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Erik Satie - Gymnopédie No1  Orchestra
Erik Satie - Gymnopédie No1 Orchestra Title: Erik Satie - Gymnopédie No.1 ( Orchestra ) From Wikipedia, The Gymnopédies, published in Paris starting in 1888, are three piano compositions written by French composer and pianist, Erik Satie. These short, atmospheric pieces are written in 3/4 time, with each sharing a common theme and structure. Collectively, the Gymnopédies are regarded as the precursors to modern ambient music[citation needed] - gentle yet somewhat eccentric pieces which, when composed, defied the classical tradition. For instance, the first few bars feature a disjunct chordal theme in the bass - first, a G-major 7th in the bass, and then a B-minor chord, also in the lower register. Then comes the one-note theme in D major. Although the collection of chords at first seems too complex to be harmonious, the melody soon imbues the work with a soothing atmospheric quality. Satie himself used the term "furniture music" to refer to some of his pieces, implying they could be used as mood-setting background music. However, Satie used this term to refer to only some of his later, 20th century compositions, without specific reference to the Gymnopédies as background music. From the second half of the 20th century on, the Gymnopédies were often erroneously described as part of Satie's body of furniture music, perhaps due to John Cage's interpretation of them.
Erik Satie - Gymnopédie No.1
Erik Satie - Gymnopédie No.1 Alfred Eric Leslie Satie (Honfleur, 17 May 1866 -- Paris, 1 July 1925) was a French composer and pianist. Starting with his first composition in 1884, he signed his name as Erik Satie. Satie was introduced as a "gymnopedist" in 1887, shortly before writing his most famous compositions, the Gymnopédies. Later, he also referred to himself as a "phonometrograph" or "phonometrician" (meaning "someone who measures (and writes down) sounds") preferring this designation to that of "musician," after having been called "a clumsy but subtle technician" in a book on contemporary French composers published in 1911. In addition to his body of music, Satie also left a remarkable set of writings, having contributed work for a range of publications, from the dadaist 391 to the American Vanity Fair. Although in later life he prided himself on always publishing his work under his own name, in the late nineteenth century he appears to have used pseudonyms such as Virginie Lebeau and François de Paule in some of his published writings. Satie was a colourful figure in the early 20th century Parisian avant-garde. He was a precursor to later artistic movements such as minimalism, repetitive music and the Theatre of the Absurd. The Gymnopédies, published in Paris starting in 1888, are three piano compositions written by French composer and pianist, Erik Satie. These short, atmospheric pieces are written in 3/4 time, with each sharing a common theme and structure. Collectively, the Gymnopedies ...
André Rieu - Die Hochzeit des Figaro - Cavatine (Mozart)
André Rieu - Die Hochzeit des Figaro - Cavatine (Mozart) Morschi Franz - Tenor „Der Barbier von Sevilla" (Originaltitel: Il barbiere di Siviglia) ist eine komische Oper in zwei Aufzügen von Gioachino Rossini. Das Libretto stammt von Cesare Sterbini und ist eine Bearbeitung des Schauspiels Le Barbier de Séville von Pierre Augustin Caron de Beaumarchais. Die Hauptpersonen des Barbiere sind auch Hauptfiguren der später in deren Leben angesiedelten Handlung der Oper „Le nozze di Figaro" von Wolfgang Amadeus Mozart und Lorenzo da Ponte nach Beaumarchais aus dem Jahr 1778. Die Uraufführung fand am 1. Mai 1786 im Wiener Burgtheaterstatt. Die Oper spielt am Schloss des Grafen Almaviva in Aguasfrescas in der Nähe von Sevilla um 1780. Die Handlung der Oper ist die direkte Fortsetzung von Beaumarchais' Theaterstück „Le Barbier de Séville" (Der Barbier von Sevilla) -- und damit Giovanni Paisiellos „Il barbiere di Siviglia". Die Cavatine (oder Cavata, italienisch) ist in der Oper eine zweiteilige Arie mit einer langsamen Einleitung und einem schnellen Schlussteil. In der Regel ist die Cavatine eine Auftrittsarie (it. sortita), dh die Arie für den ersten Auftritt eines Sängers.
