7:36
Celesta
Celesta
The celesta (pronounced /səˈlɛstə/) or celeste (pronounced /səˈlɛst/) is a struck idiophone operated by a keyboard. Its appearance is similar to that of an upright piano (four- or five-octave) or of a large wooden music box (three-octave). The keys are connected to hammers which strike a graduated set of metal (usually steel) plates suspended over wooden resonators. On four or five octave models one pedal is usually available to sustain or dampen the sound. The three-octave instruments do not have a pedal, due to their small "table-top" design. One of the most well-known works that makes use of the celesta is Tchaikovsky's "Dance of the Sugarplum Fairy" from The Nutcracker. en.wikipedia.org
1:34
Celesta (instrument)
Celesta (instrument)
Improvisation Octobre 2009 Celesta : Adriano Spampanato
6:58
Bartok Music For Strings, Percussion & Celesta (Fricsay) I
Bartok Music For Strings, Percussion & Celesta (Fricsay) I
The first part of Bartok's masterpiece, a slow, dark piece of music based on the idea of the fugue. It is actually at the same time a tribute to and a radical overturn of traditional (classical and baroque) counterpoint and harmony. Here the RIAS symphony Orchestra under Ferenc Fricsay, who was Bartok's student, deliver an incredible, stunning performance. For me this is the best version ever of this work and it is a shame that Deutche Grammophone could not record it in stereo. Still you can listen to Fricsay's genius approach to Bartok's work and the orchestra's superb level, a combination that, for me, is unsurpassed until today, although admittedly I have not heard every single recording out there, but still I have many.
0:16
Celesta (instrument)
Celesta (instrument)
Improvisation à l'Arsenal de Metz. Decembre 2006. Celesta : Adriano Spampanato Want to see more? : www.youtube.com www.youtube.com
8:22
Béla Bartok - Music for strings, percussion and celesta
Béla Bartok - Music for strings, percussion and celesta
I Musici de Montreal - Yuli Turovsky - Béla Bartok (1881-1945) - Music for strings, percussion and celesta
8:02
Béla Bartók - Music for Strings, Percussion and Celesta, III
Béla Bartók - Music for Strings, Percussion and Celesta, III
Music for Strings, Percussion & Celesta, Sz. 106, BB 114 (1936) I. Andante tranquillo II. Allegro III. Adagio IV. Allegro molto Chicago Symphony Orchestra James Levine Bartók wrote some of his finest music for the Swiss conductor Paul Sacher, in whom he found a particularly sympathetic champion. Music for Strings, Percussion and Celesta, written for Sacher in 1936, explores with great refinement and mastery the musical concepts that Bartók had been developing since the mid-'20s. In the Piano Concerto No. 1, Bartók explored the percussive elements of the piano, coupling it effectively with percussion only in the introduction to the concerto's slow movement. In Music for Strings, Percussion and Celesta, Bartók ingeniously sets the piano with the percussion instruments, where its melodic and harmonic material functions in support of the two string choirs. Since the early '30s, Bartók had also incorporated elements of Baroque music into his compositions, inspired partly by his exploration of pre-Classical keyboard composers such as Scarlatti, Rameau and Couperin. In reflection of this, Music for Strings, Percussion and Celesta evokes the Baroque concerto grosso, with its two antiphonal string orchestras separated by a battery of tuned and untuned percussion instruments. The work's prosaic title was actually just a working title which was subsequently allowed to stand. The opening movement, Andante tranquillo, is a slow fugue on a chromatic melody that springs from a five-note <b>...</b>
7:32
Bartok, Music for Strings, Percussion & Celesta (Fricsay) II
Bartok, Music for Strings, Percussion & Celesta (Fricsay) II
The Second Part of Bartok's masterpiece, a fierce, fast paced movement, with mechanical rhythms and really original textures and sonorities, based on the idea of the sonata form. Bartok here, as in other works, and in this particular movement, plays with the instruments' character and interchanges their "traditional" qualities. For example in the quasi-development middle section, the strings are used percussively (playing pizzicato and setting the rhythmic context and pace, a role that is traditionally played by percussive instruments) while the percussion, piano, harp and celesta focus in generating melodies and harmonic nuances. Here the RIAS symphony Orchestra under Ferenc Fricsay, who was Bartok's student, deliver an incredible, stunning performance. For me this is the best version ever of this work and it is a shame that Deutche Grammophone could not record it in stereo. Still you can listen to Fricsay's genius approach to Bartok's work and the orchestra's superb level, a combination that, for me, is unsurpassed until today, although admittedly I have not heard every single recording out there, but I plan to since this is one of my favorite works of all time.....
