Themes Variations....!

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Channel Title : John Clifford

Views : 6166

Likes : 76

DisLikes : 1

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

Merrill Ashley and Sean Lavery. NYC Ballet

Channel Title : CPGreeno357

Views : 2516225

Likes : 26891

DisLikes : 852

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 : baja0270

Views : 239419

Likes : 1087

DisLikes : 39

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

Rare video performance of Abt

Channel Title : pataragogo pataragogo

Views : 19529

Likes : 154

DisLikes : 5

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

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

Channel Title : Rutgers Wind Ensemble - Topic

Views : 10591

Likes : 104

DisLikes : 4

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 : HowToReadSheetMusic

Views : 37466

Likes : 254

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 : MyViolinVideos

Views : 37703

Likes : 286

DisLikes : 6

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

Olivier Messiaen - Them and Variations Janine Jansen, violin

Channel Title : Ashish Xiangyi Kumar

Views : 285173

Likes : 3314

DisLikes : 53

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 : thenameisgsarci

Views : 35302

Likes : 305

DisLikes : 7

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 : Menuhin Competition

Views : 661682

Likes : 13227

DisLikes : 156

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

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

Channel Title : Supernatural Channel

Views : 82274

Likes : 1452

DisLikes : 25

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


Channel Title : Samuel Cox

Views : 1092393

Likes : 6712

DisLikes : 101

Published Date : 2011-11-16T00:13:10.000Z

A super compilation of all the variations and appearances of the most famous, heart-wrenchingly beautiful LOST theme composed by Michael Giacchino. Taken from the soundtracks of all six amazing seasons. Tracks used:- Charlie Hangs Around, Life and Death, Here Today, Gone to Maui, Looking Glass Half Full, Ji Yeon, Win One for the Reaper, Jumping Jack's Flash, SS Lost-tanic, Oceanic 815, Dharma vs. Lostaways, Under the Knife, Locke'ing Horns, Death Springs Eternal, Moving On. -~-~~-~~~-~~-~- Thanks for watching! I really hope you liked this video. For the latest from me: Please check out my "Beauty and the Beast (2017) Movie Review" -~-~~-~~~-~~-~-

Channel Title : Altissimo Recordings

Views : 22557

Likes : 102

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 : Yvonne Chen

Views : 11277

Likes : 65

DisLikes : 3

Published Date : 2015-03-27T16:55:11.000Z Yvonne Chen, pianist MADNESS: Doctoral Solo Recital I Duncan Recital Hall, Rice University (Houston) March 24, 2015 Robert Schumann’s Theme and Variations in E-Flat major, WoO 24, also known as the Ghost Variations, is known to be the last piano work of the composer, during the time in which he attempted suicide in February 1854 and was suffering from hallucinations before he was admitted to the Bonn-Endenich mental institution. The chorale-style theme in E-flat major, which Schumann recorded as having been “dictated by the angels”, has been used perhaps more famously in Brahms’ Variations on a Theme by Robert Schumann, Op.23 for four hands. This piece today is relatively unknown, since its first edition did not surface until 1939. Schumann’s few indications of character leave the theme and its five subsequent variations in a generally quiet and internal spiritual mood.

Channel Title : Stoned Meadow Of Doom

Views : 234994

Likes : 1717

DisLikes : 45

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 : MozArt

Views : 28535

Likes : 219

DisLikes : 3

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 : Piano Tutorials by Kyle Landry

Views : 457626

Likes : 5766

DisLikes : 99

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 : ファミ通TUBE

Views : 4518

Likes : 118

DisLikes : 4

Published Date : 2018-05-08T06:57:18.000Z

『キングダムハーツ』シリーズから30の楽曲を収録したカバーアルバム『Project Destati: DARKNESS』から、『Dearly Beloved II: Themes and Variations』の試聴サンプル。

Channel Title : Nancy Eldridge

Views : 14734

Likes : 139

DisLikes : 9

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

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

Channel Title : Crash5020

Views : 122643

Likes : 520

DisLikes : 34

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


Channel Title : Various Artists - Topic

Views : 1478

Likes : 17

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 : olla-vogala

Views : 251142

Likes : 1857

DisLikes : 32

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 : thenameisgsarci

Views : 18908

Likes : 326

DisLikes : 3

Published Date : 2016-03-05T16:16:27.000Z

The Variations stands at the beginning of Lyapunov’s final creative period, which is marked by less spectacular writing and wanton brilliance, increasingly compact harmonies and even greater technical difficulties. A folk theme in the unusual 5/4 metre is soberly stated in the D-sharp Aeolian mode. Despite their complexity, the variations that follow never give in to spectacular runs and ornaments in the Lisztian sense and are limited to the classical development of the melody, or of fragments such as the descending scale taken from the theme’s opening bar. Particularly noteworthy are the second variation with its minuscule homophonic chord jumps; the third for its uninterrupted motion of the inner voice; the imitations in the fourth variation; and a group of variations modulating poetically into the relative key of F-sharp major. The final fugue is what it should be: a demonstration of compositional craftsmanship every bit as impressive as the fugue that concludes Brahms’ Handel Variations, to which it seems to extend a fraternal salute. (Naxos Music Library) Please take note that the audio AND the sheet music ARE NOT mine. Change the quality to a minimum of 480p if the video is blurry. Original audio: (Performance by: Marco Rapetti) Original sheet music:

