Relaxing music with a campfire at night produced by Soothing Relaxation that can be described as soothing music and calm music. This relaxing guitar music («The Campfire ★154») can be used as peaceful sleep music, study music, work music or as background music for other activities. Listen to more relaxing music by Peder B. Helland here: www.youtube.com/watch?v=lvN7bc9vU7Q
#hogwarts #harrypotter #christmas
Immerse yourself in the legendary Great Hall of Hogwarts School of Witchcraft and Wizardry! Think about all of the memories you would make here as a student. The sorting ceremony, holiday meals, speeches from the headmaster, and more! Relax and enjoy this 3 hour video.
I hope these videos bring you joy! A very special thanks to each and every one of you who support my channel through Patreon and Paypal. Do you enjoy my channel? Please consider supporting me! I can’t earn revenue on YouTube due to copyright restrictions, so help the channel continue to grow by becoming a Patron or making a PayPal contribution today! www.patreon.com/ambientworlds www.paypal.me/ambientworlds
***Join our Discord community! discord.gg/eFpwsEv
The talented artist Jacob Claussen has generously given me permission to use his artwork in this video. Please visit his portfolio and see more of his work (https://www.artstation.com/jacobclaussen). I appreciate his wonderful work to create the Great Hall. Thanks Jacob!
Song List (looped):
0:00 — 4:23 — Reunion of Friends — Harry Potter and the Chamber of Secrets, composed by John Williams (https://www.youtube.com/watch?v=Iq8TFBAOVvk)
4:24 — 5:22 — Christmas at Hogwarts — Harry Potter and the Philosophers Stone, composed by John Williams (https://www.youtube.com/watch?v=MMvfOUer3Vo)
3:03 — 7:27 — Nevilles Waltz — Harry Potter and the Goblet of Fire, composed by Patrick Doyle (https://www.youtube.com/watch?v=EbM_n1LKT5c)
7:28 — 11:06 — Fawx the Phoenix — Harry Potter and the Chamber of Secrets, composed by John Williams (https://www.youtube.com/watch?v=1pnxGaY0FN4)
11:07 — 12:09 — Wander Snow — Harry Potter and the Prisoner of Azkaban Video Game Soundtrack, composed by Jeremy Soule
12:10 — 13:53 — Introducing Colin — Harry Potter and the Chamber of Secrets, composed by John Williams (https://www.youtube.com/watch?v=LX3oNZdcIaE)
13:54 — 16:01 — Friendship Theme — Harry Potter and the Half-Blood Prince Video Game Soundtrack, composed by James Hannigan
16:02 — 18:11 — Hogwarts Express — Harry Potter and the Prisoner of Azkaban Video Game Soundtrack, composed by Jeremy Soule
*************
Copyright information: I do not own any of the visuals or audio in my videos and my channel is not monetized. All rights belong to the respective copyright holders. All ads direct revenue to the respective copyright owners through the Content ID system. Please check out the copyright links to the original music in the links above. Videos on my channel are removed immediately upon request or claims from the copyright owners or YouTube. I have no control over when or where ads appear on my videos.
TOP 40 Songs of 2020 (Best Hit Music Playlist) on Spotify
TOP 40 Songs of 2020 (Best Hit Music Playlist) on Spotify
TOP 40 Songs of 2020 (Best Hit Music Playlist) on Spotify
Baroque music is a period or style of Western art music composed from approximately 1600 to 1750. This era followed the Renaissance music era, and was followed in turn by the Classical era. Baroque music forms a major portion of the «classical music» canon, and is now widely studied, performed, and listened to. Key composers of the Baroque era include Johann Sebastian Bach, Antonio Vivaldi, George Frideric Handel, Claudio Monteverdi, Domenico Scarlatti, Alessandro Scarlatti, Henry Purcell, Georg Philipp Telemann, Jean-Baptiste Lully, Jean-Philippe Rameau, Marc-Antoine Charpentier, Arcangelo Corelli, Tomaso Albinoni, François Couperin, Giuseppe Tartini, Heinrich Schütz, Giovanni Battista Pergolesi, Dieterich Buxtehude, and Johann Pachelbel.
