Uploaded February 2023 | Updated September 2026, 2 weeks ago
Galaxy Express999
Photos: galaxy,space,planet,moon,train, black hole, wormhole, stars,
Galaxy Express 999 (銀河鉄道999スリーナイン, Ginga Tetsudō Surī Nain) is a Japanese manga series. It is written and illustrated by Leiji Matsumoto, later adapted into a number of anime films and television series. It is set in a spacefaring, high-tech future in which humans have learned how to transfer their minds and emotions with perfect fidelity into mechanical bodies, thus achieving practical immortality.[2][3]
The manga won the Shogakukan Manga Award for shōnen in 1978.[4] The anime series won the Animage Anime Grand Prix prize in 1981.
Matsumoto was inspired to create Galaxy Express 999 by the idea of a steam train running through the stars in the novel Night on the Galactic Railroad by Kenji Miyazawa.
Galaxy Express999
Photos: galaxy,space,planet,moon,train, black hole, wormhole, stars,
Galaxy Express 999 (銀河鉄道999スリーナイン, Ginga Tetsudō Surī Nain) is a Japanese manga series. It is written and illustrated by Leiji Matsumoto, later adapted into a number of anime films and television series. It is set in a spacefaring, high-tech future in which humans have learned how to transfer their minds and emotions with perfect fidelity into mechanical bodies, thus achieving practical immortality.[2][3]
The manga won the Shogakukan Manga Award for shōnen in 1978.[4] The anime series won the Animage Anime Grand Prix prize in 1981.
Matsumoto was inspired to create Galaxy Express 999 by the idea of a steam train running through the stars in the novel Night on the Galactic Railroad by Kenji Miyazawa.

![P.I.TCHAIKOVSKY: Piano Concerto no.2(1880) - G.GRAFFMAN;E.ORMANDY & Philadelphia
P.I.TCHAIKOVSKY: Piano Concerto no.2 - G.GRAFFMAN;E.ORMANDY & Philadelphia
Photos: Russia
From Wikipedia, the free encyclopedia
Pyotr Ilyich Tchaikovskys Piano Concerto No. 2 in G major, Op. 44, was written in 1879–1880 and dedicated to Nikolai Rubinstein, who had insisted he be allowed to perform it at the premiere as a way of making up for his harsh criticism of Tchaikovskys First Piano Concerto. But Rubinstein was destined never to play it, as he died in March 1881, and the work has never attained much popularity.
The premiere performance took place in New York City, on 12 November 1881. The soloist was Madeline Schiller, and Theodore Thomas conducted the New York Philharmonic orchestra.[1] The first Russian performance was in Moscow in May 1882,[2] conducted by Anton Rubinstein with Tchaikovskys pupil, Sergei Taneyev, at the piano.
Structure
The piano concerto consists of three movements:
1) Allegro brillante
2) Andante non troppo
3) Allegro con fuoco
Instrumentation
The work is scored for 2 flutes, 2 oboes, 2 clarinets in B-flat and A, 2 bassoons, 4 horns in F, 2 trumpets in D, timpani, solo piano, and strings. Notable is the absence of trombones and tuba.
Overview
By 1879 the First Piano Concerto was becoming increasingly popular.
Nikolai Rubinstein had likewise made amends with the composer (after his initial harsh criticism) by learning and performing the work, which added to its popularity. Tchaikovsky felt compelled to reciprocate. He started composing a new piano concerto in October while staying with his sister in Kamenka. He wrote to his patroness, Nadezhda von Meck, I want to dedicate it [the new work] to N. G. Rubinstein in recognition of his magnificent playing of my First Concerto and of my Sonata, which left me in utter rapture after he performed it for me in Moscow.
The writing went quickly. By the following March, Tchaikovsky had completed the concerto and orchestrated it. Still, he was concerned about Rubinsteins reaction, writing again to von Meck, I tremble at the thought of the criticisms I may again hear from Nikolai Grigoryevich, to whom this concerto is dedicated. Still, even if once more he does criticise yet nevertheless goes on to perform it brilliantly as with the First Concerto, I wont mind. It would be nice, though, if on this occasion the period between the criticism and the performance were shorter. In the meantime I am very pleased and self-satisfied about this concerto, but what lies ahead—I cannot say.
The composer need not have worried. Rubinsteins reaction was this time understandably cautious. He suggested tactfully that perhaps the solo part was episodic, too much engaged in dialogue with the orchestra rather than standing in the foreground, but adding, ... as I say all this, having scarcely played the concerto once through, perhaps I am wrong. Tchaikovsky rejected Rubinsteins criticism, but without any rancour whatsoever. In fact, when Tchaikovsky received news of Rubinsteins death in March 1881, he was devastated and left immediately from Paris to attend the funeral. The first Russian performance was entrusted to Tchaikovskys friend and former pupil Sergei Taneyev, but the concerto had its world premiere in November 1881 in New York City, with the pianist Madeline Schiller.
