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Waltz in G Minor Sinding: Suite im alten Stil, Op.


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  4. The Authors XI: A Season of English Cricket from Hackney to Hambledon (Wisden).
  5. Dmitri Shostakovich: Symphony No. 10 in E minor;
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  7. Shostakovich: Symphony No. 10 in E Minor, Op. 93 (Digitally Remastered)!

Le grand tango Bach, JS: Gavotte I Bach, JS: Siloti for Cello and Organ Caix d'Hervelois: Scherzo Allegro molto vivace Tchaikovsky: Scherzo Allegro vivo Tchaikovsky: Andantino in modo di Canzone Tchaikovsky: Pizzicato ostinato Allegro Tchaikovsky: Valse Allegro moderato Tchaikovsky: Finale Adagio lamentoso Tchaikovsky: Variations on a Rococo Theme, Op. Variation VI - Andante Tchaikovsky: Allegro con fuoco Mussorgsky: Night on the Bare Mountain Rimsky-Korsakov: The Story of the Kalendar Prince Mussorgsky: You'll receive all 6 pages after purchase.

Symphony No 10 in E minor - Dmitri Shostakovich - Concerts, Introduction & Performances - BBC Music

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Shostakovich: Symphony No. 10 in E Minor, Op. 93 (Digitally Remastered)

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Shostakovich: Symphony No. 10 in E Minor, Op. 93: II Allegro

Prelude and Fugue No. The third movement nocturne is built around two musical codes: This motif , called out twelve times on the horn , represents Elmira Nazirova, a student of the composer with whom he fell in love. The motif is of ambiguous tonality , giving it an air of uncertainty or hollowness.

In a letter to Nazirova, Shostakovich himself noted the similarity of the motif to the ape call in the first movement of Mahler 's Das Lied von der Erde , a work which he had been listening to around that time: The same notes are used in both motifs, and both are repeatedly played by the horn. In the Chinese poem set by Mahler, the ape is a representation of death, while the Elmira motif itself occurs together with the "funeral knell" of a tam tam.

The third movement is a moderate dance-like suite of Mahlerian Nachtmusik — or Nocturne , which is what Shostakovich called it.

Richter plays Bach: WTC1 No. 10 in e minor BWV 855

In the fourth and final movement, a naively happy tune at a slow andante pace again heavily influenced by Mahler that suddenly changes into a fast finale that has the pace of a doom-laden Gopak , [ citation needed ] which recalls the second movement theme. The fast theme is in turn defeated by the triumphant DSCH theme, which is repeated with increasing agitation through the frantic conclusion. The coda effects a transition to E Major, and at the very end, several instruments have a glissando from an E to the next E.

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The first time the motif is heard in its correct order in the whole symphony is in the 3rd movement, right after a short canon on the beginning melody starting from the 3rd beat of the 5th bar after rehearsal mark Fig. From Wikipedia, the free encyclopedia. The Memoirs of Dmitri Shostakovich. Retrieved 26 May