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Bach Cello Suite on Classical Guitar - Seth Maxwell
Bach Cello Suite on Classical Guitar - Seth Maxwell
This is my version of Bach's Cello Suite transposed to my cheap Fender classical guitar (that squeaks if I even look at the wrong way). A good bit of what I'm doing here (particularly the additional bass lines) was inspired by the late (and great) Andres Segovia's interpretation, but dumbed down for normal humans like myself to play. I did take a few liberties here and there to do what I felt with the piece...I really hope that does not offend any purists out there (to me doing that is what playing music is all about). In case you're wondering, the tuning is standard. As always thanks for listening and please feel free to comment. -seth [ More Detail ]
Arioso - J.S. Bach
this piece shows the cello-like strings, as well as the panpipe quality of the doppelflutes, within the melody line [ More Detail ]
by heavyvoxes 5min38sec, Views:9, Ratings:0.00pt, Votes:0, Comments:0, Added at:08/10/05 [ DownLoad ]
Lilium - Original Piano Arrangement
High quality version: http://ca.youtube.com/watch?v=g3UHrN0iyK4&fmt=18Lilium is the opening theme song from the anime Elfen Lied. It was originally composed by Kayo Konishi and Yukio Kondou with lyrics based on Latin biblical texts.Due to popular demand, I decided to arrange a complex piano version that captures as much detail from the original as possible. However, in doing so, I have made the piece quite challenging to play.I believe the original song was composed for either a piano quintet (2 violins, 1 viola, 1 cello, 1 piano) and vocals or a string chamber ensemble plus a piano and vocals. Thus, one of the challenges in reducing this score to for solo piano was to choose the which pitches to include in order to capture the fullness of strings, while at the same time keeping in mind the constraints of the pianist (e.g. maximum stretch, pedaling with minimal blurring). The melodic line often crosses under or is surrounded by harmonizing parts. One of the most difficult passages is at bar 9 (at 0:55 and at 2:23) where the middle triplet figures are shared by both hands.The video shows screen captures of the score synchronized with the music for you to follow along. The score will be available on my website once I get some free time. If enough people are interested, I might do some more of these projects.Enjoy! [ More Detail ]
Passional, for cello solo by Sebastian Plano
Sebastian Plano, celloAll right reserved.(SGAE) 2008.Program Notes:Passion; Love-hate. Desire-lust. Ardor-anger. Emotional fulfill-madness. Aggression-sweetness. Caring-contempt. Gain-loss. Beauty-ugliness, Passion-fanaticism.
I believe passion is about controversial emotions—this piece is a musical realization of those emotions.
We spend our lives being passionate about different things at once. The effort we make in actualizing these achievements makes our life interesting and joyful. Passion can be seen as a pleasant or happy state associated with an emotion, nevertheless it comes from the Latin root of "Passio," or suffering. It's not hard to describe this word but impossible.
Passional reflects the desire to get something, followed by exaltations interrupting the different musical lines throughout the piece. It also has a broad sense of reflection—for example, the very beginning transcends into dissonance chords driving the atmosphere to a second phase of the title.
