Ariane und Lukas: Sind wir Freunde? (German Edition)

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Contemporary accounts describe it as frenetic and noisy, hence the idea that the name referred to the dance steps - "mad", "demented", "crazy". Edwin L. Marin directed this version of the Dickensian classic for MGM. The fifty-minute score contains ten themes incorporated into twenty-three orchestral numbers and seven choral selections.

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Waxman had to whip all of that into shape within five days! The recording session began at five in the afternoon and ended at nine the following morning. The composer noted: 'High pressure has no ill effect on the inspiration but it's pretty hard on the body'.

Weisss, used with permission. I composed it in the Summer of specifically to be included in a Concert of Historicist Composers sponsored by the Delian Society. I was especially intrigued by the meaning of "The Madness" or "Folly". So each variation depicts this in one way or another and the piece progresses to a rousing finale that incorporates some material from the previous variations. I'm planning to make a nice recording of this piece in the next few weeks and post a video on YouTube. Then there is also an improvisation on the baroque La Folia, the oldest melodic-harmonic compositional structure, and finally a rendition of Johannes Brahms' Lullaby.

Duration: 2'07", kB. Das Thema, genannt "Farinelli", begibt sich in diesem Duo auf eine phantastische Reise in ein Spiegeluniversum, wo es u.

Sind wir Freunde 3A cover by Jannine Weigel (German song)

Den Formen und Strukturen dieser "Variationen" liegt die vollkommene Zahl 28 zugrunde. These are the stations of the journey: Farinelli is enraged and no longer sober, Farinelli is unhappy and leaves his home, Farinelli takes a walk in the cold night, Farinelli sees the shining stars, Farinelli strays away and is overcome with yearning, Farinelli tries to gain momentum, Farinelli begins running, Farinelli takes off, Farinelli sees the ground disappearing, Farinelli floats to cold heights, Farinelli arrives in a foreign world, Farinelli rises to new spheres, Farinelli traverses turbulent stratums, The solar wind carries Farinelli to outer space, Farinelli sinks into dark depths, The sinking turns into an ascent, Farinelli leaves Death lying to the left, Farinelli sees his mirror image, Farinelli finds himself in a worm-hole, Did something happen?

Duration: 5'24", 19 kB. I especially enjoy hearing and playing three part pieces where all three parts have important, independent, and melodic lines. In the baroque period trios were very popular and were considered the true test of a composer. Recent psycho-acoustic studies have shown that most listeners can keep track of 3 simultaneous lines fairly well but have difficulty with 4 or more. This piece contains 21 variations written in a semi-canonic form in that the first melody line always plays new material while the second melody line plays the material that the first line just finished.

In my treatment of this traditional form, I tried to derive my ideas from its typical melodic structure, its basic rhythmic character and its dance-like origin as well as form the obsessive, everlasting repetition of the basic pattern while making changes and variations, in my own language. The Work consists of four movements: Fast-slow-fast-slow, with the first three almost connected and the fourth independent. This last movement is in the form of a funeral march in which I tried to express my feelings and pain in regard to the collapse of the process and the loss we are experiencing in the present era.

The four movements of Concerto da camera are arranged fast-slow-fast-slow a rereversal of the more customary baroque arrangement of slow-fast-slow-fast. The first three movements are connected, with no discernible pause between them. Wiesenberg writes with a rhythmic and harmonic spikeness reminiscent of Stravinsky's neoclassical period, initially alternating the concertino group solo flute, oboe, horn and bassoon against the strings. Complex rhythmic motives travel among the solo players above the pulsing regularity of cellos and basses.

At first, after the opening gambit, they play in steady motor rhythm, as we familiarize our ears with the recurrent harmonic pattern of the Folia. Presently Wiesenberg varies the bass as well, imbuing each variation with its own character and moving from one to the next with seamless transitions. The spirit of the dance suffuses the first three movements of Folias , allowing opportunities for elegant solo work in the four woodwind instruments. Wiesenberg's piquant harmonies are flavored with hints of Middle Eastern scales.

His handling of the strings is particularly effective, with several passages for the principal players and a couple of passages for the first three chairs in each string section, in addition to writing for the full complement. For example, the Intermezzo begins with oboe and horn in a slow-moving duet above a jagged line from muted cellos and basses. Eventually flute and bassoon join in, then Wiesenberg provides a lyrical passage for principal strings.

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It started with a kick off workshop in June in Colombia and runs for a period of five years. But lately I don't have many free time to improove that lovely tool. In a special session for early career researchers alumni of our master program G. How did farmers structure landscapes field, pasture, woodland to sustain communities, ensure long-term productivity, and produce profits? This particular 'symphony' amounts to some kind of potpurri with music taken from different other works by Wranitzky - something which is not representative for his general output. All computers I have are hand made.

Nowhere in the Intermezzo does the full ensemble play. The finale stands as an indepedent movement. Wiesenberg has cast it as a funeral march. Wiesenberg begins the finale with a chorale for the first chair strings excepting bass , playing as a string quartet without vibrato. Gradually he expands the ensemble until the full string choir is playing, then introduces plaintive commentary from each of the solo woodwinds. The music is powerful and emotional, anchored by the inexorable repetition of the folia bass. In light of the Columbia shuttle disaster early last month, in which an Israeli astronaut died along with six Americans, Wiesenberg's closing movement takes an added poignancy.

Concerto da Camera is scored for one flute, one oboe, one bassoon, one horn, and strings.

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Duration: 4'39", 62 kB. This 'symphony' only survives in two copies, with differnet finales.

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One in the music archive of the Lobkowicz family where Paul's brother Anton was music director, and one in the former music collection of the empress Marie Therese wife of Franz II of Austria. This particular 'symphony' amounts to some kind of potpurri with music taken from different other works by Wranitzky - something which is not representative for his general output. I would guess it was hastily compiled for one of the concerts of the imperial family.

All movements evidently come from different works, except for this third movement - a depiction of a battle ending with a lyrical cello solo. It is likely it also comes from some other work, but I have not yet found a source for it. Anyways, the short Folia progression starts at bar 61 and is hard to miss! Duration: 0'50", kB. The music page attributes the piece i Provence and ii Nicolas Saboly We just picked on it because it is such a well known tune and had some suitable words!!

If so, there is a Swedish folk tune with the same name which is extremely similar. The start of the tune is exactly the same, then it is slightly different in the end note here, that in the recording if I remember correctly puts the tune together with another tune, they often do that.

The basic tune Lampaan polska I think is very similar to something I heard as a child. Thank you! Spending two weeks in a pretty dark editing room at the height of summer in Berlin.

But it was worth it! We hope you like it! Have a nice day everybody! Back again!

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