Tradition has it that Chopin imagined the A major Polonaise functioning as a coronation polonaise. It bears the character of heroic military music, evoking for many interpreters the sounds of a snare drum in a festive parade or a royal ceremony. Instrumental, Classical, Classical Piano
Frédéric Chopin composed his Waltz in E minor, Op. Posth c. 1830. The piece is characterized by youthful playfulness in the relaxed and delightful settings of the aristocratic salon. Instrumental, Classical, Classical Piano
Étude Op. 10, No. 1 in C major is a study for solo piano composed by Frédéric Chopin in 1829. It was first published in 1833 as the first piece of his Études Op. 10. This study in reach and arpeggios focuses on stretching the fingers of the right hand. Its harmonies resemble a chorale and its, Instrumental, Classical, Classical Piano
Frédéric Chopin's Piano Sonata No. 2 in B-flat minor, Op. 35, popularly known as The Funeral March, was completed in 1839 at Nohant, near Châteauroux in France. However, the third movement, whence comes the sonata's common nickname, had been composed as early as 1837. The Sonata is considered to be, Instrumental, Classical, Classical Piano
Etude Op. 10, No. 3, in E major, is a study for solo piano composed by Frédéric Chopin in 1832. It was first published in 1833 in France, Germany, and England as the third piece of his Études Op. 10. The Etude (Lento ma non troppo) is a nostalgic song, broken off by a moment of extreme agitation. It, Instrumental, Classical, Classical Piano
Étude Op. 10, No. 4, in C-sharp minor, is a study for solo piano composed by Frédéric Chopin in 1830. It was first published in 1833 as the fourth piece of his Études Op. 10. This passionate study, a very fast Presto con fuoco, features continuous sixteenth notes (semiquavers), in perpetuum mobile, Instrumental, Classical, Classical Piano
Étude Op. 10, No. 5, in G-flat major, is a study for solo piano composed by Frédéric Chopin in 1830. It was first published in 1833 in France, Germany, and England as the fifth piece of his Études Op. 10. The so-called "Black Key Etude" is one of the most popular. It presents a cascade of ‘pearly’,, Instrumental, Classical, Classical Piano
Étude Op. 10, No. 6, in E-flat minor, is a study for solo piano composed by Frédéric Chopin in 1830. It was first published in 1833 as the sixth piece of his Études Op. 10. This étude focuses on expressiveness and chromatic structuring of the melody as well as polyphonic texture. The piece has the, Instrumental, Classical, Classical Piano
Étude Op. 10, No. 7, in C major, is a solo piano technical study composed by Frédéric Chopin around 1830 - 1832 and published in 1833. The tempo Vivace indicates a lively playing speed. In order to be melodically pleasing, Étude Op. 10, No. 7 demands a special technique, as the interpretation of its, Instrumental, Classical, Classical Piano
Étude Op. 10, No. 8 in F major is a technical study composed by Frédéric Chopin. It has been nicknamed the "Sunshine" étude. This work is concerned with counterpoint. The principal melody is in the left hand, the secondary being embedded in the arpeggios of the right hand. The main difficulty is, Instrumental, Classical, Classical Piano
Étude Op. 10, No. 11, in E-flat major, is a technical study composed by Frédéric Chopin. It is sometimes given the tiles Arpeggio-Study, and Guitar-Study. The chief difficulty addressed in this piece is the performance of extended arpeggiated chords. Throughout, the hands are required to stretch, Instrumental, Classical, Classical Piano
Étude Op. 25, No. 1 in A-flat major is a solo piano work composed by Frédéric Chopin in 1836, and published in 1837. The work consists entirely of rapid arpeggios and harmonic modulations based on A-flat major. Alternatively, it is known as "Aeolian Harp" and "The Shepherd Boy." This étude comprises, Instrumental, Classical, Classical Piano
Étude Op. 10, No. 12 in C minor, known as the Revolutionary Étude or the Étude on the Bombardment of Warsaw, is a solo piano work by Frédéric Chopin written circa 1831, and the last in his first set, Etudes Op.10, dedicated to his friend Franz Liszt. Unlike études of prior periods (works designed to, Instrumental, Classical, Classical Piano
