Amelie - La Valse D'Amelie (Piano)
- Classical music Composed by Yann Teiersen.All the Amelie music bought Yann Teirsen in limelight and now he is compared with other musicians like Chopin, Erik Satie, Phillip Glass and Michael Nyman.His music is recognized by its use of a large variety of instruments in relatively minimalist compositions, often with a touch of either European classical music or french folk music, using primarily the piano, accordion or violin together with instruments like the melodica, xylophone, toy piano, ondes martenot, harpsichord and typewriter This is one my fav number from Amelie. Apart from the song this movie is truly amazing. I should say a must watch
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Amélie Theme - Yann Tiersen
Comptine d'un autre été: l'après midi - Yann Tiersen Performed on a Petrof piano. (Sound quality is somewhat bad.) Original piano sheet link: www.scribd.com About the score: Amélie is the soundtrack or original score to the French Academy Award- and Golden Globe-nominated motion picture Le Fabuleux Destin d'Amélie Poulain (Amélie). Guillaume Yann Tiersen (born 23 June 1970) is a French musician and composer known internationally for composing the score to the Jean-Pierre Jeunet movie Amélie.[1][2] His music is recognized by its use of a large variety of instruments in relatively minimalist compositions, often with a touch of either European classical music or French folk music, using primarily the piano, accordion or violin together with instruments like the melodica, xylophone, toy piano, ondes martenot, harpsichord and typewriter. His musical style is reminiscent of Frédéric Chopin, Erik Satie, Philip Glass and Michael Nyman. Original Soundtrack includes folowing compositions: 1) "J'y suis jamais allé" 2) "Les Jours tristes" (Instrumental) 3) "La Valse d'Amélie" (Original version) 4) "Comptine d'un autre été: L'après-midi" 5) "La Noyée" 6) "L'Autre valse d'Amélie" 7) "Guilty" (Al Bowlly) 8) "À quai" 9) "Le Moulin" 10) "Pas si simple 11) "La Valse d'Amélie" (Orchestral version) 12) "La Valse des vieux os" 13) "La Dispute" 14) "Si tu n'étais pas là (Fréhel)" 15) "Soir de fête" 16) "La Redécouverte" 17) "Sur le fil" 18) "Le Banquet" 19) "La Valse d'Amélie" (Piano version <b>...</b>
Comptine d'un autre été: l'après midi - Yann Tiersen Performed on a Petrof piano. (Sound quality is somewhat bad.) Original piano sheet link: www.scribd.com About the score: Amélie is the soundtrack or original score to the French Academy Award- and Golden Globe-nominated motion picture Le Fabuleux Destin d'Amélie Poulain (Amélie). Guillaume Yann Tiersen (born 23 June 1970) is a French musician and composer known internationally for composing the score to the Jean-Pierre Jeunet movie Amélie.[1][2] His music is recognized by its use of a large variety of instruments in relatively minimalist compositions, often with a touch of either European classical music or French folk music, using primarily the piano, accordion or violin together with instruments like the melodica, xylophone, toy piano, ondes martenot, harpsichord and typewriter. His musical style is reminiscent of Frédéric Chopin, Erik Satie, Philip Glass and Michael Nyman. Original Soundtrack includes folowing compositions: 1) "J'y suis jamais allé" 2) "Les Jours tristes" (Instrumental) 3) "La Valse d'Amélie" (Original version) 4) "Comptine d'un autre été: L'après-midi" 5) "La Noyée" 6) "L'Autre valse d'Amélie" 7) "Guilty" (Al Bowlly) 8) "À quai" 9) "Le Moulin" 10) "Pas si simple 11) "La Valse d'Amélie" (Orchestral version) 12) "La Valse des vieux os" 13) "La Dispute" 14) "Si tu n'étais pas là (Fréhel)" 15) "Soir de fête" 16) "La Redécouverte" 17) "Sur le fil" 18) "Le Banquet" 19) "La Valse d'Amélie" (Piano version <b>...</b>
Sumi Jo - Verdi - La Traviata - Violetta - Sempre Libera
"Ah! Fors'e lui"
"Sempre Libera"
Sokcho Summer Festival,
Sokcho, South Korea, 2005.
"Ah! Fors'e lui""Sempre Libera"
Sokcho Summer Festival,
Sokcho, South Korea, 2005.
Maria Callas - La Traviata
Maria Callas (1923-1977)
Giuseppe Verdi (1813-1901)
La traviata
E strano! E strano!...Ah, fors'è lui che l'anima...Follie! Follie!...Sempre libera
Orchestra sinfonica di Torino della RAI
Conducted by Gabriele Santini
1953
VIOLETTA (sola)
È strano! È strano! In core
scolpiti ho quegli accenti!
Saria per me sventura un serio amore?
