Indian Diary no. 4, by Ferruccio Busoni From the new Solo Album: Ferruccio Busoni: l'Énigme Steven Vanhauwaert, Piano Released on Editions Hortus, September 2020 http://www.editionshortus.com/catalogue_fiche.php?prod_id=266 Ferrucio Busoni (1866-1924) Élégies op. BV 249 1. Nach der Wendung 5'06 Indianisches Tagebuch I op. BV 267 2. Allegro affetuoso, un poco agitato 2'41 3. Vivace 1'50 4. Andante 3'55 5. Maestoso ma andando 2'51 6. Fantasia nach J.S. Bach op. BV 253 13'15 7. Fantasia contrappuntistica op. BV 256 31'14 Élégies op. BV 249 8. Berceuse 4'45

Ambroise Aubrun, Violin Che-yen Chen, Viola Yoshika Masuda, Cello Steven Vanhauwaert, Piano Performed and recorded live on Nov. 17, 2024 for the South Bay Chamber Music Society in CA. www.twelvethirtyfourstudios.com

PURCHASE SHEET MUSIC HERE: https://www.twelvethirtyfourvirtuosi.com/products/schubert-fantasie-in-c-major-d-934-for-viola-and-piano Schubert's Fantasie in C-Major, D.934 was originally written for the Violin & Piano back in December 1827. For this performance, violist Kevin Hsu has arranged the piece for viola and piano. Since the piece was composed in C-Major, Mr. Hsu found the piece to lend itself naturally to the viola. Everything has been carefully typed out for the modern musician and performer, and included are the viola part and piano score. Performers: Che-yen Chen, Viola Steven Vanhauwaert, Piano World premiere of Schubert's Fantasie for Viola & Piano - November 15, 2024. "Schubert: Fantasy in C Major, D. 934 Sei mir gegrüsst – ‘Accept my greeting’ Inspired by two virtuosi present in Vienna in late 1827, Josef Slavik (violin) and Carl Maria von Bocklet (piano), Schubert decided to compose a Paganini-esque work to show off the technical mastery of both of these great musicians. Thus, was born Schubert’s final work prominently featuring the violin: the Fantasy in C Major, concluded in December of 1827 and premiered in January of 1828. A few short months later, Schubert would compose another Fantasy (this time in F minor) for piano four hands which would only see publication after his untimely passing in May of 1828. Both Fantasies share common elements: an uninterrupted formal structure with tempo changes marking “movements,” an uncharacteristically long score, moments of extreme virtuosity riddled in between moments of lyrical tranquility, and a decided insistence on equality between both players. The Fantasy in C Major unfolds across four sections, of which the introduction is marked Andante molto. Rumbling trills from the piano set the stage for the viola to begin with a climbing melodic line that loosely follows the tune of one of Schubert’s lieder (Sei mir gegrüsst), which only fully materializes in the third section, Andantino. In these opening moments, though we are tonally centered around “C,” it remains unclear if we are in minor or major mode. The following section, Allegretto, is perhaps the most recognizable moment of Schubert’s Fantasy. Now firmly established in C Major, the viola and piano take turns skipping about in a Hungarian-style dance, with imitative counterpoint giving the whole section the feeling of a competition. The violist shows off his fast fingers in lighthearted frivolity while the pianist swears that he can play even faster! Impassioned octave double stops in the viola interspersed with arpeggiated sixteenth notes in the piano make this moto perpetuo section an absolute showstopper. The following section, Andantino, is where Schubert displays his propensity for songwriting by creating a theme and variations around the melody of one of his earlier lieder: Sei mir gegrüsst (‘Accept my greetings’), just as he did nine years prior in his Trout Quintet. The first three variations are increasingly virtuosic showpieces for both viola and piano, showing off the full extent of both musician’s technical mastery. The fourth and final variation goes back to the basics, presenting the song in an interpretation which foregrounds its tragic lyricism. The song itself is about a greeting that cannot ever be achieved, for distance, time, and worlds themselves separate the singer from his beloved. The finale, Allegro vivace, is a bombastic exchange of dazzling bravura for both viola and piano. The coda forces both instruments to switch their traditional contrapuntal roles, with octave scales in the piano underpinning triple-stop chords in the viola. The Fantasy in C Major reminds us that, though we often associate Schubert with lyrical melodies tinged with melancholy, he also wrote works full of the joy and vivacity of life. -Saagar Asnani, UC Berkeley" Performed live at the Pacific Unitarian Church on November 17, 2024. Filmed and recorded by Kevin Hsu of STUDIOS, 12/34.

Ambroise Aubrun, Violin Che-yen Chen, Viola Yoshika Masuda, Cello Steven Vanhauwaert, Piano Performed and recorded live on Nov 17 2024 for the South Bay Chamber Music Society. www.twelvethirtyfourstudios.com

Steven Vanhauwaert performs The Messenger by Valentin Silvestrov at Chamber Music LA's Music Box concert. August 28, 2022, Zipper Hall at the Colburn School.

Provided to YouTube by CDBaby Six Etudes Pour Piano, Op. 52: VI. Etude en forme de valse · Steven Vanhauwaert Saint-Saëns: L'explorateur ℗ 2021 Sonarti Released on: 2021-06-01 Auto-generated by YouTube.

Promotional Video for 'Dispersion', from the French label Editions Hortus' Les Musiciens et la Grande Guerre. Steven Vanhauwaert, Piano. - Grotesken by Schulhoff - In Einer Nacht by Hindemith - Inezie by Casella - Piano Sonata by Raymond Moulaert - Le Glas by Louis Vierne http://www.editionshortus.com/catalogue_fiche.php?prod_id=177 www.stevenpiano.com

Interview with Pianist Steven Vanhauwaert www.stevenpiano.com

Busoni's over-the-top Fantasia Contrappuntistica, in Zipper Hall for PianoSpheres. New album released on Editions Hortus; also available on Spotify and Tidal. https://open.spotify.com/album/50Scq2LVNiacXtO6EGiJAZ?si=o4APuTsrTrO6Id_mujSmEQ https://www.editionshortus.com/catalogue_fiche.php?prod_id=266#prog