A-sharp minor or A♯ minor is a minor scale based on A-sharp. The A♯ minor scale has pitches A♯, B♯, C♯, D♯, E♯, F♯, and G♯. For the harmonic minor scale, G is used instead of G♯. Its key signature has seven sharps (see below:Scales and keys).
Its relative major is C-sharp major. Its parallel major is A ♯ major, usually replaced by B ♭ major, since A-sharp major, which would contain 4 sharps and 3 double sharps, is not normally used. Exceptions include Chopin's Polonaise-Fantaisie in A-flat major, Op. 61, which has a brief passage of about 6 bars actually notated in A-sharp major, inserting the necessary double-sharps as accidentals. The overall harmonic context is an extended theme in B major, which briefly modulates to A-sharp major.
Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary.
A-sharp minor is one of the least used minor keys in music as it is not a practical key for composition. The enharmonic equivalent B-flat minor, which has five flats as opposed to A-sharp minor's seven sharps, is usually used instead.
Liszt noted on the sonata's manuscript that it was completed on February 2, 1853, but he had composed an earlier version by 1849. At this point in his life, Liszt's career as a traveling virtuoso had almost entirely subsided, as he had been influenced towards leading the life of a composer rather than a performer by Carolyne zu Sayn-Wittgenstein almost five years earlier. Liszt's life was established in Weimar and he was living a comfortable lifestyle, composing, and occasionally performing, entirely by choice rather than necessity.
The sonata was dedicated to Robert Schumann, in return for Schumann's dedication of his Fantasie in C major, Op.17 (published 1839) to Liszt. A copy of the sonata arrived at Schumann's house in May 1854, after he had entered Endenich sanatorium. His wife Clara Schumann did not perform the sonata; according to scholar Alan Walker she found it "merely a blind noise".
Schubert is a lunarimpact crater that lies near the eastern limb of the Moon's near side. The crater is located to the northwest of the Mare Smythii, and southwest of the prominent crater Neper. Nearly attached to the southern rim is the crater Back.
Schubert is a nearly circular crater formation that has not suffered significant erosion from subsequent impacts, and retains a well-defined rim. The interior surface is generally flat, a few low hills near the center.
Satellite craters
By convention these features are identified on lunar maps by placing the letter on the side of the crater midpoint that is closest to Schubert.
The following craters have been renamed by the IAU.
Allegro is a high-speed train service between Helsinki, Finland, and St. Petersburg, Russia. The service started on 12 December 2010. The aim is to reduce travel time between Helsinki and Saint Petersburg: before Allegro, the journey time was 5½ hours; currently it is 3 hours and 36 minutes and there are plans to bring it down to 3 hours. The name Allegro is a musical term for a quick tempo, thereby suggesting "high speed".
Vainikkala (on the Finnish side of the border) and Vyborg are special stations: on trains bound for Finland, passengers are not allowed to leave the train at Vyborg, as the train only stops to pick up passengers; and on trains bound for Russia, passengers are not allowed to leave the train at Vainikkala, for the same reason.
Passport and custom controls
On board the train, each passenger is visited by four officials: a Finnish passport control officer, a Finnish customs officer, a Russian passport control officer and a Russian customs officer.
Allegro is a musical by Richard Rodgers (music) and Oscar Hammerstein II (book and lyrics), their third collaboration for the stage. Opening on Broadway on October 10, 1947, the musical centers on the life of Joseph Taylor, Jr., who follows in the footsteps of his father as a doctor, but is tempted by fortune and fame at a big-city hospital.
After the immense successes of the first two Rodgers and Hammerstein musicals, Oklahoma! and Carousel, the pair sought a subject for their next play. Hammerstein had long contemplated a serious work which would deal with the problems of the ordinary man in the fast-moving modern world. He and Rodgers sought to create a work which would be as innovative as their first two-stage musicals. To that end, they created a play with a large cast, including a Greek chorus. The production would have no sets; props and projections served to suggest locations.
