Themes Variations....!

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Channel Title : baja0270

Views : 254375

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Published Date : 2011-10-17T10:03:38.000Z

Rare video performance of Abt

Channel Title : John Clifford

Views : 12883

Likes : 129

DisLikes : 3

Published Date : 2017-10-24T06:21:34.000Z

Merrill Ashley and Sean Lavery. NYC Ballet

Channel Title : ear8002

Views : 79142

Likes : 289

DisLikes : 16

Published Date : 2012-11-25T05:49:00.000Z

selections suite No 3 choreographer: George Balanchine Darci Kistler Igor Zelensky New York City Ballet 1993

Channel Title : Ashish Xiangyi Kumar

Views : 538092

Likes : 7005

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Published Date : 2016-07-15T14:11:14.000Z

Rachmaninoff's Variations on a Theme of Chopin are often gently disparaged as a juvenile work -- too long, too rambling, too dark and remorseless. Chochieva's stunning performance reveals this work for the masterpiece it truly is. Where other pianists regularly leave out variations (something Rachmaninoff himself often did in performance), Chochieva plays all 22 variations, and brings to them a great deal of air and light (seriously -- all the dark passages are played with such tenderness!), along with breathtaking phrasing, remarkable contrapuntal clarity, and a vivid sense of imagination. Neither is there self-indulgence -- the tempi are brisk, with Chochieva's recording clocking in at about 3 minutes shorter than the average. And thus the Op.22 is revealed not at all as long or rambling, or dark -- instead, it is tightly knit, full of warmth and generosity, one of the most relentlessly beautiful works Rachmaninoff ever produced (listen to those slow variations -- I really don't think that Rachmaninoff, in one work, ever wrote so many pages so replete with such haunting and luminous beauty). 00:00 -- Theme 01:09 -- Var. 1, Moderato [MOVEMENT I] 01:53 -- Var. 2, Allegro 02:08 -- Var. 3 02:23 -- Var. 4 03:12 -- Var. 5, Meno mosso 03:37 -- Var. 6, Meno mosso* 04:40 -- Var. 7, Allegro 04:58 -- Var. 8 05:18 -- Var. 9 05:39 -- Var.10 06:10 -- Var.11, Lento [MOVEMENT II] 07:38 -- Var.12, Moderato 09:44 -- Var.13, Largo 10:58 -- Var.14, Moderato* (Some truly stunning contrapuntal voicing + dynamic control going on here. Note also how carefully constructed this variation is: the middle voice contains figuration that is borrowed from those little twists in the high registers in Var.13) 12:19 -- Var.15, Allegro scherzando 13:41 -- Var.16, Lento* (One of Rachmaninoff's most inspired yet least-known melodies. It sounds destined for a piano concerto of some sort.) 14:50 -- Var.17, Grave 16:24 -- Var.18, Piu mosso 17:14 -- Var.19, Allegro vivace* [MOVEMENT III] 18:27 -- Var.20, Presto 19:33 -- Var.21, Andante* (A gorgeous and rather Brahmsian canon which ends in an powerful transitionary passage to the final variation) 22:10 -- Var 22, Maestoso* (Think of how much this sounds like Lyapunov in the middle section!)

Channel Title : Timothy Broege - Topic

Views : 15362

Likes : 139

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Published Date : 2015-01-22T14:20:01.000Z

Provided to YouTube by NAXOS of America Theme and Variations · Rutgers Wind Ensemble Distinguished Music for the Developing Wind Band, Vol. 5 ℗ 2012 Mark Records Released on: 2012-08-07 Conductor: William Berz Ensemble: Rutgers Wind Ensemble Ensemble: Rutgers Symphonic Band Composer: Timothy Broege Auto-generated by YouTube.

Channel Title : pataragogo pataragogo

Views : 29162

Likes : 205

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Published Date : 2016-12-11T18:30:57.000Z

Balanchine's Theme and Variations Maia Makhateli/Artur Shesterikov Het National Ballet Tchaikovsky

Channel Title : Ashish Xiangyi Kumar

Views : 255467

Likes : 1633

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Published Date : 2015-12-26T09:54:40.000Z