9:03
Béla Bartók - Music for Strings, Percussion and Celesta, I
Béla Bartók - Music for Strings, Percussion and Celesta, I
Music for Strings, Percussion & Celesta, Sz. 106, BB 114 (1936) I. Andante tranquillo II. Allegro III. Adagio IV. Allegro molto Chicago Symphony Orchestra James Levine Bartók wrote some of his finest music for the Swiss conductor Paul Sacher, in whom he found a particularly sympathetic champion. Music for Strings, Percussion and Celesta, written for Sacher in 1936, explores with great refinement and mastery the musical concepts that Bartók had been developing since the mid-'20s. In the Piano Concerto No. 1, Bartók explored the percussive elements of the piano, coupling it effectively with percussion only in the introduction to the concerto's slow movement. In Music for Strings, Percussion and Celesta, Bartók ingeniously sets the piano with the percussion instruments, where its melodic and harmonic material functions in support of the two string choirs. Since the early '30s, Bartók had also incorporated elements of Baroque music into his compositions, inspired partly by his exploration of pre-Classical keyboard composers such as Scarlatti, Rameau and Couperin. In reflection of this, Music for Strings, Percussion and Celesta evokes the Baroque concerto grosso, with its two antiphonal string orchestras separated by a battery of tuned and untuned percussion instruments. The work's prosaic title was actually just a working title which was subsequently allowed to stand. The opening movement, Andante tranquillo, is a slow fugue on a chromatic melody that springs from a five-note <b>...</b>
7:23
Béla Bartók - Music for Strings, Percussion and Celesta, II
Béla Bartók - Music for Strings, Percussion and Celesta, II
Music for Strings, Percussion & Celesta, Sz. 106, BB 114 (1936) I. Andante tranquillo II. Allegro III. Adagio IV. Allegro molto Chicago Symphony Orchestra James Levine Bartók wrote some of his finest music for the Swiss conductor Paul Sacher, in whom he found a particularly sympathetic champion. Music for Strings, Percussion and Celesta, written for Sacher in 1936, explores with great refinement and mastery the musical concepts that Bartók had been developing since the mid-'20s. In the Piano Concerto No. 1, Bartók explored the percussive elements of the piano, coupling it effectively with percussion only in the introduction to the concerto's slow movement. In Music for Strings, Percussion and Celesta, Bartók ingeniously sets the piano with the percussion instruments, where its melodic and harmonic material functions in support of the two string choirs. Since the early '30s, Bartók had also incorporated elements of Baroque music into his compositions, inspired partly by his exploration of pre-Classical keyboard composers such as Scarlatti, Rameau and Couperin. In reflection of this, Music for Strings, Percussion and Celesta evokes the Baroque concerto grosso, with its two antiphonal string orchestras separated by a battery of tuned and untuned percussion instruments. The work's prosaic title was actually just a working title which was subsequently allowed to stand. The opening movement, Andante tranquillo, is a slow fugue on a chromatic melody that springs from a five-note <b>...</b>
6:34
Bartok Music for Strings, Percussion & Celesta (Fricsay) III
Bartok Music for Strings, Percussion & Celesta (Fricsay) III
The Third Part of Bartok's masterpiece, an eerie slow movement, is a classic bartokian "night music" piece. Here the RIAS symphony Orchestra under Ferenc Fricsay, who was Bartok's student, deliver an incredible, stunning performance. For me this is the best version ever of this work and it is a shame that Deutche Grammophone could not record it in stereo. Still you can listen to Fricsay's genius approach to Bartok's work and the orchestra's superb level, a combination that, for me, is unsurpassed until today, although admittedly I have not heard every single recording out there, but still I have many.
1:35
C-30 Digital Harpsichord & Hector Olivera (8/15)
C-30 Digital Harpsichord & Hector Olivera (8/15)
Celesta of C-30 Visit C-30 special WEB site ... www.roland.com The C-30 provides the perfect sound and touch for baroque music. Enjoy the best of both worlds - a new-generation digital harpsichord with authentic sound and touch, excellent playability, and soul-stirring expression.