Channel Title : Bernard Chevalier

Views : 2248

Likes : 26

DisLikes : 0

Published Date : 2015-07-05T22:06:22.000Z

Marsha Chevalier, piano; recorded June 2015 Guido Papini op. 59

Channel Title : thenameisgsarci

Views : 42592

Likes : 284

DisLikes : 13

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 : karatbanana

Views : 157598

Likes : 672

DisLikes : 37

Published Date : 2007-01-02T18:12:15.000Z

Us playing piano duet

Channel Title : professorimprov

Views : 3161

Likes : 12

DisLikes : 1

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

Haydn Theme and Variations

Channel Title : HenriVieuxtemps

Views : 261676

Likes : 2881

DisLikes : 39

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 : Ashish Xiangyi Kumar

Views : 381389

Likes : 3251

DisLikes : 71

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 : Brian Gossard

Views : 14794

Likes : 116

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 : madlovba3

Views : 149003

Likes : 1160

DisLikes : 12

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 : String Puppies

Views : 19775

Likes : 239

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 : ear8002

Views : 71013

Likes : 240

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 : tinymozarts

Views : 10876

Likes : 85

DisLikes : 4

Published Date : 2015-04-18T20:31:38.000Z

TEACHER DEMO (supplementary suggestions below) Buy "Alfred adult book 2" here: Almost ready to start book 3? Buy now: Equivalent piano exam level: Alfred adult greatest hits 2: Alfred adult christmas hits 2: The Complete book of Scales, Chords, Arpeggios and Cadences: Digital pianos (the brand I own and recommend is Roland): Gifts for pianists: Please like and subscribe if this video was helpful :) DISCLAIMER: This description contains Amazon affiliate links. If you click on a product link and make a purchase I will receive a small commission. Thank you for supporting my channel!

Channel Title : ValentinaLisitsa

Views : 473807

Likes : 3099

DisLikes : 49

Published Date : 2013-01-19T17:22:43.000Z

Live footage from the recording session. London Symphony Orchestra , Michael Francis conducting. The recording is available now on Decca. Get yours today! :-) iTunes: Amazon:

Channel Title : Alejandro Diaz

Views : 4061

Likes : 70

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 : shortermusic

Views : 17614

Likes : 76

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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 : foropera

Views : 101347

Likes : 468

DisLikes : 5

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 : Pablo Leal

Views : 132107

Likes : 591

DisLikes : 15

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

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

Channel Title : Sergey Neverov

Views : 15169

Likes : 85

DisLikes : 3

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 : Classical Music goturhjem2

Views : 273573

Likes : 1072

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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 : Junil Yoon

Views : 48888

Likes : 250

DisLikes : 5

Published Date : 2010-01-24T00:29:02.000Z

Zino Francescatti's Violin and his conducting Zurich Chamber Orchestra

Channel Title : Brett Van Gansbeke, D.M.

Views : 3494

Likes : 42

DisLikes : 1

Published Date : 2014-09-07T01:39:24.000Z

Theme and Variations for bassoon and piano by Balys Dvarionas Dr. Brett Van Gansbeke, bassoon Michael Hanson, piano Recorded May 31, 2013 Ford-Crawford Hall Indiana University's Jacobs School of Music

Channel Title : canadian21493

Views : 31702

Likes : 203

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Published Date : 2012-08-13T04:04:35.000Z

Variations on a Theme of Robert Schumann ("Happy Farmer") high quality recording arranged for band. This is not property of me.

Channel Title : Emanuel Estrada Yarce

Views : 420860

Likes : 1821

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Published Date : 2012-12-28T22:31:38.000Z

A favourite for centuries among European composers, the ancient theme of the folia inspired a number of works, including Fernando Sor's Variations. Op. 15. Borrowing from this theme and the first two variations, Llobet adds eight more variations and a romantic Intermezzo that display an ingenuity in modern harmonic technique with devices exploiting several technical aspects of the guitar, including left-hand only variation, harmonics and quick slurs. To Miguel Llobet is given the credit for bringing the classic guitar into the modern musical world of international concert tours, for contributing new works to the repertoire, for presenting to the public in performance the new works of such composers as Falla, Villa Lobos, Ponce and others, for teaching, organizing and expanding the pedagogical principles of Tarrega, and, of utmost importance, for having made the first electric recordings of the classic guitar. Kyuhee Park Recital on NHK Guitar: Daniel Friederich 2009, France Same concert: L. Brouwer: Sonata III "La Toccata de Pasquini" D.Scarlatti: Sonata K322 F. Tarrega: Recuerdos de la Alhambra A. Barrios: Un Sueño en la Floresta J. Arcas: Fantasy on Themes from "La Traviata"


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