Classical Piano Music with Fireplace 24/7 - Mozart, Chopin, Beethoven, Bach, Debussy, Grieg, Liszt

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Soothing music and ambience for meditation, relaxation and sleeping.

Tracklist:

Performed by Dag Åsbjørn Johansen:
Bach — Prelude in C Major (BWV 846) from «Das Wohltemperierte Klavier» vol. 1
Mozart — Romance Piano version of 2. movement from Piano Concerto no. 20 in D minor K. 466
Haydn — Andantino
Mozart — Piano Version of Gavotte (Allegro) from Les petits riens, K.Anh.10/299b
Mozart — 2. movement from Sonata no. 17 in B flat major K. 570
Chopin — Preludes Op. 28 no. 7
Chopin — Preludes Op. 28 no. 4
Chopin — Preludes Op. 28 no. 6
Chopin — Preludes Op. 28 no. 20
Chopin — Preludes Op. 28 no. 15 «Raindrop» prelude
Grieg — A Little Girl I Know — Eg veit ei lita gjente Op. 17 no. 16
Grieg — I Sing With a Sorrowful Heart — Jeg sjunger med sorrigfullt hjerte Op. 17 no. 14
Grieg — Notturno Op. 54 no. 4
Grieg — The Pig — Grisen Op. 17 no. 8
Grieg — When my Eye weary and faint — Når mitt øye trett av møye Op. 17 no. 9
Grieg — Solitary Traveler — Ensom vandrer Op. 43 no. 2
Grieg — Arietta Op. 12 no. 1
Grieg — The Young Man — Ungersvennen Op. 17 no. 2
Grieg — Lullaby of Gjendine — Gjendines bånsull Op. 66 no. 19
Grieg — Shepherdess Song — Leik (kulokk) Op. 17 no. 22
Debussy — Clair de Lune (Suite Bergamasque, No. 3)
Beethoven — Moonlight Sonata (1st Movement, Op. 27, No. 2)

Performed by Sleepify:
Mozart — K. 332 — Piano Sonata No. 12 in F major (2nd Movement)
© 2020 Sleepify
℗ 2020 Odd Eagle Productions

Performed by Various, licensed by PremiumBeat, Storyblocks and YouTube Audio Library:
Chopin — Nocturne in E Flat Major (Op. 9, No. 2) (Storyblocks)
Chopin — Nocturne in E minor (Op. 72, No. 1) (Storyblocks)
Chopin — Waltz in C Sharp Minor (Op. 64, No. 2) (Storyblocks)
Chopin — Waltz in A Flat Major (Op. 69, No. 1) (Storyblocks)
Chopin — Nocturne in B Flat Minor (Op. 9, No. 1) (PremiumBeat)
Beethoven — Sonata No. 8 in C minor (2nd Movement, Op. 13) (Storyblocks)
Beethoven — Bagatelle No. 25 in A minor (WoO 59, Bia 515) «Für Elise» (YouTube Audio Library)
Satie — Gymnopédie No. 1 — Wahneta Meixsell (YouTube Audio Library)
Satie — Gymnopédie No. 3 — Wahneta Meixsell (YouTube Audio Library)
Bach — Suite No. 2 in C minor (BWV 813) Allemande — Wahneta Meixsell (YouTube Audio Library)
Liszt — Consolation No.3 in D flat Major S.172 (Storyblocks)

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Footage licensed by Videoblocks.

© 2020 Sleepify

#relax #classical #fireplace

Christmas Music Mix | Famous Holiday Movie Soundtracks with Winter Ambience

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#christmas #christmasmusic
Though its been said many times many ways, Merry Christmas to you! Enjoy this magical mix of some of the most amazing Christmas tracks from your favorite holiday movies. I couldnt include everything I wanted, but I hope you enjoy it all the same!
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!
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Tracklist (looped)
0:00- 1:00 | Do You Believe in Ghost, Polar Express — Alan Silvestri, Warner Records
1:01-3:28 | A Change of Heart, Dr. Seuss How The Grinch Stole Christmas (2000) — James Horner, Warner Records
3:29-6:42 | Reunion at Rockerfeller Center/Its Christmas, Home Alone 2 Lost in New York — John Williams, Fox Records
6:43-9:05 | Theres Always Tomorrow (Instrumental), Rudolph The Red-Nosed Reindeer © 1964 — Burl Ives, UMG
9:06-10:27 | Visitation, The Santa Clause (1993) — Michael Convertino, 1994 Milan Entertainment, Inc.
10:28-11:36 | Secret Santa, The Santa Clause 2 — George S Clinton, UMG
11:37-13:18 | Not Over Any Oceans, The Santa Clause (1993) — Michael Convertino, 1994 Milan Entertainment, Inc.
13:19- 15:06 | Main Title, Elf OST (2003) — John Debney, WaterTower Records
15:07-16:00 | Buddys Theme, Elf OST (2003) — John Debney, WaterTower Records
16:01-17:59 | Ralphies Brilliant Idea, A Christmas Story (1983) — Paul Zaza and Carl Zittrer, WaterTower Records
18:00-22:49 | Main Title, Home Alone — John Williams, Sony Masterworks
22:50-24:41 | Miracle on 34th Street — Bruce Broughton, Fox Music
24:42-30:39 | Christmas Time is Here, A Charlie Brown Christmas — Vince Guaraldi, Fantasy Recording Studios
30:40-33:01 | Silver and Gold (Instrumental), Rudolph The Red-Nosed Reindeer © 1964 — Burl Ives, UMG
Copyright information: I do not own any of the visuals or audio in my videos and my channel is not monetized. All ads direct revenue to the respective copyright owners through the Content ID system. 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.