After a disastrous tryout in New Haven, Connecticut, the musical opened on Broadway to a large advance sale of tickets, and very mixed reviews. Agnes de Mille, the choreographer of Rodgers and Hammerstein's previous Broadway productions, both directed and choreographed the work. The show was viewed as too moralistic, and the Broadway run ended after nine months; it was followed by a short national tour. It had no West End production and has rarely been revived. There are two recordings of Allegro, the original cast album and a studio recording released in 2009.
Zaleplon is effective in the management/treatment of insomnia, primarily characterized by difficulty falling asleep. Due to its ultrashort elimination half-life, zaleplon may not be effective in reducing premature awakenings.
It may result in an impaired ability to drive the next day, though it has proven promising when compared to other sedative/hypnotics and next-day residual sedation. It may have advantages over benzodiazepines with fewer adverse effects.
A stupendous recording of what is (by academic consensus, at least) the most important post-Beethoven sonata. Along with Andre Laplante's recording this is probably one of the pinnacles of classical Romantic-era pianism. (Zimerman went through 76 takes before he managed to get a recording of the Sonata he was satisfied with.)
The structural ingenuity of this piece is basically unmatched among the large-scale piano works of the period; the sonata opens with a deliciously harmonically ambiguous descent, and ends with a tritone harmonic leap that manages to sound kind of beautiful. The sonata is constructed from five (or, depending on your choice of paper, four, or seven, or nine) motivic elements that are woven into an enormous musical architecture. The motivic are relentlessly transformed...
published: 25 Dec 2013
Insane Piano Piece - Liszt Sonata in B minor
Insane Piano Piece - Liszt Sonata in B minor
Franz Liszt Piano Sonata in B minor (Klaviersonate h-moll) S.178
Lento assai 0:10
Grandioso 3:23
Andante sostenuto 11:48
Allegro energico 18:52
Presto 24:46
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Thank you in advance for your generous contribution and I encourage you to participate in spreading happiness throu...
published: 09 Jul 2020
Seong-jin Cho - Liszt : Piano Sonata in B Minor, S.178
Seong-jin Cho - Liszt : piano Sonata in B Minor (Finland Recital, 11.Oct.2019)
Musikhuset och Tempelplatsens kyrka.
published: 11 Oct 2019
Yuja Wang Liszt Sonata B minor
published: 29 Apr 2013
Martha Argerich plays Franz Liszt - The Piano Sonata in B-Minor S.178
Complete performance with gapless playback. Section markings are noted in annotations.
Sheet music: http://bit.ly/151ayA2
Provided to YouTube by Universal Music Group
Liszt: Piano Sonata in B minor, S.178 · Krystian Zimerman
Liszt: Piano Sonata in B minor; Nuages gris; La notte; La lugubre gondola II; Funérailles
℗ 1991 Deutsche Grammophon GmbH, Berlin
Released on: 1991-01-01
Producer, Executive Producer: Hanno Rinke
Producer, Recording Producer, Studio Personnel, Balance Engineer, Editor: Helmut Burk
Studio Personnel, Recording Engineer: Jürgen Bulgrin
Composer: Franz Liszt
Auto-generated by YouTube.
published: 29 Jul 2018
Liszt Sonata B Minor Valentina Lisitsa
Recorded March 1 2015 in Leipzig http://www.schaubuehne.com/
Special thanks to www.boesendorfer.com and http://www.fluegelfink.de/ for making it possible.
A stupendous recording of what is (by academic consensus, at least) the most important post-Beethoven sonata. Along with Andre Laplante's recording this is prob...
A stupendous recording of what is (by academic consensus, at least) the most important post-Beethoven sonata. Along with Andre Laplante's recording this is probably one of the pinnacles of classical Romantic-era pianism. (Zimerman went through 76 takes before he managed to get a recording of the Sonata he was satisfied with.)
The structural ingenuity of this piece is basically unmatched among the large-scale piano works of the period; the sonata opens with a deliciously harmonically ambiguous descent, and ends with a tritone harmonic leap that manages to sound kind of beautiful. The sonata is constructed from five (or, depending on your choice of paper, four, or seven, or nine) motivic elements that are woven into an enormous musical architecture. The motivic are relentlessly transformed throughout the work to suit the musical context of the moment. A theme that in one context sounds menacing and even violent, is then transformed into a beautiful melody (compare 0:55, 8:38, 22:22, 26:02). This technique helps to bind the sonata's sprawling structure into a single cohesive unit, and is a pretty cool example of double-function form (on which, more below).
