- published: 27 Nov 2013
- views: 86049
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Kelly Zuercher is a keyboardist with the Colorado Springs Philharmonic, and in this video, demonstrates the magical sounds of the celesta. The celesta is one of the featured instruments in Tchaikovsky's The Nutcracker.
Discover more at http://www.csphilharmonic.org/
This video informs about the musical instrument celesta: its invention in 1886, its very specific sound generation or action mechanism, and particularly the making of the instrument in the Schiedmayer workshop. Schiedmayer started manufacturing the celesta in 1890 and is today the only celesta manufacturer in the world. The workshop tour shows the high level of craftsmanship and true artisan work that goes into each instrument. The best-known piece in which the celesta plays an important role is certainly The Dance of the Sugarplum Fairy from Tchaikovsky’s ballett The Nutcracker. But many classical and modern composers use the celesta for their orchestral works due to the unique, always intriguing and enchanting sound of the instrument. As for the celesta’s presence in other music genres, John Williams‘ soundtrack Hedwig’s Theme from the Harry Potter movie is a perfect example.
To learn more about Schiedmayer and the celesta: http://www.celesta-schiedmayer.de/en/home/
Listen to some fascinating samples of celesta music: http://www.celesta-schiedmayer.de/en/audio-clips/
- published: 07 Aug 2015
- views: 13746
- Composer: Béla Viktor János Bartók (25 March 1881 -- 26 September 1945)
- Orchestra: RIAS Symphony Orchestra
- Conductor: Ferenc Fricsay
- Year of recording: 1953
Music for Strings, Percussion and Celesta, Sz. 106, BB 114, written in 1936.
00:00 - I. Andante tranquillo
07:02 - II. Allegro
14:33 - III. Adagio
21:08 - IV. Allegro molto
"Music for Strings, Percussion and Celesta", is one of the best-known compositions by Bartók. Commissioned by Paul Sacher to celebrate the tenth anniversary of the chamber orchestra Basler Kammerorchester, the score is dated 7 September 1936. The work was premiered in Basel, Switzerland on 21 January 1937 by the chamber orchestra conducted by Sacher, and it was published the same year by Universal Edition.
As its title suggests, the piece is written for string instruments (violins, violas, cellos, double basses, and harp), percussion instruments (xylophone, snare drum, cymbals, tam-tam, bass drum, and timpani) and celesta. The ensemble also includes a piano, which may be classified as either a percussion or string instrument (the celesta player also plays piano during 4-hand passages).
Bartók divides the strings into two groups which he directs should be placed antiphonally on opposite sides of the stage, and he makes use of antiphonal effects particularly in the second and fourth movements. The first and third movement are slow, the second and fourth quick. All movements are written without key signature.
- The first movement is a slow fugue. Its time signature changes constantly. It is based around the note A, on which the movement begins and ends. It begins on muted strings, and as more voices enter the texture thickens and the music becomes louder until the climax. Mutes are then removed, and the music becomes gradually quieter over gentle celesta arpeggios. The movement ends with the second phrase of the fugue subject played softly over its inversion. Material from the first movement can be seen as serving as the basis for the later movements, and the fugue subject recurs in different guises at points throughout the piece.
- The second movement is quick, with a theme in 2/4 time which is transformed into 3/8 time towards the end. It is marked with loud syncopic piano and percussion accents in a whirling dance, evolving in an extended pizzicato section, with a piano concerto-like conclusion.
- The third movement is slow, an example of what is often called Bartók's "Night music". It features timpani glissandi, which was an unusual technique at the time of the work's composition, as well as a prominent part for the xylophone. It is also commonly thought that the rhythm of the xylophone solo that opens the third movement is based on the Fibonacci sequence as this "written-out accelerando/ritardando" uses the rhythm 1:2:3:5:8:5:3:2:1.
- The fourth movement, which begins with notes on the timpani and strummed pizzicato chords on the strings, has the character of a lively folk dance.
It is believed that Dmitri Shostakovich parodied this piece in his Symphony No. 13, in response to Bartók's own mockery of Shostakovich's Symphony No. 7 in his Concerto for Orchestra.
- published: 16 Sep 2015
- views: 12335
As I said it on Facebook/Twitter account, I was impressed by the success of my organ cover of this theme. So I decide to cover it on a very special instrument.. It's a celesta ! Sounds like a music box but you play it just like a piano ! Hammers, connected to the clavier are strucking metal/steel plates suspended over wooden resonator. Sounds so much like the music box original version of this theme !
Recorded in a very special place. The sound isn't so good.. But let me know what you think about !
More videos coming in few weeks, keep connected !
You can follow us here : https://www.facebook.com/triogrissini?fref=ts
And now on Twitter too ! : https://twitter.com/TrioGrissini
- published: 25 Nov 2014
- views: 49589
In this film, Elizabeth Burley introduces her instrument - the celeste.
To learn more about keyboard instruments in the orchestra visit http://www.philharmonia.co.uk/explore/instruments/keyboards
Why not download our iPad app The Orchestra to learn even more? Visit www.philharmonia.co.uk/app for more information.
"Have you seen the app called 'The Orchestra'? It is astonishing. For somebody who can't read music to learn how an orchestra functions, to be able to see from the perspective of a flute or a second violin, is really enlightening." - Sir John Eliot Gardiner, quoted in an interview by Richard Fairman, Financial Times, February 2014
The Philharmonia's Principal Celeste's Chair is currently available for endowment. For more information on how you can support the Orchestra by endowing a player's chair, please visit: http://www.philharmonia.co.uk/support/individual/chair_endowment
- published: 07 Aug 2013
- views: 160556
Round Top Music Festival
Texas Festival Chamber Orchestra
Linus Lerner, conductor
Festival Concert Hall, 248 Jaster Rd Round Top Tx 78954
Saturday June 21, 2014
- published: 13 Aug 2014
- views: 45387
Hollywood film/TV composer, orchestrator, arranger, and keyboardist Geoff Stradling takes LA Percussion Rentals' Yamaha keyboard glock and Schiedmayer celesta for a spin. He demonstrates the timbres combined together, playing passages in unison, melody/harmony, in octaves, blocked chords, purely textures/sound effects, and more. The celesta and keyboard glock are similar instruments, but with very distinct timbres. However, the keyboard glock tends to be much harder to find than the celesta. Both keyboards shown here are professional, top-notch instruments from L.A. Percussion Rentals.
- published: 06 Feb 2014
- views: 11301
Béla Bartók (1881-1945)
Music for strings, percussion and celesta
I Andante tranquillo
II Allegro
III Adagio
IV Allegro molto
Philadelphia Orchestra
Conductor: Eugene Ormandy
- published: 18 Jan 2012
- views: 175622
Harry the Piano plays the Harry Potter theme on the original celeste in Abbey Road studios where it was first recorded with British TV star Alexander Armstrong
- published: 29 May 2014
- views: 10727
Tchaikovsky"The Nutcracker" Dance of Sugar Plum Fariy by Shino Takizawa -Vienna State Ballet Pianist
- published: 23 Dec 2014
- views: 3220
Celesta (a.k.a. celeste) from L.A. Percussion Rentals. "Dance of the Sugar Plum Fairy" from "The Nutcracker" by Tchaikovsky.
Schiedmayer celeste, Studio model. 5.5 octave, C3-F8. Available for rental/hire.
from http://www.lapercussionrentals.com
- published: 26 Nov 2012
- views: 10434
The celesta (
/sɨˈlɛstə/) or celeste ( /sɨˈlɛst/) 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 because of their small "table-top" design. One of the best-known works that makes use of the celesta is Tchaikovsky's "Dance of the Sugar Plum Fairy" from The Nutcracker.
The sound of the celesta is similar to that of the glockenspiel, but with a much softer and more subtle timbre. This quality gave the instrument its name, celeste meaning "heavenly" in French.
The celesta is a transposing instrument; it sounds an octave higher than the written pitch. The original French instrument had a five-octave range, but because the lowest octave was considered somewhat unsatisfactory, it was omitted from later models. The standard French four-octave instrument is now gradually being replaced in symphony orchestras by a larger, five-octave German model. Although it is a member of the percussion family, in orchestral terms it is more properly considered as a member of the keyboard section and usually played by a keyboardist. The celesta part is normally written on two bracketed staves, called a grand staff.
This page contains text from Wikipedia, the Free Encyclopedia -
http://en.wikipedia.org/wiki/Celesta
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
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2:16The Nutcracker's celesta with Kelly Zuercher
The Nutcracker's celesta with Kelly ZuercherThe Nutcracker's celesta with Kelly Zuercher
Kelly Zuercher is a keyboardist with the Colorado Springs Philharmonic, and in this video, demonstrates the magical sounds of the celesta. The celesta is one of the featured instruments in Tchaikovsky's The Nutcracker. Discover more at http://www.csphilharmonic.org/ -
10:20Celesta - the instrument’s origins - the making of the celesta in the Schiedmayer workshop.
Celesta - the instrument’s origins - the making of the celesta in the Schiedmayer workshop.Celesta - the instrument’s origins - the making of the celesta in the Schiedmayer workshop.
This video informs about the musical instrument celesta: its invention in 1886, its very specific sound generation or action mechanism, and particularly the making of the instrument in the Schiedmayer workshop. Schiedmayer started manufacturing the celesta in 1890 and is today the only celesta manufacturer in the world. The workshop tour shows the high level of craftsmanship and true artisan work that goes into each instrument. The best-known piece in which the celesta plays an important role is certainly The Dance of the Sugarplum Fairy from Tchaikovsky’s ballett The Nutcracker. But many classical and modern composers use the celesta for their orchestral works due to the unique, always intriguing and enchanting sound of the instrument. As for the celesta’s presence in other music genres, John Williams‘ soundtrack Hedwig’s Theme from the Harry Potter movie is a perfect example. To learn more about Schiedmayer and the celesta: http://www.celesta-schiedmayer.de/en/home/ Listen to some fascinating samples of celesta music: http://www.celesta-schiedmayer.de/en/audio-clips/ -
1:34Celesta (instrument)
Celesta (instrument) -
27:56Béla Bartók - Music for Strings, Percussion and Celesta
Béla Bartók - Music for Strings, Percussion and CelestaBéla Bartók - Music for Strings, Percussion and Celesta
- Composer: Béla Viktor János Bartók (25 March 1881 -- 26 September 1945) - Orchestra: RIAS Symphony Orchestra - Conductor: Ferenc Fricsay - Year of recording: 1953 Music for Strings, Percussion and Celesta, Sz. 106, BB 114, written in 1936. 00:00 - I. Andante tranquillo 07:02 - II. Allegro 14:33 - III. Adagio 21:08 - IV. Allegro molto "Music for Strings, Percussion and Celesta", is one of the best-known compositions by Bartók. Commissioned by Paul Sacher to celebrate the tenth anniversary of the chamber orchestra Basler Kammerorchester, the score is dated 7 September 1936. The work was premiered in Basel, Switzerland on 21 January 1937 by the chamber orchestra conducted by Sacher, and it was published the same year by Universal Edition. As its title suggests, the piece is written for string instruments (violins, violas, cellos, double basses, and harp), percussion instruments (xylophone, snare drum, cymbals, tam-tam, bass drum, and timpani) and celesta. The ensemble also includes a piano, which may be classified as either a percussion or string instrument (the celesta player also plays piano during 4-hand passages). Bartók divides the strings into two groups which he directs should be placed antiphonally on opposite sides of the stage, and he makes use of antiphonal effects particularly in the second and fourth movements. The first and third movement are slow, the second and fourth quick. All movements are written without key signature. - The first movement is a slow fugue. Its time signature changes constantly. It is based around the note A, on which the movement begins and ends. It begins on muted strings, and as more voices enter the texture thickens and the music becomes louder until the climax. Mutes are then removed, and the music becomes gradually quieter over gentle celesta arpeggios. The movement ends with the second phrase of the fugue subject played softly over its inversion. Material from the first movement can be seen as serving as the basis for the later movements, and the fugue subject recurs in different guises at points throughout the piece. - The second movement is quick, with a theme in 2/4 time which is transformed into 3/8 time towards the end. It is marked with loud syncopic piano and percussion accents in a whirling dance, evolving in an extended pizzicato section, with a piano concerto-like conclusion. - The third movement is slow, an example of what is often called Bartók's "Night music". It features timpani glissandi, which was an unusual technique at the time of the work's composition, as well as a prominent part for the xylophone. It is also commonly thought that the rhythm of the xylophone solo that opens the third movement is based on the Fibonacci sequence as this "written-out accelerando/ritardando" uses the rhythm 1:2:3:5:8:5:3:2:1. - The fourth movement, which begins with notes on the timpani and strummed pizzicato chords on the strings, has the character of a lively folk dance. It is believed that Dmitri Shostakovich parodied this piece in his Symphony No. 13, in response to Bartók's own mockery of Shostakovich's Symphony No. 7 in his Concerto for Orchestra. -
1:08Pirates of the Caribbean - Davy Jones's theme on a celesta !
