The Girl with the Flaxen Hair (Claude Debussy)

Tchaikovsky - None But The Lonely Hearts

Title : Pyotr Il'yich Tchaikovsky,(None But The Lonely Hearts) Songs (6), Op. 6: no 6, None but the lonely heart.

This, one of Tchaikovsky's best-loved vocal pieces, comes from his collection of six songs, Op. 6. The fact that it was composed to a Russian translation of its original German text by Goethe often obscures its membership in the large family of setting of the same poem, "Nur wer die Sehnsucht kennt" (Only he who knows loneliness). One of Mignon's songs from the novel Wilhelm Meister, this text inspired most of the Romantic lieder composers, most notably Schubert, Schumann, and Wolf, to compose some of their most memorable settings; the poem's sense of desolate yearning speaks to the very heart of Romanticism, and Tchaikovsky certainly owed allegiance to that aesthetic.

Tchaikovsky's setting makes use of a syncopated chordal accompaniment; the lack of rhythmic grounding and the chromatic nature of chosen harmonies the inner harmony voices conspire to highlight the restless, disquieted tone of Goethe's text.

Johann Strauss II - The Blue Danube Waltz

Title : Johann Strauss II , The Blue Danube Waltz
Date : 1867

From Wikipedia,The Blue Danube is the common English title of An der schÃ¶nen blauen Donau op. 314 (On the Beautiful Blue Danube), a waltz by Johann Strauss II, composed in 1867. Originally performed 9 February 1867 at a concert of the Wiener MÃ¤nnergesangsverein (Vienna Men's Choral Association), it has been one of the most consistently popular pieces of music in the classical repertoire. Its initial performance was only a mild success, however, and Strauss is reputed to have said "The devil take the waltz, my only regret is for the coda -- I wish that had been a success!"

The waltz originally had an accompanying song text written by Josef Weyl. Strauss adapted it into a purely orchestral version for the World's Fair in Paris that same year, and it became a great success in this form. The instrumental version is by far the most commonly performed today. An alternate text by Franz von Gernerth, Donau so blau (Danube so blue), is also used on occasion.

The sentimental Viennese connotations of the piece have made it into a sort of unofficial Austrian national anthem. It is a traditional encore piece at the annual Vienna New Year's Concert. The first few bars are also the interval signal of Osterreich Rundfunk's overseas programs.

It is reported by composer Norman Lloyd in his "Golden Encyclopedia of Music" that when asked by Frau Strauss for an autograph, the composer Johannes Brahms autographed Mrs. Strauss's fan by writing on it the first few bars of the Blue Danube. Under it he wrote "Unfortunately not by Johannes Brahms".The work commences with an extended introduction in the key of A major with shimmering (tremolo) violins and a French horn spelling out the familiar waltz theme, answered by staccato wind chords, in a subdued mood. It rises briefly into a loud passage but quickly dies down into the same restful nature of the opening bars. A contrasting and quick phrase in D major anticipates the waltz before 3 quiet downward-moving bass notes "usher in" the first principal waltz melody.

The first waltz theme is familiar gently rising triad motif in cellos and horns in the tonic D major, accompanied by harps; the Viennese waltz beat is accentuated at the end of each 3-note phrase. The Waltz 1A triumphantly ends its rounds of the motif, and waltz 1B follows in the same key; the genial mood is still apparent.

Waltz 2A glides in quietly (still in D major) before a short contrasting middle section in B flat major. The entire section is repeated.

A more dour waltz 3A is introduced in G major before a fleeting eighth-note melodic phrase (waltz 3B). An loud Intrada (introduction) is then played. Waltz 4A starts off in a romantic mood (F major) before a more joyous waltz 4B in the same key.

After another short Intrada in A, cadencing in F-sharp minor, sonorous clarinets spell out the poignant melody of waltz 5A in A. Waltz 5B is the climax, punctuated by cymbal crashes. Each of these may be repeated at the discretion of the performer.

The coda recalls earlier sections (3A and 2A) before furious chords usher in a recap of the romantic Waltz 4A. The idyll is cut short as the waltz hurries back to the famous waltz theme 1A again. This statement is cut short, however, by the final codetta: a variation of 1A is presented, connecting to a rushing eighth-note passage in the final few bars: repeated tonic chords underlined by a snare drumroll and a bright-sounding flourish.

Claude Debussy - Prelude to the Afternoon of a Faun

Painting - On the Hudson Artist - Thomas Doughty

The Blue Danube - Andre Rieu

The Blue Danube by Johann Strauss II

Vienna New Year Concert Live

Joshua Bell Plays The Girl With the Flaxen Hair

Joshua Bell plays The Girl With the Flaxen Hair by Debussy along with the Orpheus Chamber Orchestra.

