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The Méditation is an instrumental entr'acte performed between the scenes of Act II in the opera Thaïs; a wordless chorus joins in for the last reprise. In the first scene of Act II, Athanaël, a Cenobite monk, confronts Thaïs, a beautiful and hedonistic courtesan and devotée of Venus, and attempts to persuade her to leave her life of luxury and pleasure and find salvation through God.
Its famous Méditation, the entr'acte for violin and orchestra played between the scenes of act 2, is an oft-performed concert music piece; it has been arranged for many different instruments. The role of Thaïs, similar to another Massenet heroine also written for Sibyl Sanderson , Esclarmonde , is notoriously difficult to sing and is reserved ...
The Méditation for solo violin and orchestra, from Thaïs, is possibly the best known non-vocal piece by Massenet, and appears on many recordings. [87] Another popular stand-alone orchestral piece from the operas is Le dernier sommeil de la Vierge from La Vierge, which has featured on numerous discs since the middle of the 20th century. [88]
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Wilstach's Thais is a play performed at the Criterion Theatre in London, March 14 through April, 1911 (31 performances). Written by the American Paul Wilstach (1870-1952), it starred Constance Collier (1878–1955) playing the title role and Tyrone Power, Sr. (1869–1931) as the hermit. Earlier the play had a trial run in Boston.
Händel – Sonata in E major Op.1 No.15, HWV 373 / Franck – Violin Sonata in A major / Brahms – Scherzo F.A.E. / Bloch – Nigun / Kreisler – Liebesleid, Syncopation, Schön Rosmarin / Massenet – Meditation de Thais / Paradis – Sicilienne / Narita – The Song of the Seashore / Paganini – Cantabile Op.17: filmed concert
Orchestral Suite No. 1, Première suite d'orchestre – 1867; Orchestral Suite No. 2, Scènes hongroises – 1870; Orchestral Suite No. 3, Scènes dramatiques – 1875; Orchestral Suite No. 4, Scènes pittoresques – 1874
The Meditation from Massenet's opera Thais. The very legato style of playing, with lavish use of portamento, rubato and vibrato and the higher registers of the instrument is typical of violin playing in the late Romantic period.