Themes Variations....!

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Channel Title : baja0270

Views : 244047

Likes : 1121

DisLikes : 40

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

Rare video performance of Abt

Channel Title : HowToReadSheetMusic

Views : 40486

Likes : 293

DisLikes : 9

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

Channel Title : CPGreeno357

Views : 2607313

Likes : 27735

DisLikes : 879

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 : pataragogo pataragogo

Views : 22713

Likes : 162

DisLikes : 7

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

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

Channel Title : Nancy Eldridge

Views : 16171

Likes : 153

DisLikes : 9

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

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

Channel Title : Ashish Xiangyi Kumar

Views : 367365

Likes : 4478

DisLikes : 64

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 : Menuhin Competition

Views : 754118

Likes : 15250

DisLikes : 172

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

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

Channel Title : HenriVieuxtemps

Views : 361739

Likes : 4604

DisLikes : 52

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 : MyViolinVideos

Views : 40055

Likes : 304

DisLikes : 6

Published Date : 2012-06-17T01:17:29.000Z

Olivier Messiaen - Them and Variations Janine Jansen, violin

Channel Title : John Clifford

Views : 8175

Likes : 85

DisLikes : 3

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

Merrill Ashley and Sean Lavery. NYC Ballet

Channel Title : SiccasGuitars

Views : 519407

Likes : 3405

DisLikes : 100

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

Ana Vidovic plays introduction and variations on a Theme by Mozart Op 9 by Fernando Sor. Visit us:

Channel Title : Stoned Meadow Of Doom

Views : 250062

Likes : 1872

DisLikes : 51

Published Date : 2014-04-11T17:01:57.000Z

Om is a stoner doom metal band consisting of two of the three members of the legendary stoner doom band Sleep. While guitarist Matt Pike left Sleep to form High on Fire, which has evolved towards a more traditional style of metal; bassist/vocalist Al Cisneros and drummer Chris Hakius have continued the legacy that Sleep created while changing a few elements to make Om something original yet familiar to fans of Sleep. This three song album feature only bass, vocals, and drums, there are no guitars. However, the massive amount of distortion on the bass makes this unnoticeable and the riffing is just as it would be if there were guitars on the album. The use of only one stringed instrument works to give the songs a more stripped down feel than Sleep had. The riffing can be compared to a mixture of the second and third Sleep albums, Sleep's Holy Mountain and Dopesmoker, in the way that it is slow but not quite as oppressively heavy or epic as Dopesmoker. Despite this fact there is plenty of heaviness to be found in the fuzzed out 70s styled trance-inducing riffs that the bass churns out; these riffs are as slow and heavy as you'd expect from ex-members of Sleep. Drum-wise this leans more towards Dopesmoker in the way the drums methodically plod forward and utilize the heavier cymbals to bring out the heaviness of selected parts. Drum production is also reminiscent of Dopesmoker in the natural and live feel that the drums breathe into the music. The vocals are reminiscent of the subdued parts of Sleep's Holy Mountain; the hoarse stoned yells that appear on Dopesmoker are not present here. This subdued quality of the vocals makes them sound like sacred chants, thus adding to the overall ritualistic atmosphere the music invokes. Overall this three song album that runs about 45 minutes long creates a ritualistic atmosphere full of stoner doom heaviness and fuzzed out riffing. Variations on a Theme establishes Om as a well-experienced band that that fans of stoner doom should not pass up. This is probably the closest you'll come to hearing something new from Sleep and it does not disappoint. Debut from hypnotic drone doom band Om! Enjoy! 1. On The Mountain At Dawn - 0:00 2. Kapila's Theme - 21:18 3. Annapurna - 33:15 Check out my new online radio station of the same name! A great station for the best in Psychedelic/Stoner/Sludge/Doom Support the continued funding of this channel, become a Patreon Check out Stoned Meadow Of Doom 2 for more excellent full albums! -

Channel Title : shortermusic

Views : 18687

Likes : 82

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 : 279465

Likes : 2114

DisLikes : 44

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 : Round Top Festival Institute

Views : 19111

Likes : 107

DisLikes : 2

Published Date : 2012-07-02T22:21:27.000Z

Round Top Music Festival June 30, 2012 Carol Wincenc, flute; Jonathan Swartz and Erica Kiesewetter, violins, Nancy Buck, viola, Jesus Castro-Balbi, cello

Channel Title : paolo beneforti

Views : 733853

Likes : 2785

DisLikes : 50

Published Date : 2006-08-29T14:02:43.000Z

Andres Segovia playing his guitar. Old B/N track.

