romantic repertoire
tvb’s upcoming drama romantic repertoire < 水髮胭脂 > will premiere on march 30, replacing the timeslot currently occupied by young charioteers < 衝線 > .
romantic repertoire (ep. 1 - 21) (end) (multi - audio) (english subtitled) (tvb drama) (us version )
i think he wants to broaden his horizons of romantic repertoire, so it' s probably not the best idea just to state famous, or even overplayed works .
customers who bought
romantic repertoire (ep. 1 - 21) (end) (multi - audio) (english subtitled) (tvb drama) (us version )
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most show songs that won popularity in the years between the two world wars were about romantic love .
rodgers proved to be equally adept in both classic and romantic repertoire, save for an occasional tendency to slow her vibrato to less than an optimum rate. she shows considerable potential; large voices such as hers are comparatively rare .
schumann is a key figure in the romantic movement; none investigated the romantic’s obsession with feeling and passion quite so thoroughly as him. schumann died insane, but then some psychologists argue that madness is a necessary attribute of genius .
the arch - romantic composer, berlioz’s life was all you’d expect – by turn turbulent and passionate, ecstatic and melancholic .
early in his career schoenberg wrote one of the outstanding chamber works of the late romantic period: “verklärte nacht” (transfigured night), op. 4 (1899), for string sextet. together with tchaikovsky’s “souvenir de florence, ” it is the finest sextet in the repertoire .
the romantic period was one of the most innovative in music history, characterised by lyrical melodies, rich harmonies, and emotive expression .
saux is a ‘grand - pupil’ of césar franck and a student of vincent d’indy and thus deeply rooted in the french late romantic tradition .
vocal cycle). however, to - date, not a single work by the ‘fiery romantic’, has been staged at the theatre .
lin’s album showcases some of the finest gems of the classical romantic period. opening with the effortlessly sweet melodies of manuel ponce and jascha heifetz’s estrellita and concluding with the virtuosic carmen fantasy by pablo sarasate, romantic journey offers a taste of an entire generation of music in just 60 brief minutes .
haydn wrote sixty - eight string quartets, far more than any other of the great composers. the forty - four listed above lie at the foundation of the quartet repertoire .
yesasia: romantic repertoire (ep. 1 - 21) (end) (multi - audio) (english subtitled) (tvb drama) (us version) dvd - louise lee sze kei, moses chan, u media group (us) - hong kong tv series & dramas - free shipping - north america site
“haoli lin’s repertoire presents the meat and potatoes of old - time violin recitals with refreshing naturalness and grace, ” critic maxham wrote in his review of the album for fanfare magazine .
essential and demanding concertante pieces from the csakan repertoire. the lost piano part, lost until the year 2016, was reconstructed by the editor in accordance with the style of the period .
legendary conductor and music educator richard gill ao and the australian romantic & classical orchestra are on a voyage of musical discovery, designed especially for high school music students. in collaboration with some of australia’s finest ensembles, including the world according to james, ensemble offspring, and camerata antica, we are proud to present a series of three concerts in which richard gill will lead students through the music of past and present, exploring new australian music, ancient music, and jazz alongside classical and romantic repertoire on period instruments .
the new emphasis on this kind of romantic love accompanied the rise of individualism and by the end of world war i, songwriters were absorbing this spirit of individualism .
the local professional orchestras make a substantial contribution to the programme, beginning on 8 may with the concert the macao orchestra and cho - liang lin (mccga). the orchestra, led by lü jia, along with international superstar violinist cho - liang lin ravish the public with prokofiev’s masterful violin concerto no. 2. mr. lin’s interpretation of this work is widely regarded as the “most authoritative”. the orchestra continues its chamber music series, performing romantic evening on 17 may (dom pedro v theatre), a concert dedicated to the romantic repertoire .
artiste, evergreen mak (麥長青) attended the promotion campaign for new series, romantic repertoire (水髮胭脂) and when asked about the rumours of himself in debts, he clarified he did not borrow any money at all. when the reporters asked if aimee chan was involved, evergreen said :
i am doing as what i am told. the decision lies with the boss .
artiste, moses chan (陳豪) attended the promotion campaign for new series, romantic repertoire (水髮胭脂) and when asked if his wife, aimee chan (陳茵媺) was involved in evergreen mak' s (麥長青) investment, he said :
i did not hear it before. i know evergreen through filming series and had no idea that he made many plans. haha .
it is true that both traditional recorders and their more recently developed standardized counterparts such as the english flageolet, the french flageolet and the viennese csakan were played throughout the classical and romantic period. to date, only few pieces of the extensive nineteenth century and partly of the twentieth century repertoire for these instruments have become available in new editions. the following list is intended to give some guidance. to start with, there is the original music of the late baroque period, which shows some elements of the ‘sensitive - ’ and classical styles. these are followed by the new editions of the viennese classical period, the biedermeier period, the french romantic, and the english post - romantic period. later works from the impressionistic and expressionistic periods have not been taken into account .
unique in the chamber music repertoire, this is a musically attractive quartet beyond amateur level. the original part for csakan has been supplemented with a transposed part for the recorder that is also suitable for playing on the flute .
