Thread by @schmonz

Can a Scriabin G-flat prelude (Op. 16 #3) be played with a non-striking D-flat? Our New York correspondent has the story.

Updated reporting on the 1923 Baldwin with a non-striking D-flat/C-sharp: it is of course easier to hide the problem in G major, which today’s piece is sort of “in”. Scriabin Prelude Op. 13 #3:

Today’s miniature: Scriabin Prelude Op. 11 #22

Today’s miniature (Scriabin Prelude Op. 11 #4) contains some of the exact sorts of background noises from which playing the piano gives me an occasional break.

I’m gobsmacked to report that there exists a take of today’s miniature (Scriabin Prelude Op. 11 #9) during which Finias was not speaking to, about, on behalf of, or otherwise in the manner of his dinosaur. Here it is:

@aj_kerrigan I feel I should alert you to this thread in progress

Today’s miniature (Scriabin Prelude Op. 11 #13) came out rougher, particularly missing that dead D flat and especially suffering from the lack of my usual few minutes of preparation. So it goes. The music may still find you.

Today’s Scriabin Prelude (Op. 11 #15) is another that really needs that D flat to work. At least this time I had the handful of minutes needed to read through it beforehand and record a couple takes.

Today’s Scriabin Prelude (Op. 11 #21) doesn’t miss a D flat at all! Instead it encounters different difficulties with the decaying Baldwin’s mechanics, not to mention the human’s.

Chirping birds in the background. If you ask me, it suits the music.

Today’s Scriabin Prelude (Op. 11 #17) is so tiny, it doesn’t feel like a few D flats are what’s missing. But this is really the whole thing.

In today’s Scriabin Prelude (Op. 11 #5) the note that our ears are missing is spelled C sharp. I got to run through this one a few times before recording, and selected the second take because it contained no shouting.

Today’s Scriabin Prelude (Op. 11 #2) is too long to attach the video directly to this tweet! And I could only get one take. Some parts of this hang together:

Today’s miniature (Scriabin Prelude Op. 2 #2) once again fits in a tweet. And it would still fit if’n you could hear all those dang C sharps.

Today’s miniature (Scriabin Prelude Op. 9 #1) is marked “for the left hand”. I’ll try it that way another time. For now, I’m doing my own kind of exercise here, thank you very much.

Today’s miniature: Scriabin Prelude Op. 16 #4. As usual, that D flat really would help.

Today’s piece (Scriabin Prelude Op. 13 #1) isn’t so tiny, but that’s okay, I miniaturized the climactic moments in my bumbling.

Beautiful early summer day. I’d been woken early, too, so today’s miniature is intended as a coffee supplement for me. (For you, too, if you need it.)

House all to myself now. Lid open. Letting this 1923 Baldwin rip until I have to let it RIP. Scriabin Prelude Op. 11 #6:

I’m particularly smitten with this Scriabin Prelude (Op. 11 #8), and intend to come back later and learn it properly. As usual, could really use a working C sharp.



#daily #piano #miniature #scriabin

Today’s Scriabin Prelude (Op. 11 #10) is *in* C sharp minor. We‘d be in real trouble if all the other C sharps also didn’t work.

#daily #piano #miniature #scriabin

Today’s #daily #Scriabin #piano #miniature (Op. 15 #4) is in E. It‘s hard to follow the melody with so many C sharps missing. Can you count how many?

(Donations gratefully accepted — just reply with a recording of you singing or playing C sharp on your instrument of choice.)

Today’s daily piano minature (Scriabin Prelude Op. 11 #14) is a banger — or rather, when I play it, *I’m* rather banging around. Listen to this one for the energy, not (as with any of these) for the musical accuracy or audio quality.

About that energy: I’m still vibrating.

The composer I’m most influenced by, of course, is Medtner. You might be surprised to learn, after weeks of Scriabin’s tiniest gems, that my second-most composer is someone else: Mompou.

Today’s #daily #piano #miniature is the Canço from Mompou’s Cançons i danses #5.

Today’s #daily #piano #miniature is again from Mompou’s Cançons i danses, this time the Cançó from #8.

Today’s #daily #piano #miniature continues the cherry-picking from Mompou’s Cançons i danses: the Cançó from #10.

Today’s #daily #piano #miniature is the Cançó from Mompou’s Cançons i danses #11.

