SignMyPiano: Classical Music

The next in the Clementi Sonatina set that I've been working on. This was actually recorded many months ago, but I haven't had time to publish it :-)

This performance did not turn out great. I would label it as "sloppy" and "rushed" in many parts. However, I am just as human and prone to fallibility as the next pianist (perhaps more so!)...

I hope that you will enjoy this recording of Clementi's Sonatina Op. 26, No. 5!!!

Apparently this is my first release of a Brahms piece on my website! I did not realize I was missing such an important composer in the classical reportory until now...

This piece is a beautiful Intermezzo by Brahms - one that was introduced to me by a colleague at Washington University in St. Louis. The piece has a wonderful way of playing with dissonant harmonies, coming to quick and peaceful resolution - only to be disrupted again by a twist of harmonics. It's quite wonderful. I believe this is one of those pieces of music that is far more enjoyable to play than to listen to - so for all of you pianists out there, be sure to add this to your list of works! Simply listening to the various harmonies and how they interact (or cease to interact) is a wonderful study in music and leads to some great pedal-work as well!

Enjoy!

This is a very well-known melody by the American composer, Edward MacDowell. He has wonderful music, including this piece, and I encourage pianists everywhere to get to know his music. I hope to record several more of his works over the coming months and years.

This piece is often played as prelude or postlude in churches or for weddings. It has a beautiful melody and is accompanied by an equally beautiful harmonic progression.

As my first recording of an American composer, I hope that you enjoy it!

It's finally here! I've had a request for the popular "Clair de lune" more times than any other work. I finally committed to recording this a couple of weeks ago and here it is! I hope that my interpretation and recording will not be a disappointment to those who have patiently waited.

Clair de Lune, translated as "moonlight" is one of Debussy's most popular pieces. It is a beatiful work that has much room for interpretation. In fact, the debates about how this work should be played can become quite heated. Although it was composed in 1882, it was not published until 1926.

Apparently, this piece has had a resurgence of popularity due to the release of the movie Twilight - as it appears as a bonus track on the movie's soundtrack. I've never seen the movie, but if you have, and you liked it, then maybe this recording will mean even more to you.

This recording was completed in my home on my Steinway A III piano. I hope that you enjoy it!

This is a recording of the third movement/section of Schumann's masterpiece, Fantasy in C. This movement is one of my all-time favorite works in the piano literature. Edited by his wife, Clara, this work was originally dedicated to Franz Liszt, although later editions did not include the dedication.

I view this as a highly passionate and energetic work, despite the deceptively (in some ways) slower-paced tempo throughout this movement. The listener will find a great number of ways to interpret and digest the music presented in this recording, just as I have found so many ways of interpreting it as the performer.

I hope that you enjoy my recording of Schumann's Fantasy in C, Opus 17.

The Ecossaise is a Scottish dance, usually in 2/4 time. It is known for the energetic rhythm and wide-ranging dynamics. This particular Ecossaise was composed by Ludwig van Beethoven in 1823.

This happens to be my first recording on my newly-acquired grand piano ! I can't believe how much better the sound quality is on this piano as compared to my previous recordings. Hopefully you will all enjoy the improvement in sound!

I have had several people request that I record some Debussy preludes so here is the first! This prelude is one of Debussy's best-known works. It was composed just over 100 years ago and appeared in Debussy's first book of preludes. This piece is composed after the legend of the city of Ys (pronounced "ees") - which was engulfed in the sea but was allowed to rise out of the sea once each day to serve as a reminder of the great city that was lost. Part of the legend, which is so critical to this work, is the sound of the church bells that you first begin to hear as the city rises from the sea. The piece starts off with the sound of these bells, and after some fantastic imagery, evolves into the resounding and powerful sound of the church's organ. The city then begins to slowly sink again into the sea. The imagery in this work is astounding and Debussy's ingenius interpretation of this legend is deserving of the highest praise.

This is my first recording of a work by Muzio Clementi. I thank one of the visitors to my Facebook page for suggestion a recording by Clementi! Clementi wrote many, many Sonatas (and Sonatinas) for the piano and was considered the first great composer for the piano (or pianoforte). His works were inspirational to many great musicians and composers including Beethoven.

I hope that you will enjoy my recording of this complete Sonatina (all three movements).

This is the first variation on the Aria from Bach's famous Goldberg Variations. This set of variations on a simple Aria is one of the greatest keyboard works available. Bach demonstrates his unique capability to compose so many different styles of music within the constraints of counterpoint as well as the theme upon which the variations are composed. The entire work is truly a brilliant masterpiece of music.

