【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き Chopin Piano Concerto No.2 Op.21 in F minor 蕭邦 鋼琴 協奏曲 第2號 作品21 F小調 萧邦 钢琴 协奏曲 第2号 作品21 F小调 Chopin concierto para piano n.º 2 en fa menor ショパン ピアノ協奏曲 第2番 ヘ短調 Classical music Música clásica クラッシック 古典音樂 古典音乐 #Chopin #Piano #Concerto 00:00 I Maestoso 14:26 II Larghetto 23:42 III Allegro Vivace The Piano Concerto No. 2 in F minor, Op. 21, is a piano concerto composed by Frédéric Chopin in 1829. Chopin composed the piece before he had finished his formal education, at around 20 years of age. It was first performed on 17 March 1830, in Warsaw, Poland, with the composer as soloist. It was the second of his piano concertos to be published (after the Piano Concerto No. 1), and so was designated as "No. 2", even though it was written first. The work contains the three movements typical of instrumental concertos of the period. A typical performance lasts around 30 to 35 minutes. ... https://www.youtube.com/watch?v=na3ILBGhbJQ

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き Corelli 12 Violin Sonatas Op.5 No.1 5-1 Violin Sonata in D major 柯賴里 柯雷里 12首 小提琴 奏嗚曲 作品5 柯赖里 柯雷里 12首 小提琴 奏呜曲 作品5 コレッリ ヴァイオリン・ソナタ集 Classical music Música clásica クラッシック 古典音樂 古典音乐 #Corelli #Violin #Sonata No.1 5-1 Violin Sonata in D major 00:00 I Grave 01:25 Allegro 03:12 II Allegro 05:33 III Allegro 06:32 IV Adagio 09:23 V Allegro Corelli 12 Violin Sonatas Op.5 No.1 5-1 Violin Sonata in D major No.2 5-2 Violin Sonata in B-flat major No.3 5-3 Violin Sonata in C major No.4 5-4 Violin Sonata in F major No.5 5-5 Violin Sonata in G minor No.6 5-6 Violin Sonata in A major No.7 5-7 Violin Sonata in D minor No.8 5-8 Violin Sonata in E minor No.9 5-9 Violin Sonata in A major No.10 5-10 Violin Sonata in F major No.11 5-11 Violin Sonata in E major No.12 5-12 Violin Sonata in D minor Twelve Violin Sonatas, Op. 5 (Sonate a violino e violone o cimbalo) is a collection of 12 violin sonatas by Arcangelo Corelli, first published on 1 January 1700. The first edition is dedicated to Sophia Charlotte, Electress of Brandenburg. The first six are sonate da chiesa and the last six are sonate da camera. The last sonata, No. 12, is a set of 23 variations on the theme La Folia. The title in the first edition. Sonate a violino e violone o cimbalo, calls for a violin, accompanied by a bass violin or harpsichord. The basso continuo part was written in the figured bass notation. There have been different arrangements in performance, ranging from organ, to archlute, to cello. ... https://www.youtube.com/watch?v=YRBl2KIAIpA

