Rachmaninoff-Falzone Concerto op. 30/3 (transcribed and performed by Christopher)

Christopher Falzone’s_RACHMANINOV CONCERTO N. 3 (transcribed by Christopher Falzone for solo piano): Christopher Falzone / Piano 1. Allegro ma non tanto 2. Intermezzo 17:15 3. Finale 26 Live recording © Christopher Falzone / PIANO •*¯`*•●ChF●•*¨¯`*• 2013 © Christopher Falzone 2014 ©CFLMCR Classicalrecitals has shared a video with you on YouTube Christopher Falzone’s International FanClub obtain a New Premiere of Christopher Falzone’s Original Transcription on live video/audio recording, previously unpublished and never before seen/heard or done anywhere/by anybody else and it is a complete creation. If you’re looking for inspiration from watching other musicians perform or for new ideas, Christopher Falzone’s International FanClub receives inquiries here on the Facebook page with Christopher Falzone’s recordings, in the MP4/MP3 format, available for download any time soon and DVD or CD will be possible to ship. Variety of prices available. or Christopher Falzone commented in September 2015 from Geneva Hospital: Classicalrecitals5 months ago “Dear Gregg, I’m really glad to get a comment from you, who are specializing in Rach concerto N. 3. Where do you live? Check out my Faure quartet transcription or other transcriptions like Busoni concerto. All of them were premiere performances. I think to do an ongoing project of transcriptions would be fun, or even to explore new repertoire through transcribing is worthwhile. I was playing them without writing them down, because I try to experiment with the technical and musical methods of creating while playing. Now I am doing Shostakovich Concerto N.1 with a completely different approach. I first played it through on the piano as I did other concertos while adding the other parts, and then I went to writing it down and remembered it from playing ’s just experimental. it’s good to play in places where there is no orchestra, but music is high in demand. otherwise, orchestras is best. But at the same time I would really like to try a new experience playing big concertos without a conductor to see how I can communicate with orchestra musicians. That’s kind of an idea underneath of my transcriptions.“