- published: 20 Oct 2016
- views: 825
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Tracklist below.
Download on iTunes: https://itunes.apple.com/album/arvo-part-fur-anna-maria-complete/id895720326
For physical sales: http://brilliantclassics.com/articles/a/arvo-paert-fuer-anna-maria,-complete-piano-music/
Listen via Spotify: https://open.spotify.com/album/4LKO7lmLeK2US2Ppide9Iy
Jeroen Van Veen has released a series of acclaimed recordings on Brilliant Classics of music by the masters of Minimalism, that 1960s-derived aesthetic in which it is not so much the case that more can be said with less as that less seems to be necessary in an increasingly noisy and chaotic world. The Estonian composer Arvo Pärt has never counted himself as among the minimalist number, nor indeed was he schooled in their new traditions, but emerged in the 1960s as an angry and dissonant voice whose musically expressed anger against Communist oppression of his native country could barely be contained within the tumultuous textures of works such as the Third Symphony, but a combination of personal circumstances and aesthetic decisions led him to pare back his style to the world of eerie calm and yet underlying melancholy that has made works such as the Cantus in memoriam Benjamin Britten such an enduring favourite even among audiences who would not otherwise count themselves as aficionados of the European contemporary music scene. But then Pärt has never fitted into any one stylistic box, and alongside the quiet rapture of Für Alina we may find the student-era tinkling of the intriguing early Dance Pieces, as well as arrangements of classics such as Fratres and Spiegel im Spiegel – here interpreted by Dutch cellist Douw Fonda – that seem to preserve their special mood no matter what the instrumental forces; a quality they share with works of Pärt's compositional idol, J.S. Bach.
00:00:00 Für Alina (1976)
00:20:18 Variationen zur Gesundung von Arinuschka (1977)
00:26:15 Ukuaru valss (1973, rev. 2010)
00:29:09 Für Anna Maria No. 1 (2006)
00:30:30 Für Alina No. 1 (1976)
00:33:11 Pari intervallo (1976, rev. 2008)
00:38:38 Hymn to a Great City (1984, rev. 2004)
00:43:47 Für Anna Maria No. 2 (2006)
00:44:55 Für Alina No. 2 (1976)
00:48:11 Fratres (1977, rev. 1980)
01:00:03 Spiegel im Spiegel (1978)
01:09:14 Vier leichte Tanzstücke “Musik für Kindertheater”: I. Der gestiefelte Kater
01:09:58 Vier leichte Tanzstücke “Musik für Kindertheater”: II. Rotkäppchen und der Wolf
01:12:13 Vier leichte Tanzstücke “Musik für Kindertheater”: III. Schmetterlinge
01:14:19 Vier leichte Tanzstücke “Musik für Kindertheater”: IV. Tanz der Entenküken
01:16:54 Sonatina No. 1: I. Allegro
01:19:27 Sonatina No. 1: II. Larghetto
01:23:46 Sonatina No. 1: III. Allegro
01:24:11 Sonatine No. 2: I. Allegro energico
01:26:04 Sonatine No. 2: II. Largo
01:28:07 Sonatine No. 2: III. Allegro
01:29:55 Partita, Op. 2: I. Toccatina
01:30:46 Partita, Op. 2: II. Fughetta
01:31:50 Partita, Op. 2: III. Larghetto
01:35:07 Partita, Op. 2: IV. Ostinato
01:37:16 Für Alina No. 3 (1976)
Für Alina is a work for piano composed by the Estonian composer . It can be considered as an essential work of his tintinnabuli style.
Für Alina was first performed in Tallinn in 1976, along with six other works, after a long preparatory period in Pärt’s life as a composer. This concert was the first to introduce his new signature style of composition, referred to as the tintinnabuli style. Für Alina was dedicated to a family friend's eighteen-year-old daughter who had just gone to study in London. Its introspection calls to mind a vivid image of youth, off to explore the world.
The piece appears very simple on the page and could be played by any person willing to spend a little time with a piano. It has both the left and right hand written in G clef and only the echoing bass octave is written in F clef. Its simplicity is deceptive. To achieve purity of sound remains a challenge and demands an accomplished pianist with a good ear to produce the harmonic balance and symmetry the composition requires. It is common to repeat the composition several times. Variations could also be applied from one repetition to the other, like the exact 8ava of the two (melody) hands (stead for the length of each full repetition).
The score of Für Alina is only two pages long. It is in the key of B minor and is played piano (p). The only notation related to tempo is Ruhig, erhaben, in sich hineinhorchend, which roughly translates as peacefully, in an elevated and introspective manner. There is no time signature.
It begins with a low double-octave B, which echoes throughout the whole work (save for the last section); it should be played with the pedal down throughout (a single pedal shift is found before the last four bars). The right hand plays the notes an octave higher than noted. Considering there is no time signature, the tempo is free, yet introspective in a way that allows the player to personalize the experience of playing it by responding to the notes and occasional dissonance. Thus the use of rubato becomes essential. Both hands play their single notes at the same time.
Only two types of notes appear in the score: whole notes and stemless black notes (more free as to their duration). It has only 15 bars of written music: the first bar has the low bass octave. From there onwards begins the following pattern: the second bar has one note-head and one whole note, the next bar has two quarter notes and a whole note, and so on until a bar that has seven quarter notes and a whole note. This pattern then scales down again, to one quarter note and a half note. The last bar has two quarter notes and a half note. In other words, the first bar has one note, the second has two, the third has three, and so on. It is built as such: 1 2 3 4 5 6 7 8 7 6 5 4 3 2 3. The compositional symmetry mirrors the harmonic symmetry.
If played softly enough, with the pedal down and given enough time, the notes (often resulting in minor and major clashes between B and C#, D and E, and F# and G) can produce a humming of dissonance in the piano’s machinery, a phenomenon that only adds to the transcendental nature of the piece.
The entire harmonic structure, save for one note, is constructed so that the left hand part is the highest note in a B Minor chord which is below the melody line. Thus, when the melody is on a C# or D, the left hand is on a B. When the melody is on an E or F#, the left hand is on a D, and when the melody is on a G, A, or B, the left hand is on an F#. The only break from this harmonic structure appears when the left hand hits a C# below an F# in the right hand, synchronous with the release of the pedal at the end of the 11th bar.
(Wikipedia)
Please take note that the audio AND the sheet music ARE NOT mine. Please change the quality to a minimum of 480p if the video is blurry.
Original audio: classical-music-online.net
Original sheet music: I forgot. This was a reupload of the original video, and I managed to download it before it got blocked, so I have to make do with snapshots from the video, because I don't have the sheet music anymore. Sorry.
- published: 06 Mar 2016
- views: 11384
Arvo Part: 'Fur Anna Maria' - Complete Piano Music / Jeroen van Veen, piano
Record Label: Brilliant Classics
Expedition Audio recommendation: http://www.expeditionaudio.com/?p=5662
To purchase, please visit:http://www.hbdirect.com/album_detail.php?pid=2621886
Album Overview:
Estonian composer Arvo Pärt is a unique figure in the musical world. The utter simplicity of his works, inspired by his deep religious feelings, has a strange, hypnotic power over the listener. Confronted with the stark, naked and essential musical lines, one feels close to the inner truth of oneself and the other, a human bond which only music can bring.
No wonder the music of Pärt, the cult figure, reaches beyond the boundaries of traditional classical audiences. Many recordings of Pärt achieve a bestselling status.
Played by the champion of Minimal Music, Jeroen van Veen, who recorded for Brilliant Classics several collections of minimalist piano music, and the complete piano music of Philip Glass.
- published: 23 Jun 2014
- views: 12627
Video etude for the Healing of Arinushka (Arvo Part), for Piano. Budapest, Hungary, 2009.
- published: 24 Feb 2009
- views: 85975
Arvo Part - Fratres For Cello And Piano.
This is the version used in the brilliant film 'There Will Be Blood'
*Note, I made this video, but I have nothing to do with the production of the song, or the film. All rights of the song go to Arvo Part, and all rights of 'There Will Be Blood' go to the film-makers.*
- published: 26 Nov 2008
- views: 1105272
Jeroen Van Veen has released a series of acclaimed recordings on Brilliant Classics of music by the masters of Minimalism, that 1960s-derived aesthetic in which it is not so much the case that more can be said with less as that less seems to be necessary in an increasingly noisy and chaotic world. The Estonian composer Arvo Pärt has never counted himself as among the minimalist number, nor indeed was he schooled in their new traditions, but emerged in the 1960s as an angry and dissonant voice whose musically expressed anger against Communist oppression of his native country could barely be contained within the tumultuous textures of works such as the Third Symphony, but a combination of personal circumstances and aesthetic decisions led him to pare back his style to the world of eerie calm and yet underlying melancholy that has made works such as the Cantus in memoriam Benjamin Britten such an enduring favourite even among audiences who would not otherwise count themselves as aficionados of the European contemporary music scene. But then Pärt has never fitted into any one stylistic box, and alongside the quiet rapture of Für Alina we may find the student-era tinkling of the intriguing early Dance Pieces, as well as arrangements of classics such as Fratres and Spiegel im Spiegel – here interpreted by Dutch cellist Douw Fonda – that seem to preserve their special mood no matter what the instrumental forces; a quality they share with works of Pärt's compositional idol, J.S. Bach.
- published: 20 Jun 2016
- views: 2927
Spiegel im Spiegel, composed in 1978, was the last work Arvo Pärt completed before leaving his native Estonia. Following the inaugural "tintinnabular" works by only two years, the work stands as one of the most carefully distilled examples of Pärt's new compositional aesthetic, and its extreme tranquility contrasts sharply with the tension and frustration that characterized his music from a decade before.
To fully appreciate the beauty of Spiegel im Spiegel, we must go back a few years. The late 1960s found Pärt in an artistic quandary. Having tired of the brash, neoclassic style of his first published works (see, for example, the Partita), and growing equally frustrated with the predominant serialist style of the day, he composed several works that seemed to reflect no style of his own, but rather comment on the inadequacy of and incompatibility between the choices at hand. Pro et Contra and the Second Symphony, both from 1968, were characterized by rude, jarring juxtapositions of style, and reflected the urgency of Pärt's crisis. Shortly after their composition, Pärt withdrew from public composition altogether, and over the next few years composed only two works. This period was one of intense reflection and study (particularly of Medieval and Renaissance music), and by the time Pärt re-emerged in the late 1970s, he had developed an entirely new approach to composition, which became known as the "tintinnabular" style.
The principles of tintinnabuli are demonstrated clearly and elegantly in Spiegel im Spiegel. The basic technique calls for a combination of two types of voices: a melodic voice, that moves in simple stepwise fashion across diatonic scales; and a tintinnabula voice, which confines itself to pitches within the tonic triad. The chord tones follow certain variable patterns; in the case of Spiegel im Spiegel, the tintinnabular voice is the second note in each three-note accompanimental figure, which always falls on the nearest chord tone below the melodic voice (transposed down an octave). Thus, in the underlying and omnipresent F major tonality, a melodic voice on an A or G is paired with a tintinnabular voice on F; if the melody moves down to F, the tintinnabular voice drops down to the C, and so forth.
The striking lyricism of the piece certainly does not suggest the rigid guidelines with which it is constructed. Scored for violin and piano (with the option of transposing the violin part down an octave to be played by a cello), the work is made of slow, steady lines ascending and descending in the violin part, over a serene and uninterrupted arpeggio accompaniment in the piano. This texture is occasionally colored by low, sustained Fs in the bass and high, bell-like (or, to use the word in its original context, tintinnabular) consonances in the upper piano register. The gentle lines in the violin are actually built according to a strict formula: beginning with the two-note scale G-A, the violin alternately ascends then descends to A by step. With each subsequent ascent and descent, a note is added to the line. There is no sense of drama, tension, or ambiguity here--when we hear the violin leap to high G, we know the stepwise path it is going to take on its way back down to A. The beauty of the tintinnabulum is not the construction of emotional trajectory, but rather the creation of an introspective atmosphere made of pure sonority.
(AllMusic)
Please take note that the audio AND the sheet music ARE NOT mine. Change the quality to a minimum of 480p if the video is blurry.
Original audio: https://www.youtube.com/watch?v=RYypmgIYOVQ
(Performance by: Tasmin Little, accompanied by Martin Roscoe)
Original sheet music: http://www.docfoc.com/spiegel-im-spiegel-563384dacf895
- published: 21 Dec 2016
- views: 3617
Arvo Part - Fratres
Lana Trotovsek, violin twitter: https://twitter.com/LanaTrotovsek
Yoko Misumi, piano
You can support the artist by downloading "Lana Trotovsek - Arvo Part: Fratres" from iTunes here https://itunes.apple.com/gb/album/arvo-part-fratres-ep/id936893328
Hedone Records
Sound and video editing: Boris Bizjak
Camera: Boris Bizjak and Tony Dedomenici
This film was made using the Final cut pro x, Logic pro 9, Canon 60D, Canon 550D (t2i),
Neumann KM184 mached pair and 2x Rode NT2A
Recorded in June 2013 in London
and Bohinj, Slovenia
Links:
http://www.lanatrotovsek.info/
http://www.yokomisumi.com/
http://www.youtube.com/user/CINEMAN8
http://www.borisbizjak.com/
Fratres is a composition by the Estonian composer Arvo Pärt, existing in versions for a wide variety of instrumentations and exemplifying Pärt's tintinnabuli style of composition. Structurally, the piece consists of a set of eight or nine chord sequences, separated by a recurring percussion motif. The chord sequences themselves follow a clear pattern, and while the progressing chords explore a rich harmonic space, they nevertheless appear to have been generated by means of a simple formula.[2]
The first version for string quintet and wind quintet (early music ensemble) was written by Pärt in 1977. Further versions were written over the years leading up to about 1992.
Several versions of the piece exist, some of which are listed below. Each version typically has a duration of seven to twelve minutes in performance. Fratres exists perhaps most prominently in its versions for violin, string orchestra, and percussion and for violin and piano. Similarity to these versions of the others varies: for instance, the versions for viola and piano, or cello and piano are almost exactly the same as that for violin, whereas the version for string quartet is more similar to the cello version.
The versions include:
Strings and percussion
Violin, strings and percussion
String quartet
Cello and piano
Four, eight, twelve... cellos
Wind octet and percussion
String quintet
Wind quintet
Violin and piano
Viola and Piano
Saxophone Quartet
Guitar, string orchestra and percussion
A performance by the Hungarian State Opera Orchestra conducted by Tamás Benedek, recorded in 1997, was used in the six-part BBC documentary Auschwitz: The Nazis and the 'Final Solution' produced by Laurence Rees in 2005. Another version was featured in the 2007 film There Will Be Blood directed by Paul Thomas Anderson, the 2013 film The Place Beyond the Pines directed by Derek Cianfrance and the teaser trailer for the upcoming 2013 film A Single Shot, starring Sam Rockwell.
Jazz pianist Aaron Parks incorporated elements of Fratres into his composition "Harvesting Dance," heard on his album Invisible Cinema and on Terence Blanchard's album Flow.
- published: 22 Sep 2013
- views: 58484
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Spiegel Im Spiegel is a minimalist piece from the Estonian composer Arvo Part composed in 1978.
From Wikipedia ( http://en.wikipedia.org/wiki/Spiegel_im_Spiegel ):
The piece is in the tintinnabular style of composition, wherein a melodic voice, operating over diatonic scales, and tintinnabular voice, operating within a triad on the tonic, accompany each other.
Spiegel Im Spiegel in German literally can mean both "mirror in the mirror" as well as "mirrors in the mirror", referring to the infinity of images produced by parallel plane mirrors: the tonic triads are endlessly repeated with small variations as if reflected back and forth.
- published: 03 Mar 2014
- views: 66882
Arvo Pärt
Arvo Pärt (Estonian pronunciation: [ˈɑrvo ˈpært]; born 11 September 1935) is an Estonian composer of classical and sacred music. Since the late 1970s, Pärt has worked in a minimalist style that employs his self-invented compositional technique, tintinnabuli. His music is in part inspired by Gregorian chant. Pärt has been the most performed living composer in the world for 5 consecutive years.