Che risolvi, o turbata anima mia?
Null'uomo ancora t'accendeva -- O gioia
ch'io non conobbi, esser amata amando!
E sdegnarla poss'io
per l'aride follie del viver mio?
Ah, fors'è lui che l'anima
solinga ne' tumulti
godea sovente pingere
de' suoi colori occulti!
Lui che modesto e vigile
all'egre soglie ascese,
e nuova febbre accese,
destandomi all'amor.
A quell'amor ch'è palpito
dell'universo intero,
misterioso, altero,
croce e delizia al cor!
Follie! follie! Delirio vano è questo!
Povera donna, sola,
abbandonata in questo
popoloso deserto
che appellano Parigi.
Che spero or più?
Che far degg'io? Gioire,
di voluttà ne' vortici perir.
Gioir, gioir!
Sempre libera degg'io
folleggiare di gioia in gioia,
vo' che scorra il viver mio
pei sentieri del piacer.
Nasca il giorno, o il giorno muoia,
sempre lieta ne' ritrovi,
a diletti sempre nuovi
dee volare il mio pensier.
ALFREDO (sotto al balcone)
Amore, amor è palpito...
VIOLETTA
Oh!
ALFREDO
...dell'universo intero --
VIOLETTA
Oh amore.
ALFREDO
Misterioso, misterioso, altero,
croce, croce e delizia,
croce e delizia, delizia al cor.
VIOLETTA
Follie! follie! Ah sì! Gioir, gioir!
Sempre libera degg'io
folleggiare di gioia in gioia,
vo' che scorra il viver mio
pei sentieri del piacer.
Nasca il giorno, o il giorno muoia,
sempre lieta ne' ritrovi,
a diletti sempre nuovi,
dee volare il mio pensier.
ALFREDO
Amor è palpito
dell'universo --
VIOLETTA
Ah! Dee volar il mio pensier.
Ah! il mio pensier. Il mio pensier.
Maria Callas (1923-1977)Giuseppe Verdi (1813-1901)
La traviata
E strano! E strano!...Ah, fors'è lui che l'anima...Follie! Follie!...Sempre libera
Orchestra sinfonica di Torino della RAI
Conducted by Gabriele Santini
1953
VIOLETTA (sola)
È strano! È strano! In core
scolpiti ho quegli accenti!
Saria per me sventura un serio amore?
Che risolvi, o turbata anima mia?
Null'uomo ancora t'accendeva -- O gioia
ch'io non conobbi, esser amata amando!
E sdegnarla poss'io
per l'aride follie del viver mio?
Ah, fors'è lui che l'anima
solinga ne' tumulti
godea sovente pingere
de' suoi colori occulti!
Lui che modesto e vigile
all'egre soglie ascese,
e nuova febbre accese,
destandomi all'amor.
A quell'amor ch'è palpito
dell'universo intero,
misterioso, altero,
croce e delizia al cor!
Follie! follie! Delirio vano è questo!
Povera donna, sola,
abbandonata in questo
popoloso deserto
che appellano Parigi.
Che spero or più?
Che far degg'io? Gioire,
di voluttà ne' vortici perir.
Gioir, gioir!
Sempre libera degg'io
folleggiare di gioia in gioia,
vo' che scorra il viver mio
pei sentieri del piacer.
Nasca il giorno, o il giorno muoia,
sempre lieta ne' ritrovi,
a diletti sempre nuovi
dee volare il mio pensier.
ALFREDO (sotto al balcone)
Amore, amor è palpito...
VIOLETTA
Oh!
ALFREDO
...dell'universo intero --
VIOLETTA
Oh amore.
ALFREDO
Misterioso, misterioso, altero,
croce, croce e delizia,
croce e delizia, delizia al cor.
VIOLETTA
Follie! follie! Ah sì! Gioir, gioir!
Sempre libera degg'io
folleggiare di gioia in gioia,
vo' che scorra il viver mio
pei sentieri del piacer.
Nasca il giorno, o il giorno muoia,
sempre lieta ne' ritrovi,
a diletti sempre nuovi,
dee volare il mio pensier.
ALFREDO
Amor è palpito
dell'universo --
VIOLETTA
Ah! Dee volar il mio pensier.
Ah! il mio pensier. Il mio pensier.
Luciano Pavarotti - La Donna è Mobile Rigoletto
The "king" Luciano Pavarotti as Il Duca di Mantova in the screen movie "Rigoletto" (1983) based on Giuseppe Verdi's opera with the same name (1851).
La Donna è Mobile - Giuseppe Verdi
La donna è mobile
Qual piuma al vento
Muta d'accento
E di pensiero
Sempre un'amabile
Leggiadro viso
In pianto o in riso
È menzognero
La donna è mobil
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier
è sempre misero
Chi a lei s'affida
Chi le confida
Mal cauto il core
Pur mai non sentesi
Felice appieno
Chi su quel seno
Non liba amore
La donna è mobil
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier...
