Well instantly send an email containing product info and a link to it.The event takes place in the Landmark Auditorium of the Meeting House of the First Unitarian Society of Madison, 900 University Drive. The event includes with a lecture at 7 p.m. Your name: Your email: Personal message: Tell a friend (or remind yourself) about this product. Send to email(s): To send to more than one person, separate addresses with a comma. Prelude, Menuet, Clair de lune, Passepied required. 2tbn.This Friday night, Trevor Stephenson (below), the founder and director of the Madison Bach Musicians, will unveil, discuss and perform on a recently restored his historic Bösendorfer Grand Piano (also below), dating from about 1855.Debussy - Suite bergamasque.Claude Debussy was a French composer who was born on 22 August 1862 and died aged 55 of colorectal cancer on 25 March 1918. Type: Arrangement: Composed by: (Achille) Claude Debussy (1862 to 1918). Passepied,&10 Ballade.Description: Prelude, the 1st movement from Suite Bergamasque, arranged for Tenor Saxophone and Piano. Clair de lune,&10 Suite Bergamasque, L. Menuet,&10 Suite Bergamasque, L.
2, by Frederic Chopin (1810−1849)Sonata in C major, Op. Posthumous, and Nocturne in D-flat major, Op. 56, by Gabriel Fauré (1845−1924) with guest pianist Timothy Mueller (You can hear the opening charming “Berceuse,” along with the Spanish Dance, in a YouTube video at the bottom.)Nocturne in C-sharp minor, Op. Stephenson will discuss the restoration in detail.Fittingly, the concert program will include works by Frederic Chopin, Ludwig van Beethoven, Johannes Brahms, Claude Debussy, Arnold Schoenberg, Gabriel Fauré, Franz Schubert and Johann Strauss Jr.Trevor Stephenson will also discuss the rebuilding process and the overall character of this remarkable historical piano.“Berceuse” (Lullaby) from the Dolly Suite, Op. It is located at 5729 Forsythia Place, Madison WI 53705 on Madison’s west side.Please register by Januif you’d like to attend. Two Arabesques, Reverie and Estampes (or “Prints,” heard at the bottom in a YouTube video of a live performance by the magical and great Russian pianist Sviatoslav Richter in 1977 in Salzburg, Austria.)The course is geared for those with a reading knowledge of music.The classes will be given at Trevor Stephenson’s home studio (below). Suite Bergamasque (with Clair de Lune), Preludes Book II and Children’s Corner Suite. Programmatic titling, extra-musical influences, poetry and art. Modes, whole-tone scales, harmonic language, tonality. Construction and tonal qualities of the 19th-century piano. Reviews of ccleaner professionalHe used reader responses to speak of other favorite moments and post some other clips about the pieces:Part 6: “ Clair de Lune” by Claude Debussy (below, the slow movement from his “ Suite Bergamasque”:Part 7: “Intermezzzo” for solo piano in E-flat Major, Op. They still move him.(You might remember that the articulate and droll Tommasini also came to speak in Madison last season at the Wisconsin Union Theater and in Mills Hall –- a photo is below with Tommasini on the right, composer William Bolcom on the left and UW pianist Todd Welbourne in the middle as a moderator — as part of the Pro Arte Quartet Centennial celebration at the University of Wisconsin.)You may also recall that, in addition to the story about musical moments, Tommasini, a composer and Yale-trained pianist, posted four short videos explaining how and why those favorite moments work.Here is the original story, which I posted on Thanksgiving Day, and also links to the four videos:Then just a few days ago, Tommasini answered reader responses and wrote a follow-up story, after his first story and the first four short videos he did. They are small moments from Chopin and other composers that he sometime heard as a child or young man, moments that have lasted him a lifetime. Cool retro terminal windowsI love the orchestral tone poems like Prelude to the Afternoon of a Faun, La Mer and Nocturnes. I love the Violin Sonata and the String Quartet. There is structure and Cartesian rationality and irony galore, as well as a distinctly Gallic subversive sensuality, in Debussy’s work.I love the solo piano works — the two books of Preludes, the two books of Images, the Estampes, the Suite Bergamasque and the Ile Joyeuse. But I expect to hear much more from such well-known critics as Alex Ross, Anthony Tommasini and Anne Midgette, among others.There is so much Debussy I love, and good Debussy with a strong rhythmic and harmonic backbone – not just the gauzy focus and slushy sentimentality that we wrongly associate with Impressionism. Next year is Wagner.But this year is a Debussy Year, and we haven’t heard nearly as much, even in anticipation.There is a strong case to be made for Debussy (below) as The Modernist of All Modernists, the man who broke the Germanic strangle hold once and for all on classical music and who pioneering new structure and new harmony.So far, the best piece I’ve read is this one in the UK’s The Guardian that I have linked to.
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