She was a gifted harpsichordist and composer, known for her delicacy and brilliance. For her, Couperin writes a rondeau with a chromatic descending bass and three couplets, the last of which shows both of these qualities. Obviously it was just as important then as now to get up in the morning, even with a hangover. The hardest thing here is to play all the trills in the tempo that the music demands. Rousseau states in his dictionary of that chaconnes used to be in either two or three beats to a bar, but that those in duple time were now extinct. Austerity was the order of the day, as France was then involved in the War of the Spanish Succession.
The refrain of the chaconne is interspersed with five couplets, and the noble, rather gloomy character remains throughout. The opening piece in this ordre — Les Graces incomparables ou La Conti not recorded here — is a depiction of him and his unaffected manners. He was also in love with the married Duchesse de Bourbon, with whom he had an affair that lasted until death. This is musically one of his most interesting pieces, and is in two distinct parts. The first, marked majestueusement majestically , could be a portrayal of a wedding ceremony with the descending peal of bells heard for a fleeting moment.
But then the mood changes abruptly: marked galamment gallantly , the descending figure is now joyous, jaunty, and accompanied by the interrupted drone of the bagpipe an erotic symbol at the time. Some kind of whirling dance is suggested for sure. She was a gifted child who sang, danced, played the harpsichord and flute, and also composed. At the age of nine she performed for the King. For her, Couperin wrote one of his loveliest rondos, full of tenderness and grace.
That is one quality that is really possible to bring out when playing Couperin on the piano. There are ways, of course, of being expressive on the harpsichord and they are many and varied. But the piano has the potential to go one step further in making a phrase expressive.
Couperin was the epitome of grace, of light and shade, of subtle inflections, of melancholy and lightheartedness. Above all, Couperin wanted music to affect people:. Pour Wilfrid Mellers:. Surtout, il voulait que la musique touche les gens:. Jede Variation beschreibt eine Figur, die auf einem Maskenball erscheint.
Dann erscheint Bescheidenheit in Rosa, gefolgt von Inbrunst in einem fleischfarbenen Mantel. Und nach der Treue? Koketterie mit ihren diversen Farben wunderbar dargestellt durch die drei unterschiedlichen Taktarten in den ersten vier Takten bringt etwas Schwung ins Geschehen. Die schweigende Eifersucht in maurischem Grau begibt sich in einer sehr unheilvollen Variation in die Tiefen der Tastatur. Raserei bzw. Verzweiflung ist die letzte Figur, die auftritt — in Schwarz. Es gibt kein Entweichen. Wilfrid Mellers schreibt:.
Le Tic-Toc-Choc. Offensichtlich war es damals genauso wichtig wie heute, am Morgen aufzustehen, selbst mit einem Kater. Das Schwierigste hier besteht darin, die Triller in dem von der Musik geforderten Tempo zu spielen. Damals stand Enthaltsamkeit auf der Tagesordnung, da Frankreich in den Krieg um die spanische Thronfolge verwickelt war. Nun hatte sich der Prinz in die verheiratete Duchesse de Boubon verliebt, zu der er bis zu seinem Tod eine Beziehung unterhielt. Um sicher zu gehen, wird eine Art wirbelnder Tanz angedeutet. Das ist eine der Eigenschaften, die man wirklich gut herausarbeiten kann, wenn man Couperin auf dem Klavier spielt.
In Couperins eigenen Worten:. Aber das Klavier kann bei der ausdrucksvollen Gestaltung einer Phrase noch einen Schritt weiter gehen. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.
Don't show me this message again. This third splendid selection of Couperin's keyboard music from Angela Hewitt is reported to be the last in the series. The Canadian pianist doesn't reject period style altogether, as her crisp, precise articulation and stylistically faithful ornamentation demonstrate. The Duc de Saint-Simon wrote of him, saying: When his ambitions were thwarted he took pride in licentiousness. He has appeared in concert as a soloist, as a chamber musician, and as an instrumental and vocal accompanist. Marchand has a special interest in Scriabin whose first four sonatas he has recorded as well as the two pieces op.
