Gymnopédie No. 1, Je t'aime Paris
- Classical music composed by Erik Satie Paris 3 day visit, my first, and how I fell in love with it via a dream.
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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.
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
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.
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 - Gymnopédie No.1
Alfred Eric Leslie Satie (Honfleur, 17 May 1866 -- Paris, 1 July 1925) was a French composer and pianist. Starting with his first composition in 1884, he signed his name as Erik Satie. Satie was introduced as a "gymnopedist" in 1887, shortly before writing his most famous compositions, the Gymnopédies. Later, he also referred to himself as a "phonometrograph" or "phonometrician" (meaning "someone who measures (and writes down) sounds") preferring this designation to that of "musician," after having been called "a clumsy but subtle technician" in a book on contemporary French composers published in 1911. In addition to his body of music, Satie also left a remarkable set of writings, having contributed work for a range of publications, from the dadaist 391 to the American Vanity Fair. Although in later life he prided himself on always publishing his work under his own name, in the late nineteenth century he appears to have used pseudonyms such as Virginie Lebeau and François de Paule in some of his published writings. Satie was a colourful figure in the early 20th century Parisian avant-garde. He was a precursor to later artistic movements such as minimalism, repetitive music and the Theatre of the Absurd. 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 <b>...</b>
Alfred Eric Leslie Satie (Honfleur, 17 May 1866 -- Paris, 1 July 1925) was a French composer and pianist. Starting with his first composition in 1884, he signed his name as Erik Satie. Satie was introduced as a "gymnopedist" in 1887, shortly before writing his most famous compositions, the Gymnopédies. Later, he also referred to himself as a "phonometrograph" or "phonometrician" (meaning "someone who measures (and writes down) sounds") preferring this designation to that of "musician," after having been called "a clumsy but subtle technician" in a book on contemporary French composers published in 1911. In addition to his body of music, Satie also left a remarkable set of writings, having contributed work for a range of publications, from the dadaist 391 to the American Vanity Fair. Although in later life he prided himself on always publishing his work under his own name, in the late nineteenth century he appears to have used pseudonyms such as Virginie Lebeau and François de Paule in some of his published writings. Satie was a colourful figure in the early 20th century Parisian avant-garde. He was a precursor to later artistic movements such as minimalism, repetitive music and the Theatre of the Absurd. 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 <b>...</b>
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.
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.
Handel - Water Music Suite No. 2 in D Mayor Alla Hornpipe
Primer concierto de la Joven Orquesta del Club Argentino (J.O.C.A.) en el teatro municipal de la ciudad de BahÃa Blanca, Argentina.
Director: Mtro. Gustavo G. Gallo
George Frederic Handel (1685-1759)
Water Music, Suite No. 2 en Re Mayor, HWV 349
Alla Hornpipe
***************************************
The J.O.C.A. student orchestra was formed on August 25th 2007 in Bahia Blanca, Argentina.
Here you can watch our first performance in our local theatre.
Director:Gustavo G. Gallo
George Frederic Handel (1685-1759)
Water Music, Suite No. 2 in D Mayor, HWV 349
Alla Hornpipe
Primer concierto de la Joven Orquesta del Club Argentino (J.O.C.A.) en el teatro municipal de la ciudad de BahÃa Blanca, Argentina.Director: Mtro. Gustavo G. Gallo
George Frederic Handel (1685-1759)
Water Music, Suite No. 2 en Re Mayor, HWV 349
Alla Hornpipe
***************************************
The J.O.C.A. student orchestra was formed on August 25th 2007 in Bahia Blanca, Argentina.
Here you can watch our first performance in our local theatre.
Director:Gustavo G. Gallo
George Frederic Handel (1685-1759)
Water Music, Suite No. 2 in D Mayor, HWV 349
Alla Hornpipe
Brandenburg Concerto No. 3 - Allegro Moderato - BWV 1048
The Freiburg Baroque Orchestra plays J.S. Bach's Allegro Moderato from the Brandenburg Concerto No. 3.
