Für Elise - Bagatelle No. 25 in A minor - Ludwig van Beethoven

• The score was not published until 1867, 40 years after the composer's death in 1827. The discoverer of the piece, Ludwig Nohl, affirmed that the original autographed manuscript, now lost, was dated 27 April 1810.^[4]
  The version of "Für Elise" we hear today is an earlier version that was transcribed by Ludwig Nohl. There is a later version, with drastic changes to the accompaniment which was transcribed from a later manuscript by Barry Cooper. The most notable difference is in the first theme, the left-hand arpeggios are delayed by a 16th note beat. There are a few extra barsin the transitional section into the B section; and finally, the rising A minor arpeggio figure is moved later into the piece. The tempo marking Poco moto is believed to have been on the manuscript that Ludwig Nohl transcribed (now lost). The later version includes the marking Molto grazioso. It is believed that Beethoven intended to add the piece to a cycle of bagatelles.^{[citation needed]}
  

  

  Therese Malfatti, widely believed to be the dedicatee of "Für Elise"
  The pianist and musicologist Luca Chiantore (es) argued in his thesis and his 2010 book Beethoven al piano that Beethoven might not have been the person who gave the piece the form that we know today. Chiantore suggested that the original signed manuscript, upon which Ludwig Nohl claimed to base his transcription, may never have existed.^[5] On the other hand, the musicologist Barry Cooper stated, in a 1984 essay in The Musical Times, that one of two surviving sketches closely resembles the published version.
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Giocani Rossini . William Tell

William Tell (French: Guillaume Tell, Italian: Guglielmo Tell) is an opera in four acts by Gioachino Rossini, with a French libretto by Étienne de Jouy and Hippolyte Bis based on Friedrich Schiller's play William Tell, which drew on the William Tell legend. This opera was Rossini's last, even though the composer lived for nearly forty more years. The overture, with its famous finale, "March Of The Swiss Soldiers," is a major part of the concert and recording repertoire.
Charles Malherbe, archivist at the Paris Opéra, discovered the original orchestral score of the opera at a secondhand book seller's shop, resulting in its being acquired by the Paris Conservatoire.

Ludwig van Beethoven - 9th Symphony, Finale

african music

Hawaiian Music

The music Hawaiian is famous for the sweetness of the melodies and to give to the listener a feeling of peace. In this compilation you can find some very famous and well known songs.

Diego Velázquez

Diego Rodríguez de Silva y Velázquez (Spanish pronunciation: [ˈdjeɣo roˈðriɣeθ de ˈsilba i βeˈlaθkeθ]; baptised June 6, 1599 -- August 6, 1660) was a Spanish painter who was the leading artist in the court of King Philip IV and one of the most important painters of the Spanish Golden Age. He was an individualistic artist of the contemporary Baroque period, important as a portrait artist. In addition to numerous renditions of scenes of historical and cultural significance, he painted scores of portraits of the Spanish royal family, other notable European figures, and commoners, culminating in the production of his masterpiece Las Meninas (1656).
From the first quarter of the nineteenth century, Velázquez's artwork was a model for the realist and impressionist painters, in particular Édouard Manet. Since that time, famous modern artists, including Pablo Picasso, Salvador Dalí and Francis Bacon, have paid tribute to Velázquez by recreating several of his most famous works.

Tom Mostyn

Born in Liverpool in 1864 and raised in Manchester, Tom Mostyn, the son of the artist Edwin Mostyn, studied at the Manchester Academy of Fine Arts. He had his first local exhibition in 1880, and was showing at the Royal Academy by the age of 29.  He is mainly recognized for his romantic garden scenes, although his style was so eclectic through out his career that it is hard to believe that the same artist created all of his paintings.

His earliest paintings were highly influenced by the strong anti-"Victorian Materialist" sentiment of his teacher Sir Hubert Von Herkomer (whose school he entered in 1893).  In these early works Mostyn depicted the poverty of the working classes in the style of the realists, an effective way of raising social consciousness.  Among his most important works from this period are The Torrent (R.A. 1895), The Dreamers (R.A. 1897) and The Doss-house (R.A. 1905).

In the late 1890's, Mostyn painted a group of religious paintings for which he received recognition as “one of the few modern painters who can paint a religious picture with absolute sin­cerity" (Daily Mail, June 27, 1907). Although he readily changed styles, Mostyn was always praised.

Mostyn’s most important transition took place between 1911 and 1912.  The works from this period feature the large figures that are so predominant in his earlier works, in sumptuous garden settings – a foreshadowing of things to come.