Pirates of the Caribbean - Davy Jones's theme on a celesta !Pirates of the Caribbean - Davy Jones's theme on a celesta !
As I said it on Facebook/Twitter account, I was impressed by the success of my organ cover of this theme. So I decide to cover it on a very special instrument.. It's a celesta ! Sounds like a music box but you play it just like a piano ! Hammers, connected to the clavier are strucking metal/steel plates suspended over wooden resonator. Sounds so much like the music box original version of this theme ! Recorded in a very special place. The sound isn't so good.. But let me know what you think about ! More videos coming in few weeks, keep connected ! You can follow us here : https://www.facebook.com/triogrissini?fref=ts And now on Twitter too ! : https://twitter.com/TrioGrissini -
3:50Instrument: Celeste
Instrument: CelesteInstrument: Celeste
In this film, Elizabeth Burley introduces her instrument - the celeste. To learn more about keyboard instruments in the orchestra visit http://www.philharmonia.co.uk/explore/instruments/keyboards Why not download our iPad app The Orchestra to learn even more? Visit www.philharmonia.co.uk/app for more information. "Have you seen the app called 'The Orchestra'? It is astonishing. For somebody who can't read music to learn how an orchestra functions, to be able to see from the perspective of a flute or a second violin, is really enlightening." - Sir John Eliot Gardiner, quoted in an interview by Richard Fairman, Financial Times, February 2014 The Philharmonia's Principal Celeste's Chair is currently available for endowment. For more information on how you can support the Orchestra by endowing a player's chair, please visit: http://www.philharmonia.co.uk/support/individual/chair_endowment -
35:14Bela Bartok Music for Strings, Percussion and Celesta
Bela Bartok Music for Strings, Percussion and CelestaBela Bartok Music for Strings, Percussion and Celesta
Round Top Music Festival Texas Festival Chamber Orchestra Linus Lerner, conductor Festival Concert Hall, 248 Jaster Rd Round Top Tx 78954 Saturday June 21, 2014 -
5:52Marrying Celesta and Keyboard Glockenspiel
Marrying Celesta and Keyboard GlockenspielMarrying Celesta and Keyboard Glockenspiel
Hollywood film/TV composer, orchestrator, arranger, and keyboardist Geoff Stradling takes LA Percussion Rentals' Yamaha keyboard glock and Schiedmayer celesta for a spin. He demonstrates the timbres combined together, playing passages in unison, melody/harmony, in octaves, blocked chords, purely textures/sound effects, and more. The celesta and keyboard glock are similar instruments, but with very distinct timbres. However, the keyboard glock tends to be much harder to find than the celesta. Both keyboards shown here are professional, top-notch instruments from L.A. Percussion Rentals. -
30:05Béla Bartók, Music for strings, percussion and celesta (Full)
Béla Bartók, Music for strings, percussion and celesta (Full)Béla Bartók, Music for strings, percussion and celesta (Full)
Béla Bartók (1881-1945) Music for strings, percussion and celesta I Andante tranquillo II Allegro III Adagio IV Allegro molto Philadelphia Orchestra Conductor: Eugene Ormandy -
1:18Abbey Rd, Harry Potter & Xander
Abbey Rd, Harry Potter & XanderAbbey Rd, Harry Potter & Xander
Harry the Piano plays the Harry Potter theme on the original celeste in Abbey Road studios where it was first recorded with British TV star Alexander Armstrong -
2:44Nutcracker "Sugar Plum Fairy" by celesta
Nutcracker "Sugar Plum Fairy" by celestaNutcracker "Sugar Plum Fairy" by celesta
Tchaikovsky"The Nutcracker" Dance of Sugar Plum Fariy by Shino Takizawa -Vienna State Ballet Pianist -
0:39Schiedmayer Celesta (from L.A. Percussion Rentals)
Schiedmayer Celesta (from L.A. Percussion Rentals)Schiedmayer Celesta (from L.A. Percussion Rentals)
Celesta (a.k.a. celeste) from L.A. Percussion Rentals. "Dance of the Sugar Plum Fairy" from "The Nutcracker" by Tchaikovsky. Schiedmayer celeste, Studio model. 5.5 octave, C3-F8. Available for rental/hire. from http://www.lapercussionrentals.com -
29:34Bartók Music for Strings, Percussion and Celesta HD 2015 Colorado College Music Festival
Bartók Music for Strings, Percussion and Celesta HD 2015 Colorado College Music FestivalBartók Music for Strings, Percussion and Celesta HD 2015 Colorado College Music Festival
Bartók - Music for Strings, Percussion, and Celesta, Sz. 106 I. Andante tranquillo II. Allegro III. Adagio IV. Allegro molto Colorado College Music Festival Orchestra Scott Yoo, conductor June 16, 2015 Edith Kinney Gaylord Cornerstone Arts Center -
8:02Béla Bartók - Music for Strings, Percussion and Celesta, III
Béla Bartók - Music for Strings, Percussion and Celesta, IIIBéla 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 cell, each subsequent phrase growing in length and elaborating on its predecessor. At this point, the two string orchestras play together. As the string voices accumulate, the fugue's texture increases in complexity and the chromatic implications of the theme are brought to a rigorously dissonant fulfillment. The fugue climaxes at its apogee with an ominous rumble from the timpani and a loud stroke on the tam-tam. As the fugue folds in upon itself the celesta makes its first entrance with an arpeggiated chord, mysterious and remote. The work subsequently grows from the motivic material explored in this first movement. Bartók deploys antiphonal string choirs for the second movement, a fast, fugitive piece in which the two orchestras chase each other through a breathtaking series of elaborations on the main theme. In the percussion section, piano, xylophone, and harp take the lead while two side drums (with and without snares) provide emphatic punctuation. The third movement is one of Bartók's most accomplished "night music" pieces, with cricket-like notes from the xylophone, eerie timpani glissandi, fragmentary murmurs, and frightened exclamations from the strings, along with the always-mysterious notes of the celesta floating clear and sphinx-like over the nocturnal weft. The finale, a dance of energy and abandon, restores the antiphonal deployment of the strings and juxtaposes the diatonic aspects of the work's main theme with its chromatic elements. There are also some striking touches like the furious, strummed four-note chords in the violins, violas and cellos that opens the movement, a theme midway through that is based on a repeated note first hammered out on piano and xylophone, and then a grand peroration of the initial fugue theme, now with its intervals doubled and richly harmonized. In the quick coda there is a brief, suspended moment ("a tempo allargando") before the work tumbles to a conclusion in unabashed A major. [Allmusic.com] Art by Victor Brauner
- 1940s in film
- 1940s in music
- 1950s in film
- 1971 in film
- Agogô
- Akhnaten (opera)
- An American in Paris
- Ariadne auf Naxos
- Arlecchino (opera)
- Art Tatum
- Ashiko
- Baby It's You
- Balafon
- Ballet
- Bass drum
- Batá drum
- Bell (instrument)
- Bell tree
- BElls
- Benjamin Britten
- Björk
- Bock-a-da-bock
- Bodhrán
- Bonang
- Bongo drum
- Buddy Holly
- Béla Bartók
- Cabasa
- Caisa (instrument)
- Cajón
- Capitol Records
- Carillon
- Carl Orff
- Castanets
- Celesta
- Celestia
- China cymbal
- Chácaras
- Clapsticks
- Claves
- Columbia Records
- Composer
- Conga
- Conrad Susa
- Cowbell (instrument)
- Crash cymbal
- Crotales
- Cymbal
- Darabouka
- Dayereh
- Der Mond
- Der Rosenkavalier
- Djembe
- Doktor Faust
- Duke Ellington
- Dulcitone
- Dunun
- Earl Hines
- Electric Piano
- Ernest Chausson
- Fats Waller
- Ferruccio Busoni
- Flexatone
- Floor tom
- Frank Sinatra
- Fred Rogers
- French language
- Gambang
- Gamelan
- Gene Wilder
- George Gershwin
- Germany
- Giacomo Puccini
- Gian Carlo Menotti
- Girl Don't Tell Me
- Glockenspiel
- Gong
- Grand staff
- Gustav Holst
- Gustav Mahler
- Güiro
- Handbell
- Handchime
- Hang (instrument)
- Harmonium
- Headless tambourine
- Herbie Hancock
- Hi-hat
- Idiophone
- Incidental music
- Jal tarang
- Jam block
- Janggu
- Jeopardy!
- John Williams
- Johnny Costa
- Junjung
- Keyboard instrument
- Kulintang
- Kulintang a kayo
- L'heure espagnole
- Lagerphone
- Louis Armstrong
- Manjira
- Maraca
- Marimba
- Mark tree
- Maurice Bouchor
- Maurice Ravel
- McCoy Tyner
- Meade "Lux" Lewis
- Merv Griffin
- Musical keyboard
- Neptune
- Octoban
- Opera
- Orchestra
- Oscar Peterson
- Pandeiro
- Paris
- Philip Glass
- Piano
- Pink Floyd
- Portal Percussion
- Pure Imagination
- Rain Stick
- Ratchet (instrument)
- Raw Power
- RCA
- Resonator
- Richard Strauss
- Ride cymbal
- Rototom
- Rute (music)
- Simantra
- Sizzle cymbal
- Skrabalai
- Snare drum
- Splash cymbal
- Steelpan
- Sun Ra
- Swish cymbal
- Symphonic poem
- Symphony orchestras
- Tabor (instrument)
- Tambourine
- Tank drum
- Template Percussion
- Temple block
- The Beach Boys
- The Beatles
- The Gnome
- The Magic Flute
- The Nutcracker
- The Planets
- The Stooges
- The Tempest
- Thelonious Monk
- Thunder sheet
- Timbales
- Timbre
- Timbrels
- Timpani
- Tom-tom drum
- Tosca
- Tubophon
- Tubular bell
- Tuning fork
- Vibraphone
- Vibraslap
- Washboard
- Whip (instrument)
- William Shakespeare
- Wind chime
- Wood block
- Xylophone
- Art Tatum
- Benjamin Britten
- Björk
- Buddy Holly
- Béla Bartók
- Carl Orff
- Conrad Susa
- Duke Ellington
- Earl Hines
- Ernest Chausson
- Fats Waller
- Ferruccio Busoni
- Frank Sinatra
- Fred Rogers
- Gene Wilder
- George Gershwin
- Giacomo Puccini
- Gian Carlo Menotti
- Gustav Holst
- Gustav Mahler
- Herbie Hancock
- John Williams
- Johnny Costa
- Louis Armstrong
- Maurice Bouchor
- Maurice Ravel
- McCoy Tyner
- Merv Griffin
- Oscar Peterson
- Philip Glass
- Richard Strauss
- Sun Ra
- The Beach Boys
- Thelonious Monk
- William Shakespeare
'Celesta' is featured as a movie character in the following productions:
Never Surrender (2009)
Actors: Kera O'Bryon (miscellaneous crew), Alan B. Bursteen (producer), Nicole Flowers (miscellaneous crew), Hector Echavarria (producer), Michael Coulombe (miscellaneous crew), James Russo (actor), Hector Echavarria (writer), Hector Echavarria (director), Hector Echavarria (actor), Patrick Kilpatrick (actor), Patrick Kilpatrick (producer), Evan Evans (composer), Anthony Eikner (miscellaneous crew), Georges St-Pierre (actor), Fileena Bahris (actress),
Plot: From the cage to the big screen, the world's greatest Mixed Martial Arts Champions come together for the first time in a major motion picture. When an MMA world champion is lured into the illegal world of underground cage fighting by an elusive promoter, he quickly realizes that the only way out is to kill or to be killed. In a place where some fight for glory and some fight for the fight; he will fight for his life. Now, in his greatest effort to come out on top, he can never look back; never show weakness, never leave...and NEVER SURRENDER.
