Solitudes: Chopin - Debussy - Satie - Brahms - Beethoven Adalberto Maria Riva

• Frédéric Chopin (1810 - 1849): Nocturne No. 15 in F Minor, Op. 55 No. 1:
• 1 Chopin: Nocturne No. 15 in F Minor, Op. 55 No. 1 05:24
• Franz Liszt (1811 - 1886): 12 Lieder von Schubert, S. 558:
• 2 Liszt: 12 Lieder von Schubert, S. 558: No. 11 Der Wanderer 05:22
• Franz Schubert (1797 - 1828): Gretchen am Spinnrade Op. 2, D. 118:
• 3 Schubert: Gretchen am Spinnrade Op. 2, D. 118 (Arr. by Franz Liszt) 04:37
• Pyotr Ilyich Tchaikovsky (1840 - 1893): The Seasons, Op. 37a: X. October - Autumn Song:
• 4 Tchaikovsky: The Seasons, Op. 37a: X. October - Autumn Song 04:27
• Claude Debussy (1862 - 1918): Préludes, Book I. L. 117:
• 5 Debussy: Préludes, Book I. L. 117: No. 6 Des pas sur la neige 03:39
• Erik Satie (1866 - 1925): Gymnopédies:
• 6 Satie: 3 Gymnopédies: I. Lent et douloureux 03:50
• 7 Satie: 3 Gymnopédies: II. Lent et triste 03:12
• 8 Satie: 3 Gymnopédies: III. Lent et grave 03:08
• Johannes Brahms (1833 - 1897): 3 Intermezzi, Op. 117:
• 9 Brahms: 3 Intermezzi, Op. 117: I. Andante moderato 03:58
• 10 Brahms: 3 Intermezzi, Op. 117: II. Andante non troppo e con molta espressione 04:14
• 11 Brahms: 3 Intermezzi, Op. 117: III. Andante con moto 05:10
• Ludwig van Beethoven (1770 - 1827): 6 Bagatelles, Op. 126:
• 12 Beethoven: 6 Bagatelles, Op. 126: I. Andante con moto 03:41
• 13 Beethoven: 6 Bagatelles, Op. 126: II. Allegro 02:50
• 14 Beethoven: 6 Bagatelles, Op. 126: III. Andante 02:51
• 15 Beethoven: 6 Bagatelles, Op. 126: IV. Presto 04:10
• 16 Beethoven: 6 Bagatelles, Op. 126: V. Quasi allegretto 03:12
• 17 Beethoven: 6 Bagatelles, Op. 126: VI. Presto - Andante amabile e con moto - Tempo I 05:15
• Total Runtime 01:09:00

Info zu Solitudes: Chopin - Debussy - Satie - Brahms - Beethoven

At first glance it may seem that music does not possess the greatest likelihood to represent loneliness. Music in itself, in fact, presupposes at least two elements: an active one, the player, and a passive one, the listener. Other forms of art, such as painting or sculpture, or even poetry, would seem better qualified to express this feeling: a sculpture or a painting, in fact, exists by itself and does not need an intermediary such as the interpreter who plays in order to give it life.

Yet some of the peaks of Western musical production, such as Bach’s Art of Fugue or Beethoven’s latest string Quartets, arose from the genius of composers who were able to fathom their skills and knowledge to the extreme, working in a condition of almost isolation from the world. From this point of view, a musical programme about loneliness may well bestowe its full significance.

Adalberto Maria Riva, piano

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