- joyce will play a cantonese opera artiste in a young scholar role. she will sing cantonese opera, and she will use her personal costumes. she has a romantic storyline with moses .
when discussing the standard repertory for his instrument, lin praises that of the romantic era as the most affective and emotionally persuasive. lin invites listeners to “sit back and enjoy the journey” in a
highly romantic, pompous trio in best piano trio tradition. trio in d - minor for alto (treble) recorder, violoncello & piano. aka 3. 731 (published 1996) .
one of the best works for this instrumentation, in late romantic - viennese style. however, the choice of harpsichord as accompaniment appears dubious – the part is better suited to a piano .
“berlioz is one of my favorite composers. had it not been for him, we would not know that romantic – and not only romantic – music we love today. berlioz’s influence on the entire future development of music (ravel and debussy included), its stylistics and expressive means, is impossible to overstate. and berlioz was virtually a contemporary of beethoven’s (he began to write
weôçöve been training and promoting talented singers into the wagnerian repertoire for decades. sign up for our free monthly newsletter, find out how we work and then join us to become part of the great british tradition of supporting world - class performers .
the music of the polish composer fryderyk chopin is at the heart of the romantic repertoire. favouring delicacy of nuance, coupled with a considerable technical facility in his own playing rather than the bravura of contemporaries like liszt, he was to extend the range of piano music in his own way and in his own instantly recognizable idiom, of which the e flat nocturne, written at the time when he was leaving his native country to settle in paris, is a well known example .
i am often asked whether there is any classical and romantic repertoire for the recorder. yes, of course there is – quite a lot in fact. but who are the composers, what are the pieces called, and where have they been published? in order to make your search as easy as possible i have compiled a list of works, in chronological order, that are currently available. here it is, downloadable and free for everyone. i hope you enjoy playing these pieces .
our composer timelines page has composer timeline digrams for the medieval, renaissance, baroque, classical, romantic and modern periods, plus a full listing (with links and references) of all the 600 + composers included on the diagrams .
norina spends her morning reading romantic novels and imagining herself as a heroine, when she is delivered a message from ernesto. he bids his farewell as he is going to leave the country. the woman’s plans to marry him are ruined .
lensky, a young poet engaged to olga, arrives with a friend from st. petersburg. he introduces onegin, who, bored with the city, has come to see if the country can offer him any distraction. tatiana, full of youthful and romantic fantasies, falls in love with the elegant stranger, so different from the country people she knows. onegin, on the other hand, sees in tatiana only a naive country girl who reads too many romantic novels .
louise lee' s (李司棋) contract with tvb had already ended. she attended the promotion activity for new series, romantic repertoire (水髮胭脂) and expressed that her relationship with the company remained good. louise disclosed her contract ended on 8 december 2014 and when asked if she was planning for retirement, she said :
nope. i will accept any assignments if suitable for me .
louisa worked in tvb for 47 years and said :
i have not received gold award yet but did get lifetime achievement award though .
listen to the melodious romantic song sara pyaar tumhara from the classic bollywood romantic movie anand ashram (1977) starring uttam kumar & sharmila tagore. directed & produced by shakti samanta. music by shyamal mitra. this song is sung by asha bhosle & kishore kumar. the film also stars rakesh roshan & moushmi chatterjee. subscribe and stay tuned - urltoken find us on google plus: urltoken follow us on pinterest: urltoken like and share your favorite videos on facebook: urltoken follow us on twitter: urltoken
difficult piece for both players in late romantic style. praeludium, adagio and chorale on ‘ach wie flüchtig, ach wie nichtig... ‘ for alto (treble) recorder and piano. aka - musikverlag aka 3. 722 (published 1995) .
what do you guys deem essential for a pianist focused almost solely on romanticism music as the
need to have
repertoire? from chopin, schumann, brahms, schubert, rachmaninoff, liszt etc? i would like pieces hard and easy, and basically pieces that are definately worth learning and having under my belt. /
few composers command such universal love as chopin; even fewer still have such a high proportion of all their music in the active repertoire. yet he is the only great composer who wrote no symphonies, operas, ballets or choral works. his chief claim to immortality relies not on large scale works but on miniature forms .
can’t imagine joyce koi in romantic role. she is like she - man. always playing male parts. goosebumps for the men in this drama. why is moses even entertaining tvb by taking this terrible role? any actress is more feminine and better than joyce. yuck !
richard gill presents - a voyage of musical discovery promises to become an invaluable addition to current music education in australia. this extraordinary voyage can be extended via special discount rates to the acclaimed australian romantic & classical orchestra subscription concerts, which are presented to coincide with the education series .
