- published: 08 Jan 2017
- views: 138057
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Piano Concerto (Dvořák)
The Concerto for Piano and Orchestra in G minor, Op. 33, was the first of three concertos that Antonín Dvořák completed—it was followed by a violin concerto and then a cello concerto—and the piano concerto is probably the least known and least performed.
As the eminent music critic Harold C. Schonberg put it, Dvořák wrote "an attractive Piano Concerto in G minor with a rather ineffective piano part, a beautiful Violin Concerto in A minor, and a supreme Cello Concerto in B minor".
Background
Dvořák composed his piano concerto from late August through 14 September 1876. Its autograph version contains many corrections, erasures, cuts and additions, the bulk of which were made in the piano part. The work was premiered in Prague on 24 March 1878, with the orchestra of the Prague Provisional Theatre conducted by Adolf Čech with the pianist Karel Slavkovsky.
While working on the concerto, Dvořák himself realized that he had not created a virtuosic piece in which the piano does battle with the orchestra. Dvořák wrote: "I see I am unable to write a Concerto for a virtuoso; I must think of other things." What Dvořák composed instead was a symphonic concerto in which the piano plays a leading part in the orchestra, rather than opposed to it.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Piano_Concerto_(Dvořák)
Concerto for Piano and Wind Instruments (Stravinsky)
The Concerto for Piano and Wind Instruments was written by Igor Stravinsky in Paris in 1923–24. This work was revised in 1950.
It was composed four years after the Symphonies of Wind Instruments, which he wrote upon his arrival in Paris after his stay in Switzerland. These two compositions are from Stravinsky's neoclassical period, and represent a departure from the composer's previous Russian style of The Rite of Spring.
This concerto numbers among many works for piano written about the same time to be played by the composer himself. This is also true of Capriccio for Piano and Orchestra (1929), his Sonata of 1924 and his Serenade in A (1925). He kept the performance rights to himself for a number of years, wanting the engagements for playing this work for himself, as well as urgently desiring to keep "incompetent or Romantic hands" from "interpreting" the piece before undiscriminating audiences.
Orchestration
The orchestra is scored for two flutes, piccolo, two oboes, cor anglais, two clarinets, two bassoons (second bassoon doubling contrabassoon), four horns, four trumpets, three trombones and tuba and accompanied by timpani, cymbals. Although combining winds and piano was unusual at the time, the form had been explored earlier in the twentieth century and would be explored later.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Concerto_for_Piano_and_Wind_Instruments_(Stravinsky)
Piano Concerto (Pierné)
The Piano Concerto in C minor, Op. 12, is a three-movement composition for piano and orchestra by French composer Gabriel Pierné. The piece was completed in early 1887, shortly after Pierné returned to Paris from a three year stay in Rome.
Composition
Lasting roughly twenty minutes in performance, the concerto is composed in three movements:
Style and influences
The concerto has been compared to the music of fellow French composer Camille Saint-Saëns, specifically his Piano Concerto No. 2 in G minor. In the CD liner notes to conductor Juanjo Mena's recording of the Piano Concerto with the BBC Philharmonic, music critic Gerald Larner expanded on the Saint-Saëns comparison, saying:
The most obvious similarity between the two works is in the overall design with a scherzo in the central position place usually occupied by a slow movement. The first movement, however, is entirely Pierné's own, even if the imposing 'Maestoso' introduction does owe something to Saint Saëns. [...] The 'Allegro scherzando,' on the other hand, clearly derives from the Saint-Saëns model, which has the same tempo heading, is in the same key of E flat major and in the same 6/8 metre. There are melodic similarities too. It is no less engaging for that in its elfin rhythms, its brilliant piano writing and its deft scoring for orchestra, not least horn and trumpet.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Piano_Concerto_(Pierné)
Mozart Santos Batista Júnior
Mozart Santos Batista Júnior, usually known simply as Mozart (born 8 November 1979 in Curitiba, Brazil) is a former professional association football player. He played in both the defensive midfielder and attacking midfielder positions.
Club career
Mozart started his career with Paraná Clube, before moving to France with FC Girondins de Bordeaux in 1998, although he did not play any games for them. He returned to play in Brazil for Coritiba and Flamengo, and then moved to Serie A's Reggina Calcio in 2000.
He later played for Spartak Moscow, in the Russian Premier League. He terminated his contract with Spartak in March 2009, and the following month he signed for Palmeiras. Mozart's time at Palmeiras ended in August 2009 when he joined Serie A side Livorno.
International career
Mozart was in the Brazil squad for the 2000 Summer Olympics.
Coaching career
In June 2014 Mozart marked his return to former club Reggina, being appointed as technical collaborator to new head coach Francesco Cozza, a former teammate of his during his time as a player.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Mozart_Santos_Batista_Júnior
Lauda Air Flight 004
Lauda Air Flight 004 was an international passenger flight operated by a Boeing 767-300ER that crashed on 26 May 1991 due to an uncommanded thrust reverser deployment of the No.1 engine in mid-flight, killing all 213 passengers and the 10 crew members on board. To date, it remains the deadliest aviation accident involving a Boeing 767 and the deadliest aviation accident in Thailand. The crash also marked the aircraft type's first fatal incident and first hull-loss.
It was the third serious accident involving an Austrian aircraft, after the crash in 1960 of an Austrian Airlines Vickers Viscount and the crash on 23 September 1989 of a Turbo Commander 690 aircraft which claimed the life of Alfred Dallinger, the Austrian Minister of Social Affairs.
Lauda Air was founded and run by the former Formula One world motor racing champion Niki Lauda. The crash of flight 004 was notable for Lauda's personal involvement in the accident investigation.
History of the flight
At the time of the accident, Lauda Air operated three weekly flights between Bangkok and Vienna. On 26 May 1991, at 23:02 local time, flight NG004 (originating from Hong Kong's Kai Tak Airport), a Boeing 767-3Z9ER, registration OE-LAV, ship name Mozart, took off from Old Bangkok International Airport (Don Mueang International Airport) for its flight to Vienna International Airport with 213 passengers and 10 crew, under the command of Captain Thomas J. Welch (American) and First Officer Josef Thurner (Austrian).
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Lauda_Air_Flight_004
Mozart (software)
Mozart (software) can refer to:
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Mozart_(software)
Dynamics (music)
In music, dynamics are instructions in musical notation to the performer about hearing the loudness of a note or phrase. More generally, dynamics may also include other aspects of the execution of a given piece.
