Chopin was pleased with a scholar, he, with a small, well-sharpened pencil, made a cross under the composition. I had received one, in the Nocturne (premier chevron); next time I came, I got another. I came still another time. “Do please let me alone,” said Chopin […] there, you have another cross, more than three I never give. You cannot do it any better!” “You play it so beautifully,” I ventured, “can no one else?” “Liszt can,” said Chopin, drily, and played it to me no more. He had noted in it some very important little changes for me; his notes were clean, small, and sharp. The Chopin Nocturne Op 9 No 2 was recorded in Austria. All rights (Audio and Video) belongs to Anastasia Huppmann.
Chopin Nocturne Op 9 No 2 Anastasia Huppmann
G.Rossini-G. Ginzburg Paraphrase / Fantasy on Figaro‘s Aria/Air/Cavatina „Largo al factotum“ from Il barbiere di Siviglia (The Barber of Seville or The Useless Precaution) Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann MANY THANKS TO: Bösendorfer | Der Klang, der berührt https://www.boesendorfer.com/ Claudia Lindemood | Hairstylist Vienna, Austria https://www.claudialindemood.at/ This iconic piece is an aria from The Barber of Seville by Italian composer Gioachino Rossini. It is sung at the first entrance of the title character and the repeated Figaros are one of the most familiar parts of operatic singing in popular culture. "Largo al Factotum" translates into English as "Make way for the factotum." The term "factotum" refers to a general servant and comes from the Latin where it literally means "do everything." The Barber of Seville was completed by Rossini in 13 days and is based on Pierre Beaumarchais's comedy, Le Barbier de Séville, which took Paris by storm in 1775. The opera was premeried in Rome on February 20, 1816 and its first night was a disastrous failure, the audience hissing and jeering throughout. Everything went wrong, a guitar string snapped, a cat walked on stage and there were protestations originated by a rival composer who had recently written his own version of the same story. Rossini quickly added some additional humorous lyrics for characters like the resourceful, witty servant Figaro but apprehensive he missed the second night pretending to be ill. Unaware that this time, the audience loved his opera, the composer heard a commotion on the street and fearing the crowds were out to get him, he was relieved to find they were out to congratulate him. Figaro in The Barber of Seville is the same character as in Mozart's The Marriage of Figaro opera. The aria and the overture of The Barber of Seville have been parodied in numerous animated cartoons including Woody Woodpecker (The Barber of Seville), Bugs Bunny (Rabbit of Seville and Long Haired Hare), Tom and Jerry (The Cat Above and the Mouse Below and Kitty Foiled), and The Simpsons Homer of Seville). Grigory Romanovich Ginzburg was a Jewish-born, Russian pianist. He was recognized as one of the finest musicians in the Soviet Union and toured Europe several times. He became an important professor at the Moscow Conservatory in 1929. Some of his best-known students are Gleb Axelrod, Sergei Dorensky, Regina Shamvili and Sulamita Aronovsky. Ginzburg was best known for his piano touch that had ties with the tradition of 19th century players such as Franz Liszt. His eclectic repertoire and his art of transcription made of him one of the most unique performers in piano history. #piano #figaro #rossinifigaro #largoalfactotum #figaropiano #boesendorfer #ariaoffigaro #cavatinafigaro #pianist RECORDED, PLAYED, and OWNER OF ALL RIGHTS of this VIDEO is Anastasia Huppmann
The Barber of Seville/ Figaro‘s Aria „Largo al factotum“ - Rossini-Ginzburg
Star Wars | Cantina Band Piano | John Williams | A NEW HOPE | STAR WARS 9 THE RISE OF SKYWALKER *** Write in the comments below: What do you think about the sound of the YAMAHA N3X with the simulation of the Bösendorfer Imperial sound? *** Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann Star Wars Theme/Cantina Band" is a song recorded by Meco, taken from the album Star Wars and Other Galactic Funk. It hit number one on the Billboard Hot 100 on October 1, 1977, holding on to the spot for two weeks and peaked at no. 7 on the UK Singles Chart, remaining in the charts for nine weeks. The single was certified Platinum by the Recording Industry Association of America, having sold a million units. "Star Wars Theme/Cantina Band" is one of two songs which became hits featuring music from the Star Wars movie. The other is "Star Wars (Main Title)," which is original music from the movie soundtrack by John Williams. The song reached the Top 10 concurrently with Meco's more popular version. Meco again jousted with Williams a few months later, with both artists issuing competing versions of music from Close Encounters of the Third Kind, both reaching the US and Canadian Top 40, but with Williams' version being more successful than Meco's. Played on YAMAHA N3X AvantGrand: Not creating a piano, but rediscovering one. This, summed up in a single phrase, was the concept behind the development of the AvantGrand. Making a so-called "acoustic" piano requires extensive technique and know-how, qualities accumulated through our many years of experience. However, a major theme in the creation of the AvantGrand involved consciously refraining from relying on this experience. Rather than designing from a standpoint of what a piano must be, we gave priority to looking at what it could be, searching for the kind of instrument that would suggest a new direction for the piano. #StarWars #CantinaBand #StarWars9 #StarWarsPiano #AnewHope #TheRiseofSkywalker #starwarsfan #starwarsday #starwarsnerd #starwarsart #starwarsfans #starwarslove #starwarsgirl #starwarslife
Star Wars | Cantina Band Piano | John Williams | STAR WARS 9 THE RISE OF SKYWALKER
Chopin Nocturnes Op 48 Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann The Chopin Nocturne Op 48 No 1 C minor has been categorized as one of Chopin's greatest emotional achievements. Theodor Kullak said of the piece, "the design and poetic contents of this nocturne make it the most important one that Chopin created; the chief subject is a masterly expression of a great powerful grief. Jan Kleczyński, Sr. calls the nocturne "broad and most imposing with its powerful intermediate movement, a thorough departure from the nocturne style. Some musical critics, including Charles Willeby and Frederick Niecks, do not think the piece deserves its fame and position; though James Huneker agrees with this assessment, he notes that the nocturne is still "the noblest nocturne of them all. James Friskin found the music to have "the most imposing instrumental effect of any of the nocturnes," calling the crescendo and octaves "almost Lisztian. Jim Samson notes that the Chopin Nocturne Op 48 No 1 C minor intensifies "not through ornamentation, but through a new textural background. Kleczyński commented that the middle section "is the tale of a still greater grief told in an agitated recitando; celestial harps come to bring one ray of hope, which is powerless in its endeavor to calm the wounded soul, which...sends forth to heaven a cry of deepest anguish." The ending, according to Samson, is "in the nature of an elaborated 'feminine ending', articulating the reactive final beat of an amphibrach grouping. The Nocturne in F-sharp minor, Op 48, No. 2 is initially marked andantino and is in 4/4 meter. It switches to più lento at measure 57 and returns to the original tempo at measure 101. The piece is a total of 137 measures long. When compared with the other parts, the middle section of the Chopin Nocturne Op 48 No 2 f-sharp minor, più lento, is completely different—the piece modulates from minor to major (D-flat), changes its meter to 3/4 and decreases tempo. Frederick Niecks commented that the middle section "is much finer" and contains "soothing, simple chord progressions. Chopin once noted that the middle section was like a recitative and should be played as if a tyrant commands, and the other asks for mercy. The recapitulation is cut short by the coda, which ends in F♯ major Chopin Nocturnes Op 48 are played and recorded by Anastasia Huppmann
Chopin Nocturnes Op 48
Chopin Nocturne Op 48 No 2 f-sharp minor Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann The Nocturne in F-sharp minor, Op 48, No. 2 is initially marked andantino and is in 4/4 meter. It switches to più lento at measure 57 and returns to the original tempo at measure 101. The piece is a total of 137 measures long. When compared with the other parts, the middle section of the Chopin Nocturne Op 48 No 2 f-sharp minor, più lento, is completely different—the piece modulates from minor to major (D-flat), changes its meter to 3/4 and decreases tempo. Frederick Niecks commented that the middle section "is much finer" and contains "soothing, simple chord progressions. Chopin once noted that the middle section was like a recitative and should be played as if a tyrant commands, and the other asks for mercy. The recapitulation is cut short by the coda, which ends in F♯ major Chopin Nocturne Op 48 No 2 f-sharp minor is played and recorded by Anastasia Huppmann #chopin #nocturne #op48no2 #chopinnocturne
Chopin Nocturne Op 48 No 2 f-sharp minor by Anastasia Huppmann
Chopin Nocturne Op 48 No 1 C minor Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann The Chopin Nocturne Op 48 No 1 C minor has been categorized as one of Chopin's greatest emotional achievements. Theodor Kullak said of the piece, "the design and poetic contents of this nocturne make it the most important one that Chopin created; the chief subject is a masterly expression of a great powerful grief. Jan Kleczyński, Sr. calls the nocturne "broad and most imposing with its powerful intermediate movement, a thorough departure from the nocturne style. Some musical critics, including Charles Willeby and Frederick Niecks, do not think the piece deserves its fame and position; though James Huneker agrees with this assessment, he notes that the nocturne is still "the noblest nocturne of them all. James Friskin found the music to have "the most imposing instrumental effect of any of the nocturnes," calling the crescendo and octaves "almost Lisztian. Jim Samson notes that the Chopin Nocturne Op 48 No 1 C minor intensifies "not through ornamentation, but through a new textural background. Kleczyński commented that the middle section "is the tale of a still greater grief told in an agitated recitando; celestial harps come to bring one ray of hope, which is powerless in its endeavor to calm the wounded soul, which...sends forth to heaven a cry of deepest anguish." The ending, according to Samson, is "in the nature of an elaborated 'feminine ending', articulating the reactive final beat of an amphibrach grouping.