The Freiburg Baroque Orchestra plays J.S. Bach's Allegro Moderato from the Brandenburg Concerto No. 3.
Yo-Yo Ma plays Prelude from Bach's Cello Suite No. 1
Prelude from Bach's Cello Suite No. 1 by Yo-Yo Ma.
Prelude from Bach's Cello Suite No. 1 by Yo-Yo Ma.
Prelude from Cello Suite No. 1 - J.S. Bach
Impromptu concert by Zuill Bailey at NPR Music's Washington, D.C., headquarters. Bailey doesn't play just any old cello. Yes, it is old - very old - but it's also special, built by the renowned Venetian maker Matteo Goffriller in 1693. That means Johann Sebastian Bach was all of 8 years old when Goffriller slapped on the final layer of shellac.
Impromptu concert by Zuill Bailey at NPR Music's Washington, D.C., headquarters. Bailey doesn't play just any old cello. Yes, it is old - very old - but it's also special, built by the renowned Venetian maker Matteo Goffriller in 1693. That means Johann Sebastian Bach was all of 8 years old when Goffriller slapped on the final layer of shellac.
Allegretto from Piano Sonata No. 17 in D minor, Op. 31, No. 2 - Beethoven
Beethoven's "Tempest Sonata", played by Wilhelm Kempff.
Beethoven's "Tempest Sonata", played by Wilhelm Kempff.
Mendelssohn Organ Sonata #1, Joseph Felice performer
You are listening to and watching a video screen capture of Joseph Felice performing all four movements of Felix Mendelssohn's Opus 65 No. 1 Organ Sonata in F Minor. The sampled sounds and virtual console of the Rieger-Kloss organ of St. Matyas (Matthias) Church of Our Lady in Budapest, Hungary, are made available by InspiredAcoustics.com in the form of virtual pipe organ software.
You are listening to and watching a video screen capture of Joseph Felice performing all four movements of Felix Mendelssohn's Opus 65 No. 1 Organ Sonata in F Minor. The sampled sounds and virtual console of the Rieger-Kloss organ of St. Matyas (Matthias) Church of Our Lady in Budapest, Hungary, are made available by InspiredAcoustics.com in the form of virtual pipe organ software.
Chopin - Polonaise in A, Op.40 No.1, ' Military '
Title : Frederic Chopin ,Polonaise in A, Op.40 No.1, 'Military' From Wikipedia, The Polonaise in A-flat major, Op. 53 or (French: Polonaise héroïque, Heroic Polonaise) was written by Frédéric Chopin in 1842 for solo piano. This masterpiece is one of Chopin's most popular compositions and is still a current favorite of the classical pianoforte repertoire. The piece requires exceptional pianistic skills and requires virtuosity in order to be played at an appropriate level of quality. Although the piece is labeled as a polonaise, it has little to do with the typical polonaise style. It presents two sections with a polonaise rhythm, but most of it has no particular polonaise attribute. It has been said that Chopin had composed the piece having a free and powerful Poland in mind, which may have led him to label it as a Polonaise.[citation needed] Another possibility is that the Heroic Polonaise is closely related to the Polonaise in A major, Op.40, No. 1, known as the Military Polonaise. The introduction section of the Heroic is obviously inspired by the Military, which, unlike the Heroic, was a true polonaise. The tempo of the piece is Alla polacca e maestoso ("like a polonaise and majestic"). The form is ternary (ABA), with a 30-second introduction. The piece has a grand introduction with fast ascending chromatic notes in both hands, setting the mood of the piece. It shows the heroic side of Chopin's art.The first theme is a dance-like theme and is in the tonic key of A-flat <b>...</b>