Life
Pärt was born in Paide, Järva County, Estonia, and was raised by his mother and stepfather in Rakvere in northern Estonia. He began to experiment with the top and bottom notes as the family's piano's middle register was damaged. His first serious study came in 1954 at the Tallinn Music Middle School, but less than a year later he temporarily abandoned it to fulfill military service, playing oboe and percussion in the army band. While at the Tallinn Conservatory, he studied composition with Heino Eller. As a student, he produced music for film and the stage. During the 1950s, he also completed his first vocal composition, the cantata Meie aed ('Our Garden') for children's choir and orchestra. He graduated in 1963. From 1957 to 1967, he worked as a sound producer for Estonian radio.
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/Arvo_Pärt
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.
Piano
The piano (Italian pronunciation: [ˈpjaːno]; an abbreviation of pianoforte [pjanoˈfɔrte]) is a musical instrument played using a keyboard. It is widely employed in classical, jazz, traditional and popular music for solo and ensemble performances, accompaniment, and for composing and rehearsal. Although the piano is not portable and often expensive, its versatility and ubiquity have made it one of the world's most familiar musical instruments.
An acoustic piano usually has a protective wooden case surrounding the soundboard and metal strings, and a row of 88 black and white keys (52 white, 36 black). The strings are sounded when the keys are pressed, and silenced when the keys are released. The note can be sustained, even when the keys are released, by the use of pedals.
Pressing a key on the piano's keyboard causes a padded (often with felt) hammer to strike strings. The hammer rebounds, and the strings continue to vibrate at their resonant frequency. These vibrations are transmitted through a bridge to a soundboard that amplifies by more efficiently coupling the acoustic energy to the air. When the key is released, a damper stops the strings' vibration, ending the sound. Although an acoustic piano has strings, it is usually classified as a percussion instrument because the strings are struck rather than plucked (as with a harpsichord or spinet); in the Hornbostel-Sachs system of instrument classification, pianos are considered chordophones. With technological advances, electric, electronic, and digital pianos have also been developed.
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/Piano
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.
Spiegel im Spiegel
Spiegel im Spiegel is a piece of music written by Arvo Pärt in 1978, just prior to his departure from Estonia. The piece is in the tintinnabular style of composition, wherein a melodic voice, operating over diatonic scales, and tintinnabular voice, operating within a triad on the tonic, accompany each other. It is about ten minutes long.
Description
The piece was originally written for a single piano and violin – though the violin has often been replaced with either a cello or a viola. Versions also exist for double bass, clarinet, horn, flugelhorn, flute, bassoon, trombone, and percussion. The piece is an example of minimal music.
The piece is in F major in 6/4 time, with the piano playing rising crotchet triads and the second instrument playing slow F major scales, alternately rising and falling, of increasing length, which all end on the note A (the mediant of F). The piano's left hand also plays notes, syncopated with the violin (or other instrument).
"Spiegel im Spiegel" in German literally can mean both "mirror in the mirror" as well as "mirrors in the mirror", referring to an infinity mirror, which produces an infinity of images reflected by parallel plane mirrors: the tonic triads are endlessly repeated with small variations as if reflected back and forth. The structure of melody is made by couple of phrases characterized by the alternation between ascending and descending movement with the fulcrum on the note A. This, with also the overturning of the final intervals between adjacent phrases (for example, ascending sixth in the question - descending sixth in the answer), contribute to give the impression of a figure reflecting on a mirror and walking back and towards it.
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/Spiegel_im_Spiegel
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.
Anna Maria
Anna Maria may refer to
Places
Institutions
People
wife of Agustin I of Mexico
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/Anna_Maria
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.
Jeroen van Veen
Jeroen van Veen may refer to:
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/Jeroen_van_Veen
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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120:24Arvo Pärt: Für Anna Maria: Complete Piano Music (Full Album) played by Jeroen van Veen
Arvo Pärt: Für Anna Maria: Complete Piano Music (Full Album) played by Jeroen van VeenArvo Pärt: Für Anna Maria: Complete Piano Music (Full Album) played by Jeroen van Veen
Tracklist below. Download on iTunes: https://itunes.apple.com/album/arvo-part-fur-anna-maria-complete/id895720326 For physical sales: http://brilliantclassics.com/articles/a/arvo-paert-fuer-anna-maria,-complete-piano-music/ Listen via Spotify: https://open.spotify.com/album/4LKO7lmLeK2US2Ppide9Iy Jeroen Van Veen has released a series of acclaimed recordings on Brilliant Classics of music by the masters of Minimalism, that 1960s-derived aesthetic in which it is not so much the case that more can be said with less as that less seems to be necessary in an increasingly noisy and chaotic world. The Estonian composer Arvo Pärt has never counted himself as among the minimalist number, nor indeed was he schooled in their new traditions, but emerged in the 1960s as an angry and dissonant voice whose musically expressed anger against Communist oppression of his native country could barely be contained within the tumultuous textures of works such as the Third Symphony, but a combination of personal circumstances and aesthetic decisions led him to pare back his style to the world of eerie calm and yet underlying melancholy that has made works such as the Cantus in memoriam Benjamin Britten such an enduring favourite even among audiences who would not otherwise count themselves as aficionados of the European contemporary music scene. But then Pärt has never fitted into any one stylistic box, and alongside the quiet rapture of Für Alina we may find the student-era tinkling of the intriguing early Dance Pieces, as well as arrangements of classics such as Fratres and Spiegel im Spiegel – here interpreted by Dutch cellist Douw Fonda – that seem to preserve their special mood no matter what the instrumental forces; a quality they share with works of Pärt's compositional idol, J.S. Bach. 00:00:00 Für Alina (1976) 00:20:18 Variationen zur Gesundung von Arinuschka (1977) 00:26:15 Ukuaru valss (1973, rev. 2010) 00:29:09 Für Anna Maria No. 1 (2006) 00:30:30 Für Alina No. 1 (1976) 00:33:11 Pari intervallo (1976, rev. 2008) 00:38:38 Hymn to a Great City (1984, rev. 2004) 00:43:47 Für Anna Maria No. 2 (2006) 00:44:55 Für Alina No. 2 (1976) 00:48:11 Fratres (1977, rev. 1980) 01:00:03 Spiegel im Spiegel (1978) 01:09:14 Vier leichte Tanzstücke “Musik für Kindertheater”: I. Der gestiefelte Kater 01:09:58 Vier leichte Tanzstücke “Musik für Kindertheater”: II. Rotkäppchen und der Wolf 01:12:13 Vier leichte Tanzstücke “Musik für Kindertheater”: III. Schmetterlinge 01:14:19 Vier leichte Tanzstücke “Musik für Kindertheater”: IV. Tanz der Entenküken 01:16:54 Sonatina No. 1: I. Allegro 01:19:27 Sonatina No. 1: II. Larghetto 01:23:46 Sonatina No. 1: III. Allegro 01:24:11 Sonatine No. 2: I. Allegro energico 01:26:04 Sonatine No. 2: II. Largo 01:28:07 Sonatine No. 2: III. Allegro 01:29:55 Partita, Op. 2: I. Toccatina 01:30:46 Partita, Op. 2: II. Fughetta 01:31:50 Partita, Op. 2: III. Larghetto 01:35:07 Partita, Op. 2: IV. Ostinato 01:37:16 Für Alina No. 3 (1976) -
2:47Arvo Pärt - Für Alina (GSARCI VIDEO REVIVAL)
Arvo Pärt - Für Alina (GSARCI VIDEO REVIVAL)Arvo Pärt - Für Alina (GSARCI VIDEO REVIVAL)
Für Alina is a work for piano composed by the Estonian composer . It can be considered as an essential work of his tintinnabuli style. Für Alina was first performed in Tallinn in 1976, along with six other works, after a long preparatory period in Pärt’s life as a composer. This concert was the first to introduce his new signature style of composition, referred to as the tintinnabuli style. Für Alina was dedicated to a family friend's eighteen-year-old daughter who had just gone to study in London. Its introspection calls to mind a vivid image of youth, off to explore the world. The piece appears very simple on the page and could be played by any person willing to spend a little time with a piano. It has both the left and right hand written in G clef and only the echoing bass octave is written in F clef. Its simplicity is deceptive. To achieve purity of sound remains a challenge and demands an accomplished pianist with a good ear to produce the harmonic balance and symmetry the composition requires. It is common to repeat the composition several times. Variations could also be applied from one repetition to the other, like the exact 8ava of the two (melody) hands (stead for the length of each full repetition). The score of Für Alina is only two pages long. It is in the key of B minor and is played piano (p). The only notation related to tempo is Ruhig, erhaben, in sich hineinhorchend, which roughly translates as peacefully, in an elevated and introspective manner. There is no time signature. It begins with a low double-octave B, which echoes throughout the whole work (save for the last section); it should be played with the pedal down throughout (a single pedal shift is found before the last four bars). The right hand plays the notes an octave higher than noted. Considering there is no time signature, the tempo is free, yet introspective in a way that allows the player to personalize the experience of playing it by responding to the notes and occasional dissonance. Thus the use of rubato becomes essential. Both hands play their single notes at the same time. Only two types of notes appear in the score: whole notes and stemless black notes (more free as to their duration). It has only 15 bars of written music: the first bar has the low bass octave. From there onwards begins the following pattern: the second bar has one note-head and one whole note, the next bar has two quarter notes and a whole note, and so on until a bar that has seven quarter notes and a whole note. This pattern then scales down again, to one quarter note and a half note. The last bar has two quarter notes and a half note. In other words, the first bar has one note, the second has two, the third has three, and so on. It is built as such: 1 2 3 4 5 6 7 8 7 6 5 4 3 2 3. The compositional symmetry mirrors the harmonic symmetry. If played softly enough, with the pedal down and given enough time, the notes (often resulting in minor and major clashes between B and C#, D and E, and F# and G) can produce a humming of dissonance in the piano’s machinery, a phenomenon that only adds to the transcendental nature of the piece. The entire harmonic structure, save for one note, is constructed so that the left hand part is the highest note in a B Minor chord which is below the melody line. Thus, when the melody is on a C# or D, the left hand is on a B. When the melody is on an E or F#, the left hand is on a D, and when the melody is on a G, A, or B, the left hand is on an F#. The only break from this harmonic structure appears when the left hand hits a C# below an F# in the right hand, synchronous with the release of the pedal at the end of the 11th bar. (Wikipedia) Please take note that the audio AND the sheet music ARE NOT mine. Please change the quality to a minimum of 480p if the video is blurry. Original audio: classical-music-online.net Original sheet music: I forgot. This was a reupload of the original video, and I managed to download it before it got blocked, so I have to make do with snapshots from the video, because I don't have the sheet music anymore. Sorry. -
4:58Fur Anna Maria - Complete Piano Music by Arvo Part
Fur Anna Maria - Complete Piano Music by Arvo PartFur Anna Maria - Complete Piano Music by Arvo Part
Arvo Part: 'Fur Anna Maria' - Complete Piano Music / Jeroen van Veen, piano Record Label: Brilliant Classics Expedition Audio recommendation: http://www.expeditionaudio.com/?p=5662 To purchase, please visit:http://www.hbdirect.com/album_detail.php?pid=2621886 Album Overview: Estonian composer Arvo Pärt is a unique figure in the musical world. The utter simplicity of his works, inspired by his deep religious feelings, has a strange, hypnotic power over the listener. Confronted with the stark, naked and essential musical lines, one feels close to the inner truth of oneself and the other, a human bond which only music can bring. No wonder the music of Pärt, the cult figure, reaches beyond the boundaries of traditional classical audiences. Many recordings of Pärt achieve a bestselling status. Played by the champion of Minimal Music, Jeroen van Veen, who recorded for Brilliant Classics several collections of minimalist piano music, and the complete piano music of Philip Glass. -
3:32Variations for the Healing of Arinushka / Arvo Part / for Piano
Variations for the Healing of Arinushka / Arvo Part / for PianoVariations for the Healing of Arinushka / Arvo Part / for Piano
Video etude for the Healing of Arinushka (Arvo Part), for Piano. Budapest, Hungary, 2009. -
10:28Arvo Part - Fratres For Cello And Piano
Arvo Part - Fratres For Cello And PianoArvo Part - Fratres For Cello And Piano
Arvo Part - Fratres For Cello And Piano. This is the version used in the brilliant film 'There Will Be Blood' *Note, I made this video, but I have nothing to do with the production of the song, or the film. All rights of the song go to Arvo Part, and all rights of 'There Will Be Blood' go to the film-makers.* -
3:12Arvo Part - Hymn to a Great City for Two Pianos (1984) [Score-Video]
Arvo Part - Hymn to a Great City for Two Pianos (1984) [Score-Video] -
20:19Arvo Pärt: Für Alina played by Jeroen van Veen
Arvo Pärt: Für Alina played by Jeroen van VeenArvo Pärt: Für Alina played by Jeroen van Veen
Jeroen Van Veen has released a series of acclaimed recordings on Brilliant Classics of music by the masters of Minimalism, that 1960s-derived aesthetic in which it is not so much the case that more can be said with less as that less seems to be necessary in an increasingly noisy and chaotic world. The Estonian composer Arvo Pärt has never counted himself as among the minimalist number, nor indeed was he schooled in their new traditions, but emerged in the 1960s as an angry and dissonant voice whose musically expressed anger against Communist oppression of his native country could barely be contained within the tumultuous textures of works such as the Third Symphony, but a combination of personal circumstances and aesthetic decisions led him to pare back his style to the world of eerie calm and yet underlying melancholy that has made works such as the Cantus in memoriam Benjamin Britten such an enduring favourite even among audiences who would not otherwise count themselves as aficionados of the European contemporary music scene. But then Pärt has never fitted into any one stylistic box, and alongside the quiet rapture of Für Alina we may find the student-era tinkling of the intriguing early Dance Pieces, as well as arrangements of classics such as Fratres and Spiegel im Spiegel – here interpreted by Dutch cellist Douw Fonda – that seem to preserve their special mood no matter what the instrumental forces; a quality they share with works of Pärt's compositional idol, J.S. Bach. -
8:33Arvo Pärt - Spiegel im Spiegel (audio + sheet music)
Arvo Pärt - Spiegel im Spiegel (audio + sheet music)Arvo Pärt - Spiegel im Spiegel (audio + sheet music)
Spiegel im Spiegel, composed in 1978, was the last work Arvo Pärt completed before leaving his native Estonia. Following the inaugural "tintinnabular" works by only two years, the work stands as one of the most carefully distilled examples of Pärt's new compositional aesthetic, and its extreme tranquility contrasts sharply with the tension and frustration that characterized his music from a decade before. To fully appreciate the beauty of Spiegel im Spiegel, we must go back a few years. The late 1960s found Pärt in an artistic quandary. Having tired of the brash, neoclassic style of his first published works (see, for example, the Partita), and growing equally frustrated with the predominant serialist style of the day, he composed several works that seemed to reflect no style of his own, but rather comment on the inadequacy of and incompatibility between the choices at hand. Pro et Contra and the Second Symphony, both from 1968, were characterized by rude, jarring juxtapositions of style, and reflected the urgency of Pärt's crisis. Shortly after their composition, Pärt withdrew from public composition altogether, and over the next few years composed only two works. This period was one of intense reflection and study (particularly of Medieval and Renaissance music), and by the time Pärt re-emerged in the late 1970s, he had developed an entirely new approach to composition, which became known as the "tintinnabular" style. The principles of tintinnabuli are demonstrated clearly and elegantly in Spiegel im Spiegel. The basic technique calls for a combination of two types of voices: a melodic voice, that moves in simple stepwise fashion across diatonic scales; and a tintinnabula voice, which confines itself to pitches within the tonic triad. The chord tones follow certain variable patterns; in the case of Spiegel im Spiegel, the tintinnabular voice is the second note in each three-note accompanimental figure, which always falls on the nearest chord tone below the melodic voice (transposed down an octave). Thus, in the underlying and omnipresent F major tonality, a melodic voice on an A or G is paired with a tintinnabular voice on F; if the melody moves down to F, the tintinnabular voice drops down to the C, and so forth. The striking lyricism of the piece certainly does not suggest the rigid guidelines with which it is constructed. Scored for violin and piano (with the option of transposing the violin part down an octave to be played by a cello), the work is made of slow, steady lines ascending and descending in the violin part, over a serene and uninterrupted arpeggio accompaniment in the piano. This texture is occasionally colored by low, sustained Fs in the bass and high, bell-like (or, to use the word in its original context, tintinnabular) consonances in the upper piano register. The gentle lines in the violin are actually built according to a strict formula: beginning with the two-note scale G-A, the violin alternately ascends then descends to A by step. With each subsequent ascent and descent, a note is added to the line. There is no sense of drama, tension, or ambiguity here--when we hear the violin leap to high G, we know the stepwise path it is going to take on its way back down to A. The beauty of the tintinnabulum is not the construction of emotional trajectory, but rather the creation of an introspective atmosphere made of pure sonority. (AllMusic) Please take note that the audio AND the sheet music ARE NOT mine. Change the quality to a minimum of 480p if the video is blurry. Original audio: https://www.youtube.com/watch?v=RYypmgIYOVQ (Performance by: Tasmin Little, accompanied by Martin Roscoe) Original sheet music: http://www.docfoc.com/spiegel-im-spiegel-563384dacf895 -
11:45Lana Trotovsek / Arvo Part - Fratres
Lana Trotovsek / Arvo Part - FratresLana Trotovsek / Arvo Part - Fratres
Arvo Part - Fratres Lana Trotovsek, violin twitter: https://twitter.com/LanaTrotovsek Yoko Misumi, piano You can support the artist by downloading "Lana Trotovsek - Arvo Part: Fratres" from iTunes here https://itunes.apple.com/gb/album/arvo-part-fratres-ep/id936893328 Hedone Records Sound and video editing: Boris Bizjak Camera: Boris Bizjak and Tony Dedomenici This film was made using the Final cut pro x, Logic pro 9, Canon 60D, Canon 550D (t2i), Neumann KM184 mached pair and 2x Rode NT2A Recorded in June 2013 in London and Bohinj, Slovenia Links: http://www.lanatrotovsek.info/ http://www.yokomisumi.com/ http://www.youtube.com/user/CINEMAN8 http://www.borisbizjak.com/ Fratres is a composition by the Estonian composer Arvo Pärt, existing in versions for a wide variety of instrumentations and exemplifying Pärt's tintinnabuli style of composition. Structurally, the piece consists of a set of eight or nine chord sequences, separated by a recurring percussion motif. The chord sequences themselves follow a clear pattern, and while the progressing chords explore a rich harmonic space, they nevertheless appear to have been generated by means of a simple formula.[2] The first version for string quintet and wind quintet (early music ensemble) was written by Pärt in 1977. Further versions were written over the years leading up to about 1992. Several versions of the piece exist, some of which are listed below. Each version typically has a duration of seven to twelve minutes in performance. Fratres exists perhaps most prominently in its versions for violin, string orchestra, and percussion and for violin and piano. Similarity to these versions of the others varies: for instance, the versions for viola and piano, or cello and piano are almost exactly the same as that for violin, whereas the version for string quartet is more similar to the cello version. The versions include: Strings and percussion Violin, strings and percussion String quartet Cello and piano Four, eight, twelve... cellos Wind octet and percussion String quintet Wind quintet Violin and piano Viola and Piano Saxophone Quartet Guitar, string orchestra and percussion A performance by the Hungarian State Opera Orchestra conducted by Tamás Benedek, recorded in 1997, was used in the six-part BBC documentary Auschwitz: The Nazis and the 'Final Solution' produced by Laurence Rees in 2005. Another version was featured in the 2007 film There Will Be Blood directed by Paul Thomas Anderson, the 2013 film The Place Beyond the Pines directed by Derek Cianfrance and the teaser trailer for the upcoming 2013 film A Single Shot, starring Sam Rockwell. Jazz pianist Aaron Parks incorporated elements of Fratres into his composition "Harvesting Dance," heard on his album Invisible Cinema and on Terence Blanchard's album Flow. -
7:52[Gravity Movie Trailer] Arvo Part - Spiegel Im Spiegel (Piano/Cello)
[Gravity Movie Trailer] Arvo Part - Spiegel Im Spiegel (Piano/Cello)[Gravity Movie Trailer] Arvo Part - Spiegel Im Spiegel (Piano/Cello)
======================================= https://www.facebook.com/IainHemstockMusic http://www.twitter.com/IainHemstock ======================================= Spiegel Im Spiegel is a minimalist piece from the Estonian composer Arvo Part composed in 1978. From Wikipedia ( http://en.wikipedia.org/wiki/Spiegel_im_Spiegel ): The piece is in the tintinnabular style of composition, wherein a melodic voice, operating over diatonic scales, and tintinnabular voice, operating within a triad on the tonic, accompany each other. Spiegel Im Spiegel in German literally can mean both "mirror in the mirror" as well as "mirrors in the mirror", referring to the infinity of images produced by parallel plane mirrors: the tonic triads are endlessly repeated with small variations as if reflected back and forth.