Chopin Nocturne Op 48 No 1 C minor
Frédéric Chopin Fantaisie in F minor Op 49 The musicologist Arthur Hedley has observed that "As a pianist Chopin was unique in acquiring a reputation of the highest order on the basis of a minimum of public appearances—few more than thirty in the course of his lifetime." Chopin played more frequently in salons, not in big concert venues. He disliked a “public concert-giving” and meant that only an intimate, familiar atmosphere can let you be a witness of real art and feel the music and the artist’s soul deeply. In this concert program with the Title “Notturno” as a leitmotif, recorded at the beautiful chapel Styraburg (built at the 10th century, restored and modernized in the first half of the 19th century, at the times of Chopin’s life) we tried to come closer to the Chopin’s idea of how a piano concert should be like and to demonstrate an extract of the richness of Chopin’s palette of genres and composer’s style. Frédéric Chopin Fantaisie in F minor Op 49 (also just called "Chopin Fantasy") Frédéric Chopin's Fantaisie in F minor, Op. 49, (Chopin Fantasy) is a single-movement work for the piano, composed in 1841, when he was 31 years old. From Chopin's letters it is known that he used the name "fantasy" to show some sort of freedom from rules and give a Romantic expression. Frédéric Chopin continued the tradition of a self-contained movement in his Fantaisie. Chopin Fantaisie is one of Chopin's longest and greatest works. Only his Polonaise-Fantaisie, sonatas, and piano concertos are longer. Chopin Fantasie belongs to the Fantasy form, a composition free in form and inspiration.It begins with a solemn marching theme that eventually plunges into a passionate and virtuosic section, marked poco doppio movimento, still with elements of marching, but more triumphant and positive in mood. Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann
Frédéric Chopin Fantaisie in F minor Op 49
And finally it's done, a bust of Anastasia Huppmann. Finished with engobes, glazes and platinum for the necklace by Marcin Kuś Please follow him for other great works on: https://www.youtube.com/user/CeramicMartin Frederic Chopin Waltz in A minor, B. 150, KK IVb/11, P. 2/11, often designated as No. 19, is a waltz for solo piano composed by Frédéric Chopin. The waltz was written sometime between 1843 and 1848, but was not published until 1860, after the composer's death. Chopin’s waltzes were not his most intimate works, or his heavily emotional works. For the most part, his waltzes were written to please the public, to play at salons and to give enjoyment to his intellectual friends. The mood of this piece alternates between sadness and hope, and is really quite beautiful. Chopin did not write any program music and his waltzes are just what they are: waltzes, pieces in 3/4 (derived from dance music). His preludes for instance all have a title but they were not given by Chopin himself. So, repeat after me: a waltz is a waltz is a waltz. 1,2,3, 1,2,3, 1,2,3 Ofcourse each piece does evoke a certain mood and a range of emotions in the listener and that’s what counts 🙂 Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann
Frederic Chopin Waltz in A minor op posth by Anastasia Huppmann / ceramic sculpture from Marcin Kuś
Franz Liszt Hungarian Rhapsody No 2 in C sharp minor Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann Franz Liszt Hungarian Rhapsody No 2 in C sharp minor Dancing with Liszt: Hungarian Rhapsody No 2 Of all Franz Liszt’s nineteen Hungarian Rhapsodies No 2 in C# Minor is the most celebrated. Inspired by the Hungarian folk music that Liszt came to love as a youth, the manner in which the vigour and playfulness of these inspirations is so nakedly displayed in Liszt’s music has led the latter part of Rhapsody No 2 to be used frequently in the 20th Century as a soundtrack to cartoons. It was the combination of this playfulness with the sensual, dance-like atmosphere of the opening which first drew me in. Though the piece was adapted for orchestra by Liszt’s colleague Franz Doppler, the original piano solo version retains its allure and I was eager to draw out its complicated and powerful emotions. Liszt’s Hungarian Rhapsody No 2 opens with the slower lassan section. Quickly establishing C# Minor as the home key, it is this part which truly makes me feel as if I am dancing with the piece, in spite of its brooding, almost mournful tone. Each slow, melodic turn of the duple meter brings me to envisage the music as a phantom figure whose steps follow mine across a wooden floor, and whose dark eyes I cannot look away from. This owes a lot to the Romany inspiration of the Hungarian Rhapsodies. The melancholy, seductive tones of this kind of music are there to be heard in the slower parts of the lassan, and again when the sparkling passages in the right hand echo the wild drama and excitement of the gypsy dance. The latter part of Hungarian Rhapsody No 2 is the friska, which is far lighter and more playful than the lassan. It takes F# Major as its home key – though just as the lassan opens in C# Major before switching to the tonic minor, the friska actually begins in F# Minor before making the change. From here it is easy to see how, as mentioned above, this piece came to occupy a place in many cartoon soundtracks. It feels like a very different kind of dance: a joyful, almost foolish dance, full of laughter and certainly needing quick feet! I wanted to bring this pleasure and laughter out to the fullest after the intense opening half of the Rhapsody. Throughout the full body of Hungarian Rhapsody No 2, this was a dance I enjoyed a great deal. #Liszt #piano #classicalmusic #hungarian #rhapsody #lisztomania
Franz Liszt Hungarian Rhapsody No 2 in C sharp minor
Chopin Nocturne E minor Op 72 No 1 Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann The musicologist Arthur Hedley has observed that "As a pianist Chopin was unique in acquiring a reputation of the highest order on the basis of a minimum of public appearances—few more than thirty in the course of his lifetime." Chopin played more frequently in salons, not in big concert venues. He disliked a “public concert-giving” and meant that only an intimate, familiar atmosphere can let you be a witness of real art and feel the music and the artist’s soul deeply. In this concert program with the Title “Notturno” as a leitmotif, recorded at the beautiful chapel Styraburg (built at the 10th century, restored and modernized in the first half of the 19th century, at the times of Chopin’s life) we tried to come closer to the Chopin’s idea of how a piano concert should be like and to demonstrate an extract of the richness of Chopin’s palette of genres and composer’s style. Chopin Nocturne E minor Op 72 No 1 , was composed by Frédéric Chopin for solo piano in 1827. Chopin's first nocturne, it was the 19th to be published, in 1855. The composition features an unbroken line of quaver triplets in the left hand set against a slow melody of minims, crotchets, quaver duplets and triplets. It consists of 57 bars of common time with the tempo given as Andante. Chopin Nocturne E minor Op 72 No 1 played by Anastasia Huppmann. Recorded in Austria with www.stillmotion.at Audio and Video Copyright by Anastasia Huppmann #Chopin #Nocturne #classicalmusic #classicalpiano #romanticalmusic
Chopin Nocturne E minor Op 72 No 1 by Anastasia Huppmann
ORF 3 Kultur HEUTE Interview with Anastasia Huppmann Anastasia Huppmann at LECH Classic Festival in Austria
ORF 3 Kultur HEUTE Interview with Anastasia Huppmann
Frédéric Chopin Nocturne in C-sharp minor, Op. posth. Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann The musicologist Arthur Hedley has observed that "As a pianist Chopin was unique in acquiring a reputation of the highest order on the basis of a minimum of public appearances—few more than thirty in the course of his lifetime." Chopin played more frequently in salons, not in big concert venues. He disliked a “public concert-giving” and meant that only an intimate, familiar atmosphere can let you be a witness of real art and feel the music and the artist’s soul deeply. In this concert program with the Title “Notturno” as a leitmotif, recorded at the beautiful chapel Styraburg (built at the 10th century, restored and modernized in the first half of the 19th century, at the times of Chopin’s life) we tried to come closer to the Chopin’s idea of how a piano concert should be like and to demonstrate an extract of the richness of Chopin’s palette of genres and composer’s style. Frederic Chopin composed no fewer than 21 nocturnes over the course of his career and some would argue that Frédéric Chopin Nocturne in C-sharp minor, Op. posth. is one of the most famous. Hauntingly melancholic and interspersed with a host of melodic flavours, this nocturne echoes a synergy of delicate beauty alongside what some would call an unspeakable sadness. This piece particularly resonated with me due to the fact that it was featured in the 2002 Roman Polanski film The Pianist. This non-fictional work followed the life of Polish composer Wladyslaw Szpilman during his bid to stay alive in Nazi-occupied Warsaw. He actually played this piece for a German officer by the name of Wilm Hosenfeld in return for food, clothing and advice on how to survive. Therefore, I consider Nocturne No 20 to represent an interesting combination of desperation and hope. Frédéric Chopin Nocturne in C-sharp minor, Op. posth.