Title : Frederic Chopin ,Polonaise in A, Op.40 No.1, 'Military' From Wikipedia, The Polonaise in A-flat major, Op. 53 or (French: Polonaise héroïque, Heroic Polonaise) was written by Frédéric Chopin in 1842 for solo piano. This masterpiece is one of Chopin's most popular compositions and is still a current favorite of the classical pianoforte repertoire. The piece requires exceptional pianistic skills and requires virtuosity in order to be played at an appropriate level of quality. Although the piece is labeled as a polonaise, it has little to do with the typical polonaise style. It presents two sections with a polonaise rhythm, but most of it has no particular polonaise attribute. It has been said that Chopin had composed the piece having a free and powerful Poland in mind, which may have led him to label it as a Polonaise.[citation needed] Another possibility is that the Heroic Polonaise is closely related to the Polonaise in A major, Op.40, No. 1, known as the Military Polonaise. The introduction section of the Heroic is obviously inspired by the Military, which, unlike the Heroic, was a true polonaise. The tempo of the piece is Alla polacca e maestoso ("like a polonaise and majestic"). The form is ternary (ABA), with a 30-second introduction. The piece has a grand introduction with fast ascending chromatic notes in both hands, setting the mood of the piece. It shows the heroic side of Chopin's art.The first theme is a dance-like theme and is in the tonic key of A-flat <b>...</b>
Mozart Piano Concerto 27, A. Madžar, piano - mvt 1, part 1
Aleksandar Madžar (Bösendorfer piano) Royal Philharmonic Orchestra conducted by André Previn first movement, part one part two of the first movement is here: www.youtube.com Wolfgang Amadeus Mozart - Piano Concerto In B-Flat Major, K.595 No.27 [31.37 total time] Recorded At The Imperial Palace of Schönbrunn, Vienna, Austria, 29 November 1990 Isobel Wield writes on Aleksandar Madžar: "The imagination that goes into his playing is reflected in his programming too -- this all suggested an artist whose horizons are far wider than those of many of his peers...quite remarkable." The Guardian Born in Belgrade in 1968, Aleksandar Madžar began his piano studies with Gordana Matinovic, later becoming a student of Arbo Valdma at the Belgrade Academy of Music. From 1987 to 1989 he studied with Eliso Virsaladze in Moscow, subsequently with Edouard Mirzoian at the Strasbourg Conservatory and in Brussels with Daniel Blumenthal. Today, he holds professorships at the Royal Flemish Conservatoire, Brussels and the Hochschule für Musik und Theater Bern. In 2007/08 Madžar maintains his schedule of diverse performance activities: celebrating the 250th anniversary of Scarlatti, he focuses on this composer in a recital programme in Manchester's Royal Northern College of Music. He also returns to the Wigmore Hall in recital, and the BBC Philharmonic under the baton of Andris Nelsons, with whom he additionally performs with the Nordwestdeutsche Philharmonie. Following a remarkable recital in Paris <b>...</b>
Aleksandar Madžar (Bösendorfer piano) Royal Philharmonic Orchestra conducted by André Previn first movement, part one part two of the first movement is here: www.youtube.com Wolfgang Amadeus Mozart - Piano Concerto In B-Flat Major, K.595 No.27 [31.37 total time] Recorded At The Imperial Palace of Schönbrunn, Vienna, Austria, 29 November 1990 Isobel Wield writes on Aleksandar Madžar: "The imagination that goes into his playing is reflected in his programming too -- this all suggested an artist whose horizons are far wider than those of many of his peers...quite remarkable." The Guardian Born in Belgrade in 1968, Aleksandar Madžar began his piano studies with Gordana Matinovic, later becoming a student of Arbo Valdma at the Belgrade Academy of Music. From 1987 to 1989 he studied with Eliso Virsaladze in Moscow, subsequently with Edouard Mirzoian at the Strasbourg Conservatory and in Brussels with Daniel Blumenthal. Today, he holds professorships at the Royal Flemish Conservatoire, Brussels and the Hochschule für Musik und Theater Bern. In 2007/08 Madžar maintains his schedule of diverse performance activities: celebrating the 250th anniversary of Scarlatti, he focuses on this composer in a recital programme in Manchester's Royal Northern College of Music. He also returns to the Wigmore Hall in recital, and the BBC Philharmonic under the baton of Andris Nelsons, with whom he additionally performs with the Nordwestdeutsche Philharmonie. Following a remarkable recital in Paris <b>...</b>
Kings College Faure Pie Jesu and Agnus Dei
Kings College Chapel Choir Cambridge, 1987, performs Faure's Requiem. Here's the Pieu Jesu and Agnus Dei.