The Etude in F minor, Op. 25, No. 2, is colored in subtle, pastel shades, but it is also splendidly disturbed, as two different meters – alla breve (expressed through quaver triplets) and 6/4 – meet in each bar. The two meters are wonderfully attuned, though their disturbance remains audible. As if, Instrumental, Classical, Classical Piano
The first movement of Piano Sonata No. 1 in F minor, Op. 2 by Ludwig van Beethoven is entitled Allegro. A tense, agitated feel is ubiquitous throughout the movement. Within the entire movement there are two primary themes: the first theme is driven by an ascending arpeggiated figure and the second, Instrumental, Classical, Classical Piano, Ludwig van Beethoven
The second movement of Piano Sonata No. 1 in F minor, Op. 2 by Ludwig van Beethoven is entitled Adagio. The second movement opens with a highly ornamented lyrical theme followed by a more agitated transitional passage and a return to a more embellished form of the initial theme. Instrumental, Classical, Classical Piano, Ludwig van Beethoven
The third movement of Piano Sonata No. 1 in F minor, Op. 2 by Ludwig van Beethoven is entitled Menuetto. Allegretto – Trio. The minuet is characterized by syncopations, dramatic pauses and sharp dynamic contrast, and like many minor-key minuets has a somewhat melancholy tone spanning major and minor, Instrumental, Classical, Classical Piano, Ludwig van Beethoven
The fourth movement of Piano Sonata No. 1 in F minor, Op. 2 by Ludwig van Beethoven is entitled Prestissimo. The first theme gives the impression of an energetic and frantic pursuit of something elusive. A transitional passage leads to a more lyrical but still agitated theme. Instrumental, Classical, Classical Piano, Ludwig van Beethoven
“Grave – Allegro di molto e con brio” is the first movement of Ludwig van Beethoven's Piano Sonata No. 8 in C minor, Op. 13, commonly known as Sonata Pathétique. It has remained one of his most celebrated compositions. The movement consists of three themes, ranging from aggressive and virtuosic to, Instrumental, Classical, Classical Piano, Ludwig van Beethoven
In his Nocturne in F major, Op. 15, No. 1, Frédéric Chopin juxtaposed an idyll of sounds, bright, delicate and pleasant, illumined by the sun, with a tempest that erupts suddenly with violence and brute force. The tempest then suddenly disappears, giving way to the returning music of the opening. Instrumental, Classical, Classical Piano
The F sharp minor became one of Chopin’s best loved mazurkas. It consists of three dance themes. The first of them dominates the whole of this lyrical-dance miniature with a character of a rhythmically capricious and melodically refined folk tune. Instrumental, Classical, Classical Piano
The B flat major Mazurka has the form of a rondo. The refrain, of unconventional design, thrusts its way upwards, swinging and swaggering, before falling back down in a delicate scherzando. The Mazurka is one of the few that could be danced; indeed, it seems to pull the listener up onto the, Instrumental, Classical, Classical Piano
The Mazurka in B minor is one of Chopin’s great wonders. In it, one hears a synthesis of the heard and remembered with the personally experienced and profoundly true. Lyrical contemplation and dialogue, eruptions of passion, rocking and calming. Instrumental, Classical, Classical Piano
The Mazurka in C sharp minor delights the listener with its songfulness. It was written in the style of new simplicity and in expression of a melancholy tone. Instrumental, Classical, Classical Piano
The Barcarole in F-sharp major, Op. 60 is a grand, expansive work from the late period in the oeuvre of Frédéric Chopin. Written in the years 1845-46, it was published in 1846. Chopin refers in this work to the convention of the barcarola - a song of the Venetian gondoliers which inspired many, Instrumental, Classical, Classical Piano
