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Three Concert Études (Trois études de concert), S.144, is a set of three piano études by Franz Liszt, composed between 1845–49 and published in Paris as Trois caprices poétiques with the three individual titles as they are known today.
Sospiri, Op. 70, is an adagio for string orchestra, harp (or piano), and organ (or harmonium) [1] composed by Edward Elgar just before and performed just after the beginning of World War I.
Dolcissimo sospiro (Annibale Pocaterra) Donna, se m'ancidente (six voices) Languisco e moro, ahi, cruda; Meraviglia d'Amore; Non t'amo, o voce ingrata; Se piange, aime, la donna del mio core; Se vi miro pietosa; Voi volete ch'io mora (Guarini) Sospirava il mio core; Veggio sí, dal mio sole
The effect had been prefigured by composers including Francesco Pollini (1762–1846), a pupil of Mozart, whose 32 esercizi for the piano (1829), based on techniques found in the keyboard music of Johann Sebastian Bach and Jean-Philippe Rameau, included music written on three staves, and using interlocking hand positions, to generate the impression of three, or even four, hands.
Liebesträume (German for Dreams of Love) is a set of three solo piano nocturnes (S.541/R.211) by Franz Liszt published in 1850. [1] Originally the three Liebesträume were conceived as lieder after poems by Ludwig Uhland and Ferdinand Freiligrath.
Bolet was born in Havana and studied at the Curtis Institute of Music in Philadelphia, where he himself taught from 1939 to 1942.His teachers included Leopold Godowsky, Josef Hofmann, David Saperton, Moriz Rosenthal and Fritz Reiner.
In some performances (e.g. Gardiner 1993), [6] it precedes the sextet and follows the Count's aria "Vedro mentr'io sospiro". Moberly and Raeburn argued in 1965 that this is a more logical order, and that the order in the score was necessary so that the singer who doubled in the roles of Bartolo and Antonio in the premiere, Francesco Bussani ...
nintɬʼeltshùh ni-ntɬʼe-l-tshùh 2S-object-1S-give nintɬʼeltshùh ni-ntɬʼe-l-tshùh 2S-object-1S-give I gave it to you Unlike English verbs, which come with comparatively very little derivation and inflection (i.e. number of affixes), a Gwich’in verb is so rich in affixes that a single inflected and conjugated verb can correspond to whole sentences in English, as in (1). In popular ...