Relative loudness
The two basic dynamic indications in music are:
More subtle degrees of loudness or softness are indicated by:
Beyond f and p, there are also
And so on.
Some pieces contain dynamic designations with more than three f's or p's. In Holst's The Planets, ffff occurs twice in Mars and once in Uranus often punctuated by organ and fff occurs several times throughout the work. It also appears in Heitor Villa-Lobos' Bachianas Brasileiras No. 4 (Prelude), and in Liszt's Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam". The Norman Dello Joio Suite for Piano ends with a crescendo to a ffff, and Tchaikovsky indicated a bassoon solo pppppp in his Pathétique Symphony and ffff in passages of his 1812 Overture and the 2nd movement of his Fifth Symphony.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Dynamics_(music)
Podcasts:
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Igor Stravinsky - Piano Concerto [Concerto for piano and wind instruments] [With score]
Composer: Igor Fyodorovich Stravinsky (17 June 1882 -- 6 April 1971) Piano: Alexander Toradze Orchestra: Rotterdam Philharmonic Orchestra Conductor: Valery Gergiev Concerto for piano and wind instruments, written between 1923-1924 00:00 - I. Largo - Allegro - Più mosso - Maestoso 07:46 - II. Largo - Più mosso - Tempo primo 16:13 - III. Allegro - Agitato - Lento - Stringendo In the early 1920s, the recent war having wreaked havoc on his personal finances, Igor Stravinsky set about ensuring the future security of his family by exploring avenues of musical life more immediately lucrative. One result of this was a rich series of works featuring the pianoforte in a solo role, designed quite specifically with Stravinsky himself as the pianist. In 1921, he fashioned three extracts from the ba...
published: 08 Jan 2017 -
I. Stravinsky: Concerto for piano and windinstruments
Igor Stravinsky (1882 – 1971) Concerto for piano and windinstruments (1923/24) Musikfest Berlin Rundfunk-Sinfonieorchester Berlin Vladimir Jurowski, conductor Tamara Stefanovich, piano Berliner Philharmonie, Main Hall 4 Sept 2021
published: 27 Oct 2021 -
Stravinsky, Piano Concerto - Gergiev, Toradze, Rotterdam Philharmonic Orchestra
Valery Gergiev conducts the Rotterdam Philharmonic Orchestra: Stravinsky's Piano Concerto. Piano: Alexander Toradze
published: 14 May 2013 -
UMich Symphony Band - Igor Stravinsky - Concerto for Piano and Wind Instruments (1924, rev. 1950)
University of Michigan Symphony Band Igor Stravinsky Concerto for Piano and Wind Instruments (1924, revised 1950) Michael Haithcock, conductor Liz Ames, piano September 27, 2019 "ALMOST BAROQUE" Hill Auditorium University of Michigan Ann Arbor, MI recorded and filmed by Dave Schall and Cory Robinson (www.daveschallacoustic.com)
published: 05 Oct 2019 -
Stravinsky: Concerto for piano and wind instruments (1924) with full score
Performers: Philippe Entremont (piano), Robert Craft (conductor), Columbia Symphony Orchestra 0:00 Largo - Allegro - Maestoso 7:11 Largo 14:09 Allegro Programme notes by Steve Lacoste for the LA Phil: When Stravinsky moved from Switzerland to France in June of 1920, the composer could little foresee the tremendous changes that were to occur in both his personal and artistic lives. In February 1921 he met the artist Vera de Bosset (Mme. Serge Sudeikin), who was to become his companion for 50 years, the first 18 of which caused the composer to lead a double life with regards to his wife and family. In the artistic realm, Stravinsky, now a Russian exile as a result of the Bolshevik Revolution, found himself in a Paris dominated intellectually by the French neo-catholic movement known as neo...
published: 28 Jan 2024 -
Igor Stravinsky Concerto for Piano and Wind Instruments
Pianist Dror Biran CCM Wind Symphony Conductor Kevin Holzman
published: 06 Apr 2021 -
Stravinsky Concerto for Piano and Wind Instruments | Lahav's Keynotes
In Lahav's Keynotes, Chief Conductor Lahav Shani elaborates on pieces he performs. In this edition we hear more about Stravinsky's Concerto for Piano and Wind Instruments: "This piece is of a completely different style of anything we heard before by Stravinsky. It shows how much he has developed in his mind as composer."
published: 17 Sep 2020 -
Vazsonyi Plays Stravinsky Concerto for Piano and Wind Instruments
BBC Symphony Orchestra Bernhard Klee, conductor (1936) Balint Vazsonyi, piano (1936-2003) Igor Stravinsky (1882-1971) Concerto for Piano and Wind Instruments (1923-4, revised 1950) 1. Largo - Allegro - Piu mosso - Maestoso - Largo del principo 2. Largo - Piu mosso - Doppia valore - Tempo primo 3. Allegro - Agitato - Lento - Strigendo Digitally colored version of Zachery Veach's intaglio etching of Picasso's Stravinsky sketch. By Zachary Veach (labquest)
published: 15 Jan 2012 -
Stravinsky: Concerto for Piano and Wind Instruments | The Orchestra Now
The Orchestra Now (TŌN) performs Stravinsky's Concerto for Piano and Wind Instruments with conductor Leon Botstein and pianist Blair McMillen in a livestreamed, physically distanced concert from the Fisher Center at Bard on April 10, 2021. https://theorchestranow.org 0:11 Largo—Allegro (slow & dignified, then fast) 8:20 Largo (slow & dignified) 15:02 Allegro (fast) Igor Stravinsky Born: 6/18/1882 in Oranienbaum, Russia Died: 4/6/1971 at age 88 in New York City Written: 1923–24, at age 41; revised in 1950 Premiered: 5/22/1924 at the Paris Opéra; Serge Koussevitzky, conductor; Stravinsky, piano Concert notes by TŌN bass trombonist Jack E. Noble at https://www.theorchestranow.org/stravinskys-concerto-for-piano-and-wind-instruments.
published: 22 Jun 2021
developed with YouTube
21:14
Igor Stravinsky - Piano Concerto [Concerto for piano and wind instruments] [With score]
- Order: Reorder
- Duration: 21:14
- Uploaded Date: 08 Jan 2017
- views: 138057
Composer: Igor Fyodorovich Stravinsky (17 June 1882 -- 6 April 1971)
Piano: Alexander Toradze
Orchestra: Rotterdam Philharmonic Orchestra
Conductor: Valery Ger...