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Arvo Pärt: Für Anna Maria: Complete Piano Music (Full Album) played by Jeroen van Veen
Tracklist below. Download on iTunes: https://itunes.apple.com/album/arvo-part-fur-anna-maria-complete/id895720326 For physical sales: http://brilliantclassics.com/articles/a/arvo-paert-fuer-anna-maria,-complete-piano-music/ Listen via Spotify: https://open.spotify.com/album/4LKO7lmLeK2US2Ppide9Iy Jeroen Van Veen has released a series of acclaimed recordings on Brilliant Classics of music by the masters of Minimalism, that 1960s-derived aesthetic in which it is not so much the case that more can be said with less as that less seems to be necessary in an increasingly noisy and chaotic world. The Estonian composer Arvo Pärt has never counted himself as among the minimalist number, nor indeed was he schooled in their new traditions, but emerged in the 1960s as an angry and dissonant voice wh...
published: 20 Oct 2016 -
Arvo Pärt - Für Alina (GSARCI VIDEO REVIVAL)
Für Alina is a work for piano composed by the Estonian composer . It can be considered as an essential work of his tintinnabuli style. Für Alina was first performed in Tallinn in 1976, along with six other works, after a long preparatory period in Pärt’s life as a composer. This concert was the first to introduce his new signature style of composition, referred to as the tintinnabuli style. Für Alina was dedicated to a family friend's eighteen-year-old daughter who had just gone to study in London. Its introspection calls to mind a vivid image of youth, off to explore the world. The piece appears very simple on the page and could be played by any person willing to spend a little time with a piano. It has both the left and right hand written in G clef and only the echoing bass octave is w...
published: 06 Mar 2016 -
Fur Anna Maria - Complete Piano Music by Arvo Part
Arvo Part: 'Fur Anna Maria' - Complete Piano Music / Jeroen van Veen, piano Record Label: Brilliant Classics Expedition Audio recommendation: http://www.expeditionaudio.com/?p=5662 To purchase, please visit:http://www.hbdirect.com/album_detail.php?pid=2621886 Album Overview: Estonian composer Arvo Pärt is a unique figure in the musical world. The utter simplicity of his works, inspired by his deep religious feelings, has a strange, hypnotic power over the listener. Confronted with the stark, naked and essential musical lines, one feels close to the inner truth of oneself and the other, a human bond which only music can bring. No wonder the music of Pärt, the cult figure, reaches beyond the boundaries of traditional classical audiences. Many recordings of Pärt achieve a bestselling st...
published: 23 Jun 2014 -
Variations for the Healing of Arinushka / Arvo Part / for Piano
Video etude for the Healing of Arinushka (Arvo Part), for Piano. Budapest, Hungary, 2009.
published: 24 Feb 2009 -
Arvo Part - Fratres For Cello And Piano
Arvo Part - Fratres For Cello And Piano. This is the version used in the brilliant film 'There Will Be Blood' *Note, I made this video, but I have nothing to do with the production of the song, or the film. All rights of the song go to Arvo Part, and all rights of 'There Will Be Blood' go to the film-makers.*
published: 26 Nov 2008 -
-
Arvo Pärt: Für Alina played by Jeroen van Veen
Jeroen Van Veen has released a series of acclaimed recordings on Brilliant Classics of music by the masters of Minimalism, that 1960s-derived aesthetic in which it is not so much the case that more can be said with less as that less seems to be necessary in an increasingly noisy and chaotic world. The Estonian composer Arvo Pärt has never counted himself as among the minimalist number, nor indeed was he schooled in their new traditions, but emerged in the 1960s as an angry and dissonant voice whose musically expressed anger against Communist oppression of his native country could barely be contained within the tumultuous textures of works such as the Third Symphony, but a combination of personal circumstances and aesthetic decisions led him to pare back his style to the world of eerie calm...
published: 20 Jun 2016 -
Arvo Pärt - Spiegel im Spiegel (audio + sheet music)
Spiegel im Spiegel, composed in 1978, was the last work Arvo Pärt completed before leaving his native Estonia. Following the inaugural "tintinnabular" works by only two years, the work stands as one of the most carefully distilled examples of Pärt's new compositional aesthetic, and its extreme tranquility contrasts sharply with the tension and frustration that characterized his music from a decade before. To fully appreciate the beauty of Spiegel im Spiegel, we must go back a few years. The late 1960s found Pärt in an artistic quandary. Having tired of the brash, neoclassic style of his first published works (see, for example, the Partita), and growing equally frustrated with the predominant serialist style of the day, he composed several works that seemed to reflect no style of his own, ...
published: 21 Dec 2016 -
Lana Trotovsek / Arvo Part - Fratres
Arvo Part - Fratres Lana Trotovsek, violin twitter: https://twitter.com/LanaTrotovsek Yoko Misumi, piano You can support the artist by downloading "Lana Trotovsek - Arvo Part: Fratres" from iTunes here https://itunes.apple.com/gb/album/arvo-part-fratres-ep/id936893328 Hedone Records Sound and video editing: Boris Bizjak Camera: Boris Bizjak and Tony Dedomenici This film was made using the Final cut pro x, Logic pro 9, Canon 60D, Canon 550D (t2i), Neumann KM184 mached pair and 2x Rode NT2A Recorded in June 2013 in London and Bohinj, Slovenia Links: http://www.lanatrotovsek.info/ http://www.yokomisumi.com/ http://www.youtube.com/user/CINEMAN8 http://www.borisbizjak.com/ Fratres is a composition by the Estonian composer Arvo Pärt, existing in versions for a wide variety of instrumenta...
published: 22 Sep 2013 -
[Gravity Movie Trailer] Arvo Part - Spiegel Im Spiegel (Piano/Cello)
======================================= https://www.facebook.com/IainHemstockMusic http://www.twitter.com/IainHemstock ======================================= Spiegel Im Spiegel is a minimalist piece from the Estonian composer Arvo Part composed in 1978. From Wikipedia ( http://en.wikipedia.org/wiki/Spiegel_im_Spiegel ): The piece is in the tintinnabular style of composition, wherein a melodic voice, operating over diatonic scales, and tintinnabular voice, operating within a triad on the tonic, accompany each other. Spiegel Im Spiegel in German literally can mean both "mirror in the mirror" as well as "mirrors in the mirror", referring to the infinity of images produced by parallel plane mirrors: the tonic triads are endlessly repeated with small variations as if reflected back and fort...
published: 03 Mar 2014
Arvo Pärt: Für Anna Maria: Complete Piano Music (Full Album) played by Jeroen van Veen
- Order: Reorder
- Duration: 120:24
- Updated: 20 Oct 2016
- views: 825
Tracklist below.
Download on iTunes: https://itunes.apple.com/album/arvo-part-fur-anna-maria-complete/id895720326
For physical sales: http://brilliantclassics....
Tracklist below.
Download on iTunes: https://itunes.apple.com/album/arvo-part-fur-anna-maria-complete/id895720326
For physical sales: http://brilliantclassics.com/articles/a/arvo-paert-fuer-anna-maria,-complete-piano-music/
Listen via Spotify: https://open.spotify.com/album/4LKO7lmLeK2US2Ppide9Iy
Jeroen Van Veen has released a series of acclaimed recordings on Brilliant Classics of music by the masters of Minimalism, that 1960s-derived aesthetic in which it is not so much the case that more can be said with less as that less seems to be necessary in an increasingly noisy and chaotic world. The Estonian composer Arvo Pärt has never counted himself as among the minimalist number, nor indeed was he schooled in their new traditions, but emerged in the 1960s as an angry and dissonant voice whose musically expressed anger against Communist oppression of his native country could barely be contained within the tumultuous textures of works such as the Third Symphony, but a combination of personal circumstances and aesthetic decisions led him to pare back his style to the world of eerie calm and yet underlying melancholy that has made works such as the Cantus in memoriam Benjamin Britten such an enduring favourite even among audiences who would not otherwise count themselves as aficionados of the European contemporary music scene. But then Pärt has never fitted into any one stylistic box, and alongside the quiet rapture of Für Alina we may find the student-era tinkling of the intriguing early Dance Pieces, as well as arrangements of classics such as Fratres and Spiegel im Spiegel – here interpreted by Dutch cellist Douw Fonda – that seem to preserve their special mood no matter what the instrumental forces; a quality they share with works of Pärt's compositional idol, J.S. Bach.
00:00:00 Für Alina (1976)
00:20:18 Variationen zur Gesundung von Arinuschka (1977)
00:26:15 Ukuaru valss (1973, rev. 2010)
00:29:09 Für Anna Maria No. 1 (2006)
00:30:30 Für Alina No. 1 (1976)
00:33:11 Pari intervallo (1976, rev. 2008)
00:38:38 Hymn to a Great City (1984, rev. 2004)
00:43:47 Für Anna Maria No. 2 (2006)
00:44:55 Für Alina No. 2 (1976)
00:48:11 Fratres (1977, rev. 1980)
01:00:03 Spiegel im Spiegel (1978)
01:09:14 Vier leichte Tanzstücke “Musik für Kindertheater”: I. Der gestiefelte Kater
01:09:58 Vier leichte Tanzstücke “Musik für Kindertheater”: II. Rotkäppchen und der Wolf
01:12:13 Vier leichte Tanzstücke “Musik für Kindertheater”: III. Schmetterlinge
01:14:19 Vier leichte Tanzstücke “Musik für Kindertheater”: IV. Tanz der Entenküken
01:16:54 Sonatina No. 1: I. Allegro
01:19:27 Sonatina No. 1: II. Larghetto
01:23:46 Sonatina No. 1: III. Allegro
01:24:11 Sonatine No. 2: I. Allegro energico
01:26:04 Sonatine No. 2: II. Largo
01:28:07 Sonatine No. 2: III. Allegro
01:29:55 Partita, Op. 2: I. Toccatina
01:30:46 Partita, Op. 2: II. Fughetta
01:31:50 Partita, Op. 2: III. Larghetto
01:35:07 Partita, Op. 2: IV. Ostinato
01:37:16 Für Alina No. 3 (1976)
https://wn.com/Arvo_Pärt_Für_Anna_Maria_Complete_Piano_Music_(Full_Album)_Played_By_Jeroen_Van_Veen
Tracklist below.
Download on iTunes: https://itunes.apple.com/album/arvo-part-fur-anna-maria-complete/id895720326
For physical sales: http://brilliantclassics.com/articles/a/arvo-paert-fuer-anna-maria,-complete-piano-music/
Listen via Spotify: https://open.spotify.com/album/4LKO7lmLeK2US2Ppide9Iy
Jeroen Van Veen has released a series of acclaimed recordings on Brilliant Classics of music by the masters of Minimalism, that 1960s-derived aesthetic in which it is not so much the case that more can be said with less as that less seems to be necessary in an increasingly noisy and chaotic world. The Estonian composer Arvo Pärt has never counted himself as among the minimalist number, nor indeed was he schooled in their new traditions, but emerged in the 1960s as an angry and dissonant voice whose musically expressed anger against Communist oppression of his native country could barely be contained within the tumultuous textures of works such as the Third Symphony, but a combination of personal circumstances and aesthetic decisions led him to pare back his style to the world of eerie calm and yet underlying melancholy that has made works such as the Cantus in memoriam Benjamin Britten such an enduring favourite even among audiences who would not otherwise count themselves as aficionados of the European contemporary music scene. But then Pärt has never fitted into any one stylistic box, and alongside the quiet rapture of Für Alina we may find the student-era tinkling of the intriguing early Dance Pieces, as well as arrangements of classics such as Fratres and Spiegel im Spiegel – here interpreted by Dutch cellist Douw Fonda – that seem to preserve their special mood no matter what the instrumental forces; a quality they share with works of Pärt's compositional idol, J.S. Bach.