Baker of the Brown University and author of a book about Scriabin's music wrote: I was particularly moved by the lovely performance of the left-hand nocturne--the best rendition of this difficult work that I have ever heard. The book and the accompanying DVD explain and show fundamentals of piano technique and is written in a clear, concise language suitable for a piano student.
Each chapter includes exercises which give the student practice in the skills covered by the chapter. To this author James Marchand has explained this his interest in left-hand music came from playing the Scriabin pieces op. But Marchand is a teacher with a profound knowledge the educational aspects of piano technique and therefore knows exactly how to practice - gaining maximum result without injuring his valuable equipment his hands.
His recordings of Mozart sonatas bear ample witness to that and he has never suffered any injury. In fact Marchand fall in the category which I have mentioned before, as a pianist who views left-hand playing as a most rewarding musical-intellectual exercise , trying to explore the magic of making one hand sound as two - just like Godowski , Meinders and many others.
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May the world bless us with more of his sort. In Paul Wittgenstein wrote his School for the Left Hand : three volumes with simple drills, small original pieces and finally Wittgenstein's own transcriptions. At the time was the first school of its kind but it was and still is not an ideal for educational purposes and there are many reasons for this. When it comes to technique and fingering the three volumes reflect Wittgenstein's own way of playing which often in fortissimo passages included two or more fingers on one key Wittgenstein always harboured a fear of not being heard through the sound of the orchestra , several other methods which are alien to modern pianists - but most important of all: the educational methods in piano teaching have changed radically since leaving a gap for future left hand pianists.
This is now in the process of being remedied by James Marchand who has embarked upon the project of writing a New School for the Left Hand. Being a very experienced player of left hand piano music, a master transcriber and composer of left hand piano music and an indeed a very experienced piano teacher, James Marchand has all the tools and creative attitudes for this project, which I am proud to recommend as a fine musician, and inventive composer and transcriber and a great human being. During my work on this site I have had the very rewarding experience to come in contact with many piano teacher who have now been approached by pupils who due to handicaps or accidents have now determined to learn to play the piano with their left hand alone or even trying to become pianist for which you can see there is an enormous repertoire.
This would not have happened 30 years ago but has now given these children and grown-ups an opportunity to make music on the same level as their any other pianist and enrich their lives with music. Before embarking on this project James Marchand wrote a very instructive guide for future left hand players and their teachers and which can be downloaded free PDF-file from Marchand's homepage. Original works All Mr. Marchand's sheet music MS appear in computerized print Finale.
Awakenings , 2. Postcard , 3. Homage , 4. Threnody and 5. Fanfare MS Composed September These pieces are meant for the early levels of pupils and perfect little gems. The themes depict the personalities of five of Marchand's pupils. Their names has on purpose been omitted, but according to Marchand's wife, Claire the resemblance is so precise that you wouldn't be in doubt as to who is who. Bill is the great jazz pianist Bill Evans whom James Marchand first heard in and who has been his favorite among jazz pianists since.
Apparently this is the first real jazz composition written for the left hand alone. This jazz composition forms together with Blues for Oscar and For Bill a set and as mentioned above is as far as this author has been able to establish probably the first jazz pieces for the left hand alone ever - although Carol Matz has also written in blues style. Festive Dance Allegro - in sonata-form , 2. Whirling Dance very fast, joyous and Toccata-like. In fact all the movements are written modally - that is in the ancient keys.
Of course you can transpose any of these modal keys at will as long as you observe that the half-tone steps are placed differently from one key to the other. It is in Sonata-Allegro form including a short development. Imagine the opening scene of the ballet Petrouschka and you will have the idea. The second theme should sound like an out-of-tune hand organ.