Frédéric Chopin Nocturne in C-sharp minor, Op. posth. LIVE Anastasia Huppmann
Chopin Polonaise Op 40 No 2 in C minor DO NOT MISS! Every week on my channel you can see a new clip of the live concert program from Styer, Austria. Subscribe to be a part of it. 🙂 Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann The musicologist Arthur Hedley has observed that "As a pianist Chopin was unique in acquiring a reputation of the highest order on the basis of a minimum of public appearances—few more than thirty in the course of his lifetime." Chopin played more frequently in salons, not in big concert venues. He disliked a “public concert-giving” and meant that only an intimate, familiar atmosphere can let you be a witness of real art and feel the music and the artist’s soul deeply. In this concert program with the Title “Notturno” as a leitmotif, recorded at the beautiful chapel Styraburg (built at the 10th century, restored and modernized in the first half of the 19th century, at the times of Chopin’s life) we tried to come closer to the Chopin’s idea of how a piano concert should be like and to demonstrate an extract of the richness of Chopin’s palette of genres and composer’s style. In 1840, the Polonaise in C minor was coupled with the Polonaise in A major (composed in 1838) and published in Paris as Op. 40. Chopin dedicated the pieces to Julian Fontana, one of the composer's Warsaw friends. The Chopin Polonaise Op 40 No 2 in C minor has an unusual formal organization. It is a type of compound ternary form with the reprise of the first section truncated: ABA CDC A. In an apparent attempt to make up for the "missing" material, Chopin adds extra weight to the return of the A theme by creating a powerful buildup to it through the repetition and harmonic elaboration of a simple leaping figure in the previous four measures. The eight-measure A theme is itself remarkable in that the melodic material is the sole property of the left hand; the right provides harmonic background. For the B theme, Chopin moves the melodic interest to the right hand, which plays a gestural melody mostly in double notes. A gradual crescendo leads to a return of A. A shift to A flat major heralds the beginning of the middle section, the C theme outlining a triad just as does the A theme. Passages of insistent rhythms alternate with more lyrical ideas as Chopin explores his harmonic palette. The reprise of A begins literally, but soon dissolves into material that provides a convincing close.
Chopin Polonaise Op 40 No 2 in C minor
Chopin Military Polonaise op 40 no 1 in A major DO NOT MISS! Every week on my channel you can see a new clip of the live concert program from Styer, Austria. Subscribe to be a part of it. 🙂 The musicologist Arthur Hedley has observed that "As a pianist Chopin was unique in acquiring a reputation of the highest order on the basis of a minimum of public appearances—few more than thirty in the course of his lifetime." Chopin played more frequently in salons, not in big concert venues. He disliked a “public concert-giving” and meant that only an intimate, familiar atmosphere can let you be a witness of real art and feel the music and the artist’s soul deeply. In this concert program with the Title “Notturno” as a leitmotif, recorded at the beautiful chapel Styraburg (built at the 10th century, restored and modernized in the first half of the 19th century, at the times of Chopin’s life) we tried to come closer to the Chopin’s idea of how a piano concert should be like and to demonstrate an extract of the richness of Chopin’s palette of genres and composer’s style. Chopin Polonaise in A major, Op. 40, No. 1: Embracing a "Chivalrous Soul" I have always admired Frédéric Chopin for his sheer talent as well as for the ways in which he conveys emotions to the listener. From the suffocating sentiments defined by Prelude Opus 28 No. 4 in E minor to the tranquil elation associated with Opus 9 No. 2 in E-flat major, his breadth is only superseded by an innate ability to capture the audience. In order to fully appreciate such talent, I wished to explore every flavour of his compositions. Polonaise in A major (known as the "Military Polonaise") exposed me to yet another facet of this unique personality. The Military Polonaise: Capturing Sonorous Chivalry Many experts describe this piece using words such as "condensed" and "compressed"; neither a coda nor an introduction is present. However, I am immediately transported into what can only be called an 18th century sense of power and supremacy; not unlike the politics associated with the time of Chopin. I am also able to discern several unique elements within the Military Polonaise. Pomp and Splendour Although many listeners might associate this piece with a staccato rhythm, I feel much more when I become engrossed within its beauty. Akin to being baptised into a proud and nationalistic fervour, each note is perfectly matched with the others. I find that replicating the raw emotions within the Military Polonaise represents a personal journey in and of itself. Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann
Chopin Military Polonaise op 40 no 1 in A major
Beethoven Appassionata: A Torrent of Expressive Emotion Mvt 1 : 00:00 Mvt 2 : 10:35 Mvt 3 : 16:41 Beethoven is one of the most renowned composers to have ever lived and within his sheer volume of work, a handful of pieces serve to at least partially define the depths of this composer. One example is certainly the famous Beethoven Appassionata. Full of sound and raw emotional fury, I vacillate between the sublime and the carnal; as if the composer himself is speaking to me through the tones of the keys and the ominous dynamics featured throughout. While I experience a sensation of majesty within the undertones, there is undoubtedly a sense of anger throughout the piece and this serves to highlight how Beethoven himself was interpreting this portion of his life. In order to fully appreciate the Beethoven Appassionata, I found that it was first necessary to delve into the emotional bowels of the composer himself. Beethoven was a man of extremes. Known for fits of rage and a proclivity to fall passionately in love, these very same characteristics were perhaps best suited to be translated into a musical score. However, I believe that it is most important to recognise that this piece was written when he had learned of the severity of his deteriorating hearing loss. As a pianist, I can only imagine what he must have been feeling after such an utter condemnation. Akin to a painter who loses his sight, this is arguably the cruellest curse for a composer; the inability to experience his own creations. While all three of his movements vary in terms of tempo and melody, I quickly learned that there are a handful of themes which can be seen throughout the piece as a while. As contemporary Austrian pianist Carl Czerny pointed out, it seems as if the Beethoven Appassionata represented “ocean waves on a stormy night”. This could very well be an allusion to the sense of loneliness that Beethoven must have felt when he first learned about his irreversible hearing condition. Indeed, I can hear angered and yet silent cries within many of the notes that he chose to use. According to Czerny, Beethoven himself fully recognised that the Appassionata was his must emotionally demanding piece; second only to the subsequent Hammerklavier. I also feel that the reason why so much emotion is achieved is through the use of two lyrically related themes as opposed to ones which markedly contrast with one another (a common practice during this time). As a result, we are immersed within clearly defined moods which compliment one another and allow his raw emotions to resonate even more with the listener. I experience a medley of emotions within this piece. Fury, angst, unrequited love and an unquenched sense of desire are all tones which constantly repeat throughout the three movements. The Appassionata reflects a duality in Beethoven; a desire to love and be loved while at the same time realising that ultimately, such emotions may cause more pain than pleasure. Ludwig van Beethoven Appassionata Piano Sonata No 23 in F minor Op 57 played by Anastasia Huppmann in Vienna too (210 years after) Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann Film, Cut & Edit by stillmotion www.stillmotion.at
Beethoven Appassionata Piano Sonata No 23 in F minor Op 57 FULL
