Results for: chopin favorite piano works
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Anna Yesipova plays Verdi-Liszt Verdi-Liszt "Rigoletto" Fantasy Paraphrase Recorded in 1906 ******************* From (More) Verdi-Liszt "Rigoletto" Fantasy Paraphrase Recorded in 1906 ******************* From Russian Culture Navigator: Bernard Shaw wrote after one of Yesipova's London concerts that her cold disdain for difficulties, the incredible fluency of her fingers, her graceful and haste-free manner of playing, devoid of sentimentality - all that commanded admiration. Esipova's brilliant technique put her in on row with such virtuoso pianists as Anton and Nikolai Rubinshtein, Hans Bulow, Ignacy Paderewski, Josef Hofmann and Clara Schumann. If Anna's father cared to think at all about his daughter's musical future, he must have imagined her as a singer rather than a musician. In her early years she revealed an extraordinary gift for music and a infallible memory. At 7, having heard a piece at a concert, she could repeat it at home with a high degree of exactitude. Above all, she was very fond of singing. However, when she was at a proper age to learn to play the piano, no serious steps were taken. It was not until she turned 13 that Anna got enrolled into the St.-Petersburg Conservatory. Her professor was Alexandr Valluan (Alexandre Villoing), the celebrated teacher of the Rubinshtein brothers. The Polish pianist Theodor Leschetizky, who was working at the Conservatory at the time, was the first to notice the girl's talent. Having heard her play at a public exam, he said: "This little one is possessed, she will be a great artist if she tames her nature". Several years later Leschetizky and Yesipova got married. Under her husband's influence the obstinate and self-willed Anna became more serious and persevering. Her first concerts got favorable reviews. After her debut in December 1871, composer Petr Tchaikovsky noted that Yesipova's virtuosity combined two great merits: impeccable technique and artistic maturity. Critics wrote that she had no equals in sound extraction. Ferencz Liszt was delighted by the exquisite purity and softness of her sound. He presented the young lady with his portrait. An inscription on it read: "To Annette Yesipova. November 10, 1873, Pest. Faithfully, Ferencz Liszt". Within a short period of time Yesipova gave a colossal number of concerts in Russia and Western Europe. In 1876 she receives an invitation to perform in the United States. 105 concerts in half a year! In New York alone she presents 37 programs on her favorite Steinway with which she never parts. The tour was a tremendous success. Yesipova handed out thousands of autographs. Her photos adorned shop-windows in many cities. One newspaper printed her full-size portrait with a cupid holding scores and sent it out to its subscribers. No wonder she had lots of admirers for she was not only a talented pianist, but a very attractive woman. There is a portrait at the St.-Petersburg Conservatory: Anna in an evening gown, a charming figure, proud bearing, grayish green shining eyes... Her rather extravagant clothes matched her extraordinary beauty and feminity. At her last concert in New York she appeared to the public in a star-striped costume symbolizing the American flag. During her nearly 20-year-long concert career Yesipova impressed everyone with her unrelenting stamina. Sometimes a concert lasted 4 hours. She could give two piano concerts in the company of an orchestra and a solo concert of Beethoven's works - all in one evening. Even at the present time of high velocities and the so-called strength pianism few male pianists would break a record set by this indomitable woman. Yesipova's repertoire ranged from Mozart and Beethoven to Schuman, Liszt, Rubinshtein and Arensky. She entranced everyone with her filigree performance of Chopin. The well-known Polish pianist Josef Hofmann once remarked: "I should go to Yesipova to learn to play Chopin's mazurkas". In 1893 she was offered professorship at the St.-Petersburg Conservatory. Among her students was Sergei Prokofiev. The aesthetic gap between them was enormous. To Prokofiev, who favored an entirely different approach to music, Yesipova's demands seemed hopelessly outdated. Nevertheless, her influence on the formation of Prokofiev's technique as well as on the Russian piano school in general is beyond dispute. Unfortunately, today we can judge Yesipova's performance exclusively from the reminiscences left by her contemporaries and critics and from a few recordings made with the help of a special device Welte-Mignon in 1906 . (Less)
Pauline García Viardot - Hai luli - Cecilia Bartoli Pauline García Viardot (1821-1910)
"Hai luli"
Text: Xavier de Maistre
from (More) Pauline García Viardot (1821-1910)
"Hai luli"
Text: Xavier de Maistre
from "Les Prisonniers du Caucase"
In this recording:
Cecilia Bartoli / Chant d'amour (Mélodies française)
Myung-Whung Chung (piano)
(1996)
http://en.wikipedia.org/wiki/Pauline_Garcia-Viardot
Berlioz described singer and composer Pauline Viardot as "one of the greatest artists ... in the past and present history of music." Her musical and dramatic gifts were greatly acclaimed. The circle round her and her husband Louis Viardot was one of the most distinguished in Paris.
Pauline García was born in Paris to a glamorous Spanish opera family, the great Garcias. As a young woman, she was overshadowed by her beautiful older sister, Maria Malibran, the "Enchantress of Nations" but her father, Manuel del Popolo Vicente García, made Pauline his favorite and trained her on the piano and also gave her singing lessons. After his death in 1832, her mother took over her lessons, and after her sister's death, Pauline was assigned to take over as a professional singer. Her vocal range was from F3 to C6.
In her 150 appearances as Orpheus in Gluck's Orfeo et Euridice many agreed that she reached tragic heights rarely seen on stage. In 1862 Charles Dickens called this "a most extraordinary performance - full of quite sublime acting." As well as her phenomenal singing career, she found time to compose four operettas (three to librettos by her lover Ivan Turgenev), much vocal music and a few instrumental works. Robert Schumann's Op 24 and Saint-Saëns' Samson et Delila are dedicated to her. Her songs have actually entered the mainstream after being long neglected. Outside of the well-known vocal arrangements of Chopin's mazurkas, little was performed outside of the salons during her lifetime.
Original text:
Je suis triste, je m'inquiète,
Je ne sais plus que devenir!
Mon bon ami devait venir,
Et je l'attends ici seulette.
Hai luli! Hai luli!
Où donc peut être mon ami?
Je m'assieds pour filer ma laine,
La fil se casse dans ma main:
allons! je filerai demain,
Aujourd'hui je suis trop en peine.
Hai luli! Hai luli!
qu'il fait triste sans son ami.
Si jamais il devient volage,
s'il doit un jour m'abandonner,
le village n'a qu'à brûler,
Et moi-même avec le village!
Hai luli! Hai luli!
A quoi bon vivre sans son ami?
Translation:
I am sad, I am troubled,
I no longer know what will happen!
My true friend ought to come,
And I await him here alone.
Hai luli! Hai luli!
Ah! how sad it is without my love.
I sit myself down to spin my wool,
the thread breaks in my hand...
come, I will spin tomorrow
today, I'm to full of sorrow!
Hai luli! Hai luli!
How sad it is without my love?
If ever he turns fickle,
If one day he should abandon me,
the only thing for the village is to burn
And I with the village.
Hai luli! Hai luli!
What use is it to live without my love? (Less)
LSEE95 4 
2009-03-20 - extension: rar - size: 95 MB
LSEE95 4
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