Richard Wagner - The ride of the Valkyries from "Die Walküre"
Richard Wagner - The ride of the Valkyries from "Die Walküre" Richard Wagner The ride of the Valkyries, from Die Walküre Richard Wagner is considered the master of German opera, and one of the most progressive composers in history. The philosophical issues that Wagner considered vital to society were the tension between good and evil, between the physical and spiritual, and between selfishness and redemptive love. Wagner is also one to the most controversial composers of our time, his music was breathtaking, his politics left many cold. Der Ring des Nibelungen, (The Ring of the Nibelung), is a cycle of four epic music dramas by the German composer Richard Wagner.
(IX) FJ Haydn -〈The Creation〉Oratorio / Die Schöpfung, Oratoriu
(IX) FJ Haydn -〈The Creation〉Oratorio / Die Schöpfung, Oratoriu Franz Joseph Haydn (1732~1809) 《The Creation》oratorio, Hob. XXI:2 (1798) - English version, Vienna 1800 - (Part 2, Scene 2 / The Sixth Day) 26c. Chorus - "Achieved is the glorious work, Our song let be the praise of God!" (Part 3, Scene 1) 27. Recitative - "In rosy mantle appears" (Part 3, Scene 2) 28a. Duet with Chorus - "By thee with bliss, O bounteous Lord" Michael George (bass / Raphae & Adam) Emma Kirkby (soprano / Gabriel & Hawwah) Anthony Rolfe Johnson (tenor / Uriel) Choir of New College, Oxford The Chorus of Academy of Ancient Music The Academy of Ancient Music Christopher Hogwood (conductor) The Creation (German: Die Schöpfung) is an oratorio written between 1796 and 1798 by Joseph Haydn (H. 21/2), and considered by many to be his masterpiece. The oratorio depicts and celebrates the creation of the world as described in the biblical Book of Genesis and in Paradise Lost. Haydn was inspired to write a large oratorio during his visits to England in 1791-1792 and 1794-1795, when he heard oratorios of Handel performed by large forces. Israel in Egypt is believed to have been one of these. It is likely that Haydn wanted to try to achieve results of comparable weight, using the musical language of the mature classical style. The work on the oratorio lasted from October 1796 to April 1798. It was also a profound act of faith for this deeply religious man, who appended the words "Praise to God" at the end of every completed composition. He later remarked, "I was never ...
Erik Satie - Gymnopédie No.1 ( Orchestra )
Erik Satie - Gymnopédie No.1 ( Orchestra ) Title: Erik Satie - Gymnopédie No.1 ( Orchestra ) From Wikipedia, The Gymnopédies, published in Paris starting in 1888, are three piano compositions written by French composer and pianist, Erik Satie. These short, atmospheric pieces are written in 3/4 time, with each sharing a common theme and structure. Collectively, the Gymnopédies are regarded as the precursors to modern ambient music[citation needed] - gentle yet somewhat eccentric pieces which, when composed, defied the classical tradition. For instance, the first few bars feature a disjunct chordal theme in the bass - first, a G-major 7th in the bass, and then a B-minor chord, also in the lower register. Then comes the one-note theme in D major. Although the collection of chords at first seems too complex to be harmonious, the melody soon imbues the work with a soothing atmospheric quality. Satie himself used the term "furniture music" to refer to some of his pieces, implying they could be used as mood-setting background music. However, Satie used this term to refer to only some of his later, 20th century compositions, without specific reference to the Gymnopédies as background music. From the second half of the 20th century on, the Gymnopédies were often erroneously described as part of Satie's body of furniture music, perhaps due to John Cage's interpretation of them.