new york—the ability to interpret familiar, standard repertoire with such freshness, nuance, and originality that audiences listen with rapt concentration—erupting at the end with cheers—is a rare gift. it cannot be taught. it stems from the performers’ innate musicality, tireless self - study, and capability to express deep emotional involvement with the works they are playing .
three movement concertante piece: first movement in sonata form, solemn middle movement and mozartian rondo. nice piano part with soloistic sections. a good example of high - quality music for the csakan music of the early romantic period, comparable to works by carl maria von weber for other woodwind instruments .
with the repertoire in your signiature there really isn' t that much liszt that would be appropriate - and what is is doesn' t have that' germanic virtuosity.' there are numerous more restrained works, like the consolations, pieces from the weihnachtsbaum, and the funf klavierstucke that would be manageable for you, though. here are some suggestions :
the fifth volume of romantic piano pieces covers a relatively wide range of well known music, some of it popular rather than romantic in any strict sense. the age of the piano began in the nineteenth century, although a form of pianoforte had been developed much earlier. technical changes, however, and changes in society, made the piano the favourite instrument of a growing middle class. there was an enormous demand for piano teachers and for piano music suitable for domestic performance by the ambitious. until recently, indeed, learning music, in england at least, has been synonymous with learning the piano .
essential and demanding concertante pieces from the csakan repertoire. the lost piano part, lost until the year 2016, was reconstructed by the editor in accordance with the style of the period. rondo la tyrolienne op. 35 for soprano (descant) recorder and piano (1837). editor: p. adams, dolce editions dol 205 (published 1989) .
the great composers of this period were carl philipp emmanuel bach, johann christian bach, johann stamitz, franz joseph haydn, wolfgang amadeus mozart, luigi boccherini and christoph von gluck with others such as franz schubert and especially ludwig van beethoven being seen as transitional and indeed instrumental in bringing about the romantic period .
good quartets were written in france, england, scandinavia, and italy during the romantic period. their composers are not among my own favorites, but i list them here for those who enjoy the composers’ other works. if you like the symphonies, operas, or oratorios, you’ll no doubt like the quartets .
composer, teacher, abbé, casanova, writer, sage, pioneer and champion of new music, philanthropist, philosopher and one of the greatest pianists in history, liszt was the very embodiment of the romantic spirit. he worked in every field of music except ballet and opera and to each field he contributed a significant development .
aria had been) and eventually learned to seek sound dramatic situations in the libretti he set. his devotion to the dramatic baritone voice type (he frequently used it in leading roles) did much to popularize its use. verdi wrote little for the lyric voice, and it was his creation of a basic repertoire for the dramatic voice that was his most important contribution to singing. the opera
important collection of studies from the romantic period, very difficult; in the new edition some studies have been made more accessible by transposition. the compendium for studies in difficult keys par excellence. récréations & études for alto recorder solo (1857). editor: n. tarasov, friedrich hofmeister musikverlag fh 2805 (published 2002) .
flötenbüchlein für klaus (flute book for klaus), for recorder in c and piano (1950). bärenreiter 1427 (published 1951). easy, short and beautiful character pieces for beginners on the recorder in slightly increasing level of difficulty. especially the piece
schwebender klang
(
floating sound
) with its romantic gesture is a remarkable miniature .
“it is often claimed that modern ears, even after decades of acclimation to increasingly modern and harmonically dissonant music, still find their home in the sounds of romanticism. the emotional and sentimental qualities of romantic music, combined with its inherent virtuosity and brilliance, create an undeniable beauty of expression that few can resist. the violin, with its enormous palette of sounds, was a preferred solo instrumental voice of many romantic composers due to its capability to convey character ranging from the sweetest of lyrical singing tone to full - throated aggressive power. it is my hope that this recording elicits in the listener the same wide range of emotions that these pieces have evoked in me since my childhood. sit back and enjoy the journey. ”
mazurka for soprano and alto recorder & piano. edition schott 10801, rms 1128 (published 1963). in romantic, chopin - esque style, not difficult. viennese waltz for soprano and alto recorder & piano. edition schott 10791, rms 1120 (published 1963). barcarole and berceuse for soprano (descant) recorder & piano. schott ed 10770 (published 1962) .
as well as beethoven and schubert, composers of the romantic period include frederic chopin, felix mendelssohn, hector berlioz, johannes brahms, edvard grieg, antonin dvorak, robert schumann, georges bizet, giuseppe verdi, richard wagner, franz liszt, pyotr tchaikovsky, anton bruckner, camille saint - saens, gustav mahler, erik satie, claude debussy, modest mussorgsky and sergei rachmaninoff .
quintette pour flûte à bec (ou flûte), 2 violons, violoncelle et clavecin (1988). edition schott; facsimile - score ed 7644, parts ed 7658 (published 1990). demanding, quarter - hour chamber music in the french post - romantic style and barely extended harmonic structure. the alto recorder’s part should be played on an instrument with a strong low register .