This recording of the first variation is a bit premature as you will notice several slip-ups and some problems with tempo consistency. However, despite being away from the piano for several months I wanted to release something to keep the website fresh, so I dug up this recording out of an archive. Despite the obvious weaknesses, I hope that you will enjoy my rendition of the first Variation from Bach's Goldberg Variations.

This is a personal arrangement of Bach's Prelude in B-flat Minor BWV 867 - The Well-Tempered Clavier, Vol 1. As I played this piece, I mentally converted it from the minor key of B-flat to the parallel major key. I did this as a demonstration of how such simple alterations in music can make such a dramatic difference on the emotions and thoughts that the music evokes. Please click here (or visit the site) to listen to this work played in the original minor key and then listen to this arrangement again - hopefully you'll enjoy both!

This work is the sixth piece from Liszt's "Harmonies poetiques et religieuses" (Poetic and Religious Harmonies). This work has some very beautiful harmonies and chord progressions. The majority of this work is in the key of A-flat, which is a very loving and dreamlike key for Liszt. He throws in a few changes to the important key of E-major, which, to Liszt, was a very religious key. I especially love the way that he transforms the key of A-flat right before the Andantino section into the wonderful key of F. He uses the F-major IV, V, I cadence to lead from the B-flat minor (the II chord in A-flat, the current key) to a beautiful suspension of C major that then resolves into F major. He then returns to the dominant key with a beautiful climax and then ends this work with a common "hymn" ending of IV-I (D-flat to A-flat). It is absolutely wonderful!

I hope that you enjoy my recording of this beautiful work by the Great Franz Liszt.

This Etude is comes from a set of Etudes that Liszt originally composed in his youth, but later revised to become 12 of the most technically challenging works for the piano. This is the eighth in the set. The etudes were composed in 1851 and published the following year. They were composed during the period of Liszt's life where he focused his efforts on fine-tuning his piano technique and earned his well-deserved reputation as the greatest pianist of his day and possibly the greatest pianist of all time.

This etude is a fast-paced work that challenges the hands in many ways. I have enjoyed this work ever since it was first introduced to me in college and I am happy that I finally have taken the time to record it. I hope that you enjoy my recording of Liszt's transcendental etude No 8 - Arthur's Chase!

This recording took place at my home and was performed on my studio upright.

This is the piece of music made famous by Bugs Bunny! One of the all-time favorite classical piano works - Liszt's Hungarian Rhapsody No. 2. I only recorded excerpts from this piece for two reasons. First, because I used this as an audition piece for a talent competition for which the perfomance had to be under three minutes. Second, because I haven't learned to play the rest well enough to record it!

I hope you enjoy my recording of excerpts from Liszt's most famous Hungarian Rhapsody!

This is the second of two menuets found in Bach's Partita No. 1 in B-flat major (Opus 1). I've always enjoyed this brief section of the work and it includes some tricky finger work despite the deceitfully simple harmonies. Bach certainly had a way of emphasizing the subtle harmonies to invigorate the soul! Bach himself wrote the following on the title page of the first volume of the Clavierubung (which consists of the 6 partitas):

Keyboard Training, consisting of Preludes, Allemandes, Courantes, Sarabandes, Gigues, Menuets and other Galanteries, dedicated to Music Lovers for the Pleasure of their Minds

This is my first recording of a piece by Stephen Heller. Heller lived the same life span as Franz Liszt, only offset by two years (Heller was 1813-1888 and Liszt was 1811-1886). Heller, like Liszt, was best known for his piano works and was quite a talented and famous composer for the greater part of his life. However, his reputation had all but dissappeared towards the end of his life. Heller produced an enormous volume of piano music and I enjoyed recording this brief work.

This recording was completed at home on my studio upright.

This is a re-recording from my first, "Ave Maria " version of this prelude. I decided to record this work again in the original form which omits measure 23 of my previous recording.

This false measure found its way into many well-known publications despite the fact that it is not authentic. I discovered this several months ago after purchasing Alfred's wonderful edition of the Well Tempered Clavier (book 1). I realized that my first recording was incorrect and decided that I should eventually remake the recording. Several weeks ago I had an astute listener further convince me when he pointed out that my recording was incorrect. So I have finally buckled down and recorded this beautiful prelude in its original form, but still with my own flair.

