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The Suite Paysanne Hongroise is an arrangement of music by Béla Bartók, by Paul Arma. The suite consists of folk song arrangements originally written for piano, and was transcribed for flute and piano by Paul Arma; later he also arranged it for flute and orchestra. It is based on folk songs that Bartók collected in Eastern Europe.
Six National Airs with Variations for flute (or violin) and piano in G major, Op. 105 (1818-19) Ten National Airs with Variations for flute (or violin) and piano in A minor, Op. 107 (1818-19) Frédéric Chopin (attributed): Variations in E major on "Non più mesta" from Rossini's La Cenerentola for flute and piano, B.9, KK. Anh. Ia/5 (1829 or ...
In terms of popularity at the time, the song was a modest hit. The song was reintroduced in the 1942 film Casablanca, where it was sung by Sam, portrayed by Dooley Wilson. Sam's piano accompaniment was played by a studio pianist, Jean Vincent Plummer; Wilson was a drummer. [6] [7] [8] The melody is heard throughout the film as a leitmotif. [9]
"Do That to Me One More Time" was a comeback for the duo, but they failed to achieve further success on Casablanca and their contract was not renewed. Vocalist and songwriter Toni Tennille played the song for Bogart at her house with husband Daryl Dragon in Pacific Palisades, California on an electric piano. Bogart reacted enthusiastically ...
Faouzia began writing songs and poems when she was five years old and playing piano at the age of six. She later studied how to play guitar and violin. [ 8 ] She speaks fluent English, French, and Arabic; [ 4 ] the latter being the one she mostly used with her family.
The Ten National Airs with Variations for Flute and Piano, Op. 107, were composed by Ludwig van Beethoven in 1818 and 1819. [1] Beethoven wrote this piece based on folk-derived melodies. [1] This is one of several sets of pieces that Beethoven wrote that are folk-derived.
Knock on Wood" is a song written by M.K. Jerome and Jack Scholl for the film Casablanca, where it was performed onscreen by Dooley Wilson to music played by pianist Elliot Carpenter. [1] Commissioned by producer Hal B. Wallis, the song is the movie's only original composition. [2] [3]
8 contrasting with jagged piano figures. It concludes with a cadenza that provides a transition to the lyrical second section. The last section features rapid exchanges between the flute and the piano before another short but difficult cadenza recalls the themes heard before. A frenzied accelerando played by both instruments concludes the piece ...