The working title for the piece was "Passage. Hence, it is a type of funeral dance. It really rolls along at a dizzy speed. Plenty of finger work in this one. The dancers whirl and spin in a drunken frenzy until they all collapse from exhaustion! Marchand was giving some thoughts to the fear all great musicians go through at some time in their lives, whether his inspiration had faded - and then suddenly this piece came to mind and was transcribed in remarkable short time. That it was a Spanish piece was no surprise since James Marchand has a strong affinity towards Spanish music.
MS Transcribed August 26 - 27 and should be played as a set. Buxtehude: Suite no. James Marchand found a complete volume of Buxtehude's suites and was amazed at his style - similar - but different to Bach's or Handel's in originality of harmonies etc. And - yes - Buxtehude included rather unusually two Sarabandes whereas it was normally that Minuets or Gavottes came twice in suites.
List of compositions by François Couperin
This beautiful work was begun on June 22 and finished July 21 and graciously dedicated to me by James Marchand - a great honor indeed, which is undeserved and above and beyond any kind of merit but received with great gratitude not only personally but also on a more national level - since it is the only the second Danish piece of music to be transcribed for the left hand alone - and by this master of the left hand literature, whose transcription of a Carl Nielsen song has made history. Buxtehude was a master on the harpsichord and the especially the organ and he became Johann Sebastian Bach's role model and should certainly be better known.
Click on the Buxtehude link and read more about this extraordinary - and long neglected composer. Marchand's transcription is very typical of his way of working; keeping as close to the original and at the same time being able to see the possibilities for playing it with the left hand alone. A truly remarkable feat and admired by several other left-hand composers. Much of this genial transcription is that it is not that difficult to play and at the same it efficiency is obvious from the first bars. As English nurses were in the vogue at the time even Chouchou had an English governess the titles for the Childrens Corner are all in English.
In Doctor Gradus ad Parnassum Debussy is poking good-natured fun at the piano exercises for young pianists by Clementi's Gradus ad Parnassum. Ironically, I am turning the good Doctor back into a study with my left hand. You will find much in my arrangement that is beneficial for the left hand. This charming jazz waltz is dedicated to James Marchand's wife, Claire and in a mail to this author the composer has given the following story about the dedication: In the U.
If you give them a tip they will play requests. Whenever Claire and I go to such a place we always give the musician a tip and ask them to play Waltz for Debby. In any case, Waltz for Debby reminds me of the many happy times for Claire and me - hence, the dedication.
Bill Evans has through the years meant a lot to Marchand, which can also be seen in connection with his homage to Evans in the piece For Bill. Alexander Brodszky: Be my love Transcribed This brilliant transcriber wrote to me: I had a student playing the original piece, so I would sit next to her looking at the score.
Then it suddenly dawned upon me that I could play it with my left hand alone. Which this author can assure you is really a really great left hand piece. The one above is translated by my own left hand - of course not with Tindall's to mistake it for some Japanese car. But this is a tender and romantic song without any kind of sentimentality and far from Nielsen's Brahms-Beethoven-like force and potency in his symphonies, which led Sibelius to say to him: Carl, I do not reach you to your sock suspenders.
So true - spoken by one great man to another. In Denmark we have a saying: Which are the three thinnest book in the world? Answer: German humor, and counterpoint in Sibelius' works. But in this song he is simplicity itself I did not say easy and as Goethe said. The true meaning is: He who confines himself just to the essentials is greater than he who drowns his message in redundant embellishments - how hard can it be?. But James Marchand catches the true meaning and the mood of this pearl among Danish songs in a most congenial and charming way.
The dedication to me is one of my greatest honors which I'll cherish for years to come. Rachmaninoff: Prelude op. Anton Rubinstein: Staccato Etude Etude op. Richard Strauss: Die Nacht op. Venus and the Venus Mount are two things and Wagner's meaning has been a matter of much discussion. Study op. Sydney, Now - who said anything about musicology being boring?