Taiwan: One-Girl Band a YouTube Sensation

For more news visit ☛ http://english.ntdtv.com Follow us on Twitter ☛ http://twitter.com/NTDTelevision Add us on Facebook ☛ http://facebook.com/NTDTelevision One Taiwanese artist is gaining worldwide attention on YouTube. A video of her playing three instruments at the same time has generated more than four million views in three weeks. While Asian girl bands such as the Wonder Girls and AKB 48 are achieving success around the globe, a "one-girl band" is attracting worldwide attention on the Internet with a video that has generated more than four million YouTube hits within three weeks. The video shows 25-year-old Shara Lin performing Jolin Tsai's "Dancing Diva" on the piano, violin, and zither all at the same time. Lin put the trio performance together within five days for a music training session mixing the classical music into Taiwanese pop music. To incorporate the different instruments, she held the violin by her neck, adjusted the positions of the zither pick, and arranged the positions of the instruments. [Shara Lin, Musical Artist]: "I think the toughest part is to play the piano and the zither simultaneously. We tried many times to finally figure out this position for my left hand to play the piano, and right hand to play the zither. When I have to look at both the piano and the zither, I really wish my eyes could grow wider apart, so if I have to play together, I must play by feel. I have to either feel the keys on the piano and look at the zither, or feel the strings on the zither and look at the piano." Lin is a music major at National Taiwan Normal University and has been playing the piano since she was three. Her love of music quickly expanded into other instruments including the violin, zither, guitar, jazz drums, and harmonica. Lin said she is willing to try other creative music performances, and whether or not she becomes famous, she looks forward to bringing her music to a wider audience.

Debussy: The girl with the flaxen hair (La fille aux cheveux de lin)

Online Piano Lessons! All Levels! 8e992hnjrhia1y8ot3h9tp1x30.hop.clickbank.net Claude-Achille Debussy (1862-1918) was a French composer who developed the "impressionist" style, which was an outgrowth of the "symbolist" movement in literature. Debussy sought to free music from what he believed to be rigid rules associated with most German oriented classical music. Some of the techniques Debussy used were whole-tone scales, exotic and eastern scales, chord clusters, glissandos, extreme dynamics, and the absence or disguising of barlines. Debussy remains one of the great innovators in piano music and orchestration in the entire history of music. Get Debussy's 24 Preludes, all in one volume: www.sheetmusicplus.com Get Debussy's Complete Suite Bergamasque (includes Clair de Lune): www.sheetmusicplus.com Get Debussy's Children's Corner Suite: www.sheetmusicplus.com Get the sheet music to Clair de Lune: www.sheetmusicplus.com Get the sheet music to the First Arabesque: www.sheetmusicplus.com Soft and Beautiful Piano Music Playlist: www.youtube.com BachScholar™ Website: www.bachscholar.com Buy Albums and MP3s: www.cdbaby.com www.amazon.com Download Bach Tempo Studies: stores.lulu.com

ROSSINI The Italian Girl in Algiers

Ploiesti Philharmonic Orchestra Conductor: Romeo Rimbu. L'italiana in Algeri (The Italian Girl in Algiers) is an operatic dramma giocoso in two acts by Gioachino Rossini to an Italian libretto by Angelo Anelli, based on his earlier text set by Luigi Mosca. Rossini wrote L'Italiana in Algeri when he was 21. The opera was composed in either 18 or 27 days, depending on which source one believes (Rossini, not surprisingly, pegged it at 18). The opera is notable for Rossini's mixing of opera seria style in opera buffa. The overture is widely recorded and performed today, known for its distinct opening of slow, quiet pizzicato basses, leading to a sudden loud burst of sound from the full orchestra. This "surprise" hearkens an early admiration for Joseph Haydn, whose Symphony No. 94 in G major, "The Surprise Symphony", is so named for the same shocking, semi-comic affect.

Jacqueline du Pré - Mendelssohn Song without words

F.Mendelssohn - Song without words in D major, Op.109

Jacqueline du Pré (1945-1987) and Iris du Pré

Meditation from Thais Valerie Kim with Dominique Kim

Meditation from Thais by Jules Massenet. Arranged for violin and piano. Valerie (10) - violin Dominique (12) - piano 2008 02 10

With Love - Classical Spanish Guitar

I don't have tabs or sheet music for this song yet. Its an improvisation in free time which makes it a little challenging to transcribe. I haven't had time to work on it yet. If there are any volunteers out there that would like to attempt a transcription I would very much appreciate it. -John, Sept. 14th, 2010

for my sweet emma and ani.
MP3: http://www.cdbaby.com/cd/JohnHClarke1

Debussy - The Girl With The Flaxen Hair

Debussy's famous work, "The Girl with the Flaxen hair," arranged for extended seven string classical guitar. For recordings, transcriptions, concert schedules, etc., visit www.cambium.com

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 ...

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 ...

Manuel de Falla - Homenaje (Le Tombeau de Debussy)

HQ version - www.youtube.com The following link leads to an interview with Rey de la Torre (a student of Miguel Llobet) where he discusses this piece in detail. Thanks to John Dimick for making me aware of it. www.guitarist.com At only three minutes in length, this piece had an influence on guitar writing that is disproportionate to its dimensions. It was composed as a contribution to a special edition of the Paris Revue musicale which would be a "tombeau" for Claude Debussy, who had died in 1918. Falla readily agreed, for Debussy had been important in giving him confidence as a composer and promoting interest in his music in France. Meanwhile, the Spanish guitar virtuoso Miguel Llobet Soles had requested a solo guitar piece. Falla fulfilled both requests with this three-minute work in the rhythm of a slow habanera, dignified but not funeral in tread, restrained on the surface but with an impression of intense emotion beneath. At the end, Falla briefly quotes Debussy's piano work "Soirée dans Grenade", honoring Debussy directly and also paying homage to the city of Granada, which is where Falla composed the piece. He prepared a piano transcription of the work immediately, and the guitar version was published in the December 1922 Revue musicale. ~ All Music Guide Audio recorded with the Edirol R-09 HR mini - recorder tinyurl.com website - www.guitar69.com blog - http

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