Beethoven Piano Sonata Op 109 No 30 in E major by Anastasia Huppmann Beethoven Sonata Op 109 Ludwig van Beethoven Piano Sonata Op 109 No. 30 in E major is the antepenultimate of his piano sonatas. In it, after the huge Hammerklavier Sonata, Op. 106, Beethoven returns to a smaller scale and a more intimate character. It is dedicated to Maximiliane Brentano, the daughter of Beethoven's long-standing friend Antonie Brentano, for whom Beethoven had already composed the short Piano Trio in B♭ major WoO 39 in 1812. Musically, the work is characterised by a free and original approach to the traditional sonata form. Its focus is the third movement, a set of variations that interpret its theme in a wide variety of individual ways. That has been much speculated and philosophized about the character of the individual keys. Often it has also been doubted whether the keys have any meaning at all. But it is precisely in the last three piano sonatas of Beethoven, which in a certain way may be regarded as a pianistic summary of Beethoven's world of ideas, that the choice of keys is certainly no coincidence, but well-considered. This becomes clear when one recalls the role played by the keys in Beethoven's only opera, Fidelio. C minor and C major stand for the evil and the good, for tyranny and freedom, for darkness and light, for hell and heaven. In the same opera, Fidelio, E major is the key of Leonore, who in the E major part of her great aria climbs into heroic pathos of loving self-sacrifice. The idea of salvation through the "eternal feminine" (Goethe) is certainly also reflected in Beethoven's mysterious "immortal lover". Against this background, it can hardly be a coincidence that the Beethoven Sonata op 109, dedicated to "Miss Maximiliana Brentano", is in the key of E major. One of my great teachers, Paul Badura-Skoda uses to say about this sonata: “The music is a woman, a woman is the music intended. - Stay, you are too beautiful, seems to be the secretive message. The root E lingers throughout the sonata. If the harmony lingers on long stretches, then all love and care must be given to the garlands, the embellishment of the melody. As changeable as the valuation of the word beauty may be. In no sonata did Beethoven spread her cornucopia richer. " Beethoven Sonata 109 consists of three movements: 1st movement The first movement reflects the strong interest that Beethoven developed during this period in structures in which contrasting sections are included parenthetically. The same tendency is manifest in the Missa Solemnis, composed at almost the same time, and in the piano sonatas following this one. A quiet, lyrical, rapid vivace first theme is contrasted, after only eight bars, with a forte adagio second theme full of arpeggios. Even from a purely harmonic point of view, the contrast between the clear major in the first part and the extremely tense diminished seventh chords in the second could hardly be more obvious. 2nd movement The stormy Prestissimo in E minor has been described as one of Beethoven's most tuneful prestissimo movements. This movement is also in sonata form, although the usual contrast between the first subject (E minor) and the second subject (B minor) is completely absent here because of the nature of the thematic material. 3rd movement This movement consists of a theme with six variations of differing character and piano technique. I often feel as if the piano and Beethoven were fashioned from the very same mould; somehow inextricably linked by their very design. I hear his echoes between each and every ivory and ebony key; as if he were still playing to this very day. Many feel that Piano Sonata No. 30 (often referred to simply as Beethoven Sonata 109) is one of his last great pieces. Written a mere seven years before his death, this work was composed near the same time as the Missa Solemnis and his famous Ninth Symphony. However, the Beethoven 109 is seen as being vastly different when compared to his earlier sonatas due to its unique harmonic attributes. It is worth noting that this piece was created following the Hammerklavier (opus 106). He was well aware of the severity of his hearing loss by this time and he had already suffered many emotional upheavals. So, I personally....... WANT TO READ MORE? ... here is the article http://www.anastasiahuppmann.com/beethoven-109/ Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann
Beethoven Piano Sonata Op 109 No 30 in E major FULL
Beethoven Piano Sonata Op 109 No 30 in E major by Anastasia Huppmann Beethoven Sonata Op 109 Ludwig van Beethoven's Piano Sonata No. 30 in E major Op. 109 is the antepenultimate of his piano sonatas. In it, after the huge Hammerklavier Sonata, Op. 106, Beethoven returns to a smaller scale and a more intimate character. It is dedicated to Maximiliane Brentano, the daughter of Beethoven's long-standing friend Antonie Brentano, for whom Beethoven had already composed the short Piano Trio in B♭ major WoO 39 in 1812. Musically, the work is characterised by a free and original approach to the traditional sonata form. Its focus is the third movement, a set of variations that interpret its theme in a wide variety of individual ways. That has been much speculated and philosophized about the character of the individual keys. Often it has also been doubted whether the keys have any meaning at all. But it is precisely in the last three piano sonatas of Beethoven, which in a certain way may be regarded as a pianistic summary of Beethoven's world of ideas, that the choice of keys is certainly no coincidence, but well-considered. This becomes clear when one recalls the role played by the keys in Beethoven's only opera, Fidelio. C minor and C major stand for the evil and the good, for tyranny and freedom, for darkness and light, for hell and heaven. In the same opera, Fidelio, E major is the key of Leonore, who in the E major part of her great aria climbs into heroic pathos of loving self-sacrifice. The idea of salvation through the "eternal feminine" (Goethe) is certainly also reflected in Beethoven's mysterious "immortal lover". Against this background, it can hardly be a coincidence that the Sonata op. 109, dedicated to "Miss Maximiliana Brentano", is in the key of E major. One of my great teachers, Paul Badura-Skoda uses to say to this sonata: “The music is a woman, a woman is the music intended. - Stay, you are too beautiful, seems to be the secretive message. The root E lingers throughout the sonata. If the harmony lingers on long stretches, then all love and care must be given to the garlands, the embellishment of the melody. As changeable as the valuation of the word beauty may be. In no sonata did Beethoven spread her cornucopia richer. " This movement consists of a theme with six variations of differing character and piano technique. Theme The movement opens with a 16-bar theme. The dotted notes emphasise the second beat of the bar, giving this song-like theme something of the character of a Sarabande. Variation 1 This variation keeps the tempo of the theme. Compared with the quartet-like theme, it is more pianistic. The melody is an octave higher, thereby becoming more emotional. It is formed like a "ceremonial Waltz". Variation 2 This variation is marked leggiermente. Whereas the theme and first variation were a binary phrase structure, here we have three variations collated and presented as one. The first texture is a call and response which strongly recalls the beginning of the first movement. The second is a two-voice canon in the right hand over a steady quaver accompaniment. Variation 3 (allegro vivace) This variation breaks away from the original tempo and is marked allegro vivace. It replaces the theme's 3/4 time signature with 2/4. It is a virtuosic Allegro in a two-part contrapuntal texture reminiscent of a two-part invention. This is the only variation in this movement to end on forte. Variation 4 This variation is a little slower than the theme ("etwas langsamer, als das thema. un poco meno andante ciò è un poco più adagio come il tema."). It is in 9/8 time. The first half (repeated) is a contrapuntal texture varying between two and four voices. In the second half, between zero and two voices continue in the same vein over an accompaniment of broken chords. Variation 5 (allegro ma non troppo) After variation 4, Beethoven abandons numbering the variations and just provides tempo indications at the head of the remaining ones. The reasons are unknown. In spite of this, it is usual to refer to the remaining variations as numbers 5 and 6. According to Udo Zilkens, the driving rhythmic energy of the fifth variation gives the impression, at least to begin with, of a complex, many-voiced chorale-like fugue. Variation 6 (tempo primo del tema) In extreme contrast to the energy and speed of the previous variation, this one begins with a four-bar passage marked cantabile, in quiet, slow crotchets at the tempo of the theme. Its peaceful, static character is emphasised by the repeated B in the top voice. WANT TO READ MORE ... here is the article http://www.anastasiahuppmann.com/beethoven-109/ Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann
Beethoven Piano Sonata Op 109 No 30 in E major