With Eric Mareo this is certainly not true - tragic as is may be. But here you are presented with a genuine who done it thing the story of which has become a best seller. Now already with his name the mystery starts. This last is the name under which he is buried. Mareo was at the time considered a rather flamboyant musician who brought both theater and symphonic music to New Zealand although New Zealand had three symphony orchestras at that time.
Thelma Clarice Trott - When Mareo was convicted in of murdering his actress wife, Thelma, most New Zealanders believed that justice had been served. But a few were not so sure, including the trial judge and the Crown's overseas medical expert. Moreover, the Crown's star witness, the dancer, Freda Stark was anything but unbiased.
She was not only star witness but a well known lesbian who was having a long term affair with the composer's wife. Those were different times - the evidence against Mareo were scientifically very weak and the Crown's case depended on a person whose interests in the matter would by today's standards have perhaps been investigated more thoroughly - or at least in a different way. Mareo was married twice. With his first wife he had two children who were more or les adult at the time of the tragic incident in He had only been married to Thelma Trott for 48 months and rumors had it that he had become more interested in his musical assistant Eleanor Brownlee.
Stark did not stay at the Mareos' the night of fatal weekend of April but she testified that she had been present when Mareo allegedly poisoned his wife. Freda Stark was famous in the s for dancing stark naked - clad only in gold paint at the Civic Theatre , Auckland. She was an icon to the homosexual community and a familiar face around town and has since become the subject of both a play and a book. The question today is why did the vast majority of New Zealander's believe in Mareo's guilt when the scientific evidence was so weak and the Crown's case depended on a person who by the standards of the day would have been called a sexual pervert?
After the verdict Mr. Mason that by the end of the trial he could not convince [himself] of Mareo's guilt. A most tragic affair which will never find its answer, But whoever and why - Mareo did have a thorough musical training and six pieces in three sets for the left hand has survived him. Bochnia, Markiewiczowna studied first in Krakow where her teachers were E. Eisenberg piano and Z. Jachimecki composition.
From to she carried on her studies in Berlin with B. Eisner piano and H. Leichtentritt composition. After giving concerts for some time in Germany and Poland she became teacher of piano at the Katowice Conservatory in and professor from to - counting among her students A. Jasinski and T. Among her compositions are chamber music for woodwind instruments, piano pieces, a Suite for two and Theme with variations, songs and incidental music. A special place is taken up by her works for children especially the piano school Do Re Mi Fa Sol and many pieces for piano and wind instruments.
At first Martelli studied privately with Jules Moquet harmony. Caussade counterpoint and Charles Marie Widor composition. He then attended the Paris Conservatoire from to Although his musical training had been rather conservative he moved fast toward a new and more complex idiom using atonality and applying strong and almost violent expression and a tendency to consider rhythm as an end in itself. Perhaps this was due to the fact that many of his works met with hostile attitudes in conservative France - whereas a number of his works were performed in the US by notable conductors like Koussevitzky many years before there French premieres.
These traits combined with his contrapuntal methods merits more than with any one else the title of The French Hindemith. Martelli was a very prolific composer and a noted virtuoso of form. His music has been considered perfect in its somewhat limited domain: stylized without any loss of spontaneity; half puppet-show and half commedia dell'arte with a sense of dry Florentine charm mixed with a charming stiffness of masks.
His major orchestral works include: Mors et Juventa , Bas-reliefs assyriens , La bouteille de Panurge after Rabelais - , Concerto for orchestra , Ouverture pour un conte de Boccace , Divertimento for woodwind and brass , Sinfonietta , Suite no. For two instruments: a violin sonata , Seven duos for violin and harp op. Two years later he became teacher at the Institut Jacques- Dalcroze and teacher of chamber music at Technicum Moderne de Musique.
