Han-Lin Yun - Kaleidoskop der Tonarten (2025)
BAND/ARTIST: Han-Lin Yun
- Title: Kaleidoskop der Tonarten
- Year Of Release: 2024/2025
- Label: Querstand
- Genre: Classical
- Quality: flac lossless (tracks) +Booklet
- Total Time: 01:15:08
- Total Size: 194 mb
- WebSite: Album Preview
Tracklist
01. Sonate in C Major, K.159
02. Album für die Jugend, Op. 68: No. 27 in A Minor, Kanonisches Liedchen
03. Schwanengesang, D. 957: No. 1 in G Major, Liebesbotschaft (Arr. for Piano Solo by Franz Liszt)
04. Lyrische Stücke, Op. 12: No. 7 in E Minor, Albumblatt
05. Prelude in D Major, Op. 23 Nr. 4
06. Prelude in E Minor, BWV 855 (Arr. for Piano Solo in B Minor by Alexander Siloti)
07. 24 Préludes, Op. 28: No. 7 in A Major, Andantino
08. Lieder ohne Worte, Op. 67: No. 2 in F-Sharp Minor, Allegro leggiero
09. Französische Suite Nr. 6, BWV 817: II. Courante in E Major
10. Mazurka in C-Sharp Minor, Op. 63 Nr. 3
11. 24 Préludes, Op. 28: No. 11 in B Major, Vivace
12. Prelude in G-Sharp Minor, Op. 32 Nr.12
13. Drei Romanzen, Op. 28: No. 2 in F-Sharp Major
14. Vier Impromptus, D. 899: No. 3 in G-Flat Major, Andante
15. Etüde in D-Sharp Minor, Op. 8 Nr.12
16. Prelude in E-Flat Minor, Op. 11 Nr. 14
17. Moments Musicaux in D-Flat Major, Op. 16 Nr.5
18. Drei Intermezzi, Op. 117: No. 2 in B-Flat Minor, Andante non troppo e con molto espressione
19. Romance sans Paroles in A-Flat Major, Op. 17 Nr. 3
20. Moments musicaux, D. 780: No. 3 in F Minor, Allegro moderato
21. Drei Intermezzi, Op. 117: No. 1 in E-Flat Major, Andante moderato
22. Solfeggietto in C Minor, Wq. 117/2
23. Toccata in B-Flat Major
24. Die schöne Müllerin, D. 795: No. 19 in G Minor, Der Müller und der Bach (Arr. for Piano Solo by Franz Liszt)
25. Album für die Jugend, Op. 68: No. 42 in F Major, Figurierter Choral
26. Sonate in D Minor, K. 213
The pianist Han-Lin Yun came up with the idea for this CD after an online lecture on "The Colors of Keys" by Professor Arnulf von Arnim, who has been an important musical mentor to her for many years.
It was and is always the keys that we as listeners pay particular attention to when examining tonal works: We follow the modulation in a composition, we compare the different works of one and the same composer, we look at when and where he uses which key (or "color") for his work or a certain passage. Slowly and surely our senses grasp the threads that lead us to the mood of the composer. Depending on the key, we sense cheerfulness or gloom, heavenly exultation or loneliness, sadness or transfguration and recognize that these moods call for a very specifc key. On her frst solo CD, Han-Lin Yun has brought together 26 exemplary works that, in her opinion, clearly represent the mood of the respective key. She has added two of the keys that are to be considered separately as enharmonic confusions to the 24 keys: F sharp major (keys that are the same as G fat major) and D fat minor (keys that are the same as E fat minor).
The text also contains the pianist's own, very personal interpretation, including her perception of color and the backdrop against which this has a very special effect. The listener can, no, must decide for himself whether or where he agrees and where he wants to follow his own, different perception. Does the mood that an intermezzo, a song, a prelude, an etude puts him in correspond with the pianist's explanations? What is going on inside him? What color, what background does he see? A truly melodious and atmospheric, perhaps even intoxicating adventure!
01. Sonate in C Major, K.159
02. Album für die Jugend, Op. 68: No. 27 in A Minor, Kanonisches Liedchen
03. Schwanengesang, D. 957: No. 1 in G Major, Liebesbotschaft (Arr. for Piano Solo by Franz Liszt)
04. Lyrische Stücke, Op. 12: No. 7 in E Minor, Albumblatt
05. Prelude in D Major, Op. 23 Nr. 4
06. Prelude in E Minor, BWV 855 (Arr. for Piano Solo in B Minor by Alexander Siloti)
07. 24 Préludes, Op. 28: No. 7 in A Major, Andantino
08. Lieder ohne Worte, Op. 67: No. 2 in F-Sharp Minor, Allegro leggiero
09. Französische Suite Nr. 6, BWV 817: II. Courante in E Major
10. Mazurka in C-Sharp Minor, Op. 63 Nr. 3
11. 24 Préludes, Op. 28: No. 11 in B Major, Vivace
12. Prelude in G-Sharp Minor, Op. 32 Nr.12
13. Drei Romanzen, Op. 28: No. 2 in F-Sharp Major
14. Vier Impromptus, D. 899: No. 3 in G-Flat Major, Andante
15. Etüde in D-Sharp Minor, Op. 8 Nr.12
16. Prelude in E-Flat Minor, Op. 11 Nr. 14
17. Moments Musicaux in D-Flat Major, Op. 16 Nr.5
18. Drei Intermezzi, Op. 117: No. 2 in B-Flat Minor, Andante non troppo e con molto espressione
19. Romance sans Paroles in A-Flat Major, Op. 17 Nr. 3
20. Moments musicaux, D. 780: No. 3 in F Minor, Allegro moderato
21. Drei Intermezzi, Op. 117: No. 1 in E-Flat Major, Andante moderato
22. Solfeggietto in C Minor, Wq. 117/2
23. Toccata in B-Flat Major
24. Die schöne Müllerin, D. 795: No. 19 in G Minor, Der Müller und der Bach (Arr. for Piano Solo by Franz Liszt)
25. Album für die Jugend, Op. 68: No. 42 in F Major, Figurierter Choral
26. Sonate in D Minor, K. 213
The pianist Han-Lin Yun came up with the idea for this CD after an online lecture on "The Colors of Keys" by Professor Arnulf von Arnim, who has been an important musical mentor to her for many years.
It was and is always the keys that we as listeners pay particular attention to when examining tonal works: We follow the modulation in a composition, we compare the different works of one and the same composer, we look at when and where he uses which key (or "color") for his work or a certain passage. Slowly and surely our senses grasp the threads that lead us to the mood of the composer. Depending on the key, we sense cheerfulness or gloom, heavenly exultation or loneliness, sadness or transfguration and recognize that these moods call for a very specifc key. On her frst solo CD, Han-Lin Yun has brought together 26 exemplary works that, in her opinion, clearly represent the mood of the respective key. She has added two of the keys that are to be considered separately as enharmonic confusions to the 24 keys: F sharp major (keys that are the same as G fat major) and D fat minor (keys that are the same as E fat minor).
The text also contains the pianist's own, very personal interpretation, including her perception of color and the backdrop against which this has a very special effect. The listener can, no, must decide for himself whether or where he agrees and where he wants to follow his own, different perception. Does the mood that an intermezzo, a song, a prelude, an etude puts him in correspond with the pianist's explanations? What is going on inside him? What color, what background does he see? A truly melodious and atmospheric, perhaps even intoxicating adventure!
| Classical | FLAC / APE
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