Keywords: cage-fighting, female-nudity, martial-arts, mixed-martial-arts, underground-fightingGenres: Action, Drama, Thriller,
Taglines: One arena. No rules. All pain.
Hodge, Celesta Filmography
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2014, role: actress , character name: Janet
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2012, role: actress , character name: Fiona
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2012, role: actress , character name: Reporter
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2006, role: actress , character name: Deer Girl in Sainsbury's
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2005, role: actress , character name: Runway Model
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2004, role: actress , character name: Deer Girl
Davis, Celesta Filmography
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2004, role: actress , character name: Herself
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2004, role: producer
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2004, role: producer
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2004, role: writer
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2004, role: director
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2000, role: actress , character name: Ticket Agent
Zimlick, Celesta Filmography
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1923, role: actress , character name: Apache Dancer
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1921, role: actress
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1920, role: actress
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1920, role: actress
Celesta
ALBUMS
Celesta
ALBUMS
- The Year of Trance: The Midsummer Power Mix 2000 released: 2000
- Trance Nation released: 2000
- Trance 2000, Volume 4 released: 2000
The Year of Trance: The Midsummer Power Mix 2000
Released 2000- add to main playlist Play in Full Screen Love Come Home
- add to main playlist Play in Full Screen Honey
- add to main playlist Play in Full Screen No More Tears
- add to main playlist Play in Full Screen Talk to Me
- add to main playlist Play in Full Screen Balaeric Desire
- add to main playlist Play in Full Screen Cry
- add to main playlist Play in Full Screen Silence
- add to main playlist Play in Full Screen Loose My Mind
- add to main playlist Play in Full Screen Search for the Ball
- add to main playlist Play in Full Screen Are You Ready
- add to main playlist Play in Full Screen Say That You Love Me
- add to main playlist Play in Full Screen Walhalla
- add to main playlist Play in Full Screen On Stream
- add to main playlist Play in Full Screen Heavenly
- add to main playlist Play in Full Screen C'est Syntone
- add to main playlist Play in Full Screen Sonic Impact
- add to main playlist Play in Full Screen The House of Justice
- add to main playlist Play in Full Screen Sugar Rush
- add to main playlist Play in Full Screen Storm Und Drang
- add to main playlist Play in Full Screen Dido Armin
- add to main playlist Play in Full Screen Novaskotia
- add to main playlist Play in Full Screen Do U Know
- add to main playlist Play in Full Screen Muevela
- add to main playlist Play in Full Screen Join Me
Trance Nation
Released 2000- add to main playlist Play in Full Screen Anomaly (Calling Your Name) (Ferry Corsten remix)
- add to main playlist Play in Full Screen Love Shines Through
- add to main playlist Play in Full Screen Platina (Maurits Paardekooper remix)
- add to main playlist Play in Full Screen Don't Give Up (feat. Bryan Adams)
- add to main playlist Play in Full Screen Incantation (Original Extended)
- add to main playlist Play in Full Screen Luvstruck 2000 (Marco V & Benjamin remix)
- add to main playlist Play in Full Screen Fiji (Cequenza remix)
- add to main playlist Play in Full Screen Barber's Adagio for Strings (Ferry Corsten remix)
- add to main playlist Play in Full Screen Horizons
- add to main playlist Play in Full Screen Swirl (Alpha Breed's remix)
- add to main playlist Play in Full Screen Odyssey (extended mix)
- add to main playlist Play in Full Screen More and More
- add to main playlist Play in Full Screen Cry (Ferry Corsten remix)
- add to main playlist Play in Full Screen Wonder?
Trance 2000, Volume 4
Released 2000- add to main playlist Play in Full Screen Back in My Life
- add to main playlist Play in Full Screen Kernkraft 400 (DJ Gius remix)
- add to main playlist Play in Full Screen Sparkles (Airscape remix)
- add to main playlist Play in Full Screen Fly Away (Singles & Angles mix)
- add to main playlist Play in Full Screen Cry
- add to main playlist Play in Full Screen Talk to Me (DJ Lee remix)
- add to main playlist Play in Full Screen Party Drumz (club mix)
- add to main playlist Play in Full Screen On Stream
- add to main playlist Play in Full Screen The Beginning (Airscape remix)
- add to main playlist Play in Full Screen Danse Avec Moi! (extended mix)
- add to main playlist Play in Full Screen Turn Up the Bass (extended mix)
- add to main playlist Play in Full Screen Magica (Ibiza remix)
- add to main playlist Play in Full Screen Cyberdrive (Deep Bass edit)
- add to main playlist Play in Full Screen The Music (Oblique remix)
- add to main playlist Play in Full Screen Luv U More (Green Court remix)
- add to main playlist Play in Full Screen On a Mission (Onda Del Futuro remix)
- add to main playlist Play in Full Screen Novaskotia
- add to main playlist Play in Full Screen Armageddon
- add to main playlist Play in Full Screen Odyssey
- add to main playlist Play in Full Screen Breath of Life (Lovechild remix)
-
The Nutcracker's celesta with Kelly Zuercher
Kelly Zuercher is a keyboardist with the Colorado Springs Philharmonic, and in this video, demonstrates the magical sounds of the celesta. The celesta is one of the featured instruments in Tchaikovsky's The Nutcracker. Discover more at http://www.csphilharmonic.org/ -
Celesta - the instrument’s origins - the making of the celesta in the Schiedmayer workshop.
This video informs about the musical instrument celesta: its invention in 1886, its very specific sound generation or action mechanism, and particularly the making of the instrument in the Schiedmayer workshop. Schiedmayer started manufacturing the celesta in 1890 and is today the only celesta manufacturer in the world. The workshop tour shows the high level of craftsmanship and true artisan work that goes into each instrument. The best-known piece in which the celesta plays an important role is certainly The Dance of the Sugarplum Fairy from Tchaikovsky’s ballett The Nutcracker. But many classical and modern composers use the celesta for their orchestral works due to the unique, always intriguing and enchanting sound of the instrument. As for the celesta’s presence in other music genres,... -
-
Béla Bartók - Music for Strings, Percussion and Celesta
- Composer: Béla Viktor János Bartók (25 March 1881 -- 26 September 1945) - Orchestra: RIAS Symphony Orchestra - Conductor: Ferenc Fricsay - Year of recording: 1953 Music for Strings, Percussion and Celesta, Sz. 106, BB 114, written in 1936. 00:00 - I. Andante tranquillo 07:02 - II. Allegro 14:33 - III. Adagio 21:08 - IV. Allegro molto "Music for Strings, Percussion and Celesta", is one of the best-known compositions by Bartók. Commissioned by Paul Sacher to celebrate the tenth anniversary of the chamber orchestra Basler Kammerorchester, the score is dated 7 September 1936. The work was premiered in Basel, Switzerland on 21 January 1937 by the chamber orchestra conducted by Sacher, and it was published the same year by Universal Edition. As its title suggests, the piece is wri... -
Pirates of the Caribbean - Davy Jones's theme on a celesta !
As I said it on Facebook/Twitter account, I was impressed by the success of my organ cover of this theme. So I decide to cover it on a very special instrument.. It's a celesta ! Sounds like a music box but you play it just like a piano ! Hammers, connected to the clavier are strucking metal/steel plates suspended over wooden resonator. Sounds so much like the music box original version of this theme ! Recorded in a very special place. The sound isn't so good.. But let me know what you think about ! More videos coming in few weeks, keep connected ! You can follow us here : https://www.facebook.com/triogrissini?fref=ts And now on Twitter too ! : https://twitter.com/TrioGrissini -
Instrument: Celeste
In this film, Elizabeth Burley introduces her instrument - the celeste. To learn more about keyboard instruments in the orchestra visit http://www.philharmonia.co.uk/explore/instruments/keyboards Why not download our iPad app The Orchestra to learn even more? Visit www.philharmonia.co.uk/app for more information. "Have you seen the app called 'The Orchestra'? It is astonishing. For somebody who can't read music to learn how an orchestra functions, to be able to see from the perspective of a flute or a second violin, is really enlightening." - Sir John Eliot Gardiner, quoted in an interview by Richard Fairman, Financial Times, February 2014 The Philharmonia's Principal Celeste's Chair is currently available for endowment. For more information on how you can support the Orchestra by en... -
Bela Bartok Music for Strings, Percussion and Celesta
Round Top Music Festival Texas Festival Chamber Orchestra Linus Lerner, conductor Festival Concert Hall, 248 Jaster Rd Round Top Tx 78954 Saturday June 21, 2014 -
Marrying Celesta and Keyboard Glockenspiel
Hollywood film/TV composer, orchestrator, arranger, and keyboardist Geoff Stradling takes LA Percussion Rentals' Yamaha keyboard glock and Schiedmayer celesta for a spin. He demonstrates the timbres combined together, playing passages in unison, melody/harmony, in octaves, blocked chords, purely textures/sound effects, and more. The celesta and keyboard glock are similar instruments, but with very distinct timbres. However, the keyboard glock tends to be much harder to find than the celesta. Both keyboards shown here are professional, top-notch instruments from L.A. Percussion Rentals. -
Béla Bartók, Music for strings, percussion and celesta (Full)
Béla Bartók (1881-1945) Music for strings, percussion and celesta I Andante tranquillo II Allegro III Adagio IV Allegro molto Philadelphia Orchestra Conductor: Eugene Ormandy -
Abbey Rd, Harry Potter & Xander
Harry the Piano plays the Harry Potter theme on the original celeste in Abbey Road studios where it was first recorded with British TV star Alexander Armstrong -
Nutcracker "Sugar Plum Fairy" by celesta
Tchaikovsky"The Nutcracker" Dance of Sugar Plum Fariy by Shino Takizawa -Vienna State Ballet Pianist -
Schiedmayer Celesta (from L.A. Percussion Rentals)
Celesta (a.k.a. celeste) from L.A. Percussion Rentals. "Dance of the Sugar Plum Fairy" from "The Nutcracker" by Tchaikovsky. Schiedmayer celeste, Studio model. 5.5 octave, C3-F8. Available for rental/hire. from http://www.lapercussionrentals.com -
Bartók Music for Strings, Percussion and Celesta HD 2015 Colorado College Music Festival
Bartók - Music for Strings, Percussion, and Celesta, Sz. 106 I. Andante tranquillo II. Allegro III. Adagio IV. Allegro molto Colorado College Music Festival Orchestra Scott Yoo, conductor June 16, 2015 Edith Kinney Gaylord Cornerstone Arts Center -
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 a... -
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 a... -
Playing Santa Claus Is Coming To Town on my home made celesta
Santa Claus is coming to town - on home made celesta It took me three weeks to complete it, using left over wood, parts of an old piano and an organ keyboard. -
My Homemade Celesta
This is a documentary on the construction of my homemade celesta showing each step of the process through completion. The full video is rather long so if you'd like to see the instrument finished and hear a short demo then skip ahead to [15:30], although you shouldn't miss a couple of fun segments where I tried my hand at some amateur animations at [10:30] and [13:25]. Please leave me a comment below and let me know what you think. -
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 a... -
BÉLA BARTÓK.- 1881-1945- Música para cuerdas, percusión y celesta
BÉLA BARTÓK.- 1881-1945- Música para cuerdas, percusión y celesta La pieza consta de cuatro movimientos, lentos los impares y rápidos los pares, con una duración total de media hora aproximadamente: Andante tranquillo Allegro Adagio Allegro molto Orquesta del Concertgebouw de Amsterdam Director: Bernard Haitink Música para cuerda, percusión y celesta (Sz. 106, BB 114) es una de las obras más conocidas del compositor húngaro Béla Bartók. Encargada por Paul Sacher para celebrar el décimo aniversario de su Orquesta de Cámara de Basilea, la partitura está fechada el 7 deseptiembre de 1936, y su estreno se produjo en Basilea el 21 de enero de 1937 por la orquesta dedicataria, dirigida por el propio Sacher. La orquestación se compone de dos grupos de instrumentos de cuerda (violines, vio... -
Celesta en Mick Harren "Net als jij"
De nieuwe zomer hit single 2015 van Celesta en Mick Harren -
[Cover] My Grandfather's Clock 大きな古時計 - Playing on JENCO celesta
This is one of my favorite songs. The instrument is JENCO's celesta. Composed by Henry Clay Work Arranged and Played by Masashi Yamanaka -
Blue Monk played on Celesta
Blue Monk by Thelonious Monk - recorded in Verden, Germany, July 20, 2010 performed on a Schiedmayer Celesta by former member of Austria's Mojo Blues Band Henning Pertiet - see also www.myspace.com/henningpertiet - or www.pertiet.de This Celesta is now mine and is at my home - I am finally happy with it after searching for it 20 years -
Bartók: Music for Strings, Percussion and Celesta / Boulez · Berliner Philharmoniker
Full-length concert: http://www.digitalconcerthall.com/concert/41/?a=youtube&c;=true 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: http://dch.berliner-philharmoniker.de Subscribe to our newsletter: http://www.digitalconcerthall.com/newsletter Website of the Berliner Philharmoniker: http://www.berliner-philharmoniker.de
The Nutcracker's celesta with Kelly Zuercher
- Order: Reorder
- Duration: 2:16
- Updated: 27 Nov 2013
- views: 86049
Kelly Zuercher is a keyboardist with the Colorado Springs Philharmonic, and in this video, demonstrates the magical sounds of the celesta. The celesta is one of...