More Mompou, because it’s amazing stuff. So much color with so few notes. Today’s #daily #piano #miniature is the Cançó from Cançons i danses #12.

We’re lucky my old piano can’t make all the needed sounds. If it could, I would have melted before reaching the end. This music moves me so directly.

Mompou again, Cançons i danses again, the Canço from #7.

The assignment: with 2 kids asleep, record 1 take, waking 0.

The solution: again taking a Canço from Mompou‘s Cançons i danses (#9), possibly with a flatter affect than the music desires. But a working solution!

#piano #daily #miniature #mompou

Today’s #daily #piano #miniature is again from Mompou’s Cançons i danses, again a Cançó without its corresponding danse. This is from #4.

Given a fine piano and a well prepared pianist, this excerpt (again just the opening Cançó from one of Mompou’s Cançons i danses, this time #3) is diaphanous, as ethereal as any real thing can be.

You’ll have to extrapolate. 🤣

#daily #piano #miniature #mompou

Today’s miniature is the very first of Mompou’s Cançons i danses (just the cançó here). Pardon the busted sense of rhythm and, as usual, that pesky C sharp.

Today’s #dailypiano miniature is the second of Mompou’s Cançons i danses. Just the cançó, as is evidently my wont.

This sounds way cooler than it sounds like it sounds — spectral, atmospheric — but my daily effort budget maxes out at “put iPad on bookshelf and press record”.

Today’s #dailypiano #pianominiature is from Mompou’s Cançons i danses (the cançó from #6). I’ve now put hands on all the piano ones except #14, for which I haven’t yet found the sheet music.

All of these are some of my favorites, and so is this one.

We continue today with more #Mompou. This #pianominiature opens a set of nine that’s named, rather appositely if’n you ask me, “Impressions Íntimes”.

It’s July! Been doing this since May. Neat.

Today’s #daily #piano #miniature is the next in Mompou’s Impressions Íntimes. #2:

For today’s #dailypiano #pianominiature, it’s Mompou’s Impressions Íntimes #3. Your job while listening: imagine that D flat making its sound.

Today’s #daily #piano #miniature has a little more zoom. Mompou’s Impressions Íntimes #4:



#dailypiano #pianominiature #pianominiatures #classicalmusic #classicalpiano #mompou

Yesterday, after I lamented my home country having lost far more at its own hand than it ever lost to England, my home town became national news.

Today, more music. The next of Mompou’s Impressions Íntimes — the first w/subtitle — is #5, “Pájaro triste”.

Today, it’s Mompou’s Impressions Íntimes #6, “La barca”. Some chewy harmonies and passing tones, and a bunch of chances to make sense of them. The baby has understood to slow herself down.

The next in Mompou’s set of Impressions Íntimes is #7, “Cuna”. The whole piece is underpinned by a very short and obstinately repeated bass figure for a smooth ride from start to finish.



#dailypiano #pianominiature #mompou

After today, there’s one more of Mompou’s Impressions Íntimes, which is too bad, because this one (#8, “Secreto”) is perfect. Nothing left to take away.

I hope I’ll compose something like this someday. Shabbat shalom.

We close out Mompou’s Impressions Íntimes with #9, “Gitano”. Off to the beach!

We’ll return to more Mompou miniatures.

Today we shift gears to York Bowen, whose complex and colorful harmonies (with more than a little jazz flavor) I’ve never been brave enough to try putting hands to. From his Op. 102 Preludes, here’s #2 in C minor.

More Bowen, a bit less miniature: from the same set of Op. 102 Preludes, #6 in D minor. I can feel my brain expanding.



#dailypiano #pianominiature #yorkbowen

Today’s #dailypiano is another of Bowen’s Op. 102 Preludes, #8 in E flat minor, but watch out: this one switches to E major (!?) for two measures (??!?). Well, it probably listens easier than it reads.



#pianominiature #yorkbowen

In today’s Bowen Prelude (Op. 102, #16 in G minor) we hear:

- A whole lot of half-step walking up and down. Jazztastic!
- Two memorable sequences of completely parallel motion. Reminds me of Debussy.

Today’s is the last of Bowen’s 24 Op. 102 Preludes that I can, in short order, get anywhere near. Besides my limited skills, it especially suffers from that D-flat that D-doesn’t. Maybe from here you can imagine how the piece wants to sound.