Brahms was, along with Bach and Beethoven, one of the true masters of variation form, and this set of variations is testament to his genius. Unlike Beethoven, Brahms never departs radically from the theme, but the structure of the Op.24, its incredible harmonic discipline (Brahms focuses with laserlike intensity on the bass line and uses it to control the structure and character of variations) and its dramatic scope put it easily alongside such works as the Diabelli and Goldberg Variations. Especially notable in the Op.24 is the use of Baroque forms – a siciliana, musette, canon, and fugue all feature. Also of interest is the exquisite organisation of the work: each variation gains meaning not only from the theme, but from its exact placement in the set. Often consecutive variations are paired, or groups will share a common variational idea. Brahms pays careful attention to the dramatic arc of the set: he maintains a state of flux in the first half, allowing the music to reach a peak in V.13-15. After that he keeps the temperature perceptibly low, until a massive drama swarms out of blackness starting in V.23. And then that incredible fugue caps it all off. Kovacevich’s performance fully justifies his reputation as a great player of Brahms. He restrains himself in the more superficially attractive variations, but devotes much of his energy to the more abstract ones, eventually saving his strength for what must be the finest performance of the concluding fugue ever put on record. 00:00 – Aria. 00:56 – Var.1. Introducing the first group of variations (1-4). A busily syncopated variation that sticks closely to the theme. 01:46 – Var.2. Like Var.1, it traces out the melodic line of the aria, but adds in chromatic sliding. 02:23 – Var.3. Delicate rhythmic wrongfooting of the melodic contour of the aria. 03:00 – Var.4. More rhythmic trickery, with the accents coming on the last semiquaver of each beat. 03:48 – Var.5. Introducing the second group of variations (5-8). The first change in key. This variation is obviously paired with the next – they both employ the same melodic line. 05:00 – Var.6. A canon at the octave, with inverted canon in the second half. 06:02 – Var.7. Paired with the next variation. Fast and high-spirited, and fundamentally rhythmic in nature. A sustained drumbeat effect emphasises the inner voices. 06:37 – Var.8. And now the variation rockets up the keyboard over the LH's galloping rhythm, and the emphasis is on the voices in the RH, which flip in the variation’s second half. 07:13 – Var.9. Introducing the third group of variations (9-18). A grand statement in chromatic octaves. 08:29 – Var.10. Exhilarating use of melodic displacement. 09:03 – Var.11. The beginning of a pair of gently melodic variations. 09:58 – Var.12. While paired with Var.11, the LH anticipates Var.17. 10:50 – Var.13. A florid funeral march, the first variation without repeats. 12:14 – Var.14. The first of a trio of virtuosic variations built around similar rhythms and figuration. 12:52 – Var.15. A gloriously propulsive showpiece. 13:32 – Var.16. Note the use of canonic imitation. 14:01 – Var.17. This and the next variation are built around the device of a (nearly identical) rising figure in the LH recalling the aria’s melody, while the RH provides ornamentation. 14:27 – Var.18. 15:33 – Var.19. The beginning of the last group of variations. A siciliana. 16:34 – Var.20. Darkly wending chromatic chords. 17:53 – Var.21. In the relative minor, with the theme beautifully disguised in the grace notes. 18:44 – Var.22. A lovely music-box variation, recalling the drone of a musette. 19:41 – Var.23. The build-up to the fugue begins. This variation is clearly paired with the one that comes after it – they are both nearly identical. 20:16 – Var.24. Harmonically and rhythmically identical to Var.23, but with massive scales that boil restlessly in both hands. 20:52 – Var.25. A harmonically straightforward statement of the opening aria that leads triumphantly into the closing fugue. An interesting symmetry with the first variation is formed by the fact that every pause in one hand is filled by activity in the other. 21:33 – The concluding fugue. The subject comes solely from the ascending major second from the first two beats in the top voice of Handel's theme. The ascending second is stated twice in sixteenth notes, and repeated again a minor third higher. This parallels the first measure of Handel's theme, which ascends from B-flat to C to D to E-flat. The fugue itself is breathtaking, featuring inversions, augmentation, double counterpoint, and a huge (leaping) pedal on the F. There is quite literally no moment in this entire section which does not use material from the subject (*both* the head and the tail, often inverted) or the countersubject. The textures are unmistakably Brahmsian – large, dense, exultant.

Channel Title : Ros Pilgrim

Views : 1881

Likes : 11

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Published Date : 2017-03-02T11:08:37.000Z


Channel Title : HowToReadSheetMusic

Views : 47977

Likes : 379

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Published Date : 2013-03-05T18:01:15.000Z Easy music theory video lesson explaining theme and variations form with an audio example.

Channel Title : zeph

Views : 2922916

Likes : 32076

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Published Date : 2016-03-05T03:01:30.000Z

A few of the variations of the Gravity Falls Theme Song I do not own Gravity Falls. All rights to Alex Hirsch and Disney. Music by Brad Breeck. Some of the videos belongs to: TheMysteryofGF (SDCC Trailers, Shacktron vs Henchmaniacs w/o original audio, Gravity Paws, Short into, and Weirdmaggedon intros) EpicSonicFTW (Weirdmaggedon 8-bit) EarthboundFanBro (Original Theme)

Channel Title : thenameisgsarci

Views : 54638

Likes : 517

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Published Date : 2015-08-02T06:43:29.000Z

Variations on a Theme by Tchaikovsky, Op. 35a, a piece for string orchestra by Anton Arensky, started out as the slow movement of his String Quartet No. 2 in A minor, Op. 35. It was written in 1894, the year after the death of Pyotr Ilyich Tchaikovsky, in a tribute to that composer. It was based on the theme from the song "Legend: Christ in His Garden", the fifth of Sixteen Children’s Songs, Op. 54. Tchaikovsky's song was originally set to a Russian translation by Aleksey Pleshcheyev of an English poem called "Roses and Thorns" by the American poet Richard Henry Stoddard. At the first performance of the quartet, the slow movement was so well received that Arensky soon arranged it as a separate piece for string orchestra, Op. 35a, in which form it has remained among the most popular of all Arensky’s works. Arensky also made a version of the quartet for the unusual scoring of violin, viola and two cellos. The Variations are set out in the following sequence: Theme, Moderato Variation I, Un poco più mosso Variation II, Allegro non troppo Variation III, Andantino tranquillo Variation IV, Vivace Variation V, Andante Variation VI, Allegro con spirito Variation VII, Andante con moto Coda: Moderato. (Wikipedia) Please take note that the audio AND the sheet music IS NOT mine. Change the quality to 480p if the video is blurry. Original audio:

Channel Title : HenriVieuxtemps

Views : 627713

Likes : 9031

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Published Date : 2012-07-21T19:09:57.000Z

Henryk Wieniawski (1835-1880) Variations on an original theme op. 15 in a violin + piano Maestoso Andante ma non troppo Theme Allegretto Var1 Var2 Poco piu lento Var3 Risoluto Finale Tempo di valse Coda Allegro vivace

Channel Title : Crash5020

Views : 514604

Likes : 1826

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Published Date : 2015-06-18T20:08:13.000Z


Channel Title : professorimprov

Views : 7817

Likes : 43

DisLikes : 3

Published Date : 2016-09-14T05:15:59.000Z

Haydn Theme and Variations

Channel Title : Brian Gossard

Views : 20850

Likes : 167

DisLikes : 11

Published Date : 2014-04-07T15:33:14.000Z

This Video has been completely remade. Please click the link to see the current and much improved version:

Channel Title : Jens Braun

Views : 8791

Likes : 170

DisLikes : 3

Published Date : 2016-03-02T12:44:00.000Z

Kati Raitinen performs Sibelius Theme and Variations at the Royal Opera in Stockholm