The piece concludes with my beliefs that a person can go mad because of passion and the intensity of emotions it contains, thus ending up in a state of confusion, distortion, and much mess. [ More Detail ]
by manmadematerial 9min59sec, Views:299, Ratings:5.00pt, Votes:1, Comments:1, Added at:08/08/25 [ DownLoad ]
Shostakovich - Piano Quintet in G minor, Op. 57 - Part 1/5
Piano Quintet in G minor, Op. 57 (1940)I. Prelude: LentoII. Fugue: AdagioIII. Scherzo: AllegrettoIV. Intermezzo: LentoV. Finale: AllegrettoComposer: Dmitri Shostakovich (1906-1975)Performers: Amati Quartet &Bruno Canino (piano)Picture: Shostakovich with the musicians of Glazunov quartet of Lukashevsky - Ginsburg - Rivkin - Mogilevsky in January 1941As with much of Shostakovich's music the Piano Quintet is an historical reflection of its time. It is a gravely serene piece marked by a simplicity of texture, especially in the piano writing: lines are doubled two octaves below, and there is little complex inter-part composition. All of this provides clarity, and an ample accessibility reflected in the popularity of the work immediately after its premiere. Rostislav Dubinsky, original first violinist of the Borodin Quartet recalls in his book, Not By Music Alone: "For a time the Quintet overshadowed even such events as the football matches between the main teams. The Quintet was discussed in trams, people tried to sing in the streets the second defiant theme of the finale. War that soon started completely changed the life of the country as well as the consciousness of the people. If previously there was the faint hope of a better life, and the hope that the 'sacrifices' of the revolution were not in vain, this hope was never to return. The Quintet remained in the consciousness of the people as the last ray of light before the future sank into a dark gloom."The work is cast in five movements. The Prelude opens in the style of a Bach prelude, and foreshadows the remarkable preludes that Shostakovich was to write in the Preludes and Fugues for Piano, Op.87 (1950-51). The stirring entry of the piano is answered by the quartet, after which the mood changes and a related idea is developed until the opening reasserts itself. The Fugue begins gently and slowly and builds to a furor of lyricism. The Scherzo returns to Shostakovich's irrepressible sense of irony and humor, and is utterly brilliant. This side of the composer's personality is never restrained; there are dazzling and profound scherzos scattered throughout his work. This one is reminiscent of the Polka from the Age of Gold, or moments from the Cello Sonata, Op.40 (1934). The Intermezzo, tinged with regret and tranquillity, leads to a finale in which triumph is flung in direct opposition to darkness. This is the theme that Dubinsky recalls, and it appears before and after a thunderous, descending group of onrushing chords on the piano, the emotional core of the work. The Quintet finishes with wit and whimsy, contrary to the opening, in which the music spins off to a quiet conclusion.Shostakovich and the Beethoven Quartet premiered the Quintet on November 23, 1940 at the Moscow Academy of Music. Shostakovich was an accomplished pianist and performed the piece many times with the Beethoven and later, the Borodin Quartet. Incidentally, Dmitri Dmitreyvich was an anxious performer and his resulting fast tempi are recognizable in recordings of his performances. Valentin Berlinsky, cellist of the Borodin Quartet, recalls in Elizabeth Wilson's book, Shostakovich: A Life Remembered that the composer would say "Let's play it fast, otherwise the audience will get bored." He would particularly rush the fast movements. The player's would beg him to slow down, saying "but your metronome mark is such and such!" The composer replied, "Well, you see my metronome at home is out of order, so pay no attention to what I wrote."http://www.fuguemasters.com/dsch.html#Piano_Quintet [ More Detail ]
Shostakovich - Piano Quintet in G minor, Op. 57 - Part 2/5
