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Friday, June 27, 2025

A Tribute to Alfred Brendel The Philosopher-Pianist

by Georg Predota 

Crafting Musical Narratives

Alfred Brendel

Alfred Brendel

His performances were not just concerts but profound dialogues with the music, marked by a clarity that seemed to illuminate the very architecture of each composition. Audiences didn’t come for the man, they came for the music.

Alfred Brendel’s virtuosity was undeniable, but it was never about showmanship. Every note he played was rich and expressive, never indulgent and his interpretations commanding, yet free of pretension. Brendel’s performances were masterfully shaped, each one a journey with a clear sense of purpose.

But what truly set him apart were the countless subtle decisions, his phrasing, the contrasts he drew, the delicate shifts in tone. He never raced through a piece, yet the sheer depth of detail he revealed made it feel as though the listener was constantly discovering something new, moment by moment. 

Revelatory Art

Brendel made the familiar seem revelatory. In his performances of Beethoven, according to a critic, he projected “an X-ray picture of each sonata onto a screen,” revealing the inner workings of the music with surgical precision yet profound emotion.

This intellectual approach earned him the moniker of the “philosopher’s pianist,” a title he wore with pride but also with a characteristic twinkle of self-awareness. Brendel himself once remarked, “The word LISTEN contains the same letters as the word SILENT,” a pithy encapsulation of his belief that true musical understanding begins with attentive stillness.

Pianists across generations have cited Brendel as a beacon of inspiration. Mitsuko Uchida, the renowned Japanese-British pianist, praised his ability to balance structure and spontaneity. “Alfred had this extraordinary gift of making every note speak, yet never losing the thread of the composer’s thought. His Beethoven was like a conversation with the divine, rigorous, yet utterly human.”

Uchida’s words echo the sentiment of many who saw Brendel’s performances as a masterclass in musical storytelling, where technical brilliance served the purpose of uncovering the philosophical underpinnings of the score.    

Blending Intellect and Artistry

Alfred Brendel

Alfred Brendel

Brendel’s influence extended beyond the stage through his erudite writings. His essays, collected in a number of books, are celebrated for their wit and insight. His former student Till Fellner wrote, “His words were as illuminating as his playing. He taught us that to play Schubert is to suspend gravity, to let the music float in a dreamlike state.”

His approach was not without its detractors. Some found his meticulous style too cerebral, lacking the fiery abandon of other postwar titans. Yet even those critics acknowledged his unmatched ability to reveal the music’s inner logic. Pianist András Schiff, reflecting on Brendel’s legacy, noted, “He showed us that intellect and emotion are not opposites but partners. His Mozart was playful yet profound, like a poet who knows when to smile.”

Brendel’s life was as rich as his music. Raised in Zagreb and later based in London, he was a polymath who could have excelled as a poet, painter, or author. His lectures and masterclasses were legendary, filled with anecdotes delivered with a dry wit that disarmed audiences.

Pianist Imogen Cooper recalled, “I once attended a masterclass where he spent 20 minutes on a single phrase in Beethoven, dissecting it with the precision of a surgeon and the passion of a poet. We were all spellbound.”   

Profound Legacy

His recordings remain benchmarks, yet he remained humble and emphasised the music over the performance. “Self-discovery is a slower process but a more natural one,” he wrote, a reflection that applied as much to his own career as to his advice for young pianists.

Alfred Brendel had the ability to make the music feel both timeless and immediate, as each performance was an act of discovery. Yet, his legacy is not just in the notes he played but in the ideas he championed.

For Brendel, music was a journey of the mind and heart, that listening demands silence, and that grace is a form of strength. As Richard Morrison wrote, “Brendel’s encounters with music were transformative, not just for him but for all who listened.”

In an age of distraction, Brendel’s legacy invites us to slow down, to truly listen, and to seek depth over spectacle. Through his playing and his writing, he offered not just sound but insight, essentially a voice of enduring clarity that will resonate through generations.