just as the protracted and philosophically overladen german style appeared to be afraid of not saying enough, debussy, as the proponent of the french style, appeared afraid of saying too much. but the artistic ambiguities thus created can draw out the imagination of the listener in a most effective way. debussy' s impressionism was short lived, though it made a much needed contribution to the lyric voice repertoire and was an elegant and inspired alternative to the harsh dramatic glare of the
tatiana and olga try to reason with lensky but his high romantic ideals are shattered by the betrayal of his friend and the fickleness of his beloved; he insists that the duel take place. onegin kills his friend and for the first time his cold heart is moved by the horror of his deed. tatiana realizes that her love was an illusion and that onegin is self - centred and empty .
two liszt opera transcriptions for solo piano were offered at carnegie, one of verdi, the other of wagner. liszt’s “‘rigoletto’ paraphrase” is a compendium of every device in the arsenal of romantic piano technique. rowel friers almost succeeded in simulating a stageful of singers and an orchestra in the pit, to boot! playing with unashamedly virtuoso flair, he concluded in a blizzard of octaves and stentorian sonorities .
the german - born hindemith (who emigrated in 1940 to switzerland and the united states) was a professional quartet player, both as a violist and second violinist, and also a neo - classical theorist. only some of his music deserves its reputation for a too - cold formalism. the third quartet, which combines elegant string - writing and late - romantic chromaticism, is a beautiful piece .
yu opera, also called
henan bangzi opera
or
henan high tune ,
is a major local opera in henan province and enjoys nationwide popularity. there are four styles in yu opera. and it is noted for its demanding melodies, strong rhythms and intensive use of spoken language. it is also famous for its straightforward performance and strong local flavor. there are more than 600 traditional plays in the repertoire of yu opera. chang xiangyu is the best known actress of this opera .
mozart’s lovely, lyrical piano concerto no. 12 in a major, k. 414, is one of his earliest piano concertos in the active repertoire. kevin zhu, 11 years old, played the first movement at a relaxed tempo and with style and poise. his was a joyous interpretation that captured the playfulness of the downward appoggiaturas in the opening theme, while also conveying the work’s occasional forays into neo - baroque solemnity. zhu’s phrasing, dynamics, and crisp articulation effectively projected the concerto’s many beauties .
katy kung (龔嘉欣) joins the cast as louise lee’s daughter, and will share a romantic story line with jason chan (陳智燊). she recently dislocated her shoulder joint due to her sleeping position, and kept her right arm extra stiff at the event. luckily, good friend and roommate elaine yiu (姚子羚) is there to bandage her arm and assist with her daily needs, allowing katy peace of mind as she recovers .
chopin: any of the ballades or scherzi, the grande polonaise brilliante, sonata 2 schumann: sonata 2, anything from fantasiestucke, kinderzehen brahms: any of the rhapsodies, intermezzo 2 schubert: i wouldn' t consider him romantic, but, the wanderer fantasie, sonata in a major. rachmaninoff: prelude in g minor, musical moment in b flat minor, concerto 2, liszt: hungarian rhapsody 2, liebestraum, la campanella ,
concertante piece in the style of a serenade, highly romantic, showing influences by reger and richard strauss, as well as some atmospheric, modal elements from scottish folk music. exposed melodic part. quartettino op. 78 for ssat or ssab. universal edition u. e. 12622 l (published 1960). 4 bagatellen op. 110a for alto recorder solo, from: pieces for solo recorder, vol. 1. forsyth (published 1988) .
i will not attempt to list here a selection of the many works for string quartet that have been written in an atonal or an almost - atonal style. few have managed to enter the permanent concert repertoire, and it is hard to say which will ever do so; my own guess would be, “not many. ” the american ned rorem and the russian alfred schnittke, each of whom have written four string quartets, are exceptions. yet more important are the works of elliott carter, who belongs in any history of the string quartet .
claude debussy, a pianist of ability, if never the virtuoso he had once hoped to become, was relatively late in developing his own characteristically poetic piano style. the two arabesques, of which the g major is the second, are early works, written between 1888 and 1891, are well known, and were to become an established part of contemporary domestic repertoire. debussy' s later piano music increases in complexity and in its evocative content from about 1905, with the publication of the first set of images and the revision of the suite bergamasque .
when played with the right balance of delicacy and fury, mendelssohn’s sizzling string octet, for four violins, two violas, and two cellos, opus 20, in e flat (1825), brings audiences to their feet. to write a true full - length eight - voice piece for strings is basically impossible, but mendelssohn, at sixteen, did not know that. no one else among the great composers has managed it. 88 with it, mendelssohn became, and still is, the youngest composer to write a work that remains in the classical repertoire .
lured by the evil genius, siegfried finds himself on the banks of a mysterious lake. in the shimmering patches of moonlight on the water, visions of bewitched swan maidens rise up before him. siegfried catches sight of odette, the most beautiful of the maidens. he is spell - bound, deeply struck by her beauty. at long last, he has found his romantic ideal of love. he swears to odette that he will love her foreverand be faithful to her .