Beethoven Moonlight Sonata (actually the Piano Sonata no 14 in C-sharp minor "Quasi una fantasia", Op. 27, No. 2 by Ludwig van Beethoven) is one of the famous classical piano works in the world. Completed was Moonlight Sonata by Beethoven in 1801 and dedicated in 1802 to his pupil, Countess Giulietta Guicciardi."The change that has taken place in me now is caused by a sweet, wonderful girl who loves me and is loved by me." - wrote Beethoven. Moonlight Sonata was published in Bonn, although from the first months of 1802 Juliet had a clear preference for the composer Wenzel Galenberg and, as a result, married him. Six months after writing the sonata, October 6, 1802, Beethoven wrote desperately "Heiligenstadt testament." Some Beethoven scholars believe that it was to the Countess Guicciardi that the composer addressed a letter, known as a letter "to an immortal lover." It was discovered after the death of Beethoven in the secret drawer of his wardrobe. Beethoven kept a miniature portrait of Juliet along with this letter and "Heiligenstadt testament." Moonlight Sonata is one of Beethoven's most popular compositions for the piano. Technically known as Piano Sonata No. 14 in C# Minor, Beethoven’s Moonlight Sonata is arguably one of the most beautiful pieces for piano ever written. It is actually interesting to mention that this piece was originally called sonata quasi una fantasia… which roughly translates to “sonata in the manner of a fantasy”. It was not until the year 1834 when a poet would ascribe it the name that we have come to know and grown to love. Even those who are not fans of classical music are well aware of the opening melody that has come to define the first movement. And it is for this reason that many consider the piece to arguably represent the most well-known work created by such a prolific composer. As a pianist… I naturally wanted to capture the emotions that Beethoven must have been experiencing. However, I also desired to convey the sonorous beauty associated with this work for modern viewers and for my fans in general. My Journey with Beethoven: From the Solemn to the Impetuous Storm The first movement of Moonlight Sonata is dominated by a slow and almost yearning rhythm; as if Beethoven himself were in a state of lamentation. As I played this adagio sostenuto, I soon began to realise that there are some human emotions which are best put into musical form. There is simply no way that words could describe what can only be called a mournful state of beauty. As if I were walking with Beethoven himself underneath the pallid moonlight… I felt completely swept away in a sense of forlorn sorrow and yet, I could not help but to be captivated by this state of sublime rapture. These emotions would soon be replaced by a sense of personal transition which accompanied the second movement and finally, by the extremely turbulent nature associated with the third (presto agitato) section. I felt as if I were being swept off of my emotional feet into a state of ethereal agitation. There was a sense of tempestuous yearning and the frenetic tempo only served to heighten my senses until they hovered somewhere between uncertainty and magnificent bliss... Read more: http://www.anastasiahuppmann.com/moonlight-sonata/ Played by Anastasia Huppmann at the Yamaha Concert Hall in Vienna. Subscribe to my Channel to see more new videos!:-) Join me on: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann
Beethoven Moonlight Sonata Op 27 No 2 FULL
Ludwig van Beethoven Sonata 109 (Piano Sonata No 30 in E major), Part 2 I often feel as if the piano and Beethoven were fashioned from the very same mould; somehow inextricably linked by their very design. I hear his echoes between each and every ivory and ebony key; as if he were still playing to this very day. Many feel that Piano Sonata No. 30 (often referred to simply as Beethoven Sonata 109) is one of his last great pieces. Written a mere seven years before his death, this work was composed near the same time as the Missa Solemnis and his famous Ninth Symphony. However, the Beethoven Sonata 109 is seen as being vastly different when compared to his earlier sonatas due to its unique harmonic attributes. It is worth noting that this piece was created following the Hammerklavier (opus 106). He was well aware of the severity of his hearing loss by this time and he had already suffered many emotional upheavals. So, I personally consider this piece to represent one of his most mature oeuvres and arguably, his last great piano sonata. Was he aware of how his future would be affected by his hearing loss? Did he sense death less than a decade away? Could he know how this piece would impact pianists such as myself for generations to follow? My mind often flirts with these questions as ........ WANT TO READ MORE ... here is the article http://www.anastasiahuppmann.com/beethoven-109/ Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann
Beethoven Sonata 109 No 30 in E major Part 2
Ludwig van Beethoven 109 (Piano Sonata No 30 in E major), Part 1 I often feel as if the piano and Beethoven were fashioned from the very same mould; somehow inextricably linked by their very design. I hear his echoes between each and every ivory and ebony key; as if he were still playing to this very day. Many feel that Piano Sonata No. 30 (often referred to simply as Beethoven 109) is one of his last great pieces. Written a mere seven years before his death, this work was composed near the same time as the Missa Solemnis and his famous Ninth Symphony. However, the Beethoven 109 is seen as being vastly different when compared to his earlier sonatas due to its unique harmonic attributes. It is worth noting that this piece was created following the Hammerklavier (opus 106). He was well aware of the severity of his hearing loss by this time and he had already suffered many emotional upheavals. So, I personally consider this piece to represent one of his most mature oeuvres and arguably, his last great piano sonata. Was he aware of how his future would be affected by his hearing loss? Did he sense death less than a decade away? Could he know how this piece would impact pianists such as myself for generations to follow? My mind often flirts with these questions as ........ WANT TO READ MORE ... here is the article http://www.anastasiahuppmann.com/beethoven-109/ Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann
Beethoven Piano Sonata No 30 in E major Op 109, Part 1
The Nocturne No. 20 in C-sharp minor, Op. posth., Lento con gran espressione, P 1, No. 16, KKIVa/16, is a solo piano piece composed by Frédéric Chopin in 1830 and published in 1870. From the 2002 film "The Pianist". Chopin dedicated the Nocturne in C sharp minor No 20 to his older sister, Ludwika Chopin, with the statement: "To my sister Ludwika as an exercise before beginning the study of my second Concerto". First published 26 years after the composer's death, the Frederic Chopin Nocturne in C sharp minor No 20 is usually referred to as Lento con gran espressione, from its tempo marking. The Frederic Chopin Nocturne in C sharp minor No 20 is sometimes also called Reminiscence. Frederic Chopin Nocturne in C sharp minor No 20 is played and recorded by Anastasia Huppmann in Vienna, Austria. Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann Фредерик Шопен ноктюрн 20, до-диез минор
Frederic Chopin Nocturne No 20 in C sharp minor from "The Pianist" by Anastasia Huppmann 4k UHD HD
The 12th Chopin Revolutionary Etude op 10 no 12 in C minor appeared around the same time as the November Uprising in 1831. Chopin poured his emotions on the matter into many pieces that he composed at that time, the "Revolutionary Étude" standing out as the most notable example. Upon conclusion of Poland's failed revolution against Russia, he cried "All this has caused me much pain. Who could have foreseen it!" Unlike études of prior periods (works designed to emphasize and develop particular aspects of musical technique), the romantic études of composers such as Chopin and Liszt are fully developed musical concert pieces, but still continue to represent a goal of developing stronger technique. The end of the Chopin Revolutionary Etude op 10 no 12 alludes to Ludwig van Beethoven's Piano Sonata No. 32, written in the same key—a piece Chopin is known to have greatly admired – compare bars 77–81 in the Étude to bars 150–152 in the first movement (also ending in C major) of Beethoven's sonata. Chopin Revolutionary Etude op 10 no 12 played and recorded by Anastasia Huppmann LIVE in Steyr. Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann
Chopin Revolutionary Etude op 10 no 12 LIVE Anastasia Huppmann 4K HD
Scarlatti Sonata in d minor k 213 by Anastasia Huppmann Giuseppe Domenico Scarlatti (Naples, 26 October 1685 – Madrid, 23 July 1757) was an Italian composer who spent much of his life in the service of the Portuguese and Spanish royal families. He is classified primarily as a Baroque composer chronologically, although his music was influential in the development of the Classical style and he was one of the few Baroque composers to transition into the classical period. Like his renowned father Alessandro Scarlatti, he composed in a variety of musical forms, although today he is known mainly for his more than 500 keyboard sonatas. One of these keyboard sonatas is known as Scarlatti Sonata in d minor k 213. The character of this wonderful Scarlatti Sonata in d minor k 213 is marked as "affettuoso" by Domenico Scarlatti himself. Scarlatti Sonata in d minor k 213 Played and recorded by Anastasia Huppmann LIVE in Steyr. Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann
Scarlatti Sonata in d minor k 213 LIVE 4K UHD HD by Anastasia Huppmann
The Polonaise in e-flat minor, Op. 26 No. 2 and the Polonaise Op. 26 No. 1 were composed by Frédéric Chopin in 1836, as Frédéric Chopin was 26 years old. So, the Polonaise in C-sharp minor, Op. 26 No. 1 and the Polonaise in E-flat minor, Op. 26 No. 2, both of the Op. 26 was composed at the age of 26. These polonaises were dedicated to Josef Dessauer - an Austrian born composer who wrote many popular songs, and also some less successful operas. He was a friend of many composers of his time, such as Gioachino Rossini, Franz Schubert, Hector Berlioz, Felix Mendelssohn, Franz Liszt and Frédéric Chopin, who dedicated some pieces to him. Played and recorded by Anastasia Huppmann in Vienna for the Label GRAMOLA Wien Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann
Chopin Polonaise Op 26 No 2 in e flat minor by Anastasia Huppmann 4K UHD HD
The Polonaise in C-sharp minor, Op. 26 No. 1 and the Polonaise in E-flat minor, Op. 26 No. 2 were composed by Frédéric Chopin in 1836, as Frédéric Chopin was 26 years old. So, the Polonaise in C-sharp minor, Op. 26 No. 1 and the Polonaise in E-flat minor, Op. 26 No. 2, both of the Op. 26 was composed at the age of 26. These polonaises were dedicated to Josef Dessauer - an Austrian born composer who wrote many popular songs, and also some less successful operas. He was a friend of many composers of his time, such as Gioachino Rossini, Franz Schubert, Hector Berlioz, Felix Mendelssohn, Franz Liszt and Frédéric Chopin, who dedicated some pieces to him. Played and recorded by Anastasia Huppmann in Vienna for the Label GRAMOLA Wien Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann
Chopin Polonaise Op 26 No 1 in C sharp minor by Anastasia Huppmann
Ludwig van Beethoven Appassionata Piano Sonata No. 23 in F minor, Op. 57 movement 3 Allegro ma non troppo — Presto Ludwig van Beethoven Appassionata Piano Sonata No. 23 in F minor, Op. 57 (colloquially known as the Appassionata, meaning "passionate" in Italian) is among the three famous piano sonatas of his middle period (the others being the Waldstein, Op. 53 and Les Adieux, Op. 81a); it was composed during 1804 and 1805, and perhaps 1806, Piano Sonata No 23 in F minor Op 57 Appassionata was dedicated to Count Franz von Brunswick. The first edition was published in February 1807 in Vienna. Ludwig van Beethoven Appassionata Piano Sonata No 23 in F minor Op 57 played by Anastasia Huppmann in Vienna too (210 years after) Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann Film, Cut & Edit by stillmotion www.stillmotion.at
Beethoven Appassionata Piano Sonata No 23 in F minor Op 57 movement 3
The last third movement of the Ludwig van Beethoven´s Piano Sonata No. 23 in F minor, Op. 57 will be uploaded very soon. Subscribe to my channel to watch it first! Ludwig van Beethoven's Piano Sonata No. 23 in F minor, Op. 57 "Appassionata" (colloquially known as the Appassionata, meaning "passionate" in Italian) is among the three famous piano sonatas of his middle period (the others being the Waldstein, Op. 53 and Les Adieux, Op. 81a); it was composed during 1804 and 1805, and perhaps 1806, Piano Sonata No 23 in F minor Op 57 Appassionata was dedicated to Count Franz von Brunswick. The first edition was published in February 1807 in Vienna. Ludwig van Beethoven Piano Sonata No 23 in F minor Op 57 Appassionata played by Anastasia Huppmann in Vienna too (210 years after) Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann Film, Cut & Edit by stillmotion www.stillmotion.at
Ludwig van Beethoven Piano Sonata No 23 in F minor Op 57 Appassionata movement 2
The next two movements of the Ludwig van Beethoven´s Piano Sonata No. 23 in F minor, Op. 57 will be uploaded very soon. Subscribe to my channel to watch it first! Ludwig van Beethoven's Piano Sonata No. 23 in F minor, Op. 57 (colloquially known as the Appassionata, meaning "passionate" in Italian) is among the three famous piano sonatas of his middle period (the others being the Waldstein, Op. 53 and Les Adieux, Op. 81a); it was composed during 1804 and 1805, and perhaps 1806, Piano Sonata No 23 in F minor Op 57 Appassionata was dedicated to Count Franz von Brunswick. The first edition was published in February 1807 in Vienna. Ludwig van Beethoven Piano Sonata No 23 in F minor Op 57 Appassionata played by Anastasia Huppmann in Vienna too (210 years ago) Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann Film, Cut & Edit by stillmotion www.stillmotion.at
Ludwig van Beethoven Piano Sonata No 23 in F minor Op 57 Appassionata movement 1
Chopin Etude Op 10 No 5 black keys played by Anastasia Huppmann in G-flat major, is a study for solo piano composed by Frédéric Chopin in 1830. This work is characterized by the rapid triplet figuration played by the right hand exclusively on black keys.This melodic figuration is accompanied by the left hand in staccato chords and octaves. Chopin Etude Op 10 No 5 black keys is known as the Black Key Étude as its right-hand part is entirely on black keys, except for one note. Leichtentritt states that the melodic character resulting from the use of black keys is based on the pentatonic scale to which the piece owes its strangely playful, attractively primitive tint. Visite: www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia/ twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann/
Chopin Etude Black Keys Op 10 No 5
Liszt Mephisto Waltz No 1, /Liszt Mephisto Walzer Nr. 1 Der Tanz in der Dorfschenke (The Dance in the Village Inn) is the second of two short works he wrote for orchestra. 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. The Mephisto Waltz No 1 is a typical example of program music, taking for its program an episode from Faust, not by Goethe but by Nikolaus Lenau (1802–50). Liszt dedicated the Mephisto Waltz No 1 to Carl Tausig, his favourite pupil. Played by Anastasia Huppmann in Vienna. Liszt Mephisto Walzer Nr. 1 Website: www.anastasiahuppmann.com Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann
Liszt Mephisto Waltz/Mephisto Walzer No 1 S 514 Anastasia Huppmann
Frédéric Chopin Fantaisie Impromptu in C♯ minor Op. posth. 66 was composed in 1834 as were the Four Mazurkas (Op. 17) and the Grande valse brillante in E♭ major (Op. 18), and published posthumously in 1855 even though Chopin had instructed that none of his unpublished manuscripts be published. The Fantaisie-Impromptu is one of Chopin's most frequently performed and popular compositions. Chronologically the first of Chopin’s impromptus, the Fantasy-Impromptu was not intended by the composer for publication. The assumption arose that it was withheld on account of a stated similarity – unintentional, no doubt – to the Impromptu in E flat major by Ignaz Moscheles. However, Arthur Rubinstein, who came into the possession of one of its manuscripts, assumes that this work was sold to a grande dame (the Baroness d’Est), who simply wanted to have it as her exclusive property. One way or another, the C sharp minor Impromptu remained in the composer’s portfolio and, along with the other inedita, was supposed to have been consumed by fire. Ernst Oster observes that the Fantaisie Impromptu draws many of its harmonic and tonal elements from Beethoven's Moonlight Sonata, which is also in C♯ minor, and from the third movement in particular. Two measures after the melody sets in, an abrupt run features the same notes, only one octave higher, like the cadenza in the sonata's third movement (Presto agitato). The climax on a chord is similar in both pieces. Also, the Fantaisie-Impromptu's middle part and the second movement of the Moonlight Sonata are in D♭ major. The first and third movements are in C♯ minor. For those and other reasons, Ernst Oster writes, "Chopin understood Beethoven to a degree that no one who has written on the C♯ minor Sonata or the Fantaisie-Impromptu has ever understood him. ... The Fantaisie-Impromptu is perhaps the only instance where one genius discloses to us—if only by means of a composition of his own—what he actually hears in the work of another genius." This work has the shape of a reprise miniature, like the reverse of a form which is frequent in the nocturnes. In an impromptu, the outer sections are dominated by increased movement, while the middle section brings a dreamy lull. This shape was already familiar to Schubert; Chopin took it up and employed it also in his three later impromptus, establishing the pattern in a way that was far-removed from all schematicism. In his first impromptu, however, he could not avoid a certain schematicism. He did, though, offer a certain innovation in the area of texture. He had each of the hands play in a different metre: the right in duple time, the left in triple time. Hence the outer sections, adhering to an allegro agitato tempo, took on an almost etude-like appearance (bars 5–12). The middle section brings music that is typical of the slow sections of nocturnes. It proceeds at a moderato cantabile tempo, spinning out sotto voce a melody in D flat major, which returns a couple of times, as if unable to find a way out of the labyrinth. The accompaniment, which runs in even triplets – converges with it or nonchalantly avoids it (bars 43–50). Fantaisie Impromptu in C# Minor: An Odyssey of Melodic Genius Frédéric Chopin is undoubtedly one of the most famous pianists of all time. Even those who are unfamiliar with classical music can identify one or more of his tunes; largely due to the fact that have been featured in many modern films. However, to truly understand the genius of Chopin we must delve into the mysteries and emotions embedded within his pieces. One of the reasons why this artist has always intrigued me stems from the technical challenges required in order to play his compositions; particularly his nocturnes. One well-known selection which had fascinated me from a very early age is his Fantaisie Impromptu in C# Minor. Not only will its melodic components take the listener on a sonorous journey through the mind’s eye of the composer, but the rather interesting history surrounding this piece … to read more: http://www.anastasiahuppmann.com/fantaisie-impromptu/ Subscribe to my Channel to see more new videos!:-) Like the video to make me happy!:-) Find me on: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann Anastasia Huppmann LIVE in Vienna, Barock Saal, Altes Rathaus
