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5:07 Фит с Lil Pump – он ведь есть?
8:10 Зубы за 3 000 000 рублей
9:37 Крутой сериал на выходные
15:21 Фиты со всеми подряд
23:00 Slava Marlow – важнейший союзник Моргеншгтерна
29:25 Дилара – девушка Моргенштерна
36:14 Как похудеть на 20 кг за 1,5 месяца
38:47 Баттл: Дудь и Моргенштерн жмут от груди
43:09 Первый передоз
52:28 Ворует ли Моргенштерн треки?
1:03:23 Формула хита
1:05:48 Извинения перед Тимати
1:13:45 Первый маникюр
1:14:48 Суперпопулярность среди школьников
1:25:13 «На нашей сцене не хватает честных людей»
1:30:19 Моргенштерн работает с государством?
1:36:43 Ресторане Моргенштерна за $1 000 000
1:39:26 Встреча с руководством Башкортостана. Зачем?
1:42:08 Путин — красавчик?
1:45:10 Навальный — красавчик?
1:48:55 О зарплате учителей и врачей в России
1:55:50 Сколько.Ты.Зарабатываешь
2:02:05 Почему в спонсорах его гива есть семья Рамзана Кадырова?
2:10:02 Моргенштерн — на крючке у государства?
2:10:55 10 000 000 рублей за пост о поправках в Конституцию
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2:25:37 Можно ли бить женщин?
2:29:54 Превратился в того, кого презирал?
2:35:49 Моргенштерн будет покорять Запад?
2:38:08 В чем сила?
2:38:17 КОНКУРС!
2:40:22 Итоги конкурсов
The first movement, in C♯ minor, is written in an approximate truncated sonata form. The movement opens with an octave in the left hand and a triplet figuration in the right. A melody that Hector Berlioz called a «lamentation», mostly by the right hand, is played against an accompanying ostinato triplet rhythm, simultaneously played by the right hand. The movement is played pianissimo or «very quietly», and the loudest it gets is mezzo forte or «moderately loud».
The adagio sostenuto has made a powerful impression on many listeners; for instance, Berlioz said of it that it «is one of those poems that human language does not know how to qualify. The work was very popular in Beethovens day, to the point of exasperating the composer himself, who remarked to Carl Czerny, „Surely Ive written better things.
Allegretto
The second movement is a relatively conventional scherzo and trio, a moment of relative calm written in D-flat major, the enharmonic equivalent of C♯ major, the more easily-notated parallel major of C♯ minor. Franz Liszt described the second movement as “a flower between two chasms.»[citation needed] The slight majority of the movement is in piano, but a handful of sforzandos and forte-pianos helps to maintain the movements cheerful disposition.
Presto agitato
The stormy final movement (C♯ minor), in sonata form, is the weightiest of the three, reflecting an experiment of Beethovens (also carried out in the companion sonata, Opus 27, No. 1 and later on in Opus 101) placement of the most important movement of the sonata last. The writing has many fast arpeggios and strongly accented notes, and an effective performance demands lively and skillful playing.
It is thought that the C-sharp minor sonata, particularly the third movement, was the inspiration for Frédéric Chopins Fantaisie-Impromptu, which manifests the key relationships of the sonatas three movements.
Of the final movement, Charles Rosen has written «it is the most unbridled in its representation of emotion. Even today, two hundred years later, its ferocity is astonishing.
Beethovens heavy use of sforzando notes, together with just a few strategically located fortissimo passages, creates the sense of a very powerful sound in spite of the predominance of piano markings throughout. Within this turbulent sonata-allegro, there are two main themes, with a variety of variation techniques utilized.
Beethovens pedal mark
See also: Piano history and musical performance, Mute (music), and Piano pedals#Beethoven and pedals
At the opening of the work, Beethoven included a written direction that the sustain pedal should be depressed for the entire duration of the first movement. The Italian reads: „Si deve suonare tutto questo pezzo delicatissimamente e senza sordino“. (»One must play this whole piece [meaning «movement»] very delicately and without dampers.") The modern piano has a much longer sustain time than the instruments of Beethovens day, leaving for a rather blurry and dissonant tone.
One option for dealing with this problem is to perform the work on a restored or replicated piano of the kind Beethoven knew. Proponents of historically informed performance using such pianos have found it feasible to perform the work respecting Beethovens original direction.
The Nutcracker is a two-act ballet, with a score by Pyotr Ilyich Tchaikovsky. Tchaikovsky made a selection of eight of the numbers from the ballet, forming The Nutcracker Suite, Op. 71a, intended for concert performance. The Nutcracker Suite should not be mistaken for the complete ballet. The outline below represents the selection and sequence of the Nutcracker Suite culled by the composer.
I. Miniature Overture 0:00
II. Danses caractéristiques
--a. Marche 3:29
--b. Dance of the Sugar-Plum Fairy 5:59
--c. Russian Dance (Trepak) 7:47
--d. Arabian Dance 8:58
--e. Chinese Dance 12:04
--f. Reed-Flutes 13:05
III. Waltz of the Flowers 15:15
No copyright infringement intended. The rights of this song go to their respective owners.
**Im talking about the recordings**
More than 3,5 hours of the most famous and recognizable classical music recordings.The best of classical music for studying, reading, relaxing and (most of all) enjoying!