The "king" Luciano Pavarotti as Il Duca di Mantova in the screen movie "Rigoletto" (1983) based on Giuseppe Verdi's opera with the same name (1851).La Donna è Mobile - Giuseppe Verdi
La donna è mobile
Qual piuma al vento
Muta d'accento
E di pensiero
Sempre un'amabile
Leggiadro viso
In pianto o in riso
È menzognero
La donna è mobil
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier
è sempre misero
Chi a lei s'affida
Chi le confida
Mal cauto il core
Pur mai non sentesi
Felice appieno
Chi su quel seno
Non liba amore
La donna è mobil
Qual piuma al vento
Muta d'accento
E di pensier
E di pensier
E di pensier...
Gracia - William Tell Overture
Rossini's classical piece performed by three talented violin player ladies from Hungary
Rossini's classical piece performed by three talented violin player ladies from Hungary
Jascha Heifetz plays Tchaikovsky Violin Concerto 1st mov
Jascha Heifetz plays Tchaikovsky Violin Concerto in D Major, Op. 35: I. Allegro moderato
Jascha Heifetz plays Tchaikovsky Violin Concerto in D Major, Op. 35: I. Allegro moderato
Horowitz Plays Liszt Schubert Valse
Vladimir Horowitz plays Liszt / Schubert Soirees de Vienne: Valse-Caprice No.6 in Vienna (1987).
Vladimir Horowitz plays Liszt / Schubert Soirees de Vienne: Valse-Caprice No.6 in Vienna (1987).
Art Tatum plays Chopin (Valse in C# Minor, Op. 64, No. 2)
Vladimir Horowitz once said that if Art Tatum ever took up classical music seriously, Horowitz would quit the next day. This was recorded on a cheap tape recorder at somebody's home, so pardon the sound quality.
Vladimir Horowitz once said that if Art Tatum ever took up classical music seriously, Horowitz would quit the next day. This was recorded on a cheap tape recorder at somebody's home, so pardon the sound quality.
Chopin Valse Op.64 No2, classical guitar-Da Vynci
revver.com This is my humble version of Frédéric Chopin's Valse Opus 64 Number 2, originally in C# minor, composed in 1846-47, published in 1847-48, and dedicated to Baroness de Rothschild. Transcribed to classical guitar by Richard Yates, published in 2001. I was really impressed by Virginia Luque's rendition,so I decided to have a try on the piece too. This is a different version from Virginia Luque's, but it is, still, quite a fun piece to play. It is not an easy piece, but a fun one! Enjoy!
revver.com This is my humble version of Frédéric Chopin's Valse Opus 64 Number 2, originally in C# minor, composed in 1846-47, published in 1847-48, and dedicated to Baroness de Rothschild. Transcribed to classical guitar by Richard Yates, published in 2001. I was really impressed by Virginia Luque's rendition,so I decided to have a try on the piece too. This is a different version from Virginia Luque's, but it is, still, quite a fun piece to play. It is not an easy piece, but a fun one! Enjoy!
Raul Borges - Valse Venezolano - Work for Guitar
Venezuelan Maestro Raul Borges belongs to the generation of composer like Barrios, Villa-lobos and Ponce. He was born in Caracas (1882). He started playing Cuatro, Bandolina and after Guitar. He dedicated to teach Classical Guitar, receiving as a student Antonio Lauro, Rodrigo Riera, Alirio Diaz and others. This Venezuelan Waltz is one of his most known works for guitar. Maestro Borges died in Caracas in 1967.
Venezuelan Maestro Raul Borges belongs to the generation of composer like Barrios, Villa-lobos and Ponce. He was born in Caracas (1882). He started playing Cuatro, Bandolina and after Guitar. He dedicated to teach Classical Guitar, receiving as a student Antonio Lauro, Rodrigo Riera, Alirio Diaz and others. This Venezuelan Waltz is one of his most known works for guitar. Maestro Borges died in Caracas in 1967.
Johann Strauss II - The Blue Danube (Piano)
HD version @ www.youtube.com The Blue Danube is the common English title of An der schönen 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 Männergesangsverein (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.
HD version @ www.youtube.com The Blue Danube is the common English title of An der schönen 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 Männergesangsverein (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.
Johann Strauss II - The Blue Danube (Piano)
The Blue Danube is the common English title of An der schönen 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 Männergesangsverein (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.
The Blue Danube is the common English title of An der schönen 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 Männergesangsverein (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.
Pachelbel's Canon in D (piano)
A beautiful classical song often played at weddings. Sheet music available at rapidshare.com
A beautiful classical song often played at weddings. Sheet music available at rapidshare.com