Kings College Chapel Choir Cambridge, 1987, performs Faure's Requiem. Here's the Pieu Jesu and Agnus Dei.
Donal Fox: Scarlatti Jazz Suite Project
Donal Fox's jazz plays upon many traditions <br /><br />"Fox's band has the Modern Jazz Quartet's poise <br />and John Coltrane Quartet's power" <br /><br />Composer/pianist Donal Fox has forged a unique amalgam of jazz, Latin American, and classical music. Past projects have focused on Johann Sebastian Bach, but the centerpiece of Saturday night's Regattabar performance was a jazz suite incorporating the music of Domenico Scarlatti . <br /><br />Fox was accompanied by vibraphonist Stefon Harris, bassist John Lockwood , and drummer Terri Lyne Carrington. This instrumentation inevitably brings the Modern Jazz Quartet to mind, but Fox's band married that group's cool poise with the power and momentum of the John Coltrane Quartet. <br /><br />The opening number was based on an Astor Piazzolla tango. Rather than presenting the usual string of solos, piano and vibraphone engaged in a fluid, improvisatory dialogue. Lockwood and Carrington's bass and drums provided active but essentially supportive background for the friendly jousting of Fox and Harris. <br /><br />The second number was Fox's ``Inventions in Blue," which drew from Bach's Two-Part Invention No. 4 in D Minor. It began as a rapid, African-sounding vamp, spelled by lyrical piano chords that floated over the pulsating rhythm. Harris's swinging, bluesy solo was bouyed by Lockwood's walking bass and Carrington's urgent ride cymbal. <br /><br />By Kevin Lowenthal, Globe Correspondent June 2006 <br />© Copyright 2006 The New York Times Company
Donal Fox's jazz plays upon many traditions <br /><br />"Fox's band has the Modern Jazz Quartet's poise <br />and John Coltrane Quartet's power" <br /><br />Composer/pianist Donal Fox has forged a unique amalgam of jazz, Latin American, and classical music. Past projects have focused on Johann Sebastian Bach, but the centerpiece of Saturday night's Regattabar performance was a jazz suite incorporating the music of Domenico Scarlatti . <br /><br />Fox was accompanied by vibraphonist Stefon Harris, bassist John Lockwood , and drummer Terri Lyne Carrington. This instrumentation inevitably brings the Modern Jazz Quartet to mind, but Fox's band married that group's cool poise with the power and momentum of the John Coltrane Quartet. <br /><br />The opening number was based on an Astor Piazzolla tango. Rather than presenting the usual string of solos, piano and vibraphone engaged in a fluid, improvisatory dialogue. Lockwood and Carrington's bass and drums provided active but essentially supportive background for the friendly jousting of Fox and Harris. <br /><br />The second number was Fox's ``Inventions in Blue," which drew from Bach's Two-Part Invention No. 4 in D Minor. It began as a rapid, African-sounding vamp, spelled by lyrical piano chords that floated over the pulsating rhythm. Harris's swinging, bluesy solo was bouyed by Lockwood's walking bass and Carrington's urgent ride cymbal. <br /><br />By Kevin Lowenthal, Globe Correspondent June 2006 <br />© Copyright 2006 The New York Times Company
Sarajevo by Max Richter
last.fm/music/Max+Richter Composer Max Richter was born in Germany in 1966 and grew up in the UK. He studied composition and piano at Edinburgh University, the Royal Academy of Music and in Florence with Luciano Berio. He then co-founded Piano Circus, a contemporary classical ensemble, where he stayed for ten years. His influences include both classical artists—Terry Riley, Steve Reich, Philip Glass, Arvo Pärt, Iannis Xenakis, Brian Eno, Henry Purcell, John Taverner, Henryk Górecki, Michael Nyman—and electronica, early dance music, punk, psychedelia—The Clash, The Beatles, Pink Floyd, Kraftwerk, Autechre, Boards of Canada.