After the war Martin spent two years from in Amsterdam and in he was appointed professor of composition at the Conservatory of Cologne. Originally it was intended to be 12 pieces, but Martin changed his mind and wrote the following dedication on the manuscript: To take your magic fingers for a walk I would have needed twelve magic gardens Now there are but eight, and poor pieces for a fairy. For the Muse punished me in my slow search of sounds Too oft with contempt for my syntheses Due to Lipatti professional conscience he told Martin that he would play them in public when he had wholly assimilated the pieces - in two years.
But - alas - two years later Lipatti died. Why Martin wrote this almost-left-hand-work is not clear, but a good guess would be that he wrote it as a homage to Lipatti's wonderful left-hand technique - and Lipatti himself did compose a sonatine for the left hand alone. Ecole de la main gauche moyenne force op. After his education Martincek in became teacher of music theory and piano at the Faculty of Education of the Comenius University in Trnava and from to teacher at the Academy of Music and Drama - the last four years with title as professor.
Since he has worked as a free-lance composer. Among his orchestral works are a Simple Ouverture ,Valse impromptu , Balkan dances and a Symphony in memoriam Haydn and for strings Animation , Passacaglia and Aria and toccata. Beside these he has composed a Dialogue in form of variations and a Rhapsody - both for piano and orchestra, a number of piano pieces, choral music and chamber works. Preludium pour la main gauche seule Bratislava, His father was a shoemaker and watchman of the local church tower - but Grove's does not tell us what Mrs.
Young Bohuslav was a violin pupil of a local tailor and amateur musician and at the age of ten he wrote his first string quartet after which he entered the Prague Conservatory at the age of sixteen but was expelled twice for not working to the expected satisfaction - being also deeply absorbed in literature and theatre. So he took the great step of moving to Paris becoming a pupil of Albert Roussel. But it is music of both vitality and originality but without any specific common style. Allegro moderato, 2.
Andante, 3. Allegro con brio - an absolutely charming work. Like in the case of Wittgenstein - Hollmann had made many changes in the solo part. Some adaptations had been part of the deal when Hollmann commissioned the work. Altona, Eduard's father was organist in Altona and it was his hope that boy would become a vicar some day. But instead he followed in his father's footsteps and chose music becoming a pupil of Clasing in Hamburg.
Until his father's death in Eduard assisted him at the organ but then he decided to go to Vienna to seek further education in counterpoint and piano from Seyfried and Bocklet. He had already begun composing and when he returned to Hamburg after four years in the Austrian capital he gave a concert which included eighteen of his own pieces. From then on he lived in Hamburg as a very requested teacher securing his name in the history of music as Brahms' only teacher of composition and dedicatee of his B flat major piano concerto op.
Eduard Marxsen with a beautiful layout of the picture. Marxsen composed about seventy pieces - most of them for teaching purposes. Among the other pieces are many for four hands and then a work which attracts attention just by its title: ! Marxsen's op. Trois impromptus pour le piano-forte pour la main gauche op. Schubert and A. Leipzig Rapsodia in G minor, 2. Esercizio in E Flat major, 3.
Scherzo in B flat Minor, 4. Canzonetta in G Major, 5. Danza di fata in A Major and 6. Capriccio in D Major, and they are dedicated to Adolf Henselt. Mashayekhi's first teachers in Iran were Dr. This became one of the two important foundations of his development as a musician - the other being his affinity to Iranian culture.
Among the works of this prolific composer are symphonies, chamber music, works for piano solo and songs - and a great number of works which explore a variety of Iranian traditional instruments. Etude for Piano for left hand only, No. Alireza Mashayekhi's homepage. She has been active as a piano teacher for over 25 years. For the same amount of years she has been a member of the National Guild of Piano Teachers and she has also served as president of the Massachusetts Music Teachers Association-Southeast Chapter.