Piano Quintet in G minor, Op. 57 (1940)I. Prelude: LentoII. Fugue: AdagioIII. Scherzo: AllegrettoIV. Intermezzo: LentoV. Finale: AllegrettoComposer: Dmitri Shostakovich (1906-1975)Performers: Amati Quartet &Bruno Canino (piano)Picture: Shostakovich with the musicians of Glazunov quartet of Lukashevsky - Ginsburg - Rivkin - Mogilevsky in January 1941As with much of Shostakovich's music the Piano Quintet is an historical reflection of its time. It is a gravely serene piece marked by a simplicity of texture, especially in the piano writing: lines are doubled two octaves below, and there is little complex inter-part composition. All of this provides clarity, and an ample accessibility reflected in the popularity of the work immediately after its premiere. Rostislav Dubinsky, original first violinist of the Borodin Quartet recalls in his book, Not By Music Alone: "For a time the Quintet overshadowed even such events as the football matches between the main teams. The Quintet was discussed in trams, people tried to sing in the streets the second defiant theme of the finale. War that soon started completely changed the life of the country as well as the consciousness of the people. If previously there was the faint hope of a better life, and the hope that the 'sacrifices' of the revolution were not in vain, this hope was never to return. The Quintet remained in the consciousness of the people as the last ray of light before the future sank into a dark gloom."The work is cast in five movements. The Prelude opens in the style of a Bach prelude, and foreshadows the remarkable preludes that Shostakovich was to write in the Preludes and Fugues for Piano, Op.87 (1950-51). The stirring entry of the piano is answered by the quartet, after which the mood changes and a related idea is developed until the opening reasserts itself. The Fugue begins gently and slowly and builds to a furor of lyricism. The Scherzo returns to Shostakovich's irrepressible sense of irony and humor, and is utterly brilliant. This side of the composer's personality is never restrained; there are dazzling and profound scherzos scattered throughout his work. This one is reminiscent of the Polka from the Age of Gold, or moments from the Cello Sonata, Op.40 (1934). The Intermezzo, tinged with regret and tranquillity, leads to a finale in which triumph is flung in direct opposition to darkness. This is the theme that Dubinsky recalls, and it appears before and after a thunderous, descending group of onrushing chords on the piano, the emotional core of the work. The Quintet finishes with wit and whimsy, contrary to the opening, in which the music spins off to a quiet conclusion.Shostakovich and the Beethoven Quartet premiered the Quintet on November 23, 1940 at the Moscow Academy of Music. Shostakovich was an accomplished pianist and performed the piece many times with the Beethoven and later, the Borodin Quartet. Incidentally, Dmitri Dmitreyvich was an anxious performer and his resulting fast tempi are recognizable in recordings of his performances. Valentin Berlinsky, cellist of the Borodin Quartet, recalls in Elizabeth Wilson's book, Shostakovich: A Life Remembered that the composer would say "Let's play it fast, otherwise the audience will get bored." He would particularly rush the fast movements. The player's would beg him to slow down, saying "but your metronome mark is such and such!" The composer replied, "Well, you see my metronome at home is out of order, so pay no attention to what I wrote."http://www.fuguemasters.com/dsch.html#Piano_Quintet [ More Detail ]
Shostakovich - Piano Quintet in G minor, Op. 57 - Part 3/5
Piano Quintet in G minor, Op. 57 (1940)I. Prelude: LentoII. Fugue: AdagioIII. Scherzo: AllegrettoIV. Intermezzo: LentoV. Finale: AllegrettoComposer: Dmitri Shostakovich (1906-1975)Performers: Amati Quartet &Bruno Canino (piano)Picture: Shostakovich with the musicians of Glazunov quartet of Lukashevsky - Ginsburg - Rivkin - Mogilevsky in January 1941As with much of Shostakovich's music the Piano Quintet is an historical reflection of its time. It is a gravely serene piece marked by a simplicity of texture, especially in the piano writing: lines are doubled two octaves below, and there is little complex inter-part composition. All of this provides clarity, and an ample accessibility reflected in the popularity of the work immediately after its premiere. Rostislav Dubinsky, original first violinist of the Borodin