last.fm/music/Max+Richter Composer Max Richter was born in Germany in 1966 and grew up in the UK. He studied composition and piano at Edinburgh University, the Royal Academy of Music and in Florence with Luciano Berio. He then co-founded Piano Circus, a contemporary classical ensemble, where he stayed for ten years. His influences include both classical artists—Terry Riley, Steve Reich, Philip Glass, Arvo Pärt, Iannis Xenakis, Brian Eno, Henry Purcell, John Taverner, Henryk Górecki, Michael Nyman—and electronica, early dance music, punk, psychedelia—The Clash, The Beatles, Pink Floyd, Kraftwerk, Autechre, Boards of Canada.
Prayer from Jewish Life by Bloch for viola and guitar
A PINCH OF OY, A DASH OF AHH!<br />TheLeVassor Duo:<br />Steven Rosen & Richard Goering.<br />Available at:<br />http://www.cdbaby.com/cd/rosengoering#<br />and :<br />http://www.ourjewishcommunity.org/?s=a+pinch+of+oy+a+dash+of+ahh!<br />St. Paul, Minnesota native Steven Rosen joined the Cincinnati Symphony in 1982. He was previously a member of both the Netherlands Rotterdam Philharmonic and the Israel Chamber Orchestra. He attended the Cleveland Institute of Music and is a former principal violist and soloist with the Toledo Symphony. He has participated in the Blossom and Aspen music festivals. Steven has appeared as soloist with the Cincinnati Symphony.<br />We have added some new tunes to some of the music from our first CD <br /> and they are available for digital download at:<br />http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keywords=a+pinch+of+oy&x=0&y=0<br />and:<br />http://itunes.apple.com/us/album/a-bigger-pinch-of-oy/id385134333
A PINCH OF OY, A DASH OF AHH!<br />TheLeVassor Duo:<br />Steven Rosen & Richard Goering.<br />Available at:<br />http://www.cdbaby.com/cd/rosengoering#<br />and :<br />http://www.ourjewishcommunity.org/?s=a+pinch+of+oy+a+dash+of+ahh!<br />St. Paul, Minnesota native Steven Rosen joined the Cincinnati Symphony in 1982. He was previously a member of both the Netherlands Rotterdam Philharmonic and the Israel Chamber Orchestra. He attended the Cleveland Institute of Music and is a former principal violist and soloist with the Toledo Symphony. He has participated in the Blossom and Aspen music festivals. Steven has appeared as soloist with the Cincinnati Symphony.<br />We have added some new tunes to some of the music from our first CD <br /> and they are available for digital download at:<br />http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keywords=a+pinch+of+oy&x=0&y=0<br />and:<br />http://itunes.apple.com/us/album/a-bigger-pinch-of-oy/id385134333
Ravel Bolero Christoph Eschenbach Orchestre de Paris part1
Maurice Ravel Bolero Condact:Christoph Eschenbach Orchestra:Orchestre de Paris Nov 5, 2007 NHKhall
Maurice Ravel Bolero Condact:Christoph Eschenbach Orchestra:Orchestre de Paris Nov 5, 2007 NHKhall
Chopin: La Dame aux camélias (Paris Opera Ballet)
Based on the Alexandre Dumas novel that also inspired the stories of Verdis La Traviata and Hollywoods Moulin Rouge, John Neumeier creates a riveting dance drama around the famous woman of lore, La Dame aux camélias. The passionate tale of Marguerite Gautier and Armand Duval unfolds ingeniously through a drama-within-a-drama as they meet at the theatre during a performance of Manon Lescaut. So begin their romantic adventures in Paris, brought to life by Neumeiers intense and refined choreographic language. Chopins ravishing music highlights this exceptional neo-classical ballet, featuring the star dancers of the Paris Opéra Ballet. This lavish production, filmed live at the Palais Garnier in High Definition and full surround sound, is all about love, passion, danger and glorious dancing from one of the best ballet companies in the world. Available from Opus Arte on DVD & Blu-ray www.opusarte.com Please 'Like' us at www.facebook.com
