FRIDAY, August 21, 2020 – 12:57 AM
In the early 1990s I was heavily involved in what was then the exploration of midi. MIDI is an acronym that stands for Musical Instrument Digital Interface. It’s a way to connect devices that make and control sound — such as synthesizers, samplers, and computers — so that they can communicate with each other, using MIDI “performances”. The idea is that we can make music with our computers, with or without keyboards. It’s a different way of thinking, a different way of relating to music.
We were also exploring digital keyboards, what they could do, what they could not do, looking for new ideas, new openings. At that time the Yamaha Clavinova was close to the best keyboard available for this kind of work, so I began using it to record. These recordings are from the mid to late 90s, and although the sound is now dated (things keep getting better and better re sound and technology, I still like some of these recordings for their ideas, and so I am sharing them here. I was doing a bit of editing as late as 2005, but the actual playing, the creation of the MIDI files that drive the performances, are from much earlier.
Schumann’s Scenes from Childhood, in one file:
Kinderszenen, Op. 15 (Scenes from Childhood), Op. 15, by is a set of thirteen pieces of music for piano written in 1838 by Robert Schumann, a famous German composer (8 June 1810 – 29 July 1856.) They were originally named Leichte Stücke (Easy Pieces), then the names were added later as a suggestion as to how to play them, what kind of conception or sound to have in mind.
The Children’s Corner
Debussy composed Children’s Corner between 1906 and 1908 and dedicated his suite to his young daughter, Claude-Emma (known as “Chou-Chou”), who was at the time of composition between the age of one and three. His dedication reads:
“A ma chère petite Chouchou, avec les tendres excuses de son Père pour ce qui va suivre. C. D.” (To my dear little Chouchou, with tender apologies from her father for what follows.)n jazz.
G Minor Ballade
A ballade as conceived of by Chopin was a very free form composition with no strictly defined structure, interweaving various themes, and Chopin was apparently the first famous composer to write pieces of this name that were, in general, highly dramatic and often heroic in nature. Robert Schumann was hugely impressed with this work, and both Liszt and Brahms also wrote ballades, obviously influenced by Chopin.
It is structurally complex and not strictly confined to any particular form, without doubt one of the most famous and frequently performed compositions of Chopin.