Thursday, June 26, 2025

Beegie Adair, David Davidson - C'est Magnifique (Visualizer)


S. Rachmaninoff, Rhapsody on a theme by Paganini op.43,



Tuesday, June 24, 2025

The Dutch Tenors & Queen - Performing our favourite Queen songs LIVE - C...



The BEST Women Singers You'll Ever Hear!


BEST OF THE BEST! Filipino Songs That Sound Like Foreign/International |...


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Filipino Songs Sounds like International or Foreign List
Ordinary Song By Marc Velasco
Don't know what To say by Ric Segreto
Forever Blue By Cacai Velasquez 
Closer You and I By Gino Padilla
Someones always saying Goodbye by Allona
beautiful Girl by Jose Mari Chan
you are the reason by Ketama
Till My heartaches end by Ella Mae Saison 
You made me live again by Janet Basco
Parting Time by Rockstar 

Sunday, June 22, 2025

Beethoven: Piano Concerto No.1 Leonard Bernstein /Wiener Ph ベートーヴェン:ピアノ協...



Music's Impact: Emotions, Brain, and Culture (III)

Filipino music in general was introduced to me by my wife Rossana. What does music really mean to Filipinos? It simply tells them where they've been and where they could go. It tells a story that everyone can appreciate and relate to, which is why it's a big part of every Filipino culture.


During the 1980s, Rossana was the lead dancer of the Manisan Cultural Dance Troupe. I got to know about  gong music which can be divided into two types: the flat gong commonly known as gangsà and played by the groups in the Cordillera region and the bossed gongs played among the Islam and animist groups in the southern Philippines. The kulintang ensemble is the most advanced form of ensemble music with origins in the pre-colonial epoch of Philippine history and is a living tradition in southern parts of the country.

Very quickly, it pleased me another popular medium for light classical muse -  the rondalla. Its repertoire consists mainly of native folk tunes, ballroom music as well as arrangements of classical pieces such as opera overtures. Bayani de Leon and Jerry Dadap have written more serious music for the rondalla.  Rondalla is a traditional string orchestra comprising two-string, mandolin-type instruments such as the banduria and laud; a guitar; a double bass; and often a drum for percussion. The rondalla has its origins in the Iberian rondalla tradition and is used to accompany several Hispanic-influenced song forms and dances.

Tinikling and  Cariñosa inspired me more and more. The Tinikling is a dance from Leyte which involves two individual performers hitting bamboo poles, using them to beat, tap, and slide on the ground, in coordination with one or more dancers who step over and in between poles. It is one of the more iconic Philippine dances and is similar to other Southeast Asian bamboo dances. The Cariñosa (meaning "loving" or "affectionate one") is the national dance and is part of the María Clara suite of Philippine folk dances. It is notable for the use of a fan and handkerchief in amplifying romantic gestures expressed by the couple performing the traditional courtship dance. The dance is similar to the Mexican Jarabe Tapatío, and is related to the Kuracha, Amenudo, and Kuradang dances in the Visayas and Mindanao Area.

In the first few years of my life as an expat in the Philippines, it looked like I had forgotten about my classical music from Europe. I focused more and more on Himig ng Pilipinas - the  musical performance arts in the Philippines or by Filipinos composed in various genres and styles. The compositions are often a mixture of different Asian, Spanish, Latin American, American, and indigenous influences.

Notable folk song composers include the National Artist for Music Lucio San Pedro, who composed the famous "Sa Ugoy ng Duyan" that recalls the loving touch of a mother to her child. Another composer, the National Artist for Music Antonino Buenaventura, is notable for notating folk songs and dances. Buenaventura composed the music for "Pandanggo sa Ilaw".

The leading figures of the first generation of Philippine composers were Nicanor Abelardo, Francisco Santiago, Aontonio Molina, and Juan Hernandez. 

But one composer and his works fascinated me the most:  Francisco Buencamino. He belonged to a family of musicians. He was born in San Miguel de Mayumo, Bulacan, on November 5, 1883.  In 1930, he founded the Academy of Music of Buencamino. His musical styles were Kundimans and Sarzuela.