Quartet recalls in his book, Not By Music Alone: "For a time the Quintet overshadowed even such events as the football matches between the main teams. The Quintet was discussed in trams, people tried to sing in the streets the second defiant theme of the finale. War that soon started completely changed the life of the country as well as the consciousness of the people. If previously there was the faint hope of a better life, and the hope that the 'sacrifices' of the revolution were not in vain, this hope was never to return. The Quintet remained in the consciousness of the people as the last ray of light before the future sank into a dark gloom."The work is cast in five movements. The Prelude opens in the style of a Bach prelude, and foreshadows the remarkable preludes that Shostakovich was to write in the Preludes and Fugues for Piano, Op.87 (1950-51). The stirring entry of the piano is answered by the quartet, after which the mood changes and a related idea is developed until the opening reasserts itself. The Fugue begins gently and slowly and builds to a furor of lyricism. The Scherzo returns to Shostakovich's irrepressible sense of irony and humor, and is utterly brilliant. This side of the composer's personality is never restrained; there are dazzling and profound scherzos scattered throughout his work. This one is reminiscent of the Polka from the Age of Gold, or moments from the Cello Sonata, Op.40 (1934). The Intermezzo, tinged with regret and tranquillity, leads to a finale in which triumph is flung in direct opposition to darkness. This is the theme that Dubinsky recalls, and it appears before and after a thunderous, descending group of onrushing chords on the piano, the emotional core of the work. The Quintet finishes with wit and whimsy, contrary to the opening, in which the music spins off to a quiet conclusion.Shostakovich and the Beethoven Quartet premiered the Quintet on November 23, 1940 at the Moscow Academy of Music. Shostakovich was an accomplished pianist and performed the piece many times with the Beethoven and later, the Borodin Quartet. Incidentally, Dmitri Dmitreyvich was an anxious performer and his resulting fast tempi are recognizable in recordings of his performances. Valentin Berlinsky, cellist of the Borodin Quartet, recalls in Elizabeth Wilson's book, Shostakovich: A Life Remembered that the composer would say "Let's play it fast, otherwise the audience will get bored." He would particularly rush the fast movements. The player's would beg him to slow down, saying "but your metronome mark is such and such!" The composer replied, "Well, you see my metronome at home is out of order, so pay no attention to what I wrote."http://www.fuguemasters.com/dsch.html#Piano_Quintet [ More Detail ]
Shostakovich - Piano Quintet in G minor, Op. 57 - Part 4/5
Piano Quintet in G minor, Op. 57 (1940)I. Prelude: LentoII. Fugue: AdagioIII. Scherzo: AllegrettoIV. Intermezzo: LentoV. Finale: AllegrettoComposer: Dmitri Shostakovich (1906-1975)Performers: Amati Quartet &Bruno Canino (piano)Picture: Shostakovich with the musicians of Glazunov quartet of Lukashevsky - Ginsburg - Rivkin - Mogilevsky in January 1941As with much of Shostakovich's music the Piano Quintet is an historical reflection of its time. It is a gravely serene piece marked by a simplicity of texture, especially in the piano writing: lines are doubled two octaves below, and there is little complex inter-part composition. All of this provides clarity, and an ample accessibility reflected in the popularity of the work immediately after its premiere. Rostislav Dubinsky, original first violinist of the Borodin Quartet recalls in his book, Not By Music Alone: "For a time the Quintet overshadowed even such events as the football matches between the main teams. The Quintet was discussed in trams, people tried to sing in the streets the second defiant theme of the finale. War that soon started completely changed the life of the country as well as the consciousness of the people. If previously there was the faint hope of a better life, and the hope that the 'sacrifices' of the revolution were not in vain, this hope was never to return. The Quintet remained in the consciousness of the people as the