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20 Songs, Book I: for voice and piano 20. for bass, chorus and piano 4-hands: 1. words by Victor Hugo 2. words by Victor Hugo 3. words by François Coppée 4. words by André Theuriet 5. words by Théodore de Banville 6. words by Théophile Gautier 7. words by Théodore de Banville; also choral version: No. 11 of Rondels 8. words by Paul Verlaine
The 50 Greatest Pieces of Classical Music is a compilation of classical works recorded by the London Philharmonic Orchestra with conductor David Parry. [2] Recorded at Abbey Road Studios, Royal Festival Hall and Henry Wood Hall in London, the compilation was released in digital formats in November, 2009 and as a 4-CD set in 2011. [3]
Debussy completed the first book (FL 86) in 1891. [4] The manuscript of the score shows two songs, "Pantomime" and "Mandolin", which were later removed; they were later published separately. [ 4 ] The score was published in 1903 and the songs were first performed at the house of Madame Édouard Colonne on 16 June 1904.
In 1970, rock musician Ringo Starr surprised the public by releasing an album of Songbook songs from the 1920s, 1930s, and 1940s, Sentimental Journey.Reviews were mostly poor or even disdainful, [25] but the album reached number 22 on the US Billboard 200 [26] and number 7 in the UK Albums Chart, [27] with sales of 500,000.
I'm in the Mood For Love...The Most Romantic Melodies of All Time is the third cover album and fourteenth studio album by saxophonist Kenny G. It was released by Arista Records in 2006 and was the last album for the label. The Asian version also includes a bonus track.
Cello Sonata No. 1(1929) Cello Sonata No. 2 (1934) David N. Baker. Sonata for Violoncello and Piano (1973) (Commissioned by Janos Starker) Granville Bantock. Cello Sonata No. 1 in B minor (1940s) Cello Sonata No. 2 in F-sharp minor (1940s) Samuel Barber. Cello sonata, Op. 6 in C minor (1932) Richard Barrett. nacht und träume (2003 -2008) Béla ...
This brooding opening gives way to one of Scriabin's most beautiful melodies, a second subject in D major. The melody is treated canonically, with multiple voices echoing above an extremely widespread left-hand accompaniment.
Bernac writes that "the art of the greatest French composers is an art of suggestion", [1] rather than explicit statement of feelings. The mélodie is noted for its deliberate and close relationship between text and melody.