Adagietto | Edvard Grieg "Peer Gynt Suite" Morning Mood & Anitra's Dance (piano trancription) | Maria João Pires @Adagietto | Uploaded March 2016 | Updated October 2024, 8 minutes ago.
Edvard Grieg - Peer Gynt Suite for Orchestra N.º 1 Op. 46. Piano Transcription for 4 hands.
00:00 I. Morning Mood, Morgenstemning
Maria João Pires and Julien Brocal. Warsaw, Poland , 2014
03:44 II. Anitra's Dance, Anitras Dans.
Maria João Pires and Ricardo Castro, Frankfurt, Germany, 2004.
Encores, Live.
By common consent, the music itself achieved far more for Ibsen's vast and bewildering dramatic poem than any mere stage performance alone could have done, and therein lies a problem. For as Ibsen's English biographer Michael Meyer writes, Grieg's music "turns the play into a jolly Hans Andersen fairy tale," one thing its author would certainly never have wished for. And the critic and playwright George Bernard Shaw, a fervent advocate of Ibsen's works, similarly concluded that in his music Grieg "could only catch a few superficial points in the play instead of getting to the very heart and brain of it."
Edvard Grieg waited better than a dozen years to draw up a concert suite from the body of incidental music to Ibsen's Peer Gynt that he had composed in 1874 and 1875; but this Peer Gynt Suite No. 1, Op. 46 (1888) was such a great success that everybody involved clamored for more and a second suite followed just a few years later (Op. 55, in 1891 - 1892). While the Peer Gynt Suite No. 2 failed to reach the commercial and popular heights that the first reached, some argue that the music in it is actually superior to that in its predecessor. Ibsen's play puts a new and, to some, disturbing spin on the classic hero-drama. Peer Gynt himself is a rough-and-tumble Norwegian peasant; he dreams of power and glory but is very nearly a common rogue -- a real anti-hero. Ibsen tells us of his colorful adventures and not altogether wholesome or moral adventures over the course of five acts.
The first Peer Gynt Suite opens with the famous "Morning Mood", originally played at the beginning of the fourth act. A lovely E major melody is announced by the flutes and then taken through a sparkling palette of gentle inflections; bright flute trills chime in as "Morning Mood" comes to a gentle close. "Äse's Death" (Op. 46, No. 2) is number 11 in the original score, and originally served as the prelude to the third act. Peer Gynt has returned home to his mother Äse, only to find her dying. No. 3, "Anitra's Dance" is originally the 16th number of incidental music. "In the Hall of the Mountain King" (Op. 46, No. 4), written to accompany the gnomes' taunting and chasing of Peer Gynt after he has refused to marry the Mountain King's daughter, is perhaps the most famous of the Peer Gynt pieces. The whirlwind-like music is built from a small thematic fragment that grows wilder and wilder until Peer Gynt -- and the poor orchestra -- can take no more.
Peer Gynt Suite - Morning Mood, Morgenstemning,
Morgenstimmung, Au matin, Il mattino.
Peer Gynt Suite - Anitra's Dance, Anitras Dans.
Edvard Grieg - Peer Gynt Suite for Orchestra N.º 1 Op. 46. Piano Transcription for 4 hands.
00:00 I. Morning Mood, Morgenstemning
Maria João Pires and Julien Brocal. Warsaw, Poland , 2014
03:44 II. Anitra's Dance, Anitras Dans.
Maria João Pires and Ricardo Castro, Frankfurt, Germany, 2004.
Encores, Live.
By common consent, the music itself achieved far more for Ibsen's vast and bewildering dramatic poem than any mere stage performance alone could have done, and therein lies a problem. For as Ibsen's English biographer Michael Meyer writes, Grieg's music "turns the play into a jolly Hans Andersen fairy tale," one thing its author would certainly never have wished for. And the critic and playwright George Bernard Shaw, a fervent advocate of Ibsen's works, similarly concluded that in his music Grieg "could only catch a few superficial points in the play instead of getting to the very heart and brain of it."