They also perform together as a piano duet team. In addition to her teaching, Kathleen Massoud enjoys singing in the church choir which her husband directs , doing volunteer work for their church and writing poetry. The Ocean Deep for left or right hand Alfred Publishing. Mathias was a pupil at the Paris Conservatoire and privately of Kalkbrenner and Chopin.
Normally the latter didn't teach beginners or children - unless they proved to be prodigies of extraordinary talent - like Mathias and Karl Filtch who died so young he was a true genius , of whom Liszt said, When he starts playing I will shut up shop. The boy died in , aged fifteen. Each lesson lasted theoretically between 45 minutes and an hour, but would sometimes stretch out over several hours in succession, particularly on Sundays, for the benefit of gifted pupils whom he particularly liked.
Pupils would receive one lesson a week, or more often two or three, depending on their teacher's availability, their own individual needs and their talents, and on the state of their finances. Some pupils maintain that Chopin unofficially taught them practically free of charge, or that they were offered numerous additional lessons. He received an average of five pupils a day and this treadmill - as he called - only lasted six moths of the year. They were his principal source of income and they were even more in demand than those of Liszt or Kalkbrenner.
Among his pupils were Paul Dukas and Isidor Philipp. He also wrote a book of memoirs which is a major source about Chopin as teacher, performer and personality. Maticic took his diploma exams in composition from the Academy in Ljubljana as pupil of Skerjanc in and the following year as a conductor in professor D. After he himself had taught theory at the intermediate music school and at the academy in Ljubljana, he decided upon going to Paris to become a pupil of Nadia Boulanger which he was From to In he became teacher of composition at the Ljubljana University , which lasted until when he began teaching at various conservatories in Paris.
His musical style began with both late Romantic and impressionistic elements when he - after a period of neo-classism - in turned to a more radical modernism His compositional output encompasses two symphonies, two piano concertos, a violin concerto and three sonatas, eighteen etudes, two suites for the piano and electro-acoustic music inspired by Schaeffer.
Matuszewski made his debut as a pianist 26th June in Lodz where he was also engaged to play Beethoven's 3rd piano concerto in But since he could not get permission to participate in the 7th Chopin Piano Competition he emigrated to the US. He has also appeared in Lancut and at other important music centers in his native Poland and a few times he has made tours of Brazil.
Matuszewski has been a very active performer on Radio and TV in Poland, Brazil, USA, Italy and Switzerland and written many articles on music and reviews for a number of well-known newspapers and magazines. Carol Matz studied composing, arranging, and orchestration at the University of Miami with an emphasis on studio and jazz writing and she received the Knight-Ridder Silver Knight Award in Music , sponsored by The Miami Herald. Today she is active as composer, arranger, author and editor of educational piano materials.
She also maintains a piano studio where she enjoys teaching students of all ages and abilities within a wide range of abilities like improvisation, composition, and music appreciation along with an emphasis on artistic expression. In addition to her compositions and arrangements for piano, Carol has written for a variety of ensembles including orchestra, jazz big band , chorus, string quartet and brass quintet.
Carol serves as a keyboard production editor for Alfred Publishing Company. Love Theme from Superman , Cats! Everywhere, Cats! Voicing of the melody involves bringing out the top note of rolled chords in some measures and the top note of blocked chords and intervals in others. Maurat Born:?
Schirmer, Inc. Mentioned in Schirmer's Publication Notes. He took his B. A in , Yale School of Music. McDonald has earned international acclaim both as composer and pianist; the Boston Globe has hailed him with words like: a fresh, inventive, urbane, and keen-witted young composer and a splendid pianist with a born pianist's command of colors, textures, dynamics.
His works have already been performed on four continents and he has served as Cultural Specialist in Mongolia, where he also premiered his work Music for Piano and String Orchestra and he has received invitations from Amsterdam, Budapest, Havana, Montreal, Shanghai, and St. Petersburg to come and perform his works. Traynor Composition Competition for music for viol consort.