Frederic Chopin Fantaisie Impromptu in C sharp minor, Op 66
Étude Op. 25, No. 1 in A-flat major is a solo piano work composed by Frédéric Chopin in 1836, and published in 1837. The work consists entirely of rapid arpeggios and harmonic modulations based on A-flat major. By Anastasia Huppmann Robert Schumann praised etude op 25 no 1 in a dissertation on the Études; calling it "a poem rather than a study", he coined for it the alternate name "Aeolian Harp". It is also sometimes known as "The Shepherd Boy," following an unsupported tale by Kleczyński that Chopin advised a pupil to picture a shepherd boy taking refuge in a grotto to avoid a storm playing the melody on his flute. Thanks for watching etude op 25 no 1 Aeolian Harp. Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann Don´t forget to subscribe!;-)
Chopin etude op 25 no 1 Aeolian Harp / The Shepherd Boy
Chopin Etude op 25 no 3 in F major, is a technical study composed by Frédéric Chopin in 1836. The romanticized nickname of the Chopin Etude op 25 no 3 (not given by Chopin, who thought that idea was repulsive) is "The Horseman" or "The Knight", probably because of its "galloping" style. It is mostly a study in rhythm. The Chopin Etude op 25 no 3 has four different voices that must be brought out by the performer. The technical figure consists of lateral movements of the hand that must be played with flourish and refinement. Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann
Chopin Etude op 25 no 3 Anastasia Huppmann
La cathédrale engloutie (The Sunken Cathedral) is a prelude written by the French composer Claude Debussy for solo piano. La cathédrale engloutie (The Sunken Cathedral) was published in 1910 as the tenth prelude in Debussy’s first of two volumes of twelve piano preludes each. It is characteristic of Debussy in its form, harmony, and content. La cathédrale engloutie (The Sunken Cathedral) by Claude Debussy played by Anastasia Huppmann. For more infos visit: www.anastasiahuppmann.com Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann
The Sunken Cathedral - La cathédrale engloutie by Claude Debussy
The Waltz in D-flat major, Op. 64, No. 1, Valse du petit chien, popularly known as the Minute Waltz, is a piano waltz composed by Frédéric Chopin.The Minute Waltz Op 64 No 1 in D-flat major by Chopin is dedicated to the Countess Delfina Potocka. The piece is given the tempo marking Molto vivace. Although the Waltz in D-flat major, Op. 64, No. 1, (Valse du petit chien) by Chopin has long been known as the "Minute" Waltz by Chopin, its nickname was intended to mean "small" in the sense of a "miniature" waltz, given by its publisher. Chopin did not intend for this waltz to be played in one minute. Please support organisations like http://www.vier-pfoten.at/ Chopin Minute Waltz / Minutenwalzer Op. 64 No. 1 in D-flat major played by Anastasia Huppmann Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann
NEW Chopin Minute Waltz / Valse Op 64 No 1 D-flat major 2017 Austria 4K/HD
The Polonaise in A-flat major Op 53 (French: Polonaise héroique,English: Heroic Polonaise) for solo piano, was written by Frédéric Chopin in 1842. The heroic Polonaise in A-flat major Op. 53 by Chopin is one of Chopin's most admired compositions and has long been a favorite of the classical piano repertoire. The Heroic Polonaise in A-flat major Op 53, which is very difficult, requires exceptional piano skills and great virtuosity to be interpreted at a high degree of proficiency. The Heroic Polonaise was dedicated to Auguste Léo. Heroic Polonaise by Chopin played by Anastasia Huppmann Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann
Heroic Polonaise in A-flat major Op 53 - Chopin (rehearsal)
Franz Liszt Hungarian Rhapsody no. 11 played by Anastasia Huppmann in Vienna Franz Liszt’s Hungarian Rhapsodies are fantastic musical pieces based on Hungarian folk music, catchy and rich with dynamic contrasts. Rhapsodies were created in the following order: № 2 – 1847, № 1 - about 1851, №№ 3-15 - about 1853, № 16 - 1882, №№ 17-19 - 1885. When you listen to one of Hungarian Rhapsodies, you immerse yourself in the brilliance of Liszt masterpieces created as a paraphrase of Hungarian folk songs and dances. The form of Liszt's Rhapsodies is based on the contrast between two sections: - slow - "Lassan". In this section, music is like an improvisation or a recitative, proud and very romantic. The slow section of the 11th Hungarian Rhapsody brings you to a forest where the wind moves the leaves, birds sing their beautiful songs and Hungarian cembalists play their music in harmony with nature. - fast - "Friska" or "Czardas". Here, Liszt paints pictures of a folk festival with its lively dances and fun with no restraints. This section requires considerable masterfullness and is usually presented in the form of variations. Anastasia Huppmann - piano http://www.anastasiahuppmann.com
Liszt Hungarian Rhapsody No 11
Frédéric Chopin wrote his Trois nouvelles études ("three new studies") for piano in 1839, as a contribution to "Méthode des méthodes de piano", a piano instruction book by Ignaz Moscheles and François-Joseph Fétis. They are often erroneously described as posthumous. In general, these études display little of the technical brilliance of most of the composers Op 10 and 25, though they do retain Chopin's original formula for harmonic and structural balance. Frederic Chopin three new etudes No. 1 in F minor played by Anastasia Huppmann in Vienna. Many thanks to stillmotion.at More informations: www.anastasiahuppmann.com Follow Anastasia on: Facebook: https://www.facebook.com/huppmannanastasia/ iTunes: https://itunes.apple.com/fm/artist/anastasia-huppmann/id943817259 Spotify: https://play.spotify.com/artist/4UkJILOnbxlCrBG7paRR1s?play=true&utm_source=open.spotify.com&utm_medium=open Twitter: https://twitter.com/anahuppmann?lang=de Instagram: https://www.instagram.com/anastasia_huppmann/
Chopin three new etudes trois nouvelles etudes no 1 f minor
Chopin´s etude op. 25 no. 12 in C minor as well known as Chopin´s etude no.24 or Chopin´s "ocean etude" is the last etude of his 10th and 25th opuses and one of the famous Chopin´s piano works. The video was recorded at the many artist´s permanent meeting place Cafe Hawelka in the heart of Vienna and inspirited by Victor Hugo. Many thanks to our guest painter Christian Horvath and the guys from "Stillmotion". Frederic Chopin Etude Op. 25 No. 12 in C minor "ocean" played by Anastasia Huppmann. More information: Visite: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann
Chopin ocean etude op 25 no 12 [4K/HD] Anastasia Huppmann
Frederic Chopin Etude Op. 25 No. 2 in F minor (Bees) played by Anastasia Huppmann in Vienna, Austria. Even though marked Presto, this Frederic Chopin´s Etude Op. 25 No. 2 in F minor is one of the softer, more lyrical Chopin etudes, with the right hand playing quiet eighth note triplets throughout. Like the Revolutionary Etude, the notes are not difficult as long as the proper fingering is learned; the primary difficulty here is the polyrhythm. The right hand, being in triplets, will naturally have its accents on every third or every sixth note. The left hand, however, does not play one note for every three the right hand plays. Rather, it is in quarter note triplets – it plays one note for every two notes in the right hand. This is similar to the situation found before the G minor arpeggios and introduction of the second theme in Chopin’s Ballade No. 1. Thus, a polyrhythm is established, and it is precisely this polyrhythm that makes this piece so difficult. Perfecting the right hand by itself is easy, and perfecting the left hand by itself is even easier. The problem lies in putting the two hands together! Follow Anastasia on: Facebook: https://www.facebook.com/huppmannanastasia/ iTunes: https://itunes.apple.com/fm/artist/anastasia-huppmann/id943817259 Spotify: https://play.spotify.com/artist/4UkJILOnbxlCrBG7paRR1s?play=true&utm_source=open.spotify.com&utm_medium=open Twitter: https://twitter.com/anahuppmann?lang=de Instagram: https://www.instagram.com/anastasia_huppmann/ Chopin Etude Op 25 No 2 F Minor wird gespielt von Anastasia Huppmann im Wiener Kempinski Hotel. Etude Op. 25 No. 2 in F minor/ Etüde Op. 25 Nr. 2 f-Moll von Frederic Chopin ist eine der weicheren, lyrischen Chopin-Etüden, die mit ihrer edlen Eleganz Pianisten und deren Zuhörer Jahrhunderte lang begeistert hat. Und heute noch begeistert. Die Idee des Videos wurde durch das Zitat: “The one thing we can never get enough of is love. And the one thing we never give enough of is love”, von Henry Miller inspiriert Wir möchten unseren Dank und Lob an das Kempinski Wien Team für die tolle Organisation und Betreuung aussprechen. Aufgenommen mit der neuen Sony FDR-AX100 in 4K Qualität Фредерик Шопен этюд опус 25 номер 2 фа минор.