Kelly Zuercher is a keyboardist with the Colorado Springs Philharmonic, and in this video, demonstrates the magical sounds of the celesta. The celesta is one of the featured instruments in Tchaikovsky's The Nutcracker.
Discover more at http://www.csphilharmonic.org/
wn.com/The Nutcracker's Celesta With Kelly Zuercher
Kelly Zuercher is a keyboardist with the Colorado Springs Philharmonic, and in this video, demonstrates the magical sounds of the celesta. The celesta is one of the featured instruments in Tchaikovsky's The Nutcracker.
Discover more at http://www.csphilharmonic.org/
- published: 27 Nov 2013
- views: 86049
Celesta - the instrument’s origins - the making of the celesta in the Schiedmayer workshop.
- Order: Reorder
- Duration: 10:20
- Updated: 07 Aug 2015
- views: 13746
This video informs about the musical instrument celesta: its invention in 1886, its very specific sound generation or action mechanism, and particularly the mak...
This video informs about the musical instrument celesta: its invention in 1886, its very specific sound generation or action mechanism, and particularly the making of the instrument in the Schiedmayer workshop. Schiedmayer started manufacturing the celesta in 1890 and is today the only celesta manufacturer in the world. The workshop tour shows the high level of craftsmanship and true artisan work that goes into each instrument. The best-known piece in which the celesta plays an important role is certainly The Dance of the Sugarplum Fairy from Tchaikovsky’s ballett The Nutcracker. But many classical and modern composers use the celesta for their orchestral works due to the unique, always intriguing and enchanting sound of the instrument. As for the celesta’s presence in other music genres, John Williams‘ soundtrack Hedwig’s Theme from the Harry Potter movie is a perfect example.
To learn more about Schiedmayer and the celesta: http://www.celesta-schiedmayer.de/en/home/
Listen to some fascinating samples of celesta music: http://www.celesta-schiedmayer.de/en/audio-clips/
wn.com/Celesta The Instrument’S Origins The Making Of The Celesta In The Schiedmayer Workshop.
This video informs about the musical instrument celesta: its invention in 1886, its very specific sound generation or action mechanism, and particularly the making of the instrument in the Schiedmayer workshop. Schiedmayer started manufacturing the celesta in 1890 and is today the only celesta manufacturer in the world. The workshop tour shows the high level of craftsmanship and true artisan work that goes into each instrument. The best-known piece in which the celesta plays an important role is certainly The Dance of the Sugarplum Fairy from Tchaikovsky’s ballett The Nutcracker. But many classical and modern composers use the celesta for their orchestral works due to the unique, always intriguing and enchanting sound of the instrument. As for the celesta’s presence in other music genres, John Williams‘ soundtrack Hedwig’s Theme from the Harry Potter movie is a perfect example.
To learn more about Schiedmayer and the celesta: http://www.celesta-schiedmayer.de/en/home/
Listen to some fascinating samples of celesta music: http://www.celesta-schiedmayer.de/en/audio-clips/
- published: 07 Aug 2015
- views: 13746
Celesta (instrument)
- Order: Reorder
- Duration: 1:34
- Updated: 03 Nov 2009
- views: 244248
Béla Bartók - Music for Strings, Percussion and Celesta
- Order: Reorder
- Duration: 27:56
- Updated: 16 Sep 2015
- views: 12335
- Composer: Béla Viktor János Bartók (25 March 1881 -- 26 September 1945)
- Orchestra: RIAS Symphony Orchestra
- Conductor: Ferenc Fricsay
- Year of recordin...
- Composer: Béla Viktor János Bartók (25 March 1881 -- 26 September 1945)
- Orchestra: RIAS Symphony Orchestra
- Conductor: Ferenc Fricsay
- Year of recording: 1953
Music for Strings, Percussion and Celesta, Sz. 106, BB 114, written in 1936.
00:00 - I. Andante tranquillo
07:02 - II. Allegro
14:33 - III. Adagio
21:08 - IV. Allegro molto
"Music for Strings, Percussion and Celesta", is one of the best-known compositions by Bartók. Commissioned by Paul Sacher to celebrate the tenth anniversary of the chamber orchestra Basler Kammerorchester, the score is dated 7 September 1936. The work was premiered in Basel, Switzerland on 21 January 1937 by the chamber orchestra conducted by Sacher, and it was published the same year by Universal Edition.
As its title suggests, the piece is written for string instruments (violins, violas, cellos, double basses, and harp), percussion instruments (xylophone, snare drum, cymbals, tam-tam, bass drum, and timpani) and celesta. The ensemble also includes a piano, which may be classified as either a percussion or string instrument (the celesta player also plays piano during 4-hand passages).
Bartók divides the strings into two groups which he directs should be placed antiphonally on opposite sides of the stage, and he makes use of antiphonal effects particularly in the second and fourth movements. The first and third movement are slow, the second and fourth quick. All movements are written without key signature.
- The first movement is a slow fugue. Its time signature changes constantly. It is based around the note A, on which the movement begins and ends. It begins on muted strings, and as more voices enter the texture thickens and the music becomes louder until the climax. Mutes are then removed, and the music becomes gradually quieter over gentle celesta arpeggios. The movement ends with the second phrase of the fugue subject played softly over its inversion. Material from the first movement can be seen as serving as the basis for the later movements, and the fugue subject recurs in different guises at points throughout the piece.
- The second movement is quick, with a theme in 2/4 time which is transformed into 3/8 time towards the end. It is marked with loud syncopic piano and percussion accents in a whirling dance, evolving in an extended pizzicato section, with a piano concerto-like conclusion.
- The third movement is slow, an example of what is often called Bartók's "Night music". It features timpani glissandi, which was an unusual technique at the time of the work's composition, as well as a prominent part for the xylophone. It is also commonly thought that the rhythm of the xylophone solo that opens the third movement is based on the Fibonacci sequence as this "written-out accelerando/ritardando" uses the rhythm 1:2:3:5:8:5:3:2:1.
- The fourth movement, which begins with notes on the timpani and strummed pizzicato chords on the strings, has the character of a lively folk dance.
It is believed that Dmitri Shostakovich parodied this piece in his Symphony No. 13, in response to Bartók's own mockery of Shostakovich's Symphony No. 7 in his Concerto for Orchestra.
wn.com/Béla Bartók Music For Strings, Percussion And Celesta
- Composer: Béla Viktor János Bartók (25 March 1881 -- 26 September 1945)
- Orchestra: RIAS Symphony Orchestra
- Conductor: Ferenc Fricsay
- Year of recording: 1953
Music for Strings, Percussion and Celesta, Sz. 106, BB 114, written in 1936.
00:00 - I. Andante tranquillo
07:02 - II. Allegro
14:33 - III. Adagio
21:08 - IV. Allegro molto
"Music for Strings, Percussion and Celesta", is one of the best-known compositions by Bartók. Commissioned by Paul Sacher to celebrate the tenth anniversary of the chamber orchestra Basler Kammerorchester, the score is dated 7 September 1936. The work was premiered in Basel, Switzerland on 21 January 1937 by the chamber orchestra conducted by Sacher, and it was published the same year by Universal Edition.
As its title suggests, the piece is written for string instruments (violins, violas, cellos, double basses, and harp), percussion instruments (xylophone, snare drum, cymbals, tam-tam, bass drum, and timpani) and celesta. The ensemble also includes a piano, which may be classified as either a percussion or string instrument (the celesta player also plays piano during 4-hand passages).
Bartók divides the strings into two groups which he directs should be placed antiphonally on opposite sides of the stage, and he makes use of antiphonal effects particularly in the second and fourth movements. The first and third movement are slow, the second and fourth quick. All movements are written without key signature.
- The first movement is a slow fugue. Its time signature changes constantly. It is based around the note A, on which the movement begins and ends. It begins on muted strings, and as more voices enter the texture thickens and the music becomes louder until the climax. Mutes are then removed, and the music becomes gradually quieter over gentle celesta arpeggios. The movement ends with the second phrase of the fugue subject played softly over its inversion. Material from the first movement can be seen as serving as the basis for the later movements, and the fugue subject recurs in different guises at points throughout the piece.
- The second movement is quick, with a theme in 2/4 time which is transformed into 3/8 time towards the end. It is marked with loud syncopic piano and percussion accents in a whirling dance, evolving in an extended pizzicato section, with a piano concerto-like conclusion.
- The third movement is slow, an example of what is often called Bartók's "Night music". It features timpani glissandi, which was an unusual technique at the time of the work's composition, as well as a prominent part for the xylophone. It is also commonly thought that the rhythm of the xylophone solo that opens the third movement is based on the Fibonacci sequence as this "written-out accelerando/ritardando" uses the rhythm 1:2:3:5:8:5:3:2:1.
- The fourth movement, which begins with notes on the timpani and strummed pizzicato chords on the strings, has the character of a lively folk dance.
It is believed that Dmitri Shostakovich parodied this piece in his Symphony No. 13, in response to Bartók's own mockery of Shostakovich's Symphony No. 7 in his Concerto for Orchestra.
- published: 16 Sep 2015
- views: 12335
Pirates of the Caribbean - Davy Jones's theme on a celesta !
- Order: Reorder
- Duration: 1:08
- Updated: 25 Nov 2014
- views: 49589
As I said it on Facebook/Twitter account, I was impressed by the success of my organ cover of this theme. So I decide to cover it on a very special instrument.....
As I said it on Facebook/Twitter account, I was impressed by the success of my organ cover of this theme. So I decide to cover it on a very special instrument.. It's a celesta ! Sounds like a music box but you play it just like a piano ! Hammers, connected to the clavier are strucking metal/steel plates suspended over wooden resonator. Sounds so much like the music box original version of this theme !
Recorded in a very special place. The sound isn't so good.. But let me know what you think about !
More videos coming in few weeks, keep connected !
You can follow us here : https://www.facebook.com/triogrissini?fref=ts
And now on Twitter too ! : https://twitter.com/TrioGrissini
wn.com/Pirates Of The Caribbean Davy Jones's Theme On A Celesta
As I said it on Facebook/Twitter account, I was impressed by the success of my organ cover of this theme. So I decide to cover it on a very special instrument.. It's a celesta ! Sounds like a music box but you play it just like a piano ! Hammers, connected to the clavier are strucking metal/steel plates suspended over wooden resonator. Sounds so much like the music box original version of this theme !
Recorded in a very special place. The sound isn't so good.. But let me know what you think about !
More videos coming in few weeks, keep connected !