Broadly speaking, the sonata has four movements, although there is no gap between them. Superimposed upon the four movements is a large sonata form structure, although the precise beginnings and endings of the traditional development and recapitulation sections has long been a topic of debate. Charles Rosen states in his book The Classical Style that the entire piece fits the mold of a sonata form because of the reprise of material from the first movement that had been in D major, the relative major, now reprised in B minor.
Walker believes that the development begins roughly with the slow section at measure 331, the lead-back towards the recapitulation begins at the scherzo fugue, measure 459, and the recapitulation and coda are at measures 533 and 682 respectively. Each of these sections (exposition, development, lead-back, and recapitulation) are examples of Classical forms in and of themselves, which means that this piece is one of the earliest examples of Double-function form, a piece of music which has two classical forms occurring simultaneously, one containing others. For instance the exposition is a sonata form which starts and ends with material in B minor, containing the second part of the exposition and development wandering away from the tonic key, largely through the relative major D. Similarly, the development section also functions as the scherzo movement of a more traditional multi-movement sonata.
A stupendous recording of what is (by academic consensus, at least) the most important post-Beethoven sonata. Along with Andre Laplante's recording this is probably one of the pinnacles of classical Romantic-era pianism. (Zimerman went through 76 takes before he managed to get a recording of the Sonata he was satisfied with.)
The structural ingenuity of this piece is basically unmatched among the large-scale piano works of the period; the sonata opens with a deliciously harmonically ambiguous descent, and ends with a tritone harmonic leap that manages to sound kind of beautiful. The sonata is constructed from five (or, depending on your choice of paper, four, or seven, or nine) motivic elements that are woven into an enormous musical architecture. The motivic are relentlessly transformed throughout the work to suit the musical context of the moment. A theme that in one context sounds menacing and even violent, is then transformed into a beautiful melody (compare 0:55, 8:38, 22:22, 26:02). This technique helps to bind the sonata's sprawling structure into a single cohesive unit, and is a pretty cool example of double-function form (on which, more below).
Broadly speaking, the sonata has four movements, although there is no gap between them. Superimposed upon the four movements is a large sonata form structure, although the precise beginnings and endings of the traditional development and recapitulation sections has long been a topic of debate. Charles Rosen states in his book The Classical Style that the entire piece fits the mold of a sonata form because of the reprise of material from the first movement that had been in D major, the relative major, now reprised in B minor.
Walker believes that the development begins roughly with the slow section at measure 331, the lead-back towards the recapitulation begins at the scherzo fugue, measure 459, and the recapitulation and coda are at measures 533 and 682 respectively. Each of these sections (exposition, development, lead-back, and recapitulation) are examples of Classical forms in and of themselves, which means that this piece is one of the earliest examples of Double-function form, a piece of music which has two classical forms occurring simultaneously, one containing others. For instance the exposition is a sonata form which starts and ends with material in B minor, containing the second part of the exposition and development wandering away from the tonic key, largely through the relative major D. Similarly, the development section also functions as the scherzo movement of a more traditional multi-movement sonata.
Insane Piano Piece - Liszt Sonata in B minor
Franz Liszt Piano Sonata in B minor (Klaviersonate h-moll) S.178
Lento assai 0:10
Grandioso 3:23
Andante sostenuto...
Insane Piano Piece - Liszt Sonata in B minor
Franz Liszt Piano Sonata in B minor (Klaviersonate h-moll) S.178
Lento assai 0:10
Grandioso 3:23
Andante sostenuto 11:48
Allegro energico 18:52
Presto 24:46
Subscribe and follow on social media. I would love to meet you!!
🔔Click the bell icon, so you are notified of the next video🔔
🎧🎶 iTunes: https://apple.co/2HIGOX1
🎧🎶 Spotify: https://spoti.fi/2EaZQE4
I hope you all enjoy this channel! Please leave a comment if you have any pieces that you want to listen to.