like his countryman smetana, the czech composer leos janácek w rote autobiographical quartets. both these pieces expressed his autumnal, unfulfilled love for another man’s wife. as befitting the quartets of a great opera composer, janácek’s string voices seem to be conversing throughout. these beautiful works present romantic storytelling in twentieth - century sound. fortunately, now that czech ensembles are bringing their great quartet tradition to western audiences, janácek’s masterpieces have caught on among north american performers and are programmed fairly often .
tradition, continuity and an impressive repertoire: these are the solid pillars supporting the bayerische staatsoper – one of the world’s leading opera houses. it can look back proudly on a cultural history of over 350 years. thanks to a court tradition, opera found a home in munich in 1653; since then its music - historical and sociopolitical development has continued in a way unparalleled anywhere else, worldwide. the bayerische staatsoper, with some 600, 000 persons attending its over 450 performances each year, makes a major contribution to munich’s reputation as one of the great international cultural capitals .
what distinguishes the syncretists is their attempt, in one way or another, to combine the various discoveries of modernism with the communicative power of romanticism. they want the classical audience back, but at the same time they don’t want to abandon all of modernism’s aesthetic advances. they are unwilling to return to the straightforward scales, keys, and harmonies of the eighteenth and nineteenth centuries, but in other ways they have embraced the romantic aesthetic — its direct appeals to emotion, its story - telling, its dramatic journeys, its philosophical meditations .
the fifteenth returns to straightforward tonality and thus is as easily approachable as the middle quartets. but it does not sound like they do. its textures are bare, full of silences in one or another of the instruments; its mood is grief. the piece is unique in the quartet repertoire in consisting of five slow movements. the dark key, e flat minor, one of the most awkward of keys for string players, was perhaps chosen in honor of tchaikovsky’s last quartet in the same key. both quartets seem to mourn the tragedies of their composers’ own lives, and, for the listener, to commemorate the ineluctable sorrows of the human condition .
first complete edition of kraehmer’s concertante work op. 24 in a modern edition with critical commentary. the first set of variations is based on a waltz theme, the second on a more serious, mozartian theme, the third on a theme with alpine motifs. the composition has clear and exact phrasing and dynamic markings and is therefore a very good example for the performance of early romantic recorder music. two original themes with variations, op. 24, for solo recorder (1830). editor: p. adams, dolce editions dol 215 (published 1993) .
the plot of carl maria von weber' s romantic elfin opera, first performed at london' s covent garden in 1826, is quite startling. when oberon, king of the fairies quarrels with his queen titania, it is the humans, of all creatures, who are called upon to solve the problem. titania will only consider reconciliation, on the condition that a human couple affirm their love within a life or death scenario. oberon' s servant puck already has somebody in mind – the crusader hüon of bordeaux, who is in love with rezia, daughter of the calif .
mendelssohn himself had encouraged schumann by arranging performances of his work in leipzig with the gewandhaus orchestra, which he directed. a man of diverse talents, sociable and broadly educated, he retained an element of classicism in his work, an ability to use again old forms, coupled with an economy of means, while nevertheless providing music of contemporary romantic appeal. the venetian boat song included here, not the only one he wrote, appeared in the second volume of his genre pieces, songs without words, graceful vignettes calculated to bring a blush of delight to the cheeks of any young person .
wagner' s coeval and italian counterpart, giuseppe verdi (1813 - 1901), inherited the mantle of italian romantic opera from his predecessors and sustained it, almost single - handedly, for over half a century. his ideas, like wagner' s, developed and changed during that span, but essentially he remained bound to the traditional number (unitized) format of opera, the idea of the vocal artist as the primary protagonist of the drama, and the accompaniment function of the orchestra. only in his final works did he abandon the number opera system and employ the continuous music mode of his german rival .
it was the demands of the church that required a musical notation, and so the earliest written music was largely church music. the plainchant of this time was still unaccompanied, but new developments were starting to appear. the singing might alternate between two parts for solo singers or choirs, or two parts might be sung together in a style called organum. in early organum a second part simply followed the main part at a fixed interval so that the two parts moved in parallel. later the supporting parts became more independent of the main one and this freedom led to early forms of harmony. outside of the church' s influence, minstrels and troubadours were entertaining in the castles of europe, with music and song a key part of their unwritten repertoire .
of schubert’s fifteen quartets, these last three are the masterpieces. no. 14, in d minor, is by far the most often performed — in fact, too often; it is one of the very few quartets that has attained the status of warhorse. nevertheless, it is a great work. schubert’s quartets were the first to build on beethoven’s romantic foundations, but in one sense they resemble mozart’s: their composer thought primarily in terms of a singable line. the second movement of the “death and the maiden” quartet consists of variations on schubert’s song of that name. the quartet’s companion piece, in a minor, is its equal, though it is programmed and recorded much less frequently .
