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In English literature, Don Juan, written from 1819 to 1824 by the English poet Lord Byron, is a satirical, epic poem that portrays the Spanish folk legend of Don Juan, not as a womaniser as historically portrayed, but as a victim easily seduced by women. [1] As genre literature, Don Juan is an epic poem, written in ottava rima and presented in ...
Variations on "Là ci darem la mano" was Chopin's first work for piano with orchestra. In his early career he wrote two piano concertos and three other concertante pieces, but always remained relatively indifferent to the orchestral elements of these works, often using the orchestra as a mere accompaniment to the much more brilliant piano part.
Variations for guitar on "Là ci darem la mano" (1828) by Hector Berlioz (lost) Nicolas-Charles Bochsa: Air varié sur "Là ci darem la mano", Op. 73, No. 2 (harp) Variations on "Là ci darem la mano", Op. 2 (1827) for piano and orchestra, by Frédéric Chopin; Réminiscences de Don Juan, S. 418 for solo piano, by Franz Liszt
A chord chart (or chart) is a form of musical notation that describes the basic harmonic and rhythmic information for a song or tune. It is the most common form of notation used by professional session musicians playing jazz or popular music. It is intended primarily for a rhythm section (usually consisting of piano, guitar, drums and bass).
Don Juan (Spanish: [doŋ ˈxwan]), also known as Don Giovanni , is a legendary, fictional Spanish libertine who devotes his life to seducing women. The original version of the story of Don Juan appears in the 1630 play El burlador de Sevilla y convidado de piedra (The Trickster of Seville and the Stone Guest) by Tirso de Molina.
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The opus Six Romances was composed in 1878 by Pyotr Ilyich Tchaikovsky (1840 – 1893) for voice and piano, and was published as Opus 38 later that year. Of these six songs, "Don Juan's Serenade" was the most successful, becoming one of the best-known works among the approximately 100 romances that Tchaikovsky composed during his lifetime.
The tone poems of Richard Strauss are noted as the high point of program music in the latter part of the 19th century, extending its boundaries and taking the concept of realism in music to an unprecedented level. In these works, he widened the expressive range of music while depicting subjects many times thought unsuitable for musical depiction.
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