Ravel´s Bolero - Classical Guitar - Change 360p for 240p to watch i
Ravel´s Bolero - Classical Guitar - Change 360p for 240p to watch i TO WATCH THIS VIDEO CHANGE 360p FOR 240p AT THE BOTTOM RIGHT CORNER OF THE VIDEO. A beautiful arrangement of this classic for guitar www.elearnguitar.com
Vanessa Mae Destiny
Vanessa Mae Destiny Vanessa-Mae Destiny music video from Subject to Change album
Joshua Bell Stop and Hear the Music by the Washington Post
Joshua Bell Stop and Hear the Music by the Washington Post From the Washington Post: Pearls Before Breakfast Can one of the nation's great musicians cut through the fog of a D.C. rush hour? Let's find out. By Gene Weingarten Washington Post Staff Writer Sunday, April 8, 2007; Page W10 HE EMERGED FROM THE METRO AT THE L'ENFANT PLAZA STATION AND POSITIONED HIMSELF AGAINST A WALL BESIDE A TRASH BASKET. By most measures, he was nondescript: a youngish white man in jeans, a long-sleeved T-shirt and a Washington Nationals baseball cap. From a small case, he removed a violin. Placing the open case at his feet, he shrewdly threw in a few dollars and pocket change as seed money, swiveled it to face pedestrian traffic, and began to play. It was 7:51 a.m. on Friday, January 12, the middle of the morning rush hour. In the next 43 minutes, as the violinist performed six classical pieces, 1,097 people passed by. Almost all of them were on the way to work, which meant, for almost all of them, a government job. L'Enfant Plaza is at the nucleus of federal Washington, and these were mostly mid-level bureaucrats with those indeterminate, oddly fungible titles: policy analyst, project manager, budget officer, specialist, facilitator, consultant. ...for the rest of the article go to: http://www.washingtonpost.com/wp-dyn/content/article/2007/04/04/AR2007040401721.html
JOSE ANTONIO LOPEZ plays "Un sueño en la floresta"
JOSE ANTONIO LOPEZ plays "Un sueño en la floresta" Jose Antonio Lopez, classical guitarist from PUERTO RICO, performs at CARNEGIE HALL on june 8th, 2008 at 8:30pm. Producer: PACO VARGAS PromoXchange. Tickets: www.carnegiehall.org
Chopin - Étude Op. 10, No. 1 in C major "Waterfall"
Chopin - Étude Op. 10, No. 1 in C major "Waterfall" Étude Op. 10, No.1 in C major, composed by Frédéric Chopin, is a technical study in reach and arpeggios for the piano. It also focuses on stretching the fingers. Sometimes it is known as the "Waterfall" étude. It was composed in 1829, and first published in 1833, in France, Germany, and England. In a prefatory note to the 1916 Schirmer edition the American music critic James Huneker (18571921) compared the "hypnotic charm" that these "dizzy acclivities and descents exercise for eye as well as ear" to the frightening staircases in Giovanni Battista Piranesi's prints of the Carceri d'invenzione. Structure The work is executed at an Allegro tempo. The time-signature Common time is according to the first French, English, and German editions. Chopin's own manuscript reads Cut time. The right hand gauntlet consists entirely of broad arpeggios in semiquavers (sixteenth notes) on modulating scales. The left hand plays the deep melody in slow, droning octaves. The main difficulty of this piece is playing the etude accurately at its suggested tempo (quarter note equals 176). Given the lack of rests, the challenge lies in playing the entire etude accurately and uninterrupted, which requires extremely swift movement of the right hand and quick changes in octaves for the left hand.
Summertime - Piano Improvisation
Summertime - Piano Improvisation at the moment I live in Germany and here the summer is nearly always much humid one (RAIN), I hatred this type of summer and I have tried this my version of "Summertime" what mean's for me this 2007 German much rain summer. Many of his compositions have been used on television and in numerous films, and many became jazz standards. The jazz singer Ella Fitzgerald recorded many of the Gershwins' songs on her 1959 Gershwin Songbook (arranged by Nelson Riddle). Countless singers and musicians have recorded Gershwin songs, including Fred Astaire, Louis Armstrong, Al Jolson, Bobby Darin, Art Tatum, Bing Crosby, Janis Joplin, John Coltrane, Frank Sinatra, Billie Holiday, Sam Cooke, Miles Davis, Herbie Hancock, Madonna, Judy Garland, Julie Andrews, Barbra Streisand, Marni Nixon, Natalie Cole, Patti Austin, Nina Simone, Maureen McGovern, John Fahey, The Residents, Sublime, and Sting. About the composer: George Gershwin (September 26, 1898 July 11, 1937) was an American composer and pianist whose early death brought to a premature halt one of the most remarkable careers in American music. Gershwin's compositions spanned both popular and classical genres, and his most popular melodies are universally familiar. He wrote most of his vocal and theatrical works in collaboration with his elder brother, lyricist Ira Gershwin. George Gershwin composed music for both Broadway and the classical concert hall, as well as popular songs that brought his work to an even wider public. Gershwin's compositions have been used in numerous films and on television, and many became jazz standards recorded in numerous variations. Countless singers and musicians have recorded Gershwin songs. Early life Gershwin was named Jacob Gershowitz at birth in Brooklyn on September 26, 1898. His parents were Russian Jews. His father, Morris (Moishe) Gershowitz, changed his family name to 'Gershvin' sometime after immigrating to the United States from St. Petersburg, Russia in the early 1890s. Gershwin's mother Rosa Bruskin had already immigrated from Russia. She met Gershowitz in New York and they married on July 21, 1895.[1] (George changed the spelling of the family name to 'Gershwin' after he became a professional musician; other members of his family followed suit.) George Gershwin was the second of four children.[2] He first displayed interest in music at the age of ten, when he was intrigued by what he heard at his friend Maxie Rosenzweig's violin recital.[3] The sound and the way his friend played captured him. His parents had bought a piano for lessons for his older brother Ira, but to his parents' surprise and Ira's relief, it was George who played it.[4] Although his younger sister Frances Gershwin was the first in the family to make money from her musical talents, she married young and devoted herself to being a mother and housewife. She gave up her performing career, but settled into painting for another creative outlet — painting was also a hobby of George Gershwin. Gershwin tried various piano teachers for two years, and then was introduced to Charles Hambitzer by Jack Miller, the pianist in the Beethoven Symphony Orchestra. Until Hambitzer's death in 1918, he acted as Gershwin's mentor. Hambitzer taught Gershwin conventional piano technique, introduced him to music of the European classical tradition, and encouraged him to attend orchestra concerts.[5] (At home following such concerts, young Gershwin would attempt to reproduce at the piano the music that he had heard.) Gershwin later studied with classical composer Rubin Goldmark and avant-garde composer-theorist Henry Cowell.