McDonald's works center on the piano miniature. He has composed more than six hundred short piano pieces collected in a number of albums, and has also written more than songs, 8 pianos sonatas, 2 string quartets, 2 piano concertos, several orchestral and large ensemble works, and chamber music of many varieties. Meinders got his first piano lessons from his parents at the age of five and then became a pupil of Jan de Man at the Royal Conservatory of The Hague. In he won a national piano competition in the Netherlands and in he won the Prix d'Exellence before he continued his studies in Geneva with the Russian born piano virtuoso Nikita Magaloff on the encouragement of Martha Argerich.
Meinders, one of those old fashioned types who strikes the notes instead of jabbing at them, produces gradations of tone and colours that transcend the dry and unforgiving Husum acoustic and the close microphone placement. Five of his transcriptions revealed a sophisticated pianist-composer in direct line of descent from Franz Liszt, Leopold Godowsky and Earl Wild. International Record Review, Jeremy Nicholas dec. His combination of boundless imagination, considerable compositional skill and ultra-polish offer prospective pianists a source of great joy and fulfillment.
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That worked - Meinders never touched Bratwurst since. Today Meinders only plays chamber music or solo recitals - never with orchestras. As he has told this author:. One of his idols is Leopold Godowski, and he Meinders often spices up the harmonies like Godowski did - but always keeps the style and form in accordance with the original. A left hand transcription is NOT the same as the original but often you have to add some new aspect to the piece to make it a piece of art itself. The original must be respected according to the wishes of Mozart, Brahms etc.
A direct transcription will appear as a crippled version; just take a look at Meinders', Earl Wild's, Arkadi Volodos, Vladimir Horovitz's and Cyprien Katsaris' transcriptions. They are perfect musical gems in their own. They don't prey on some other composers' works more than Beethoven's, Mozart's, Brahms' and other great composers' transcriptions did, and we would not like to live without them. And not only that: Meinders transcribes with a Mozartian ease and speed that leaves me baffled again and again, which confirms my theory about Mozart: To composer the Jupiter Symphony took him only split-seconds.
Then the whole concept was clear to him and the rest was mere manual labor of writing the whole blessed thing down. This explains why he was able to write so much that scholars have estimated that it would take professional note-writer almost a life-time to copy it; he wrote - without sketches - just as long time as you will need to write a shopping list. Meinders works the same way: he sees the concept in a flash and the rest is only "manual labor". A great artist and a great personality.
For my wedding to my beloved Kirsten Borges Hornemann Meinders composed a wedding march both celebrating my 60th. Variations on a theme by Rodriguez Flausino Valle: prelude no. Variations on Ah-vous dirai-je maman MS. Paganini Variations over the And besides this music may be too erotic to be understood properly by very young people. And - I am not the only one with this sort of opinion:. His playing carries a rare blend of color and individuality. And his numerous transcriptions are among the most ingenious of their kind, entirely worthy of standing alongside those of Liszt, Godowsky, and Earl Wild.
Bach's Jesus Joy of Man's Desiring - of which one notable critic wrote: His transcription of Over the Rainbow is a deft piece of keyboard wizardry. Jeremy Nicholas, Record Review London. Bach: Badinerie final movement from Orchestral Suite no. After this I wrote Mr. Katsaris and got a very kind mail - saying that he was no fan of left hand playing or - for that fact - music for four-hand piano or two pianos.
What a pity; a master arranger who doesn't care for the medium! Bach: Concerto for 2 violins and orchestra BWV 2. This movement is one of classical music's wonders. And - almost superfluous to say - is one of classical music's greatest hits. It has been arranged for piano by e.
Myra Hess and made famous by Dinu Lipatti , who used it as a kind of signature tune. Bach: Partita no. This is one of the most ingenious compositions by Bach. It is indeed the pinnacle of expressiveness for organ - more heartfelt than anything ever written for the organ. The harmonic intricacies are so advanced that it leaves Wagner and other minor composer far behind.