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Jean-Philippe Rameau - Le Rappel des Oiseaux
Jean-Philippe Rameau - Suite in E Minor (Le Rappel des Oiseaux)
Rameau introduces an imitation of nature in Le rappel des Oiseaux (roughly translated as ‘The calling of the birds’). This piece was most likely inspired by Rameau’s friendship with the Jesuit Père Castel, who discussed with the composer the phenomenon and study of birdsong. We would be misguided to regard this (or La Poule, from the G minor Suite) as some sort of silly warbling. There is a clear narrative thread, particularly evident in the second half where we hear the wings slowly losing energy and folding inwards as the birds fall asleep. It is all so wonderfully fetching, and the great medieval Sufi text of the same title describes this music the best (which has no relation to Rameau): ‘… rise up and play / Those liquid notes that steal men’s hearts away’.
Rameau introduces an imitation of nature in Le rappel des Oiseaux (roughly translated as ‘The calling of the birds’). This piece was most likely inspired by Rameau’s friendship with the Jesuit Père Castel, who discussed with the composer the phenomenon and study of birdsong. We would be misguided to regard this (or La Poule, from the G minor Suite) as some sort of silly warbling. There is a clear narrative thread, particularly evident in the second half where we hear the wings slowly losing energy and folding inwards as the birds fall asleep. It is all so wonderfully fetching, and the great medieval Sufi text of the same title describes this music the best (which has no relation to Rameau): ‘… rise up and play / Those liquid notes that steal men’s hearts away’.
O. Messiaen - Vingt Regards sur l'Enfant-Jésus, No. XV - "Le Baiser de l'Enfant-Jésus"
Vingt regards sur l'enfant-Jésus ("Twenty visions of the infant Jesus") is a suite of 20 pieces for solo piano by the French composer Olivier Messiaen (1908–1992). The work is a meditation on the infancy of Jesus. It was composed in 1944 for Yvonne Loriod. A typical performance lasts about two hours.
XV: Le baiser de l’Enfant-Jésus (The Kiss of the Infant Jesus): At each Communion, the Infant Jesus sleeps with us, close to the gate; then he opens it onto the garden and comes forth in a blaze of light to embrace us …
Recorded at Royal Academy of Music (London 2020)
XV: Le baiser de l’Enfant-Jésus (The Kiss of the Infant Jesus): At each Communion, the Infant Jesus sleeps with us, close to the gate; then he opens it onto the garden and comes forth in a blaze of light to embrace us …
Recorded at Royal Academy of Music (London 2020)
Medtner - Fairy Tale Op.20 No.1
Medtner - Fairy Tale Op.20 No.1
Recorded at Royal Academy of Music (London 2019)
The Skazki (‘Märchen’ in German; ‘Contes’ in French; the incorrect ‘Fairy Tales’ in English) were the most personal of Medtner’s idioms and contain his most immediately appealing music: they are miniature tone poems full of atmosphere and colour and are arguably the most neglected ‘great’ piano music in the repertoire.
Recorded at Royal Academy of Music (London 2019)
The Skazki (‘Märchen’ in German; ‘Contes’ in French; the incorrect ‘Fairy Tales’ in English) were the most personal of Medtner’s idioms and contain his most immediately appealing music: they are miniature tone poems full of atmosphere and colour and are arguably the most neglected ‘great’ piano music in the repertoire.
Beethoven - Sonata No. 21 in C major, Op. 53 "Waldstein" (1st movement)
Beethoven - Sonata No. 21 in C major, Op. 53 "Waldstein" (1st movement)
Recorded at Royal Academy of Music (London 2020)
Recorded at Royal Academy of Music (London 2020)
Brahms - Rhapsody Op. 79 No.1
Brahms - Rhapsody Op. 79 No.1 Agitato is the more extensive piece out of the two rhapsodies , with outer sections in sonata form enclosing a lyrical central section in B major and with a coda ending in that key.
In this piece, the thick textures typical to Brahms's composing Style are very present. While playing big chords and rich harmonies, the hands must remain completely outstretched almost throughout the whole piece.
Recorded in November 2019 at Royal Academy of Music.
In this piece, the thick textures typical to Brahms's composing Style are very present. While playing big chords and rich harmonies, the hands must remain completely outstretched almost throughout the whole piece.
Recorded in November 2019 at Royal Academy of Music.
Chopin: Sonata No.2 in B-flat minor, Op.35 Grave – Doppio movimento (1st movement)
Chopin: Sonata No.2 in B-flat minor, Op.35 Grave – Doppio movimento (1st movement)
Recorded at the Royal Academy of Music (2020)
Recorded at the Royal Academy of Music (2020)
Nil Mladin plays Ginastera - Danzas Argentinas
Ginastera - Danzas Argentinas
1. Danza del viejo boyero ("Dance of the Old Herdsman") Op. 2 no. 1
2. Danza de la moza donosa ("Dance of the Donosa Girl") Op. 2 no. 2
3. Danza del gaucho matrero ("Dance of the Outlaw Cowboy"), Op. 2 no. 3
Recorded at Royal Academy of Music (London 2020)
1. Danza del viejo boyero ("Dance of the Old Herdsman") Op. 2 no. 1
2. Danza de la moza donosa ("Dance of the Donosa Girl") Op. 2 no. 2
3. Danza del gaucho matrero ("Dance of the Outlaw Cowboy"), Op. 2 no. 3
Recorded at Royal Academy of Music (London 2020)
Bach Prelude and Fugue in G Minor, Book 1
Nil Mladin
Bach Prelude and Fugue in G Minor, Book 1
Recorded on 02/03/2019 at Royal Academy or Music, London
Bach Prelude and Fugue in G Minor, Book 1
Recorded on 02/03/2019 at Royal Academy or Music, London
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