Hogwarts Classroom | Harry Potter Music

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What class would you take first at Hogwarts? Charms, Transfiguration, Divination, Defense Against the Dark Arts? Take a seat and relax in this peaceful classroom at Hogwarts School of Witchcraft and Wizardry. 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!
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www.paypal.me/ambientworlds
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The very talented Ognyan Zahariev 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/ognyan). Its just stunning!

Copyright information: I do not own any of the visuals or audio in my videos and my channel is not monetized. 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 below. 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.

Beethoven - Moonlight Sonata (FULL)

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Beethoven — Moonlight Sonata (FULL) — Piano Sonata No. 14
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The Piano Sonata No. 14 in C♯ minor «Quasi una fantasia», op. 27, No. 2, by Ludwig van Beethoven

The sonata has three movements:

0:00 1 mvt: Adagio sostenuto
6:00 2 mvt: Allegretto
8:05 3 mvt: Presto agitato

Adagio sostenuto

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.

#Beethoven #Piano #ClassicalMusic

J.S.Bach Concerto no.1 in D Minor BWV 1052 Polina Osetinskaya Anton Gakkel

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NEW AMAZING MUSIC-VIDEO ON THIS CHANEL
youtu.be/ZCPWPh06FwE — Benjamin Britten
youtu.be/BK3aTsBKj9M — Arshia Samsaminia
youtu.be/_h2-h831iLw — Roberto Di Marino

J.S.Bach HARPSICHORD Concerto in D Minor BWV 1052 Polina Osetinskaya piano
The Mariinsky String Orchestra
Conductor: Anton Gakkel www.antongakkel.org/
St.Petersburg, Mariinsky Theatre, Concert Hall 29.03.2015
0:05 — 1mvt / 8:15 — 2mvt / 16:13 — 3mvt
The life of pianist Polina Osetinskaya can be divided into two stages. The first – that of “wunderkind” (a word that Polina herself cannot abide) – was when Polina performed as a girl in huge halls filled with excited sensationalists. The second, which has continued to the present day, is essentially her victory over the first. It is both a reference to serious performing and to exacting audiences.
Polina Osetinskaya began to perform at the age of five. At the age of seven she entered the Central School of Music of the Moscow Conservatoire. Polina gave her first concert at the age of six at the Great Hall of the Vilnius Conservatoire in Lithuania. Together with her father who accepted the role of manager, the young Polina began to undertake frequent tours throughout the former USSR to packed halls and ovations. In her own country Polina was possibly the most famous child of her time and her relationship with her father was portrayed by the mass media as some kind of soap opera after the thirteen-year-old Polina decided to leave her father and study music seriously at the school of the Leningrad Conservatoire under the acclaimed teacher Marina Wolf.
Polina began to tour once again while still a student at the St Petersburg Conservatoire. (The pianist subsequently completed a postgraduate course at the Moscow Conservatoire under Professor Vera Gornostayeva.) She has appeared with the Tokyo Philharmonic Orchestra, the Orchestra of the Weimar National Opera, the Academic Symphony Orchestra of the St Petersburg Philharmonic (Honoured Ensemble of Russia), the State Academic Svetlanov Symphony Orchestra, the Moscow Virtuosi and the New Russia orchestra among other ensembles.
Polina Osetinskaya’s onstage partners have included conductors Saulius Sondeckis, Vassily Sinaisky, Andrei Boreiko, Gerd Albrecht, Yan Pascal Tortelier and Thomas Sanderling. Polina Osetinskaya has performed at the Wallonie Festival in Brussels, the Mainly Mozart festival, the Frédéric Chopin Festival in Miami, the Stars of the White Nights festival and the December Evenings festival among numerous others.
The pianist has been awarded the Maly Triumph prize. In 2008 she wrote her autobiography Farewell, Sadness, which became a bestseller.
Polina Osetinskaya generally creates unusual and frequently paradoxical solo programmes. She almost always includes works by contemporary composers, frequently justaposing them with traditional classical works: “Contemporary music is not just a continuation of older music. It also helps us discover ideas and beauty in older music that have been lost over decades of the blind museum generation and mechanical and often soulless performing.”
Polina Osetinskaya often performs works by post-avant-garde composers such as Valentin Silvestrov, Leonid Desyatnikov, Vladimir Martynov, Georgs Pelēcis and Pavel Karmanov.

The pianist collaborates with many recording companies including Naxos, Sony Music and Bel Air.
#polinaosetinskaya #musicaaldente #полинаосетинская #бах