The Baroque period saw the creation of common-practice tonality, an approach to writing music in which a song or piece is written in a particular key; this kind of arrangement has continued to be used in almost all Western popular music. During the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. Baroque concerts were typically accompanied by a basso continuo group (comprising chord-playing instrumentalists such as harpsichordists and lute players improvising chords from a figured bass part) while a group of bass instruments—viol, cello, double bass—played the bassline. A characteristic Baroque form was the dance suite. While the pieces in a dance suite were inspired by actual dance music, dance suites were designed purely for listening, not for accompanying dancers.
During the period, composers and performers used more elaborate musical ornamentation (typically improvised by performers), made changes in musical notation (the development of figured bass as a quick way to notate the chord progression of a song or piece), and developed new instrumental playing techniques. Baroque music expanded the size, range, and complexity of instrumental performance, and also established the mixed vocal/instrumental forms of opera, cantata and oratorio and the instrumental forms of the solo concerto and sonata as musical genres. Many musical terms and concepts from this era, such as toccata, fugue and concerto grosso are still in use in the 2010s. Dense, complex polyphonic music, in which multiple independent melody lines were performed simultaneously (a popular example of this is the fugue), was an important part of many Baroque choral and instrumental works.
The term «baroque» comes from the Portuguese word barroco, meaning «misshapen pearl». Negative connotations of the term first occurred in 1734, in a criticism of an opera by Jean-Philippe Rameau, and later (1750) in a description by Charles de Brosses of the ornate and heavily ornamented architecture of the Pamphili Palace in Rome; and from Jean Jacques Rousseau in 1768 in the Encyclopédie in his criticism of music that was overly complex and unnatural. Although the term continued to be applied to architecture and art criticism through the 19th century, it was not until the 20th century that the term «baroque» was adopted from Heinrich Wölfflins art-history vocabulary to designate a historical period in music.
Bir zamanlar Ülkemize ideolojileri ve bakış açılarıyla önderlik etmiş Cahit Zarifoğlu, Erdem Beyazıt, Akif İnan, Nuri Pakdil, Sezai Karakoç, Rasim Özdenören, Alaaddin Özdenören ve bu Yedi Güzel Adama fikir babalığı etmiş Üstad Necip Fazıl Kısaküreki dua ile anıyoruz.
Today’s talents will be tomorrow’s legends. Please Subscribe to our New channel @PAINTED.
Discover and Empower classical music Artists all around the World! www.youtube.com/channel/UCTdFciYWomCnjgKtOT6idXg
———
Ludwig Van Beethoven (1770-1827): The 32 Piano Sonatas by Yves Nat.
Click to activate the English subtitles for the presentation (00:00-02:54)
— COMPLETE PLAYLIST: LOOK THE FIRST COMMENT — 00:00 #1 in F Minor, Op. 2/1 — 1. Allegro
03:53 #1 in F Minor, Op. 2/1 — 2. Adagio
08:16 #1 in F Minor, Op. 2/1 — 3. Menuetto: Allegretto
11:26 #1 in F Minor, Op. 2/1 — 4. Prestissimo
— 16:44 #2 in A, Op. 2/2 — 1. Allegro Vivace
23:45 #2 in A, Op. 2/2 — 2. Largo Appassionato
29:34 #2 In A, Op. 2/2 — 3. Scherzo: Allegretto
32:51 #2 in A, Op. 2/2 — 4. Rondo: Grazioso
— 2:17:28 Piano Variations in C minor on an Original Theme WoO 80
— Piano Sonata #8 in C Minor, Op. 13, «Pathetique»
