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dany1995dmd liked a video
(23 hours ago)
Music video by Adele performing Someone Like You. (C) 2011 XL Recordings Ltd
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dany1995dmd liked a video
(23 hours ago)

Pentru Fiul meu Daniel care iubeste aceasta melodie For my son Daniel Telemann was the most prolific composer of his time: his oeuvre comprises more ...
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Pentru Fiul meu Daniel care iubeste aceasta melodie For my son Daniel Telemann was the most prolific composer of his time: his oeuvre comprises more than 3000 pieces. The first accurate estimate of the number of his works were provided by musicologists only during the 1980s and the 1990s, when extensive thematic catalogues were published. During his lifetime and the later half of the 18th century Telemann was very highly regarded by colleagues and critics alike. Numerous theorists (Marpurg, Mattheson, Quantz, and Scheibe, among others) cited his works as models, and major composers such as J.S. Bach and Handel bought and studied his published works. He was immensely popular not only in Germany but in the rest of Europe as well: orders for editions of Telemann's music came from France, Italy, Holland, Belgium, Scandinavian countries, Switzerland, and Spain. It was only in early 19th century that his popularity came to a sudden halt. Most lexicographers started dismissing him as a "polygraph" who composed too many works, a Vielschreiber for whom quantity came before quality. Such views were influenced by an account of Telemann's music by Christoph Daniel Ebeling, a late 18th century critic who in fact praised Telemann's music and only made passing critical remarks of his productivity. After the Bach revival, Telemann's works were judged as inferior to Bach's and lacking in religious fervour.[citation needed] Particularly striking examples of such unfair judgements were produced by noted Bach biographers Philipp Spitta and Albert Schweitzer, who criticized Telemann's cantatas and then praised works they thought were composed by Bach—but which were, in fact, composed by Telemann, as was shown by later research. The last performance of a substantial work by Telemann (Der Tod Jesu) occurred in 1832, and it was not until the 20th century that his music started being performed again. The revival of interest in Telemann began in the first decades of the 20th century and culminated in the Bärenreiter critical edition of the 1950s. Today each of Telemann's works is usually given a TWV number. TWV stands for Telemann-Werke-Verzeichnis (Telemann Work Catalogue).
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dany1995dmd uploaded a new video
(1 day ago)

Pentru Fiul meu Daniel care iubeste aceasta melodie For my son Daniel Telemann was the most prolific composer of his time: his oeuvre comprises more ...
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Pentru Fiul meu Daniel care iubeste aceasta melodie For my son Daniel Telemann was the most prolific composer of his time: his oeuvre comprises more than 3000 pieces. The first accurate estimate of the number of his works were provided by musicologists only during the 1980s and the 1990s, when extensive thematic catalogues were published. During his lifetime and the later half of the 18th century Telemann was very highly regarded by colleagues and critics alike. Numerous theorists (Marpurg, Mattheson, Quantz, and Scheibe, among others) cited his works as models, and major composers such as J.S. Bach and Handel bought and studied his published works. He was immensely popular not only in Germany but in the rest of Europe as well: orders for editions of Telemann's music came from France, Italy, Holland, Belgium, Scandinavian countries, Switzerland, and Spain. It was only in early 19th century that his popularity came to a sudden halt. Most lexicographers started dismissing him as a "polygraph" who composed too many works, a Vielschreiber for whom quantity came before quality. Such views were influenced by an account of Telemann's music by Christoph Daniel Ebeling, a late 18th century critic who in fact praised Telemann's music and only made passing critical remarks of his productivity. After the Bach revival, Telemann's works were judged as inferior to Bach's and lacking in religious fervour.[citation needed] Particularly striking examples of such unfair judgements were produced by noted Bach biographers Philipp Spitta and Albert Schweitzer, who criticized Telemann's cantatas and then praised works they thought were composed by Bach—but which were, in fact, composed by Telemann, as was shown by later research. The last performance of a substantial work by Telemann (Der Tod Jesu) occurred in 1832, and it was not until the 20th century that his music started being performed again. The revival of interest in Telemann began in the first decades of the 20th century and culminated in the Bärenreiter critical edition of the 1950s. Today each of Telemann's works is usually given a TWV number. TWV stands for Telemann-Werke-Verzeichnis (Telemann Work Catalogue).
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dany1995dmd liked a video
(2 days ago)

Chopin composed his popular Nocturne in E-flat major, Op. 9, No. 2 when he was about twenty. Like much of Chopin's music, this nocturne is tinged w...
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Chopin composed his popular Nocturne in E-flat major, Op. 9, No. 2 when he was about twenty. Like much of Chopin's music, this nocturne is tinged with melancholy. This popular nocturne is in rounded binary form (A, A, B, A, B, A) with coda, C. The A and B sections become increasingly ornamented with each recurrence. The penultimate bar utilizes considerable rhythmic freedom, indicated by the instruction, senza tempo (without tempo). Nocturne in E-flat Major opens with a legato melody, mostly played piano, containing graceful upward leaps which becomes increasingly wide as the line unfolds. This melody is heard again three times during the piece. With each repetition, it is varied by ever more elaborate decorative tones and trills. The nocturne also includes a subordinate melody, which is played with rubato. A sonorous foundation for the melodic line is provided by the widely spaced notes in the accompaniment, connected by the damper pedal. The waltz like accompaniment gently emphasizes the 12/8 meter, 12 beats to the measure subdivided into four groups of 3 beats each. The nocturne is reflective in mood until it suddenly becomes passionate near the end. The new concluding melody begins softly but then ascends to a high register and is played forcefully in octaves, eventually reaching the loudest part of the piece, marked fortissimo. Tension increases dramatically as the crescendo brightly moves up to the long trill. After a brilliant trill-like passage, the excitement subsides; the nocturne ends calmly.
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dany1995dmd uploaded a new video
(3 days ago)

Chopin composed his popular Nocturne in E-flat major, Op. 9, No. 2 when he was about twenty. Like much of Chopin's music, this nocturne is tinged w...
more
Chopin composed his popular Nocturne in E-flat major, Op. 9, No. 2 when he was about twenty. Like much of Chopin's music, this nocturne is tinged with melancholy. This popular nocturne is in rounded binary form (A, A, B, A, B, A) with coda, C. The A and B sections become increasingly ornamented with each recurrence. The penultimate bar utilizes considerable rhythmic freedom, indicated by the instruction, senza tempo (without tempo). Nocturne in E-flat Major opens with a legato melody, mostly played piano, containing graceful upward leaps which becomes increasingly wide as the line unfolds. This melody is heard again three times during the piece. With each repetition, it is varied by ever more elaborate decorative tones and trills. The nocturne also includes a subordinate melody, which is played with rubato. A sonorous foundation for the melodic line is provided by the widely spaced notes in the accompaniment, connected by the damper pedal. The waltz like accompaniment gently emphasizes the 12/8 meter, 12 beats to the measure subdivided into four groups of 3 beats each. The nocturne is reflective in mood until it suddenly becomes passionate near the end. The new concluding melody begins softly but then ascends to a high register and is played forcefully in octaves, eventually reaching the loudest part of the piece, marked fortissimo. Tension increases dramatically as the crescendo brightly moves up to the long trill. After a brilliant trill-like passage, the excitement subsides; the nocturne ends calmly.
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Multumesc frumos pentru Abonare!
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