Edvard Grieg waited better than a dozen years to draw up a concert suite from the body of incidental music to Ibsen's Peer Gynt that he had composed in 1874 and 1875; but this Peer Gynt Suite No. 1, Op. 46 (1888) was such a great success that everybody involved clamored for more and a second suite followed just a few years later (Op. 55, in 1891 - 1892). While the Peer Gynt Suite No. 2 failed to reach the commercial and popular heights that the first reached, some argue that the music in it is actually superior to that in its predecessor. Ibsen's play puts a new and, to some, disturbing spin on the classic hero-drama. Peer Gynt himself is a rough-and-tumble Norwegian peasant; he dreams of power and glory but is very nearly a common rogue -- a real anti-hero. Ibsen tells us of his colorful adventures and not altogether wholesome or moral adventures over the course of five acts.
The first Peer Gynt Suite opens with the famous "Morning Mood", originally played at the beginning of the fourth act. A lovely E major melody is announced by the flutes and then taken through a sparkling palette of gentle inflections; bright flute trills chime in as "Morning Mood" comes to a gentle close. "Äse's Death" (Op. 46, No. 2) is number 11 in the original score, and originally served as the prelude to the third act. Peer Gynt has returned home to his mother Äse, only to find her dying. No. 3, "Anitra's Dance" is originally the 16th number of incidental music. "In the Hall of the Mountain King" (Op. 46, No. 4), written to accompany the gnomes' taunting and chasing of Peer Gynt after he has refused to marry the Mountain King's daughter, is perhaps the most famous of the Peer Gynt pieces. The whirlwind-like music is built from a small thematic fragment that grows wilder and wilder until Peer Gynt -- and the poor orchestra -- can take no more.
Peer Gynt Suite - Morning Mood, Morgenstemning,
Morgenstimmung, Au matin, Il mattino.
Peer Gynt Suite - Anitra's Dance, Anitras Dans.
![Philip Glass - The Hours [HD]](https://i.ytimg.com/vi/LpBg05HV6Q8/hqdefault.jpg "Philip Glass - The Hours [HD]
Philip Glass - The Hours, 2002. Michael Riesman transcription.
Branka Parlić, piano. Synagogue, Novi Sad. 5.VII.2005
The Hours, Music from the Motion Picture for piano.
There are movies where you notice the soundtrack, and others where you dont. The latter is usually considered ideal, and yet its impossible to ignore Philip Glass pervasive, all-encompassing soundtrack while watching Stephen Daldys celebrated follow-up to Billy Elliot (the same could just as easily be said of Elmer Bernsteins majestic music for Far From Heaven). This isnt such a bad thing - far from it. The piano-dominated score, incorporating motifs from Glass Satyagraha, Glassworks, and Solo Piano is, by turns, lush, sumptuous, and stirring.
Philip Glass score for the film The Hours is very typical of Glass, with its nearly constant repetition and slowly evolving variations on a theme. It suits the moods of the film perfectly, reflecting mesmerically the inner thoughts and emotions of the characters, but remaining subservient to the film itself. Michael Riesman, a long-time associate of Glass, has transcribed the score of The Hours for piano. It wasnt hard for him to do this: the score prominently features the piano alongside the orchestra, and Riesman performed the piano part in the soundtrack recording. His solo piano version covers exactly the same music as on the soundtrack album, but to call it a reduction of an orchestral work would be unfair. Yes, it is one instrument instead of many, but just by the facts that its a single performer being responsible for realizing the music and its no longer an accompaniment to screen images, Riesman is able to add to it more expression and more life. Even though his tempos and the track times match the soundtrack almost exactly, he is able to take tiny liberties with the phrasing of themes so that the quiet desperation of the music isnt quite as desperate. It doesnt matter if he uses a larger array of dynamics and is not quite as strict with time. Whereas listening to the soundtrack without the film can be almost unbearably boring or depressing, depending on your state of mind, listening to Riesmans version is less so. Although the track titles make no sense without film, in this version, the music is able to stand on its own as a distinct creative work, with more vitality and wider-ranging sentiment than the soundtrack.
