Ad
related to: oxgn nocturne 2 in romana pdf word gratis italiano youtubethebestpdf.com has been visited by 100K+ users in the past month
Search results
Results From The WOW.Com Content Network
Nocturne is an opera in one act by the Ukrainian composer Mykola Lysenko written in 1912 and first performed in Kyiv soon after composer's death.. Libreto to this opera wrote Liudmyla Starytska-Cherniakhivska (1868–1941), the daughter of Mikhailo Starytsky (1840–1904), who was Lysenko's friend.
Liebesträume (German for Dreams of Love) is a set of three solo piano nocturnes (S.541/R.211) by Franz Liszt published in 1850. [1] Originally the three Liebesträume were conceived as lieder after poems by Ludwig Uhland and Ferdinand Freiligrath. In 1850 two versions appeared simultaneously as a set of songs for high voice and piano, and as ...
Nocturne, Op. 60, is a song cycle by Benjamin Britten, written for tenor, seven obbligato instruments and strings. [1] The seven instruments are flute , cor anglais , clarinet , bassoon , harp , French horn and timpani .
Nocturne in E-flat major, Op. 55, No. 2. The second nocturne in E ♭ major features a 12 8 time signature, triplet quavers in the bass, and a lento sostenuto tempo marking. The left-hand features sweeping legato arpeggios from the bass to the tenor, while the right-hand often plays a contrapuntal duet and a soaring single melody.
Nocturne is a 1946 American film noir starring George Raft and Lynn Bari, with Virginia Huston, Joseph Pevney, and Myrna Dell in support. Directed by Edwin L. Marin , the film was produced by longtime Alfred Hitchcock associate Joan Harrison , scripted by Jonathan Latimer , and released by RKO Pictures . [ 2 ]
Nocturnes are generally thought of as being tranquil, often expressive and lyrical, and sometimes rather gloomy, but in practice pieces with the name nocturne have conveyed a variety of moods: the second of Debussy's orchestral Nocturnes, "Fêtes", for example, is very lively, as are parts of Karol Szymanowski's Nocturne and Tarantella (1915 ...
The seventh nocturne departs from the A–B–A form of Fauré's earlier nocturnes; in Pinkas's view is it constructed more like a ballade than a nocturne. [30] It opens with a slow ( molto lento ) theme of harmonic ambiguity, followed by a second theme, equally ambiguous in key, though nominally in D major.
To some, these nocturnes are not as impressive as their predecessors, the Nocturnes, Op. 27. [2] While each piece "exemplifies one of the composer's various approaches to nocturne form," Blair Johnson felt that, in the piece, the "moments of originality and power stick out in a way that they couldn't have, had the entirety of the pieces been sewn of finer silk."