Francisco first learnt music from his father. At age 12, he could play the organ. At 14, he was sent to study at the Liceo de Manila. There, he took up courses in composition and harmony under Marcelo Adonay. He also took up piano-forte courses under a Spanish music teacher. He did not finish his education as he became interested in the sarswela.  Some of the sarswelas he wrote are: "Marcela" (1904), "Si Tio Celo" (1904) and "Yayang " (1905). In 1908, the popularity of the sarswela started to wane because of American repression and the entry of silent movies. Francisco Buencamino then turned to composing kundimans.  

For a time, Francisco Buencamino frequently acted on stage. He also collaborated on the plays written and produced by Aurelio Tolentino. One of his earliest compositions is "En el bello Oriente" (1909), which uses Jose Rizal's lyrics. "Ang Una Kong Pag-ibig", a popular kundiman, was inspired by his wife.  In 1938, he composed an epic poem which won a prize from the Far Eastern University during one of the annual carnivals. His "Mayon Concerto" is considered his magnum opus. Begun in 1943 and finished in 1948, "Mayon Concerto" had its full rendition in February 1950 at the graduation recital of Rosario Buencamino at the Holy Ghost College. "Ang Larawan" (1943), also one of his most acclaimed works, is a composition based on a Balitaw tune. The orchestral piece, "Pizzicato Caprice" (1948) is a version of this composition. Many of his other compositions were lost during the Japanese Occupation, when he had to evacuate his family to Novaliches, Rizal.  

I would say that the "Pizzicato Caprice" is my favorite. I was so lucky to experience it during an awesome performance with the Manila Symphony Orchestra. 

 In my opinion: outstanding groups include not only the Manila Symphony Orchestra, but also the Filipino Youth Symphony Orchestra, the U.P. Symphony Orchestra, the Manila Concert Orchestra, the  Quezon City Philharmonic Orchestra, the Artists’ Guild of the Philippines, the Philippine Choral Society, the U.P. Madrigal Singers, the U.P. Concert Chorus among others.

These are extraordinary treasures of Filipino culture which one hears and experiences far too little about these days.

The music of my life started at the age of 6. During my first steps on the piano with Beethoven's  "Für Elise", I remember my very first LP (Long Play) on my birthday gifts table: Serge Prokofieff's ' "Peter and the wolf". 




In an autobiographical sketch, the Russian composer described the three chief qualities of his complex work as: a classical or rather classicist rendencityan emotional vein and  grotesque element, which the composer detected as "fun, laughter, satire". "A symphonic tale for children '' awoke my dream of classical music.  



In spite of this drastic sound-painting  portrayal, the general effect produced is not that of a musical jest, but - thanks to Prokofieff's artistry and skill - one of singular poetry.

There are few musicians with such eloquence and improvisational skills as Sergei Prokofieff, the Russian composer of many different talents, some of which included the piano and keyboards. Born to a financially well-off family in 1891, Prokofieff’s first exposure to music was through his mother, who would spend two months a year learning the piano while also playing a few sonnets every evening. Prokofiff began learning the piano instantly, and became so proficient that he was then composing his first piano composition, under the watchful supervision of his mother. Before the age of 10, he had also shown interest in opera music and started work on his first opera, called The Giant.

In his early years, Prokofieff’s parents were adamant on providing him with theory lessons, so as to clarify his conceptual frameworks as far as the piano and composition went. However, they soon began having second thoughts about their young son pursuing a music career at such a delicate age, and therefore, decided to enroll him in the Saint Petersburg Conservatory. Here, he worked and learned the piano and other instruments under the auspices of renowned composers such as Alexander Winkler, Nikolai Tcherepnin and Nikolai Rimsky-Korsakov. Before his father’s death in 1910, he had started performing in local clubs and other music venues like the St. Petersburg Evenings of Contemporary Music, performing some of his early Piano Sonatas such as Four Etudes for Piano, Op 2(1909). All through the early 1910s, Prokofieff had been experimenting with a wide variety of genres, one of which was ballet music. While he may have succeeded in a number of other music compositions, he always seems to have a hard time with ballet music, with the likes of Chout becoming subject to intense modifications in the 1920s.
 