The complicated storyline, based on Michael Cunninghams Pulitzer Prize-winning novel (which was, in turn, inspired by Virginia Woolfs Mrs. Dalloway) is inherently dramatic and emotionally compelling enough that it doesnt really need music to get its message across. And the actors, including Nicole Kidman (Virginia Woolf), Julianne Moore (Laura Brown), and Meryl Streep (Clarissa Vaughn), breathe such life into these three distinct characters, living in three different time periods, that they dont need really need the music either. But its always there, like a ghostly presence in each womans life, helping to tie their divergent storylines together as much as the themes that are common to each. In the end, the score is as much a unifying force as Peter Boyles deft editing and, most importantly, Woolfs Mrs. Dalloway, which was originally to be called The Hours.
Pianist Branka Parlić is one of the most prominent interpreters of contemporary classical music in Eastern Europe. She graduated from the Belgrade University of Musical Arts in the late 1970s and studies under Professor Olga Mihailović. She later honed her craft at the Summer Music Academy in Nice under Professor Pierre Sancan of the Paris Conservatory. While studying, she also co founded the well-known Ensemble for Different New Music.
Taking on the task of presenting the cycle of the legendary Phillip Glass Metamorphosis, is probably the most challenging task in the sphere of contemporary minimalism since Parlics classical undertaking of Erik Saties Gnossiennes in the 1980s. The album which she released back then, called Initiés, was the first album that contained one of Saties compositions ever recorded here.
Branka Parlić premiered the Glass pieces in Novi Sad in 2004 and the performance of Metamorphosis No.2 recorded at this show was broadcasted regularly on prestigious British TV channel Classics FM. Recently, another British TV channel C Music TV http://www.cmusic.tv/cmusic/ started to broadcast two videos in Parlic rendering: Opening by Philip Glass and Spiegel im Spiegel by Arvo Pärt. She also act as Artistic Director of the Concert Series New Ears for New Music in Novi Sad.")
![Le Mépris - Camille Thème, Contempt, Georges Delerue [HD]](https://i.ytimg.com/vi/NWPZerdwKLE/hqdefault.jpg "Le Mépris - Camille Thème, Contempt, Georges Delerue [HD]
Le Mépris ! Contempt- Thème de Camille, Georges Delerue
Playlist https://www.youtube.com/watch?v=NWPZerdwKLE&index=7&list=PLF2ayhcb2yRXc5R9EtTywXXfuZfo-NrkT
I Camille Thème http://youtu.be/arX8xf_p1vk
II Generique http://youtu.be/kNL-Sh9sGno
III La Rupture Chez Prokoch http://youtu.be/AQQ0oeBfl4M
IV Capri http://youtu.be/5QQ1sxjYQkY
V Paul http://youtu.be/DW3PsWgQdks
VI Overture http://youtu.be/8RtEzY9iAm8
VII Camille Thème piano transcription http://youtu.be/beTk63ywtsg
Camille - Orchestre National de Lille http://youtu.be/NWPZerdwKLE
Trailer Le Mépris, Contempt: http://youtu.be/Dqwv9XkHOpk
Camile Thème. Movie Excerpts: http://youtu.be/XDD1I7beyNE
A loccasion des 20 ans de la disparition du compositeur de musiques de films Georges Delerue, lorchestre national de lille, qui avait notamment joué sous sa direction ses compositions en 1987, lui rend hommage au Colisée de Roubaix (ville natale du compositeur) sous la baguette de Dirk Brossé, et avec la participation du violoniste Hrachya Avanesyan.
Orchestre National de Lille, France, 2009
Musique: Thème de Camille. Georges Delerue.
Bande originale du film Le Mépris, Contempt
Music: Camille Theme. Georges Delerue.
Le Mépris Soundtrack
Contempt Soundtrack
Directed by Jean-Luc Godard (1963)
Based on the Italian novel Il Disprezzo (1954) by Alberto Moravia.
With Brigitte Bardot, Michel Piccoli, Jack Palance
Le Mépris Thème
Le Mépris Soundtrack
Contempt Soundtrack
O Desprezo Banda Sonora
Die Verachtung
El desprecio
Il disprezzo
Pogarda
Föraktet
Sen täytyi tapahtua")