Here’s one more Bowen Prelude, but from a different set of pieces: his Op. 44 Miniatures, of which Prelude is (fittingly) the first. I haven’t quite understood the middle section, possibly because it turns so heavily on a certain unavailable C sharp.

Not exactly a miniature.
Not much smooth to listen to.
Not entirely sensible without that C sharp.
But here and there I heard some sounds I needed to hear.
For today, that’s enough.

The slow movement from Bowen’s Piano Sonata #5:

Also not quite a miniature, but more nearly than yesterday’s.
Also chunky in parts, but many more musical lines to be apprehended.
Wrapping up our time with York Bowen, here’s his Romance #1 in G flat major.



#dailypiano #pianominiatures #yorkbowen

Today’s piece reestablishes the miniaturosity to which we’d grown accustomed. It’s by Georgy Catoire, whose music I’ve long enjoyed, but this is likely the only Catoire I’ll be able to manage for #dailypiano #pianominiatures.

“Chant intime”, Op. 2:

Time has been doubly illusory lately, so today’s #dailypiano #pianominiature is extra chunky. Sometimes people say music is what happens between the notes; here the music is happening entirely elsewhere, for which I must apologize (to Medtner and to you).

Schumann miniatures like this are all about subtlety. My #dailypiano #pianominiatures are all about at least half the notes being right. Let’s see what a mash we can make of Schumann’s Kinderszenen, shall we?

First one’s free:

A couple of those Bowen pieces were downright long. We’re on a mission to bring the average track length back down, and thanks to Schumann’s Kinderszenen we’re going to succeed. Here’s the second one, “Kuriose Geschichte”:

The next scene in Kinderszenen is even shorter: less than a minute! Here’s my approximation of “Hasche-Mann”. #dailypiano #pianominiatures

Next up from Schumann’s Kinderszenen: “Bittendes Kind”. #dailypiano #pianominiatures

A couple days ago, “Hasche-Mann”’s technical details took enough work that I wound up memorizing it. Came close with today’s #pianominiature from Schumann’s Kinderszenen, “Glückes Genug” (“Happy Enough”), a strong contender for the most Germanic sentiment possible.

Today’s bit of Schumann’s Kinderszenen didn’t take many run-throughs to memorize. It’s “Wichtige Begebenheit”, and its job is to succinctly herald its Important Event and promptly and courteously withdraw.

#dailypiano #pianominiatures #schumann

If you’d previously heard only one #pianominiature from Schumann’s Kinderszenen, it’s surely this one. “Träumerei” is famous in part because it doesn’t need to be played terribly well to sound terribly beautiful. Which comes in handy right about now.

“Am Kamin” is much harder to tame and much less striking to hear. But it’s shorter, so it’s got that going for it. And it’s still Schumann. #dailypiano #pianominiatures

Schumann’s Kinderszenen-a-day continues with “Ritter vom Steckenpferd” (“Knight of the Hobby-Horse”). In the second-section repeat you’ll see the moment when I realize I now know the notes and had better watch my hands instead. You’ll hear the difference, too. #dailypiano

“Fast zu Ernst” was relatively tricky for me to understand, so I worked (relatively) hard to untangle it. I think I finally got the idea. A C-sharp would really help on this one, but your ear will imagine it anyway.

#dailypiano #schumann

We’re nearing the end of Schumann’s Kinderszenen, so I’ll have to figure out where our next batch of #dailypiano will come from.

Time enough for one take today. By definition, therefore, it’s good enough. Here’s “Fürchtenmachen” (“Frightening”):

“Kind im Einschlummern” is our eternal Wunsch für our Kinder. Maybe tonight can be the night.

It’s also the penultimate of Schumann’s Kinderszenen. Let yourself drift off with it.



#dailypiano #pianominiatures #schumann #classicalpiano #classicalmusic

We complete Schumann’s Kinderszenen today with the enigmatic “Der Dichter Spricht”. New composer coming Monday!



#dailypiano #pianominiatures #schumann

This week in #dailypiano #pianominiatures, let’s do some #Alkan.

Oversimplifying, there are two Alkans:

1. Torrential, as if Beethoven were a drug and Liszt were high on it
2. Sweetly naïve, or seemingly so

Here’s the first of Alkan’s Op. 31 Préludes:

I’d need at least a few years’ prep time to acquire the technique to attempt torrential-Alkan, so for #dailypiano #pianominiatures I’ll be playing the other kind. Today’s Alkan is another of the Op. 31 Préludes, this time #4 “Prière Du Soir”. #alkan

Both Alkans are *always* weird. Today we get jarring major-minor shifts, unmitigated tritones, oddly emphasized third and seventh scale degrees, the occasional parallel fifth, and two distinct alternating styles (I might dub them “Jewish” and “European”).