Ballade No. 3 in A-flat major, Op. 47, dating from 1841, is dedicated to Pauline de Noailles. The inspiration for this Ballade is usually claimed to be Adam Mickiewicz's poem Undinė, but sometimes reported to be Mickiewicz's Świtezianka; There are structural similarities with the "Raindrop Prelude" Instrumental, Classical, Classical Piano
Ballade No. 4 in F minor, Op. 52, was composed in 1842 in Paris and Nohant and revised in 1843. The work was dedicated to Baroness Rothschild, wife of Nathaniel de Rothschild, who had invited Frédéric Chopin to play in her Parisian residence, where she introduced him to the aristocracy and nobility. Instrumental, Classical, Classical Piano
The first part of Frédéric Chopin’s Nocturne in G minor, Op. 15, No. 3, has a peculiar atmosphere – fantastic, mystical, surreal, turning in the second part of the Nocturne into a chorale, played sotto voce, as if under one’s breath, in a quietude that evokes the mood of religious contemplation. Instrumental, Classical, Classical Piano
Frédéric Chopin’s Nocturne in D-flat major, Op. 27, No. 2 consists of two strophes, repeated in increasingly complex variations. The main cadence, near the end of the piece, is one of the most glorious moments in Chopin's entire output. The duality of voices is reminiscent of the sweet summer of two, Instrumental, Classical, Classical Piano
Frédéric Chopin’s Nocturne in B major, Op. 32, No. 1, dedicated to Madame Camile de Billing, was published by the composer in 1837. It is initially marked andante sostenuto, then transitions to adagio. The piece is more aptly described as a ballade in miniature. Instrumental, Classical, Classical Piano
Frédéric Chopin’s Nocturne in G minor, Op. 37, No. 1 is one of the simpler nocturnes with a more ornamental melodic line. A church-like atmosphere in the chords of the middle section potentially allude to religion. The chorale-like music may have represented Chopin's faith in the consoling power of, Instrumental, Classical, Classical Piano
Composed in 1832, Frédéric Chopin’s Nocturne in F-sharp major, Op. 15, No. 2 is a technically challenging piece. The first section, Larghetto, features an intricate, elaborately ornamental melody over an even quaver bass. The second section, labeled doppio movimento (double speed), resembles a, Instrumental, Classical, Classical Piano
Nocturne in E major, Op.62, No.2 is one of Frédéric Chopin's last works. The melody proceeds slowly and with stifled voice. The strength of emotion is articulated by the expression of the melody which complements the initial idea. It explodes, shattering the melody's calm passage with sudden leaps, Instrumental, Classical, Classical Piano
Frédéric Chopin’s Largo in E flat major, Op. posth. has the the melody of the song “God, Thou who Poland” that Chopin played at church during his final year at the Warsaw Lyceum. The anthem-like melody is calm, yet stately, prideful, and elevated. Instrumental, Classical, Classical Piano
Frédéric Chopin composed the Andante spianato as an introduction to his Grande Polonaise Brilliante in E-flat major, Op. 22. The Andante spianato has the character of a nocturne, and at the same time of a lullaby. It forges an oneiric mood. Spianato means evenly, without contrasts, without any great, Instrumental, Classical, Classical Piano
Frédéric Chopin’s Nocturne in E minor, Op. 72, No. 1 is a soulful and spirited expression of a melancholy state of mind with a prophetic sense of a mysterious world to come. Instrumental, Classical, Classical Piano
The principal theme of Frédéric Chopin's Grande Polonaise Brilliante in E-flat major, Op. 22 combines soaring flight with spirit and verve, bravura with elegance – all of those features that characterize a dance in the style brillant. As befits a composition in the brillant style, the work is, Instrumental, Classical, Classical Piano
Ballade No. 1 in G minor, Op. 23, composed in 1831 during Frédéric Chopin's early years in Vienna, was a reflection about his loneliness in the city far away from home, where a war was happening against the Russian Empire's oppression. Once finished, it wasn't published until his move to Paris,, Instrumental, Classical, Classical Piano