00:00:00 Für Alina (1976)
00:20:18 Variationen zur Gesundung von Arinuschka (1977)
00:26:15 Ukuaru valss (1973, rev. 2010)
00:29:09 Für Anna Maria No. 1 (2006)
00:30:30 Für Alina No. 1 (1976)
00:33:11 Pari intervallo (1976, rev. 2008)
00:38:38 Hymn to a Great City (1984, rev. 2004)
00:43:47 Für Anna Maria No. 2 (2006)
00:44:55 Für Alina No. 2 (1976)
00:48:11 Fratres (1977, rev. 1980)
01:00:03 Spiegel im Spiegel (1978)
01:09:14 Vier leichte Tanzstücke “Musik für Kindertheater”: I. Der gestiefelte Kater
01:09:58 Vier leichte Tanzstücke “Musik für Kindertheater”: II. Rotkäppchen und der Wolf
01:12:13 Vier leichte Tanzstücke “Musik für Kindertheater”: III. Schmetterlinge
01:14:19 Vier leichte Tanzstücke “Musik für Kindertheater”: IV. Tanz der Entenküken
01:16:54 Sonatina No. 1: I. Allegro
01:19:27 Sonatina No. 1: II. Larghetto
01:23:46 Sonatina No. 1: III. Allegro
01:24:11 Sonatine No. 2: I. Allegro energico
01:26:04 Sonatine No. 2: II. Largo
01:28:07 Sonatine No. 2: III. Allegro
01:29:55 Partita, Op. 2: I. Toccatina
01:30:46 Partita, Op. 2: II. Fughetta
01:31:50 Partita, Op. 2: III. Larghetto
01:35:07 Partita, Op. 2: IV. Ostinato
01:37:16 Für Alina No. 3 (1976)
- published: 20 Oct 2016
- views: 825
Arvo Pärt - Für Alina (GSARCI VIDEO REVIVAL)
- Order: Reorder
- Duration: 2:47
- Updated: 06 Mar 2016
- views: 11384
Für Alina is a work for piano composed by the Estonian composer . It can be considered as an essential work of his tintinnabuli style.
Für Alina was first perf...
Für Alina is a work for piano composed by the Estonian composer . It can be considered as an essential work of his tintinnabuli style.
Für Alina was first performed in Tallinn in 1976, along with six other works, after a long preparatory period in Pärt’s life as a composer. This concert was the first to introduce his new signature style of composition, referred to as the tintinnabuli style. Für Alina was dedicated to a family friend's eighteen-year-old daughter who had just gone to study in London. Its introspection calls to mind a vivid image of youth, off to explore the world.
The piece appears very simple on the page and could be played by any person willing to spend a little time with a piano. It has both the left and right hand written in G clef and only the echoing bass octave is written in F clef. Its simplicity is deceptive. To achieve purity of sound remains a challenge and demands an accomplished pianist with a good ear to produce the harmonic balance and symmetry the composition requires. It is common to repeat the composition several times. Variations could also be applied from one repetition to the other, like the exact 8ava of the two (melody) hands (stead for the length of each full repetition).
The score of Für Alina is only two pages long. It is in the key of B minor and is played piano (p). The only notation related to tempo is Ruhig, erhaben, in sich hineinhorchend, which roughly translates as peacefully, in an elevated and introspective manner. There is no time signature.
It begins with a low double-octave B, which echoes throughout the whole work (save for the last section); it should be played with the pedal down throughout (a single pedal shift is found before the last four bars). The right hand plays the notes an octave higher than noted. Considering there is no time signature, the tempo is free, yet introspective in a way that allows the player to personalize the experience of playing it by responding to the notes and occasional dissonance. Thus the use of rubato becomes essential. Both hands play their single notes at the same time.
Only two types of notes appear in the score: whole notes and stemless black notes (more free as to their duration). It has only 15 bars of written music: the first bar has the low bass octave. From there onwards begins the following pattern: the second bar has one note-head and one whole note, the next bar has two quarter notes and a whole note, and so on until a bar that has seven quarter notes and a whole note. This pattern then scales down again, to one quarter note and a half note. The last bar has two quarter notes and a half note. In other words, the first bar has one note, the second has two, the third has three, and so on. It is built as such: 1 2 3 4 5 6 7 8 7 6 5 4 3 2 3. The compositional symmetry mirrors the harmonic symmetry.
If played softly enough, with the pedal down and given enough time, the notes (often resulting in minor and major clashes between B and C#, D and E, and F# and G) can produce a humming of dissonance in the piano’s machinery, a phenomenon that only adds to the transcendental nature of the piece.
The entire harmonic structure, save for one note, is constructed so that the left hand part is the highest note in a B Minor chord which is below the melody line. Thus, when the melody is on a C# or D, the left hand is on a B. When the melody is on an E or F#, the left hand is on a D, and when the melody is on a G, A, or B, the left hand is on an F#. The only break from this harmonic structure appears when the left hand hits a C# below an F# in the right hand, synchronous with the release of the pedal at the end of the 11th bar.
(Wikipedia)
Please take note that the audio AND the sheet music ARE NOT mine. Please change the quality to a minimum of 480p if the video is blurry.
Original audio: classical-music-online.net
Original sheet music: I forgot. This was a reupload of the original video, and I managed to download it before it got blocked, so I have to make do with snapshots from the video, because I don't have the sheet music anymore. Sorry.
https://wn.com/Arvo_Pärt_Für_Alina_(Gsarci_Video_Revival)
Für Alina is a work for piano composed by the Estonian composer . It can be considered as an essential work of his tintinnabuli style.
Für Alina was first performed in Tallinn in 1976, along with six other works, after a long preparatory period in Pärt’s life as a composer. This concert was the first to introduce his new signature style of composition, referred to as the tintinnabuli style. Für Alina was dedicated to a family friend's eighteen-year-old daughter who had just gone to study in London. Its introspection calls to mind a vivid image of youth, off to explore the world.
The piece appears very simple on the page and could be played by any person willing to spend a little time with a piano. It has both the left and right hand written in G clef and only the echoing bass octave is written in F clef. Its simplicity is deceptive. To achieve purity of sound remains a challenge and demands an accomplished pianist with a good ear to produce the harmonic balance and symmetry the composition requires. It is common to repeat the composition several times. Variations could also be applied from one repetition to the other, like the exact 8ava of the two (melody) hands (stead for the length of each full repetition).
The score of Für Alina is only two pages long. It is in the key of B minor and is played piano (p). The only notation related to tempo is Ruhig, erhaben, in sich hineinhorchend, which roughly translates as peacefully, in an elevated and introspective manner. There is no time signature.
It begins with a low double-octave B, which echoes throughout the whole work (save for the last section); it should be played with the pedal down throughout (a single pedal shift is found before the last four bars). The right hand plays the notes an octave higher than noted. Considering there is no time signature, the tempo is free, yet introspective in a way that allows the player to personalize the experience of playing it by responding to the notes and occasional dissonance. Thus the use of rubato becomes essential. Both hands play their single notes at the same time.
Only two types of notes appear in the score: whole notes and stemless black notes (more free as to their duration). It has only 15 bars of written music: the first bar has the low bass octave. From there onwards begins the following pattern: the second bar has one note-head and one whole note, the next bar has two quarter notes and a whole note, and so on until a bar that has seven quarter notes and a whole note. This pattern then scales down again, to one quarter note and a half note. The last bar has two quarter notes and a half note. In other words, the first bar has one note, the second has two, the third has three, and so on. It is built as such: 1 2 3 4 5 6 7 8 7 6 5 4 3 2 3. The compositional symmetry mirrors the harmonic symmetry.
If played softly enough, with the pedal down and given enough time, the notes (often resulting in minor and major clashes between B and C#, D and E, and F# and G) can produce a humming of dissonance in the piano’s machinery, a phenomenon that only adds to the transcendental nature of the piece.
The entire harmonic structure, save for one note, is constructed so that the left hand part is the highest note in a B Minor chord which is below the melody line. Thus, when the melody is on a C# or D, the left hand is on a B. When the melody is on an E or F#, the left hand is on a D, and when the melody is on a G, A, or B, the left hand is on an F#. The only break from this harmonic structure appears when the left hand hits a C# below an F# in the right hand, synchronous with the release of the pedal at the end of the 11th bar.
(Wikipedia)
Please take note that the audio AND the sheet music ARE NOT mine. Please change the quality to a minimum of 480p if the video is blurry.
Original audio: classical-music-online.net
Original sheet music: I forgot. This was a reupload of the original video, and I managed to download it before it got blocked, so I have to make do with snapshots from the video, because I don't have the sheet music anymore. Sorry.
- published: 06 Mar 2016
- views: 11384
Fur Anna Maria - Complete Piano Music by Arvo Part
- Order: Reorder
- Duration: 4:58
- Updated: 23 Jun 2014
- views: 12627
Arvo Part: 'Fur Anna Maria' - Complete Piano Music / Jeroen van Veen, piano
Record Label: Brilliant Classics
Expedition Audio recommendation: http://www.exped...
Arvo Part: 'Fur Anna Maria' - Complete Piano Music / Jeroen van Veen, piano
Record Label: Brilliant Classics
Expedition Audio recommendation: http://www.expeditionaudio.com/?p=5662
To purchase, please visit:http://www.hbdirect.com/album_detail.php?pid=2621886
Album Overview:
Estonian composer Arvo Pärt is a unique figure in the musical world. The utter simplicity of his works, inspired by his deep religious feelings, has a strange, hypnotic power over the listener. Confronted with the stark, naked and essential musical lines, one feels close to the inner truth of oneself and the other, a human bond which only music can bring.
No wonder the music of Pärt, the cult figure, reaches beyond the boundaries of traditional classical audiences. Many recordings of Pärt achieve a bestselling status.
Played by the champion of Minimal Music, Jeroen van Veen, who recorded for Brilliant Classics several collections of minimalist piano music, and the complete piano music of Philip Glass.
https://wn.com/Fur_Anna_Maria_Complete_Piano_Music_By_Arvo_Part
Arvo Part: 'Fur Anna Maria' - Complete Piano Music / Jeroen van Veen, piano
Record Label: Brilliant Classics
Expedition Audio recommendation: http://www.expeditionaudio.com/?p=5662
To purchase, please visit:http://www.hbdirect.com/album_detail.php?pid=2621886
Album Overview:
Estonian composer Arvo Pärt is a unique figure in the musical world. The utter simplicity of his works, inspired by his deep religious feelings, has a strange, hypnotic power over the listener. Confronted with the stark, naked and essential musical lines, one feels close to the inner truth of oneself and the other, a human bond which only music can bring.
No wonder the music of Pärt, the cult figure, reaches beyond the boundaries of traditional classical audiences. Many recordings of Pärt achieve a bestselling status.
Played by the champion of Minimal Music, Jeroen van Veen, who recorded for Brilliant Classics several collections of minimalist piano music, and the complete piano music of Philip Glass.
- published: 23 Jun 2014
- views: 12627
Variations for the Healing of Arinushka / Arvo Part / for Piano
- Order: Reorder
- Duration: 3:32
- Updated: 24 Feb 2009
- views: 85975
Video etude for the Healing of Arinushka (Arvo Part), for Piano. Budapest, Hungary, 2009.
- published: 24 Feb 2009
- views: 85975
Arvo Part - Fratres For Cello And Piano
- Order: Reorder
- Duration: 10:28
- Updated: 26 Nov 2008
- views: 1105272
Arvo Part - Fratres For Cello And Piano.
This is the version used in the brilliant film 'There Will Be Blood'
*Note, I made this video, but I have nothing to ...
Arvo Part - Fratres For Cello And Piano.
This is the version used in the brilliant film 'There Will Be Blood'
*Note, I made this video, but I have nothing to do with the production of the song, or the film. All rights of the song go to Arvo Part, and all rights of 'There Will Be Blood' go to the film-makers.*
https://wn.com/Arvo_Part_Fratres_For_Cello_And_Piano
Arvo Part - Fratres For Cello And Piano.
This is the version used in the brilliant film 'There Will Be Blood'
*Note, I made this video, but I have nothing to do with the production of the song, or the film. All rights of the song go to Arvo Part, and all rights of 'There Will Be Blood' go to the film-makers.*
- published: 26 Nov 2008
- views: 1105272
Arvo Part - Hymn to a Great City for Two Pianos (1984) [Score-Video]
- Order: Reorder
- Duration: 3:12
- Updated: 11 Sep 2016
- views: 2203
Arvo Pärt: Für Alina played by Jeroen van Veen
- Order: Reorder
- Duration: 20:19
- Updated: 20 Jun 2016
- views: 2927
Jeroen Van Veen has released a series of acclaimed recordings on Brilliant Classics of music by the masters of Minimalism, that 1960s-derived aesthetic in which...
Jeroen Van Veen has released a series of acclaimed recordings on Brilliant Classics of music by the masters of Minimalism, that 1960s-derived aesthetic in which it is not so much the case that more can be said with less as that less seems to be necessary in an increasingly noisy and chaotic world. The Estonian composer Arvo Pärt has never counted himself as among the minimalist number, nor indeed was he schooled in their new traditions, but emerged in the 1960s as an angry and dissonant voice whose musically expressed anger against Communist oppression of his native country could barely be contained within the tumultuous textures of works such as the Third Symphony, but a combination of personal circumstances and aesthetic decisions led him to pare back his style to the world of eerie calm and yet underlying melancholy that has made works such as the Cantus in memoriam Benjamin Britten such an enduring favourite even among audiences who would not otherwise count themselves as aficionados of the European contemporary music scene. But then Pärt has never fitted into any one stylistic box, and alongside the quiet rapture of Für Alina we may find the student-era tinkling of the intriguing early Dance Pieces, as well as arrangements of classics such as Fratres and Spiegel im Spiegel – here interpreted by Dutch cellist Douw Fonda – that seem to preserve their special mood no matter what the instrumental forces; a quality they share with works of Pärt's compositional idol, J.S. Bach.
https://wn.com/Arvo_Pärt_Für_Alina_Played_By_Jeroen_Van_Veen
Jeroen Van Veen has released a series of acclaimed recordings on Brilliant Classics of music by the masters of Minimalism, that 1960s-derived aesthetic in which it is not so much the case that more can be said with less as that less seems to be necessary in an increasingly noisy and chaotic world. The Estonian composer Arvo Pärt has never counted himself as among the minimalist number, nor indeed was he schooled in their new traditions, but emerged in the 1960s as an angry and dissonant voice whose musically expressed anger against Communist oppression of his native country could barely be contained within the tumultuous textures of works such as the Third Symphony, but a combination of personal circumstances and aesthetic decisions led him to pare back his style to the world of eerie calm and yet underlying melancholy that has made works such as the Cantus in memoriam Benjamin Britten such an enduring favourite even among audiences who would not otherwise count themselves as aficionados of the European contemporary music scene. But then Pärt has never fitted into any one stylistic box, and alongside the quiet rapture of Für Alina we may find the student-era tinkling of the intriguing early Dance Pieces, as well as arrangements of classics such as Fratres and Spiegel im Spiegel – here interpreted by Dutch cellist Douw Fonda – that seem to preserve their special mood no matter what the instrumental forces; a quality they share with works of Pärt's compositional idol, J.S. Bach.
- published: 20 Jun 2016
- views: 2927
Arvo Pärt - Spiegel im Spiegel (audio + sheet music)
- Order: Reorder
- Duration: 8:33
- Updated: 21 Dec 2016
- views: 3617
Spiegel im Spiegel, composed in 1978, was the last work Arvo Pärt completed before leaving his native Estonia. Following the inaugural "tintinnabular" works by ...
Spiegel im Spiegel, composed in 1978, was the last work Arvo Pärt completed before leaving his native Estonia. Following the inaugural "tintinnabular" works by only two years, the work stands as one of the most carefully distilled examples of Pärt's new compositional aesthetic, and its extreme tranquility contrasts sharply with the tension and frustration that characterized his music from a decade before.