This is my first recording of a work by Scriabin. Scriabin's music has a very unique and recognizable style to it. He was a talented pianist and lived an interesting "mystic" life with music at the center. This particular Etude was composed in 1887. The haunting melody is quite simple in that it merely ascends up the minor scale, with a short jump from the fifth to the octave with a quick descent to the sixth. This phrase then repeats throughout the work beginning on a variety of intervals and keys. As each phrase ends with a feeling of incompleteness, it provides the piece with a longing feeling - a need to return to "home" or the tonic. As the larger phrase finally makes its way back to the tonic, the journey there is through a descent back through the minor scale adding to the somber feelings that are stirred through this work.

This piece has become a favorite of mine to play during times of reflection and "longing". Sometimes in life we find ourselves simply feeling an incompleteness even we cannot fully understand why. This piece is particularly reflective of that emotional state.

I hope you enjoy my interpretation and recording of Scriabin's Etude in C-sharp Minor. This recording was made at my home on my studio upright piano.

A few days ago I released a recording of Bach's Prelude No 9 in E Major . I also decided to record this alternate interpretation of the prelude. These are two very different ways of playing the same notes of a score and indicate how versatile Bach's music usually is. His music is extremely open to the interpretation of the musician and leaves so much room for play. It is impossible to know for certain how Bach would have preferred his music to be played (despite experts claiming to know), and is even possible that he varied his own interpretation of his works. This leaves his music a mystery to be enjoyed uniquely by each performer.

Be sure to listen to this recording along with the alternate recording of the same piece.

This prelude is one of my favorites to play when I need to slow down the pace of life. It is a pastorale as indicated by the 3rds in the melody line and the 12/8 time signature. The slow-moving, yet joyful Cantus Firmus is so beautifully augmented by the counterpoint voice. It is always amazing to me to think of the volume of wonderful music that Bach composed.

I hope that you enjoy my interpretation and recording of Bach's Prelude in E Major No. 9.

This is my first recording by Mikhail Glinka (1804-1857). Glinka studied piano with John Field and his influence can be felt in this piece. The work is a Nocturne composed for Glinka's sister, Elizaveta. She was away in St. Petersburg at the time it was composed and thus the title, "The Separation" is quite appropriate.

I recorded this piece for my daughter, who recently experience an emotional separation of her own. She suffered the reality of watching her beloved snowman melt away as the temperature went up this last week. When she came back in the house after saying her final "goodbye" I played this piece for her and told her it was a song for her departed snowman.

The recording was made at home on my studio upright. I hope you enjoy my interpretation of Glinka's "The Separation".

This is one of Chopin's most famous Waltzes. It was composed sometime between 1846 and 1847. The piece is marked with the term "tempo guisto" - which means "strict time." When I recorded this piece I interpreted that to mean that any rubato should be limited to within a brief scope, probably that of a single bar. While this may be the case, I have since learned that it was more likely intended to indicate that the Waltz should not be played in the Viennese tradition which rushes slightly into the second beat.

My studies of this piece are notably rushed and I debated whether or not to release this - obviously I ended up deciding to put it out. Perhaps in the future I will re-record this after having devoted a more appropriate amount of time to learning the piece. For now, however, this will have to do! I hope that you enjoy my recording of Chopin's Waltz in C-sharp Minor!

This Sarabande is an excerpt from Bach's Partita No. 1 in B-flat. I have also recorded the Praeludium previously.

I have always loved the serene melody that makes up this Sarabande. I play this piece much slower than is typical in a performance. However, I find it to be so exquisite and sonorous that I can't help but relish in every chord and beat. This is one of those works that I will often pull out at times when I want to reflect or meditate. It is perfect for moments when only music can express the joy and peace that life can and should supply.

I had never heard of this piece until I recently purchased the book Anthology of Romantic Piano Music published by Alfred and edited by Maurice Hinson. I instantly fell in love with the melody. The canon at measures 40-55 is a bit tricky and I should have given it quite a bit more study and practice, but it is what it is :)

This recording was completed at my home on my studio upright. I hope you enjoy it.

This waltz was published posthumously (after Chopin had died). The Waltz is often called "The Farewell Waltz" (L'adieu Valse) because of its origins. The work was supposedly written as a farewell piece to Maria Wodzinska, to whom Chopin was once engaged. However, because her father refused to allow her to be married to an impoverished musician, the two never married. In my recording I try to bring out the melancholic feel that would surely accompany such a parting.

This recording was made at my home on my studio upright. I hope you enjoy my interpretation of Chopin's famous "Farewell" Waltz in A-flat Major.