Channel Title : olla-vogala

Views : 317728

Likes : 2526

DisLikes : 55

Published Date : 2015-11-07T18:37:31.000Z

- Composer: Sergei Vasilievich Rachmaninoff (1 April 1873 -- 28 March 1943) - Performer: Vladimir Ashkenazy - Year of recording: Live in Lugano, Switzerland, 1968(?) Variations on a Theme of Corelli (Вариации на тему А. Корели) Op. 42, written in 1931. The Theme is followed by 20 variations, an Intermezzo between variations 13 and 14, and a Coda to finish. 00:00 - Theme. Andante 01:11 - Variation 1. Poco piu mosso 01:58 - Variation 2. L'istesso tempo 02:38 - Variation 3. Tempo di Minuetto 03:12 - Variation 4. Andante 04:09 - Variation 5. Allegro (ma non tanto) 04:30 - Variation 6. L'istesso tempo 04:50 - Variation 7. Vivace 05:18 - Variation 8. Adagio misterioso 06:15 - Variation 9. Un poco piu mosso 07:28 - Variation 10. Allegro scherzando 08:01 - Variation 11. Allegro vivace 08:24 - Variation 12. L'istesso tempo 09:01 - Variation 13. Agitato 09:33 - Intermezzo 10:59 - Variation 14. Andante (come prima) 12:08 - Variation 15. L'istesso tempo 13:57 - Variation 16. Allegro vivace 14:27 - Variation 17. Meno mosso 15:27 - Variation 18. Allegro con brio 15:59 - Variation 19. Piu mosso. Agitato 16:26 - Variation 20. Piu mosso 17:24 - Coda. Andante The theme is La Folia, which was in fact not composed by Arcangelo Corelli, but was used by him in 1700 as the basis for 23 variations in his Sonata for violin, violone, and harpsichord in D minor, Op. 5, No. 12. La Folia was popularly used as the basis for variations in Baroque music. Franz Liszt used the same theme in his Rhapsodie Espagnole S. 254 (1863). Rachmaninov dedicated the work to his friend the violinist Fritz Kreisler. He wrote to another friend, the composer Nikolai Medtner, on 21 December 1931: "I've played the Variations about fifteen times, but of these fifteen performances only one was good. The others were sloppy. I can't play my own compositions! And it's so boring! Not once have I played these all in continuity. I was guided by the coughing of the audience. Whenever the coughing would increase, I would skip the next variation. Whenever there was no coughing, I would play them in proper order. In one concert, I don't remember where - some small town - the coughing was so violent that I played only ten variations (out of 20). My best record was set in New York, where I played 18 variations. However, I hope that you will play all of them, and won't 'cough'." Ashkenazy plays this piece very well, no 'coughs' in this performance...

Channel Title : MozArt

Views : 43748

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Published Date : 2015-09-13T18:21:08.000Z

Clara Schumann | Variations on a Theme by Robert Schumann, Op. 20 Konstanze Eickhorst, piano 0:00 Theme 1:08 Variation I 2:00 Variation II 3:08 Variation III 4:17 Variation IV 5:12 Variation V 6:19 Variation VI 7:22 Variation VII Clara Schumann wrote her piano variations on her husband’s theme in 1853, and gave the first performance herself on May 27, 1845, with an audience including Johannes Brahms. He was so inspired by her composition that he wrote his own set of variations to the same theme, used in the fourth movement of Robert Schumann’s Bunte Blatter, Op. 99. This work was to be one of Schumann’s last, with the increasing responsibility of her children and her husband’s declining health. Clara Schumann gave the variations to her husband on his birthday with the dedication, “To my beloved husband on the 8th of June, 1853, this humble, renewed essay by his old Clara. Marked “Ziemlich Langsam,” rather slow, Schumann’s piece begin with her husband’s theme, followed by seven variations. The theme remains clear throughout the piece, as well as its subdued nature. The first variation is a run of triplets in the bass with the theme clearly defined by the upper voices. The second variation’s semiquavers create a feeling of forward movement and the technical difficulties show what a commanding pianist Schumann herself was. The third variation is a return to the initial subdued theme’s character, with a rhythmic and slow, mournful movement to it. The fourth variation moves forward again with more triplet semiquavers in the right hand and the theme clearly present in the left. The fifth set of variations is more agitated, with left hand octaves over which the there is an insistent chordal restatement of the theme. The sixth variation is a beautiful canon of the theme in which Schumann’s unique sense of harmony is explored. The last variation expresses the theme with spread chords and delicate arpeggios, with a coda drifting off to silence with more arpeggios.

Channel Title : Nancy Eldridge

Views : 19632

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Published Date : 2013-12-12T21:42:38.000Z

From Solos for Young Violinists, vol. 1 Barbara Barber practice video

Channel Title : Bartje Bartmans

Views : 56488

Likes : 428

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Published Date : 2015-09-27T17:46:43.000Z

Gabriel Fauré Thème et variations, for piano in C sharp minor, Op. 73 (1895) Tema: Quasi adagio Var. 1: Lo stesso tempo Var. 2: Più mosso Var. 3: Un poco più mosso Var. 4: Lo stesso tempo Var. 5: Un poco più mosso Var. 6: Molto adagio Var. 7: Allegro moderato Var. 8: Andante molto moderato Var. 9: Quasi adagio Var. 10: Allegro vivo Var. 11: Andante molto moderato espressivo Jean-Philippe Collard, piano Description by Robert Cummings [-] The Thème et variations here is a large piece, usually having a duration well over a quarter-hour. It came a year after Fauré's Nocturne in D flat major No. 6, which ended a six-year hiatus from writing piano music for the composer. Fauré was also in the process of evolving his keyboard style toward bolder harmonic and thematic means of expression, but this work is largely conservative, even exhibiting hints of Schumann, especially in the main theme. That theme, marked Quasi adagio, is stately and presented in short, somewhat repetitive-sounding phrases. It has an expressive depth in its mixture of the noble and gloomy, of elegance and splendor. The first variation does not stray far in mood or in thematic change, but the second is lively and playful, exuding brilliant, almost Rachmaninovian colors. The ensuing variant is moderately paced, but still quite playful in its greater muscle. The music in the Molto Adagio sixth variation may offer the greatest depth here, and that in the Andante molto moderato eighth variation, the dreamiest and most serene. With the tenth variation, the music turns quite lively and colorful, and in the concluding 11th, the mood shifts to a quiet, reserved manner at the outset to a serenely triumphant one at the end.