the romantic era was another period of rapid evolution in music. from the foundations laid down by the classical masters, composers were now composing from the heart. the fact that composers were no longer employees but independent meant that they could follow their own direction, composing music that pleased themselves. of course composers still had to live so they accepted commissions, made deals with publishing houses, composed music with commercial value, and promoted their own music through concerts across europe and other parts of the world. many composers of the time were also very skilled performers or conductors and would therefore go on tour with their new works. thus composers were among the celebrities of the time, and there a degree of showmanship involved with ever longer and more elaborate works played by huge orchestras and choirs .
interior designer moon shing - hong (moses chan) and his wealthy good friend tin hak - kan (mak cheung ching) open up a design partnership company. in order to establish an ideal and happy family with his girlfriend to tsz - tsin (oceane zhu), shing - hong bought a property and is now waiting for tsz - tsin & apos; s return from studying abroad. unexpectedly, shing - hong & apos; s elder sister, moon shing - oi (lo yuen yan), has already leased the property out to the most sought - after cantonese opera artiste, kan kit (joyce koi), without his consent. failing to rescind the contract, shing - hong tries to drive away kan kit at all cost. to his surprise, kan kit & apos; s agent lin sau - fong (louise lee) is despotic and indifferent and she refuses to give in, which puts shing - hong at his wit & apos; s end. since then, the two parties have been at daggers drawn. but the situation changes in significant ways when hak - kan out of the blue starts courting kan kit. having had a deeper understanding of kan kit, shing - hong manages to help hak - kan and kan kit get engaged. because of that, shing - hong and kan kit not only bury the hatchet but also develop a subtle rapport with each other. shortly afterwards, kan kit suddenly has a traffic accident, following which she even finds her biological mother; whereas hak - kan also calls off the engagement. on top of that, it turns out that tsz - tsin returned to hong kong a long time ago and became a two - timer... ... change will always happen no matter what you plan. so the question is whether life is like a repertoire or a repertoire reflects life .
while classical music became more elite, popular music (which had been around for centuries) found a new mass audience, with the advent of recordings, radio and television. these new media had an insatiable demand for music, and film music in particular required much original music and recruited composers educated in the classical traditions. popular music in turn had a strong influence on serious music, and jazz and other ideas became incorporated into the concert repertoire. the same electricity which powered the new media, also fuelled new gadgets for amplification and powered new instruments such as the electric guitar and synthesisers. more recently it has become possible to create and manipulate sound solely within computers, in a similar way to their use for creating graphics and animations for those same media. with all these developments music is much more accessible around the world, and as styles and techniques are invented, re - invented and combined this in turn stimulates further invention and discovery .
if the romantic period saw the start of some fragmentation into different schools, this trend continued and accelerated into the modern era. there were those who continued to develop older traditions: the neo - classicists, the late romantics and the impressionist schools still prevailed, and those who took a new path with atonal music, serialism and later with experimental and minimalist music. some composers created thematic material which could hardly be called
melodies
, introducing dissonant intervals and different scales, and unusual rhythms and cross - rhythms were explored. there were composers, considered extreme by some audiences, who used traditional instruments in unconventional ways, overturned principles previously considered fundamental, and questioned the roles of composer, musician and listener. experimental composers used randomisation techniques, or gave unusual instructions which might not include any conventional musical notation at all .
to my ears, the best introduction to beethoven’s quartets is not the group of early quartets, the six of opus 18, which are overshadowed by haydn’s opus 76 and 77. begin instead with the first of the three razumovsky quartets, opus 59 no. 1, in f major. the cello melody in the first few measures swings open the door to the romantic century. once you are hooked by this piece, which charms the heart while it is busy demolishing what music had been before it, turn to its emotional opposite, intense and mysterious, the opus 59 no. 2, in e minor. listen your way through the difficult opus 59 no. 3, in c major, then the delightful “harp” quartet, so called because of the pizzicato arpeggios in the first movement, and finally the violent “serioso. ” these five are the “middle quartets” and are often recorded together for cd albums .
the title of willie nelson' s solo debut on blue note records, american classic, refers as much to the man himself as to the storied tin pan alley repertoire he explores on this elegant new set. while its common now for mature pop artists to attempt to put their own stamp on the american songbook, nelson practically invented the approach. he set the standard for, well, playing the standards more than thirty years ago with stardust, perhaps this outlaw entertainers most daring move, an album that many industry pundits thought would get him laughed off the charts and out of the biz. instead, the booker t. jones - produced stardust which showcased material from the gershwins, duke ellington, hoagy carmichael and kurt weill, among others, in spare, easy - going arrangements became the most successful album of his career thus far. it reached # 1 on the billboards country albums chart; racked up more than five million in sales; earned nelson a country male vocal performance grammy; and, most significantly, helped to transform a colorful, middle - aged cult figure into a mainstream star .