Chopin Etude Op 25 No 2 F Minor (Bees) 4K/HD
Beethoven Moonlight Sonata (actually the Piano Sonata no 14 in C-sharp minor "Quasi una fantasia", Op. 27, No. 2 by Ludwig van Beethoven) is one of the famous classical piano works in the world. Completed was Moonlight Sonata by Beethoven in 1801 and dedicated in 1802 to his pupil, Countess Giulietta Guicciardi."The change that has taken place in me now is caused by a sweet, wonderful girl who loves me and is loved by me." - wrote Beethoven. Moonlight Sonata was published in Bonn, although from the first months of 1802 Juliet had a clear preference for the composer Wenzel Galenberg and, as a result, married him. Six months after writing the sonata, October 6, 1802, Beethoven wrote desperately "Heiligenstadt testament." Some Beethoven scholars believe that it was to the Countess Guicciardi that the composer addressed a letter, known as a letter "to an immortal lover." It was discovered after the death of Beethoven in the secret drawer of his wardrobe. Beethoven kept a miniature portrait of Juliet along with this letter and "Heiligenstadt testament." Moonlight Sonata is one of Beethoven's most popular compositions for the piano. Beethoven Moonlight Sonata, Movement 3, Presto agitato Movements 1&2 you can find here: https://youtu.be/0Q00Hw2r3b4 Played by Anastasia Huppmann at the Yamaha Concert Hall in Vienna. Subscribe to my Channel to see more new videos!:-) Follow me on: http://www.anastasiahuppmann.com facebook: https://www.facebook.com/huppmannanastasia twitter: https://twitter.com/anahuppmann instagram: https://www.instagram.com/anastasia_huppmann
Beethoven - Moonlight Sonata no 14 op 27 no 2, part 3
Beethoven Moonlight Sonata (actually the Piano Sonata no 14 in C-sharp minor "Quasi una fantasia", Op. 27, No. 2 by Ludwig van Beethoven) is one of the famous classical piano works in the world. Completed was Moonlight Sonata by Beethoven in 1801 and dedicated in 1802 to his pupil, Countess Giulietta Guicciardi."The change that has taken place in me now is caused by a sweet, wonderful girl who loves me and is loved by me." - wrote Beethoven. Moonlight Sonata was published in Bonn, although from the first months of 1802 Juliet had a clear preference for the composer Wenzel Galenberg and, as a result, married him. Six months after writing the sonata, October 6, 1802, Beethoven wrote desperately "Heiligenstadt testament." Some Beethoven scholars believe that it was to the Countess Guicciardi that the composer addressed a letter, known as a letter "to an immortal lover." It was discovered after the death of Beethoven in the secret drawer of his wardrobe. Beethoven kept a miniature portrait of Juliet along with this letter and "Heiligenstadt testament." Moonlight Sonata is one of Beethoven's most popular compositions for the piano. Beethoven Moonlight sonata in 3 movements: Movement 1, Adagio sostenuto Movement 2, Allegretto Movement 3 you can find here: https://youtu.be/c-zCkDOwNTs Played by Anastasia Huppmann at the Yamaha Concert Hall in Vienna. I would be pleased if you subscribe to my Channel!:-) Follow me on: www.anastasiahuppmann.com Facebook: https://www.facebook.com/huppmannanastasia/ iTunes: https://itunes.apple.com/fm/artist/anastasia-huppmann/id943817259 Spotify: https://play.spotify.com/artist/4UkJILOnbxlCrBG7paRR1s?play=true&utm_source=open.spotify.com&utm_medium=open Twitter: https://twitter.com/anahuppmann?lang=de Instagram: https://www.instagram.com/anastasia_huppmann/
Beethoven - Moonlight Sonata Op 27 No 2
www.anastasiahuppmann.com The Études by Frédéric Chopin are three sets of solo studies for the piano. There are twenty-seven overall, comprising two separate collections of twelve, numbered Opus 10 and 25, and a set of three without opus number. The twelve études of Opus 25 were composed at various times between 1832 and 1836, and were published in France, Germany, and England in 1837. Although sets of exercises for piano had been common from the end of the 18th century (Muzio Clementi, J. B. Cramer, Ignaz Moscheles, and Carl Czerny were composers of the most significant), Chopin's not only presented an entirely new set of technical challenges, but were the first to become a regular part of the concert repertoire. His études combine musical substance and technical challenge to form a complete artistic form.They are often held in high regard as the product of mastery of combining the two. His effect on contemporaries such as Franz Liszt was apparent, based on the revision Liszt made to his series of concert études after meeting Chopin. The last of the twenty-four etudes bring the set full circle. In the Etude No. 1 in C major, the right hand consists of extremely fast ascending and descending arpeggios with frequent modulation. In this etude, both hands consist of extremely fast ascending and descending arpeggios with frequent modulation! However, there are numerous differences between the two, as we shall soon see. One does not actually play an arpeggio in the regular sense. Nearly the entire piece is built on a rather fixed but interesting structure. It is easier to look at the excerpt of music above than to explain it in words! This is one of Chopin’s stormiest and most impassioned compositions, and the rigid structure should not prevent one from playing it so, this is one of the more difficult etudes. It is an etude requiring great strength and profound emotion with highly technical demands. The tumultuous arpeggio figurations sweeping up and down the keyboard could signify a violent storm. The rapid and powerful runs in parallel motion achieve a sense of unity and intensity. The frequently accented notes either on- or off-beat are punctuated within the majestic melodic line. This is a study for developing the mobility in both hands, and for maintaining the physical endurance.
Chopin etude op 25 no 12 in C minor
www.anastasiahuppmann.com The Études by Frédéric Chopin are three sets of solo studies for the piano. There are twenty-seven overall, comprising two separate collections of twelve, numbered Opus 10 and 25, and a set of three without opus number. The twelve études of Opus 25 were composed at various times between 1832 and 1836, and were published in France, Germany, and England in 1837. Although sets of exercises for piano had been common from the end of the 18th century (Muzio Clementi, J. B. Cramer, Ignaz Moscheles, and Carl Czerny were composers of the most significant), Chopin's not only presented an entirely new set of technical challenges, but were the first to become a regular part of the concert repertoire. His études combine musical substance and technical challenge to form a complete artistic form.They are often held in high regard as the product of mastery of combining the two. His effect on contemporaries such as Franz Liszt was apparent, based on the revision Liszt made to his series of concert études after meeting Chopin. Even though marked Presto, this is one of the softer, more lyrical Chopin etudes, with the right hand playing quiet eighth note triplets throughout. Like the Revolutionary Etude, the notes are not difficult as long as the proper fingering is learned; the primary difficulty here is the polyrhythm. The right hand, being in triplets, will naturally have its accents on every third or every sixth note. The left hand, however, does not play one note for every three the right hand plays. Rather, it is in quarter note triplets – it plays one note for every two notes in the right hand. This is similar to the situation found before the G minor arpeggios and introduction of the second theme in Chopin’s Ballade No. 1. Thus, a polyrhythm is established, and it is precisely this polyrhythm that makes this piece so difficult. Perfecting the right hand by itself is easy, and perfecting the left hand by itself is even easier. The problem lies in putting the two hands together!
Chopin etude op 25 no 2 in F minor
Hungarian Rhapsody no.2 by Franz Liszt, Part 2 (Friska) with the original Liszt's Kardenz. Played by Anastasia Huppmann in Vienna, Austria. More information and videos can be found on the homepage http://www.anastasiahuppmann.com I would be pleased if you subscribe to my YouTube Channel! Follow Anastasia on: Facebook: https://www.facebook.com/huppmannanastasia/ iTunes: https://itunes.apple.com/fm/artist/anastasia-huppmann/id943817259 Spotify: https://play.spotify.com/artist/4UkJILOnbxlCrBG7paRR1s?play=true&utm_source=open.spotify.com&utm_medium=open Twitter: https://twitter.com/anahuppmann?lang=de Instagram: https://www.instagram.com/anastasia_huppmann/ Franz Liszt - Ungarische Rhapsodie no.2 Part 2 (Friska) mit der originalen Liszt´s Kardenz. Gespielt von MA Anastasia Huppmann in Wien, Österreich. Mehr Informationen und Videos finden Sie auf der Homepage http://www.anastasiahuppmann.com Ich würde mich freuen, wenn Sie meinen YouTube Channel abonieren! Folgen Sie mir auf: Facebook: https://www.facebook.com/huppmannanastasia/ iTunes: https://itunes.apple.com/fm/artist/anastasia-huppmann/id943817259 Spotify: https://play.spotify.com/artist/4UkJILOnbxlCrBG7paRR1s?play=true&utm_source=open.spotify.com&utm_medium=open Twitter: https://twitter.com/anahuppmann?lang=de Instagram: https://www.instagram.com/anastasia_huppmann/
Liszt - Hungarian Rhapsody No 2 played by Anastasia Huppmann
Hungarian Rhapsody no.2 Liszt Part 1 (Lassan) for piano solo, played by Anastasia Huppmann in Vienna, Austria. Here is the 2nd part: https://youtu.be/0FOehn4vpfQ Liszt´s Hungarian Rhapsody no 2 is one of the popular pieces of Franz Liszt More information and videos can be found on the homepage http://www.anastasiahuppmann.com I would be pleased if you subscribe to my YouTube Channel! Follow me on: Facebook: https://www.facebook.com/huppmannanastasia/ iTunes: https://itunes.apple.com/fm/artist/anastasia-huppmann/id943817259 Spotify: https://play.spotify.com/artist/4UkJILOnbxlCrBG7paRR1s?play=true&utm_source=open.spotify.com&utm_medium=open Twitter: https://twitter.com/anahuppmann?lang=de Instagram: https://www.instagram.com/anastasia_huppmann/ Franz Liszt - Ungarische Rhapsodie no.2 Part 1 (Lassan) für Klavier Solo, gespielt von Anastasia Huppmann in Wien, Österreich. Mehr Informationen und Videos finden Sie auf der Homepage http://www.anastasiahuppmann.com Ich würde mich freuen, wenn Sie meinen YouTube Channel abonieren! Folge mir auf: Facebook: https://www.facebook.com/huppmannanastasia/ iTunes: https://itunes.apple.com/fm/artist/anastasia-huppmann/id943817259 Spotify: https://play.spotify.com/artist/4UkJILOnbxlCrBG7paRR1s?play=true&utm_source=open.spotify.com&utm_medium=open Twitter: https://twitter.com/anahuppmann?lang=de Instagram: https://www.instagram.com/anastasia_huppmann/
Liszt - Hungarian Rhapsody No 2 played by Anastasia Huppmann
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