Channel Title : Gregory Miller - Topic

Views : 2018

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Published Date : 2014-09-29T12:02:56.000Z

Provided to YouTube by The Orchard Enterprises Joseph Labor: Theme and Variations, Op. 10: Theme and Variations, Op. 10 · Gregory Miller · Joseph Labor · Ernest Barretta Solos for the Horn Player - The Mason Jones Book ℗ 2007 MSR Classics Released on: 2006-07-04 Auto-generated by YouTube.

Channel Title : Pablo Leal

Views : 157603

Likes : 742

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Published Date : 2010-12-11T07:46:30.000Z

Recording of the Tokyo Kosei Wind Orchestra.A Composition by James Barnes.

Channel Title : Pacific Northwest Ballet

Views : 4425

Likes : 142

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Published Date : 2019-03-27T23:06:59.000Z

The season’s final mixed bill promises intriguing variety. Balanchine’s Theme & Variations represents the height of classical purity and elegance, while his zesty Tarantella pas de deux dazzles with virtuoso fun. In José Limón’s masterpiece, The Moor’s Pavane—a reduction of Shakespeare’s Othello—riveting characterizations cast a powerful spell. The line-up is joined by the return of our own Price Suddarth’s electric Signature. THEMES & VARIATIONS May 31–June 9, 2019

Channel Title : Teacherontap Woodwind

Views : 7592

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Published Date : 2016-02-14T23:38:10.000Z

2 x Eb or 2 x Bb saxophones by Richard Percival Available as download from To view all duets go to

Channel Title : Ashish Xiangyi Kumar

Views : 602213

Likes : 5695

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Published Date : 2016-01-14T20:58:17.000Z

Brahms was not a showman, and rarely wrote music which aimed at being technically difficult. But when he did, he out-Liszted Liszt. The Paganini Variations, as you can tell from their main title, are not just a fully-fledged concert work but also a set of exercises for study, featuring technical challenges that are often more than a little obscene [19:24]. As always, the variations are also musically dazzling in their variety and invention. Kissin plays the faster variations with astounding bravura, [11:29] dynamic control [16:05], and articulation [16:49], and is exquisitely delicate in the slower ones [07:45]. Book I 00:00 – Theme 00:25 – Var.1. Churning sixths and thirds. Already extremely difficult. 00:49 – Var.2. Sixths in the LH, and rapid embellished octaves in the RH. Toybox-like sounds. 01:14 – Var.3. A single line divided between the hands scurries along in the new 6/8 meter with upbeats. Repeated notes divided rapidly between hands. 01:40 – Var.4. Accented trills and very large arpeggios. 02:25 – Var.5. The first quiet one. Hand-crossing, chromaticism, contrasting meter in both hands. 03:33 – Var.6. Syncopation and rapid, quiet octave leaps. 03:56 – Var.7. Fiery and dramatic. Chromatic octaves at the edges of the keyboard and harmonies in the centre of the keyboard swing inwards and outwards. Their movement is reversed in the second statement. 04:21 – Var.8. Leaps and thirds. Mazeppa-like. 04:47 – Var.9. Harmonic movement twice as slow as in earlier variations. Chromatic chords in RH against repeated octaves in tripet rhythm in LH. 06:07 – Var.10. Hand-crossing, syncopation. 07:45 – Var.11. The first of two major-key variations. Both hands in a high treble register playing expressive, steady, “tinkling” harmonies. In this variation, there are four full “repetitions,” as each two-bar unit uses the same exact material. The only variety comes from touch and dynamic change. 09:30 – Var.12. Continues the music box character of Var.11. RH has leaping, meandering arpeggios in the high register in triplet rhythm, the LH (beginning with an upbeat), in opposite motion in “straight” rhythm. 10:56 – Var.13. A “gypsy” variation, with difficult glissandi. 11:29 – Var.14. A stunning finale to Book I, really three variations rolled into one. The RH and LH pass a rapid scale between them, taking breaks to leap to two repeated notes and a punctuating octave. Trills intensify the variation, and then a huge cascade of arpeggios takes over. Repeated notes and vast rapid leaps. A trill emerges, is sustained, fades away, and becomes a drone over which a new variation is established. After a while the drone disappears altogether and broken octaves punctuated by sharp accents take over. Book II 13:11 – Var.1. Octave leaps, thirds. 13:56 – Var.2. Polyrhythm. Winding octaves and arpeggios. 14:31 – Var.3. Ascending thirds punctuated by octaves. Double notes. 15:00 – Var.4. A lilting waltz. 16:05 – Var.5. Dotted octaves, fleet-footed descending triplets. 16:28 – Var.6. Large, arching arpeggios with sharp, crushing embellishments. 16:49 – Var.7. A masterpiece of disguised complexity. A barely discernible but disorientating upbeat in the LH. 4 against 3 against 9 polyrhythm, later turned to 8 against 9. A chromatic line (the top note of an arpeggio) set of against octaves. Hands switch roles in second half. 17:07 – Var.8. Arpeggios in contrary motion. Meant to evoke a violin. (Kissin plays the repeats using the ossia). 17:35 – Var.9. A stark study in legato octaves. 18:35 – Var.10. Huge arpeggio sweeps, with extended harmonic displacement and “delay”. 19:24 – Var.11. Nearly impossible to play. Skittish and scherzo-like. Essentially a scale with hands moving in strict contrary motion, alternating octaves and single notes *outside of the preceding octave*. 19:48 – Var.12. A nocturne, the only variation not in A major/minor. Hemiolas (3/4 against 6/8), syncopation, inner voices. 21:08 – Var.13. Long scalar descents in the gypsy scale, featuring very delicate voicing in both hands. 22:16 – Var.14. Four variations in one. The first is scherzo-like, with the 2/8 meter speeding it up even more. Descending scales over a detached right hand. The second features double-note harmonies in groups of two passed between the hands. The third features smooth arching leaps and descents, in unison an octave apart. In the fourth 2/8 becomes 2/4 and triplet rhythm appears, and after a pregnant pause on a deceptive “dominant” chord, Brahms’ much-beloved polyrhythms close the work.