the theatrical tendency was to portray a widening range of emotion and dramatic situation. though such writing called for ever stronger musical treatment, the early romantic composers had not clearly broken with the long held concept that music had to be pleasant to be good. wagner turned this corner. his advanced chromaticism and delay in resolving suspensions resulted in harmonies that were audacious for the time. he frequently approached the boundaries of tonality and, even today, with our dissonance - jaded ears, we can find sounds in wagner that cannot be called pleasant. his successors would go still further in this direction to be sure, but it was wagner who saw that dramatic music needed to be free to portray a complete range of situation, the vile and unspeakable as well as the divine and transcendental. henceforth, music would express a widening gamut of emotion, and singers would need the requisite aural and musical skills to deal with complex musical structure and dissonant harmonic surroundings. as a measure of where we have come since then, it might be noted that in vienna, in 1863, the premiere of
much of the repertoire, nelson explains, was picked by tommy and joe .
they came to the house and we sat around and talked about songs, like' the nearness of you' and' angel eyes,' which is one of my favorite jazz standards. we talked about a lot of great standards. the vintage tunes they chose ,
says nelson ,
are of the same quality as stardust, but we did them a little differently. tommy put together the band, with guys like joe, who' s an incredible musician and arranger. stardust was recorded with my band, but this was done with musicians who were coming, musically, from another place. you can' t beat the players you have on this one, they' re as good as they get .
the key to the project ,
notes lipuma ,
was that we all realized how much we loved bob wills and the texas playboys. that brought us all together. i was a big fan of wills, as was joe; willie, of course, was a huge fan, as well as a huge fan of django reinhardt. so after we chose the songs and got the keys and all that stuff, we left a day or so to figure out what made the most sense as far as willie was concerned, what willie felt the most comfortable with. we ended up with a django / bob wills feel to the arrangements and willie fell right into it.' the nearness of you' was one of the first things that jumped right out, and from there we ended up doing about 16 or 17 tracks, then knocking it down to the ones we put on the album .
executive producer: li yan fang scriptwriter: siu lai king / huang yu de interior designer moon shing - hong (moses chan) and his wealthy good friend tin hak - kan (mak cheung ching) open up a design partnership company. in order to establish an ideal and happy family with his girlfriend to tsz - tsin (oceane zhu), shing - hong bought a property and is now waiting for tsz - tain’s return from studying abroad. unexpectedly, shing - hong’s elder sister, moon shing - oi (lo yeuen yan), has already leased the property out to the most sought - after cantonese opera artiste, kan kit (joyce koi), without his consent. failing to rescind the contract, shing - hong tries to drive away kan kit at all cost. to his surprise, kan kit’s agent lin sau - fong (louise lee) is despotic and indifferent and she refuses to give in, which puts shing - hong at his wit’s end. since then, the two parties have been at daggers drawn. but the situation changes in significant ways when hak - kan out of the blue starts courting kan kit. having had a deeper understanding of kan kit, shing - hong manages to help hak - kan and kan kit get engaged. because of that, shing - hong and kan kit not oly bury the hatchet but also develop a subtle rapport with each other. shortly afterwards, kan kit suddenly has a traffic accident, following which she even finds her biological mother; whereas hak - kan also calls off the engagement. on top of that, it turns out that tsz - tsin returned to hong kong a long time ago and became a two timer… change will always happen no matter what you plan. so the question is whether life is like a repertorie or a repertoire reflects life .
encouraging nelson to record stardust was bruce lundvall, now blue note' s head, who had the prescience to sign nelson to columbia in the 70s and, thirty years later, offer him a home at blue note. nelsons first effort for the label was his acclaimed 2008 collaboration with wynton marsalis, two men with the blues, a spirited live set that debuted at # 20 on the billboard pop chart (nelsons highest charting since always on my mind hit # 2 in 1982). fans around the world know that the adventurous nelson can sing just about anything and with just about anyone he pleases. as he sees it ,
the more songs you know, the more musicians you listen to, the more writers you hear, the better equipped you are to decide where you want to go next. thats why i want to listen to everyone and everything and then decide which way i want to go. then, of course, i might change my mind and go in an entirely different direction. but at least i have all these options .
on american classic, he' s joined, on vocals and piano, by diana krall in an intimate rendition of
if i had you
that feels more like pillow talk than mere wishful thinking. (
it came off so well she' s so smooth and her piano playing is the best ,
praises nelson .) he also duets with norah jones, countering playful protestations with romantic persuasion on frank loesser' s
baby its cold outside .
(
that particular song has a lot of meaning for me ,
nelson admits ,
and its obvious that i enjoy singing with her .