Mozart - Aria for Soprano and Orchestra "Per pietà, bell'idol mio
Mozart - Aria for Soprano and Orchestra "Per pietà, bell'idol mio Wolfgang Amadeus Mozart (1756 - 1791) Concert Aria for Soprano and Orchestra "Per pietà, bell'idol mio" in C major, KV 78 ·Andante con moto Soprano: Lucia Popp Leopold Hager / Mozarteum-Orchester Salzburg Orchestation: · 2 Oboes · 2 Cornos (C) · [2 Bassoons (optional)] · Strings Pietro Metastasio's libretti are today associated almost exclusively with Baroque and early Classical settings, but they retained some of their popularity even into the early Romantic period, with both Rossini and Bellini utilizing them. This is one of the most operatic of Bellini's songs, with more than a few devices much more frequently found in arias than in his songs. The piece opens with a hurried piano introduction that immediately sets a theatrical mood, with dramatic chords. The vocal melody is first taken at a quick pace and is generally simple, though it ends with a few rather theatrical reprises with dramatic changes of dynamics and tempo. The da capo repetition ends with overtly operatic touches from both voice and accompaniment, including the traditional operatic thundering flourish of an ending from the piano. ~ Anne Feeney, All Music Guide. Composed in 1766, in The Hague. Text from Metastasio "Artarerse", Act II, scene 11: Per pietà, bell'idol mio, non mi dir ch'io sono ingrato; infelice e sventurato abbastanza il Ciel mi fa. Se fedele a te son io, se mi struggo ai tuoi bei lumi, sallo amor, lo sanno i Numi il mio core, il tuo lo sa. Translation to English: For pity's sake, my ...
Estudio Brillante (Francisco Tárrega)_21, Classical Guitar Study
Estudio Brillante (Francisco Tárrega)_21, Classical Guitar Study FREE sheet music download, www.joeno1.net contact Joe, www.joeno1.net This is a practice recording on September 18th, 2009. I re-arrange the fingering every time I pick up this study. This time I changed quite a lot. I feel good about it. It works better for me. It looks so easy by watching the video. Check my blog for more detail, Donate: j.mp
Leoš Janáček - String Quartet No. 2, 'Intimate Letters' (1 of 4
Leoš Janáček - String Quartet No. 2, 'Intimate Letters' (1 of 4 Unusually for a classical work, the nickname "Intimate Letters" was given by the composer, as it was inspired by his long and spiritual friendship with Kamila Stösslová, a married woman 38 years his junior. The composition was intended to reflect the character of their relationship as revealed in more than 700 letters they exchanged with each other. The viola assumes a prominent role throughout the composition, as this instrument is intended to personify Kamila. The viola part was originally written for a viola d'amore, however the conventional viola was substituted when Janáček found the viola d'amore did not match the texture. Milan Škampa of the Smetana Quartet has interpreted the third "letter", or movement, as a lullaby for the son that Janáček and Kamila Stösslová never had together. The work is essentially tonal albeit not in the traditional sense. For example, the work closes with six D-flat major chords (Janáček's favourite chord), but with the added dissonance of an E-flat.
Anton Diabelli : Sonatina in F major, Op. 168 No. 1
Anton Diabelli : Sonatina in F major, Op. 168 No. 1 Moderato cantabile; Andante cantabile; Allegretto -------------------------------------------------------------------------------------------------------------------------------- The Austrian composer and music publisher Anton Diabelli (1781-1858) is remembered for two things. First, there was the waltz he sent around to various composers of the day in 1819, requesting them to write variations for an anthology. The challenge was, of course, best met by Beethoven, who wrote a whole set. Second, there are the eleven sonatinas (Opp. 151 and 168), which are still studied by many students to this day. I had never systematically studied them, although I probably learned one or two movements as a boy. However, I was given a copy of the Op. 168 set recently, and got much pleasure from playing through them - admiring the way Diabelli distilled the essence of a late classical sonata into miniature forms. Just for a change, I have used a different camera angle for this video - but anyone learning this piece should not copy my hand movements, as I have acquired some unusual mannerisms through the years! ---------------------------------------------------------------------------------------------------------------------------------- Played by Phillip Sear www.psear.co.uk