last ray of light before the future sank into a dark gloom."The work is cast in five movements. The Prelude opens in the style of a Bach prelude, and foreshadows the remarkable preludes that Shostakovich was to write in the Preludes and Fugues for Piano, Op.87 (1950-51). The stirring entry of the piano is answered by the quartet, after which the mood changes and a related idea is developed until the opening reasserts itself. The Fugue begins gently and slowly and builds to a furor of lyricism. The Scherzo returns to Shostakovich's irrepressible sense of irony and humor, and is utterly brilliant. This side of the composer's personality is never restrained; there are dazzling and profound scherzos scattered throughout his work. This one is reminiscent of the Polka from the Age of Gold, or moments from the Cello Sonata, Op.40 (1934). The Intermezzo, tinged with regret and tranquillity, leads to a finale in which triumph is flung in direct opposition to darkness. This is the theme that Dubinsky recalls, and it appears before and after a thunderous, descending group of onrushing chords on the piano, the emotional core of the work. The Quintet finishes with wit and whimsy, contrary to the opening, in which the music spins off to a quiet conclusion.Shostakovich and the Beethoven Quartet premiered the Quintet on November 23, 1940 at the Moscow Academy of Music. Shostakovich was an accomplished pianist and performed the piece many times with the Beethoven and later, the Borodin Quartet. Incidentally, Dmitri Dmitreyvich was an anxious performer and his resulting fast tempi are recognizable in recordings of his performances. Valentin Berlinsky, cellist of the Borodin Quartet, recalls in Elizabeth Wilson's book, Shostakovich: A Life Remembered that the composer would say "Let's play it fast, otherwise the audience will get bored." He would particularly rush the fast movements. The player's would beg him to slow down, saying "but your metronome mark is such and such!" The composer replied, "Well, you see my metronome at home is out of order, so pay no attention to what I wrote."http://www.fuguemasters.com/dsch.html#Piano_Quintet [ More Detail ]
Shostakovich - Piano Quintet in G minor, Op. 57 - Part 5/5
Piano Quintet in G minor, Op. 57 (1940)I. Prelude: LentoII. Fugue: AdagioIII. Scherzo: AllegrettoIV. Intermezzo: LentoV. Finale: AllegrettoComposer: Dmitri Shostakovich (1906-1975)Performers: Amati Quartet &Bruno Canino (piano)Picture: Shostakovich with the musicians of Glazunov quartet of Lukashevsky - Ginsburg - Rivkin - Mogilevsky in January 1941As with much of Shostakovich's music the Piano Quintet is an historical reflection of its time. It is a gravely serene piece marked by a simplicity of texture, especially in the piano writing: lines are doubled two octaves below, and there is little complex inter-part composition. All of this provides clarity, and an ample accessibility reflected in the popularity of the work immediately after its premiere. Rostislav Dubinsky, original first violinist of the Borodin Quartet recalls in his book, Not By Music Alone: "For a time the Quintet overshadowed even such events as the football matches between the main teams. The Quintet was discussed in trams, people tried to sing in the streets the second defiant theme of the finale. War that soon started completely changed the life of the country as well as the consciousness of the people. If previously there was the faint hope of a better life, and the hope that the 'sacrifices' of the revolution were not in vain, this hope was never to return. The Quintet remained in the consciousness of the people as the last ray of light before the future sank into a dark gloom."The work is cast in five movements. The Prelude opens in the style of a Bach prelude, and foreshadows the remarkable preludes that Shostakovich was to write in the Preludes and Fugues for Piano, Op.87 (1950-51). The stirring entry of the piano is answered by the quartet, after which the mood changes and a related idea is developed until the opening reasserts itself. The Fugue begins gently and slowly and builds to a furor of lyricism. The Scherzo returns to Shostakovich's irrepressible sense of irony and humor, and is utterly