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#Insane #Piano_Piece #Liszt_Sonata_in_Bminor #Pianist #Traum #Music #Romantic #Difficult #Classical
Insane Piano Piece - Liszt Sonata in B minor
Franz Liszt Piano Sonata in B minor (Klaviersonate h-moll) S.178
Lento assai 0:10
Grandioso 3:23
Andante sostenuto 11:48
Allegro energico 18:52
Presto 24:46
Subscribe and follow on social media. I would love to meet you!!
🔔Click the bell icon, so you are notified of the next video🔔
🎧🎶 iTunes: https://apple.co/2HIGOX1
🎧🎶 Spotify: https://spoti.fi/2EaZQE4
I hope you all enjoy this channel! Please leave a comment if you have any pieces that you want to listen to.
Instagram https://www.instagram.com/traumpiano
Facebook https://www.facebook.com/traumpianist
Tiktok https://www.tiktok.com/@traumian
https://www.youtube.com/c/Traumian
Thank you in advance for your generous contribution and I encourage you to participate in spreading happiness through beautiful classical music with Traum.
Donation
Paypal https://www.paypal.com/paypalme/TraumPiano
Buy me a coffee https://www.buymeacoffee.com/Truam
Patreon https://www.patreon.com/traumpiano
#Insane #Piano_Piece #Liszt_Sonata_in_Bminor #Pianist #Traum #Music #Romantic #Difficult #Classical
Provided to YouTube by Universal Music Group
Liszt: Piano Sonata in B minor, S.178 · Krystian Zimerman
Liszt: Piano Sonata in B minor; Nuages gris; La notte; ...
Provided to YouTube by Universal Music Group
Liszt: Piano Sonata in B minor, S.178 · Krystian Zimerman
Liszt: Piano Sonata in B minor; Nuages gris; La notte; La lugubre gondola II; Funérailles
℗ 1991 Deutsche Grammophon GmbH, Berlin
Released on: 1991-01-01
Producer, Executive Producer: Hanno Rinke
Producer, Recording Producer, Studio Personnel, Balance Engineer, Editor: Helmut Burk
Studio Personnel, Recording Engineer: Jürgen Bulgrin
Composer: Franz Liszt
Auto-generated by YouTube.
Provided to YouTube by Universal Music Group
Liszt: Piano Sonata in B minor, S.178 · Krystian Zimerman
Liszt: Piano Sonata in B minor; Nuages gris; La notte; La lugubre gondola II; Funérailles
℗ 1991 Deutsche Grammophon GmbH, Berlin
Released on: 1991-01-01
Producer, Executive Producer: Hanno Rinke
Producer, Recording Producer, Studio Personnel, Balance Engineer, Editor: Helmut Burk
Studio Personnel, Recording Engineer: Jürgen Bulgrin
Composer: Franz Liszt
Auto-generated by YouTube.
Recorded March 1 2015 in Leipzig http://www.schaubuehne.com/
Special thanks to www.boesendorfer.com and http://www.fluegelfink.de/ for making it possible.
Recorded March 1 2015 in Leipzig http://www.schaubuehne.com/
Special thanks to www.boesendorfer.com and http://www.fluegelfink.de/ for making it possible.
Recorded March 1 2015 in Leipzig http://www.schaubuehne.com/
Special thanks to www.boesendorfer.com and http://www.fluegelfink.de/ for making it possible.
A stupendous recording of what is (by academic consensus, at least) the most important post-Beethoven sonata. Along with Andre Laplante's recording this is probably one of the pinnacles of classical Romantic-era pianism. (Zimerman went through 76 takes before he managed to get a recording of the Sonata he was satisfied with.)
The structural ingenuity of this piece is basically unmatched among the large-scale piano works of the period; the sonata opens with a deliciously harmonically ambiguous descent, and ends with a tritone harmonic leap that manages to sound kind of beautiful. The sonata is constructed from five (or, depending on your choice of paper, four, or seven, or nine) motivic elements that are woven into an enormous musical architecture. The motivic are relentlessly transformed throughout the work to suit the musical context of the moment. A theme that in one context sounds menacing and even violent, is then transformed into a beautiful melody (compare 0:55, 8:38, 22:22, 26:02). This technique helps to bind the sonata's sprawling structure into a single cohesive unit, and is a pretty cool example of double-function form (on which, more below).