You can follow us here : https://www.facebook.com/triogrissini?fref=ts
And now on Twitter too ! : https://twitter.com/TrioGrissini
- published: 25 Nov 2014
- views: 49589
Instrument: Celeste
- Order: Reorder
- Duration: 3:50
- Updated: 07 Aug 2013
- views: 160556
In this film, Elizabeth Burley introduces her instrument - the celeste.
To learn more about keyboard instruments in the orchestra visit http://www.philharmoni...
In this film, Elizabeth Burley introduces her instrument - the celeste.
To learn more about keyboard instruments in the orchestra visit http://www.philharmonia.co.uk/explore/instruments/keyboards
Why not download our iPad app The Orchestra to learn even more? Visit www.philharmonia.co.uk/app for more information.
"Have you seen the app called 'The Orchestra'? It is astonishing. For somebody who can't read music to learn how an orchestra functions, to be able to see from the perspective of a flute or a second violin, is really enlightening." - Sir John Eliot Gardiner, quoted in an interview by Richard Fairman, Financial Times, February 2014
The Philharmonia's Principal Celeste's Chair is currently available for endowment. For more information on how you can support the Orchestra by endowing a player's chair, please visit: http://www.philharmonia.co.uk/support/individual/chair_endowment
wn.com/Instrument Celeste
In this film, Elizabeth Burley introduces her instrument - the celeste.
To learn more about keyboard instruments in the orchestra visit http://www.philharmonia.co.uk/explore/instruments/keyboards
Why not download our iPad app The Orchestra to learn even more? Visit www.philharmonia.co.uk/app for more information.
"Have you seen the app called 'The Orchestra'? It is astonishing. For somebody who can't read music to learn how an orchestra functions, to be able to see from the perspective of a flute or a second violin, is really enlightening." - Sir John Eliot Gardiner, quoted in an interview by Richard Fairman, Financial Times, February 2014
The Philharmonia's Principal Celeste's Chair is currently available for endowment. For more information on how you can support the Orchestra by endowing a player's chair, please visit: http://www.philharmonia.co.uk/support/individual/chair_endowment
- published: 07 Aug 2013
- views: 160556
Bela Bartok Music for Strings, Percussion and Celesta
- Order: Reorder
- Duration: 35:14
- Updated: 13 Aug 2014
- views: 45387
Round Top Music Festival
Texas Festival Chamber Orchestra
Linus Lerner, conductor
Festival Concert Hall, 248 Jaster Rd Round Top Tx 78954
Saturday June 21, 2014...
Round Top Music Festival
Texas Festival Chamber Orchestra
Linus Lerner, conductor
Festival Concert Hall, 248 Jaster Rd Round Top Tx 78954
Saturday June 21, 2014
wn.com/Bela Bartok Music For Strings, Percussion And Celesta
Round Top Music Festival
Texas Festival Chamber Orchestra
Linus Lerner, conductor
Festival Concert Hall, 248 Jaster Rd Round Top Tx 78954
Saturday June 21, 2014
- published: 13 Aug 2014
- views: 45387
Marrying Celesta and Keyboard Glockenspiel
- Order: Reorder
- Duration: 5:52
- Updated: 06 Feb 2014
- views: 11301
Hollywood film/TV composer, orchestrator, arranger, and keyboardist Geoff Stradling takes LA Percussion Rentals' Yamaha keyboard glock and Schiedmayer celesta f...
Hollywood film/TV composer, orchestrator, arranger, and keyboardist Geoff Stradling takes LA Percussion Rentals' Yamaha keyboard glock and Schiedmayer celesta for a spin. He demonstrates the timbres combined together, playing passages in unison, melody/harmony, in octaves, blocked chords, purely textures/sound effects, and more. The celesta and keyboard glock are similar instruments, but with very distinct timbres. However, the keyboard glock tends to be much harder to find than the celesta. Both keyboards shown here are professional, top-notch instruments from L.A. Percussion Rentals.
wn.com/Marrying Celesta And Keyboard Glockenspiel
Hollywood film/TV composer, orchestrator, arranger, and keyboardist Geoff Stradling takes LA Percussion Rentals' Yamaha keyboard glock and Schiedmayer celesta for a spin. He demonstrates the timbres combined together, playing passages in unison, melody/harmony, in octaves, blocked chords, purely textures/sound effects, and more. The celesta and keyboard glock are similar instruments, but with very distinct timbres. However, the keyboard glock tends to be much harder to find than the celesta. Both keyboards shown here are professional, top-notch instruments from L.A. Percussion Rentals.
- published: 06 Feb 2014
- views: 11301
Béla Bartók, Music for strings, percussion and celesta (Full)
- Order: Reorder
- Duration: 30:05
- Updated: 18 Jan 2012
- views: 175622
Béla Bartók (1881-1945)
Music for strings, percussion and celesta
I Andante tranquillo
II Allegro
III Adagio
IV Allegro molto
Philadelphia Orchestra
Co...
Béla Bartók (1881-1945)
Music for strings, percussion and celesta
I Andante tranquillo
II Allegro
III Adagio
IV Allegro molto
Philadelphia Orchestra
Conductor: Eugene Ormandy
wn.com/Béla Bartók, Music For Strings, Percussion And Celesta (Full)
Béla Bartók (1881-1945)
Music for strings, percussion and celesta
I Andante tranquillo
II Allegro
III Adagio
IV Allegro molto
Philadelphia Orchestra
Conductor: Eugene Ormandy
- published: 18 Jan 2012
- views: 175622
Abbey Rd, Harry Potter & Xander
- Order: Reorder
- Duration: 1:18
- Updated: 29 May 2014
- views: 10727
Harry the Piano plays the Harry Potter theme on the original celeste in Abbey Road studios where it was first recorded with British TV star Alexander Armstrong
Harry the Piano plays the Harry Potter theme on the original celeste in Abbey Road studios where it was first recorded with British TV star Alexander Armstrong
wn.com/Abbey Rd, Harry Potter Xander
Harry the Piano plays the Harry Potter theme on the original celeste in Abbey Road studios where it was first recorded with British TV star Alexander Armstrong
- published: 29 May 2014
- views: 10727
Nutcracker "Sugar Plum Fairy" by celesta
- Order: Reorder
- Duration: 2:44
- Updated: 23 Dec 2014
- views: 3220
Tchaikovsky"The Nutcracker" Dance of Sugar Plum Fariy by Shino Takizawa -Vienna State Ballet Pianist
Tchaikovsky"The Nutcracker" Dance of Sugar Plum Fariy by Shino Takizawa -Vienna State Ballet Pianist
wn.com/Nutcracker Sugar Plum Fairy By Celesta
Tchaikovsky"The Nutcracker" Dance of Sugar Plum Fariy by Shino Takizawa -Vienna State Ballet Pianist
- published: 23 Dec 2014
- views: 3220
Schiedmayer Celesta (from L.A. Percussion Rentals)
- Order: Reorder
- Duration: 0:39
- Updated: 26 Nov 2012
- views: 10434
Celesta (a.k.a. celeste) from L.A. Percussion Rentals. "Dance of the Sugar Plum Fairy" from "The Nutcracker" by Tchaikovsky.
Schiedmayer celeste, Studio model....
Celesta (a.k.a. celeste) from L.A. Percussion Rentals. "Dance of the Sugar Plum Fairy" from "The Nutcracker" by Tchaikovsky.
Schiedmayer celeste, Studio model. 5.5 octave, C3-F8. Available for rental/hire.
from http://www.lapercussionrentals.com
wn.com/Schiedmayer Celesta (From L.A. Percussion Rentals)
Celesta (a.k.a. celeste) from L.A. Percussion Rentals. "Dance of the Sugar Plum Fairy" from "The Nutcracker" by Tchaikovsky.
Schiedmayer celeste, Studio model. 5.5 octave, C3-F8. Available for rental/hire.
from http://www.lapercussionrentals.com
- published: 26 Nov 2012
- views: 10434
Bartók Music for Strings, Percussion and Celesta HD 2015 Colorado College Music Festival
- Order: Reorder
- Duration: 29:34
- Updated: 01 Sep 2015
- views: 2029
Bartók - Music for Strings, Percussion, and Celesta, Sz. 106
I. Andante tranquillo
II. Allegro
III. Adagio
IV. Allegro molto
Colorado College Music Festival O...
Bartók - Music for Strings, Percussion, and Celesta, Sz. 106
I. Andante tranquillo
II. Allegro
III. Adagio
IV. Allegro molto
Colorado College Music Festival Orchestra
Scott Yoo, conductor
June 16, 2015
Edith Kinney Gaylord Cornerstone Arts Center
wn.com/Bartók Music For Strings, Percussion And Celesta Hd 2015 Colorado College Music Festival
Bartók - Music for Strings, Percussion, and Celesta, Sz. 106
I. Andante tranquillo
II. Allegro
III. Adagio
IV. Allegro molto
Colorado College Music Festival Orchestra
Scott Yoo, conductor
June 16, 2015
Edith Kinney Gaylord Cornerstone Arts Center
- published: 01 Sep 2015
- views: 2029
Béla Bartók - Music for Strings, Percussion and Celesta, III
- Order: Reorder
- Duration: 8:02
- Updated: 03 Oct 2010
- views: 180146
Music for Strings, Percussion & Celesta, Sz. 106, BB 114 (1936)
I. Andante tranquillo
II. Allegro
III. Adagio
IV. Allegro molto
Chicago Symphony Orchestra
Jam...
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 cell, each subsequent phrase growing in length and elaborating on its predecessor. At this point, the two string orchestras play together. As the string voices accumulate, the fugue's texture increases in complexity and the chromatic implications of the theme are brought to a rigorously dissonant fulfillment. The fugue climaxes at its apogee with an ominous rumble from the timpani and a loud stroke on the tam-tam. As the fugue folds in upon itself the celesta makes its first entrance with an arpeggiated chord, mysterious and remote. The work subsequently grows from the motivic material explored in this first movement.
Bartók deploys antiphonal string choirs for the second movement, a fast, fugitive piece in which the two orchestras chase each other through a breathtaking series of elaborations on the main theme. In the percussion section, piano, xylophone, and harp take the lead while two side drums (with and without snares) provide emphatic punctuation. The third movement is one of Bartók's most accomplished "night music" pieces, with cricket-like notes from the xylophone, eerie timpani glissandi, fragmentary murmurs, and frightened exclamations from the strings, along with the always-mysterious notes of the celesta floating clear and sphinx-like over the nocturnal weft. The finale, a dance of energy and abandon, restores the antiphonal deployment of the strings and juxtaposes the diatonic aspects of the work's main theme with its chromatic elements. There are also some striking touches like the furious, strummed four-note chords in the violins, violas and cellos that opens the movement, a theme midway through that is based on a repeated note first hammered out on piano and xylophone, and then a grand peroration of the initial fugue theme, now with its intervals doubled and richly harmonized. In the quick coda there is a brief, suspended moment ("a tempo allargando") before the work tumbles to a conclusion in unabashed A major. [Allmusic.com]
Art by Victor Brauner
wn.com/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 cell, each subsequent phrase growing in length and elaborating on its predecessor. At this point, the two string orchestras play together. As the string voices accumulate, the fugue's texture increases in complexity and the chromatic implications of the theme are brought to a rigorously dissonant fulfillment. The fugue climaxes at its apogee with an ominous rumble from the timpani and a loud stroke on the tam-tam. As the fugue folds in upon itself the celesta makes its first entrance with an arpeggiated chord, mysterious and remote. The work subsequently grows from the motivic material explored in this first movement.
Bartók deploys antiphonal string choirs for the second movement, a fast, fugitive piece in which the two orchestras chase each other through a breathtaking series of elaborations on the main theme. In the percussion section, piano, xylophone, and harp take the lead while two side drums (with and without snares) provide emphatic punctuation. The third movement is one of Bartók's most accomplished "night music" pieces, with cricket-like notes from the xylophone, eerie timpani glissandi, fragmentary murmurs, and frightened exclamations from the strings, along with the always-mysterious notes of the celesta floating clear and sphinx-like over the nocturnal weft. The finale, a dance of energy and abandon, restores the antiphonal deployment of the strings and juxtaposes the diatonic aspects of the work's main theme with its chromatic elements. There are also some striking touches like the furious, strummed four-note chords in the violins, violas and cellos that opens the movement, a theme midway through that is based on a repeated note first hammered out on piano and xylophone, and then a grand peroration of the initial fugue theme, now with its intervals doubled and richly harmonized. In the quick coda there is a brief, suspended moment ("a tempo allargando") before the work tumbles to a conclusion in unabashed A major. [Allmusic.com]
Art by Victor Brauner
- published: 03 Oct 2010
- views: 180146
Béla Bartók - Music for Strings, Percussion and Celesta, I
- Order: Reorder
- Duration: 9:03
- Updated: 03 Oct 2010
- views: 132050
Music for Strings, Percussion & Celesta, Sz. 106, BB 114 (1936)
I. Andante tranquillo
II. Allegro
III. Adagio
IV. Allegro molto
Chicago Symphony Orchestra
Jam...
