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Some items to consider Brahms Symphony 4 Dvorak Symphony 9. IL Carnevale di Venezia Clarinet with orchestra. Sinfonie Concertanti for two flutes and orchestra. Some items to consider. Support us financially by purchasing this from.


  • Twilight of the Ice.
  • Beyond Choice and Secrecy?
  • Aggression und Gewalt von Kindern und Jugendlichen: Hintergründe und Praxis (German Edition).
  • Waiting to Believe.
  • 3 melodies for voice and piano op. 5;
  • Entstehung von Gewalt und Aggression (German Edition)?

Subscribe to our free weekly review listing sample Sample: See what you will get. Canticle of Jean Racine: Suite for Orchestra by Gabriel Faure Composer it was amazing 5.

Gabriel Fauré, Thérèse Ryan, Francine Chabot

Fantasy - Piano Score by Gabriel Faure it was amazing 5. High Voice by Gabriel Faure it was amazing 5.

4 Poèmes, Op. 5: No. 1, La cloche fêlée

Arranged for alto sax and piano by Kenneth D. Friedrich by Gabriel Faure it was amazing 5. Roses d'Ispahan, Les - No. Reve d'amour - Op.

Chant d'automne, Op. 5, No. 1 (arr. for cello and piano)

Chant d'automne - Op. What I did not know was how to translate pianistically what I felt about the music. I started to work on this with Yvonne Hubert. Things happened very quickly after that. For me, this was a little strange because, on the one hand, playing a piece as difficult as the Burleske at fifteen was not a problem, but, on the other, I knew there were still many things I did not understand. But everybody was impressed. People then persuaded me that this should be my repertoire—romantic and post-romantic music.

The Complete Songs of Faure, Vol.3

What else—or what more—were you looking for when you went to Moscow? I guess I understand the reasons why I wanted to go to Moscow better today than I did twenty years ago. Also, in Moscow the repertoire was essentially the one I had worked on since my teens—romantic and post-romantic. I had perfomed most of the program on different tours—for the Jeunesses Musicales du Canada, organizations like that—and even if I did not have many professional engagements, I was nevertheless able to perform here and there with orchestra.

The Russians always created a big sensation.

Rachmaninov: Piano Concerto No.3 in D minor Op.30; Prelude Op.23 No.1; Automn Song Op.37a, No.10

I was fascinated to see how well trained, how well prepared they were for such an event. But what I also came back with was a certain realization of my strengths and weaknesses, and of what impact my playing had on others. I knew that I could play very difficult works, but I also knew that there were many aspects of my playing that needed polishing, especially in the areas of the baroque and the classical style. So I went to Moscow very conscious that I was at a certain level, at a certain stage of my own development.

As far as the competition was concerned, I had worked hard, and now it was time to play—not only play, in fact, but take some risks, and for me that meant offering a concert performance.

Mary Bevan | Free Listening on SoundCloud

And I remember that from the beginning of the first round, people reacted very warmly to what I was doing on stage, they were responding to what I was giving emotionally, which made me very happy. It was a public who wanted to be touched, moved. We have to remember how much the lives of Russians, at the time, was different from ours.