Jonathan Best Video
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2024-05-03
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Bach Christian Ferdinand Abel 1717 1723 1726
It is thought that Bach wrote his six suites for unaccompanied cello between 1717 and 1723, while he was in the employ of Prince Leopold of Anhalt-Cöthen and had two superb solo cellists, Bernard Christian Linigke and Christian Ferdinand Abel, at his disposal. However, the earliest copy of the suites dates from 1726, and no autographs survive. Thus a chronological order is difficult to prove, though one guesses that these suites were composed in numerical order from the way that they gradually evolve and deepen, both technically and musically. A Baroque suite is typically a collection of dance movements, usually in binary form with each half repeated. Common elements of the suite were the Allemande (German dance), a moderately slow duple-meter dance; the Courante, a faster dance in triple meter; the Sarabande, a Spanish-derived dance in a slow triple meter with emphasis on the second beat; and a Gigue (Jig), which is rapid, jaunty, and energetic. Bach took these typical dance forms and abstracted them, and then added a free-form, almost improvisatory Prelude which sets the tone for each suite, and a galanterie, an additional dance interposed between Sarabande and Gigue. (In the first two suites, Bach uses a pair of Minuets.) With these dances, Bach experimented and created the first, and arguably still the finest, solo works for a relatively new instrument. The Suite in D minor is one of two minor-key suites among the six for solo cello. With this suite, Bach seems to aspire to an almost Beethovenian mixture of tragedy and defiance, all within his usual framework of strict procedures. There are six movements: a Prelude, Allemande, Courante, Sarabande, double Minuet, and Gigue. The Prelude reminds this listener of a great Bach organ toccata (and some observers, indeed, have speculated on links between Bach's organ improvisations and his string writing). Bach uses a simple arpeggio figure to build phrases of ever-increasing complexity, as in the parallel passage in the first suite. But here the minor-key arpeggio that sets the tone for the work is used to gradually build tension as it climbs through the cello's range in a series of rising waves. The movement builds to a high-pitched, tense climax, followed by an improviser's silence while the echoes die out. Finally we return to the low strings for a coda that sums up the movement in small, intimate terms. Although this piece was originally written for cello, I transcribed it for Viola and it is best played using the "GeneralUser GS.sf2" Soundfont by S. Christian Collins Software ((http•••) Sheet music made with MuseScore - (http•••)
Here's a Beginners Guide to one of my favorite Final Fantasy characters, Quina Quen! I hope this helps you in clearing content and isn't too confusing. A lot of the content is aimed at veteran players or people with tons of characters maxed so I want to help show how a character can add utility to your party AND possibly dish out damage if you want/need it. EX, LD, and Skill 1 are basically the only skills I use with Quina besides the BT & FR Warrior of Light would also be a good unit to pair Quina up with because of his (WoL) FR conditions and insane protection against hp attacks! In this case you won't need to worry about the enemy getting turns because "Heat" will trigger and just in case WoL's shields will protect you. Best Artifacts: MBrv +330 & Head Chef of Alexandria Castle Up/ Spheres: ANYTHING THAT ADDS TO MAX BRV Don’t forget to like, Comment, and subscribe! Dissidia Final Fantasy Opera Omnia is a free-to-play game in the Dissidia Final Fantasy series for the iOS and Android platforms, co-developed by Square Enix and Team Ninja of Koei Tecmo, and published by Square Enix. Socials: TCG YouTube: (http•••) Twitch: (http•••) Twitter: (http•••) final fantasy dffoo opera omnia dissidia final fantasy opera omnia dffoo tifa dffoo galuf dffoo crevasse dffoo crevasse hallowed depths dffoo minwu dffoo chocobo panel wight white dragon dffoo bhunivelze dffoo six warrior quest area 3 dffoo celes bt dffoo transcendence 12 dffoo neon #finalfantasy #dffoo #operaomnia #dissidiafinalfantasyoperaomnia #crispygaming #dffooquina
Isaac Albéniz Zaragoza Ravel Respighi Rachmaninoff
This new recording presents the two Suites Espanola, including popular works like Cadiz and Asturias (with its unique guitar imitations), as well as the third Suite Ancienne, which contains baroque dance forms in romantic disguise. Purchase or streaming (Spotify, Apple Music, Amazon Music, Naxos, Presto): (http•••) More Information: (http•••) Our music is available for sync licensing in videos, films, tv-shows, games, advertising and more. For more information and to request a license go to: (http•••) Composer: Isaac Albéniz Artist: Sebastian Stanley (piano) The first volume of Sebastian Stanley’s Albéniz survey was greeted with enthusiasm for the repertoire and praise for the interpretations in the pages of Fanfare and elsewhere: ‘He is tender and sentimental in the lyrical moments, animated and energetic in his attack elsewhere. He clearly loves the music, and dispatches it with unapologetic flair.’ His sequel opens with the First Suite Española which contains several of the composer’s most colourful and best-known pieces. It begins with the vibrant guitar-strumming textures and Moorish harmonies of ‘Granada (Serenata)’ and continues with his own interpretation of a dance from his native Catalonia. Evocations of Seville, Cadiz and Asturias all spring from the pages with the sharp colours of a Goya canvas, and the suite comes to an exotic, sensuous conclusion with a Cuban habanera. The Second Suite Española is much smaller and less well-known. Its two movements are evocations of Zaragoza and (once more) Seville. Sebastian Stanley includes two further landscapes in sound: the Zambra granadina (Danse orientale) evokes flamenco dance that features a haunting melody to a seductively syncopated accompaniment. The rolled chords of Cádiz (Gaditana) suggest the strumming of guitars, setting the scene for an animated copla dance. The neoclassical side of Albéniz comes to the fore with the third of his Suites Anciennes – consisting of a graceful Minuet and sprightly Gavotte – which anticipate similar projects to revive Baroque forms in modern guise by Ravel and Respighi. As a reminder of the incomparable richness of the finest Spanish piano music,’ Sebastian Stanley’s Albéniz series should invite the attention of curious listeners and pianophiles alike. Social media links: Facebook: (http•••) Spotify: (http•••) Brilliant Classics: Facebook: (http•••) Spotify: (http•••) Instagram: (http•••) TikTok: (http•••) Tracklist: Suite espanola No. 1, Op. 47: 0:00:00 I. Granada 0:05:09 II. Cataluna 0:07:45 III. Sevilla 0:12:38 IV. Cadiz 0:17:09 V. Asturias 0:23:50 VI. Aragon 0:28:59 VII. Castilla 0:32:08 VIII. Cuba Suite espanola No. 2, Op. 97: 0:38:12 I. Zaragoza 0:42:07 II. Sevilla Suite ancienne No. 3: 0:49:20 I. Minuetto 0:52:57 II. Gavota 0:56:55 Zambra granadina (danse orientale) 1:00:14 Cadiz (gaditana) Spotify Playlists: Most Popular Piano Classics: (http•••) Top 50 Rachmaninoff: (http•••) Best Piano Music: (http•••) Peaceful and Relaxing Piano Music: (http•••) Beautiful Piano Nocturnes: (http•••) Thank you for watching this video by Brilliant Classics, we hope you enjoyed it! Don’t forget to share it and subscribe to our YouTube channel. And visit our channel for more of the greatest composers. We upload daily with complete albums and compilations with the best classical music. (http•••) #Albinez #Suite #PianoMusic #ClassicalMusic #Piano #Music #PianoMusic #SoloPiano #PianoSolo #ClassicalPiano #PianoClassics #BrilliantClassics
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- cronologia: Cantanti lirici. Interpreti.
- Indici (per ordine alfabetico): B...