Channel Title : Menuhin Competition

Views : 945520

Likes : 19764

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Published Date : 2012-06-06T18:27:31.000Z

Soo-Been Lee in the Juniors - Finals of the Menuhin Competition Beijing 2012

Channel Title : thenameisgsarci

Views : 56756

Likes : 389

DisLikes : 16

Published Date : 2015-08-03T14:48:07.000Z

The Turkish March (Marcia alla turca) is a well-known classical march theme by Ludwig van Beethoven. It was written in the Turkish style popular in music of the time. In 1811 Beethoven wrote an overture and incidental music to a play by August von Kotzebue called The Ruins of Athens (Op. 113), which premiered in Pest in 1812. The Turkish March appears as item No. 4 of the incidental music. Many music lovers associate the theme with The Ruins of Athens, although that was not its original appearance. The march is in B flat major, tempo vivace and 2/4 time. Its dynamic scheme is highly suggestive of a procession passing by, starting out pianissimo, poco a poco rising to a fortissimo climax and then receding back to pianissimo by the coda. The theme was first used in Beethoven's "6 Variations on an Original Theme", Op. 76, of 1809. It was dedicated to Franz Seraficus Oliva. (Wikipedia, IMSLP) Please take note that the audio AND the sheet music ARE NOT mine. Change the quality to 480p if the video is blurry. Original audio:

Channel Title : Clugiae Brass Consort

Views : 15379

Likes : 259

DisLikes : 3

Published Date : 2018-11-15T13:30:44.000Z

Jean-Baptiste Arban: Variations on a Theme from "Norma" by Vincenzo Bellini for Bb cornet and piano. Håkan Hardenberger, cornet. Love Derwinger, piano. Live recording at "The Roal Acedemy of Arts", London, 1991.

Channel Title : PostmodernJukebox

Views : 749241

Likes : 27383

DisLikes : 155

Published Date : 2017-01-15T20:36:33.000Z

Get this song on iTunes: Get PMJ albums / sheet music: Get tix to see PMJ on tour: We put out a surprise new video today - because why not? Enjoy some Harry Potter Jazz. Featuring: Mike Cottone - trumpet Adam Kubota - bass Scott Bradlee - piano Tour Dates (More Coming Soon): NORTH AMERICA 2017 Oct 04 - Denver, CO* Oct 19 - Gainesville, FL Oct 20 - Clearwater, FL Oct 20 - Anchorage, AK Oct 21 - Fairbanks, AK Oct 22 - Juneau, AK Oct 22 - Birmingham, AL Oct 24 - Cleveland, OH Oct 26 - Carmel, IN Oct 27 - Midland, MI Oct 28 - East Lansing, MI Oct 29 - Traverse City, MI Oct 30 - Columbus, OH Oct 31 - Cincinnati, OH Nov 01 - Milwaukee, WI Nov 02 - Chicago, IL Nov 04 - Mankato, MN Nov 05 - Kansas City, MO Nov 07 - Roanoke, VA Nov 08 - Norfolk, VA Nov 09 - Richmond, VA Nov 12 - Wilmington, DE Nov 13 - Worcester, MA Nov 14 - New York, NY Nov 16 - Keene, NH Nov 17 - Burlington, VT Nov 18 - Ithaca, NY Nov 19 - Portland, ME Nov 21 - New Haven, CT Nov 22 - Reading, PA Nov 24 - Pittsburgh, PA Nov 25 - Philadelphia, PA Nov 26 - Silver Spring, MD Nov 28 - Memphis, TN Nov 30 - Baton Rouge, LA Dec 03 - Austin, TX Dec 04 - San Antonio, TX Dec 06 - Tucson, AZ Dec 09 - Arcata, CA Dec 10 - San Francisco, CA Dec 12 - Eugene, OR Dec 15 - Seattle, WA *CO-HEADLINE WITH STRAIGHT NO CHASER EUROPE 2017 04 Dec - Milan, Italy 05 Dec - Heidelberg, Germany 06 Dec - Erfurt, Germany 07 Dec - Ravensburg, Germany 08 Dec - Lille, France 09 Dec - Paris, France 10 Dec - Paris, France 12 Dec - Clermont-Ferrand, France 13 Dec - Montpellier, France 14 Dec - Bordeaux, France 16 Dec - Tours, France 17 Dec - Nantes, France 18 Dec - Reims, France 19 Dec - Nancy, France   AUSTRALIA & NEW ZEALAND 2017 20 Sep - Perth, Australia 22 Sep - Melbourne, Australia 23 Sep - Brisbane, Australia 24 Sep - Adelaide, Australia 26 Sep - Wollongong, Australia 27 Sep - Canberra, Australia 28 Sep - Sydney, Australia 29 Sep - Auckland, New Zealand 01 Oct - Christchurch, New Zealand 03 Oct - Wellington, New Zealand For ALL DATES click here:

