3 Morceaux Op. 12 is written by Leonid Leonidovich Sabaneyev, friend and biographer for Scriabin. Date: 1917-1919 Catalogue: Op. 12 Dedicatee: Tamara Gerasimovna Kuznetsova Order: No. 1 - Album Leaf in D Minor: 0:08 No. 2 - Etude in E Minor: 2:11 No. 3 - Prelude in E Minor: 5:06 Performer: Michael Schäfer on piano Note: This channel does not own the score or audio, and they are only used for non-commercial purposes. ... https://www.youtube.com/watch?v=KoTY7flzGDw

“Scenas Infantis” (“Childhood Memories”) is a popular set of pieces for children by Brazilian composer Octávio Pinto, who dedicated the pieces to his own children. Pinto was not a composer by trade; he was a professional architect who dabbled in music as a hobby. His wife was pianist Guiomar Novaes, who was a fellow student under the tutelage of pedagogue Isidor Philipp. Pinto, while not primarily a musician, was well-connected in the music scene of Brazil even before meeting Novaes. Among his good friends was none other than Heitor Villa-Lobos, the foremost Brazilian composer of the 20th century. Date: 1932 Dedicatees: Anna Maria Pinto (composer’s daughter) Luis Octávio Pinto (composer’s son) Order: No. 1 - Run, Run! (Corre, Corre): 0:08 No. 2 - Ring Around the Rosy! (Roda-Roda!): 1:04 No. 3 - March, Little Soldier! (Marcha, Soldadinho): 2:37 No. 4 - Sleeping Time (Dorme, Nene): 3:37 No. 5 - Hobby Horse (Salta, Salta): 5:24 Performer: Valery Lloyd-Watts on piano Note: This channel does not own the score or audio, and they are only used for non-commercial purposes. ... https://www.youtube.com/watch?v=22pwwhX-Q9g

Dolore for cello and piano is a composition by the Armenian composer and professor Gagik Hovunts, in memory of the late Tevos Vardanyan. The piece begins and ends on D. Hovunts, born in Yerevan, began his music education at the Alexander Spendiaryan Music School. He later graduated from the Komitas State Conservatory of Yerevan, and became a professor there. As a composer, he devised his own tonal system for use. His catalog includes two piano sonatas and several chamber and symphonic works. Hovunts passed away in 2019 at the age of 89. Date: 1975 Catalogue: Op. 22 Dedicatee: Tevos Vardanyan Performers: Xavier Phillips on cello Roustem Saitkoulov on piano Note: This channel does not own the score or audio, and they are only used for non-commercial purposes. Score: Grigor Arakelian, 2015. https://imslp.org/wiki/Dolore_for_Cello_and_Piano%2C_Op.22_%28Hovounts%2C_Gagik%29 ... https://www.youtube.com/watch?v=2EZCnVlZWe8

When one thinks of Dadaism, the genres that often come to mind may include visual collages, assemblages, and photomontages. Dadaism also extended into the world of music, where musicians, with the same mindset as the visual artists, embraced the world of the surreal to express themselves in ways previously unknown. The movement came to be as a reaction to World War I. Those who considered themselves as part of the artistic movement cast away the logic, reason, and aestheticism they associated with the workings of capitalism, and instead took upon the irrational, the chaotic, and the impossible. Czech composer Erwin Schulhoff, as a communist, was certainly no stranger to these values. His “Sonata Er​otic​a” teases the contemporary norms of propriety, just as much as one of his other Dadaist works, the “Symphonia Germanica”, lampoons the postprimomundibellum feelings of nationalism. The Sonata, composed in 1919 around the time of or shortly after the Treaty of Versailles, consists of little else but the vocalizations of a woman in co​itu​s. It, along with “Symphonia Germanica”, remained unpublished and was considered lost until long after he died of tuberculosis at Wülzburg prison in Bavaria, Germany. The first verified performance, or the currently assumed world premiere, was given in 1993 by Loes Luca. The piece is divided into three movements: the Prelude, the nameless main movement, and the Finale. The Prelude contains a session of for​e​play, in which the woman could barely contain her pleasure. Her speech, until near the end, remains coherent. With the second movement, the vocalizations occur far more frequently than words or phrases. The pace of the music accelerates as the feeling of ecstasy becomes more and more intense. Thereafter, the woman can barely speak; she pants individual words when not grunting. She commands her partner to enter deeper, and then to pump faster, faster, and faster just as her cries get louder, louder, and louder. Eventually, the apex is attained, the flower blooms, the bubble bursts, the Actinides reach critical mass, the Pinnacle of Scriabin Piano Sonata No. 4 is achieved, and she explosively blurts out “NOW!!” [“JETZT!!”]. In the middle of a Frenzy of Exultations, the woman entirely gives up speaking past this point, only able to gasp and sputter until her euphoria wears off. The Finale is where the tristesse (“po​st-n​ut clarity”) comes into effect. The woman and her partner lie in bed for a little while, and she attempts to initiate a conversation. At first wistful, she grows only more annoyed by the evasive answers her partner gave in reply to her questions. She leaves the bed and washes at a basin or a bidet. She then urinates into a chamber pot or a ... https://www.youtube.com/watch?v=bTiy38bWOLY