brilliant. This side of the composer's personality is never restrained; there are dazzling and profound scherzos scattered throughout his work. This one is reminiscent of the Polka from the Age of Gold, or moments from the Cello Sonata, Op.40 (1934). The Intermezzo, tinged with regret and tranquillity, leads to a finale in which triumph is flung in direct opposition to darkness. This is the theme that Dubinsky recalls, and it appears before and after a thunderous, descending group of onrushing chords on the piano, the emotional core of the work. The Quintet finishes with wit and whimsy, contrary to the opening, in which the music spins off to a quiet conclusion.Shostakovich and the Beethoven Quartet premiered the Quintet on November 23, 1940 at the Moscow Academy of Music. Shostakovich was an accomplished pianist and performed the piece many times with the Beethoven and later, the Borodin Quartet. Incidentally, Dmitri Dmitreyvich was an anxious performer and his resulting fast tempi are recognizable in recordings of his performances. Valentin Berlinsky, cellist of the Borodin Quartet, recalls in Elizabeth Wilson's book, Shostakovich: A Life Remembered that the composer would say "Let's play it fast, otherwise the audience will get bored." He would particularly rush the fast movements. The player's would beg him to slow down, saying "but your metronome mark is such and such!" The composer replied, "Well, you see my metronome at home is out of order, so pay no attention to what I wrote."http://www.fuguemasters.com/dsch.html#Piano_Quintet [ More Detail ]
Empyrium - My Nocturnal Queen
EmpyriumGenre(s)Dark Symphonic Folk Metal (old), Darkwave Acoustic (new)Lyrical theme(s)Nature, Darkness, Sadness, Sorrow, RomanceOrigin Formed in Last label StatusGermany (Hendungen, Bavaria) 1994 Prophecy Productions Split-upLast known line-upUlf Theodor Schwadorf (Markus Stock) - Vocals, Acoustic guitars, Bass, Mellotron, Drums &Percussion (Autumnblaze, Sun of the Sleepless, The Vision Bleak, Noekk, Nachtmahr, Nox Mortis (Guest))Thomas Helm : Vocals, Piano/Keyboards (Sharatan, Sun of the Sleepless, Noekk, Nachtmahr)Former/past member(s)Nadine Moelter - Flutes, Cello (session)Andreas Bach - SynthesizerAdditional notesMarkus Stock and Nadine Moelter are married.Since the time of ``A Wintersunset...`` until ``Songs Of Moors And Misty Fields`` Empyrium recorded roughly 300 minutes of loose ideas, fragments and experiments. Parts of this material re-appear on ``Weiland``. [ More Detail ]
Empyrium - Midnight, Moonlight and a Dark Romance
EmpyriumGenre(s)Dark Symphonic Folk Metal (old), Darkwave Acoustic (new)Lyrical theme(s)Nature, Darkness, Sadness, Sorrow, RomanceOrigin Formed in Last label StatusGermany (Hendungen, Bavaria) 1994 Prophecy Productions Split-upLast known line-upUlf Theodor Schwadorf (Markus Stock) - Vocals, Acoustic guitars, Bass, Mellotron, Drums &Percussion (Autumnblaze, Sun of the Sleepless, The Vision Bleak, Noekk, Nachtmahr, Nox Mortis (Guest))Thomas Helm : Vocals, Piano/Keyboards (Sharatan, Sun of the Sleepless, Noekk, Nachtmahr)Former/past member(s)Nadine Moelter - Flutes, Cello (session)Andreas Bach - SynthesizerAdditional notesMarkus Stock and Nadine Moelter are married.Since the time of ``A Wintersunset...`` until ``Songs Of Moors And Misty Fields`` Empyrium recorded roughly 300 minutes of loose ideas, fragments and experiments. Parts of this material re-appear on ``Weiland``. [ More Detail ]
Finale of Bach trio in G for two flutes and continuo
Performance of the beautiful Bach trio in G (BWV 1039) finale here in Manila, featuring American David Johnson and Prof Eric Barcelo on flutes, (myself) Graham Dwyer on harpsichord and Rommel Cruz on double bass. We tried double bass instead of cello to add some resonance to the continuo line. Apologies for the wavering hand held cam! Very cinema verite! Stick with it as it gets better after the first few seconds. Venue was University of the Philippines, Manila, December 2005. Watch for more Baroque performances in Manila (better shot) soon, including the Bach trio in G for violin and flute. [ More Detail ]
by captaingra 3min4sec, Views:397, Ratings:3.00pt, Votes:1, Comments:2, Added at:08/05/15 [ DownLoad ]