Based on the Alexandre Dumas novel that also inspired the stories of Verdis La Traviata and Hollywoods Moulin Rouge, John Neumeier creates a riveting dance drama around the famous woman of lore, La Dame aux camélias. The passionate tale of Marguerite Gautier and Armand Duval unfolds ingeniously through a drama-within-a-drama as they meet at the theatre during a performance of Manon Lescaut. So begin their romantic adventures in Paris, brought to life by Neumeiers intense and refined choreographic language. Chopins ravishing music highlights this exceptional neo-classical ballet, featuring the star dancers of the Paris Opéra Ballet. This lavish production, filmed live at the Palais Garnier in High Definition and full surround sound, is all about love, passion, danger and glorious dancing from one of the best ballet companies in the world. Available from Opus Arte on DVD & Blu-ray www.opusarte.com Please 'Like' us at www.facebook.com
Telemann, Paris Quartet VI, fifth movement, Distrait (animated balls
The fifth movement of Georg Philipp Telemann's sixth Paris Quartet, performed by Concerto Amabile, accompanied by an animated score. FAQ Q: Who is playing this piece? A: This performance is from 1990; the performers are the members of the group Concerto Amabile (Kathleen Kraft, traverso, Elizabeth Blumenstock, violin, Elisabeth Le Guin, violoncello, and Phebe Craig, harpsichord) joined by viola da gambist Margriet Tindemans. Q: This is lovely; where can I hear the rest of the movements of this piece? A: This recording is from the Wild Boar CD "Concerto Amabile, George Phillip Telemann, 'Paris' Quartets 2, 3 & 6" (WLBR8801). I don't know whether the CD is available, but I'm going to find out; I will post information here when I do. Q: How did you get the animation synchronized with the recording? A: First I entered the score into the notation program Sibelius. Then, I made a half-speed version of the recording (with the Amazing Slow-Downer software), and adjusted the notation to match (added the ornaments, shortened notes, mistakes made by the performers, etc). Then, while listening to the half-speed recording, I recorded a MIDI click-track. Finally, I fed the score and the click-track into some software I wrote, which adjusted the timings of score to match the click-track. The adjusted version of the score is what my animation software takes as input. Q: Isthere a way I could make the bar-graph scores myself? A: The Music Animation Machine MIDI file player will generate <b>...</b>
The fifth movement of Georg Philipp Telemann's sixth Paris Quartet, performed by Concerto Amabile, accompanied by an animated score. FAQ Q: Who is playing this piece? A: This performance is from 1990; the performers are the members of the group Concerto Amabile (Kathleen Kraft, traverso, Elizabeth Blumenstock, violin, Elisabeth Le Guin, violoncello, and Phebe Craig, harpsichord) joined by viola da gambist Margriet Tindemans. Q: This is lovely; where can I hear the rest of the movements of this piece? A: This recording is from the Wild Boar CD "Concerto Amabile, George Phillip Telemann, 'Paris' Quartets 2, 3 & 6" (WLBR8801). I don't know whether the CD is available, but I'm going to find out; I will post information here when I do. Q: How did you get the animation synchronized with the recording? A: First I entered the score into the notation program Sibelius. Then, I made a half-speed version of the recording (with the Amazing Slow-Downer software), and adjusted the notation to match (added the ornaments, shortened notes, mistakes made by the performers, etc). Then, while listening to the half-speed recording, I recorded a MIDI click-track. Finally, I fed the score and the click-track into some software I wrote, which adjusted the timings of score to match the click-track. The adjusted version of the score is what my animation software takes as input. Q: Isthere a way I could make the bar-graph scores myself? A: The Music Animation Machine MIDI file player will generate <b>...</b>