John Field (1782-1837) is, unfortunately, not a well-known composer, and yet the world of music owes him a great deal. He was the great creator of the Nocturne form of music, which Frederic Chopin then took to new heights. In fact, when Chopin heard John Field performing his new Nocturne style, Chopin was then inpsired to incorporate this into his own music.

The Great Franz Liszt was quoted as saying, "Field was the first to introduce a style in no way derived from the established categories, and in which feeling and melody, freed from the trammels of coercive form, reigned supreme." So we owe much to this lesser-known composer.

This particular nocturne has sometimes been titled "Song without Words" although this title did not come from Field. The middle section is supposed to be played a bit faster than I do in this recording, but I did not notice this fact until after I had completed the recording! That is something I should not readily admit because it reveals the fact that I spent very little time studying this work. Despite my lack of diligent study and the subsequent misinterpretations, I loved recording this nocturne and wanted to share it with my listeners. I hope you enjoy listening as much as I enjoyed playing it. This nocturne was recorded at my home on my studio upright.

This is perhaps the best known classical piano piece of all time - and, ironically, one of the least popular among many pianists due to its over-popularity.

This work was written as a "Bagatelle" which is simply a "trifle" or a short and simple piece. The history behind the work is quite controversial because the title translates to "For Elise" and "Elise" was not a name of any known acquaintance of Beethoven's. This has led many to speculate that he had a secret lover, or that "Elise" was a secret name for another woman, or that "Elise" had other hidden meanings. The speculation can, and most certainly will, go on forever. One of the better theories is that the actual title was "For Therese" but that the individual who discovered the work misread the title. This theory makes more sense because there was a student of Beethoven's named "Therese" who he had proposed to at one point.

This recording was completed at my home on my studio upright piano. I hope you enjoy my recording of Beethoven's famous (or infamous - depending on your view) "Fur Elise"!

This is a fairly simple work that hides within it Franck's organ technique. Cesar Franck wrote many pieces for the organ and although this is written for piano, the voices within the piece seem reminiscent of an organ work.

This is my first recording after a long "break" from music (I broke my foot and was unable to record for several months). I hope that you will enjoy my recording of this piece - which also happens to be my first piece by this composer.

This composition is one of Chopin's most famous, which is why it surprises most people to know it was never published in his lifetime. In fact, he instructed his pupil, Julian Fontana, to destroy the piece. It is not known why, but many speculate that he did not want the piece published for fear that some might say he had plagiarized Beethoven's Moonlight Sonata - this is because a passage in measures 7/8 (and repeated throughout the piece) is identical to a mini cadenza that exists in the third movement of Beethoven's famous work (measure 187).

This recording was made at my home on my studio upright piano. I hope you enjoy the recording.

This work is one of the pieces in Mendelssohn's Songs without Words (Lieder ohne Worte ) and is considered one of his most beautiful works for piano. This piece is a duet between two voices of the piano, and should be played in a way that makes the voices truly sing. The voices alternate throughout the beginning of the work, combine for a masterful climax, and then come together again at the end for a most beautiful coda. The last several measures are particularly beautiful when played as written. The final A-flat and C in the second to last measure should be played with enough emphasis (with the left hand) that the two notes stand out - as they are the two voices combined for their final harmony. This chord should be held down and switched (without releasing the sound) to the right hand so that the left hand and two fingers of the right hand can play the final two chords. These should not be held for too long as the concluding sound of the piece should be the resonating harmony of the duet's voices (the A-flat and C). Careful inspection of the last three measures will make this quite obvious.

This is truly a beautiful work. I have dedicated this recording to my sister, Jenifer, who first introduced me to this piece several years ago. You can read the dedication on my piano blog . This recording was made at my home on my studio upright piano. This piano is much too bright for this work, so the recording is not ideal; but I hope you enjoy it nonetheless.

This recording is the 2nd movement of Beethoven's popular Sonata Pathetique Op. 13 No. 8. The second movement is Adagio cantabile. "Cantabile" indicates that this movement should be played like a song, or something that has a distinct melody that one could sing along with. This piece was composed in 1798 and published the following year.

You can read further commentary on this piece, including a dedicatory note by visiting this page of my piano blog .

This selection was recorded at my home on my studio upright piano.

This impromptu is one of four in the set (Opus 90). This is the second of the four impromptus. I have previously recorded Impromptu No. 4 and plan to record the remaining two impromptus in the future. This particular impromptu is quite a popular work by Schubert . It is very common among the piano repertory and frequently played in solo recitals, especially among younger pianists.