12-Year-Old Playing Bach Prelude Suite No. 1 Badly (Cello)
I took like 20 takes before i got on i liked. yes this is me playing and yes i'm currently sick. please comment. at the end that's my sis she was in the crib and making noise 0.0 and no this is not the whole thing i'm not that good.5/11/08 [ More Detail ]
by TheYoungCellist 2min14sec, Views:681, Ratings:3.00pt, Votes:2, Comments:10, Added at:08/05/11 [ DownLoad ]
Vivaldi - Violin Sonata in A Major RV31
ANTONIO VIVALDI (1678-1741)Sonata for violin and basso continuo in A major RV31 Op. 2 No. 21. Preludio a capriccio - Presto2. Corrente: Allegro3. Adagio4. Giga: AllegroPerformed by Elizabeth Wallfisch, violinRichard Tunnicliffe, celloMalcolm Proud, harpsichord *Originally written as duets for violin and cello, the Opus 2 sonatas were instead published as violin sonatas, perhaps becuase the publisher believed this would be more profitable. Despite being published as volin sonatas in name, the music itself remained unchanged. This is why the bass line is highly active, and often travels into the upper registers. [ More Detail ]
by HARMONICO101 6min33sec, Views:1858, Ratings:5.00pt, Votes:6, Comments:2, Added at:08/04/29 [ DownLoad ]
Vivaldi - Violin Sonata in D Minor RV14 - Mov. 1/4
ANTONIO VIVALDI (1678-1741)Sonata for violin and basso continuo RV14 Op. 2 No. 31. Preludio: Andante*Originally written as duets for violin and cello, the Opus 2 sonatas were instead published as violin sonatas, perhaps becuase the publisher believed this would be more profitable. Despite being published as volin sonatas in name, the music itself remained unchanged. This is why the bass line is highly active, and often travels into the upper registers.Performed by Elizabeth Wallfisch, violinRichard Tunnicliffe, cello [ More Detail ]
by HARMONICO101 6min36sec, Views:2770, Ratings:5.00pt, Votes:5, Comments:2, Added at:08/03/04 [ DownLoad ]
Vivaldi - Violin Sonata in F Major RV20 - Mov. 1-2/4
ANTONIO VIVALDI (1678-1741)Sonata for violin and basso continuo in F major Op. 2 No. 41. Andante2. Allemanda: Allegro*Originally written as duets for violin and cello, the Opus 2 sonatas were instead published as violin sonatas, perhaps becuase the publisher believed this would be more profitable. Despite being published as volin sonatas in name, the music itself remained unchanged. This is why the bass line is highly active, and often travels into the upper registers.** I don't know if the entire piece was transcribed, but I do know that the second movement of this sonata was arranged by Jean Thilde for trumpet and was made famous by Maurice Andre.Performed by Elizabeth Wallfisch, violinRichard Tunnicliffe, celloMalcolm Proud, harpsichord [ More Detail ]
by HARMONICO101 5min35sec, Views:2315, Ratings:5.00pt, Votes:4, Comments:3, Added at:08/02/28 [ DownLoad ]
Vivaldi - Violin Sonata in G Minor RV27 - Mov. 1-2/4
ANTONIO VIVALDI (1678-1741)Sonata for violin and basso continuo in G minor Op. 2 No. 11. Preludio: Andante2. Giga: Allegro*Originally written as duets for violin and cello, the Opus 2 sonatas were instead published as violin sonatas, perhaps becuase the publisher believed this would be more profitable. Despite being published as volin sonatas in name, the music itself remained unchanged. This is why the bass line is highly active, and often travels into the upper registers.Performed by Elizabeth Wallfisch, violinRichard Tunnicliffe, celloMalcolm Proud, harpsichord [ More Detail ]
by HARMONICO101 5min52sec, Views:4560, Ratings:4.70pt, Votes:9, Comments:5, Added at:08/02/06 [ DownLoad ]
Walled Lake Percussion
March 17, 2007 Winter Drum Line Invitational at Lakeland High School."Communication" designed by Nick Pourchoand Dan Schmatz. Music includes Omphalo Centric Lecture by Nigel Westlake, the prelude from Cello # 1 by J.S. Bach, and Ping Island by Mark Mothersbaugh. [ More Detail ]
by sandman616 6min53sec, Views:2742, Ratings:4.80pt, Votes:4, Comments:10, Added at:07/03/18 [ DownLoad ]
Eyes: A Visual Essay
This is a visual essay that I did for my Video Production II class. It's based off of a poem that I wrote and even has some of the lines from the poem incorporated into the visuals. It's kind of dark and somber, and is open for interpretation. [ More Detail ]