Having received menial works in the 1930s due to the Great Depression, Prokofieff decided to move to Russia in 1936. The period post-1936 was a completely different time for Prokofieff, and set in motion some of his most impressive works. Bearing in mind the hostile reality of the time, most of the themes covered in his works such as his orchestral piece Russian Overture (1936) and War Sonatas embraced war-related topics and disregarded true musical passion. However, Prokofiev managed to retain his incredible ingenuity with compositions such as Peter and the Wolf, Alexander Nevsky and Romeo and Juliet, all of which were received well on an international scale. Some of these compositions were Sergei Prokofiev’s most valuable works, and are still widely performed today.

The war and post-war years saw the likes of some impressive compositions, such as War and Peace, The Ballet Cinderella and various violin sonatas, encompassing the true remarkability that Prokofieff deserves large-scale appraise for. It becomes important to realize the tremendous contributions this great artist made to the classical music world, despite the troubles he so often had to face.




Because of Prokofieff, my world of classical music first opened up to Russia. Yes, not to Germany or Austria. Not to (sorry Maestro!) Beethoven or Liszt, Mozart or whomever.  Suddenly, fell in love with Tschaikowsky. His first piano concerto in b-minor kept me speechless and full of tears at any stage play, I was blessed during my whole life. 


The very first bars of this piano concerto are so distinctive that they will remain in the listener's memory forever. Tchaikovsky's Piano Concerto No. 1 is recognizable and catchy. Charismatic piano virtuoso Martha Argerich lends an elegant lightness to this impressive piece. Conducted by Charles Dutoit, Argerich performed with the Verbier Festival Orchestra at the Verbier Festival in 2014.

(To be continued!)

(To be continued)

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[Nicanor Abelador]

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[Francisco Santiago]

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[Juan Hernandez]  

[Juan Hernandez]


Writing in a Rush: Mozart’s Turkish Violin Concerto No. 5

by Maureen Buja

Anonymous: Wolfgang Amadé Mozart with a diamond ring, gift of Maria Theresa, ca 1775 (Internationale Stiftung Mozarteum)

Anonymous: Wolfgang Amadé Mozart with a diamond ring, gift of Maria Theresa, ca 1775 (Internationale Stiftung Mozarteum)

Mozart’s concertos are built on dialogues – a constant conversation between the soloist and the orchestra. This is true of his piano concertos as of his violin concertos. Most follow the same pattern: in the first movement, the orchestra presents most (but not all) of the thematic material with an additional theme being left for the soloist to present. The first movements, in sonata-allegro form, also have short development sections, but ones that can be full of surprises in terms of harmonies and themes. Themes may vanish for the development section, only to reemerge in the recapitulation to a greater effect.

Slow movements are built around long, singing, and often complex melodies. The soloist takes the fore, but the orchestra still has a valuable role to play, particularly in the development sections.

The rondo finales are where Mozart lets himself loose. Dance music of the day is used, or perhaps even a traditional melody (Violin Concerto No. 3 introduces a melody called the Straßburger) and in the fifth concerto, an ordinary minuet is disrupted by a Turkish dance scene. One writer referred to these as ‘burlesque inserts’ and saw them as appropriate for the Salzburg scene but not the more refined Parisian music scene. The interjection of the ‘temperamental and gruff’ in a minor key really breaks up the introspection of the minuet.

The Turks had first menaced Vienna in 1529, in their first unsuccessful siege of the city, which was barely defeated by the Viennese. Winter and epidemics helped to defeat the besieging Turks. The Second Turkish Siege of 1683 held Vienna in thrall for 2 months, until the Polish army under King John III Sobieski pushed the Turks out again. The Ottoman wars with southern Europe (Venice and Vienna included) didn’t end until the early 18th century. Although Mozart was writing some 60 years later, the Turks were still a concept to be reconciled with, albeit perhaps only as an uncultured figure of fun, here interrupting a civilised minuet.

These works are Mozart’s last compositions as a violinist. Following this, the new fortepiano caught his attention, and he changed instruments. At one point, in discussing a return to Salzburg, he made it a condition to return as a keyboardist and not a violinist.