To fully appreciate the beauty of Spiegel im Spiegel, we must go back a few years. The late 1960s found Pärt in an artistic quandary. Having tired of the brash, neoclassic style of his first published works (see, for example, the Partita), and growing equally frustrated with the predominant serialist style of the day, he composed several works that seemed to reflect no style of his own, but rather comment on the inadequacy of and incompatibility between the choices at hand. Pro et Contra and the Second Symphony, both from 1968, were characterized by rude, jarring juxtapositions of style, and reflected the urgency of Pärt's crisis. Shortly after their composition, Pärt withdrew from public composition altogether, and over the next few years composed only two works. This period was one of intense reflection and study (particularly of Medieval and Renaissance music), and by the time Pärt re-emerged in the late 1970s, he had developed an entirely new approach to composition, which became known as the "tintinnabular" style.
The principles of tintinnabuli are demonstrated clearly and elegantly in Spiegel im Spiegel. The basic technique calls for a combination of two types of voices: a melodic voice, that moves in simple stepwise fashion across diatonic scales; and a tintinnabula voice, which confines itself to pitches within the tonic triad. The chord tones follow certain variable patterns; in the case of Spiegel im Spiegel, the tintinnabular voice is the second note in each three-note accompanimental figure, which always falls on the nearest chord tone below the melodic voice (transposed down an octave). Thus, in the underlying and omnipresent F major tonality, a melodic voice on an A or G is paired with a tintinnabular voice on F; if the melody moves down to F, the tintinnabular voice drops down to the C, and so forth.
The striking lyricism of the piece certainly does not suggest the rigid guidelines with which it is constructed. Scored for violin and piano (with the option of transposing the violin part down an octave to be played by a cello), the work is made of slow, steady lines ascending and descending in the violin part, over a serene and uninterrupted arpeggio accompaniment in the piano. This texture is occasionally colored by low, sustained Fs in the bass and high, bell-like (or, to use the word in its original context, tintinnabular) consonances in the upper piano register. The gentle lines in the violin are actually built according to a strict formula: beginning with the two-note scale G-A, the violin alternately ascends then descends to A by step. With each subsequent ascent and descent, a note is added to the line. There is no sense of drama, tension, or ambiguity here--when we hear the violin leap to high G, we know the stepwise path it is going to take on its way back down to A. The beauty of the tintinnabulum is not the construction of emotional trajectory, but rather the creation of an introspective atmosphere made of pure sonority.
(AllMusic)
Please take note that the audio AND the sheet music ARE NOT mine. Change the quality to a minimum of 480p if the video is blurry.
Original audio: https://www.youtube.com/watch?v=RYypmgIYOVQ
(Performance by: Tasmin Little, accompanied by Martin Roscoe)
Original sheet music: http://www.docfoc.com/spiegel-im-spiegel-563384dacf895
https://wn.com/Arvo_Pärt_Spiegel_Im_Spiegel_(Audio_Sheet_Music)
Spiegel im Spiegel, composed in 1978, was the last work Arvo Pärt completed before leaving his native Estonia. Following the inaugural "tintinnabular" works by only two years, the work stands as one of the most carefully distilled examples of Pärt's new compositional aesthetic, and its extreme tranquility contrasts sharply with the tension and frustration that characterized his music from a decade before.
To fully appreciate the beauty of Spiegel im Spiegel, we must go back a few years. The late 1960s found Pärt in an artistic quandary. Having tired of the brash, neoclassic style of his first published works (see, for example, the Partita), and growing equally frustrated with the predominant serialist style of the day, he composed several works that seemed to reflect no style of his own, but rather comment on the inadequacy of and incompatibility between the choices at hand. Pro et Contra and the Second Symphony, both from 1968, were characterized by rude, jarring juxtapositions of style, and reflected the urgency of Pärt's crisis. Shortly after their composition, Pärt withdrew from public composition altogether, and over the next few years composed only two works. This period was one of intense reflection and study (particularly of Medieval and Renaissance music), and by the time Pärt re-emerged in the late 1970s, he had developed an entirely new approach to composition, which became known as the "tintinnabular" style.
The principles of tintinnabuli are demonstrated clearly and elegantly in Spiegel im Spiegel. The basic technique calls for a combination of two types of voices: a melodic voice, that moves in simple stepwise fashion across diatonic scales; and a tintinnabula voice, which confines itself to pitches within the tonic triad. The chord tones follow certain variable patterns; in the case of Spiegel im Spiegel, the tintinnabular voice is the second note in each three-note accompanimental figure, which always falls on the nearest chord tone below the melodic voice (transposed down an octave). Thus, in the underlying and omnipresent F major tonality, a melodic voice on an A or G is paired with a tintinnabular voice on F; if the melody moves down to F, the tintinnabular voice drops down to the C, and so forth.
The striking lyricism of the piece certainly does not suggest the rigid guidelines with which it is constructed. Scored for violin and piano (with the option of transposing the violin part down an octave to be played by a cello), the work is made of slow, steady lines ascending and descending in the violin part, over a serene and uninterrupted arpeggio accompaniment in the piano. This texture is occasionally colored by low, sustained Fs in the bass and high, bell-like (or, to use the word in its original context, tintinnabular) consonances in the upper piano register. The gentle lines in the violin are actually built according to a strict formula: beginning with the two-note scale G-A, the violin alternately ascends then descends to A by step. With each subsequent ascent and descent, a note is added to the line. There is no sense of drama, tension, or ambiguity here--when we hear the violin leap to high G, we know the stepwise path it is going to take on its way back down to A. The beauty of the tintinnabulum is not the construction of emotional trajectory, but rather the creation of an introspective atmosphere made of pure sonority.
(AllMusic)
Please take note that the audio AND the sheet music ARE NOT mine. Change the quality to a minimum of 480p if the video is blurry.
Original audio: https://www.youtube.com/watch?v=RYypmgIYOVQ
(Performance by: Tasmin Little, accompanied by Martin Roscoe)
Original sheet music: http://www.docfoc.com/spiegel-im-spiegel-563384dacf895
- published: 21 Dec 2016
- views: 3617
Lana Trotovsek / Arvo Part - Fratres
- Order: Reorder
- Duration: 11:45
- Updated: 22 Sep 2013
- views: 58484
Arvo Part - Fratres
Lana Trotovsek, violin twitter: https://twitter.com/LanaTrotovsek
Yoko Misumi, piano
You can support the artist by downloading "Lana Trot...
Arvo Part - Fratres
Lana Trotovsek, violin twitter: https://twitter.com/LanaTrotovsek
Yoko Misumi, piano
You can support the artist by downloading "Lana Trotovsek - Arvo Part: Fratres" from iTunes here https://itunes.apple.com/gb/album/arvo-part-fratres-ep/id936893328
Hedone Records
Sound and video editing: Boris Bizjak
Camera: Boris Bizjak and Tony Dedomenici
This film was made using the Final cut pro x, Logic pro 9, Canon 60D, Canon 550D (t2i),
Neumann KM184 mached pair and 2x Rode NT2A
Recorded in June 2013 in London
and Bohinj, Slovenia
Links:
http://www.lanatrotovsek.info/
http://www.yokomisumi.com/
http://www.youtube.com/user/CINEMAN8
http://www.borisbizjak.com/
Fratres is a composition by the Estonian composer Arvo Pärt, existing in versions for a wide variety of instrumentations and exemplifying Pärt's tintinnabuli style of composition. Structurally, the piece consists of a set of eight or nine chord sequences, separated by a recurring percussion motif. The chord sequences themselves follow a clear pattern, and while the progressing chords explore a rich harmonic space, they nevertheless appear to have been generated by means of a simple formula.[2]
The first version for string quintet and wind quintet (early music ensemble) was written by Pärt in 1977. Further versions were written over the years leading up to about 1992.
Several versions of the piece exist, some of which are listed below. Each version typically has a duration of seven to twelve minutes in performance. Fratres exists perhaps most prominently in its versions for violin, string orchestra, and percussion and for violin and piano. Similarity to these versions of the others varies: for instance, the versions for viola and piano, or cello and piano are almost exactly the same as that for violin, whereas the version for string quartet is more similar to the cello version.
The versions include:
Strings and percussion
Violin, strings and percussion
String quartet
Cello and piano
Four, eight, twelve... cellos
Wind octet and percussion
String quintet
Wind quintet
Violin and piano
Viola and Piano
Saxophone Quartet
Guitar, string orchestra and percussion
A performance by the Hungarian State Opera Orchestra conducted by Tamás Benedek, recorded in 1997, was used in the six-part BBC documentary Auschwitz: The Nazis and the 'Final Solution' produced by Laurence Rees in 2005. Another version was featured in the 2007 film There Will Be Blood directed by Paul Thomas Anderson, the 2013 film The Place Beyond the Pines directed by Derek Cianfrance and the teaser trailer for the upcoming 2013 film A Single Shot, starring Sam Rockwell.
Jazz pianist Aaron Parks incorporated elements of Fratres into his composition "Harvesting Dance," heard on his album Invisible Cinema and on Terence Blanchard's album Flow.
https://wn.com/Lana_Trotovsek_Arvo_Part_Fratres
Arvo Part - Fratres
Lana Trotovsek, violin twitter: https://twitter.com/LanaTrotovsek
Yoko Misumi, piano
You can support the artist by downloading "Lana Trotovsek - Arvo Part: Fratres" from iTunes here https://itunes.apple.com/gb/album/arvo-part-fratres-ep/id936893328
Hedone Records
Sound and video editing: Boris Bizjak
Camera: Boris Bizjak and Tony Dedomenici
This film was made using the Final cut pro x, Logic pro 9, Canon 60D, Canon 550D (t2i),
Neumann KM184 mached pair and 2x Rode NT2A
Recorded in June 2013 in London
and Bohinj, Slovenia
Links:
http://www.lanatrotovsek.info/
http://www.yokomisumi.com/
http://www.youtube.com/user/CINEMAN8
http://www.borisbizjak.com/
Fratres is a composition by the Estonian composer Arvo Pärt, existing in versions for a wide variety of instrumentations and exemplifying Pärt's tintinnabuli style of composition. Structurally, the piece consists of a set of eight or nine chord sequences, separated by a recurring percussion motif. The chord sequences themselves follow a clear pattern, and while the progressing chords explore a rich harmonic space, they nevertheless appear to have been generated by means of a simple formula.[2]
The first version for string quintet and wind quintet (early music ensemble) was written by Pärt in 1977. Further versions were written over the years leading up to about 1992.
Several versions of the piece exist, some of which are listed below. Each version typically has a duration of seven to twelve minutes in performance. Fratres exists perhaps most prominently in its versions for violin, string orchestra, and percussion and for violin and piano. Similarity to these versions of the others varies: for instance, the versions for viola and piano, or cello and piano are almost exactly the same as that for violin, whereas the version for string quartet is more similar to the cello version.
The versions include:
Strings and percussion
Violin, strings and percussion
String quartet
Cello and piano
Four, eight, twelve... cellos
Wind octet and percussion
String quintet
Wind quintet
Violin and piano
Viola and Piano
Saxophone Quartet
Guitar, string orchestra and percussion
A performance by the Hungarian State Opera Orchestra conducted by Tamás Benedek, recorded in 1997, was used in the six-part BBC documentary Auschwitz: The Nazis and the 'Final Solution' produced by Laurence Rees in 2005. Another version was featured in the 2007 film There Will Be Blood directed by Paul Thomas Anderson, the 2013 film The Place Beyond the Pines directed by Derek Cianfrance and the teaser trailer for the upcoming 2013 film A Single Shot, starring Sam Rockwell.
Jazz pianist Aaron Parks incorporated elements of Fratres into his composition "Harvesting Dance," heard on his album Invisible Cinema and on Terence Blanchard's album Flow.
- published: 22 Sep 2013
- views: 58484
[Gravity Movie Trailer] Arvo Part - Spiegel Im Spiegel (Piano/Cello)
- Order: Reorder
- Duration: 7:52
- Updated: 03 Mar 2014
- views: 66882
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https://www.facebook.com/IainHemstockMusic
http://www.twitter.com/IainHemstock
=======================================
...
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https://www.facebook.com/IainHemstockMusic
http://www.twitter.com/IainHemstock
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Spiegel Im Spiegel is a minimalist piece from the Estonian composer Arvo Part composed in 1978.
From Wikipedia ( http://en.wikipedia.org/wiki/Spiegel_im_Spiegel ):
The piece is in the tintinnabular style of composition, wherein a melodic voice, operating over diatonic scales, and tintinnabular voice, operating within a triad on the tonic, accompany each other.
Spiegel Im Spiegel in German literally can mean both "mirror in the mirror" as well as "mirrors in the mirror", referring to the infinity of images produced by parallel plane mirrors: the tonic triads are endlessly repeated with small variations as if reflected back and forth.
https://wn.com/Gravity_Movie_Trailer_Arvo_Part_Spiegel_Im_Spiegel_(Piano_Cello)
=======================================
https://www.facebook.com/IainHemstockMusic
http://www.twitter.com/IainHemstock
=======================================
Spiegel Im Spiegel is a minimalist piece from the Estonian composer Arvo Part composed in 1978.
From Wikipedia ( http://en.wikipedia.org/wiki/Spiegel_im_Spiegel ):
The piece is in the tintinnabular style of composition, wherein a melodic voice, operating over diatonic scales, and tintinnabular voice, operating within a triad on the tonic, accompany each other.
Spiegel Im Spiegel in German literally can mean both "mirror in the mirror" as well as "mirrors in the mirror", referring to the infinity of images produced by parallel plane mirrors: the tonic triads are endlessly repeated with small variations as if reflected back and forth.
- published: 03 Mar 2014
- views: 66882
-
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Spiegel im Spiegel (Arvo Pärt) – Piano Cover
“Spiegel im Spiegel” is a piece of music written by Arvo Pärt in 1978.
published: 23 Aug 2015 -
Arvo Pärt "Spiegel im Spiegel" for Violin & Piano
Arvo Pärt was born in Paide, Estland in 1935. Sacred music plays a big part in his life.
published: 27 Oct 2013 -
Für Alina - Arvo Pärt
Für Alina - Arvo Pärt Benny Wollin, Piano. Performed at Heid Music, Appleton, WI, on September 4th, 2015. http://www.b7musicstudio.com
published: 03 Jun 2016 -
Arvo Pärt: Fratres (for violin and piano)
Emma Meinrenken, violin, performs Fratres by Arvo Pärt. Recorded at the Royal Conservatory of Music, Toronto, January 26, 2016
published: 19 Apr 2016 -
Arvo Pärt - Spiegel im Spiegel (oboe and piano)
Arvo Pärt - Spiegel im Spiegel Lydia Consilvio, oboe Fantee Jones, piano Master of Music Degree Recital Yale School of Music Morse Recital Hall at Sprague 11/28/2016
published: 20 Dec 2016 -
Arvo Pärt's Spiegel im spiegel
Music on Main presents Arvo Pärt's Spiegel im spiegel featuring Caroline Shaw, violin & Rachel Iwaasa, piano Performed live during Music on Main's Music for the Winter Solstice Friday, December 12, 2014 at Heritage Hall, Vancouver BC
published: 18 Jun 2015 -
Arvo Pärt - Symphony No 4 “Los Angeles”
Love classical music? Learn to play the best PIANO pieces the easiest way: http://tinyurl.com/classic-flowkey Arvo Pärt Symphony No 4 “Los Angeles” For more: http://www.melhoresmusicasclassicas.blogspot.com
published: 23 Jun 2016 -
Paro Intervallo by Arvo Pärt - Lorna Pollock, piano
Paro Intervallo by Arvo Pärt - Lorna Pollock, piano. Arvo Pärt is an Estonian composer of classical and sacred music. Since the late 1970s, Pärt has worked in a minimalist style that employs his self-invented compositional technique, tintinnabuli. His music is in part inspired by Gregorian chant. ---wikipedia for educational or review purposes only. (c) 2014 Lorna Pollock
published: 03 Feb 2014 -
SPIEGEL IM SPIEGEL
- Order: Reorder
- Duration: 8:36
- Updated: 07 Feb 2014
- views: 730
Spiegel im Spiegel (Arvo Pärt) – Piano Cover
- Order: Reorder
- Duration: 9:35
- Updated: 23 Aug 2015
- views: 125
“Spiegel im Spiegel” is a piece of music written by Arvo Pärt in 1978.
“Spiegel im Spiegel” is a piece of music written by Arvo Pärt in 1978.
https://wn.com/Spiegel_Im_Spiegel_(Arvo_Pärt)_–_Piano_Cover
“Spiegel im Spiegel” is a piece of music written by Arvo Pärt in 1978.