Today’s weird Alkan (approximately “Song of the Madwoman on the Seashore”) has a bass ostinato of closely spaced chords, begging for better sonics, while also being the longest stretch of music I’ve ever played with my arms this far apart. #dailypiano

Occasionally you reach the end of an Alkan piece and realize that not one weird thing happened the whole time. Gotcha! _That’s_ what’s weird.

“Le Temps Qui N’est Plus” (“The Time Which Is No More”), Op. 31 #12 is one of these. Just gorgeous. Imagine if that D flat worked.

Here’s another sweet, utterly guileless Alkan #pianominiature. The Frenchman wrote other pieces called “Berceuse” so I have no idea why my score says this one’s “Wiegenlied”. It’s also marked Doucement AND Dolce. Simplest explanation: a Swiss conspiracy.

#dailypiano #alkan

Some reflections on these months of #dailypiano:

https://twitter.com/schmonz/status/1558830578341928960

Based on the name (“I was asleep, but my heart was watching”), this could be my family’s theme song.

I was playing quietly, but my iPad auto-gain was engaging. Imagine this in a concert hall, each chord eking out its tiny sonority atop the last.

If I were one for morning prayer, I guess I’d need it to be short, optimistic, short, pleasant, short, formulaic, and short. Here’s Alkan’s Prelude Op. 31 #19, “Prière du matin”. #dailypiano #pianominiatures

Alkan’s apparent naïveté, as mentioned previously, is faux. Here’s an example of how we know what he knows. Prélude Op. 31 #3, “Dans le genre ancien” (“In the old style”): #dailypiano #pianominiatures #classicalpiano #baroque #romanticism #piano #alkan

Yesterday we had Alkan’s version of western art music’s Baroque style. Today we have his take on Classical (which as a term of art refers to a much narrower period than “classical music”). Like jumping from Bach to Mozart, except it’s one 19th-century guy.

We’ll wrap up our visit with Alkan tomorrow. But first, let’s bring back some weird.

Op. 31 #22 “Anniversaire” starts Baroque and ends in the parallel major (redolent of that era, sort of). In between, it’s all newer harmonies and odder progressions.

Until we meet Alkan again, here’s not a Prélude but an Op. 63 Esquisse (sketch), the fourth, called “Les Cloches”. I wonder if Mompou, from a family of bell makers, was familiar with this one.

#dailypiano #pianominiatures

It’s gonna be a tricky couple weeks for #dailypiano, with camp over and school not yet in session. I’m counting on Grieg’s Lyric Pieces to be simple and forgiving enough. Here’s the first one from the first set, Op. 12: “Arietta”.

Brought my folks the “complete” Daily Piano Miniatures on 3 audio CDs. They’ve been having a listening party.

Today’s Grieg Lyric Piece is Op. 12 #2, Vals (“Waltz”), and a #dailypiano #pianominiature first: to my knowledge, I’ve never heard it before.

Yesterday’s #dailypiano was a new and exciting formula:

1. Share myself playing something I’ve never heard
2. Find a recording and see how I did

So here’s another of Grieg’s Lyric Pieces I’m not familiar with: Op. 12 #3 Vektersang (“Watchman’s Song”).

Getting a kick out of playing music I’ve never met; equivalently, out of meeting music by playing it. My first read-through of Grieg’s Lyric Pieces Op. 12 #4 Alfedans (“Elves’ Dance”) was almost as good as this one. What even is going on here. #dailypiano #pianominiatures #grieg

Continuing my discovery-by-hands of Grieg’s Op. 12 Lyric Pieces, here’s #5 Folkevise (“Popular melody”). Characteristic of this thread, we really miss that C#. #piano #dailypiano #pianominiature #pianominiatures #classicalpiano #romanticism #grieg

Here’s one of Grieg’s Lyric Pieces that I’ve heard (and loved) for decades. Finally putting hands to Op. 57 #6, Heimweh (“Homesickness”). Hands are pretty happy. What differences in style do you notice from the earlier Op. 12 works?