Composer: Igor Fyodorovich Stravinsky (17 June 1882 -- 6 April 1971)
Piano: Alexander Toradze
Orchestra: Rotterdam Philharmonic Orchestra
Conductor: Valery Gergiev
Concerto for piano and wind instruments, written between 1923-1924
00:00 - I. Largo - Allegro - Più mosso - Maestoso
07:46 - II. Largo - Più mosso - Tempo primo
16:13 - III. Allegro - Agitato - Lento - Stringendo
In the early 1920s, the recent war having wreaked havoc on his personal finances, Igor Stravinsky set about ensuring the future security of his family by exploring avenues of musical life more immediately lucrative. One result of this was a rich series of works featuring the pianoforte in a solo role, designed quite specifically with Stravinsky himself as the pianist. In 1921, he fashioned three extracts from the ballet Petrushka into the Trois Mouvements de Petrouchka for Arthur Rubinstein. Finding, however, that he could not successfully bring off so technically demanding a work, the composer made certain that all of his forthcoming pianoforte compositions lay well within the realm of his own technical capabilities. The Concerto for Piano and Winds was composed in 1923-1924 for performance at one of Koussevitzky's Paris Concerts. It is the first representative in a new line of works that would eventually reach into the last decade of his active life, though by the time of Movements in 1959, Stravinsky was no longer in a position to give the premiere himself. In addition, the concerto is the first large-scale concert work to put to use Stravinsky's "new" neo-Classical style. Since the premiere at the Paris Opera House on May 22, 1924, it has become one of his best-known and most dearly loved works.
Perhaps the most immediately striking aspect of the concerto, ignoring the strong affinities that the basic musical gestures have to those of the Baroque era, is the removal of the string section from the ensemble. Only the string basses remain, Stravinsky having decided that the same all-wind ensemble that he had already used in the Symphonies of Wind Instruments, the Octet, and, for all intents and purposes, the opera Mavra better complemented the timbre of the pianoforte.
The work is in three movements: 1) Largo - Allegro; 2) Larghissimo; and 3) Allegro. After the mock-grandiose, fundamentally Baroque Largo orchestral introduction, the piano enters with a rhythmically energized theme from which almost all the material of the movement is drawn in one way or another. Following the precedent set in his last few piano works, the piano is used in a very percussive manner. After a very long absence, sonata form, or something very like it, has returned to Stravinsky's bag of tricks in this movement. The Largo introduction comes back, much modified, as a coda. The piano begins the second movement alone, offering a lyric theme whose gentle steadiness is balanced by thick, ponderous chords beneath. Stravinsky makes room for two cadenzas as the movement unfolds. At the end of the final Allegro movement, the Largo introduction to the first movement is heard from again, only to this time fade away into a pause that suddenly bursts into the Vivo plunge to the final C major cadence. In 1950, Stravinsky made a revision of the concerto, making a few small changes of instrumentation and many more substantial alterations to the metronome and tempo markings; in the 1950 version, the title of the second movement has been changed from Larghissimo to Largo.
[allmusic.com]
Original Video: https://youtu.be/QS7d8fI9hPw
https://wn.com/Igor_Stravinsky_Piano_Concerto_Concerto_For_Piano_And_Wind_Instruments_With_Score
Composer: Igor Fyodorovich Stravinsky (17 June 1882 -- 6 April 1971)
Piano: Alexander Toradze
Orchestra: Rotterdam Philharmonic Orchestra
Conductor: Valery Gergiev
Concerto for piano and wind instruments, written between 1923-1924
00:00 - I. Largo - Allegro - Più mosso - Maestoso
07:46 - II. Largo - Più mosso - Tempo primo
16:13 - III. Allegro - Agitato - Lento - Stringendo
In the early 1920s, the recent war having wreaked havoc on his personal finances, Igor Stravinsky set about ensuring the future security of his family by exploring avenues of musical life more immediately lucrative. One result of this was a rich series of works featuring the pianoforte in a solo role, designed quite specifically with Stravinsky himself as the pianist. In 1921, he fashioned three extracts from the ballet Petrushka into the Trois Mouvements de Petrouchka for Arthur Rubinstein. Finding, however, that he could not successfully bring off so technically demanding a work, the composer made certain that all of his forthcoming pianoforte compositions lay well within the realm of his own technical capabilities. The Concerto for Piano and Winds was composed in 1923-1924 for performance at one of Koussevitzky's Paris Concerts. It is the first representative in a new line of works that would eventually reach into the last decade of his active life, though by the time of Movements in 1959, Stravinsky was no longer in a position to give the premiere himself. In addition, the concerto is the first large-scale concert work to put to use Stravinsky's "new" neo-Classical style. Since the premiere at the Paris Opera House on May 22, 1924, it has become one of his best-known and most dearly loved works.
Perhaps the most immediately striking aspect of the concerto, ignoring the strong affinities that the basic musical gestures have to those of the Baroque era, is the removal of the string section from the ensemble. Only the string basses remain, Stravinsky having decided that the same all-wind ensemble that he had already used in the Symphonies of Wind Instruments, the Octet, and, for all intents and purposes, the opera Mavra better complemented the timbre of the pianoforte.
The work is in three movements: 1) Largo - Allegro; 2) Larghissimo; and 3) Allegro. After the mock-grandiose, fundamentally Baroque Largo orchestral introduction, the piano enters with a rhythmically energized theme from which almost all the material of the movement is drawn in one way or another. Following the precedent set in his last few piano works, the piano is used in a very percussive manner. After a very long absence, sonata form, or something very like it, has returned to Stravinsky's bag of tricks in this movement. The Largo introduction comes back, much modified, as a coda. The piano begins the second movement alone, offering a lyric theme whose gentle steadiness is balanced by thick, ponderous chords beneath. Stravinsky makes room for two cadenzas as the movement unfolds. At the end of the final Allegro movement, the Largo introduction to the first movement is heard from again, only to this time fade away into a pause that suddenly bursts into the Vivo plunge to the final C major cadence. In 1950, Stravinsky made a revision of the concerto, making a few small changes of instrumentation and many more substantial alterations to the metronome and tempo markings; in the 1950 version, the title of the second movement has been changed from Larghissimo to Largo.