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 cell, each subsequent phrase growing in length and elaborating on its predecessor. At this point, the two string orchestras play together. As the string voices accumulate, the fugue's texture increases in complexity and the chromatic implications of the theme are brought to a rigorously dissonant fulfillment. The fugue climaxes at its apogee with an ominous rumble from the timpani and a loud stroke on the tam-tam. As the fugue folds in upon itself the celesta makes its first entrance with an arpeggiated chord, mysterious and remote. The work subsequently grows from the motivic material explored in this first movement.
Bartók deploys antiphonal string choirs for the second movement, a fast, fugitive piece in which the two orchestras chase each other through a breathtaking series of elaborations on the main theme. In the percussion section, piano, xylophone, and harp take the lead while two side drums (with and without snares) provide emphatic punctuation. The third movement is one of Bartók's most accomplished "night music" pieces, with cricket-like notes from the xylophone, eerie timpani glissandi, fragmentary murmurs, and frightened exclamations from the strings, along with the always-mysterious notes of the celesta floating clear and sphinx-like over the nocturnal weft. The finale, a dance of energy and abandon, restores the antiphonal deployment of the strings and juxtaposes the diatonic aspects of the work's main theme with its chromatic elements. There are also some striking touches like the furious, strummed four-note chords in the violins, violas and cellos that opens the movement, a theme midway through that is based on a repeated note first hammered out on piano and xylophone, and then a grand peroration of the initial fugue theme, now with its intervals doubled and richly harmonized. In the quick coda there is a brief, suspended moment ("a tempo allargando") before the work tumbles to a conclusion in unabashed A major. [Allmusic.com]
Art by Victor Brauner
wn.com/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 cell, each subsequent phrase growing in length and elaborating on its predecessor. At this point, the two string orchestras play together. As the string voices accumulate, the fugue's texture increases in complexity and the chromatic implications of the theme are brought to a rigorously dissonant fulfillment. The fugue climaxes at its apogee with an ominous rumble from the timpani and a loud stroke on the tam-tam. As the fugue folds in upon itself the celesta makes its first entrance with an arpeggiated chord, mysterious and remote. The work subsequently grows from the motivic material explored in this first movement.
Bartók deploys antiphonal string choirs for the second movement, a fast, fugitive piece in which the two orchestras chase each other through a breathtaking series of elaborations on the main theme. In the percussion section, piano, xylophone, and harp take the lead while two side drums (with and without snares) provide emphatic punctuation. The third movement is one of Bartók's most accomplished "night music" pieces, with cricket-like notes from the xylophone, eerie timpani glissandi, fragmentary murmurs, and frightened exclamations from the strings, along with the always-mysterious notes of the celesta floating clear and sphinx-like over the nocturnal weft. The finale, a dance of energy and abandon, restores the antiphonal deployment of the strings and juxtaposes the diatonic aspects of the work's main theme with its chromatic elements. There are also some striking touches like the furious, strummed four-note chords in the violins, violas and cellos that opens the movement, a theme midway through that is based on a repeated note first hammered out on piano and xylophone, and then a grand peroration of the initial fugue theme, now with its intervals doubled and richly harmonized. In the quick coda there is a brief, suspended moment ("a tempo allargando") before the work tumbles to a conclusion in unabashed A major. [Allmusic.com]
Art by Victor Brauner
- published: 03 Oct 2010
- views: 132050
Playing Santa Claus Is Coming To Town on my home made celesta
- Order: Reorder
- Duration: 1:04
- Updated: 06 Dec 2008
- views: 69347
Santa Claus is coming to town - on home made celesta
It took me three weeks to complete it, using left over wood, parts of an old piano and an organ keyboard.
Santa Claus is coming to town - on home made celesta
It took me three weeks to complete it, using left over wood, parts of an old piano and an organ keyboard.
wn.com/Playing Santa Claus Is Coming To Town On My Home Made Celesta
Santa Claus is coming to town - on home made celesta
It took me three weeks to complete it, using left over wood, parts of an old piano and an organ keyboard.
- published: 06 Dec 2008
- views: 69347
My Homemade Celesta
- Order: Reorder
- Duration: 18:02
- Updated: 12 Jan 2014
- views: 23997
This is a documentary on the construction of my homemade celesta showing each step of the process through completion. The full video is rather long so if you'd ...
This is a documentary on the construction of my homemade celesta showing each step of the process through completion. The full video is rather long so if you'd like to see the instrument finished and hear a short demo then skip ahead to [15:30], although you shouldn't miss a couple of fun segments where I tried my hand at some amateur animations at [10:30] and [13:25].
Please leave me a comment below and let me know what you think.
wn.com/My Homemade Celesta
This is a documentary on the construction of my homemade celesta showing each step of the process through completion. The full video is rather long so if you'd like to see the instrument finished and hear a short demo then skip ahead to [15:30], although you shouldn't miss a couple of fun segments where I tried my hand at some amateur animations at [10:30] and [13:25].
Please leave me a comment below and let me know what you think.
- published: 12 Jan 2014
- views: 23997
Béla Bartók - Music for Strings, Percussion and Celesta, II
- Order: Reorder
- Duration: 7:23
- Updated: 03 Oct 2010
- views: 75668
Music for Strings, Percussion & Celesta, Sz. 106, BB 114 (1936)
I. Andante tranquillo
II. Allegro
III. Adagio
IV. Allegro molto
Chicago Symphony Orchestra
Jam...
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 cell, each subsequent phrase growing in length and elaborating on its predecessor. At this point, the two string orchestras play together. As the string voices accumulate, the fugue's texture increases in complexity and the chromatic implications of the theme are brought to a rigorously dissonant fulfillment. The fugue climaxes at its apogee with an ominous rumble from the timpani and a loud stroke on the tam-tam. As the fugue folds in upon itself the celesta makes its first entrance with an arpeggiated chord, mysterious and remote. The work subsequently grows from the motivic material explored in this first movement.
Bartók deploys antiphonal string choirs for the second movement, a fast, fugitive piece in which the two orchestras chase each other through a breathtaking series of elaborations on the main theme. In the percussion section, piano, xylophone, and harp take the lead while two side drums (with and without snares) provide emphatic punctuation. The third movement is one of Bartók's most accomplished "night music" pieces, with cricket-like notes from the xylophone, eerie timpani glissandi, fragmentary murmurs, and frightened exclamations from the strings, along with the always-mysterious notes of the celesta floating clear and sphinx-like over the nocturnal weft. The finale, a dance of energy and abandon, restores the antiphonal deployment of the strings and juxtaposes the diatonic aspects of the work's main theme with its chromatic elements. There are also some striking touches like the furious, strummed four-note chords in the violins, violas and cellos that opens the movement, a theme midway through that is based on a repeated note first hammered out on piano and xylophone, and then a grand peroration of the initial fugue theme, now with its intervals doubled and richly harmonized. In the quick coda there is a brief, suspended moment ("a tempo allargando") before the work tumbles to a conclusion in unabashed A major. [Allmusic.com]
Art by Victor Brauner
wn.com/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 cell, each subsequent phrase growing in length and elaborating on its predecessor. At this point, the two string orchestras play together. As the string voices accumulate, the fugue's texture increases in complexity and the chromatic implications of the theme are brought to a rigorously dissonant fulfillment. The fugue climaxes at its apogee with an ominous rumble from the timpani and a loud stroke on the tam-tam. As the fugue folds in upon itself the celesta makes its first entrance with an arpeggiated chord, mysterious and remote. The work subsequently grows from the motivic material explored in this first movement.
Bartók deploys antiphonal string choirs for the second movement, a fast, fugitive piece in which the two orchestras chase each other through a breathtaking series of elaborations on the main theme. In the percussion section, piano, xylophone, and harp take the lead while two side drums (with and without snares) provide emphatic punctuation. The third movement is one of Bartók's most accomplished "night music" pieces, with cricket-like notes from the xylophone, eerie timpani glissandi, fragmentary murmurs, and frightened exclamations from the strings, along with the always-mysterious notes of the celesta floating clear and sphinx-like over the nocturnal weft. The finale, a dance of energy and abandon, restores the antiphonal deployment of the strings and juxtaposes the diatonic aspects of the work's main theme with its chromatic elements. There are also some striking touches like the furious, strummed four-note chords in the violins, violas and cellos that opens the movement, a theme midway through that is based on a repeated note first hammered out on piano and xylophone, and then a grand peroration of the initial fugue theme, now with its intervals doubled and richly harmonized. In the quick coda there is a brief, suspended moment ("a tempo allargando") before the work tumbles to a conclusion in unabashed A major. [Allmusic.com]
Art by Victor Brauner
- published: 03 Oct 2010
- views: 75668
BÉLA BARTÓK.- 1881-1945- Música para cuerdas, percusión y celesta
- Order: Reorder
- Duration: 29:07
- Updated: 07 Feb 2013
- views: 11830
BÉLA BARTÓK.- 1881-1945-
Música para cuerdas, percusión y celesta
La pieza consta de cuatro movimientos, lentos los impares y rápidos los pares, con una dur...
BÉLA BARTÓK.- 1881-1945-
Música para cuerdas, percusión y celesta
La pieza consta de cuatro movimientos, lentos los impares y rápidos los pares, con una duración total de media hora aproximadamente:
Andante tranquillo
Allegro
Adagio
Allegro molto
Orquesta del Concertgebouw de Amsterdam
Director: Bernard Haitink
Música para cuerda, percusión y celesta (Sz. 106, BB 114) es una de las obras más conocidas del compositor húngaro Béla Bartók. Encargada por Paul Sacher para celebrar el décimo aniversario de su Orquesta de Cámara de Basilea, la partitura está fechada el 7 deseptiembre de 1936, y su estreno se produjo en Basilea el 21 de enero de 1937 por la orquesta dedicataria, dirigida por el propio Sacher.
La orquestación se compone de dos grupos de instrumentos de cuerda (violines, violas, violonchelos y contrabajos), que se dan la réplica entre sí en lados opuestos del escenario, y a la vez se enfrentan a un grupo central integrado por la celesta, un arpa, timbales, percusión (xilófono, caja, bombo, platillos y tam-tam), así como un piano, utilizado principalmente en funciones percusivas. La disposición espacial enfrentada de los dos grupos de cuerda permite al compositor utilizar efectos estereofónicos, particularmente perceptibles en los movimientos segundo y cuarto.
El primer movimiento es una fuga lenta, cuyos compases cambian constantemente. Está basado alrededor de la nota la, con la que empieza y concluye el movimiento, cuya estructura se basa, como en otras composiciones del autor, en proporciones relacionadas con el número de oro. Comienza con las cuerdas en sordina, y según se incorporan más voces la textura orquestal se hace más densa y la música se torna más fuerte hasta el clímax. Se retiran entonces las sordinas y la música se vuelve gradualmente más tranquila sobre suaves arpegios de la celesta. El movimiento termina con el tema de la fuga tocado suavemente sobre su inversión. El material temático de este primer movimiento reaparecerá después de distintas formas en los movimientos finales, sirviendo de nexo a toda la obra.
El segundo movimiento es rápido, con un tema en compás de 2/4, que se transformará en 3/8 hacia el final. Se caracteriza por los fuertes acentos sincopados del piano y de la percusión, en una danza vertiginosa, que evoluciona en una extensa sección en pizzicato, con una conclusión al modo de un concierto para piano.