Channel Title : Alejandro Diaz

Views : 9283

Likes : 163

DisLikes : 1

Published Date : 2017-07-21T23:50:09.000Z

Performer: Joanne Polk 0:00 - Theme: Adagio malincolico 1:38 - I. Più mosso 2:50 - II. Maestoso 4:12 - III. Allegro ma non troppo 5:18 - IV. Andante alla Barcarola 7:18 - V. Largo con molta espressione /Poco più mosso 10:32 - VI. Quasi Fantasia/Allegro all' 'Ongarese 13:12 - VII. Vivace/Valse lento 15:34 - VIII. Con vigore/Lento calmato 17:54 - Marcia funerale 22:58 - Cadenza. Grave/Quasi fantasia/Maestoso come Var.IIdo/Adagio come prima Liner notes: Amy Beach (1867-1944) wrote: “How inevitable it was that music should be my life’s work. Both in composition and piano playing, there seemed to be such a strong attraction… that no other life than that of a musician could ever have been possible for me.” Beach’s compositions for piano are products of those powerful dual attractions. At age sixteen she made her debut in Boston as a concert pianist; within two years she was playing solo with the Boston Symphony Orchestra. A few years later she had an equally stunning breakthrough as a composer with the premiere of her monumental Mass in E-Flat, Op. 5, for vocal soloists, chorus, and orchestra. This led to her acceptance as a member of the Second New England School of composers. Beach found further support for her concert career and her compositions from the major performing organizations in Boston who presented her works. Over a lifetime she created over 300 compositions, almost all published and performed in the United States, Europe, and as far away as Australia. Born Amy Marcy Cheney in the small town of Henniker, New Hampshire, she was brought up in Boston, where at age 18 she married Dr. Henry Harris Aubrey Beach. At his request, she agreed to limit her public appearances as a concert pianist to one or two a year and concentrate on composition, a calling her husband considered more appropriate to her new status as a society matron. Increasingly, she introduced her own works on her annual recitals. In 1904, she created a major and deeply affecting work, Variations on Balkan Themes, Op. 60, that quickly became a staple of her recital repertory. Its composition grew out of an abiding interest in folk music. Although Balkan folk songs were not part of the American musical mainstream, the region was much on the minds of the American public at the time. A recent uprising by Macedonian nationalists had provoked cruel and repressive measures by the ruling Turks. Beach created the variations out of not one but four themes given to her by a missionary to the Balkans: O Maiko Moyá, Stara Planina, Nasadil ye Dadó (Grandpa has Planted a Little Garden) — a children’s dance song, and a lament entitled Macedonian!. While the use of more than one theme is unusual for a variation form, the Serbian song, O Maiko Moyá, is the principal theme, and appears in each of the eight variations, in the cadenza, and the coda. Its text, in the translation printed in Beach’s edition, reads: O my poor country, to thy sons so dear, Why art thou weeping, why this sadness drear? Alas! thou raven, messenger of woe, Over whose fresh grave moanest thou so? The words refer to the toll in lives taken by the foreign rulers of Serbia some time during their five-century-long domination of what later became part of Yugoslavia. Beach wrote that she introduced the other melodies for their dramatic effect and to set off the melancholy character of the principal theme. The distinctive elements in these Balkan melodies lend an exotic flavor to almost every variation — the pathos-laden augmented seconds, the changes from minor to major, the alternation of duple and triple meters, and the modal scales on which the melodies are based. Beach however set these exotic melodies to lush late-Romantic harmonies that suggest western rather than eastern Europe, while creating a tragic quality that fits the subject. Beach, once seized by an idea, worked very quickly, in this case completing the variations in eight days. The work is by turns a lament (Theme and Variation 1), a dramatically gestural polonaise (Variation 2), a scherzo (variation 3), a barcarolle (Variation 4), a cantabile variation in the major mode (Variation 5), a fantasy on three of the four themes (Variation 6), a slow bitter-sweet waltz (Variation 7), and a recitative and funeral march that rises to a dramatic climax (Variation 8). These are capped by a Lisztian cadenza in which three of the four themes are recapitulated, ending with the final statement of two themes, O Maiko Mayó and Macedonian!. One of their most effective solo piano works, it is presented here in its original version (a revised edition for solo piano appeared in 1936). Beach gave the premiere while the variations were still in manuscript, on 8 February 1905 at a piano recital at Huntington Chambers Hall in Boston. The reviewer for the Boston Evening Transcript was impressed, stating that from the four themes “Mrs. Beach has developed a series of compositions marked by deep feeling and great variety and richness.”

Channel Title : String Puppies

Views : 25364

Likes : 289

DisLikes : 8

Published Date : 2015-06-19T20:34:23.000Z

Yo! Go watch our last vid: "What About Us - P!nk - Violin and Bass cover" -~-~~-~~~-~~-~- With the utter chaos of dinosaurs running wild throughout the arena, David and Mikey found refuge in the only place to stay safe - the Men’s bathroom. It actually has a nice natural reverb too, don’t you think? After seeing Jurassic World 3D in the movie theatre we were inspired to record our version of the movie’s beautiful theme song. This live cover version features only the Violin and Bass, recorded live with no overdubbing or post editing. Don’t be shy to comment, share and subscribe - we don’t bite! Subcribe here: Check out our different playlists on our channel: Official website: Listen to just the music: Thank you! -String Puppies

Channel Title : shortermusic

Views : 21396

Likes : 100

DisLikes : 3

Published Date : 2011-09-22T23:47:35.000Z

CS Theme and Variations, Op. 6 (1985) Randall Compton (b. 1954) Rebekah Jordan-Miller, piano Jerico Vasquez, piano Shorter University Faculty Gala: August 29, 2011