Tracklist:
0:00 P.I. Tchaikovsky – Swan Lake, Act II: No.10 Scene (Moderato)
02:42 Edvard Grieg – Morning Mood
06:22 Ludwig van Beethoven – Für Elise (Bagatelle No.25 in A minor)
08:51 Frederic Chopin — Nocturne in C-sharp minor
12:56 Georges Bizet — Habanera («Lamour est un oiseau rebelle»)
14:58 W.A. Mozart — Rondo alla Turca («Turkish March»)
18:33 Ludwig van Beethoven — Moonlight Sonata (The Piano Sonata No. 14 in C♯ minor «Quasi una fantasia», Op. 27, No. 2)
23:47 Antonio Vivaldi – The Four Seasons “Summer” (III: Presto)
26:24 P.I. Tchaikovsky – Dance Of The Sugar Plum Fairy
28:10 Federic Chopin – Prelude Op.28, no.4
30:44 Gioachino Rossini – Overture to “The Barber of Seville”
36:29 Jahannes Brahms – Hungarian Dance no.5 in F-sharp minor (fragment)
37:06 W.A Mozart – Eine kleine Nachtmusik (Serenade No. 13 for strings in G major)
42:54 J.S.Bach – Air on the G string (from Orchestral Suite No.3, BWV 1068)
45:47 W.A. Mozart – Symphony No.40 in G minor (1. Molto allegro)
51:44 Erik Satie – Gymnopedie no.1
54:56 Johann Strauss II – “Frühlingsstimmen”, Op. 410 («Voices of Spring»)
1:01:31 Frederic Chopin – Nocturne in B-flat minor, Op. 9, no.1
1:07:07 P.I. Tchaikovsky – The Nutcracker: Act I, No.4 Russian Dance
1:08:08 J.S.Bach – Orchestral Suite no.2 in B minor (7.Badinerie)
1:09:07 Gioachino Rossini – William Tell Overture
1:14:55 Antonin Dvorak – Symphony no. 9 in E minor («From the New world»: IV. Allegro con fuoco)
1:26:39 P.I. Tchaikovsky – The Nutcracker: Act I, No. 8 Waltz of the Flowers
1:31:47 Richard Wagner – Ride of the Valkyries
1:37:08 Ludwig van Beethoven — Sonata No. 8 in C Minor Pathetique, Op. 13 (II. Adagio cantabile)
1:42:08 Johann Strauss II – «An der schönen blauen Donau» (The Blue Danube),Op.314
1:49:19 Erik Satie – Gnossienne No.1
1:52:42 Edvard Grieg – In the Hall of the Mountain King
1:54:58 Frederic Chopin – Nocturne in E-flat major, Op. 9, No. 2
1:59:30 Antonio Vivaldi – The Four Seasons “Autumn” (1. Allegro)
2:04:30 Franz Liszt – Liebestraume no. 3 in A flat major
2:09:00 W.A. Mozart – Piano Concerto no.21 in C major (II. Movement)
2:13:19 Ludwig van Beethoven – The Symphony No.5 in C minor (fragment)
2:20:10 Claude Debussy – Clair de lune (from «Suite bergamasque»)
2:25:12 N.Rimsky-Korsakov – Flight of the Bumblebee (from “The Tale of Tsar Saltan)
2:26:28 P.I. Tchaikovsky – The Nutcracker: Act I, No. 2 (March)
2:28:25 Edvard Grieg — Notturno, Op.54, No.4
2:32:45 Felix Mendelssohn – Wedding March (from “A Midsumer Night’s Dream”)
2:37:46 Georges Bizet – Prelude to Act 1 for “Carmen”
2:40:02 Antonio Vivaldi – The Four Seasons “Spring” (1.Allegro)
2:43:36 Erik Satie – Gnossienne No.3
2:46:17 Johann Strauss II – Künstlerleben («Artists Life»), op.316
2:49:08 Frederic Chopin – “Revolutionary Etude” (Etude Op.10, No.12)
2:51:51 Luigi Boccherini – Minuet from String Quintet in E, Op. 11, No.5 (G 275)
2:54:00 Ludwig van Beethoven – Ode to Joy (from Symphony no. 9 in D minor)
2:57:53 Richard Strauss – Also sprach Zarathustra
2:59:14 Frederic Chopin – Waltz in D-flat major, Op 64, No 1 («Minute Waltz»)
3:01:00 Tomaso Albinoni — Adagio in G minor (attributed to Tomaso Albinoni, but actually proabably composed by Remo Giazotto).
3:04:29 Modest Mussorgsky – Night on Bald Mountain
3:11:49 Johann Strauss II – “Wiener Blut”, Op. 354
3:13:24 J.S.Bach – Toccata and Fugue in D minor, BWV 565
3:16:29 Jacques Offenbach – Overture to “Orpheus in the Underworld” (can-can section)
3:18:14 Leo Delibes – Pizzicato (from “Sylvia”)
3:20:09 Frederic Chopin – Funeral March (Piano Sonata No.2 in B flat minor Op 35: III. Marche Funebre)
3:29:33 W.A. Mozart – Requiem in D minor
3:33:01 J.S.Bach – Prelude in C major
Every composition from this video exists as a public domain or creative common content.
The fragment of Debussys «Suite bergamasque» performed by Laurens Goedhart.
Liszts «Liebesträume» performed by Martha Goldstein.
Griegs Notturno performed by Mark Gasser.
Piano versions of Mozarts «Requiem in D minor» and Piano «Concerto no.21 in C major» performed by Markus Staab.
Saties «Gnossiennes» performed by La Pianista.
Richard Wagners «Also Sprach Zarathustra» performed by Kevin MacLeod.
The fragments of Vivaldis «Spring», «Summer» and «Autumn» performed by John Harrison.
More public domain and creative commons music you can find on Musopen website.
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