7:07
Béla Bartók - Music for Strings, Percussion and Celesta, IV
Béla Bartók - Music for Strings, Percussion and Celesta, IV
Music for Strings, Percussion & Celesta, Sz. 106, BB 114 (1936) I. Andante tranquillo II. Allegro III. Adagio IV. Allegro molto Chicago Symphony Orchestra James Levine Bartók wrote some of his finest music for the Swiss conductor Paul Sacher, in whom he found a particularly sympathetic champion. Music for Strings, Percussion and Celesta, written for Sacher in 1936, explores with great refinement and mastery the musical concepts that Bartók had been developing since the mid-'20s. In the Piano Concerto No. 1, Bartók explored the percussive elements of the piano, coupling it effectively with percussion only in the introduction to the concerto's slow movement. In Music for Strings, Percussion and Celesta, Bartók ingeniously sets the piano with the percussion instruments, where its melodic and harmonic material functions in support of the two string choirs. Since the early '30s, Bartók had also incorporated elements of Baroque music into his compositions, inspired partly by his exploration of pre-Classical keyboard composers such as Scarlatti, Rameau and Couperin. In reflection of this, Music for Strings, Percussion and Celesta evokes the Baroque concerto grosso, with its two antiphonal string orchestras separated by a battery of tuned and untuned percussion instruments. The work's prosaic title was actually just a working title which was subsequently allowed to stand. The opening movement, Andante tranquillo, is a slow fugue on a chromatic melody that springs from a five-note <b>...</b>
3:56
Bartók: Music for Strings, Percussion and Celesta / Boulez · Berliner Philharmoniker
Bartók: Music for Strings, Percussion and Celesta / Boulez · Berliner Philharmoniker
Full-length concert at www.digitalconcerthall.com Béla Bartók: Music for Strings, Percussion and Celesta / Pierre Boulez, conductor · Berliner Philharmoniker / Recorded at the Berlin Philharmonie, 6 June 2009 The Berliner Philharmoniker's Digital Concert Hall: dch.berliner-philharmoniker.de Subscribe to our newsletter www.digitalconcerthall.com Website of the Berliner Philharmoniker: www.berliner-philharmoniker.de
6:45
Bartok Music for Strings, Percussion & Celesta (Fricsay) IV
Bartok Music for Strings, Percussion & Celesta (Fricsay) IV
The Fourth and final Part of Bartok's masterpiece, is a fast and joyous movement based on two traditional classical structural forms: The theme and variations and the rondo form. There are many musical ideas to be heard in this part which are under the direct influence of Hungarian and Balkan folk music and which Bartok develops with great ingenuity, vigor and resourcefulness. After the great intensity of the climax in the middle of this piece, the chromatic main melody of the first movement appears again, but now as a full fledged musical theme belonging in an expanded tonal -well tempered some might say- scale. Bela Bartok's genius guides us through atonality, through mechanical tempi, through instrumental arguments and nightmarish visions without ever losing track of our way out or in, while keeping a substantial dialogue with the past and presenting a tightly structured compositional whole. It is a world within a world by it's own right and a world within our world simultaneously. Here the RIAS symphony Orchestra under Ferenc Fricsay, who was Bartok's student, deliver an incredible, stunning performance. For me this is the best version ever of this work and it is a shame that Deutche Grammophone could not record it in stereo. Still you can listen to Fricsay's genius approach to Bartok's work and the orchestra's superb level, a combination that, for me, is unsurpassed until today, although admittedly I have not heard every single recording out there, but still I have many.
3:52
Star Ocean 3 Gabriel Celesta Fight
Star Ocean 3 Gabriel Celesta Fight
High quality, full battle available at: files.filefront.com Fayt 100 Weap: Veinslay (6 x Boots of Prowess - 30%ATK/DEF) Armor: Reflecting Plate (Full Refine) Acc 1: Boots of Prowess - 30%ATK/DEF Acc 2: Boots of Prowess - 30%ATK/DEF Cliff 100 Weap: Damask Gauntlets (+300 Def/+2000 ATK) Armor: Reflecting Plate (Full Refine) Acc 1: Boots of Prowess - 30%ATK/DEF Acc 2: Victory Trophy Sophia 100 Nothing worth mentioning Damage is determined by the difference between attack and defense. If defense is equal to or higher than attack, then damage will be 0. With all the 30% defense increments on Fayt, his defense was really high. So high that Gabriel couldn't hurt him. Not much to say. Gabriel drops pretty quickly.
3:31
Celesta - Walk Like You Want It {OFFICIAL VIDEO}
Celesta - Walk Like You Want It {OFFICIAL VIDEO}
The long awaited video of Hattiesburg's own Amazon Diva, Celesta Williams. Recorded for her first single from her debut album (to be released soon)!!
9:15
Star Ocean: Second Evolution Boss #35 - Gabriella Celesta (Universe)
Star Ocean: Second Evolution Boss #35 - Gabriella Celesta (Universe)
I hold no copyright ownership over Star Ocean: Second Evolution. This game is property of tri-Ace / Square-Enix. &fmt=18 for HQ Finally! The battle against Gabriella Celesta on Universe! This battle made me think that the game let me throttle most of the other bosses in the game with ease just so it would constantly kick my arse in just this one fight. Though because of that, it made this battle immensely fun. I intended to put my equipment and setup and everything BEFORE the battle started, but for some reason my video capturing program crashed the moment I hit record and I didn't notice until after I encounted Gabriella, so I had to put it at the end instead. I'll list it here for early reference: Claude Lv. 151 ATK 3440 DEF 1473 HIT 930 AVD 286 Holy Sword Farewell Valiant Mail Valiant Shield Helmet of Odin Valiant Boots 2x Foot Insignia Ernest Lv. 145 ATK 3808 DEF 1118 HIT 773 AVD 288 Invisible Whip Seraphic Garb Valiant Shield Dueling Helmet Valiant Boots Ring of Might Foot Insignia Opera Lv. 145 ATK 1800 DEF 1050 HIT 674 AVD 308 Pulse Clip Seraphic Garb Valkyrie's Bracelet Mithril Helmet Valkyrie's Boots Berserker Ring Foot Insignia Noel Lv. 106 DEF 760 AVD 318 MAG 1331 Mindhealer Seraphic Garb Gauntlet of Air Dueling Helmet Bunny Shoes tri-Emblem Star Guard I think this is basically the only time in this playthrough that I've used Noel. I was worrying how I could work up enough HIT to get 100% accuracy (or close to it, didn't want to use SoM) against Gabriella since <b>...</b>