Channel Title : olla-vogala

Views : 249625

Likes : 2069

DisLikes : 36

Published Date : 2015-09-30T19:39:11.000Z

- Composer: Sir Edward William Elgar, 1st Baronet, OM, GCVO (2 June 1857 -- 23 February 1934) - Orchestra: Royal Philharmonic Orchestra - Conductor: Andrew Litton - Year of recording: 1987 Enigma Variations, for orchestra, Op. 36, written in 1898-1899. 00:00 - Theme (Andante) 01:26 - Variation I (L'istesso tempo) "C.A.E." 03:22 - Variation II (Allegro) "H.D.S.-P." 04:06 - Variation III (Allegretto) "R.B.T." 05:27 - Variation IV (Allegro di molto) "W.M.B." 05:58 - Variation V (Moderato) "R.P.A." 08:08 - Variation VI (Andantino) "Ysobel" 09:34 - Variation VII (Presto) "Troyte" 10:31 - Variation VIII (Allegretto) "W.N." 12:26 - Variation IX (Adagio) "Nimrod" 16:14 - Variation X (Intermezzo: Allegretto) "Dorabella" 18:56 - Variation XI (Allegro di molto) "G.R.S." 19:56 - Variation XII (Andante) "B.G.N." 22:30 - Variation XIII (Romanza: Moderato) "* * *" 25:26 - Variation XIV (Finale: Allegro Presto) "E.D.U." At the end of an overlong day laden with teaching and other duties, Edward Elgar lit a cigar, sat at his piano and began idling over the keys. To amuse his wife, the composer began to improvise a tune and played it several times, turning each reprise into a caricature of the way one of their friends might have played it or of their personal characteristics. "I believe that you are doing something which has never been done before," exclaimed Mrs. Elgar. Thus was born one of music's great works of original conception, and Elgar's greatest large-scale "hit": the Enigma Variations. The enigma is twofold: each of the 14 variations refers to a friend of Elgar's, who is depicted by the nature of the music, or by sonic imitation of laughs, vocal inflections, or quirks, or by more abstract allusions. The other enigma is the presence of a larger "unheard" theme which is never stated but which according to the composer is very well known. The identity of the phantom tune left the world with the composer, and guesses have ranged from "God Save the King", "Ein Feste Burg" and "Auld Lang Syne" to a simple major scale. This apparatus aside, the variations contain some of the most charming and deeply felt music Elgar ever penned, more than redeeming the work from the status of mere gimmickry. The main theme is hesitating, lean and haunting, and is reprised with the passionate first variation that represents Caroline, the composer's wife, a constant source of encouragement and inspiration. The remaining variations are as follows: - II. H.D.S.-P. -- Hew Stuart-Powell, a pianist with whom Elgar played chamber music. - III. R.B.T. -- Richard Townsend, whose vocal pitch would rise when excited. - IV. W.M.B. -- William Baker, who after barking out plans for the day would leave the room with a vigorous door-slam - V. R.P.A. -- Richard Arnold, son of the writer Matthew Arnold, who would punctuate serious discourse with a nervous laugh. - VI. Isobel Fitton, a violist. - VII. Troyte -- Arthur Griffith, an architect and raucous pianist. - VIII. W.N. -- Winifred Norbury, a gracious and gentle friend. - IX. Nimrod -- Augustus Jaeger, Elgar's close friend. The most beautiful and famous of the variations, this music describes a nighttime walk when Jaeger gave verbal encouragement to composer, recalling Beethoven's determination in adversity. "Jaeger" means "hunter in German, and Nimrod was a biblical hunter. - X. Dorabella -- Dora Penny, whose infectious laugh is depicted in the woodwinds. - XI. G.R.S. -- George Sinclair, an organist depicted frolicking with his bulldog, Dan. - XII. B.G.N. -- Basil Nevinson, a cellist. - XIII. *** -- The identity of this person is not known, but she is thought to have been on an ocean voyage at the time -- this divined from a quote from Mendelssohn's "Calm Sea and Prosperous Voyage." - XIV. E.D.U. -- Elgar himself. "Edu" was Caroline's nickname for her husband. This heartily extroverted, even boisterous, finale ties together the first variation and the Nimrod themes, as though to suggest that the composer has taken advice to heart and is determined to succeed. The entry of an organ in the final measures brings the work to a confident, happy close. More information on Elgar's "Dorabella Cipher" and the 'unheard' theme in the Enigma Variations:

Channel Title : Thomas van Dun

Views : 1244

Likes : 17

DisLikes : 0

Published Date : 2018-09-01T11:20:15.000Z

Variations on a Theme by Glinka - for oboe & military band in G minor Written by Nikolai Rimsky Korsakov in 1878 Performed by Lajos Lencsés (oboe) and the Rundfunk-Sinfonieorchester Berlin, conducted by Hans E. Zimmer 'The second of three concertante works Rimsky-Korsakov wrote as director of Russia's Navy bands, this is billed not as a concerto (as are the compositions for trombone and clarinet), but simply as a set of variations. A short, ominous introduction lurching through the band's lower regions gives way to a hint of the main theme at the top of the ensemble, and the oboe quickly slips in to play Glinka's melody Beautiful Maiden, a lilting polonaise. Twelve very short variations ensue -- the whole work can be played in less than nine minutes -- with soloist and band taking nearly equal shares of the melodic work. Among the more striking variations are the fourth, in which the oboe plays recitative material over trills in the horns and flutes and a slightly sour waltz not long after that. Just before the end, the oboe takes a cadenza that is itself a sort of variation on the 12th variation. The band bursts in with a few peremptory measures and definitively halts the proceedings.' - James Reel This video is for educational purposes only. I do not own the rights to the music or the performance.

Channel Title : foropera

Views : 109432

Likes : 523

DisLikes : 7

Published Date : 2012-09-08T16:01:47.000Z

The extreme virtuosity of the young Kirkland in Balanchine's Theme and Variation (Tchaikovsky), American Ballet Theater, 1978.

Channel Title : Moscow Conservatory

Views : 394103

Likes : 3890

DisLikes : 80

Published Date : 2010-04-03T08:22:37.000Z

Yerevan Komitas chamber music hall, Armenia. 15.04.08. N. Paganini - Variations on a theme from «Moses in Egypt». Narek Hakhnazaryan plays. Gayane Akhnazaryan, piano

Channel Title : cantseetheforest

Views : 557389

Likes : 3786

DisLikes : 61

Published Date : 2012-07-08T21:32:39.000Z

twenty-four variations on Paganini's XXIV Caprice, for piano and large orchestra Vladimir Ashkenazy London Symphony Orch. André Previn

Channel Title : Pyotr Ilyich Tchaikovsky

Views : 22224

Likes : 122

DisLikes : 5

Published Date : 2013-08-17T17:40:34.000Z

Vladimir Altschuler, Ulster Orchestra

Channel Title : Marcel Simader

Views : 1866

Likes : 29

DisLikes : 0

Published Date : 2018-03-30T01:23:33.000Z

A theme and 9 variations in a-minor composed by Pyotr Ilyich Tchaikovsky in 1863-64. 00:00 Tema, Andante semplice 01:08 Variation 1, Andante 02:39 Variation 2, Un poco più mosso 03:17 Variation 3, Allegro scherzando 04:08 Variation 4, Allegro con fuoco 06:52 Variation 5, Allegro moderato 07:39 Variation 6, Andantino 09:55 Variation 7, Presto 10:57 Variation 8, Adagio 13:11 Variation 9, Allegro The rights of this recording go to their respective owners.