El tercer movimiento es un nocturno lento, característico del autor, y presenta glissandi de los timbales, lo que en la fecha de composición de la obra era una técnica poco usual, así como una intervención prominente del xilófono. Las cinco secciones del movimiento están ligadas por las cuatro frases del tema del primer movimiento, expresando así la continuidad de la obra.
El último movimiento comienza con notas en los timbales y pizzicati rasgueados de las cuerdas y tiene el carácter de una vivaz danza campesina. En la coda aparece de nuevo el tema de la fuga delprimer movimiento con los intervalos literalmente doblados.
En el conjunto de la obra puede apreciarse una importante invención rítmica, y un lenguaje cromático de esencia modal (con una nota sirviendo siempre de polaridad al discurso musical); así como la utilización de fuentes folklóricas e impresionistas.
La popularidad alcanzada por la Música para cuerda, percusión y celesta se evidencia en su frecuente utilización en películas y obras de cultura popular. El ejemplo más destacado es la inclusion del segundo movimiento en la banda sonora de El resplandor (The Shining), la película de Stanley Kubrick.
wn.com/Béla Bartók. 1881 1945 Música Para Cuerdas, Percusión Y Celesta
BÉLA BARTÓK.- 1881-1945-
Música para cuerdas, percusión y celesta
La pieza consta de cuatro movimientos, lentos los impares y rápidos los pares, con una duración total de media hora aproximadamente:
Andante tranquillo
Allegro
Adagio
Allegro molto
Orquesta del Concertgebouw de Amsterdam
Director: Bernard Haitink
Música para cuerda, percusión y celesta (Sz. 106, BB 114) es una de las obras más conocidas del compositor húngaro Béla Bartók. Encargada por Paul Sacher para celebrar el décimo aniversario de su Orquesta de Cámara de Basilea, la partitura está fechada el 7 deseptiembre de 1936, y su estreno se produjo en Basilea el 21 de enero de 1937 por la orquesta dedicataria, dirigida por el propio Sacher.
La orquestación se compone de dos grupos de instrumentos de cuerda (violines, violas, violonchelos y contrabajos), que se dan la réplica entre sí en lados opuestos del escenario, y a la vez se enfrentan a un grupo central integrado por la celesta, un arpa, timbales, percusión (xilófono, caja, bombo, platillos y tam-tam), así como un piano, utilizado principalmente en funciones percusivas. La disposición espacial enfrentada de los dos grupos de cuerda permite al compositor utilizar efectos estereofónicos, particularmente perceptibles en los movimientos segundo y cuarto.
El primer movimiento es una fuga lenta, cuyos compases cambian constantemente. Está basado alrededor de la nota la, con la que empieza y concluye el movimiento, cuya estructura se basa, como en otras composiciones del autor, en proporciones relacionadas con el número de oro. Comienza con las cuerdas en sordina, y según se incorporan más voces la textura orquestal se hace más densa y la música se torna más fuerte hasta el clímax. Se retiran entonces las sordinas y la música se vuelve gradualmente más tranquila sobre suaves arpegios de la celesta. El movimiento termina con el tema de la fuga tocado suavemente sobre su inversión. El material temático de este primer movimiento reaparecerá después de distintas formas en los movimientos finales, sirviendo de nexo a toda la obra.
El segundo movimiento es rápido, con un tema en compás de 2/4, que se transformará en 3/8 hacia el final. Se caracteriza por los fuertes acentos sincopados del piano y de la percusión, en una danza vertiginosa, que evoluciona en una extensa sección en pizzicato, con una conclusión al modo de un concierto para piano.
El tercer movimiento es un nocturno lento, característico del autor, y presenta glissandi de los timbales, lo que en la fecha de composición de la obra era una técnica poco usual, así como una intervención prominente del xilófono. Las cinco secciones del movimiento están ligadas por las cuatro frases del tema del primer movimiento, expresando así la continuidad de la obra.
El último movimiento comienza con notas en los timbales y pizzicati rasgueados de las cuerdas y tiene el carácter de una vivaz danza campesina. En la coda aparece de nuevo el tema de la fuga delprimer movimiento con los intervalos literalmente doblados.
En el conjunto de la obra puede apreciarse una importante invención rítmica, y un lenguaje cromático de esencia modal (con una nota sirviendo siempre de polaridad al discurso musical); así como la utilización de fuentes folklóricas e impresionistas.
La popularidad alcanzada por la Música para cuerda, percusión y celesta se evidencia en su frecuente utilización en películas y obras de cultura popular. El ejemplo más destacado es la inclusion del segundo movimiento en la banda sonora de El resplandor (The Shining), la película de Stanley Kubrick.
- published: 07 Feb 2013
- views: 11830
Celesta en Mick Harren "Net als jij"
- Order: Reorder
- Duration: 3:33
- Updated: 20 Jun 2015
- views: 9696
De nieuwe zomer hit single 2015 van Celesta en Mick Harren
De nieuwe zomer hit single 2015 van Celesta en Mick Harren
wn.com/Celesta En Mick Harren Net Als Jij
[Cover] My Grandfather's Clock 大きな古時計 - Playing on JENCO celesta
- Order: Reorder
- Duration: 2:47
- Updated: 30 Sep 2012
- views: 7826
This is one of my favorite songs.
The instrument is JENCO's celesta.
Composed by Henry Clay Work
Arranged and Played by Masashi Yamanaka
This is one of my favorite songs.
The instrument is JENCO's celesta.
Composed by Henry Clay Work
Arranged and Played by Masashi Yamanaka
wn.com/Cover My Grandfather's Clock 大きな古時計 Playing On Jenco Celesta
This is one of my favorite songs.
The instrument is JENCO's celesta.
Composed by Henry Clay Work
Arranged and Played by Masashi Yamanaka
- published: 30 Sep 2012
- views: 7826
Blue Monk played on Celesta
- Order: Reorder
- Duration: 2:38
- Updated: 24 Jul 2010
- views: 3244
Blue Monk by Thelonious Monk - recorded in Verden, Germany, July 20, 2010 performed on a Schiedmayer Celesta by former member of Austria's Mojo Blues Band Henni...
Blue Monk by Thelonious Monk - recorded in Verden, Germany, July 20, 2010 performed on a Schiedmayer Celesta by former member of Austria's Mojo Blues Band Henning Pertiet - see also
www.myspace.com/henningpertiet - or www.pertiet.de
This Celesta is now mine and is at my home - I am finally happy with it after searching for it 20 years
wn.com/Blue Monk Played On Celesta
Blue Monk by Thelonious Monk - recorded in Verden, Germany, July 20, 2010 performed on a Schiedmayer Celesta by former member of Austria's Mojo Blues Band Henning Pertiet - see also
www.myspace.com/henningpertiet - or www.pertiet.de
This Celesta is now mine and is at my home - I am finally happy with it after searching for it 20 years
- published: 24 Jul 2010
- views: 3244
Bartók: Music for Strings, Percussion and Celesta / Boulez · Berliner Philharmoniker
- Order: Reorder
- Duration: 3:56
- Updated: 05 Nov 2009
- views: 114045
Full-length concert: http://www.digitalconcerthall.com/concert/41/?a=youtube&c;=true
Béla Bartók: Music for Strings, Percussion and Celesta / Pierre Boulez, cond...
Full-length concert: http://www.digitalconcerthall.com/concert/41/?a=youtube&c;=true
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:
http://dch.berliner-philharmoniker.de
Subscribe to our newsletter:
http://www.digitalconcerthall.com/newsletter
Website of the Berliner Philharmoniker:
http://www.berliner-philharmoniker.de
wn.com/Bartók Music For Strings, Percussion And Celesta Boulez · Berliner Philharmoniker
Full-length concert: http://www.digitalconcerthall.com/concert/41/?a=youtube&c;=true
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:
http://dch.berliner-philharmoniker.de
Subscribe to our newsletter:
http://www.digitalconcerthall.com/newsletter
Website of the Berliner Philharmoniker:
http://www.berliner-philharmoniker.de
- published: 05 Nov 2009
- views: 114045
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2:16
The Nutcracker's celesta with Kelly Zuercher
Kelly Zuercher is a keyboardist with the Colorado Springs Philharmonic, and in this video,...
published: 27 Nov 2013
The Nutcracker's celesta with Kelly Zuercher
The Nutcracker's celesta with Kelly Zuercher
- Report rights infringement
- published: 27 Nov 2013
- views: 86049
10:20
Celesta - the instrument’s origins - the making of the celesta in the Schiedmayer workshop.
This video informs about the musical instrument celesta: its invention in 1886, its very s...
published: 07 Aug 2015
Celesta - the instrument’s origins - the making of the celesta in the Schiedmayer workshop.
Celesta - the instrument’s origins - the making of the celesta in the Schiedmayer workshop.
- Report rights infringement
- published: 07 Aug 2015
- views: 13746
1:34
Celesta (instrument)
Improvisation
Octobre 2009
Celesta : Adriano Spampanato
published: 03 Nov 2009
Celesta (instrument)
Celesta (instrument)
- Report rights infringement
- published: 03 Nov 2009
- views: 244248
27:56
Béla Bartók - Music for Strings, Percussion and Celesta
- Composer: Béla Viktor János Bartók (25 March 1881 -- 26 September 1945)
- Orchestra: RI...
published: 16 Sep 2015
Béla Bartók - Music for Strings, Percussion and Celesta
Béla Bartók - Music for Strings, Percussion and Celesta
- Report rights infringement
- published: 16 Sep 2015
- views: 12335
1:08
Pirates of the Caribbean - Davy Jones's theme on a celesta !
As I said it on Facebook/Twitter account, I was impressed by the success of my organ cover...
published: 25 Nov 2014
Pirates of the Caribbean - Davy Jones's theme on a celesta !
Pirates of the Caribbean - Davy Jones's theme on a celesta !
- Report rights infringement
- published: 25 Nov 2014
- views: 49589
3:50
Instrument: Celeste
In this film, Elizabeth Burley introduces her instrument - the celeste.
To learn more ab...
published: 07 Aug 2013
Instrument: Celeste
Instrument: Celeste
- Report rights infringement
- published: 07 Aug 2013
- views: 160556
35:14
Bela Bartok Music for Strings, Percussion and Celesta
Round Top Music Festival
Texas Festival Chamber Orchestra
Linus Lerner, conductor
Festival...
published: 13 Aug 2014
Bela Bartok Music for Strings, Percussion and Celesta
Bela Bartok Music for Strings, Percussion and Celesta
- Report rights infringement
- published: 13 Aug 2014
- views: 45387
5:52
Marrying Celesta and Keyboard Glockenspiel
Hollywood film/TV composer, orchestrator, arranger, and keyboardist Geoff Stradling takes ...
published: 06 Feb 2014
Marrying Celesta and Keyboard Glockenspiel
Marrying Celesta and Keyboard Glockenspiel
- Report rights infringement
- published: 06 Feb 2014
- views: 11301
30:05
Béla Bartók, Music for strings, percussion and celesta (Full)
Béla Bartók (1881-1945)
Music for strings, percussion and celesta
I Andante tranquillo
...
published: 18 Jan 2012
Béla Bartók, Music for strings, percussion and celesta (Full)
Béla Bartók, Music for strings, percussion and celesta (Full)
- Report rights infringement
- published: 18 Jan 2012
- views: 175622
1:18
Abbey Rd, Harry Potter & Xander
Harry the Piano plays the Harry Potter theme on the original celeste in Abbey Road studios...
published: 29 May 2014
Abbey Rd, Harry Potter & Xander
Abbey Rd, Harry Potter & Xander
- Report rights infringement
- published: 29 May 2014
- views: 10727
2:44
Nutcracker "Sugar Plum Fairy" by celesta
Tchaikovsky"The Nutcracker" Dance of Sugar Plum Fariy by Shino Takizawa -Vienna State Ball...
published: 23 Dec 2014
Nutcracker "Sugar Plum Fairy" by celesta
Nutcracker "Sugar Plum Fairy" by celesta
- Report rights infringement
- published: 23 Dec 2014
- views: 3220
0:39
Schiedmayer Celesta (from L.A. Percussion Rentals)
Celesta (a.k.a. celeste) from L.A. Percussion Rentals. "Dance of the Sugar Plum Fairy" fro...
published: 26 Nov 2012
Schiedmayer Celesta (from L.A. Percussion Rentals)
Schiedmayer Celesta (from L.A. Percussion Rentals)
- Report rights infringement
- published: 26 Nov 2012
- views: 10434
29:34
Bartók Music for Strings, Percussion and Celesta HD 2015 Colorado College Music Festival
Bartók - Music for Strings, Percussion, and Celesta, Sz. 106
I. Andante tranquillo
II. Al...
published: 01 Sep 2015
Bartók Music for Strings, Percussion and Celesta HD 2015 Colorado College Music Festival
Bartók Music for Strings, Percussion and Celesta HD 2015 Colorado College Music Festival
- Report rights infringement
- published: 01 Sep 2015
- views: 2029
8:02
Béla Bartók - Music for Strings, Percussion and Celesta, III
Music for Strings, Percussion & Celesta, Sz. 106, BB 114 (1936)
I. Andante tranquillo
II....
published: 03 Oct 2010
Béla Bartók - Music for Strings, Percussion and Celesta, III
Béla Bartók - Music for Strings, Percussion and Celesta, III
- Report rights infringement
- published: 03 Oct 2010
- views: 180146
The Nutcracker's celesta with Kelly Zuercher...
