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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.
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 ...
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.
Perpetuum Mobile- Penguin Cafe Orchestra
Perpetuum Mobile- Penguin Cafe Orchestra This is the Penguin Cafe Orchestra playing the song Perpetuum Mobile. I'd also like to recommend the videos posted by "madandcrazychild" from which I discovered this truly amazing piece of music.
Hummel - Fantaisie for viola and orchestra (Gérard Caussé)
Hummel - Fantaisie for viola and orchestra (Gérard Caussé) Fantaisie for viola and orchestra (reconstructed by Fernand Oubradous) A concertante work by Austrian composer Johann Nepomuk Hummel (1778-1837). Viola, direction: Gérard Caussé Les Solistes de Montpellier-Moscou
Bartók's Concerto for Orchestra
Bartók's Concerto for Orchestra Béla Bartók's Concerto for Orchestra, played by The Berlin Philharmonic, conducted by David Zinman.
EPSYOs Youth Orchestra Danzón no. 2 Arturo Márquez
EPSYOs Youth Orchestra Danzón no. 2 Arturo Márquez The El Paso Symphony Youth Orchestras' Music Director Andres Moran conducts the Youth Orchestra in a rehearsal of Danzón no. 2 by Arturo Márquez at the Plaza Theater on April 24, 2010. The EPSYOs will present their Season Finale concert on Sunday, April 25, 2010 at 3:00PM at the Plaza Theatre. The concert will feature all four EPSYOs large ensembles in pieces including movements from Jean Sibelius Karelia Suite, and Arturo Marquezs Danzon No. 2. The concert will also feature violin virtuoso Giora Schmidt in Mendelssohns Violin Concerto in E minor. Born in 1983 to professional Israeli musicians, Mr. Schmidt began playing the violin at the age of four. At 13, he met Maestro Itzhak Perlman at the Perlman Music Program and at 16 was invited by Perlman to study under him full-time at the Juilliard Pre-College. Giora continued his studies with Perlman at the Juilliard School and also with the late violin pedagogue Dorothy DeLay. Mr. Schmidt was the First Prize winner of the Philadelphia Orchestras Greenfield Competition in 2000, the recipient of a 2003 Avery Fisher Career Grant, and in 2005 won the Classical Recording Foundations Samuel Sanders Award. He has also appeared with numerous symphony orchestras across North America including, Philadelphia, Chicago, Detroit, New Jersey, Fort Worth, Honolulu, San Diego, Toronto, Vancouver, and the Israel Philharmonic. Tickets are $7/student, senior, military; $12/adult and are available by calling (915) 532 - 3776, or at the door the ...
Mozart - Rondo Alla Turca (Orchestra)
Mozart - Rondo Alla Turca (Orchestra) Mozart Rondo Alla Turca Orchestra, Turkish March, Classical Music Fantastic symphony of Wolfang Amadeus Mozart.
Antonio Vivaldi "La Folia" - Apollo's Fire Baroque Orchestra/Jean
Antonio Vivaldi "La Folia" - Apollo's Fire Baroque Orchestra/Jean The folia is an ancient dance from Portugal, where young girls engaged in the "folly" of a wild dance of abandonment. The Folia dance traditionally gets faster and wilder toward the end. This arrangement by Jeannette Sorrell is a concerto grosso, after Vivaldi's triosonata La Folia. Cynthia Roberts and Julie Andrijeski, violini principali Rene Schiffer, continuo cello Miho Hashizume, Johanna Novom, Carrie Krause, Emi Tanabe, Adriane Post, violini ripieni Karina Fox, Kristen Linfante, viola Mime Y. Brinkmann, cello Sue Yelanjian, contrabass Christa Patton, baroque harp William Simms, baroque guitar Jeannette Sorrell, harpsichord/direction Highlights from the Feb. 2008 performance for WVIZ-PBS studios, Cleveland, Ohio. Apollo's Fire Baroque Orchestra, Jeannette Sorrell, director. www.apollosfire.org
Beethoven's Für Elise - Piano and Orchestra
Beethoven's Für Elise - Piano and Orchestra Fur Elise by Ludwig van Beethoven, orchestrated and performed by pianist Georgii Cherkin. Conducted by Grigor Palikarov.
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