Channel Title : Project Destati

Views : 65972

Likes : 1319

DisLikes : 5

Published Date : 2018-07-06T15:30:04.000Z

Out now! --- "Dearly Beloved II" is our second version of Shimomura's iconic "Dearly Beloved" melody, following the one we first created in LIGHT. For DARKNESS, we decided to write a theme and variations of all the different "Dearly Beloved" arrangements that we've been given throughout the games, melded together in a way that tracked the history of the series. Of note: every single character in Kingdom Hearts is quoted somewhere throughout this piece in some form--we thought it might be fun to hide them around! You may also notice an additional original melody that we often paired with "Dearly Beloved" in order to help link the arrangement together as a cohesive whole. Thank you for listening to DARKNESS; we hope you enjoyed the stories we told in the various tracks throughout this collection! --- PROJECT DESTATI: DARKNESS In celebration of KINGDOM HEARTS and the stunning melodies of Yoko Shimomura, Utada Hikaru, Takeharu Ishimoto, and Tsuyoshi Sekito, we present Project Destati’s second volume. DARKNESS is the highly-anticipated follow-up album to Project Destati’s 2014 Billboard-charting soundtrack album “LIGHT.” The album is a musical amalgamation of fan-favorite themes from the KINGDOM HEARTS series, re-assembled in an all-new fashion like long-forgotten memories. Featuring a live string orchestra and industry-leading soloists, DARKNESS is a dark, grand, and mysterious musical experience that aims to capture Tetsuya Nomura’s own imagination. SUPPORT US: Bandcamp: iTunes: Spotify: Google Play: Amazon MP3: Deezer: KKBOX: Tidal: --- David Russell: Producer Kristin Naigus: Producer Sebastian Wolff: Producer Anastasia Korochanskaya: Album art Disney Interactive: Special Thanks Jett Galindo: Mastering Engineer (The Bakery) Square Enix: Special Thanks Todd Maki: Special Thanks ©Ⓟ 2018 Project Destati KINGDOM HEARTS is © 2002 Disney/Square Enix. Materia Collective LLC, Project Destati, and artists on this album are no way affiliated, associated, authorized, endorsed by, or in any way officially connected to Disney/Square Enix with respect to this album. Musical compositions are used with permission. Mechanical licensing facilitated by re:discover, Inc. d/b/a Loudr. © 2018 Sebastian Wolff d/b/a Project Destati. All Rights Reserved. ♥

Channel Title : 169Tom

Views : 84675

Likes : 1267

DisLikes : 9

Published Date : 2017-02-26T06:17:27.000Z

Just by the way, Kaede and Rantaro being shown for Danganronpa V3 does not mean that the theme is associated with them the most. I’m keeping those characters for all Danganronpa V3 themes in these compilations because many of us, including myself, have yet to know the situations these themes play in, and the trailers have made Kaede and Rantaro seem to be important characters. (Kaede has been advertised to be the protagonist, and Rantaro has the Ultimate ??? ability, in which characters with that talent have been essential characters in the previous two games.) 01) 0:00 Danganronpa: Trigger Happy Havoc - New World Order 02) 4:42 Danganronpa: The Animation - New World Order (The Animation) 03) 6:52 Danganronpa Another Episode: Ultra Despair Girls - DSO - New World Order 04) 9:27 Danganronpa 3: The End of Hope’s Peak Academy - Old World Order 05) 11:35 Danganronpa V3: Killing Harmony - New World Order V3 Developer(s): Spike Chunsoft Publisher(s): Spike Chunsoft Composer(s): Masafumi Takada -- Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for 'fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. -- Full playlist of Danganronpa music compilations:

Channel Title : D4rant

Views : 5023155

Likes : 49865

DisLikes : 3471

Published Date : 2017-04-29T17:12:46.000Z

Gravity Falls Theme Song: Original Reverse Shortened Gravity Paws Pixel 8-bit Lego Acapella Alternative Opening / Extended Theme Weirdmageddon Weirdmageddon Shortened Take Back The Falls / Game of Gravity Falls Final Battle ..................Like........................

Channel Title : Hal Leonard Europe Brass Band

Views : 3457

Likes : 6

DisLikes : 1

Published Date : 2015-09-23T13:33:03.000Z

Beriato Concert Works Grade 3 BMP15013637 Theme and Variations is another brilliant test piece from the pen of Oliver Waespi, one of the most popular brass band composers of today. It is a challenging but rewarding piece which offers plenty of opportunity for several soloists to show off their skills. Theme and Variations is based on one theme that is explored throughout the piece, resulting in spectacular and colourful variations. A beautiful musical kaleidoscope!

Channel Title : SiccasGuitars

Views : 754463

Likes : 4725

DisLikes : 150

Published Date : 2015-04-14T17:44:36.000Z

Ana Vidovic plays introduction and variations on a Theme by Mozart Op 9 by Fernando Sor. Follow us on Facebook, Twitter, Instagram and on our website: Don't forget to like, comment, share and subscribe the channel #classicalguitar #guitareclassique #クラシックギター

Channel Title : cody bremner

Views : 1929

Likes : 31

DisLikes : 1

Published Date : 2017-03-19T00:39:48.000Z

Fantastic album!!. Awesome music. Tolkki rulers. Enjoy!!. Track list: Lord of the Rings - 00:00 Fire Dance Suite - 05:41 Guitar Concerto - 10:39 Northern Lights


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