CLASSICAL
MUSIC

Concert Booking : Mia Angelova - https://www.miaangelova.com Instagram - _mia_angelova_pianist https://www.instagram.com/_mia_angelova_pianist/?hl=de Listen to Mia Angelova: Spotify - Mia Angelova https://open.spotify.com/artist/1yz6RbdfHUf5XqVsF4Nmn5 Video - Andreas Hoyer http://andreashoyer.com Film at - Concert Hall Vienna https://www.konzertsaalwien.at ———————————————————————- LIEBESTRÄUME (German for Dreams of Love) is a set of three solo piano works by Franz Liszt, published in 1850. Originally the three Liebesträume were conceived as lieder after poems by Ludwig Uhland and Ferdinand Freiligrath. In 1850, two versions appeared simultaneously as a set of songs for high voice and piano, and as transcriptions for piano two-hands. The two poems by Uhland and the one by Freiligrath depict three different forms of love. Freiligrath's poem for the third nocturne is about unconditional mature love- „Love as long as you can!", "O lieb, so lang du lieben kannst". „Love as long as you can“ O love, as long as love you can, O love, as long as love you may, The time will come, the time will come When you will stand at the grave and mourn! Be sure that your heart burns, And holds and keeps love As long as another heart beats warmly With its love for you And if someone bears his soul to you Love him back as best you can Give his every hour joy, Let him pass none in sorrow! And guard your words with care, Lest harm flow from your lips! Dear God, I meant no harm, But the loved one recoils and mourns. O love, love as long as you can! O love, love as long as you may! The time will come, the time will come, When you will stand at the grave and mourn. You will kneel alongside the grave And your eyes will be sorrowful and moist, – Never will you see the beloved again – Only the churchyard’s tall, wet grass. You will say: Look at me from below, I who mourn here alongside your grave! Forgive my slights! Dear God, I meant no harm! Yet the beloved does not see or hear you, He lies beyond your comfort; The lips you kissed so often speak Not again: I forgave you long ago! Indeed, he did forgive you, But tears he would freely shed, Over you and on your unthinking word – Quiet now! – he rests, he has passed. O love, love as long as you can! O love, love as long as you may! The time will come, the time will come, When you will stand at the grave and mourn. —————————————————— „O Lieb, so lang du lieben kannst“ O Lieb, so lang du lieben kannst! O Lieb, so lang du lieben magst! Die Stunde kommt, die Stunde kommt, Wo du an Gräbern stehst und klagst! Und sorge, daß dein Herze glüht Und Liebe hegt und Liebe trägt, So lang ihm noch ein ander Herz In Liebe warm entgegenschlägt! Und wer dir seine Brust erschließt, O tu ihm, was du kannst, zulieb! Und mach ihm jede Stunde froh, Und mach ihm keine Stunde trüb! Und hüte deine Zunge wohl, Bald ist ein böses Wort gesagt! O Gott, es war nicht bös gemeint - Der Andre aber geht und klagt. O Lieb, so lang du lieben kannst! O Lieb, so lang du lieben magst! Die Stunde kommt, die Stunde kommt, Wo du an Gräbern stehst und klagst! Dann kniest du nieder an der Gruft, Und birgst die Augen, trüb und naß - sie sehn den Andern nimmermehr - In’s lange, feuchte Kirchhofsgras. Und sprichst: O schau auf mich herab Der hier an deinem Grabe weint! Vergib, daß ich gekränkt dich hab! O Gott, es war nicht bös gemeint! Er aber sieht und hört dich nicht, Kommt nicht, daß du ihn froh umfängst; Der Mund, der oft dich küßte, spricht Nie wieder: ich vergab dir längst! Er tat’s, vergab dir lange schon, Doch manche heiße Träne fiel Um dich und um dein herbes Wort - Doch still - er ruht, er ist am Ziel! O Lieb, so lang du lieben kannst! O Lieb, so lang du lieben magst! Die Stunde kommt, die Stunde kommt, wo du an Gräbern stehst und klagst! #pianomusic #pianist #classicalmusic #piano

Concert Booking : Mia Angelova - https://www.miaangelova.com Instagram - _mia_angelova_pianist https://www.instagram.com/_mia_angelova_pianist/?hl=de Listen to Mia Angelova: Spotify - Mia Angelova https://open.spotify.com/artist/1yz6RbdfHUf5XqVsF4Nmn5 Video - Andreas Hoyer http://andreashoyer.com Video at - Concert Hall Vienna https://www.konzertsaalwien.at #classicalmusic #piano #pianist #pianomusic About the music: Six moments musicaux, Op. 16, is a set of solo piano pieces composed by the Russian composer Sergei Rachmaninoff between October and December 1896. Each Moment musical reproduces a musical form characteristic of a previous musical era. The forms that appear in Rachmaninoff's incarnation are the nocturne, song without words, barcarolle, virtuoso étude, and theme and variations. It is is a sophisticated work that is of longer duration, thicker textures, and greater virtuosic demands on the performer than any of Rachmaninoff's previous solo piano works. Although composed as part of a set, each piece stands on its own as a concert solo with individual themes and moods. The individual pieces have been described as "true concert works, being best served on a stage and with a concert grand." By the fall of 1896, 23-year old Rachmaninoff's financial status was precarious, not helped by his being robbed of money on an earlier train trip. Pressed for time, both financially and by those expecting a symphony, he "rushed into production."On December 7, he wrote to Aleksandr Zatayevich, a Russian composer he had met before he had composed the work, saying, "I hurry in order to get money I need by a certain date ... This perpetual financial pressure is, on the one hand, quite beneficial ... by the 20th of this month I have to write six piano pieces." Rachmaninoff completed all six during October and December 1896, and dedicated all to Zatayevich. Despite the hasty circumstances, the work evidences his early virtuosity, and sets an example for the quality of his future works. In an interview in 1941, Rachmaninoff said, "What I try to do, when writing down my music, is to make it say simply and directly that which is in my heart when I am composing." The 4th piece - Moment musicaux Op.16 Nr.4 is a major exercise in endurance and accuracy: the introduction opens in a left hand figure requiring span of a tenth interval. Additionally, octave intervals invariably appear before fast sextuplet runs, making quick wrists and arm action necessary. The double melodies Rachmaninoff uses in this work exists purposely to "keep both hands occupied," obscuring the melody and making it difficult for the right hand to project. The piece is a major exercise in endurance and accuracy: the introduction opens in a left hand figure requiring span of a tenth interval. Additionally, octave intervals invariably appear before fast sextuplet runs, making quick wrists and arm action necessary. The double melodies Rachmaninoff uses in this work exists purposely to "keep both hands occupied," obscuring the melody and making it difficult for the right hand to project "They are typical of his early works, dense, rich in counterpoint, highly chromatic, poignantly nationalistic, deeply felt, and of course, exceptionally challenging to the pianist." - Elizabeth Wolff

Concert Booking : Mia Angelova - https://www.miaangelova.com Instagram - _mia_angelova_pianist https://www.instagram.com/_mia_angelova_pianist/?hl=de Listen to Mia Angelova: Spotify - Mia Angelova https://open.spotify.com/artist/1yz6RbdfHUf5XqVsF4Nmn5 #classicalmusic #pianist #piano #chopin #pianomusic