This impromptu is different from the majority of music from the same period because the piece ends in the tonic minor of the major key it begins in (E-flat). This recording was made in my home on my studio upright.

This piece is one of the short pieces presented in Schumann's Opus 15, Scenes from Childhood. This is the final piece in the Opus and can be interpreted a thousand different ways.

I have always loved this work. Perhaps because I love poetry so much? In any case, this short piece is both inspirational and thought-provoking.

I have dedicated this recording to a wonderful woman, Judy Stockett and her dear husband, Jerry Stockett. You can read my full dedication to them on my SignMyPiano blog or by clicking here .

This Nocturne was one of Chopin's earliest known Nocturnes and was composed in 1827 when Chopin was only 17 years old. However, Chopin never desired the work to be published and so it was not published until 1855 after his death.

This work is one of my favorite of Chopin's Nocturnes. It was recorded at my home on my studio upright. If you enjoy listening to this piece, please consider making a donation towards my future Steinway Model B Piano .

This is the Andante section of Mozart's Sonata in C Major. Although the Sonata begins and concludes in C Major, this particular excerpt from the piece is in F Major. It was composed in the summer of 1778.

I am dedicating this recording to my dear mother. Mozart is her favorite composer and I have grown to adore this andante section of the sonata.

Visit www.signmypiano.com to learn how you can sign your name to my piano and be a part of my music!

This piece is one of Schubert's vocal pieces arranged for piano solo by Franz Liszt . It has become a very popular piece for voice as well as many other instruments.

This recording is dedicated to my dear mother-in-law. This is one of her favorite classical works.

This recording was completed at my home on my upright piano. If you would like to learn how you can be a part of my music, please visit www.lisztonian.com and click on the "Sign My Piano " button.

This nocturne was published posthumously, which simply means that it was published after Chopin past away. It was composed in 1830 (Chopin would have been about 20 years old at the time) but not published until 1875.

This piece, like most of Chopin's nocturnes, has a mysterious and enchanting quality to it. I cannot help but wonder why Chopin never published this work. Perhaps it did not live up to his standard? Or perhaps it was simply not intended for public performance? The first edition of this work included the following instruction: "For my sister Louise to play, before she practices my second Concerto." -- so perhaps Chopin wrote this merely as a "prelude" for practicing and as such never had it published? Whatever the reason, this work has become one of the more well known of the Nocturnes despite Chopin's disinterest in publication.

This recording is dedicated to the Lloyd family . This work was recorded at my home on my studio upright. As always, I invite you to consider a donation towards the purchase of a new piano for my recordings. You can learn more by visiting www.signmypiano.com .

This brief piece, composed by Frederic Chopin , has a majestic beauty. The melody is reminiscent of one of his many Nocturnes, while the accompanying harmonies are almost hymnal - even concluding with a fifth-to-dominant cadence that is such a common ending in church service music (although this piece is more subtle than a typical hymn).

This recording was another from the collection, Classical Music for the Church Service: Volume 2 (published by Alfred - my favorite sheet music publisher). The recording was performed at my home on my studio upright. If you enjoy this recording, please consider making a donation towards the purchase of a new piano.

This arabaseque is the first of two arabesques that are associated together (although they were composed several years apart). It was written while Debussy was still rather young (26 years old) and is not considered to be representative of his impressionist style that is generally associated with his name. However, there are certain aspects of his style that are apparent even in this early work.

For study, I used Alfred's Masterwork Edition edited by Lynn Freeman Olson .

This recording is dedicated to the Robertsons who acted as my parents-away-from-home while I lived in Japan for two years doing volunteer missionary service for my church . Thank you for your compassion, patience, love, and sincere friendship.

This recording was completed at home on my studio upright. This piece was particularly difficult to record on my upright due to the sensitive dynamics present throughout the work. Much of the interpretation and have attempted to convey is lost in the limitations of the piano. If you have enjoyed my recordings, please consider being apart of improving future recordings by signing my piano ! If not, I hope you will still continue to enjoy the free music :)

This prelude was written in 1910 during a period that many people consider to be the pinnacle of Rachmaninoff's composational career. It is one of a set of 13 preludes and is one of the more popular of the set. All 13 of these preludes were written during a period of 19 days.

The first time I encountered this piece was during a talent competition I had entered in 1998. I was just 18 years old then, and a girl about the same age as I played this piece. I really enjoyed it but never actually attempted to learn it until quite recently. In fact, I didn't spend very much time studying this one (as is probably apparent in my performance). I hope you enjoy it, nonetheless. Oh, and if you were wondering, I was fortunate to take first place in the competition with Chopin 's Revolutionary Etude (Op. 10 No. 12). That one is always a crowd-pleaser.

