Jian'er Zhu_ Piano Works

Great Piano Works Explained
24 lectures - average 33 minutes each (13h 15m)
2022-10 | e-Learning | English | MP4, PDF | 11.07 GB

The piano - with its rich tonal resources, orchestral textures, and ability to convey both melody and harmony - has attracted great composers throughout its history. The result is a repertoire of keyboard works of astonishing size and scope, going far beyond that of any other musical instrument.

If you're already a fan of Russian music of the Imperial Age, you already know at least the name Mily Balakirev, the living link between Glinka, the father of Russian music, and Mussorgsky, Borodin, and Rimsky-Korsakov, the composer who sacrificed much of his composing time to his pupils and part of his life to his insanity, but who nevertheless turned out indubitable masterpieces in several genres. The First Symphony and the symphonic poem Tamara are probably his best-known orchestral works, but his best-known single work in any genre is certainly his Islamy, the piece of pseudo-ethnic, super-virtuoso sex-dance music that Russian pianists still occasionally trot out as an encore.

Recorded live in September 1987, this release features Florentins legendary complete survey of Rachmaninoffs solo piano works. an utterly mindblowing release of the complete Rachmaninoff solo piano music by Italian master pianist Sergio Fiorentino, to whom the piano world owes a huge debt of gratitude for coaxing the master out of retirement and ensuring that his last decade of concerts was recorded. In this set, we find in absolutely stunning sound quality Fiorentinos masterful traversals of Rachmaninoffs solo works, the golden sheen of his sound and refinement of his nuancing as captivating as his passionate and intelligent interpretations. (The Piano Files)

Although Claudio Arrau had impressive credentials as a Liszt player - his only teacher was Martin Krause, who was a student of Liszt - and he performed many of the composer's works early in his career, he neither exploited this association, nor became known as a Liszt specialist. Perhaps this was because Krause warned him not to become a specialist in the music of any one composer, urging him instead to embrace all music. Consequently, the younger Arrau's repertoire was very large; however, as he grew older he concentrated on fewer composers, moving as it were from the universal to the particular applying almost prophetic insight into certain scores, especially those of Beethoven and Liszt.