SKU: HL.49008153

SKU: M7.GRG-106297100

ISBN 9783872523853. German Kölsch.

111 Kölsche Mitsinghits mit allen Texten, Akkorden und einem Videoclip als Hörbeispiel in Lagerfeuerversion - eingespielt mit zusätzlichen Praxistipps zur Spielweise, Akkordvarianten und Anschlagsmustern von den Kölner Musikern Björn Heuser und FM Willizil. Mit Akkordtabelle, allen Texten und Gitarrengriffe, OHNE Noten, QR-Code neben jedem Lied fu?hrt zu einem kurzen Videoclip (ca. 1:30 Minuten lang).

SKU: HL.49016122

ISBN 9790001144261. UPC: 884088202545. 9.0x12.0x0.065 inches.

Funeral music plays an important role in music history for the articulation of grief and sorrow is an essential task of music. The important German organ composer Harald Genzmer (born in 1909) wrote his 'Musik der Trauer' in 2001, deeply affected by the death of his wife. The music is full of emotion and sentiment, expressing grief, sorrow, desperation, but also fierce rebellion against the inescapability of fate. At the end, the motif 'Christ ist erstanden' can be heard as an expression of Christian hope.

SKU: KU.GM-893

SKU: M7.DOHR-655346

SKU: AP.36-A219801

UPC: 660355013270. English.

Captivated by the playing of famed Franz Liszt pupil Eugen d'Albert during the 1883-1884 concert season, Peter Ilyitch Tchaikovsky (1840-1893) began work on Concert Fantasia. After an arduous composition process, on which the composer himself remarked, I stopped playing around and came up with something... but it still sounded too poor and unoriginal... Tchaikovsky laid aside Concert Fantasia and began sketching out his Third Orchestral Suite. He eventually returned to and finished Concert Fantasia in June of 1884, with the surprising addition of the second movement Contrastes. Originally composed as the first movement of his Third Orchestral Suite but ultimately rejected, Tchaikovsky reservedly added it as a second movement to Concert Fantasia. While recognizing and wishing to use the movement for its own merits, he still harbored doubts and added an alternative solo cadenza to the end of the first movement in case Contrastes was to be omitted. The Russian Musical Society under the direction of Max Erdmannsdörfer premiered the work in 1855. In the two decades after its debut, Concert Fantasia received many performances but disappeared from the repertoire until it underwent a revival in the latter part of the 20th century. Instrumentation: 3.2.2.2: 4.2.3.0: Timp.Perc(2): Str (9-8-7-6-5 in set): [Solo Piano].

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