Erik Satie Gymnopédie No. 1 - Tzvi Erez, piano
Erik Satie Gymnopédie No. 1 - Tzvi Erez, piano iTunes link itunes.apple.com This is a recording of Satie's First Gymnopédie, performed on a Bosendorfer piano. Unlike other pianists, I play this composition with full chords in the left hand, not using the right hand to take over notes. From my analysis of Satie's original manuscript, he did not indicate to break chords between the hands. Part of "Intimate Recital". 2010 Niv Classical. www.nivmusic.com
Richard Wagner - Die Walküre - Der Ring des Nibelungen - act 1^ par
Richard Wagner - Die Walküre - Der Ring des Nibelungen - act 1^ par "Kühlende labung gab mir der que". "Die Walküre" (The Valkyrie), second of the four operas of "Der Ring des Nibelungen" (The Ring of the Nibelung). Music and text by Richard Wagner (1813-1883). Conductor: Georg Solti & Vienna Philharmonic Orchestra Wagner's essential peculiarity is the representation of the drama as an element of introspection; his operas can't be considered operas in the traditional meaning of the word, but great compositions where music, singing, poetry and psychology merge to interpret the life. In Wagner's conception the drama expect an almost religious attention, which the public has to attend to as the story takes place in his mind; so the drama rises magically from the imagination of the public before being in music. The music of the Cycle is composed by a mosaic of leading motifs, the leitmotiv, which embode characters or feelings, so their continuos reappearing produces a sort of psychological premonition. No closed-form pieces or arias interfer with the free flow of the narration which goes on without solution of continuity from the beginning to the end of every act, subjecting the singing to the comment of an orchestra enormous for the number of instruments and resonant wideness. It is also important in Wagner the use of chromatism, that incessant wave of chromatic spirals which is took to extremes till it leave the tonal structure. The characters of these operas are taken from the old Norse mythology; the principle idea, tipically romantic, is ...
Francois Boieldieu - La dame blanche - "Viens, gentille dame" (Lau
Francois Boieldieu - La dame blanche - "Viens, gentille dame" (Lau "La dame blanche" was among the most popular French comic operas of the nineteenth century: indeed, it had over 1000 performances at Opera-Comique alone. Although it has since pretty much faded into the annals of operatic history, it actually shows its composer, Boieldieu, and the very genre of the French opera-comique at their best. Georges Brown, the opera's primo tenor, actually has not one but three long solo scenes, one in each of the three acts (he's pretty much in every piece of the opera), and, to be honest, these three numbers are probably the best music in the whole opera (I will try to post the pastoral third scene which is quite inspiring). But the real gem of the opera is Georges' "Viens, gentille dame". The scene is pretty straightforward structurally: a classic "ABA" aria is followed by a short but exciting cabaletta with a repeat of the main "A" theme as a finish to the whole aria. The real "shocker" comes in the fact that the aria, in spite of its sentimental text and gentle melodic line, isn't actually a serious romance: it's a half-humorous call of Georges to the "Lady in White" about whom the villagers were warning him in Act One. There is impatience, anxiety in the text but stronger emotions aren't really present (though they are possible). Anyway, the aria is still one of the most beautiful pieces in the entire French repertory. The piece was recorded successfully by Gedda and Wunderlich, but there is something very special in the way the English ...
Telemann - "Canary" Cantata - Fischer-Dieskau Pt 1 of 3
Telemann - "Canary" Cantata - Fischer-Dieskau Pt 1 of 3 This is a tragic-comic cantata on the killing of a pet canary by a cat. A heartfelt lament. Telemanns Cantata oder Trauer-Music eines kunsterfahrenen Canarienvogels, als derselbe zum grössten Leidwesen seines Herrn Possessoris verstorben (Cantata or Funeral Music for an Artistically Trained Canary-Bird Whose Demise Brought the Greatest Sorrow to his Master) — the Canary Cantata — was composed around 1737, probably as a personal favor or on a commission from a now-forgotten Hamburg pet lover; the author of the text is unknown. The work is generally viewed as an ironic and mock-serious cat-that-got-the-canary tale, but the touching lament of the last aria (My canary, good night!) and the closing lines of the final recitative — which uses a low German dialect given a surprisingly vehement setting — indicate a deeper sentiment in the music that reflects the loss of even this tiny life. It is worth noting that included in the intrumental ensemble is Fischer-Dieskau's first wife, the cellist Irmgard Poppen, who died in childbirth in 1963. Uploading this in three parts. When originally uploaded I had only the English translation. Someone has kindly written down the German text of this cantata for me, which I have now added to my comments. My heartfelt thanks to You Tube user Frerki for taking the time to do this. Georg Philipp Telemann (1681-1767) Trauer-Musik eines kunsterfahrenen Kanarien-Vogels (Funeral Music for an Artistically Trained Canary-Bird ) Part 1 Arie O weh, mein ...
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