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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 ( 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.
Trois Gymnopedies -Erik Satie
Trois Gymnopedies -Erik Satie The Gymnopedies, 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 are regarded as the precursors to modern ambient music - 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 Gymnopedies as background music. From the second half of the 20th century on, the Gymnopedies were often erroneously described as part of Satie's body of furniture music, perhaps due to John Cage's interpretation of them.
Erik Satie - Gymnopedie No.3 (Orchestrated by Debussy)
Erik Satie - Gymnopedie No.3 (Orchestrated by Debussy) 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 are regarded as the precursors to modern ambient music - 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. By the end of 1896 Satie's popularity and financial situation were ebbing. Debussy, whose popularity was rising at the time, helped draw public attention to the work of his friend. Debussy expressed his belief that the 2nd ...
Georg Philipp Telemann (1681-1767) - Concerto for Flauto Traverso an
Georg Philipp Telemann (1681-1767) - Concerto for Flauto Traverso an Ars Antigua Presents - Georg Philipp Telemann (1681-1767) - Concerto for Flauto Traverso and Strings in G-Major Our program this month (features the rarely performed Concerto for Flauto Traverso and strings in G Major by Georg Philipp Telemann (1681-1767). This performance by Ars Antigua directed by Jerry Fuller features baroque flute soloist Cuauhetemoc Trejo. Telemanns little performed, but excellent, flute concerto is in the French style with a tip of the hat to Polish music in the last movement. Unlike the typical baroque concerto in 3 movements, this concerto is in four character movements, which hints of the French orchestra suite with its prominent dance rhythms. ArsAntiguaPresents.com, directed by Jerry Fuller, is a series free video web cast programs of music from the Renaissance, Baroque, and Classical eras performed on period instruments.Video production by Phillip W. Serna for ArsAntiguaPresents.com.Copyright 2009 Jerry Fuller. This work is licensed under a Creative Commons Attribution Noncommercial Share Alike 3.0 License. Jason Heath, podmaster Phillip W. Serna, Youtube channelmaster ArsAntiguaPresents.com is edited and mixed by Jesse McQuarters, producer at the WFMT Radio Network and Associate Producer of Exploring Music with Bill McGlaughlin. For more information on Ars Antigua Presents programming, visit www.arsantiguapresents.com
Erik Satie - Gymnopedie No.1 (Orchestrated by Debussy)
Erik Satie - Gymnopedie No.1 (Orchestrated by Debussy) 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 are regarded as the precursors to modern ambient music - 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. By the end of 1896 Satie's popularity and financial situation were ebbing. Debussy, whose popularity was rising at the time, helped draw public attention to the work of his friend. Debussy expressed his belief that the 2nd ...
Accordeonduo Bibob - Andante / Joseph Haydn (Duet Jo Brunenberg en W
Accordeonduo Bibob - Andante / Joseph Haydn (Duet Jo Brunenberg en W Accordeon duo Bibob - Andante / Joseph Haydn (Jo Brunenberg en Wim Niëns) Classical piano accordion type Bach Compact with double cassotto and a mano reeds. From the Symphony No. 94 in G-major "Surprise" Aus der Sinfonie Nr. 94 G-Dur mit dem Paukenschlag Bewerkt voor twee accordeons door Herwig Peychaer. Duo de acordeon Accordion duet From Wikipedia: Franz Joseph Haydn (31 March 1732 -- 31 May 1809), known as Joseph Haydn (German pronunciation: [ˈjoːzɛf ˈhaɪdən]; English: /ˈdʒoʊzəf ˈhaɪdən/), was an Austrian composer, one of the most prolific and prominent composers of the Classical period. He is often called the "Father of the Symphony" and "Father of the String Quartet" because of his important contributions to these forms. He was also instrumental in the development of the piano trio and in the evolution of sonata form. A lifelong resident of Austria, Haydn spent much of his career as a court musician for the wealthy Esterházy family on their remote estate. Isolated from other composers and trends in music until the later part of his long life, he was, as he put it, "forced to become original". At the time of his death, he was one of the most celebrated composers in Europe. Joseph Haydn was the brother of Michael Haydn, himself a highly regarded composer, and Johann Evangelist Haydn, a tenor. He was also a close friend of Wolfgang Amadeus Mozart and a teacher of Ludwig van Beethoven. Great composers like Johann Sebastian Bach, Antonio Vivaldi, Wolfgang Amadeus Mozart ...
Michael Hedges - Cello Suite #1 in G Major (Bach)
Michael Hedges - Cello Suite #1 in G Major (Bach) Bach's first cello suite (BWV 1007, the prelude), on the harp guitar, played as intended in G major. 8/1/87 performance at the Mahaiwe Theater in Great Barrington, MA. Tuning:G1C2C#2A1D2E2G2D3E3A3D4; 0.056 on the harp 5 sub-basses for the string gauge, and 0.056, 0.046, 0.036, 0.026, 0.017, 0.013 for the 6-string guiitar gauages. See www.nomadland.com for information on Hedges and a fund for his children.
J.S. Bach's Cello Suite No.1 - Prelude in G Major
J.S. Bach's Cello Suite No.1 - Prelude in G Major Audio only - Prelude from Bach's Suite No. 1 for Unaccompanied Cello.
Polonaise, Minuet and March - J.S. Bach
Polonaise, Minuet and March - J.S. Bach Cory Hall plays Bach's Polonaise, Minuet and March from the Notebook for Anna Magdalena Bach.
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