#dailypiano #grieg

In lieu of the usual #dailypiano #pianominiature, here are fourteen pieces I played today.

https://twitter.com/schmonz/status/1563715559954567169

#playmusicontheporchday

Yesterday was #playmusicontheporchday. Today, we’re back to one (and only one) #dailypiano #pianominiature from Grieg’s Lyric Pieces, another that I’ve known and loved and am finally playing with my own two human hands: Op. 47 #3 “Melodi”.

Hoo boy, today’s #dailypiano #pianominiature could REALLY use a C# that works. And maybe some more nuance in the keyboard action. (And more technique, but let’s be realistic.)

Grieg Lyric Pieces, Op. 68 No. 5, Bådnlåt (“At the cradle”):

Another Grieg Lyric Piece that I’m playing for the first time today, acquired quickly thanks to decades of listening: Op. 54 #4, Notturno (“Nocturne”).



#dailypiano #piano #pianominiature #pianominiatures #classicalpiano #romanticism #grieg

For today’s #dailypiano #pianominiature, it’s yet another old favorite of mine from Grieg’s Lyric Pieces: Op. 71 #6 Forbi (“Gone”). Not a lot of notes, but some of them are C#, and the rest are tricky to hold together on the maybe 5th read-through.

#grieg

Today’s #dailypiano #pianominiature was selected from Grieg’s Lyric Pieces to appeal maximally to my dad’s musical tastes, and was embargoed until he and I could listen to it together — several times. Success!

Grieg’s Op. 65 #5 I balladetone (“Ballad”):

Home from driving around a sick kid for an hour’s nap, with a few minutes before everyone’s quiet time, here’s an almost-but-not-quite-solo reading of Grieg’s Lyric Piece Op. 43 #2 Ensom vandrer (“Solitary traveler”).



#dailypiano #pianominiatures #grieg

Today’s Grieg Lyric Piece is the Op. 38 #1 Berceuse. It rocks, in the back-and-forth sense. #dailypiano #pianominiature #pianominiatures #piano #classicalpiano #classicalmusic #romanticism #grieg

Before we head out for the day, here’s a quick phone recording of Grieg’s Op. 71 #1 Der var engang (“Once upon a time”).



#dailypiano #pianominiature #pianominiatures #classicalmusic #classicalpiano #romanticism #grieg #lyricpieces

It’s been a solid couple #dailypiano weeks of Grieg’s Lyric Pieces. I sorta want to get into something else. But when flipping through scores keeps turning up gems I’ve not yet heard, it’s hard to step away.

Here’s another: Op. 43 #5 Erotikk (“Erotikon”).

Drizzly café morning listening to more new-to-my-ears Grieg’s Lyric Pieces, some of them astonishing. Here’s one. I doubt much of the magic made its way into my third reading, but my body’s still vibrating as I type this.

Op. 62 #5 Drømmesyn (Phantom).

Another strange and wonderful find among Grieg’s Lyric Pieces, heard for the first time yesterday and playing through for the third time here: Op. 54 #1 Gjetergutt (“Shepherd’s boy”).



#dailypiano #pianominiatures #grieg #classicalmusic #classicalpiano

Beautiful summer weather. In a few hours, slightly bigger than usual Friday family get-together, at our place. Using my minutes between shuttling kid 2 and kid 1, here’s Grieg’s Lyric Piece Op. 71 #2 Sommeraften (“Summer’s eve”), dappled sunbeams and all.

Gotta figure out how #dailypiano will work on Saturdays. Usually I record in the morning, but German classes for my boys just started up. Germany’s one of their countries. Here’s one of Grieg’s Lyric Pieces to match: Op. 43 #3 I hjemmet (“In my homeland”).

Today’s #dailypiano #pianominiature is short and sweet, like some kids I know. Grieg Lyric Piece Op. 38 #3 Melodi.

I’m putting my foot down, and I don’t mean on the pedals. The 4th CD of #dailypiano #pianominiatures is full; this has to be enough Grieg for now. Here’s Skogstillhet (“Peace in the Woods”), Op. 71 #4, without that wooden piece corresponding to C sharp.

Our next #dailypiano #pianominiature composer is usually spelled Bortkiewicz in Latin letters (Polish ancestry), but because he was Ukrainian, one sometimes sees Bortkevych.

From his Op. 30 Aus Andersens Märchen (“From Andersen’s Fairy Tales”), here’s The Princess and the Pea.