Channel Title : Various Artists - Topic

Views : 1594

Likes : 16

DisLikes : 1

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 : cantseetheforest

Views : 462998

Likes : 2862

DisLikes : 49

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 : Brian Gossard

Views : 16322

Likes : 126

DisLikes : 6

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

This is a quick song and video I made to help my students remember what Theme and Variations form is.

Channel Title : professorimprov

Views : 4274

Likes : 20

DisLikes : 1

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

Haydn Theme and Variations

Channel Title : madlovba3

Views : 157516

Likes : 1262

DisLikes : 11

Published Date : 2011-07-30T14:44:48.000Z

Cécile Chaminade's utterly charming Theme and Variations, played by Marc-André Hamelin in Amsterdam, 1998.

Channel Title : Crash5020

Views : 209098

Likes : 859

DisLikes : 61

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


Channel Title : Ashish Xiangyi Kumar

Views : 465586

Likes : 4121

DisLikes : 79

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 : Piano Tutorials by Kyle Landry

Views : 473408

Likes : 5985

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Published Date : 2016-01-25T00:42:24.000Z

My Website: There is a tutorial of the Tetris Theme Variation on Piano! Enjoy! Your Pianist and Composer, Kyle Landry Original Video from my Main Channel Original synthesia video by Mario:

Channel Title : PostmodernJukebox

Views : 693373

Likes : 25970

DisLikes : 149

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 : thenameisgsarci

Views : 47349

Likes : 328

DisLikes : 14

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 : 169Tom

Views : 72414

Likes : 1086

DisLikes : 8

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 : MyViolinVideos

Views : 111421

Likes : 961

DisLikes : 41

Published Date : 2012-06-11T21:36:38.000Z


Channel Title : fyrexianoff

Views : 31666

Likes : 330

DisLikes : 5

Published Date : 2011-06-29T19:06:56.000Z

Anthony Goldstone - Piano

Channel Title : Altissimo Recordings

Views : 23822

Likes : 104

DisLikes : 7

Published Date : 2013-03-22T15:02:37.000Z

Arnold Schoenberg President's Own United States Marine Band, The, President's Own United States Marine Band, The Theme and Variations, Op. 43a President's Own United States Marine Band: The Bicentennial Collection 75442261012

Channel Title : ear8002

Views : 73315

Likes : 252

DisLikes : 14

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 : foropera

Views : 104714

Likes : 491

DisLikes : 6

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 : Classical Music goturhjem2

Views : 286294

Likes : 1140

DisLikes : 32

Published Date : 2012-07-26T18:50:25.000Z

Berliner Philharmoniker - Claudio Abbado The Variations on a Theme by Joseph Haydn, (German: Variationen über ein Thema von Jos. Haydn), now also called the Saint Anthony Variations, is a work in the form of a theme and variations, composed by Johannes Brahms in the summer of 1873. It consists of a theme in B-flat major based on a "Chorale St Antoni", eight variations and a finale. The work was published in two versions: for two pianos, written first but designated Op. 56b; and for orchestra, designated Op. 56a. The orchestral version is better known and much more often heard than the two-piano version. It is often said to be the first independent set of variations for orchestra in the history of music[1], although there is at least one earlier piece in the same form, Antonio Salieri's Twenty-six Variations on 'La folia di Spagna' written in 1815. Brahms's orchestral variations are scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns (2 in E flat, 2 in B flat), 2 trumpets, timpani, triangle, and the normal string section of first and second violins, violas, cellos and double basses. The piece usually takes about 18 minutes to perform. The first performance of the orchestral version was given on 2 November 1873 by the Vienna Philharmonic Orchestra under Brahms's baton.