[allmusic.com]
Original Video: https://youtu.be/QS7d8fI9hPw
23:38
I. Stravinsky: Concerto for piano and windinstruments
- Order: Reorder
- Duration: 23:38
- Uploaded Date: 27 Oct 2021
- views: 13018
Igor Stravinsky (1882 – 1971)
Concerto for piano and windinstruments (1923/24)
Musikfest Berlin
Rundfunk-Sinfonieorchester Berlin
Vladimir Jurowski, conductor
...
Igor Stravinsky (1882 – 1971)
Concerto for piano and windinstruments (1923/24)
Musikfest Berlin
Rundfunk-Sinfonieorchester Berlin
Vladimir Jurowski, conductor
Tamara Stefanovich, piano
Berliner Philharmonie, Main Hall
4 Sept 2021
https://wn.com/I._Stravinsky_Concerto_For_Piano_And_Windinstruments
Igor Stravinsky (1882 – 1971)
Concerto for piano and windinstruments (1923/24)
Musikfest Berlin
Rundfunk-Sinfonieorchester Berlin
Vladimir Jurowski, conductor
Tamara Stefanovich, piano
Berliner Philharmonie, Main Hall
4 Sept 2021
- published: 27 Oct 2021
- views: 13018
22:24
Stravinsky, Piano Concerto - Gergiev, Toradze, Rotterdam Philharmonic Orchestra
- Order: Reorder
- Duration: 22:24
- Uploaded Date: 14 May 2013
- views: 101448
Valery Gergiev conducts the Rotterdam Philharmonic Orchestra: Stravinsky's Piano Concerto.
Piano: Alexander Toradze
Valery Gergiev conducts the Rotterdam Philharmonic Orchestra: Stravinsky's Piano Concerto.
Piano: Alexander Toradze
https://wn.com/Stravinsky,_Piano_Concerto_Gergiev,_Toradze,_Rotterdam_Philharmonic_Orchestra
Valery Gergiev conducts the Rotterdam Philharmonic Orchestra: Stravinsky's Piano Concerto.
Piano: Alexander Toradze
- published: 14 May 2013
- views: 101448
21:27
UMich Symphony Band - Igor Stravinsky - Concerto for Piano and Wind Instruments (1924, rev. 1950)
- Order: Reorder
- Duration: 21:27
- Uploaded Date: 05 Oct 2019
- views: 7579
University of Michigan Symphony Band
Igor Stravinsky
Concerto for Piano and Wind Instruments (1924, revised 1950)
Michael Haithcock, conductor
Liz Ames, piano...
University of Michigan Symphony Band
Igor Stravinsky
Concerto for Piano and Wind Instruments (1924, revised 1950)
Michael Haithcock, conductor
Liz Ames, piano
September 27, 2019
"ALMOST BAROQUE"
Hill Auditorium
University of Michigan
Ann Arbor, MI
recorded and filmed by
Dave Schall and Cory Robinson
(www.daveschallacoustic.com)
https://wn.com/Umich_Symphony_Band_Igor_Stravinsky_Concerto_For_Piano_And_Wind_Instruments_(1924,_Rev._1950)
University of Michigan Symphony Band
Igor Stravinsky
Concerto for Piano and Wind Instruments (1924, revised 1950)
Michael Haithcock, conductor
Liz Ames, piano
September 27, 2019
"ALMOST BAROQUE"
Hill Auditorium
University of Michigan
Ann Arbor, MI
recorded and filmed by
Dave Schall and Cory Robinson
(www.daveschallacoustic.com)
- published: 05 Oct 2019
- views: 7579
19:11
Stravinsky: Concerto for piano and wind instruments (1924) with full score
- Order: Reorder
- Duration: 19:11
- Uploaded Date: 28 Jan 2024
- views: 760
Performers: Philippe Entremont (piano), Robert Craft (conductor), Columbia Symphony Orchestra
0:00 Largo - Allegro - Maestoso
7:11 Largo
14:09 Allegro
Program...
Performers: Philippe Entremont (piano), Robert Craft (conductor), Columbia Symphony Orchestra
0:00 Largo - Allegro - Maestoso
7:11 Largo
14:09 Allegro
Programme notes by Steve Lacoste for the LA Phil:
When Stravinsky moved from Switzerland to France in June of 1920, the composer could little foresee the tremendous changes that were to occur in both his personal and artistic lives. In February 1921 he met the artist Vera de Bosset (Mme. Serge Sudeikin), who was to become his companion for 50 years, the first 18 of which caused the composer to lead a double life with regards to his wife and family. In the artistic realm, Stravinsky, now a Russian exile as a result of the Bolshevik Revolution, found himself in a Paris dominated intellectually by the French neo-catholic movement known as neo-Thomism, based upon the tenets of medieval scholasticism stemming from the writings of Thomas Aquinas. Neo-Thomism emphasized the work of art as an artifact of order, form, discipline, and, above all, labor and craftsmanship in the service of something distinct from or transcendent of the emotions of the artist; in short, the universal. This “neoclassical” movement was a reaction to the perceived disorder, formlessness, and lack of discipline of an aesthetic that fostered an artist’s individual expression of emotions spiraling out of control; in a word, Romanticism.
Upon entering this ripening intellectual environment and realizing that he was physically, artistically, and spiritually cut off from the Russian folk song that had permeated his work up to this point, Stravinsky chose to re-think his aesthetic position and began to formulate a philosophy of art. This change in his musical thinking took place during the brief two-month period between completion of his Symphonies for Wind Instruments (generally acknowledged as the last work of his “Russian” period) on November 30, 1920, and the fugato of the Octet for Wind Instruments on February 1, 1921.
This aesthetic shift is most notable with regards to Stravinsky’s appropriation of 18th-century forms as working models, and his new emphasis on both wind instruments and the piano to realize the clarity of absolute music free from associations outside of itself. In the words of Stravinsky scholar and biographer Stephen Walsh, “In all Stravinsky’s early neo-classical works the use of classical form is referential rather than organic, and is best interpreted, like his other ‘classical’ devices, as symbolic.” Regarding his use of wind instruments to best realize the sound of his new ideas, Stravinsky put it this way: “wind instruments seem to me more apt to render a certain rigidity of form I had in mind than other instruments… the difference of the volume of these instruments renders more evident the musical architecture.”
