2 Hours of Classical Music for studying and concentration. The best Satie study music and relaxing instrumental piano song.
Thank you so much for watching this video. I hope you enjoy it and dont forget to share it!
«Erik Satie: Gymnopedie No 1» (by Kevin MacLeod) Attribution License (incompetech.com)
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Source: www.shutterstock.com
As I was playing Gymnopedie No. 1, my piano teacher suggested that the addition of natural ambiences such as rain sounds would create the most calming and relaxing experience ever. I was then motivated to create such atmosphere. I started compiling six of the most beautiful rendition of the piece. Since then, this work of art itself has been calming me for the past weeks and is helping me to cope with my anxiety. It is truly a stress relief…
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Gymnopédie No. 1 by Erik Satie:
17:25 — Katsuhiro Oguri www.youtube.com/watch?v=wP1fB-eXHBU
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For further reach, please contact: [ranggalih.hadi@gmail.com]
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GIFs used in this video:
* The Gymnopédies, published in Paris starting in 1888, are three piano compositions written by French composer and pianist Erik Satie.
These short, atmospheric pieces are written in 3/4 time, with each sharing a common theme and structure. Collectively, the Gymnopédies are regarded as an important precursor to modern ambient music — gentle yet somewhat eccentric pieces which, when composed, defied the classical tradition.[citation needed] For instance, the first few bars of Gymnopédie No. 1 consist of an alternating progression of two major seventh chords, the first on the subdominant, G, and the second on the tonic, D.
The melodies of the pieces use deliberate, but mild, dissonances against the harmony, producing a piquant, melancholy effect that matches the performance instructions, which are to play each piece «painfully», «sadly» or «gravely».
From the second half of the 20th century on, the Gymnopédies were often erroneously described as part of Saties body of furniture music, perhaps because of John Cages interpretation of them.
* Éric Alfred Leslie Satie (pronounced: [eʁik sati]) (signed his name Erik Satie after 1884) (17 May 1866, Honfleur — 1 July 1925, Paris) was a French composer and pianist. Satie was a colourful figure in the early 20th century Parisian avant-garde. His work was a precursor to later artistic movements such as minimalism, repetitive music, and the Theatre of the Absurd.
An eccentric, Satie was introduced as a «gymnopedist» in 1887, shortly before writing his most famous compositions, the Gymnopédies. Later, he also referred to himself as a «phonometrician» (meaning «someone who measures sounds») preferring this designation to that of a «musician», after having been called «a clumsy but subtle technician» in a book on contemporary French composers published in 1911.
In addition to his body of music, Satie also left a remarkable set of writings, having contributed work for a range of publications, from the dadaist 391 to the American culture chronicle Vanity Fair. Although in later life he prided himself on always publishing his work under his own name, in the late nineteenth century he appears to have used pseudonyms such as Virginie Lebeau and François de Paule in some of his published writings.
“China’s premier interpreter of Bach”, is what International Piano Magazine called Yuan Sheng. A pupil of Solomon Mikowsky (Manhattan School of Music) and notably Rosalyn Tureck, Yuan Sheng extensively studied the performance practice of Baroque music. Equally at home at the harpsichord he has an instinctive feeling for the possibilities, sonorities and touch of the instrument at hand, so that “the listener might easily have imagined the composer at the keyboard” (Boston Intelligencer).
The title is misleading: the English Suites are more ‘French’ in character than the French Suites, which are more characteristic of the Italian style. ‘By design the composer is here less learned than in his other suites,’ remarked one early biographer, ‘and has mostly used a pleasing, more predominant melody.’ Just so, and the same is true of the pair of suites BWV 818 and 819 which fall outside the collection but belong with it in terms of style. To all of them Yuan Sheng brings considered tempi and precise articulation in the mould of Tureck. To Bach at his most uncomplicated, Sheng brings the virtues of simplicity and clarity.
Again Yuan Sheng draws the listener into his highly intelligent musical discourse, vibrant and moving, speaking through the medium of a modern Steinway piano.