This recording was made in 1952, with Marina Kozulupova as soloist, performing with the Soviet State Orchestra under Nikolaï Anossov.

Marina Kozulupova (1918–1978)

Marina Kozulupova (1918–1978)

Russian violinist Marina Semyonovna Kozolupova studied at the Moscow Conservatory and, in 1937, was awarded fifth prize at the International Ysaÿe Violin Competition in Brussels. She’s noted for her recordings of Beethoven and Bach. She taught at the Moscow Conservatory and became a professor there in 1967.

Nikolai Pavlovich Anosov

Nikolai Pavlovich Anosov

Russian conductor Nikolai Pavlovich Anosov (1900–1962) also studied at the Moscow Conservatory, although as an external student in composition. He made his debut as a conductor in 1930 and was active in more remote parts of the Soviet Union, being chief conductor of the Rostov Philharmonic Orchestra (1938–1939) and the Baku Philharmonic (1939–1940). In addition, during these years, he taught at the Azerbaijan Conservatory. Finally, he returned to Moscow in 1940 and taught opera and symphony conducting at the Moscow Conservatory. One of his students was his son, Gennady Rozhdestvensky. He was an active promoter of 20th-century foreign music and Russian music of the 18th and 19th centuries.

Mozart-Concerto pour violon, K. 219-Duos pour violon et alto-Marina Kozulupova-Nikolaï Anossov-Igor Oistrakh-Rudolf Barshai album cover

Performed by

Marina Kozulupova
Nikolaï Anossov
Soviet State Orchestra

Recorded in 1952

Official Website


Pachelbel - Canon in D-dur



How Did Pachelbel’s Canon Become So Popular?

by Emily F. Hogstad

But the Canon wasn’t always so famous. For generations, it languished in obscurity, just waiting to be rediscovered.

Today, we’re looking at the life of Johann Pachelbel, his close connection to the Bach family, how his Canon was once lost to history, what it took to be rediscovered, and how pop music helped to cement the Canon’s place in modern pop culture.

The Life of Johann Pachelbel

Johann Pachelbel

Johann Pachelbel

Johann Pachelbel was born in September 1653 in Nuremberg.

In 1677, he moved to Eisenach in present-day Germany and took a job as court organist. While there, he met Johann Sebastian Bach’s father and even tutored some of the Bach family children.

The following year, he became an organist in the city of Erfurt. He remained close to the Bachs and continued teaching the kids.

One of his students was Johann Christoph Bach (Johann Sebastian Bach’s oldest brother and his music teacher). This made Pachelbel one of Johann Sebastian Bach’s pedagogical “grandfathers.”

In October 1694, Johann Christoph Bach got married, and he invited Pachelbel to provide the music. It is believed this would have been the only time that Johann Sebastian Bach (who would have been nine) would have had the chance to meet him.

Pachelbel died in 1706.

The Origin of Pachelbel’s Canon

Pachelbel’s most famous work is known today as “Pachelbel’s Canon.”

That Canon is part of a larger work, the “Canon and Gigue for 3 violins and basso continuo.”

Johann Pachelbel – Canon and Gigue in D (c. 1700) 

Scholars don’t know the exact date of its composition, but believe it was written sometime after 1680.

Some scholars have theorised that it was written for Johann Christoph Bach’s 1694 wedding. It’s a great story, especially since the Canon is so popular at weddings today, but we have no solid proof to back that theory up.

The earliest surviving manuscript version of the Canon and gigue dates from around 1840, long after Pachelbel’s death, so there’s a limited amount that the score can tell us about the work’s origins.

Germany’s Rediscovery of Baroque Music

Fast forward two centuries.

In the late 1800s and early 1900s, there was a renewed interest in historical composers, especially in Germany. (Brahms was just one of the German composers who was fascinated and influenced by Baroque music.)

This interest was so strong that in 1912, German composer Max Reger wrote an entire concerto grosso in a Baroque style, calling it his “Concerto in the Old Style.”

Max Reger: Konzert im alten Stil, Op. 123 

Clearly, there was persistent – and growing – interest in this era of music. The pump was primed for a work by a Baroque composer like Pachelbel to make a comeback.