Stravinsky completed the Concerto for Piano and Wind Instruments on April 21, 1924. After hearing a private run-through in Paris, the conductor Ernest Ansermet related to a friend: “I’ve just heard Stravinsky’s Piano Concerto, admirably played by the composer. It’s a very important work… in the line of the Octet but in a more monumental style and à la Bach!” True to an 18th-century concerto, Stravinsky’s is made of three movements – fast with slow introduction, slow, fast – but that’s as close as it gets. In light of this statement, we will let no less an authority than Béla Bartók have the final word: “The opinion of some people that Stravinsky’s neoclassical style is based on Bach, Handel, and other composers of their time is a rather superficial one… he turns only to the material of that period, to the patterns of Bach, Handel… Stravinsky uses this material in his own way, arranging and transforming it according to his own individual spirit…. Had he tried also to transpose Bach’s or Handel’s spirit into his work, imitation and not creation would have been the result.”
https://wn.com/Stravinsky_Concerto_For_Piano_And_Wind_Instruments_(1924)_With_Full_Score
Performers: Philippe Entremont (piano), Robert Craft (conductor), Columbia Symphony Orchestra
0:00 Largo - Allegro - Maestoso
7:11 Largo
14:09 Allegro
Programme notes by Steve Lacoste for the LA Phil:
When Stravinsky moved from Switzerland to France in June of 1920, the composer could little foresee the tremendous changes that were to occur in both his personal and artistic lives. In February 1921 he met the artist Vera de Bosset (Mme. Serge Sudeikin), who was to become his companion for 50 years, the first 18 of which caused the composer to lead a double life with regards to his wife and family. In the artistic realm, Stravinsky, now a Russian exile as a result of the Bolshevik Revolution, found himself in a Paris dominated intellectually by the French neo-catholic movement known as neo-Thomism, based upon the tenets of medieval scholasticism stemming from the writings of Thomas Aquinas. Neo-Thomism emphasized the work of art as an artifact of order, form, discipline, and, above all, labor and craftsmanship in the service of something distinct from or transcendent of the emotions of the artist; in short, the universal. This “neoclassical” movement was a reaction to the perceived disorder, formlessness, and lack of discipline of an aesthetic that fostered an artist’s individual expression of emotions spiraling out of control; in a word, Romanticism.
Upon entering this ripening intellectual environment and realizing that he was physically, artistically, and spiritually cut off from the Russian folk song that had permeated his work up to this point, Stravinsky chose to re-think his aesthetic position and began to formulate a philosophy of art. This change in his musical thinking took place during the brief two-month period between completion of his Symphonies for Wind Instruments (generally acknowledged as the last work of his “Russian” period) on November 30, 1920, and the fugato of the Octet for Wind Instruments on February 1, 1921.
This aesthetic shift is most notable with regards to Stravinsky’s appropriation of 18th-century forms as working models, and his new emphasis on both wind instruments and the piano to realize the clarity of absolute music free from associations outside of itself. In the words of Stravinsky scholar and biographer Stephen Walsh, “In all Stravinsky’s early neo-classical works the use of classical form is referential rather than organic, and is best interpreted, like his other ‘classical’ devices, as symbolic.” Regarding his use of wind instruments to best realize the sound of his new ideas, Stravinsky put it this way: “wind instruments seem to me more apt to render a certain rigidity of form I had in mind than other instruments… the difference of the volume of these instruments renders more evident the musical architecture.”
Stravinsky completed the Concerto for Piano and Wind Instruments on April 21, 1924. After hearing a private run-through in Paris, the conductor Ernest Ansermet related to a friend: “I’ve just heard Stravinsky’s Piano Concerto, admirably played by the composer. It’s a very important work… in the line of the Octet but in a more monumental style and à la Bach!” True to an 18th-century concerto, Stravinsky’s is made of three movements – fast with slow introduction, slow, fast – but that’s as close as it gets. In light of this statement, we will let no less an authority than Béla Bartók have the final word: “The opinion of some people that Stravinsky’s neoclassical style is based on Bach, Handel, and other composers of their time is a rather superficial one… he turns only to the material of that period, to the patterns of Bach, Handel… Stravinsky uses this material in his own way, arranging and transforming it according to his own individual spirit…. Had he tried also to transpose Bach’s or Handel’s spirit into his work, imitation and not creation would have been the result.”
- published: 28 Jan 2024
- views: 760
21:31
Igor Stravinsky Concerto for Piano and Wind Instruments
- Order: Reorder
- Duration: 21:31
- Uploaded Date: 06 Apr 2021
- views: 3030
Pianist Dror Biran
CCM Wind Symphony
Conductor Kevin Holzman
Pianist Dror Biran
CCM Wind Symphony
Conductor Kevin Holzman
https://wn.com/Igor_Stravinsky_Concerto_For_Piano_And_Wind_Instruments
Pianist Dror Biran
CCM Wind Symphony
Conductor Kevin Holzman
- published: 06 Apr 2021
- views: 3030
7:23
Stravinsky Concerto for Piano and Wind Instruments | Lahav's Keynotes
- Order: Reorder
- Duration: 7:23
- Uploaded Date: 17 Sep 2020
- views: 1260
In Lahav's Keynotes, Chief Conductor Lahav Shani elaborates on pieces he performs. In this edition we hear more about Stravinsky's Concerto for Piano and Wind I...
In Lahav's Keynotes, Chief Conductor Lahav Shani elaborates on pieces he performs. In this edition we hear more about Stravinsky's Concerto for Piano and Wind Instruments: "This piece is of a completely different style of anything we heard before by Stravinsky. It shows how much he has developed in his mind as composer."
https://wn.com/Stravinsky_Concerto_For_Piano_And_Wind_Instruments_|_Lahav's_Keynotes
In Lahav's Keynotes, Chief Conductor Lahav Shani elaborates on pieces he performs. In this edition we hear more about Stravinsky's Concerto for Piano and Wind Instruments: "This piece is of a completely different style of anything we heard before by Stravinsky. It shows how much he has developed in his mind as composer."
