Composers

1-10 of 147 results for richard

Richard Clayderman - Healing Medley
Richard Clayderman - Healing Medley awesome relaxing soothing music.. This music is to help you relax, and calm you....Stress reliever A piece of music solo Piano for Richard Clayderman Biography: With his lush, sophisticated, instrumental, approach to pop music, Richard Clayderman (born: Phillipe Pages) is, according to The Guinness Book of World Records, "the most successful pianist in the world." Clayderman's albums routinely sell millions of copies and his concerts are quickly sold out. In a review of his 1985 Carnegie Hall concert, Variety wrote, "(Clayderman's) main appeal lies in his youth and boyish good looks...coupled with his gentlemanly charm and his thick French accent, they promise to rope in the romantically inclined middle-aged Yank ladies who cotton to this ilk of soothing entertainment." Nancy Reagan referred to Clayderman as "the prince of romance." Instructed in classical piano by his father, Clayderman enrolled in the Paris Conservatory of Music at the age of twelve. Four years later, he placed first in a piano competition at the school. Despite his classical background, Clayderman opted for popular music when he launched his professional career. A tour as opening act for French rock musician Johnny Hollyday introduced him to an international following. Clayderman's debut album, Ballade Pour Adeline, recorded at the urging of producers and composers Oliver Toussaint and Paul De Senneville in 1977, sold more than twenty million copies and was distributed in 38 countries. Clayderman, who ...
Richard Wagner - Götterdämmerung - Der Ring des Nibelungen - act 1
Richard Wagner - Götterdämmerung - Der Ring des Nibelungen - act 1 "Vorspiel - Welch Licht Leuchtet"/"Treu Beratner Verträge Runen". "Götterdämmerung" (The Twilight of the Gods), fourth and last 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 ...
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.
Richard Wagner - Götterdämmerung - Der Ring des Nibelungen - act 1
Richard Wagner - Götterdämmerung - Der Ring des Nibelungen - act 1 "Zu Neuen Taten, Teurer Helde"/"Willst Du Mir Minne Schenken". "Götterdämmerung" (The Twilight of the Gods), fourth and last 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 ...
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 ...
Richard Wagner - Götterdämmerung - Twilight of the gods - AWESOME
Richard Wagner - Götterdämmerung - Twilight of the gods - AWESOME Richard Wagner Götterdämmerung - Twilight of the gods - El crepuscle dels Déus - El crepúsculo de los dioses Trauermarsch Siegfried's Funeral March Director: Klaus Tennstedt London Philharmonic Orchestra Funny highlight: minute 5:50... Visit this new version in HD ! : www.youtube.com
Richard Wagner - Tannhauser - Grand March
Richard Wagner - Tannhauser - Grand March Richard Wagner - Tannhauser - Grand March
Richard Wagner - "Tristan und Isolde", Prelude
Richard Wagner - "Tristan und Isolde", Prelude Prelude to the first act from Wagner's "Tristan und Isolde", german opera in three acts. Author: Richard Wagner (1813-1883). Conductor: Wilhelm Furtwangler & Philharmonia Orchestra Picture: Caspar Friedrich's "Meeresufer im Mondschein" (Seashore by Moonlight).
Richard Wagner - Das Rheingold - Der Ring des Nibelungen - part 2
Richard Wagner - Das Rheingold - Der Ring des Nibelungen - part 2 "Lugt, schwester! Die weckerin in den grund"/"Was ist's, ihr glatten, das dort so glanzt uns gleisst?"/"Der welt erbe gewan ich zu eigen durch dich?". Scene 1. "Das Rheingold" (The Rhine Gold), first 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 therepresentation 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 ...
Richard Wagner - Siegfried - Der Ring des Nibelungen - act 2^ part 6
Richard Wagner - Siegfried - Der Ring des Nibelungen - act 2^ part 6 "Zur Kunde taugt kein Toter"/"Wohin schleichst"/"Was ihr mit Nützt, weiss ich". "Siegfried", third 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 ...
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