Gustav Beckmann’s Rediscovery of Pachelbel’s Canon

Johann Pachelbel's Canon music score

Johann Pachelbel’s Canon

Musicologist Gustav Beckmann was born in 1883 in Berlin. He studied philology and musicology, graduating with his doctorate in 1916.

In 1918, Beckmann wrote an article about Pachelbel for a journal called Archive for Musicology, which included the score of Pachelbel’s Canon. The following year, he published the music separately from the article.

In 1929, musicologist Max Sieffert published the score to both the Canon and gigue.

Sieffert included articulation and dynamic markings that Pachelbel had left to the performers’ discretion, making the work more approachable for modern musicians.

The First Recording of Pachelbel’s Canon

The Canon was recorded for the first time in 1938 by violinist Hermann Diener and His Music College.

At the time, Diener was a 41-year-old German violinist.

A few years later, in 1944, Diener would secure a position on Hitler’s famous Gottbegnadeten list (the “God-gifted” list), which listed artists considered vital to upholding Nazi culture. Over 1000 figures were on the list, including Richard Strauss, Carl Orff, and Herbert von Karajan

The Famous Paillard Pachelbel Recording

Jean-François Paillard, 1958

Jean-François Paillard, 1958

Thirty years later, in June 1968, the Jean-François Paillard chamber orchestra recorded a new version of the Canon.

Jean-François Paillard was a French conductor, born in 1928, with a special interest in Baroque repertoire.

This new version boasted a considerably slower tempo from Diener’s recording, and a more sentimental, Romantic style of playing.

Jean-François Paillard: Pachelbel Canon in D major 

This version was packaged by the Musical Heritage Society, a mail-order record label that had been founded in 1962. Recordings on this label were sent all around the world, creating a worldwide audience for the work.

Aphrodite’s Child Uses Pachelbel

Almost simultaneously, in July 1968, the Greek band Aphrodite’s Child released a reimagination of Pachelbel’s Canon on a track they called “Rain and Tears.”

Aphrodite’s Child – Rain and Tears 

The record became a hit in Europe. Other bands, including Pop-Tops and Parliament, also used the Canon in their own songs between 1968 and 1970.

Pachelbel’s Canon Becomes Famous

The Paillard recording, along with the Canon’s appearance in pop music, kicked off a decade of popularity.

In 1970, a radio station in San Francisco broadcast the Paillard version of the Canon. Local record stores were immediately overrun with music lovers seeking to buy their own recording to have on hand.

Record companies scrambled to issue new recordings. In 1974, London Records reissued an old recording by the Stuttgart Chamber Orchestra from their back catalogue to help meet demand.

In 1979, one record store manager from Philadelphia told Knight-Ridder News, “It sold as well as a major rock album.”

Pachelbel Canon Appears in Pop Culture

In 1980, the piece was prominently featured in the soundtrack for the film Ordinary People, directed by Robert Redford and starring Donald Sutherland and Mary Tyler Moore.

Ordinary People (1980) 

In 1980, the Canon appeared in Carl Sagan’s thirteen-part PBS documentary series Cosmos: A Personal Voyage, which became one of the most-watched PBS shows of all time.

In 1981, Prince Charles and Princess Diana used the “Prince of Denmark’s March” by composer Jeremiah Clarke as their processional. The Clarke piece was written in 1699, around the same time as Pachelbel’s Canon. This helped to contribute to the popularization of Baroque music, especially at weddings, and meant that Pachelbel’s Canon would be heard more than ever before.

Pachelbel’s Canon Today

Today, Pachelbel’s Canon is one of the most popular pieces of classical music in the world. Some people love it, while others have come to hate it.

Pro-Canon listeners point to its soothing character and joyful connotations with weddings, while anti-Canon listeners point to its repetitive cello part and the way it has oversaturated pop culture.

But whatever you think of Pachelbel’s Canon, it’s undeniable that the resurrection of this obscure piece of Baroque music has made a huge impact on music history.

And one thing’s for sure: that’s an outcome no one in the 1690s could have predicted!