Claude Debussy’s “Passepied” (a type of dance which originated in Brittany) constitutes the final movement of his famous piano suite “Suite bergamasque.” In F sharp minor and marked “allegretto ma non troppo,” it is a happy, strangely medieval, piece, which is surprisingly faster than its Baroque, Instrumental, Classical, Classical Piano, Claude Debussy
Claude Debussy’s “Ballade slave” (“Slavic Ballad”) is a piece for the solo piano that rests on a single theme and the repetition of its basic motifs. It is tangibly Russian in character, constructed around the principles of variation technique. Despite its Russian flavor, the piece contains a clear, Instrumental, Classical, Classical Piano, Claude Debussy
Claude Debussy’s “Prélude” constitutes the first movement of his famous piano suite “Suite bergamasque.” In the key of F and marked tempo rubato, it is full of dynamic contrasts with a vigorous beginning and ending. It is a festive piece, which holds much of the Baroque style that is commonly found, Instrumental, Classical, Classical Piano, Claude Debussy
Claude Debussy’s “Menuet” constitutes the second movement of his famous piano suite “Suite bergamasque.” In A minor, its playful main theme contrasts with an alternatively mysterious and dramatic middle section. The piece is particularly original, as it does not conform to the particular style that, Instrumental, Classical, Classical Piano, Claude Debussy
Claude Debussy’s “Clair de lune” (“Moonlight”) constitutes the third and most famous movement of his popular piano suite “Suite bergamasque.” In D flat major and marked “andante très expressif,” it is played mostly pianissimo. Musically, Debussy’s “Clair de lune” belongs to French Impressionism. Instrumental, Classical, Classical Piano, Claude Debussy
An elegant, fiery, dramatic, expressive, classical composition of Geronimo Gimenez the intermezzo from the Zarzuela 'La Boda de Luis Alonso' 1896. For expressive, lively images of Spain and Travel, Spanish Flamenco, Sun-Bleached Beaches caressed by warm lapping waves, bull fights, sangria and tapas, Instrumental, Classical, Classical Piano
A playful, joyful Spanish Dance played on piano for expressive, fun, lively images of Spain and Travel, Spanish Flamenco, Sun-Bleached Beaches caressed by warm lapping waves, sangria and tapas bars, presentations, children playing, street parties, documentaries, advertisement, travel videos etc. Instrumental, Classical, Classical Piano
Delicate composition of Paradisi for Piano for emotional projects, wedding albums, video production and documentaries, art and beauty, Italian and European classical baroque, Christmas or Winter Landscapes, Christmas Retail, Autumn Fairs, Christmas Markets, Winter Fairs, drone footage, video, Instrumental, Classical, Classical Piano
Claude Debussy’s “Le Petit Nègre” (“The Little Negro”) for solo piano was intended for aspiring young pianists to afford modest technical advancement, and to provide delight and musical insight for both players and listeners alike. The piece is one of the simplest and most approachable piano pieces, Instrumental, Classical, Classical Piano, Claude Debussy
Claude Debussy’s “La fille aux cheveux de lin” (“The Girl with the Flaxen Hair”) is the eighth piece in the composer’s first book of “Préludes.” The piece, known for its musical simplicity reminiscent of a pastoral folk-like tune, is one of the most recorded pieces of Debussy’s, both in its original, Instrumental, Classical, Classical Piano, Claude Debussy
Claude Debussy’s Arabesque No. 1. Andantino con moto (from “Deux arabesques”) is one of the very early impressionistic pieces of music, following the French visual art form. The piece wanders through modes and keys to achieve evocative scenes through music. Debussy’s view of a musical arabesque was, Instrumental, Classical, Classical Piano, Claude Debussy
Claude Debussy’s “Pour l’égyptienne” (“For the Egyptian Women”) belongs to “Six épigraphes antiques” (“Six Antique Epigraphs”), a suite of six pieces for piano duo. Much of the music is taken from the musical accompaniments he had written for his friend Pierre Louÿs’s erotic lesbian poems “Les, Instrumental, Classical, Classical Piano, Claude Debussy
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