00:00 Path 3 (7676)
11:00 Whose name is written on water
22:00 Path 17 (Before the ending of daylight)
48:20 Constellation 1
55:35 Constellation 2
1:10:10 Non-Eternal
1:33:35 Song, Echo
This is a 2 hour looped version of Gnossienne no.1 by the French composer Erik Satie (1866-1925) and was composed in 1890. The piece is marked Lent — Slow.
The first Gnossienne, alongside the first Gymnopedie has got to be one of the most recognisable and most covered classical pieces of all time — and its no wonder — the composition conjures up so many images — mystery, suspense, dread and even violence are the first thoughts that come to my mind.
The score itself is also very interesting to look at — as it is written in free-time, with no bar lines or time signature, and can appear quite unusual to the eye to those more useto looking at more conventional forms of musical notation. But I love the amount of freedom with rhythm and interpretation that such writing allows the performer!
About this video:
3 hours of Erik Saties Gnossiennes 1-5.
Check-out also the extended version of Gymnopédies 1-3: youtu.be/Y1vGBukbYAo
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About us:
We love music and our goal is to offer you minutes of focus, energy and/or relaxation through classical vibes. That Classical Vibe commits to make conscious efforts to present a variety of playlists and exquisite soundtracks of classical genre.
CHOPIN — Nocturne No 2 in E Flat Major Op 9 No 2 (60 minutes)
Performer: Frank Levy
The Nocturnes, Op. 9 are a set of three nocturnes written by Frédéric Chopin between 1830 and 1832, published that year, and dedicated to Madame Emily Chopin. The second nocturne of the work is widely regarded as Chopins most famous piece, and is regularly featured in films, television programs and video games. en.wikipedia.org/wiki/Nocturnes,_Op._9_(Chopin)
The Chopin nocturnes constitute 21 pieces for solo piano written by Frédéric Chopin between 1827 and 1846. They are generally considered among the finest short solo works for the instrument and hold an important place in contemporary concert repertoire. Although Chopin did not invent the nocturne, he popularized and expanded on it, building on the form developed by Irish composer John Field.
The nocturnes numbered 1 to 18 were published during his life, in twos or threes, in the order of composition. Numbers 19 and 20 were actually written first, prior to Chopins departure from Poland, but published posthumously. Number 20 was not originally entitled «nocturne» at all, but since publication in 1870 as such, is generally included with publications and recordings of the set. en.wikipedia.org/wiki/Nocturnes_(Chopin)
Soundtrack:
— The Eddy Duchin Story (1956)
— 8¨
— The Big Red One
— Blue Lagoon
— Crush
— Man Trouble
— Saturday Night Fever
— Sleep With Me
— Teachers Pet
— Waking Life
— The Loss of Sexual Innocence
— Bones (2009) In season 5 episode 3, The Plain in the Prodigy: Amish boy Levi playing his audition piece; repeats as Levis parents watch the video.
— 127 Hours (2010)[3] The scene begins some years earlier in family home with Arons younger sister rehearsing Nocturnes, Op.9, No. 2.
— After several days of being pinned by a boulder, Aron Ralston (James Franco), dehydrated, delusional, and believing he is going to die, reminisces his past to the bliss of Nocturne.
— The Raven (2012) Alice Eves character, Emily, plays Nocturnes Op. 9, No. 2, to an audience as her father converses with Inspector Fields.
— Mad Men (2013) Played on violin by Sandy in the Season 6 premiere «The Doorway»
— Bad Santa (2003) Played at the opening of the film with Billy Bob Thorntons character narrating over it.
— The Purge: Anarchy (2014) Played by a pianist at the auction.
— BioShock Infinite (2013) Played on radios throughout the Finkton Docks area of Columbia.
— Hetalia Axis Powers (2007) Played by Austria in Episode 06.
— Parasyte -the maxim- (2014-2015) Played in its entirety in episode 15 of the anime adaptation.
— Dexter (TV series) (2007) In season 2 episode 7, That Night, a Forest Grew, listened to on headphones while working out by Debra Morgan, at the suggestion of FBI Special Agent Frank Lundy.
— Hannibal (TV series) (2013) In season 1 episode 4, played while Hannibal was having dinner with Jack.
— American Horror Story: Coven (2013) In the opening of the episode «Go To Hell,» the song plays as Fiona explains to Queenie what the Seven Wonders are.
— Fallout 4 (2015) Played on the games Classical Radio station.
— The Simpsons (2014) In the Season 26 premieres Couch Gag created by Academy Award-nominated surrealist animator Don Hertzfeldt, as a deformed Homer Simpson of the year 10,535 reminisces through the millennia of how his family wasnt so deformed and could still communicate with each other, Nocturnes Op. 9, No. 2, is played in the background, when his family tried telling him that they were still a loving family and would not forget him as the millennia passed on and the series became more dependent on shock humor, non sequiturs and merchandise schilling that through time the family would become more deformed and ultimately forget him.
— Anime: Your lie in April
musique classique, klassische Musik, 古典音乐, 고전 음악, música clásica, शास्रीय संगीत, musik klasik, musica classica, クラシック音楽, klassieke muziek, klassisk musikk, música clássica, muzică clasică, классическая музыка, класична музика, klassisk musik, klasická hudba, เพลงคลาสสิค, klasik müzik, класична музика, nhạc cổ điển, موسيقى كلاسيكية
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.