Celesta - the instrument’s origins - the making of...
Celesta (instrument)...
Béla Bartók - Music for Strings, Percussion and Ce...
Pirates of the Caribbean - Davy Jones's theme on a...
Instrument: Celeste...
Bela Bartok Music for Strings, Percussion and Cele...
Marrying Celesta and Keyboard Glockenspiel...
Béla Bartók, Music for strings, percussion and cel...
Abbey Rd, Harry Potter & Xander...
Nutcracker "Sugar Plum Fairy" by celesta...
Schiedmayer Celesta (from L.A. Percussion Rentals)...
Bartók Music for Strings, Percussion and Celesta H...
Béla Bartók - Music for Strings, Percussion and Ce...
Béla Bartók - Music for Strings, Percussion and Ce...
Playing Santa Claus Is Coming To Town on my home m...
My Homemade Celesta...
Béla Bartók - Music for Strings, Percussion and Ce...
BÉLA BARTÓK.- 1881-1945- Música para cuerdas, perc...
Celesta en Mick Harren "Net als jij"...
![[Cover] My Grandfather's Clock 大きな古時計 - Playing on JENCO cel](http://web.archive.org./web/20160306234514/http://i.ytimg.com/vi/3YT9Oz05-MI/0.jpg)
[Cover] My Grandfather's Clock 大きな古時計 - Playing on...
Blue Monk played on Celesta...
Bartók: Music for Strings, Percussion and Celesta ...
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Lyrics list:text lyricsplay full screenplay karaoke
photo: AP
Former First Lady Nancy Reagan dies at 94
Edit BBC News 06 Mar 2016
Former first lady Nancy Reagan - whose marriage to Ronald Reagan was described as the US presidency's greatest love affair - has died aged 94 ... ....
photo: AP / Anmar Khalil
Bomb blast kills 60 in Iraq
Edit Otago Daily Times 06 Mar 2016
Residents gather at the site of the car bomb attack at a checkpoint in the city of Hilla. Photo. Reuters. A truck bomb at an Iraqi checkpoint south of Baghdad killed at least 60 people and wounded more than 70, medical and security officials said. Islamic State claimed responsibility for the blast ... This was also claimed by the ultra-hardline Sunni group that controls vast swathes of territory in Iraq and in Syria ... ....
photo: AP / Brynn Anderson
Trump on waterboarding: US should stop 'playing by the rules' in Isis battle
Edit The Guardian 06 Mar 2016
Republican frontrunner says laws must be reworked because they ‘are not working’. ‘We talk about waterboarding like it’s the worst thing in the world’. @MartinPengelly. Donald Trump has reiterated his determination that the US should stop “playing by the rules” in its fight against Islamic State militants. Related. Ted Cruz creeps up on Donald Trump after Super Saturday victories – live updates ... “We cannot beat Isis ... Related ... He added ... ....
photo: AP / Wong Maye-E
Beijing not to permit Taiwan split from China: President Xi
Edit Press TV 06 Mar 2016
Chinese President Xi Jinping has warned Taiwan against any independence drive, saying Beijing will never give the self-ruled island nation permission to break off from the mainland. Xi made the remarks during a meeting with Shanghai delegates to the opening session of the annual National People’s Congress in Beijing on Saturday. ... ©AFP ... ....
photo: US Navy / MCS1 Peter D. Blair
First things to be raised if MH370 found: More questions
Edit Yahoo Daily News 06 Mar 2016
SYDNEY (AP) — If Malaysia Airlines Flight 370 is ever found, the wreckage will immediately present a host of new questions before it's likely to provide answers about the plane's disappearance nearly two years ago. What will be recovered? Who will pay for it? How much evidence has already been lost forever? Here are some key issues that will crop up if the plane is located.. ___. MUCH COULD REMAIN IN OCEAN ... ___. JOINT EFFORT ... ___ ... ....
« back to news headlines
Read the Full Transcript of the Tenth Republican Debate in Texas
Edit Time Magazine 26 Feb 2016
Five Republican presidential candidates faced off Thursday night in Houston for the tenth GOP debate. Real estate mogul Donald Trump, Texas Sen. Ted Cruz, Florida Sen. Marco Rubio, Ohio Gov ... BLITZER ... (APPLAUSE). BLITZER ... Joining me in the questioning, Telemundo host Maria Celesta Arrasas, CNN Chief Political Correspondent Dana Bash; and Salem Radio Network’s Hugh Hewitt, who worked in the Reagan administration for six years ... BLITZER ... ....
Spooky, Scary Classical Music
Edit About.com 21 Feb 2016
This piece still gives me chills whenever I hear it, especially on Halloween ... Music for Strings, Percussion and Celesta - 3rd Movement - Composed in 1936 by the imaginative 20th century Hungarian composer Bela Bartok. The said piece was written for the Swiss conductor Paul Sacher. The third movement (adagio) is particularly eerie, using the celesta, timpani and xylophone along with string instruments to create a dark tone color ... ....
The Cleveland Orchestra announces Summers@Severance concerts for July & August (Cleveland Orchestra)
Edit Public Technologies 18 Feb 2016
This year's Summers@Severance series begins July 8 when Music Director Franz Welser-Möst leads the Orchestra in a program of Brahms's A German Requiem with The Cleveland Orchestra Chorus and Bartók's Music for Strings, Percussion, and Celesta ... BARTÓK Music for Strings, Percussion, and Celesta....
What's the secret of a great film score?
Edit Sydney Morning Herald 27 Jan 2016
What makes a great film score? Being memorable, is the obvious answer. You only have to mention the words Lawrence of Arabia or E.T. and a glorious tune comes instantly to mind. There's another answer. being right for the drama ... To do both at once is a rare triumph ... In fact it sounds remarkably unified, partly because of Williams' distinctive orchestral palette, shot through with uncanny cold star-gleams of celesta and glockenspiel ... ....
Classical concerts touring to Canberra in 2016
Edit Canberra Times 26 Jan 2016
Perusing the programs of the concerts offered by groups that will tour to Canberra during 2016 is like gazing into a box of delectable chocolates and trying to make agonising choices. ... Tickets ... A Suite for Strings, Bela Bartok's Music for Strings, Percussion and Celesta used in Stanley Kubrick's film The Shining, as well as two works by Xenakis and the world premiere of Timothy Constable's new work for strings and percussion ... ....
A Polish accent to L.A. Phil New Music Group's Green Umbrella program
Edit The Los Angeles Times 21 Jan 2016
Listeners may recall the unsettling string effects of Krzysztof Penderecki's 1961 "Polymorphia," featured in "The Exorcist" and "The Shining." ... The night began with a U.S ... There's even a passage for celesta reminiscent of Tchaikovsky's "Nutcracker." Itzhak Perlman pleases his many fans at Disney Hall with pieces by Tchaikovsky and Mozart Richard S. Ginell ... (Richard S. Ginell) ... (David Ng) ... MORE. ....
January-February events at Rice’s Shepherd School of Music (Rice University)
Edit Public Technologies 21 Jan 2016
(Source. Rice University). Rice University. Office of Public Affairs / News & Media Relations. NEWS RELEASE. David Ruth. 713-348-6327. david@rice.edu. Amy McCaig. 713-348-6777. amym@rice.edu. January-February events at Rice's Shepherd School of Music. HOUSTON - (Jan ... Unless otherwise noted, all performances are free and open to the public ... 20 ... Bartók's Music for Strings, Percussion and Celesta (Jerry Hou, conductor) and Mendelssohn's Symphony No....
Boundless Curiosity (Andrews University)
Edit Public Technologies 18 Jan 2016
(Source. Andrews University). Boundless Curiosity. A tribute to Whitney Wang Watson (1997-2015) ... Whitney in California while doing something she loved with a passion ... By ... Clair ... Her roommate, Celesta Burt, shares her reflection on a conversation she had with Whitney last semester. Celesta asked Whitney what she most appreciated in a person-what drew her to someone. 'She said she was drawn to people who were friendly and kind,' says Celesta....
Wind Ensemble to premiere composition honoring victims of S.C. church shooting (Western Kentucky University)
Edit Public Technologies 14 Jan 2016
(Source. Western Kentucky University). WKU group to debut 'Of Our New Day Begun' by Omar Thomas on Feb. 20 at conference in Charleston near Emanuel AME Church ... WKU Wind Ensemble. Of Our New Day Begun was composed by Omar Thomas, a young African American composer who teaches at the Berklee College of Music in Boston. The WKU Wind Ensemble, led by Dr ... ET Feb. 20 ... Schallert said. Omar Thomas ... Dr ... 1 ... Feb ... Liz Ward of San Antonio, Texas Piano/Celesta....
Vincent Calianno Receives ASCAP Foundation Nissim Prize for The Facts and Dreams of the World ...
Edit Public Technologies 12 Jan 2016
(Source. ASCAP - American Society of Composers Authors and Publishers). New York, NY, January 12, 2016. The ASCAP Foundation is pleased to announce that Vincent Calianno has been named recipient of the 36th annual ASCAP Foundation Rudolf Nissim Prize ... Dr ... A jury of conductors selects the winning score ... For more information ... Vincent Calianno ... Duration ... Three pitches roughly C,G,C)), Harp, Pianoforte, Celesta, Optional Ondes Martenot, Strings....
MRT Tamsui-Xinyi Line to get musical overhaul
Edit Taipei Times 18 Dec 2015
Starting today, instrumental music is to be broadcast at eight stations along the MRT’s Tamsui-Xinyi Line to notify passengers of services and lighten their moods, the metro operator said ... The music features harpsichords, xylophones, kalimbas and celestas using light motifs and uplifting melodies, which will likely lighten passengers’ mood, the company said ... Additional reporting by Loa Iok-sin ....
The Cleveland Orchestra and Music Director Franz Welser-Möst announce 2016 European Festivals Tour (Cleveland Orchestra) ...
Edit Public Technologies 03 Dec 2015
The Sunday concert opens with Bartók's Music for Strings, Percussion, and Celesta, and also includes the Four Last Songs with soprano Luba Orgonášová as soloist ... The 2016 European Festivals Tour concludes with a performance at the Lucerne Festival on Wednesday, August 24, with a program of Bartók's Music for Strings, Percussion, and Celesta and Beethoven's Symphony No ... BARTÓK Music for Strings, Percussion, and Celesta....
INSUFFICIENT ADDRESSES (Shee Atika Incorporated)
Edit Public Technologies 01 Dec 2015
(Source. Shee Atika Incorporated) Shee Atiká is currently looking for the following shareholders. If you are on this list or know a shareholder who is, please contact our office in Sitka at (907) 747-3534 or (800) 478-3534. ALBERT, EMMERT. ALLINGER, CYNTHIA J. ALLINGER, FELICIA LEE. AMBROSE, LINDSAY MARIE. ANDERSON, LARRY WAYNE. BARDEN, HEATH ADAM. BARR, CATHRYNE ROMONA. BARR, SAMANTHA ARLENE. BECK, PATRICK JOHN ... MORRISON, ROBERTA CELESTA....
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