- published: 17 Sep 2020
- views: 1260
21:37
Vazsonyi Plays Stravinsky Concerto for Piano and Wind Instruments
- Order: Reorder
- Duration: 21:37
- Uploaded Date: 15 Jan 2012
- views: 9171
BBC Symphony Orchestra
Bernhard Klee, conductor (1936)
Balint Vazsonyi, piano (1936-2003)
Igor Stravinsky (1882-1971)
Concerto for Piano and Wind Instrume...
BBC Symphony Orchestra
Bernhard Klee, conductor (1936)
Balint Vazsonyi, piano (1936-2003)
Igor Stravinsky (1882-1971)
Concerto for Piano and Wind Instruments (1923-4, revised 1950)
1. Largo - Allegro - Piu mosso - Maestoso - Largo del principo
2. Largo - Piu mosso - Doppia valore - Tempo primo
3. Allegro - Agitato - Lento - Strigendo
Digitally colored version of Zachery Veach's intaglio etching of Picasso's Stravinsky sketch.
By Zachary Veach (labquest)
https://wn.com/Vazsonyi_Plays_Stravinsky_Concerto_For_Piano_And_Wind_Instruments
BBC Symphony Orchestra
Bernhard Klee, conductor (1936)
Balint Vazsonyi, piano (1936-2003)
Igor Stravinsky (1882-1971)
Concerto for Piano and Wind Instruments (1923-4, revised 1950)
1. Largo - Allegro - Piu mosso - Maestoso - Largo del principo
2. Largo - Piu mosso - Doppia valore - Tempo primo
3. Allegro - Agitato - Lento - Strigendo
Digitally colored version of Zachery Veach's intaglio etching of Picasso's Stravinsky sketch.
By Zachary Veach (labquest)
- published: 15 Jan 2012
- views: 9171
20:28
Stravinsky: Concerto for Piano and Wind Instruments | The Orchestra Now
- Order: Reorder
- Duration: 20:28
- Uploaded Date: 22 Jun 2021
- views: 2906
The Orchestra Now (TŌN) performs Stravinsky's Concerto for Piano and Wind Instruments with conductor Leon Botstein and pianist Blair McMillen in a livestreamed,...
The Orchestra Now (TŌN) performs Stravinsky's Concerto for Piano and Wind Instruments with conductor Leon Botstein and pianist Blair McMillen in a livestreamed, physically distanced concert from the Fisher Center at Bard on April 10, 2021.
https://theorchestranow.org
0:11 Largo—Allegro (slow & dignified, then fast)
8:20 Largo (slow & dignified)
15:02 Allegro (fast)
Igor Stravinsky
Born: 6/18/1882 in Oranienbaum, Russia
Died: 4/6/1971 at age 88 in New York City
Written: 1923–24, at age 41; revised in 1950
Premiered: 5/22/1924 at the Paris Opéra; Serge Koussevitzky, conductor; Stravinsky, piano
Concert notes by TŌN bass trombonist Jack E. Noble at https://www.theorchestranow.org/stravinskys-concerto-for-piano-and-wind-instruments.
https://wn.com/Stravinsky_Concerto_For_Piano_And_Wind_Instruments_|_The_Orchestra_Now
The Orchestra Now (TŌN) performs Stravinsky's Concerto for Piano and Wind Instruments with conductor Leon Botstein and pianist Blair McMillen in a livestreamed, physically distanced concert from the Fisher Center at Bard on April 10, 2021.
https://theorchestranow.org
0:11 Largo—Allegro (slow & dignified, then fast)
8:20 Largo (slow & dignified)
15:02 Allegro (fast)
Igor Stravinsky
Born: 6/18/1882 in Oranienbaum, Russia
Died: 4/6/1971 at age 88 in New York City
Written: 1923–24, at age 41; revised in 1950
Premiered: 5/22/1924 at the Paris Opéra; Serge Koussevitzky, conductor; Stravinsky, piano
Concert notes by TŌN bass trombonist Jack E. Noble at https://www.theorchestranow.org/stravinskys-concerto-for-piano-and-wind-instruments.
- published: 22 Jun 2021
- views: 2906
21:14
Igor Stravinsky - Piano Concerto [Concerto for piano and wind instruments] [With score]
Composer: Igor Fyodorovich Stravinsky (17 June 1882 -- 6 April 1971)
Piano: Alexander Tora...
published: 08 Jan 2017
Igor Stravinsky - Piano Concerto [Concerto for piano and wind instruments] [With score]
Igor Stravinsky - Piano Concerto [Concerto for piano and wind instruments] [With score]
- Report rights infringement
- published: 08 Jan 2017
- views: 138057
Composer: Igor Fyodorovich Stravinsky (17 June 1882 -- 6 April 1971)
Piano: Alexander Toradze
Orchestra: Rotterdam Philharmonic Orchestra
Conductor: Valery Gergiev
Concerto for piano and wind instruments, written between 1923-1924
00:00 - I. Largo - Allegro - Più mosso - Maestoso
07:46 - II. Largo - Più mosso - Tempo primo
16:13 - III. Allegro - Agitato - Lento - Stringendo
In the early 1920s, the recent war having wreaked havoc on his personal finances, Igor Stravinsky set about ensuring the future security of his family by exploring avenues of musical life more immediately lucrative. One result of this was a rich series of works featuring the pianoforte in a solo role, designed quite specifically with Stravinsky himself as the pianist. In 1921, he fashioned three extracts from the ballet Petrushka into the Trois Mouvements de Petrouchka for Arthur Rubinstein. Finding, however, that he could not successfully bring off so technically demanding a work, the composer made certain that all of his forthcoming pianoforte compositions lay well within the realm of his own technical capabilities. The Concerto for Piano and Winds was composed in 1923-1924 for performance at one of Koussevitzky's Paris Concerts. It is the first representative in a new line of works that would eventually reach into the last decade of his active life, though by the time of Movements in 1959, Stravinsky was no longer in a position to give the premiere himself. In addition, the concerto is the first large-scale concert work to put to use Stravinsky's "new" neo-Classical style. Since the premiere at the Paris Opera House on May 22, 1924, it has become one of his best-known and most dearly loved works.
Perhaps the most immediately striking aspect of the concerto, ignoring the strong affinities that the basic musical gestures have to those of the Baroque era, is the removal of the string section from the ensemble. Only the string basses remain, Stravinsky having decided that the same all-wind ensemble that he had already used in the Symphonies of Wind Instruments, the Octet, and, for all intents and purposes, the opera Mavra better complemented the timbre of the pianoforte.
