German.

Erleben Sie die wahre Magie von Weihnachten mit unserem Notenheft "45 Weihnachtslied-Klassiker f�r Klavier"! Tauchen Sie ein in die festliche Atmosph�re von Pl�tzchenduft, Kerzenschein und dem Klang von Weihnachtsliedern, die uns seit unserer Kindheit begleiten. Dieses Notenheft bietet Ihnen eine preiswerte M�glichkeit, 45 beliebte Weihnachtslieder schnell und einfach am Klavier oder Keyboard zu spielen. Hier steht nicht die Perfektion im Vordergrund, sondern der Spa� am Musizieren und die Freude, Ihr Repertoire zu erweitern. Schlie�lich m�chte niemand das ganze Jahr �ber Weihnachtslieder �ben! Die Arrangements sind leicht gesetzt und �bersichtlich gestaltet, sodass Sie die Noten m�helos erfassen k�nnen. Selbst wenn Sie erst 1?2 Jahre Klavier- oder Keyboardunterricht hatten, werden Sie viele Lieder problemlos spielen k�nnen. Zur schnellen Orientierung sind Harmoniesymbole und Fingers�tze enthalten. Damit k�nnen Sie die Arrangements auch auf Keyboards mit Begleitautomatik spielen und sich sogar mit Gitarre oder Ukulele begleiten lassen. Und das Beste daran? Sie k�nnen die Musik aus diesem Notenheft auch jederzeit anh�ren! Suchen Sie einfach nach dem Album oder der Playlist "45 Weihnachtslied-Klassiker f�r Klavier" auf Ihren Lieblings-Streaming-Plattformen wie Spotify, Apple Music, Amazon oder Deezer. So k�nnen Sie die Melodien vorab genie�en und sich inspirieren lassen. Stellen Sie sich vor, wie Sie an Weihnachten die Herzen Ihrer Lieben mit wundervoller Musik erf�llen. Bestellen Sie noch heute Ihr Exemplar des Notenhefts "45 Weihnachtslied-Klassiker f�r Klavier" und lassen Sie die Weihnachtszeit mit Ihrer musikalischen Begleitung noch magischer werden! Weihnachten und Musik geh�ren zusammen ? machen Sie Ihr Fest unvergesslich!

Dieses Spielbuch bietet Ihnen die wunderbare M�glichkeit, 45 beliebte Weihnachtslieder schnell und einfach am Klavier oder Keyboard zu spielen. Die Arrangements sind leicht gesetzt und �bersichtlich gestaltet, sodass Sie die Noten m�helos erfassen k�nnen.

Franz Schubert composed his lied "An die Musik" (German for "To Music") in March 1817 originally for solo voice and piano, with text from a poem by his friend Franz von Schober. The arrangement that we present here was written for cello and piano.

A hymn to the art of music, it is one of the best-known songs by Schubert. Its greatness and popularity are generally attributed to its harmonic simplicity, sweeping melody, and a strong bass line that effectively underpins the vocal line.

This beautiful piece appears in In the final episode of Netflix Series "Unorthodox", the timelines converge as Esty auditions for a scholarship that could guarantee her a future pursuing music in Berlin. Having been told by one of her new friends that she doesn't have the skills as a pianist -- despite having taken secret lessons back in Brooklyn -- Esty chooses to sing. She first performs Schubert's "An die Musik," which she picks because it was a favorite of hers and her grandmothers. "An die Musik" is quite literally an ode to music, and is a fitting choice for Esty, for whom music is a lifeline. But her voice doesn't quite match it.

Recorded by Nicolas Horvath on Grand Piano records (GP822)

Debussy?s friendship with the versatile poet and playwright Gabriel Mourey began in 1899, and in July 1907 Mourey offered Debussy a libretto based on Le roman de Tristan - Joseph B�dier?s adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Thomas - which had recently been published in Paris. Debussy enthusiastically outlined the four-act plot to Victor Segalen that October, and the main differences from Wagner?s Tristan und Isolde are that none of the action takes place in Cornwall and that ?Isolde of the White Hands? is found guilty of cuckolding King Marc with Tristan, who has to rescue her from the leper colony in which she is abandoned in Act 1. She also betrays him when he goes mad at the end.

The idea of a Tristan that restored its ?legendary character? and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristan?s death. Even if he thought that Mourey?s poetry was ?not very lyrical and many passages do not exactly ?invite? music?, he did work on the libretto and the music that summer and sent his publisher, Jacques Durand, ?one of the 363 themes for the ?Roman de Tristan?? in a letter sent from Pourville on 23 August, 1907. The present prelude grows from this theme, together with the poignant Breton folksong ?Le Faucon?. After a short atmospheric introduction, Debussy?s dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches its ecstatic climax, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy?s opening, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated affair.

Unfortunately, Mourey?s actual libretto has been lost and the project eventually foundered because B�dier?s cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrighted for the stage, and would not allow him to proceed with Mourey?s version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!

Robert Orledge