Channel Title : D4rant

Views : 3189343

Likes : 31339

DisLikes : 2203

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 : String Puppies

Views : 21987

Likes : 264

DisLikes : 7

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 : Alejandro Diaz

Views : 5543

Likes : 99

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 : Teacherontap Woodwind

Views : 4586

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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 : bahrom7893

Views : 158961

Likes : 1606

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Published Date : 2013-04-15T02:54:35.000Z

After many requests, I finally made a compilation using the best of Assassin's Creed III main theme variations composed by Lorne Balfe. Sorry it took me so long but these past months have been really busy. Anyway, enjoy! Starting a facebook page to accept requests, suggestions, criticism, etc.: Thanks to UmmieHummie for the tracks that she found for me on youtube and ordered in a neat playlist. Watch us play some wolfpack here: :D

Channel Title : Supernatural Channel

Views : 105696

Likes : 1792

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Published Date : 2017-10-31T19:16:16.000Z


Channel Title : Sergey Neverov

Views : 16207

Likes : 94

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Published Date : 2012-07-26T12:35:54.000Z

Radom Chamber Orchestra (Poland). Conductor Sergey Neverov Brahms Symphony No.3 (3rd movement)/Sergey Neverov (conductor):

Channel Title : Orchestra Foster Kids

Views : 10083

Likes : 72

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Published Date : 2013-05-31T22:15:52.000Z


Channel Title : Ricardo Maraña

Views : 11813

Likes : 203

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Published Date : 2012-11-18T10:55:02.000Z

Michel Legrand - Theme of variations for two pianos and orchestra

Channel Title : Ashish Xiangyi Kumar

Views : 80903

Likes : 574

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Published Date : 2016-01-08T22:30:34.000Z

An exquisite set of variations. More than nearly anything else in Brahms’ piano oeuvre, the Haydn Variations (not actually based on a theme of H’s, as it turns out, but then misattribution was common before copyright become commonplace) are full of heartfelt warmth and generosity. Argerich and Freire’s performance is near-perfect: the voicing is precise, the rhythmic complexity handled deftly, the climaxes robust and exuberant, the soft passages melting. The piece consists of a theme (unusual in featuring 2 prominent 5-bar long phrases), followed by 9 variations. As always, Brahms’ focus is on the bass line: the variations preserve the harmonic relationships and the structure of the theme, if not its melody, and take you through an extraordinary range of textures and emotions. Especially spectacular is the final variation, constructed as a passacaglia on a recurring five-measure ostinato derived from the bass supporting the theme, which features some glorious contrapuntal writing, and moments of exultant joy [13:49, 15:47] interspersed with tender passages [14:38]. Note the clever use of canonic imitation in the beginning of the passagaclia: the first four notes of Piano I, you’ll notice, have actually already appeared in the LH of Piano II, and the next four notes you hear from the LH in Piano I (B, C, Bb, A) are almost immediately repeated (transposed) in the RH of Piano I (E, F Eb, D), and then in the RH of Piano II (A, Bb, Ab, G). 00:00 – Theme 01:59 – Var. 1. A murmuring, gently exultant variation which begins by picking up on the last repeated notes of the theme. 03:01 – Var. 2. A dramatic foray in the parallel minor, featuring one of Brahms’ favourite devices: layering triplet and duplet rhythm. 03:58 – Var. 3. A delicate and painstakingly constructed contrapuntal episode. With the exception of the final variation, this one comes closes to preserving the melodic sense of the original theme. 05:44 – Var. 4. Solemn, recitative-like, sometimes almost bleak. 07:29 – Var. 5. A busy-scherzo-like variation which turns the repeated notes of the theme into an underlying texture and which is a natural pair with the next variation. 08:22 – Var.6. A rich, rhythmic, sumptuous variation, featuring some of the most dramatic writing in the set [9:26]. 09:38 – Var.7. Tender and lyrical, with a lullaby-like rocking rhythm. 12:24 – Var.8. In sharp contrast to Var.7, Var.8 is an eerily muted harmonyscape, with long winding lines and occasional ethereal glimpses of the original theme emerging before being submerged. Note the use of imitative counterpoint throughout the variation. 13:13 – Var.9 (finale). A gorgeous passacaglia.

Channel Title : Yoctocosmos L'Establishment

Views : 2379

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Published Date : 2013-01-26T22:29:24.000Z


Channel Title : Richard Brittain

Views : 20411

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Published Date : 2011-09-08T11:47:12.000Z

The World Rose: The first part of the Enigma Variations. (Picture: "The Hay Wain", 1821, by John Constable)


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