- published: 23 Aug 2015
- views: 125
Arvo Pärt "Spiegel im Spiegel" for Violin & Piano
- Order: Reorder
- Duration: 8:12
- Updated: 27 Oct 2013
- views: 10891
Arvo Pärt was born in Paide, Estland in 1935. Sacred music plays a big part in his life.
- published: 27 Oct 2013
- views: 10891
Für Alina - Arvo Pärt
- Order: Reorder
- Duration: 6:38
- Updated: 03 Jun 2016
- views: 11
Für Alina - Arvo Pärt
Benny Wollin, Piano.
Performed at Heid Music, Appleton, WI, on September 4th, 2015.
http://www.b7musicstudio.com
Für Alina - Arvo Pärt
Benny Wollin, Piano.
Performed at Heid Music, Appleton, WI, on September 4th, 2015.
http://www.b7musicstudio.com
https://wn.com/Für_Alina_Arvo_Pärt
Für Alina - Arvo Pärt
Benny Wollin, Piano.
Performed at Heid Music, Appleton, WI, on September 4th, 2015.
http://www.b7musicstudio.com
- published: 03 Jun 2016
- views: 11
Arvo Pärt: Fratres (for violin and piano)
- Order: Reorder
- Duration: 10:40
- Updated: 19 Apr 2016
- views: 213
Emma Meinrenken, violin, performs Fratres by Arvo Pärt. Recorded at the Royal Conservatory of Music, Toronto, January 26, 2016
Emma Meinrenken, violin, performs Fratres by Arvo Pärt. Recorded at the Royal Conservatory of Music, Toronto, January 26, 2016
https://wn.com/Arvo_Pärt_Fratres_(For_Violin_And_Piano)
Emma Meinrenken, violin, performs Fratres by Arvo Pärt. Recorded at the Royal Conservatory of Music, Toronto, January 26, 2016
- published: 19 Apr 2016
- views: 213
Arvo Pärt - Spiegel im Spiegel (oboe and piano)
- Order: Reorder
- Duration: 8:19
- Updated: 20 Dec 2016
- views: 168
Arvo Pärt - Spiegel im Spiegel
Lydia Consilvio, oboe
Fantee Jones, piano
Master of Music Degree Recital
Yale School of Music
Morse Recital Hall at Sprague
11/2...
Arvo Pärt - Spiegel im Spiegel
Lydia Consilvio, oboe
Fantee Jones, piano
Master of Music Degree Recital
Yale School of Music
Morse Recital Hall at Sprague
11/28/2016
https://wn.com/Arvo_Pärt_Spiegel_Im_Spiegel_(Oboe_And_Piano)
Arvo Pärt - Spiegel im Spiegel
Lydia Consilvio, oboe
Fantee Jones, piano
Master of Music Degree Recital
Yale School of Music
Morse Recital Hall at Sprague
11/28/2016
- published: 20 Dec 2016
- views: 168
Arvo Pärt's Spiegel im spiegel
- Order: Reorder
- Duration: 10:36
- Updated: 18 Jun 2015
- views: 474
Music on Main presents
Arvo Pärt's
Spiegel im spiegel
featuring
Caroline Shaw, violin
& Rachel Iwaasa, piano
Performed live during Music on Main's Music fo...
Music on Main presents
Arvo Pärt's
Spiegel im spiegel
featuring
Caroline Shaw, violin
& Rachel Iwaasa, piano
Performed live during Music on Main's Music for the Winter Solstice
Friday, December 12, 2014 at Heritage Hall, Vancouver BC
https://wn.com/Arvo_Pärt's_Spiegel_Im_Spiegel
Music on Main presents
Arvo Pärt's
Spiegel im spiegel
featuring
Caroline Shaw, violin
& Rachel Iwaasa, piano
Performed live during Music on Main's Music for the Winter Solstice
Friday, December 12, 2014 at Heritage Hall, Vancouver BC
- published: 18 Jun 2015
- views: 474
Arvo Pärt - Symphony No 4 “Los Angeles”
- Order: Reorder
- Duration: 35:08
- Updated: 23 Jun 2016
- views: 1554
Love classical music? Learn to play the best PIANO pieces the easiest way: http://tinyurl.com/classic-flowkey
Arvo Pärt
Symphony No 4 “Los Angeles”
For more:...
Love classical music? Learn to play the best PIANO pieces the easiest way: http://tinyurl.com/classic-flowkey
Arvo Pärt
Symphony No 4 “Los Angeles”
For more:
http://www.melhoresmusicasclassicas.blogspot.com
https://wn.com/Arvo_Pärt_Symphony_No_4_“Los_Angeles”
Love classical music? Learn to play the best PIANO pieces the easiest way: http://tinyurl.com/classic-flowkey
Arvo Pärt
Symphony No 4 “Los Angeles”
For more:
http://www.melhoresmusicasclassicas.blogspot.com
- published: 23 Jun 2016
- views: 1554
Paro Intervallo by Arvo Pärt - Lorna Pollock, piano
- Order: Reorder
- Duration: 4:47
- Updated: 03 Feb 2014
- views: 224
Paro Intervallo by Arvo Pärt - Lorna Pollock, piano.
Arvo Pärt is an Estonian composer of classical and sacred music. Since the late 1970s, Pärt has worked in...
Paro Intervallo by Arvo Pärt - Lorna Pollock, piano.
Arvo Pärt is an Estonian composer of classical and sacred music. Since the late 1970s, Pärt has worked in a minimalist style that employs his self-invented compositional technique, tintinnabuli. His music is in part inspired by Gregorian chant.
---wikipedia
for educational or review purposes only.
(c) 2014 Lorna Pollock
https://wn.com/Paro_Intervallo_By_Arvo_Pärt_Lorna_Pollock,_Piano
Paro Intervallo by Arvo Pärt - Lorna Pollock, piano.
Arvo Pärt is an Estonian composer of classical and sacred music. Since the late 1970s, Pärt has worked in a minimalist style that employs his self-invented compositional technique, tintinnabuli. His music is in part inspired by Gregorian chant.
---wikipedia
for educational or review purposes only.
(c) 2014 Lorna Pollock
- published: 03 Feb 2014
- views: 224
Arvo Pärt: "Für Alina"-Illya Filshtinskiy
- Order: Reorder
- Duration: 2:43
- Updated: 23 May 2012
- views: 882
-
Max Richter - 2002 Memoryhouse
Max Richter Memoryhouse Genre: Electronic, Classical 00:00 Europe, After The Rain 6:13 Piano – Michael Haslam; Soloist, Cello – Judith Herbert 06:12 Maria, The Poet* (1913) 4:47 [Text] – Marina Tsvetaeva 10:58 Laika's Journey 1:30 12:28 The Twins (Prague) 1:58 Piano – Kate Heath, Kirsteen Davidson Kelly 14:25 Sarajevo 4:03 Soprano Vocals [Solo] – Sarah Leonard 18:27 Andras 2:42 Piano – Kirsteen Davidson Kelly 21:08 Untitled (Figures) 3:27 24:35 Sketchbook 1:54 Viola – Levine Andrade 26:28 November 6:21 Soloist, Violin – Alexander Balanescu 32:48 Jan's Notebook 2:41 Harpsichord – Michael Haslam; Read By – Sarah Sutcliffe 35:29 Arbenita (11 Years) 7:04 42:32 Garden (1973) / Interior 3:24 [Text] – John Cage; Read By – John Cage 45:55 Landscape With Figure (1922) 5:14 Soloist,...
published: 22 May 2015 -
Arvo Pärt: Für Anna Maria: Complete Piano Music (Full Album) played by Jeroen van Veen
Tracklist below. Download on iTunes: https://itunes.apple.com/album/arvo-part-fur-anna-maria-complete/id895720326 For physical sales: http://brilliantclassics.com/articles/a/arvo-paert-fuer-anna-maria,-complete-piano-music/ Listen via Spotify: https://open.spotify.com/album/4LKO7lmLeK2US2Ppide9Iy Jeroen Van Veen has released a series of acclaimed recordings on Brilliant Classics of music by the masters of Minimalism, that 1960s-derived aesthetic in which it is not so much the case that more can be said with less as that less seems to be necessary in an increasingly noisy and chaotic world. The Estonian composer Arvo Pärt has never counted himself as among the minimalist number, nor indeed was he schooled in their new traditions, but emerged in the 1960s as an angry and dissonant voice wh...
published: 20 Oct 2016 -
Andrew Nowicki's Senior Recital
Andrew Nowicki performing in Recital Hall at the Jacobs School of Music on April 24th 2016. This is my senior recital for a Bachelors in Music Education. I studied with Dr. Brenda Brenner. My pianists were Jocelyn Lee and Gulrukh Shakirova. Bartok, Romanian Folk Dances: Jocelyn Lee, Piano 00:24 Arvo Pärt, Fratres: Jocelyn Lee, Piano 07:34 Franck, Sonata in A Major for Violin and Piano: Gulrukh Shakirova, Piano 19:08 Thanks to everyone who has helped me over the years both teachers and family!
published: 10 May 2016 -
Inter Ambo Maria LIVE @ Clockface, Odessa MMXIV
Marina Boiko & Artokrats: Inter Ambo Maria Music by Marina Boiko and Arvo Pärt Recorded Live @ Clockface, Odessa MMXIV Artokrats: Marina Boiko - piano Polina Chaika - violin Alexander Shamraev - violin Yakov Ivanidenko - viola Konstantin Tomnitski - cello Nikolay Shakhov - contrabass Margarita Grinivetskaya - conductor Dmitriy Baraulin - visuals & editing Vadim Dusman - camera
published: 04 Aug 2014 -
J.C.'s~ Self Guided 3 hour meditation/Game/ASMR/ART.
Instructions: Just watch and relax. Earphone Suggestion: wear them on the outside of your ear, in any knd of setting. Enjoy! :) I do not own copyright to the music: All You Need Is Love: Jim Sturgess/The Beatles Believer: American Authors Breezy and Finn's Song When I'm Gone: Anna Kendrick I See Fire: Ed Sheeran Another Love: Tom Odell The Mother We Share: CHVRCHES Do I Wanna Know?: Arctic Monkeys UltraViolence: Lana Del Rae Come A Little Closer: Cage The Elephant Brave: Sara Bareilles Chocolate: The 1975 Royals Cover: Sarah Stone Portals Are Fun Telerex Boss Fight: Terraria Music DJ Ease My Mind: Niki and The Dove Puttin on the Ritz: Ella' Fitzgerald (Arvo Pärt - Spiegel Im Spiegel) Gravity: Lura Johnson, piano / Peter Minkler, viola Everybody Talks: Neon Trees India...
published: 26 Jun 2014
Max Richter - 2002 Memoryhouse
- Order: Reorder
- Duration: 1:04:54
- Updated: 22 May 2015
- views: 119589
Max Richter
Memoryhouse
Genre: Electronic, Classical
00:00 Europe, After The Rain 6:13
Piano – Michael Haslam; Soloist, Cello – Judith Herbert
06:12 Maria...
Max Richter
Memoryhouse
Genre: Electronic, Classical
00:00 Europe, After The Rain 6:13
Piano – Michael Haslam; Soloist, Cello – Judith Herbert
06:12 Maria, The Poet* (1913) 4:47
[Text] – Marina Tsvetaeva
10:58 Laika's Journey 1:30
12:28 The Twins (Prague) 1:58
Piano – Kate Heath, Kirsteen Davidson Kelly
14:25 Sarajevo 4:03
Soprano Vocals [Solo] – Sarah Leonard
18:27 Andras 2:42
Piano – Kirsteen Davidson Kelly
21:08 Untitled (Figures) 3:27
24:35 Sketchbook 1:54
Viola – Levine Andrade
26:28 November 6:21
Soloist, Violin – Alexander Balanescu
32:48 Jan's Notebook 2:41
Harpsichord – Michael Haslam; Read By – Sarah Sutcliffe
35:29 Arbenita (11 Years) 7:04
42:32 Garden (1973) / Interior 3:24
[Text] – John Cage; Read By – John Cage
45:55 Landscape With Figure (1922) 5:14
Soloist, Cello – Phillip Sheppard
51:09 Fragment 1:26
52:34 Lines On A Page (One Hundred Violins) 1:22
53:56 Embers 3:38
Piano – Michael Haslam
57:33 Last Days 4:18
1:01:50 Quartet Fragment (1908) 3:02
Orchestra – BBC Philharmonic
Written-By, Producer – Max Richter
Text on "Garden (1973) / Interior" from John Cage's "Measostic IV".
Review by Heather Phares [-] Allmusic
Memoryhouse may be Max Richter's debut album, but he had been
developing his unique mix of contemporary classical and electronics for years before it was released. He co-founded the Piano Circus ensemble, who commissioned and performed works by Arvo Pärt, Brian Eno, Philip Glass, and Steve Reich (all of whom were influential on Richter's own music), and used live sampling. He also collaborated with Roni Size and Future Sound of London on their groundbreaking 1996 album Dead Cities.
Yet Memoryhouse, which is performed by the BBC Philharmonic Orchestra under conductor Rumon Gumba, doesn't feel derivative of any of Richter's previous projects; the album's pieces are rigorously composed but also highly emotive, seamlessly blending into a whole that feels like, well, a memory. Tracks such as "Europe, After the Rain" and "Maria, the Poet" exemplify the album's mix of Glass-style minimalism fused with evocative samples and field recordings, territory Richter covered even more brilliantly on his next album, The Blue Notebooks. The main melody on "Europe, After the Rain" surfaces here and there on Memoryhouse, taking different forms like "Untitled (Figures)"' delicate electronics and "Garden (1973)/Interior"'s drifting harpsichords and spoken word. "Sarajevo" and "The Twins (Prague)" underscore the album's Eastern European leanings, while pieces with short but descriptive song titles like "Landscape with Figure (1922)" and "Arbenita (11 years)" add to the feeling that they could soundtrack diary entries or captions on old photos. More dramatic tracks such as "Last Days" complement the intimacy of "Embers" and "Andras" nicely, and show the scope of Richter's abilities. An homage to Europe and the haunting power of memories, Memoryhouse is a stunning first album that announced Max Richter as a major talent.
https://wn.com/Max_Richter_2002_Memoryhouse
Max Richter
Memoryhouse
Genre: Electronic, Classical
00:00 Europe, After The Rain 6:13
Piano – Michael Haslam; Soloist, Cello – Judith Herbert
06:12 Maria, The Poet* (1913) 4:47
[Text] – Marina Tsvetaeva
10:58 Laika's Journey 1:30
12:28 The Twins (Prague) 1:58
Piano – Kate Heath, Kirsteen Davidson Kelly
14:25 Sarajevo 4:03
Soprano Vocals [Solo] – Sarah Leonard
18:27 Andras 2:42
Piano – Kirsteen Davidson Kelly
21:08 Untitled (Figures) 3:27
24:35 Sketchbook 1:54
Viola – Levine Andrade
26:28 November 6:21
Soloist, Violin – Alexander Balanescu
32:48 Jan's Notebook 2:41
Harpsichord – Michael Haslam; Read By – Sarah Sutcliffe
35:29 Arbenita (11 Years) 7:04
42:32 Garden (1973) / Interior 3:24
[Text] – John Cage; Read By – John Cage
45:55 Landscape With Figure (1922) 5:14
Soloist, Cello – Phillip Sheppard
51:09 Fragment 1:26
52:34 Lines On A Page (One Hundred Violins) 1:22
53:56 Embers 3:38
Piano – Michael Haslam
57:33 Last Days 4:18
1:01:50 Quartet Fragment (1908) 3:02
Orchestra – BBC Philharmonic
Written-By, Producer – Max Richter
Text on "Garden (1973) / Interior" from John Cage's "Measostic IV".
Review by Heather Phares [-] Allmusic
Memoryhouse may be Max Richter's debut album, but he had been
developing his unique mix of contemporary classical and electronics for years before it was released. He co-founded the Piano Circus ensemble, who commissioned and performed works by Arvo Pärt, Brian Eno, Philip Glass, and Steve Reich (all of whom were influential on Richter's own music), and used live sampling. He also collaborated with Roni Size and Future Sound of London on their groundbreaking 1996 album Dead Cities.