This was recorded at my home on my studio upright. Please consider making a donation to help me purchase a new piano.

This is one of Rachmaninoff's most popular pieces. It is one of 5 pieces in the set entitled "Morceaux de Fantaisie" (Fantasy Pieces). It is often called "The Bells of Moscow". It is unlikely that Rachmaninoff gave it that title himself. Although this piece became one of his most popular and most requested pieces, Rachmaninoff came to dislike the piece because it was demanded over some of his other great works.

This recording is dedicated to my dear friend, Dane Laverty. He performed this piece for me while we were serving as missionaries for the Church of Jesus Christ of Latter-day Saints . Since that time I have grown to respect him as a great thinker and lifelong example.

This was recorded at my home on my studio upright.

This is another recording from the music book Classical Music for the Church Service: Volume II by Alfred. I really enjoy the simple, yet beautiful melody of this work. I've always enjoyed playing pieces where the accompanying harmony interchanges between both hands. This was recorded at my home on my studio upright. If you would like to help improve the quality of my recordings and be honored at the same time, then click here to see how you can help!

This is another recording from the music book Classical Music for the Church Service: Volume II by Alfred. This piece is a short excerpt from Moussorgsky's Pieces Diverses . It is sometimes known as "Meditation". To me this piece has a very modern sound to it that could perhaps be considered a precursor to some contemporary piano pieces. This was recorded at my home on my studio upright. Click here to see how you can have your name printed on the lid of a piano and assist me in improving my recordings!

This recording was made several years ago. I really need to re-record this piece because I have since gained a much deeper appreciation for the piece and I feel as though my interpretation of it has greatly improved. I also now conclude this piece with Listz's alternate ending which concludes in a whole-tone scale with the left hand and accompanying chords in the right. I prefer this ending over the original because I have a particular affinity towards the whole-tone scale... it reminds me of the eternal nature of life and my deep faith in religion and a Heavenly Father (God) who loves us.

This piece is a bit deceiving... Liszt actually composed two primary versions of this piece, one that is more simplified, and the other, which is the more commonly performed. This is the more simplified version of the piece. At the time I purchased it (many years ago) I didn't even know what it was, nor did I know that there was a more complex version. I have since heard the "real" version performed live many times, and own several different recordings of it. It is definitely on my "to-do" list of recordings.

My daughter loves to play pretend while I play this one. She pretends that she is chasing butterflies... I think that is a perfect use of imagery for this piece. It is commonly called the "black keys" etude because the right hand plays almost exclusively the black keys of the piano. It is a light, but fast-paced etude that is very enjoyable to listen to and probably even more enjoyable to play.

This piece I have always lovingly dedicated to my grandmother. During the Great Depression, she used to listen to this song and it would uplift and lighten her spirit. She often requested that I perform this piece at her funeral. Her request was humbly granted at the time of her passing.

This piece is one of Liszt's most popular piano pieces and remains a personal favorite of mine.

This happens to be one of my daughter's favorite pieces (she's loved it since she was only three years old). I was asked to site-read this piece while living in Japan and afterwards determined to actually learn and perform it. I've since had the opportunity to perform this on a number of occasions. Sadly, this recording is not among the best of those performances, but is the only one that was recorded.

This piece was the first classical work that I fell in love with. In fact, this was the gateway that led to my love for the piano and my endeavor to study and practice. I heard it as "background" music for a popular Japanese film (I believe it was titles "Dreams") back in high school. Upon hearing the music, I went home and rummaged through my mother's sheet music collection until I found a copy of this piece. I played it over and over until I had committed it to memory. Although this was not the "tipping point" for me and the piano, it was definitely a key point in my love for classical music.

This was my first competition-piece. I didn't do very well ;) My mother tried to encourage me to play the piano by offering me $25 to learn this piece. I refused for several months until finally my sister brought me a recording of it. After listening to the recording, I just couldn't keep myself from learning to play it. This piece was one of the stepping stones into my love for the piano and thus holds a unique place in my heart.

This recording is a live performance given at a solo recital in January of 2003. The recording was made on a nine-foot concert grand piano in a small recital hall.

This Etude was the first of Liszt's transcendental Etudes that I studied. I fell in love with the harmonies and chord progressions that Liszt uses in this piece. It also happened to be the piece that I was working on when I first met my wife. For that fact, this work is among our favorites.