2:27:10 #8 in C Minor, Op. 13, «Pathetique» 1. Grave — Allegro Di Molto E Con Brio
2:33:45 #8 in C Minor, Op. 13, «Pathetique» 2. Adagio Cantabile
2:38:50 #8 in C Minor, Op. 13, «Pathetique» 3. Rondo: Allegro
— 4:05:18 #14 in C Sharp Minor, Op. 27/2, «Moonlight» 1. Adagio Sostenuto
4:10:40 #14 in C Sharp Minor, Op. 27/2, «Moonlight» 2. Allegretto
4:12:34 #14 in C Sharp Minor, Op. 27/2, «Moonlight» 3. Presto Agitato
— 5:03:54 Piano Sonata #17 in D Minor, Op. 31/2, «Tempest» — 1. Largo, Allegro
5:11:44 Piano Sonata #17 in D Minor, Op. 31/2, «Tempest» — 2. Adagio
5:18:49 Piano Sonata #17 in D Minor, Op. 31/2, «Tempest» — 3. Allegretto
— 5:25:31 #18 in E Flat, Op. 31/3, «The Hunt» 1. Allegro
5:33:27 #18 in E Flat, Op. 31/3, «The Hunt» 2. Scherzo: Allegretto Vivace
5:38:25 #18 in E Flat, Op. 31/3, «The Hunt» 3. Menuetto: Moderato Grazioso
5:41:48 #18 in E Flat, Op. 31/3, «The Hunt» 4. Presto Con Fuoco
— COMPLETE PLAYLIST: LOOK THE FIRST COMMENT — 5:59:36 #21 in C, Op. 53, «Waldstein» 1. Allegro Con Brio
6:09:25 #21 in C, Op. 53, «Waldstein» 2. Introduzione: Adagio Molto
6:12:27 #21 in C, Op. 53, «Waldstein» 3. Rondo: Allegretto Moderato, Prestissimo
— 6:30:05 #23 in F Minor, Op. 57, «Appassionata» 1. Allegro Assai
6:39:02 #23 in F Minor, Op. 57, «Appassionata» 2. Andante Con Moto
6:44:53 #23 in F Minor, Op. 57, «Appassionata» 3. Allegro Ma Non Troppo
— 7:47:10 #29 in B Flat Major, Op.106 « Hammerklavier » 1. Allegro
7:57:41 #29 in B Flat Major, Op.106 « Hammerklavier » 2. Scherzo — Assai vivace
8:00:22 #29 in B Flat Major, Op.106 « Hammerklavier » 3. Adagio sostenuto, Appassionato e con molto sentimento
8:16:38 #29 in B Flat Major, Op.106 « Hammerklavier » 4. Largo — Allegro risoluto
— 8:28:09 #30 in E, Op. 109 — 1. Vivace Ma Non Troppo, Adagio Espressivo
8:31:14 #30 in E, Op. 109 — 2. Prestissimo
8:33:36 #30 in E, Op. 109 — 3. Gesangvoll, Mit Innigster Empfindung
— 8:44:38 #31 in A Flat, Op. 110 — 1. Moderato Cantabile, Molto Espressivo
8:50:08 #31 in A Flat, Op. 110 — 2. Allegro Molto
8:52:14 #31 in A Flat, Op. 110 — 3. Adagio Ma Non Troppo
8:55:11 #31 in A Flat, Op. 110 — 4. Fuga: Allegro Ma Non Troppo
— Piano Sonata #32 in C Minor, Op. 111
9:01:05 #32 in C Minor, Op. 111, 1. Maestoso, Allegro Con Brio Appassionato
9:07:29 #32 in C Minor, Op. 111, 2. Arietta: Adagio Molto Semplice E Cantabile
Piano: Yves Nat
Recorded in 1951-55, at Paris
New Mastering in 2020 by AB for CMRR
Find CMRRs recordings on Spotify: spoti.fi/3016eVr
BEETHOVEN AT HOME. Beware, this is a legendary complete set and many consider it to be the best complete set of Beethovens piano sonatas. A handful of pianists have reached the pinnacle of their art through Beethovens sonatas, it is therefore difficult to put one above the others and its even inappropriate. One thing that we particularly appreciate at Yves Nat and that makes his complete works unique is his left hand. You only have to listen to the first plated chords of Opus 111 (9:01:05 ) to realize the impressive power of Yves Nats left hand. His left hand is more powerful than normal and God knows the importance of this left hand for playing a truly great Beethoven.
The complete piano sonatas of Beethoven by Yves nat is perhaps the most authentic, the one that comes closest to the personality of the composer: deep, hyper-sensitive, tender, instinctive, characterful, tormented, passionate, imperious, noble… His visionary approach restores the most terrible conflicts of the great Beethovenian architectures. Listening to Yves Nat is like having Beethoven at home.
