Beethoven "Coriolan" Overture Op.62, Carlos Kleiber

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Tags: Bayerische  Beethoven  Carlos  Coriolan  Kleiber  Op.62  Overture  Staatsorchester 

Carlos Kleiber: Conductor Bayerische Staatsorchester

(Dang Thai Son)Chopin Nocturne in E, Op.62-2

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  • Author: mainlymuzik

Tags: chopin  competition  dang  nocturne  piano  son  thai  warsaw 

played by Dang Thai Son at the 1980 Chopin competition, where he was also the winner.

Barenboim: Chopin Nocturne Op 62 No 2 (1981)

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Tags: 2  62  Barenboim  Chopin  E  major  No  Nocturne  Op 

Nocturne in E major Op 62 No 2 Frédéric Chopin Daniel Barenboim, piano

Florent Schmitt / Dionysiaques, Op.62-1

  • Length: 7:46
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他の演奏はこちら シンデレラ http://www.megavideo.com/?v=BLIWFSZ2

Mendelssohn, Lied ohne Worte, op. 62, 1, Andante espressivo

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  • Author: musicusblau

Tags: Felix  Klavier  Klaviermusik  Mendelssohn-Bartholdy  piano  romantic  romantisch 

I play here the Song Without Words, op. 62, 1 of Mendelssohn-Bartholdy, Andante espressivo on my Grotrian-Steinweg grand-piano. Recorded with Neumann KM 184 microphones.

Chopin - Ciccolini - 2 Nocturnes Op. 62 - No. 1

  • Length: 7:9
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  • Author: 139steven

Tags: aldo  chopin  ciccolini  nocturne  piano  romanticism 

This is Aldo Ciccolini playing Nocturne Op. 62, No. 1, in B Major

Giuseppe Albanese - Chopin, Nocturne Op. 62 No. 1, 51st concert season -- New York, Metropolitan Museum of Art

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Tags: 51st  62  albanese  Art  Chopin  Competition  concert  giuseppe  International  Metropolitan  Museum  new  No.  Nocturne  of  Op.  piano  Prize  season  Vendome  york 

Giuseppe Albanese - Chopin, Nocturne Op. 62 No. 1, 51st concert season - New York, Metropolitan Museum of Art

Harasiewicz: Chopin Nocturne in E major Op 62 No 2

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Tags: 2  62  chopin  E  Harasiewicz  in  major  No  Nocturne  Op  piano 

Nocturne in E major Op 62 No 2 Frédéric Chopin Adam Harasiewicz, piano

Jack Gibbons plays Chopin Nocturne Op 62 no 2

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  • Author: Reynartthefox

Tags: Chopin  classical  Gibbons  Holywell  Jack  live  music  no.2  Nocturne  Op.62  Oxford  piano  recording  Room 

Jack Gibbons plays Chopin's Nocturne in E major, Op.62 no.2, recorded live in concert at the historic Holywell Music Room, Oxford England on 5th August 2007. The Nocturne Op.62 no.2 is in fact Chopin's last Nocturne, and one of his most sublime and personal masterpieces, completed in the summer of 1846. Chopin had become increasingly self critical as a composer by the mid 1840s and his self-deprecating comments on his music only increased as his works matured. While working on his Op.62 Nocturnes together with the Barcarolle and Polonaise-Fantaisie in July 1846 he wrote to the cellist August Franchomme: Dear friend, I am doing my best to work - but I am stuck - and if it goes on like that, my new productions will neither give the impression of warbling birds nor even of broken china." In a rare moment of candor, writing to his family in the summer of 1845, having already begun work on his Opus 62 Nocturnes, Chopin described his state of mind as he composed: "At this moment I am far away - as usual in some strange region of space. Of course they are only those imaginary spaces - but I am not ashamed: after all, haven't we a proverb at home which says 'He went to the coronation in his imagination'?"

Austbø plays Sonata No.6 Op.62 (Part 1)

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  • Author: fisherroastedpeanut

Tags: Austbo  Concentre  Hakon  Modere  Op.62  Scriabin  Sonata 

A.Scriabin Sonata Op.62 Håkon Austbø,Piano The Piano Sonata No. 6, opus 62, by Alexander Scriabin, was composed in 1911. Although it was named the sixth sonata, the piece was preceded by the Sonata No. 7. As it is one of the late piano sonatas of Scriabin's career, the music consists of a single movement, and is highly atonal. Scriabin reportedly never played the sonata in public, because he feared its darkness. The piece consist of a single movement, typically lasting around 11--12 minutes, and is marked as follows: 1. Modéré: mysterieux, concentre The mood of the piece is marked "mysterieux" by the composer, but the most striking aspect of the sixth sonata, are the sudden moments of horror which interrupt its dreamlike atmosphere, and were explicitly marked "l'épouvante surgit" (surge of terror), by Scriabin. The final passages are colourful and languid, like an elaborate Debussy prelude, but darker forces are released at the end.The Elektra chord is featured in the sonata. It is one of a few pieces Scriabin never played in public, because he felt it was "nightmarish, murky, unclean and mischievous".He often started shuddering after playing a few measures for other people.

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