Composer: Johann Sebastian Bach
Artist: Yuan Sheng (piano)
Вольфганг Амадей Моцарт (27 января 1756, Зальцбург — 5 декабря 1791, Вена) — австрийский композитор и музыкант-виртуоз. Один из самых популярных классических композиторов, Моцарт оказал большое влияние на мировую музыкальную культуру. По свидетельству современников, Моцарт обладал феноменальным музыкальным слухом, памятью и способностью к импровизации.
В отличие от многих композиторов XVIII века, Моцарт не просто работал во всех музыкальных формах своего времени, но и добился в них большого успеха. Многие из его сочинений признаны шедеврами симфонической, концертной, камерной, оперной и хоровой музыки.
Все великие композиторы и гении классической музыки на одном канале: Шопен, Моцарт, Шуберт, Мусоргский, Бах, Чайковский, Вивальди, Бетховен, Дебюсси и многие другие!
TRACKLIST:
Лучшее из Моцарта
01. Маленькая ночная серенада — Allegro
02. Симфония №40 — Molto allegro (6:06)
03. Женитьба Фигаро — Увертюра (13:36)
04. Турецкий марш (17:44)
05. Концерт для кларнета — Adagio (21:26)
06. Концерт для духовых №4- Rondo — Allegro vivace (28:44)
07. Концерт для фортепиано №21 — Andante (32:20)
08. Соната для скрипки К.378 — Andantino (39:06)
09. Менуэт для струнного квартета (45:46)
10. Немецкий танец (50:01)
11. Clarinet Quintet — Larghetto (53:22)
12. Коцерт для фортепиано №20 — Allegro assai (59:23)
13. Симфония №25 — Allegro con brio (1:07:01)
Vincent van Gogh painted The Starry Night one year before dying.
Chopin composed his popular Nocturne when he was about twenty.
it does not matter if you think that it is too late for you or that you still have a lot of time...you have to decide whether you are Chopin or van Gogh.
The idea behind these videos is coming from a research published by the Psychology Department of Berkeley University studying the relation between colors, emotions and how external stimuli are impacting decision making.
The study results demonstrate a strong correlation between faster music in minor tone and the choice from participants of colors from that were saturated, yellower and lighter whereas a slower and minor music produced the opposite pattern (choice of desaturated, darker and bluer colors).
Based on these findings, we wanted to create synesthesia in our videos and trigger more intense and long-lasting emotions in our viewers, get higher audience retention and interaction. We decided to do that by associating drawings from the major painters that were following the scientific findings of this research.
The choice of these paintings and the consecutive association with the music is also based on an accurate work that requires significant time and energy.
The analysis of the melodies returned to us a lot of information on how the painting should have been made. We needed a simple blue pattern but with an intrinsic meaning. Something that people could watch for a while without really understand it.
By creating this video I tried to do only one thing which turned to be the most difficult one: make you feel an emotional synesthesia.
When hearing the melody, dont you feel that everything is...blue? aren’t you lost in the sky? is your mind going over? It’s not for no reason.
it is not only an image, it is not only a melody. It is a trip.
You dont feel bored. Its your mind using the notes and the colors to create your own experience.
Most of the videos online with only one image are only music, but not this.
The research behind the perfect combination is the key for the unconscious.
The research:
«Music–color associations are mediated by emotion» www.pnas.org/content/110/22/8836
Stephen E. Palmer, Karen B. Schloss, Zoe Xu, and Lilia R. Prado-León
— This popular nocturne is in rounded binary form (A, A, B, A, B, A) with coda, C. The A and B sections become increasingly ornamented with each recurrence. The penultimate bar utilizes considerable rhythmic freedom, indicated by the instruction, senza tempo (without tempo). Nocturne in E-flat major opens with a legato melody, mostly played piano, containing graceful upward leaps which becomes increasingly wide as the line unfolds. This melody is heard again three times during the piece. With each repetition, it is varied by ever more elaborate decorative tones and trills. The nocturne also includes a subordinate melody, which is played with rubato.