Broadly speaking, the sonata has four movements, although there is no gap between them. Superimposed upon the four movements is a large sonata form structure, although the precise beginnings and endings of the traditional development and recapitulation sections has long been a topic of debate. Charles Rosen states in his book The Classical Style that the entire piece fits the mold of a sonata form because of the reprise of material from the first movement that had been in D major, the relative major, now reprised in B minor.
Walker believes that the development begins roughly with the slow section at measure 331, the lead-back towards the recapitulation begins at the scherzo fugue, measure 459, and the recapitulation and coda are at measures 533 and 682 respectively. Each of these sections (exposition, development, lead-back, and recapitulation) are examples of Classical forms in and of themselves, which means that this piece is one of the earliest examples of Double-function form, a piece of music which has two classical forms occurring simultaneously, one containing others. For instance the exposition is a sonata form which starts and ends with material in B minor, containing the second part of the exposition and development wandering away from the tonic key, largely through the relative major D. Similarly, the development section also functions as the scherzo movement of a more traditional multi-movement sonata.
Insane Piano Piece - Liszt Sonata in B minor
Franz Liszt Piano Sonata in B minor (Klaviersonate h-moll) S.178
Lento assai 0:10
Grandioso 3:23
Andante sostenuto 11:48
Allegro energico 18:52
Presto 24:46
Subscribe and follow on social media. I would love to meet you!!
🔔Click the bell icon, so you are notified of the next video🔔
🎧🎶 iTunes: https://apple.co/2HIGOX1
🎧🎶 Spotify: https://spoti.fi/2EaZQE4
I hope you all enjoy this channel! Please leave a comment if you have any pieces that you want to listen to.
Instagram https://www.instagram.com/traumpiano
Facebook https://www.facebook.com/traumpianist
Tiktok https://www.tiktok.com/@traumian
https://www.youtube.com/c/Traumian
Thank you in advance for your generous contribution and I encourage you to participate in spreading happiness through beautiful classical music with Traum.
Donation
Paypal https://www.paypal.com/paypalme/TraumPiano
Buy me a coffee https://www.buymeacoffee.com/Truam
Patreon https://www.patreon.com/traumpiano
#Insane #Piano_Piece #Liszt_Sonata_in_Bminor #Pianist #Traum #Music #Romantic #Difficult #Classical
Provided to YouTube by Universal Music Group
Liszt: Piano Sonata in B minor, S.178 · Krystian Zimerman
Liszt: Piano Sonata in B minor; Nuages gris; La notte; La lugubre gondola II; Funérailles
℗ 1991 Deutsche Grammophon GmbH, Berlin
Released on: 1991-01-01
Producer, Executive Producer: Hanno Rinke
Producer, Recording Producer, Studio Personnel, Balance Engineer, Editor: Helmut Burk
Studio Personnel, Recording Engineer: Jürgen Bulgrin
Composer: Franz Liszt
Auto-generated by YouTube.
Recorded March 1 2015 in Leipzig http://www.schaubuehne.com/
Special thanks to www.boesendorfer.com and http://www.fluegelfink.de/ for making it possible.
A-sharp minor or A♯ minor is a minor scale based on A-sharp. The A♯ minor scale has pitches A♯, B♯, C♯, D♯, E♯, F♯, and G♯. For the harmonic minor scale, G is used instead of G♯. Its key signature has seven sharps (see below:Scales and keys).
Its relative major is C-sharp major. Its parallel major is A ♯ major, usually replaced by B ♭ major, since A-sharp major, which would contain 4 sharps and 3 double sharps, is not normally used. Exceptions include Chopin's Polonaise-Fantaisie in A-flat major, Op. 61, which has a brief passage of about 6 bars actually notated in A-sharp major, inserting the necessary double-sharps as accidentals. The overall harmonic context is an extended theme in B major, which briefly modulates to A-sharp major.
Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary.
A-sharp minor is one of the least used minor keys in music as it is not a practical key for composition. The enharmonic equivalent B-flat minor, which has five flats as opposed to A-sharp minor's seven sharps, is usually used instead.