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Beethoven: Piano Trio No. Ravel: Piano Trio in A minor 3. Brahms: Piano Trio No. Schubert: Piano Trio No. Shostakovich: Piano Trio No. Mendelssohn: Piano Trio No. Poulenc: Trio for oboe, bassoon and piano, FP 43 Schumann: Piano Trio No. Tchaikovsky: Piano Trio in A minor, Op. Ligeti: Trio for violin, horn and piano Haydn: Piano Trio No.
Mozart: Trio for clarinet, viola and piano in E-flat major, K. Debussy: Piano Trio, L. Smetana: Piano Trio in G minor, Op. Arensky: Piano Trio No. Brahms: Trio for horn, violin and piano in E-flat major, Op. Brahms: Trio for clarinet, cello and piano in A minor, Op. Chausson: Piano Trio in G minor, Op.
SPILLIAERT TRIO | Repertoire/en | Jean-Samuel Bez
Saariaho: Cendres, for alto flute, cello, and piano Schubert: Notturno, D. Bridge: Piano Trio No. Ives: Piano Trio Crumb: Vox Balaenae, for electric flute, cello and piano Takemitsu: Between Tides Mozart: Piano Trio No. Bruch: Eight Pieces for clarinet, viola, and piano, Op. Hummel: Piano Trio No. Schnittke: Piano Trio Gubaidulina: Quasi Hoquetus, for viola, bassoon, and piano This looks, on paper, somewhat like a minuet.
But the triple-time is continually disguised and subverted by the interplay between the instruments, and by successions of phrases two beats long. The overall impression is less of a dance and more of a rather worried conversation, which finally comes to an unexpected end as if the speakers had walked off through the door, still talking. Sur le papier, on dirait un peu un menuet. Mais la mesure ternaire est constamment travestie, subvertie par le jeu entre les instruments et par des phrases de deux temps.
Der knappe zweite Satz wird aus einer beklommenen kleinen rhythmischen Figur konstruiert, und besitzt den Charakter eines feierlichen Tanzes. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.
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- Haydn: Piano Trio No. 38 in D major, iqegumybiwyf.ml (page 1 of 2) | Presto Classical.
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- Vienna Piano Trio.
Don't show me this message again. While he was in London he gave music lessons to Rebecca Schroeter, the widow of a composer.
The Cello Sonata in F major features a fully independent solo part, exploring the higher register whilst engaging in conversation with both hands of the keyboard. Cheerier in nature, its finale is similar to a gigue, possibly a nod to the solo cello repertoire of the Baroque period. Both Debretzeni and Comberti were using the late-classical bow in their performances, resulting in a softer attack on the gut string and a smoother, less brash tone. When making a comparison between Beethoven and Haydn, it is worth considering their use of humour as a musical element.
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Beethoven is less obvious than Haydn though it serves a deeper purpose in its intent: Haydn seeks to simply amuse an audience, whereas Beethoven intends to provoke a reaction. Although it was the instrument on which he intended the works to be performed, the balance and power of the instrument is far gentler than the stormy weight of nineteenth-century and modern pianos.