In c.1918 after WWI Tom Mostyn moved to Devon, where he began a series of enchanted garden scenes for which he would become best known.  Leaving realism behind, Mostyn began to paint dream-like landscapes, idealizing nature by working with, and building upon, his knowledge of nature's strength and beauty.  By piling thick layers of intensely bright colors onto the canvas with a palette knife, he overwhelmed the viewer with a barrage of visual stimuli evoking imagination and fantasy.  Mostyn was not content to soften down facts and realities by veiling them in an atmo­sphere of subtle illusion, like so many of the Impressionists did.  Reality became of small importance to the artist's scheme.   Instead he set out to create a world of his own, in which romance was the dominant note.  Because of Mostyn's use of color as form these works caused some controversy, and were criticized by some to be little more than “orgies in paint".

Mostyn refused to succumb to any of the contemporary fallacies (ie: materialism and technology).  He did not confine himself to paint with any set formula nor did he limit his choice of subject matter to any popular mannerism.  On the contrary, he felt that every moment called for its individual way of being seen and therefore its unique way of being painted.

Until his death in 1930, Mostyn's own convictions guided him in a struggle for expression, which became the main influence in his work. It caused his style to undergo the many changes that we can observe in the body of his work today.

Mostyn exhibited at the Royal Academy, and was a member of the Royal Institute of Oil Painters, The Royal Cambrian Academy, and the Royal West of England Academy.  He also exhibited in the Paris Salon, and at the Carnegie Institute, Pittsburgh.

Caballè - En Aranjuez - Con Amor

Montserrat Caballè - En Aranjuez - Con Amor - Montserrat Caballé (Catalan: [munsəˈrat kəβəˈʎe], Spanish: [monseˈrat kaβaˈʎe]; born 12 April 1933, is a Spanish operatic soprano. She has sung a wide variety of roles, but is best known as an exponent of the bel canto repertoire, notably the works of Rossini, Bellini, Donizetti and Verdi.[1] She came to the attention of a much wider audience in 1988 when she sang with pop-star Freddie Mercury of Queen the song featuring her home city "Barcelona", later a theme song for the 1992 Summer Olympics in that city.

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Rossini - L'Italiana in Algeri

Gioachino Rossini -  L'Italiana in Algeri - L'italiana in Algeri (The Italian Girl in Algiers) is an operatic dramma giocoso in two acts by Gioachino Rossini to an Italian libretto by Angelo Anelli, based on his earlier text set by Luigi Mosca. It premiered at the Teatro San Benedetto in Venice on 22 May 1813. The music is characteristic of Rossini's style, remarkable for its fusion of sustained, manic energy with elegant, pristine melodies.

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Straus - The Blue Danube - An der schönen blauen Donau, Op 314

Johann Straus - The Blue Danube - An der schönen blauen Donau, Op  314 - The Blue Danube is the common English title of An der schönen blauen Donau, Op. 314 (German for By the Beautiful Blue Danube), a waltz by the Austrian composer Johann Strauss II, composed in 1866. Originally performed 15 February 1867 at a concert of the Wiener Männergesangsverein (Vienna Men's Choral Association), it has been one of the most consistently popular pieces of music in the classical repertoire. Its initial performance was only a mild success however and Strauss is reputed to have said "The devil take the waltz, my only regret is for the coda—I wish that had been a success!"
After the original music was written, the words were added by the Choral Association's poet, Joseph Weyl. Strauss later added more music, and Weyl needed to change some of the words. Strauss adapted it into a purely orchestral version for the World's Fair in Paris that same year, and it became a great success in this form. The instrumental version is by far the most commonly performed today. An alternate text by Franz von Gernerth, Donau so blau (Danube so blue), is also used on occasion. The Blue Danube premiered in the United States in its instrumental version on 1 July 1867 in New York, and in Great Britain in its choral version on 21 September 1867 in London at the promenade concerts at Covent Garden.
The specifically Viennese sentiments associated with the waltz have made it an unofficial Austrian national anthem. The waltz is traditionally broadcast by all public-law television and radio stations exactly at midnight on New Year's Eve, and on New Year's Day it is a customary encore piece at the annual Vienna New Year's Concert. The first few bars are the interval signal of Österreichischer Rundfunk's international programs.
When Strauss's stepdaughter, Alice von Meyszner-Strauss, asked the composer Johannes Brahms to sign her autograph-fan, he wrote down the first bars of The Blue Danube, but adding "Leider nicht von Johannes Brahms" (Alas! not by Johannes Brahms).

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