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き Liszt Bach Preludes & Fugues S.462 No.2 462-2 BWV 545 李斯特 巴哈 前奏曲與賦格 作品462 李斯特 巴哈 前奏曲与赋格 作品462 Liszt Bach Preludios y fugas リスト バッハ オルガン のための6つの 前奏曲 と フーガ Piano 鋼琴 钢琴 ピアノ Organ 管風琴 Órgano オルガン Classical music Música clásica クラッシック 古典音樂 古典音乐 #Liszt #Bach #Prelude 00:00 Prelude 02:00 Fugue Liszt Bach Preludes & Fugues S.462 No.1 462-1 BWV 543 No.2 462-2 BWV 545 No.3 462-3 BWV 546 No.4 462-4 BWV 547 No.5 462-5 BWV 548 No.6 462-6 BWV 544 ref: Bach Prelude & Fuge BWV 545 https://www.youtube.com/watch?v=4oUBO69h8pg "Six great preludes and fugues" by Liszt, for Bach's BWV 543–548 for piano (S. 462), was composed in 1839–1840 and published in 1852 by C. F. Peters. As a child, Liszt had been instructed by his father to master the keyboard works of Bach, with daily exercises on fugues from the Well-Tempered Clavier (WTC). As a concert pianist, however, Liszt was not drawn to the organ. In 1857, having attended a Bach organ recital at the Frauenkirche, Dresden, which captivated both Clara Schumann and Joseph Joachim, Liszt's reaction had been, "Hm, dry as bones." Nevertheless, as far as Bach's music is concerned, Liszt became highly influential as a performer, transcriber and teacher. Already in 1836, early in his career, it is known that Liszt had developed a reverence for Bach's great "six preludes and fugues", BWV 543–548, or "The Great Six" fugues as they became known in the nineteenth century. In fact the previous year Liszt had eloped to Geneva with Marie d'Agoult, with whom they eventually had three children. After the birth of their first child, Liszt asked his mother in 1836 for his copies of The Art of the Fugue and the Great Six. In the same year Liszt became close to the circle of George Sand and Adolphe Pictet, both Bach devotees. Three years later, writing to Pictet from Rome, Liszt praised the "magnificent" Six Fugues, offering to send him a copy if he lacked one. During his period in Rome, there was a service at the church of the French Embassy, where Liszt performed one of Bach's fugues: according to Stinson, Liszt is unlikely to have had the pedal technique required for any of the Great Six, so almost certainly it was one of the WTC. When Liszt moved to Berlin in 1841, the first concerts where his new piano transcriptions of the Great Six were heard were at the beginning of 1842, with the E minor fugue of BWV 548 at the Singakademie and the A minor fugue of BWV 543 in Potsdam. During that period, as a travelling musician, Liszt's pianistic pyrotechnics proved a huge attraction for concert-goers. The term Lisztomania was coined by Heinrich Heine in 1844 to describe the frenzy generated by his Berlin audiences, even amongst the musically informed. Liszt performed the A minor fugue regularly in Berlin between 1842 and 1850. During this period there were reports that Liszt resorted to stunts in front of live audiences, which prompted possibly deserved charges of charlatanry. In August 1844, Liszt stayed in Montpellier while performing in the region. While there, he met up with his friend Jean-Joseph Bonaventure Laurens, an organist, artist and writer. His friendship with the Schumanns and Mendelssohn and the Bach library he had assembled with them enabled Laurens to become one of the main experts on Bach organ works in France. 40 years later, Laurens' brother recalls their lunchtime conversation. In semi-serious banter, Liszt demonstrated three ways of playing the A minor fugue, a work that Laurens said was so hard that only Liszt might be the only one capable of tackling it. Liszt first gave a straight rendition, which was a perfect classical way of playing; then he gave a second more colourful but still nuanced rendition, which was equally appreciated; finally he provided a third rendition, "as I would play it for the public ... to astonish, as a charlatan!" Laurens then writes that, "lighting a cigar that passed at moments from between his lips to his fingers, executing with his ten fingers the part written for the pedals, and indulging in other tours de force and prestidigitation, he was prodigious, incredible, fabulous, and received gratefully with enthusiasm." Stinson (2006) points out that this kind of gimmickry was not uncommon at that time: "Indeed, [Liszt] is reported to have accompanied Joachim in the last movement of Mendelssohn's Violin Concerto with a lighted cigar in his right hand the entire time!" ... https://www.youtube.com/watch?v=HvswenvKE9g

【Kero】 Score Sheet 譜 樂譜 谱 乐谱 Partitura 楽譜付き Grieg Lyric Pieces Book 2 Op.38 No. 3 38-3 Melodi (Melody) 葛利格 抒情小曲集 第2集 作品38 Grieg Piezas Líricas Libro II Op.38 グリーグ 抒情小曲集 第2集 作品38 Classical music Música clásica クラッシック 古典音樂 古典音乐 #Grieg #Lyric #Pieces Book 2, Op. 38 No. 1 38-1 Berceuse No. 2 38-2 Folkevise (Folk-song) No. 3 38-3 Melodi (Melody) No. 4 38-4 Halling (Dance) No. 5 38-5 Springdans (Spring dance) No. 6 38-6 Elegi (Elegy) No. 7 38-7 Vals (Waltz) No. 8 38-8 Kanon (Canon) Lyric Pieces is a collection of 66 short pieces for solo piano written by Edvard Grieg. They were published in 10 volumes, from 1867 (Op. 12) to 1901 (Op. 71). The collection includes several of his best known pieces, such as Wedding Day at Troldhaugen (Bryllupsdag på Troldhaugen), To Spring (Til våren), March of the Trolls (Trolltog), and Butterfly (Sommerfugl). The theme of the first piece in the set, Arietta, was one of the composer's favorite melodies. He used it to complete the cycle in his last lyric piece, Remembrances (Efterklang) — this time as a waltz. In 2002, Norwegian pianist Leif Ove Andsnes recorded a CD with 24 of the lyric pieces on Grieg's own 1892 Steinway grand piano at Troldhaugen, the composer's residence. The first complete recording of the Lyric Pieces was recorded and released in the Soviet Union by Alexander Goldenweiser in the 1950s. Among other notable pianists to make recordings of the collection are Juhani Lagerspetz, Isabel Mourão, Walter Gieseking, Sviatoslav Richter, Emil Gilels, Eva Knardahl, Andrei Gavrilov, Håkon Austbø, Einar Steen-Nøkleberg, Irina Mejoueva, Gerhard Oppitz, Stephen Hough, Daniel Levy and Javier Perianes. A few recordings and piano rolls of Grieg himself performing also exist, and they have been published by the Norwegian record label Simax. Four of the six pieces from Book V, Op. 54, were orchestrated under the title of Lyric Suite. Both Grieg and Anton Seidl had a hand in the orchestrations. Grieg also orchestrated two of the pieces from Book IX, Op. 68. ... https://www.youtube.com/watch?v=wcrkCUoo-uE