The work is in three movements: 1) Largo - Allegro; 2) Larghissimo; and 3) Allegro. After the mock-grandiose, fundamentally Baroque Largo orchestral introduction, the piano enters with a rhythmically energized theme from which almost all the material of the movement is drawn in one way or another. Following the precedent set in his last few piano works, the piano is used in a very percussive manner. After a very long absence, sonata form, or something very like it, has returned to Stravinsky's bag of tricks in this movement. The Largo introduction comes back, much modified, as a coda. The piano begins the second movement alone, offering a lyric theme whose gentle steadiness is balanced by thick, ponderous chords beneath. Stravinsky makes room for two cadenzas as the movement unfolds. At the end of the final Allegro movement, the Largo introduction to the first movement is heard from again, only to this time fade away into a pause that suddenly bursts into the Vivo plunge to the final C major cadence. In 1950, Stravinsky made a revision of the concerto, making a few small changes of instrumentation and many more substantial alterations to the metronome and tempo markings; in the 1950 version, the title of the second movement has been changed from Larghissimo to Largo.
[allmusic.com]
Original Video: https://youtu.be/QS7d8fI9hPw
23:38
I. Stravinsky: Concerto for piano and windinstruments
Igor Stravinsky (1882 – 1971)
Concerto for piano and windinstruments (1923/24)
Musikfest ...
published: 27 Oct 2021
I. Stravinsky: Concerto for piano and windinstruments
I. Stravinsky: Concerto for piano and windinstruments
- Report rights infringement
- published: 27 Oct 2021
- views: 13018
Igor Stravinsky (1882 – 1971)
Concerto for piano and windinstruments (1923/24)
Musikfest Berlin
Rundfunk-Sinfonieorchester Berlin
Vladimir Jurowski, conductor
Tamara Stefanovich, piano
Berliner Philharmonie, Main Hall
4 Sept 2021
22:24
Stravinsky, Piano Concerto - Gergiev, Toradze, Rotterdam Philharmonic Orchestra
Valery Gergiev conducts the Rotterdam Philharmonic Orchestra: Stravinsky's Piano Concerto....
published: 14 May 2013
Stravinsky, Piano Concerto - Gergiev, Toradze, Rotterdam Philharmonic Orchestra
Stravinsky, Piano Concerto - Gergiev, Toradze, Rotterdam Philharmonic Orchestra
- Report rights infringement
- published: 14 May 2013
- views: 101448
Valery Gergiev conducts the Rotterdam Philharmonic Orchestra: Stravinsky's Piano Concerto.
Piano: Alexander Toradze
21:27
UMich Symphony Band - Igor Stravinsky - Concerto for Piano and Wind Instruments (1924, rev. 1950)
University of Michigan Symphony Band
Igor Stravinsky
Concerto for Piano and Wind Instrume...
published: 05 Oct 2019
UMich Symphony Band - Igor Stravinsky - Concerto for Piano and Wind Instruments (1924, rev. 1950)
UMich Symphony Band - Igor Stravinsky - Concerto for Piano and Wind Instruments (1924, rev. 1950)
- Report rights infringement
- published: 05 Oct 2019
- views: 7579
University of Michigan Symphony Band
Igor Stravinsky
Concerto for Piano and Wind Instruments (1924, revised 1950)
Michael Haithcock, conductor
Liz Ames, piano
September 27, 2019
"ALMOST BAROQUE"
Hill Auditorium
University of Michigan
Ann Arbor, MI
recorded and filmed by
Dave Schall and Cory Robinson
(www.daveschallacoustic.com)
19:11
Stravinsky: Concerto for piano and wind instruments (1924) with full score
Performers: Philippe Entremont (piano), Robert Craft (conductor), Columbia Symphony Orches...
published: 28 Jan 2024
Stravinsky: Concerto for piano and wind instruments (1924) with full score
Stravinsky: Concerto for piano and wind instruments (1924) with full score
- Report rights infringement
- published: 28 Jan 2024
- views: 760
Performers: Philippe Entremont (piano), Robert Craft (conductor), Columbia Symphony Orchestra
0:00 Largo - Allegro - Maestoso
7:11 Largo
14:09 Allegro
Programme notes by Steve Lacoste for the LA Phil:
When Stravinsky moved from Switzerland to France in June of 1920, the composer could little foresee the tremendous changes that were to occur in both his personal and artistic lives. In February 1921 he met the artist Vera de Bosset (Mme. Serge Sudeikin), who was to become his companion for 50 years, the first 18 of which caused the composer to lead a double life with regards to his wife and family. In the artistic realm, Stravinsky, now a Russian exile as a result of the Bolshevik Revolution, found himself in a Paris dominated intellectually by the French neo-catholic movement known as neo-Thomism, based upon the tenets of medieval scholasticism stemming from the writings of Thomas Aquinas. Neo-Thomism emphasized the work of art as an artifact of order, form, discipline, and, above all, labor and craftsmanship in the service of something distinct from or transcendent of the emotions of the artist; in short, the universal. This “neoclassical” movement was a reaction to the perceived disorder, formlessness, and lack of discipline of an aesthetic that fostered an artist’s individual expression of emotions spiraling out of control; in a word, Romanticism.
Upon entering this ripening intellectual environment and realizing that he was physically, artistically, and spiritually cut off from the Russian folk song that had permeated his work up to this point, Stravinsky chose to re-think his aesthetic position and began to formulate a philosophy of art. This change in his musical thinking took place during the brief two-month period between completion of his Symphonies for Wind Instruments (generally acknowledged as the last work of his “Russian” period) on November 30, 1920, and the fugato of the Octet for Wind Instruments on February 1, 1921.
This aesthetic shift is most notable with regards to Stravinsky’s appropriation of 18th-century forms as working models, and his new emphasis on both wind instruments and the piano to realize the clarity of absolute music free from associations outside of itself. In the words of Stravinsky scholar and biographer Stephen Walsh, “In all Stravinsky’s early neo-classical works the use of classical form is referential rather than organic, and is best interpreted, like his other ‘classical’ devices, as symbolic.” Regarding his use of wind instruments to best realize the sound of his new ideas, Stravinsky put it this way: “wind instruments seem to me more apt to render a certain rigidity of form I had in mind than other instruments… the difference of the volume of these instruments renders more evident the musical architecture.”