) backing musicians include such notable jazzmen as pianist joe sample, bassist christian mcbride, krall guitarist anthony wilson, and drummer lewis nash; nelson' s longtime sidekick mickey raphael, his memorable co - star on two men with the blues, plays harmonica, adding evocative, bluesy inflections to angel eyes and since i fell for you .
interior designer moses chan and wealthy heir evergreen mak open a design company together. looking to start a family with his girlfriend oceane zhu, moses has already bought a home and is just waiting for her to finish her education abroad. however, his sister angelina lo rents out the property to joyce koi, a well - known opera performer, without his permission. unable to cancel the rental agreement, moses looks for ways to drive joyce away, but her manager, louise lee, stands firm. the two sides are at war with each other until evergreen suddenly decides to pursue joyce. in order to help evergreen win her heart, moses must get to know her better. in the process, they become friends and even develop a subtle bond. soon after, joyce is involved in a car accident and reunites with her biological mother, evergreen cancels the wedding, and oceane is discovered to have returned to hong kong already but with another boyfriend... plan usually cannot catch up to changes. is life like a play or does a play reflect reality ?
let me guess, joyce' s long - lost mother will be... mary hon ?
wu zetian (rebecca chan in the greatness of a hero) is the mother of emperor zhongzong (raymond cho in the greatness of a hero), empero ...
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- the theme of this series is on cantonese opera. the genre is lighthearted and is similar to a sitcom .
- moses chan will play an interior designer. he and joyce koi are a bickering pair .
- katy kung will play an interior designer. she is louise lee' s daughter. she and jason chan are a couple .
- gary chan will play a senior sales associate. he frequently clashes with moses at work. in the end, he wants to leave the company, but is asked to stay because of his good work performance .
katy, wayne, joyce http: / / ww1. sinaimg. c... j20ci09e750. jpg wayne, joyce http: / / ihktv. qiniudn... 0 / 101452rbt. jpg http: / / static. apple... . rge / 08ec9p2. jpg
opera rouge sales presentation clip urltoken katy finally 2nd female lead, happy for her, hope it doesn' t change though .
happy about katy getting 2nd lead ^ _ _ ^ hope this role will be different from her usual roles .
i don' t know why but i would prefer wayne in this role because there is a long time that he hasn' t act in a lighthearted comedy! and like the sales presentation clip! why did tvb cast louise lee... . don' t like it !
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interior designer moon sing hong (moses chan) and his wealthy best friend tin hak kan (evergreen mak) decide to open a design company together. sing hong wants to use this rare business opportunity to earn enough money to buy an estate so he can marry his longtime girlfriend to chi chin (oceane zhu), who is still in school overseas .
however, sing hong’s plans go awry when his older sister moon sing oi (angelina lo) rented his estate to popular cantonese opera artist kan kit (joyce koi). unable to cancel the lease, sing hong comes up with various ways to kick kan kit out, but under the watchful eyes of kit’s tyrannical manager lin sau fong (louise lee), he is unable to do so .
hak kan develops a huge crush on kit and attempts to pursue her, but to no avail. to help his best friend, sing hong gets closer to kit so he can get to know her better. sing hong and kit not only forgive each other for their past offenses, they also become close friends, establishing a subtle relationship.
romantic repertoire ( chinese : 水髮胭脂 ; jyutping : seoi ² faat ³ jin ¹ zi ¹ ; cantonese yale : séui faat yīn jī ; literally " opera rouge " ) is a 2015 hong kong romantic comedy television drama created and produced by tvb , starring moses chan and joyce koi as the main leads , with louise lee , evergreen mak , katy kung , and jason chan in main supporting roles . filming took place from june till september 2014 . the drama aired on hong kong 's jade and hd jade channels march 30 till april 24 , 2015 every monday through friday during its 8:30-9:30 pm timeslot with a total of 20 episodes . romantic repertoire is moses chan and joyce koi 's first collaboration in twelve years . the two first collaborated in tvb 's 2003 drama better halves ( 金牌冰人 ) . 
romantic repertoire (chinese: 水髮胭脂; jyutping: seoi ² faat ³ jin ¹ zi ¹; cantonese yale: séui faat yīn jī; literally " opera rouge ") is a 2015 hong kong romantic comedy television drama created and produced by tvb, starring moses chan and joyce koi as the main leads, with louise lee, evergreen mak, katy kung, and jason chan in main supporting roles. filming took place from june till september 2014. the drama aired on hong kong's jade and hd jade channels march 30 till april 24, 2015 every monday through friday during its 8:30-9:30 pm timeslot with a total of 20 episodes. romantic repertoire is moses chan and joyce koi's first collaboration in twelve years. the two first collaborated in tvb's 2003 drama better halves (金牌冰人).
romantic repertoire (chinese: 水髮胭脂; jyutping: seoi ² faat ³ jin ¹ zi ¹; cantonese yale: séui faat yīn jī; literally " opera rouge ") is a 2015 hong kong romantic comedy television drama created and produced by tvb, starring moses chan and joyce koi as the main leads, with louise lee, evergreen mak, katy kung, and jason chan in main supporting roles. filming took place from june till september 2014. the drama aired on hong kong's jade and hd jade channels march 30 till april 24, 2015 every monday through friday during its 8:30-9:30 pm timeslot with a total of 20 episodes. romantic repertoire is moses chan and joyce koi's first collaboration in twelve years. the two first collaborated in tvb's 2003 drama better halves (金牌冰人).