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" Abendlied unterm gestirntem Himmel" (Evening song under the starry heaven), WoO 150, is a song for high voice and piano by Ludwig van Beethoven composed in 1820. The work is a setting of a poem believed to be by Otto Heinrich von Loeben , who wrote it under the pseudonym H. Goeble.
Cage wrote it in 1987 for organ, as an adaptation of his 1985 composition ASLSP for piano. A performance of the piano version usually lasts 20 to 70 minutes. [2] An organ in St. Burchardi church in Halberstadt in 2001 began a performance that is due to end in 2640. This makes it the longest running non-computerized piece currently being performed.
The Well-Tuned Piano: La Monte Young: 5-6 hours Premiered and recorded by the composer. [14] The History of Photography in Sound: Michael Finnissy: 5½ hours 365 (edition) [15] [16] A3 Premiered and recorded by Ian Pace. [15] [17] Performed by Mark Knoop. [18] Piano Symphony No. 6 (Symphonia claviensis) Kaikhosru Shapurji Sorabji 4¾ hours
This is an A–Z list of jazz tunes which have been covered by multiple jazz artists. It includes the more popular jazz standards, lesser-known or minor standards, and many other songs and compositions which may have entered a jazz musician's or jazz singer's repertoire or be featured in the Real Books, but may not be performed as regularly or as widely as many of the popular standards.
The locked hands technique requires the pianist to play the melody using both hands in unison. The right hand plays a 4-note chord inversion in which the melody note is the highest note in the voicing. The other 3 notes of the chord are voiced as closely as possible below the melody note, which is the definition of a block chord. [1]
I had a song, "Time for Me to Fly" on the You Can Tune a Piano but You Can't Tune a Fish album. One of our producers turned that down for 1976 R.E.O. album. It ended up a couple of years later on Tuna a.. He told me it was a crummy song; it only had three chords; it was too slow. It wasn't an REO Speedwagon song. I started thinking "I like this ...
The piece also has a relatively smooth texture, since the piano is playing legato arpeggios and the voice is singing a flowing, conjunct melody. This movement of Liederkreis has several applied chords, such as V/V. Almost exclusively, these applied chords do not resolve to the expected chord. Instead, they resolve to different chords with the ...
The piano ends the movement with a short, violent "cadenza-esque" passage which moves into the last movement without pause. Many melodic thoughts of this movement allude to Rachmaninoff's second piano concerto, third movement, noticeably the Russian-like E ♭ major melody. The movement ends with tutti chords leading into the 3rd movement attacca.
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