Yet Memoryhouse, which is performed by the BBC Philharmonic Orchestra under conductor Rumon Gumba, doesn't feel derivative of any of Richter's previous projects; the album's pieces are rigorously composed but also highly emotive, seamlessly blending into a whole that feels like, well, a memory. Tracks such as "Europe, After the Rain" and "Maria, the Poet" exemplify the album's mix of Glass-style minimalism fused with evocative samples and field recordings, territory Richter covered even more brilliantly on his next album, The Blue Notebooks. The main melody on "Europe, After the Rain" surfaces here and there on Memoryhouse, taking different forms like "Untitled (Figures)"' delicate electronics and "Garden (1973)/Interior"'s drifting harpsichords and spoken word. "Sarajevo" and "The Twins (Prague)" underscore the album's Eastern European leanings, while pieces with short but descriptive song titles like "Landscape with Figure (1922)" and "Arbenita (11 years)" add to the feeling that they could soundtrack diary entries or captions on old photos. More dramatic tracks such as "Last Days" complement the intimacy of "Embers" and "Andras" nicely, and show the scope of Richter's abilities. An homage to Europe and the haunting power of memories, Memoryhouse is a stunning first album that announced Max Richter as a major talent.
- published: 22 May 2015
- views: 119589
Arvo Pärt: Für Anna Maria: Complete Piano Music (Full Album) played by Jeroen van Veen
- Order: Reorder
- Duration: 2:00:24
- Updated: 20 Oct 2016
- views: 825
Tracklist below.
Download on iTunes: https://itunes.apple.com/album/arvo-part-fur-anna-maria-complete/id895720326
For physical sales: http://brilliantclassics....
Tracklist below.
Download on iTunes: https://itunes.apple.com/album/arvo-part-fur-anna-maria-complete/id895720326
For physical sales: http://brilliantclassics.com/articles/a/arvo-paert-fuer-anna-maria,-complete-piano-music/
Listen via Spotify: https://open.spotify.com/album/4LKO7lmLeK2US2Ppide9Iy
Jeroen Van Veen has released a series of acclaimed recordings on Brilliant Classics of music by the masters of Minimalism, that 1960s-derived aesthetic in which it is not so much the case that more can be said with less as that less seems to be necessary in an increasingly noisy and chaotic world. The Estonian composer Arvo Pärt has never counted himself as among the minimalist number, nor indeed was he schooled in their new traditions, but emerged in the 1960s as an angry and dissonant voice whose musically expressed anger against Communist oppression of his native country could barely be contained within the tumultuous textures of works such as the Third Symphony, but a combination of personal circumstances and aesthetic decisions led him to pare back his style to the world of eerie calm and yet underlying melancholy that has made works such as the Cantus in memoriam Benjamin Britten such an enduring favourite even among audiences who would not otherwise count themselves as aficionados of the European contemporary music scene. But then Pärt has never fitted into any one stylistic box, and alongside the quiet rapture of Für Alina we may find the student-era tinkling of the intriguing early Dance Pieces, as well as arrangements of classics such as Fratres and Spiegel im Spiegel – here interpreted by Dutch cellist Douw Fonda – that seem to preserve their special mood no matter what the instrumental forces; a quality they share with works of Pärt's compositional idol, J.S. Bach.
00:00:00 Für Alina (1976)
00:20:18 Variationen zur Gesundung von Arinuschka (1977)
00:26:15 Ukuaru valss (1973, rev. 2010)
00:29:09 Für Anna Maria No. 1 (2006)
00:30:30 Für Alina No. 1 (1976)
00:33:11 Pari intervallo (1976, rev. 2008)
00:38:38 Hymn to a Great City (1984, rev. 2004)
00:43:47 Für Anna Maria No. 2 (2006)
00:44:55 Für Alina No. 2 (1976)
00:48:11 Fratres (1977, rev. 1980)
01:00:03 Spiegel im Spiegel (1978)
01:09:14 Vier leichte Tanzstücke “Musik für Kindertheater”: I. Der gestiefelte Kater
01:09:58 Vier leichte Tanzstücke “Musik für Kindertheater”: II. Rotkäppchen und der Wolf
01:12:13 Vier leichte Tanzstücke “Musik für Kindertheater”: III. Schmetterlinge
01:14:19 Vier leichte Tanzstücke “Musik für Kindertheater”: IV. Tanz der Entenküken
01:16:54 Sonatina No. 1: I. Allegro
01:19:27 Sonatina No. 1: II. Larghetto
01:23:46 Sonatina No. 1: III. Allegro
01:24:11 Sonatine No. 2: I. Allegro energico
01:26:04 Sonatine No. 2: II. Largo
01:28:07 Sonatine No. 2: III. Allegro
01:29:55 Partita, Op. 2: I. Toccatina
01:30:46 Partita, Op. 2: II. Fughetta
01:31:50 Partita, Op. 2: III. Larghetto
01:35:07 Partita, Op. 2: IV. Ostinato
01:37:16 Für Alina No. 3 (1976)
https://wn.com/Arvo_Pärt_Für_Anna_Maria_Complete_Piano_Music_(Full_Album)_Played_By_Jeroen_Van_Veen
Tracklist below.
Download on iTunes: https://itunes.apple.com/album/arvo-part-fur-anna-maria-complete/id895720326
For physical sales: http://brilliantclassics.com/articles/a/arvo-paert-fuer-anna-maria,-complete-piano-music/
Listen via Spotify: https://open.spotify.com/album/4LKO7lmLeK2US2Ppide9Iy
Jeroen Van Veen has released a series of acclaimed recordings on Brilliant Classics of music by the masters of Minimalism, that 1960s-derived aesthetic in which it is not so much the case that more can be said with less as that less seems to be necessary in an increasingly noisy and chaotic world. The Estonian composer Arvo Pärt has never counted himself as among the minimalist number, nor indeed was he schooled in their new traditions, but emerged in the 1960s as an angry and dissonant voice whose musically expressed anger against Communist oppression of his native country could barely be contained within the tumultuous textures of works such as the Third Symphony, but a combination of personal circumstances and aesthetic decisions led him to pare back his style to the world of eerie calm and yet underlying melancholy that has made works such as the Cantus in memoriam Benjamin Britten such an enduring favourite even among audiences who would not otherwise count themselves as aficionados of the European contemporary music scene. But then Pärt has never fitted into any one stylistic box, and alongside the quiet rapture of Für Alina we may find the student-era tinkling of the intriguing early Dance Pieces, as well as arrangements of classics such as Fratres and Spiegel im Spiegel – here interpreted by Dutch cellist Douw Fonda – that seem to preserve their special mood no matter what the instrumental forces; a quality they share with works of Pärt's compositional idol, J.S. Bach.
00:00:00 Für Alina (1976)
00:20:18 Variationen zur Gesundung von Arinuschka (1977)
00:26:15 Ukuaru valss (1973, rev. 2010)
00:29:09 Für Anna Maria No. 1 (2006)
00:30:30 Für Alina No. 1 (1976)
00:33:11 Pari intervallo (1976, rev. 2008)
00:38:38 Hymn to a Great City (1984, rev. 2004)
00:43:47 Für Anna Maria No. 2 (2006)
00:44:55 Für Alina No. 2 (1976)
00:48:11 Fratres (1977, rev. 1980)
01:00:03 Spiegel im Spiegel (1978)
01:09:14 Vier leichte Tanzstücke “Musik für Kindertheater”: I. Der gestiefelte Kater
01:09:58 Vier leichte Tanzstücke “Musik für Kindertheater”: II. Rotkäppchen und der Wolf
01:12:13 Vier leichte Tanzstücke “Musik für Kindertheater”: III. Schmetterlinge
01:14:19 Vier leichte Tanzstücke “Musik für Kindertheater”: IV. Tanz der Entenküken
01:16:54 Sonatina No. 1: I. Allegro
01:19:27 Sonatina No. 1: II. Larghetto
01:23:46 Sonatina No. 1: III. Allegro
01:24:11 Sonatine No. 2: I. Allegro energico
01:26:04 Sonatine No. 2: II. Largo
01:28:07 Sonatine No. 2: III. Allegro
01:29:55 Partita, Op. 2: I. Toccatina
01:30:46 Partita, Op. 2: II. Fughetta
01:31:50 Partita, Op. 2: III. Larghetto
01:35:07 Partita, Op. 2: IV. Ostinato
01:37:16 Für Alina No. 3 (1976)
- published: 20 Oct 2016
- views: 825
Andrew Nowicki's Senior Recital
- Order: Reorder
- Duration: 47:30
- Updated: 10 May 2016
- views: 50
Andrew Nowicki performing in Recital Hall at the Jacobs School of Music on April 24th 2016. This is my senior recital for a Bachelors in Music Education. I stud...
Andrew Nowicki performing in Recital Hall at the Jacobs School of Music on April 24th 2016. This is my senior recital for a Bachelors in Music Education. I studied with Dr. Brenda Brenner. My pianists were Jocelyn Lee and Gulrukh Shakirova.
Bartok, Romanian Folk Dances: Jocelyn Lee, Piano 00:24
Arvo Pärt, Fratres: Jocelyn Lee, Piano 07:34
Franck, Sonata in A Major for Violin and Piano: Gulrukh Shakirova, Piano 19:08
Thanks to everyone who has helped me over the years both teachers and family!
https://wn.com/Andrew_Nowicki's_Senior_Recital
Andrew Nowicki performing in Recital Hall at the Jacobs School of Music on April 24th 2016. This is my senior recital for a Bachelors in Music Education. I studied with Dr. Brenda Brenner. My pianists were Jocelyn Lee and Gulrukh Shakirova.
Bartok, Romanian Folk Dances: Jocelyn Lee, Piano 00:24
Arvo Pärt, Fratres: Jocelyn Lee, Piano 07:34
Franck, Sonata in A Major for Violin and Piano: Gulrukh Shakirova, Piano 19:08
Thanks to everyone who has helped me over the years both teachers and family!
- published: 10 May 2016
- views: 50
Inter Ambo Maria LIVE @ Clockface, Odessa MMXIV
- Order: Reorder
- Duration: 36:56
- Updated: 04 Aug 2014
- views: 62
Marina Boiko & Artokrats: Inter Ambo Maria
Music by Marina Boiko and Arvo Pärt
Recorded Live @ Clockface, Odessa MMXIV
Artokrats:
Marina Boiko - piano
Polina C...
Marina Boiko & Artokrats: Inter Ambo Maria
Music by Marina Boiko and Arvo Pärt
Recorded Live @ Clockface, Odessa MMXIV
Artokrats:
Marina Boiko - piano
Polina Chaika - violin
Alexander Shamraev - violin
Yakov Ivanidenko - viola
Konstantin Tomnitski - cello
Nikolay Shakhov - contrabass
Margarita Grinivetskaya - conductor
Dmitriy Baraulin - visuals & editing
Vadim Dusman - camera
https://wn.com/Inter_Ambo_Maria_Live_Clockface,_Odessa_Mmxiv
Marina Boiko & Artokrats: Inter Ambo Maria
Music by Marina Boiko and Arvo Pärt
Recorded Live @ Clockface, Odessa MMXIV
Artokrats:
Marina Boiko - piano
Polina Chaika - violin
Alexander Shamraev - violin
Yakov Ivanidenko - viola
Konstantin Tomnitski - cello
Nikolay Shakhov - contrabass
Margarita Grinivetskaya - conductor
Dmitriy Baraulin - visuals & editing
Vadim Dusman - camera
- published: 04 Aug 2014
- views: 62
J.C.'s~ Self Guided 3 hour meditation/Game/ASMR/ART.
- Order: Reorder
- Duration: 3:00:09
- Updated: 26 Jun 2014
- views: 45
Instructions: Just watch and relax.
Earphone Suggestion: wear them on the outside of your ear, in any knd of setting. Enjoy! :)
I do not own ...
Instructions: Just watch and relax.
Earphone Suggestion: wear them on the outside of your ear, in any knd of setting. Enjoy! :)
I do not own copyright to the music:
All You Need Is Love: Jim Sturgess/The Beatles
Believer: American Authors
Breezy and Finn's Song
When I'm Gone: Anna Kendrick
I See Fire: Ed Sheeran
Another Love: Tom Odell
The Mother We Share: CHVRCHES
Do I Wanna Know?: Arctic Monkeys
UltraViolence: Lana Del Rae
Come A Little Closer: Cage The Elephant
Brave: Sara Bareilles
Chocolate: The 1975
Royals Cover: Sarah Stone
Portals Are Fun Telerex
Boss Fight: Terraria Music
DJ Ease My Mind: Niki and The Dove
Puttin on the Ritz: Ella' Fitzgerald
(Arvo Pärt - Spiegel Im Spiegel) Gravity: Lura Johnson, piano / Peter Minkler, viola
Everybody Talks: Neon Trees
Indian Love Call: Slim Whitman Happy Birthday Morgan! ^_^ xD
The Hunger Games: James Newton Howard
Katniss: James Newton Howard
Arena Crumbles: James Howard
Sacred Meditation: Marina of Light
Ours Is The Power: Graeme Revell
The Magic Store: Graeme Revell
Calling The Corners: Graeme Revell
Tomorrow Never Knows: Our Lady Peace
All These Things That I've Done: The Killers
Spirit Lake: CocoRosie
Angel on Fire: Anthony & The Johnsons
Sleepyhead: Passion Pit
Baby Finn Dubstep: Sim Gretina
Sierra Leone: Mt. Eden Dubstep
The Ballad of Mona Lisa: Panic at the Disco! Happy Birthday Mom! ^_^ ~
Jack & Sally Montage: Danny Elfman
Just Give me a reason: Nate Ruess; Pink
Hecate: Wendy Rule
Universal Mother: Indiajiva
The Sun Also Rises: Marco Beltrami
Holding Our For A Hero: Frou Frou
Eternal Om: SChipper13 Happy Birthday Grandma Norma
https://wn.com/J.C.'s~_Self_Guided_3_Hour_Meditation_Game_Asmr_Art.
Instructions: Just watch and relax.
Earphone Suggestion: wear them on the outside of your ear, in any knd of setting. Enjoy! :)
I do not own copyright to the music:
All You Need Is Love: Jim Sturgess/The Beatles
Believer: American Authors
Breezy and Finn's Song
When I'm Gone: Anna Kendrick
I See Fire: Ed Sheeran
Another Love: Tom Odell
The Mother We Share: CHVRCHES
Do I Wanna Know?: Arctic Monkeys
UltraViolence: Lana Del Rae
Come A Little Closer: Cage The Elephant
Brave: Sara Bareilles
Chocolate: The 1975
Royals Cover: Sarah Stone
Portals Are Fun Telerex
Boss Fight: Terraria Music
DJ Ease My Mind: Niki and The Dove
Puttin on the Ritz: Ella' Fitzgerald
(Arvo Pärt - Spiegel Im Spiegel) Gravity: Lura Johnson, piano / Peter Minkler, viola
Everybody Talks: Neon Trees
Indian Love Call: Slim Whitman Happy Birthday Morgan! ^_^ xD
The Hunger Games: James Newton Howard
Katniss: James Newton Howard
Arena Crumbles: James Howard
Sacred Meditation: Marina of Light
Ours Is The Power: Graeme Revell
The Magic Store: Graeme Revell
Calling The Corners: Graeme Revell
Tomorrow Never Knows: Our Lady Peace
All These Things That I've Done: The Killers
Spirit Lake: CocoRosie
Angel on Fire: Anthony & The Johnsons
Sleepyhead: Passion Pit
Baby Finn Dubstep: Sim Gretina
Sierra Leone: Mt. Eden Dubstep
The Ballad of Mona Lisa: Panic at the Disco! Happy Birthday Mom! ^_^ ~
Jack & Sally Montage: Danny Elfman
Just Give me a reason: Nate Ruess; Pink
Hecate: Wendy Rule
Universal Mother: Indiajiva
The Sun Also Rises: Marco Beltrami
Holding Our For A Hero: Frou Frou
Eternal Om: SChipper13 Happy Birthday Grandma Norma
- published: 26 Jun 2014
- views: 45
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120:24
Arvo Pärt: Für Anna Maria: Complete Piano Music (Full Album) played by Jeroen van Veen
Tracklist below.