There is a notable link between the coda of this concerto and the coda of his First Piano Concerto. P.I.TCHAIKOVSKY: Piano Concerto no.2(1880) - G.GRAFFMAN;E.ORMANDY & Philadelphia](https://i.ytimg.com/vi/f3Pc9rJc8IQ/mqdefault.jpg)


![L.V. BEETHOVEN: piano concerto no.4 -
L.V. BEETHOVEN: piano concerto no.4 -
Photos: Italian Alps
From Wikipedia, the free encyclopedia
Ludwig van Beethovens Piano Concerto No. 4 in G major, Op. 58, was composed in 1805–1806. Beethoven was the soloist in the public premiere as part of the concert on 22 December 1808 at Viennas Theater an der Wien.
Orchestration
It is scored for solo piano and an orchestra consisting of a flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.
Premiere and reception
It was premiered in March 1807 at a private concert of the home of Prince Franz Joseph von Lobkowitz. The Coriolan Overture and the Fourth Symphony were premiered in that same concert.[1] However, the public premiere was not until a concert on 22 December 1808 at Viennas Theater an der Wien. Beethoven again took the stage as soloist. The marathon concert saw Beethovens last appearance as a soloist with orchestra, as well as the premieres of the Choral Fantasy and the Fifth and Sixth symphonies. Beethoven dedicated the concerto to his friend, student, and patron, the Archduke Rudolph.
A review in the May 1809 edition of the Allgemeine musikalische Zeitung states that [this concerto] is the most admirable, singular, artistic and complex Beethoven concerto ever.[2] However, after its first performance, the piece was neglected until 1836, when it was revived by Felix Mendelssohn.[3]
Today, the work is frequently recorded, and it is a favorite of concert audiences. It is also considered by many to be one of the pinnacles of the piano concerto repertoire.
I. Allegro moderato
The first movement opens with the solo piano, playing simple chords in the tonic key before coming to rest on a dominant chord. The orchestra then enters with the same theme, in B major, the major mediant key, which is in a chromatic mediant relationship to the tonic. Thus enters the first theme.[7]
The orchestra states the main theme in B major, dropping through the circle of fifths to a cadence in the tonic, G major. The theme is then stated again, this time in stretto between upper and lower voices. A very strong cadence in the tonic, withering away within one bar, introduces a transitional, modulatory theme with restless triplet accompaniment, also containing hints of stretto. The music moves to the minor mediant key, B minor, while its dynamic is reduced to pianissimo, at which point material from the opening theme returns. Through a rising bass line and sequential harmonies, the music regains the tonic key (on a dominant pedal) with a new theme derived from bars 3, 4, and 5. The final cadence is delayed for several bars before the material from the opening bar resurfaces as the movements closing theme, accompanied by a tonic pedal over forte dominant chords.
Felix Salzer says the following about this opening, [It is] one of the most fascinating substitutions of the entire literature...The whole passage appears as a most imaginative prolongation of interruption, the post-interruption phrase starting with a B-Major chord boldly substituting for the tonic. In addition, this post-interruption phrase introduces a very interesting melodic parallelism in form of an augmentation of the end of the pre-interruption phrase one step higher.[8]
The pianos entrance resembles an Eingang, an improvisatory passage from Mozarts day that would have occurred after the orchestras last unresolved dominant chord, but before the piano played the main theme. Beethoven captures this improvisatory style by accelerating the rhythm in the piano part, from eighth notes, to triplets, to sixteenth notes, and finally in a scale that rushes downward in sixteenth-note sextuplets. A long preparation is then made before a tonic cadence duly arrives, and the orchestra once again takes up the main theme.
II. Andante con moto
The second movement has been associated with the imagery of Orpheus taming the Furies (represented, respectively, by the piano and unison strings) at the gates to Hades, a suggestion of Beethovens 1859 biographer Adolf Bernhard Marx.[9] The movements quiet E minor ending leads without pause into the C major chords that open the finale.
III. Rondo (Vivace)
In contrast to the preceding movements, the third movement, in traditional rondo form, is simpler, characterized by a very rhythmic theme. The main theme begins, introduced quietly by the orchestra, in the subdominant key of C major before correcting itself to reach a cadence with the piano in the tonic key of G major. L.V. BEETHOVEN: piano concerto no.4 -](https://i.ytimg.com/vi/fCDvh3Zjtb8/mqdefault.jpg)