Stravinsky completed the Concerto for Piano and Wind Instruments on April 21, 1924. After hearing a private run-through in Paris, the conductor Ernest Ansermet related to a friend: “I’ve just heard Stravinsky’s Piano Concerto, admirably played by the composer. It’s a very important work… in the line of the Octet but in a more monumental style and à la Bach!” True to an 18th-century concerto, Stravinsky’s is made of three movements – fast with slow introduction, slow, fast – but that’s as close as it gets. In light of this statement, we will let no less an authority than Béla Bartók have the final word: “The opinion of some people that Stravinsky’s neoclassical style is based on Bach, Handel, and other composers of their time is a rather superficial one… he turns only to the material of that period, to the patterns of Bach, Handel… Stravinsky uses this material in his own way, arranging and transforming it according to his own individual spirit…. Had he tried also to transpose Bach’s or Handel’s spirit into his work, imitation and not creation would have been the result.”
21:31
Igor Stravinsky Concerto for Piano and Wind Instruments
Pianist Dror Biran
CCM Wind Symphony
Conductor Kevin Holzman
published: 06 Apr 2021
Igor Stravinsky Concerto for Piano and Wind Instruments
Igor Stravinsky Concerto for Piano and Wind Instruments
- Report rights infringement
- published: 06 Apr 2021
- views: 3030
Pianist Dror Biran
CCM Wind Symphony
Conductor Kevin Holzman
7:23
Stravinsky Concerto for Piano and Wind Instruments | Lahav's Keynotes
In Lahav's Keynotes, Chief Conductor Lahav Shani elaborates on pieces he performs. In this...
published: 17 Sep 2020
Stravinsky Concerto for Piano and Wind Instruments | Lahav's Keynotes
Stravinsky Concerto for Piano and Wind Instruments | Lahav's Keynotes
- Report rights infringement
- published: 17 Sep 2020
- views: 1260
In Lahav's Keynotes, Chief Conductor Lahav Shani elaborates on pieces he performs. In this edition we hear more about Stravinsky's Concerto for Piano and Wind Instruments: "This piece is of a completely different style of anything we heard before by Stravinsky. It shows how much he has developed in his mind as composer."
21:37
Vazsonyi Plays Stravinsky Concerto for Piano and Wind Instruments
BBC Symphony Orchestra
Bernhard Klee, conductor (1936)
Balint Vazsonyi, piano (1936-2003...
published: 15 Jan 2012
Vazsonyi Plays Stravinsky Concerto for Piano and Wind Instruments
Vazsonyi Plays Stravinsky Concerto for Piano and Wind Instruments
- Report rights infringement
- published: 15 Jan 2012
- views: 9171
BBC Symphony Orchestra
Bernhard Klee, conductor (1936)
Balint Vazsonyi, piano (1936-2003)
Igor Stravinsky (1882-1971)
Concerto for Piano and Wind Instruments (1923-4, revised 1950)
1. Largo - Allegro - Piu mosso - Maestoso - Largo del principo
2. Largo - Piu mosso - Doppia valore - Tempo primo
3. Allegro - Agitato - Lento - Strigendo
Digitally colored version of Zachery Veach's intaglio etching of Picasso's Stravinsky sketch.
By Zachary Veach (labquest)
20:28
Stravinsky: Concerto for Piano and Wind Instruments | The Orchestra Now
The Orchestra Now (TŌN) performs Stravinsky's Concerto for Piano and Wind Instruments with...
published: 22 Jun 2021
Stravinsky: Concerto for Piano and Wind Instruments | The Orchestra Now
Stravinsky: Concerto for Piano and Wind Instruments | The Orchestra Now
- Report rights infringement
- published: 22 Jun 2021
- views: 2906
The Orchestra Now (TŌN) performs Stravinsky's Concerto for Piano and Wind Instruments with conductor Leon Botstein and pianist Blair McMillen in a livestreamed, physically distanced concert from the Fisher Center at Bard on April 10, 2021.
https://theorchestranow.org
0:11 Largo—Allegro (slow & dignified, then fast)
8:20 Largo (slow & dignified)
15:02 Allegro (fast)
Igor Stravinsky
Born: 6/18/1882 in Oranienbaum, Russia
Died: 4/6/1971 at age 88 in New York City
Written: 1923–24, at age 41; revised in 1950
Premiered: 5/22/1924 at the Paris Opéra; Serge Koussevitzky, conductor; Stravinsky, piano
Concert notes by TŌN bass trombonist Jack E. Noble at https://www.theorchestranow.org/stravinskys-concerto-for-piano-and-wind-instruments.
Piano Concerto (Dvořák)
The Concerto for Piano and Orchestra in G minor, Op. 33, was the first of three concertos that Antonín Dvořák completed—it was followed by a violin concerto and then a cello concerto—and the piano concerto is probably the least known and least performed.
As the eminent music critic Harold C. Schonberg put it, Dvořák wrote "an attractive Piano Concerto in G minor with a rather ineffective piano part, a beautiful Violin Concerto in A minor, and a supreme Cello Concerto in B minor".
Background
Dvořák composed his piano concerto from late August through 14 September 1876. Its autograph version contains many corrections, erasures, cuts and additions, the bulk of which were made in the piano part. The work was premiered in Prague on 24 March 1878, with the orchestra of the Prague Provisional Theatre conducted by Adolf Čech with the pianist Karel Slavkovsky.
While working on the concerto, Dvořák himself realized that he had not created a virtuosic piece in which the piano does battle with the orchestra. Dvořák wrote: "I see I am unable to write a Concerto for a virtuoso; I must think of other things." What Dvořák composed instead was a symphonic concerto in which the piano plays a leading part in the orchestra, rather than opposed to it.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Piano_Concerto_(Dvořák)
Igor Stravinsky - Piano Concerto [Concerto for pia...
I. Stravinsky: Concerto for piano and windinstrume...
Stravinsky, Piano Concerto - Gergiev, Toradze, Rot...
UMich Symphony Band - Igor Stravinsky - Concerto f...
Stravinsky: Concerto for piano and wind instrument...
Igor Stravinsky Concerto for Piano and Wind Instru...
Stravinsky Concerto for Piano and Wind Instruments...
Vazsonyi Plays Stravinsky Concerto for Piano and W...