Yesterday, parents got a live Bortkiewicz show. Today, back to recording. Here’s another #dailypiano #pianominiature from Bortkiewicz’s Aus Andersens Märchen Op. 30, this time #4 Der Engel (“The Angel”).

Bortkiewicz’s #pianominiatures are not exclusively idyllic fairy-tale settings. There are pairs of Lamentations and Consolations, (which we’ll visit), for instance, and some of the Preludes also run darker. For today’s #dailypiano, the Op. 33 #6 Prelude:

Time’s tight today for #dailypiano. Here’s a quick little Bortkiewicz Prelude, Op. 33 #3 in D major.

#pianominiatures #pianominiature #piano #pianomusic #classicalpiano #classicalmusic #romanticism #bortkiewicz #bortkevych #ukrainian

For today’s #dailypiano #pianominiature, another quick little one (compared to the usual, which is really saying something). Bortkiewicz Aus Andersens Märchen Op. 30 #2: Die Glocke (“The Bell”).

#piano #pianomusic #classicalpiano #romanticism #bortkiewicz #bortkevych #ukrainian

Finally a bit more piano time in the morning, so a #pianominiature that’s a bit less mini. For today’s #dailypiano #Bortkiewicz, we open up his four pairs of Lamentations and Consolations. This is the first Lamentation, Op. 17 #1.



#bortkevych #ukrainian

In Bortkiewicz’s world, every Lamentation is followed by a Consolation, every minor key by the major. Would that it were so in ours. Here’s the Op. 17 Consolation corresponding to what happened here yesterday 😜



#dailypiano #pianominiature #bortkevych

Back in the land of properly tiny #pianominiatures, here’s the third of Bortkiewicz’s Op. 30 Aus Andersens Märchen (“From Andersen’s Fairy Tales”), Der standhafte Zinnsoldat (“The Steadfast Tin Soldier”).
#dailypiano #pianominiature #classicalpiano #piano #bortkiewicz #bortkevych

To celebrate 5 hours of #dailypiano, here's my favorite #Bortkevych by far — no #pianominiature even if well played, but rarely do we hear his strength and sweetness combine so organically.

"The Rocks of Uch-Kosh", from Sketches of Crimea. #ukraine 🇺🇦

Two days ago, a lighthearted #pianominiature; yesterday, a serious #dailypiano maxiature; and today, a hybrid: pretty short, pretty heavy. Returning to #Bortkiewicz Op. 30 Aus Andersens Märchen, here’s #8, Das Kind im Grabe (“The Child in the Grave”).

Full couple of days, but whew! I’ve once again avoided ever missing two #dailypiano in a row.

This sweet one, #2 of Bortkiewicz’s Op. 39 Kindheit (“Childhood”), is called “Maman” (“Mama”). The suite is based on the Tolstoy novel. We’ll hear more of it.

Bortkiewicz’s Op. 39 Kindheit suite was published in 1930, setting scenes, characters, and moods from Tolstoy’s 1852 novel of the same name. The suite — and perhaps the book, I have no idea — opens with “Karl Ivanovich, Der Lehrer” (“The Teacher”).

#dailypiano #pianominiatures

The third #pianominiature from Kindheit (#Bortkiewicz, Op. 39, after Tolstoy’s novel) is Der Vater (“The Father”). Judging by the music, my family’s different. Maman (from a couple days ago) sounds more like me, and this one sounds more like B. #dailypiano #pianominiatures

The fourth in Bortkiewicz’s Op. 39 Kindheit set (after the Tolstoy novel) is this one, sometimes halting, ever earnest.

Grischa, der wandernde Mönch (“Grisha, the wandering monk”):

#dailypiano #pianominiature #pianominiatures #romanticism #bortkiewicz

#Bortkiewicz Op. 39 Kindheit continues with its fifth #pianominiature, called Kindheit (Kapitel 15) (“Childhood (Chapter 15)”). I assume that refers to chapter 15 of the Tolstoy novel, not chapter 15 of the abstract concept. #dailypiano #pianominiatures

More Op. 39 Kindheit #pianominiatures from #Bortkiewicz, this time #7: Natalia Sawischna, die Amme (“The Nurse”). Exact same length as yesterday’s #dailypiano, entirely different flavor. #pianominiature #pianomusic #piano #classicalpiano #classicalmusic #romanticism #bortkevych