Download on iTunes: https://itunes.apple.com/album/arvo-part-fur-anna-ma...
published: 20 Oct 2016
Arvo Pärt: Für Anna Maria: Complete Piano Music (Full Album) played by Jeroen van Veen
Arvo Pärt: Für Anna Maria: Complete Piano Music (Full Album) played by Jeroen van Veen
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- published: 20 Oct 2016
- views: 825
2:47
Arvo Pärt - Für Alina (GSARCI VIDEO REVIVAL)
Für Alina is a work for piano composed by the Estonian composer . It can be considered as ...
published: 06 Mar 2016
Arvo Pärt - Für Alina (GSARCI VIDEO REVIVAL)
Arvo Pärt - Für Alina (GSARCI VIDEO REVIVAL)
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- published: 06 Mar 2016
- views: 11384
4:58
Fur Anna Maria - Complete Piano Music by Arvo Part
Arvo Part: 'Fur Anna Maria' - Complete Piano Music / Jeroen van Veen, piano
Record Label:...
published: 23 Jun 2014
Fur Anna Maria - Complete Piano Music by Arvo Part
Fur Anna Maria - Complete Piano Music by Arvo Part
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- published: 23 Jun 2014
- views: 12627
3:32
Variations for the Healing of Arinushka / Arvo Part / for Piano
Video etude for the Healing of Arinushka (Arvo Part), for Piano. Budapest, Hungary, 2009....
published: 24 Feb 2009
Variations for the Healing of Arinushka / Arvo Part / for Piano
Variations for the Healing of Arinushka / Arvo Part / for Piano
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- published: 24 Feb 2009
- views: 85975
10:28
Arvo Part - Fratres For Cello And Piano
Arvo Part - Fratres For Cello And Piano.
This is the version used in the brilliant film '...
published: 26 Nov 2008
Arvo Part - Fratres For Cello And Piano
Arvo Part - Fratres For Cello And Piano
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- published: 26 Nov 2008
- views: 1105272
3:12
Arvo Part - Hymn to a Great City for Two Pianos (1984) [Score-Video]
Arvo Part - Hymn to a Great City for Two Pianos (1984)
published: 11 Sep 2016
Arvo Part - Hymn to a Great City for Two Pianos (1984) [Score-Video]
Arvo Part - Hymn to a Great City for Two Pianos (1984) [Score-Video]
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- published: 11 Sep 2016
- views: 2203
20:19
Arvo Pärt: Für Alina played by Jeroen van Veen
Jeroen Van Veen has released a series of acclaimed recordings on Brilliant Classics of mus...
published: 20 Jun 2016
Arvo Pärt: Für Alina played by Jeroen van Veen
Arvo Pärt: Für Alina played by Jeroen van Veen
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- published: 20 Jun 2016
- views: 2927
8:33
Arvo Pärt - Spiegel im Spiegel (audio + sheet music)
Spiegel im Spiegel, composed in 1978, was the last work Arvo Pärt completed before leaving...
published: 21 Dec 2016
Arvo Pärt - Spiegel im Spiegel (audio + sheet music)
Arvo Pärt - Spiegel im Spiegel (audio + sheet music)
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- published: 21 Dec 2016
- views: 3617
11:45
Lana Trotovsek / Arvo Part - Fratres
Arvo Part - Fratres
Lana Trotovsek, violin twitter: https://twitter.com/LanaTrotovsek
Yo...
published: 22 Sep 2013
Lana Trotovsek / Arvo Part - Fratres
Lana Trotovsek / Arvo Part - Fratres
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- published: 22 Sep 2013
- views: 58484
7:52
[Gravity Movie Trailer] Arvo Part - Spiegel Im Spiegel (Piano/Cello)
=======================================
https://www.facebook.com/IainHemstockMusic
http://...
published: 03 Mar 2014
[Gravity Movie Trailer] Arvo Part - Spiegel Im Spiegel (Piano/Cello)
[Gravity Movie Trailer] Arvo Part - Spiegel Im Spiegel (Piano/Cello)
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- published: 03 Mar 2014
- views: 66882
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8:36
SPIEGEL IM SPIEGEL
FLUTE & PIANO MUSIC by ARVO PÄRT
PIANO & FLUTE ALTO by jean N
PHOTOS by jean N
published: 07 Feb 2014
SPIEGEL IM SPIEGEL
SPIEGEL IM SPIEGEL
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- published: 07 Feb 2014
- views: 730
9:35
Spiegel im Spiegel (Arvo Pärt) – Piano Cover
“Spiegel im Spiegel” is a piece of music written by Arvo Pärt in 1978.
published: 23 Aug 2015
Spiegel im Spiegel (Arvo Pärt) – Piano Cover
Spiegel im Spiegel (Arvo Pärt) – Piano Cover
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- published: 23 Aug 2015
- views: 125
8:12
Arvo Pärt "Spiegel im Spiegel" for Violin & Piano
Arvo Pärt was born in Paide, Estland in 1935. Sacred music plays a big part in his life....
published: 27 Oct 2013
Arvo Pärt "Spiegel im Spiegel" for Violin & Piano
Arvo Pärt "Spiegel im Spiegel" for Violin & Piano
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- published: 27 Oct 2013
- views: 10891
6:38
Für Alina - Arvo Pärt
Für Alina - Arvo Pärt
Benny Wollin, Piano.
Performed at Heid Music, Appleton, WI, on Sep...
published: 03 Jun 2016
Für Alina - Arvo Pärt
Für Alina - Arvo Pärt
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- published: 03 Jun 2016
- views: 11
10:40
Arvo Pärt: Fratres (for violin and piano)
Emma Meinrenken, violin, performs Fratres by Arvo Pärt. Recorded at the Royal Conservator...
published: 19 Apr 2016
Arvo Pärt: Fratres (for violin and piano)
Arvo Pärt: Fratres (for violin and piano)
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- published: 19 Apr 2016
- views: 213
8:19
Arvo Pärt - Spiegel im Spiegel (oboe and piano)
Arvo Pärt - Spiegel im Spiegel
Lydia Consilvio, oboe
Fantee Jones, piano
Master of Music ...
published: 20 Dec 2016
Arvo Pärt - Spiegel im Spiegel (oboe and piano)
Arvo Pärt - Spiegel im Spiegel (oboe and piano)
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- published: 20 Dec 2016
- views: 168
10:36
Arvo Pärt's Spiegel im spiegel
Music on Main presents
Arvo Pärt's
Spiegel im spiegel
featuring
Caroline Shaw, violin
...
published: 18 Jun 2015
Arvo Pärt's Spiegel im spiegel
Arvo Pärt's Spiegel im spiegel
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- published: 18 Jun 2015
- views: 474
35:08
Arvo Pärt - Symphony No 4 “Los Angeles”
Love classical music? Learn to play the best PIANO pieces the easiest way: http://tinyurl....
published: 23 Jun 2016
Arvo Pärt - Symphony No 4 “Los Angeles”
Arvo Pärt - Symphony No 4 “Los Angeles”
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- published: 23 Jun 2016
- views: 1554
4:47
Paro Intervallo by Arvo Pärt - Lorna Pollock, piano
Paro Intervallo by Arvo Pärt - Lorna Pollock, piano.
Arvo Pärt is an Estonian composer o...
published: 03 Feb 2014
Paro Intervallo by Arvo Pärt - Lorna Pollock, piano
Paro Intervallo by Arvo Pärt - Lorna Pollock, piano
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- published: 03 Feb 2014
- views: 224
2:43
Arvo Pärt: "Für Alina"-Illya Filshtinskiy
The melting of an ice sculpture, and music by Arvo Pärt. Für Alina; Illya Filshtinskiy, p...
published: 23 May 2012
Arvo Pärt: "Für Alina"-Illya Filshtinskiy
Arvo Pärt: "Für Alina"-Illya Filshtinskiy
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- published: 23 May 2012
- views: 882
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1:04:54
Max Richter - 2002 Memoryhouse
Max Richter
Memoryhouse
Genre: Electronic, Classical
00:00 Europe, After The Rain 6:...
published: 22 May 2015
Max Richter - 2002 Memoryhouse
Max Richter - 2002 Memoryhouse
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- published: 22 May 2015
- views: 119589
2:00:24
Arvo Pärt: Für Anna Maria: Complete Piano Music (Full Album) played by Jeroen van Veen
Tracklist below.
Download on iTunes: https://itunes.apple.com/album/arvo-part-fur-anna-ma...
published: 20 Oct 2016
Arvo Pärt: Für Anna Maria: Complete Piano Music (Full Album) played by Jeroen van Veen
Arvo Pärt: Für Anna Maria: Complete Piano Music (Full Album) played by Jeroen van Veen
- Report rights infringement
- published: 20 Oct 2016
- views: 825
47:30
Andrew Nowicki's Senior Recital
Andrew Nowicki performing in Recital Hall at the Jacobs School of Music on April 24th 2016...
published: 10 May 2016
Andrew Nowicki's Senior Recital
Andrew Nowicki's Senior Recital
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- published: 10 May 2016
- views: 50
36:56
Inter Ambo Maria LIVE @ Clockface, Odessa MMXIV
Marina Boiko & Artokrats: Inter Ambo Maria
Music by Marina Boiko and Arvo Pärt
Recorded Li...
published: 04 Aug 2014
Inter Ambo Maria LIVE @ Clockface, Odessa MMXIV
Inter Ambo Maria LIVE @ Clockface, Odessa MMXIV
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- published: 04 Aug 2014
- views: 62
3:00:09
J.C.'s~ Self Guided 3 hour meditation/Game/ASMR/ART.
Instructions: Just watch and relax.
Earphone Suggestion: wear them on th...
published: 26 Jun 2014
J.C.'s~ Self Guided 3 hour meditation/Game/ASMR/ART.
J.C.'s~ Self Guided 3 hour meditation/Game/ASMR/ART.
- Report rights infringement
- published: 26 Jun 2014
- views: 45
Max Richter - 2002 Memoryhouse...
Arvo Pärt: Für Anna Maria: Complete Piano Music (F...
Andrew Nowicki's Senior Recital...
Inter Ambo Maria LIVE @ Clockface, Odessa MMXIV...
J.C.'s~ Self Guided 3 hour meditation/Game/ASMR/AR...
back
Report: Overnight Asteroid Surprises Earth, Flies Six Times Closer Than Moon To Planet
Edit WorldNews.com 30 Jan 2017back
The universe is just a big hologram, astrophysicists claim
Edit The Independent 30 Jan 2017
The universe might just be one "vast and complex hologram". And our vision of life as being in 3D may just be an illusion....
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Mosul: Isis threatens to kill 350,000 children trapped in city if they try to leave
Edit The Independent 30 Jan 2017
Read more ....
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Thank A Negligent News Media For Trump’s Big Twitter Voice And The Opposition Party
Edit WorldNews.com 30 Jan 2017
Article by WN.com Correspondent Dallas DarlingIn the last week of August 1836, the New York Sun offered a portentous front-page story under the headline that read ... In a crowded age of where your medium’s message is only as relevant as the latest celebrity-human interest story in a paper or tweet on Twitter, the so-called free press is indeed negligent, perhaps even criminal ... He is a correspondent for www.wn.com ... Regret The Error ... 30-33 ... ....
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More than a million back petition to stop Trump state visit
Edit ITV 30 Jan 2017
Campaigners want to see the US president denied the right to dine with the Queen. The petition reads....
Keeping it Klass-y! Myleene oozes opulence in silky crimson gown and Old Hollywood waves as she plays piano at London train station
Edit This is Money 30 Jan 2017
The TV presenter looked showstopping in a silky floor-skimming crimson gown as she played a grand piano at London's busy King's Cross station on Monday....
John Legend Praises Ryan Gosling's Piano Skills (& Gives an Update on Baby Luna!) at ...
Edit E! Online 30 Jan 2017
John Legend is possibly one of the luckiest people in Hollywood right now.
As if it weren't enough to be an incredible and beloved musician and activist who has won 10 Grammy awards, ... ....
Myleene brings a touch of Klass to rail platform with a live piano performance
Edit York Press 30 Jan 2017See this amazing N.J. teen blend hop-hop, jazz and R&B; on YouTube
Edit NJ dot com 30 Jan 2017
At the Student Council Coffee Houses, "he often performs original compositions, using piano as a basis, and as he (figuratively) plays the piano with his left hand, plays his saxophone with his right hand, and goes back and forth between the two ... I remember the time he somehow figured out the notes for 'Mary Had a Little Lamb,' and he was playing it on his first toy piano."....
Nicholas Payton wraps up Winter Jazz Fest in percussion-heavy style
Edit Pioneer Press 30 Jan 2017
While Payton began his career two decades ago as a trumpeter, he has evolved into a skilled keyboardist, a natural step, since most composers have a working knowledge of the piano ... Payton’s onstage gear Sunday included a vintage Fender Rhodes electric piano, along with a grand piano and a digital synthesizer he used sparingly to add tonal variety to the grooves....
Lefty O’Doul’s plans final party Wednesday night ahead of closure
Edit San Francisco Examiner 30 Jan 2017
The closure of San Francisco’s second-oldest baseball bar, which opened at its 333 Geary St ... ↓ Continue Reading Below. [advertisement]. [advertisement] ... A final celebration with two bands and resident piano player Frank O’Connor is planned at Lefty O’Doul’s on Wednesday night until 2 a.m. Thursday ... Frank O’Connor at the Piano Bar. Frank has been a resident piano player/entertainer at Lefty O Doul’s in San Francisco for the past 15 years....
Bridges Events
Edit Canada Dot Com 30 Jan 2017
Event listings are a free, community service offered by Bridges. Listings will be printed if space permits. Submission deadline is two weeks before the event date. Please send submissions to bridges@thestarphoenix.com. # MUSIC Fri., Jan. 27 Piano Friday. Neil Currie Belle Plaine and Blake Berglund The Bassment, 202 Fourth Ave. N. David Gogo Buds on […] ... ....
New Music: Father John Misty Shares Video for Somber Song “Two Wildly Different Perspectives”
Edit Spin 30 Jan 2017
Even Father John Misty's most serious songs usually arrive with a wink and a swagger, but "Two Wildly Different Perspectives," his latest, takes a straightforwardly solemn tone. Over quietly adventurous production anchored by funereal piano and stuttering drums, Josh Tillman sings about the chasm over which all political discussions seem to take place today. "One side says, ... ....
Music Review: Rose Cousins has what it takes
Edit The Oklahoman 30 Jan 2017
Rose Cousins, "Natural Conclusion" (Old Farm Pony Records) ... And while Cousins can be hilarious in concert, there's no hint of humor here. But the sparse, organic, piano-based arrangements are filled with rich detail, as are lyrics that explore the dark recesses of relationships ... ....
Singing Ambassadors of Vineland names new director
Edit NJ dot com 30 Jan 2017
Kyle Sheppard is a native of Pittsgrove and a graduate of Schalick High. Kyle Sheppard has been named the new director of the Singing Ambassadors of Vineland. Kyle SheppardSubmitted photo ... He also gives piano and organ lessons; and builds, tunes and repairs organs ... . ....
St Petersburg Phil / Temirkanov review – low-key but faultless Shostakovich
Edit The Guardian 30 Jan 2017
4 / 5 stars. Royal Festival Hall, London. Yuri Temirkanov led a measured performance of Shostakovich’s Fifth, while pianist Martha Argerich dazzled with Prokofiev ... Temirkanov shaded the first movement towards elegy ... The high point, however, was Martha Argerich’s performance of Prokofiev’s Third Piano Concerto ... Temirkanov opened, meanwhile, with a couple of extracts from Khachaturian’s Spartacus ... ....
Pentatonix Members Put Their Own Spin On ‘La La Land’ Soundtrack
Edit Much 30 Jan 2017
While they’re very clearly singing live (and their voices still sound amazing unedited, by the way), the Pentatonix members also have some fun by theatrically pretending to play the piano and the trumpet ... @SUP3RFRUIT umm hold on that kiss tho seemed so real. — Brittany (@lighthouse_gurl) January 25, 2017. @SUP3RFRUIT pic.twitter.com/NXk05u8agR ... ....
SF Ballet goes boldly into the future
Edit San Francisco Examiner 30 Jan 2017
World premieres last week at the War Memorial Opera House included Jirí Bubenícek’s “Fragile Vessels,” set to Rachmaninoff’s Piano Concerto No ... Strongin and Frances Chung — who playfully and elegantly paired off to the music of Dominco Scarlatti in Alexei Ratmansky’s “Seven Sonatas,” with Buriad providing live piano accompaniment onstage....
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