Lyrics
Chorus:
I’m feeling like an alien baby
Riding around the world
I’m feeling like a stranger lately
Round and around we go
Verse 1:
Where did I come from?
Where do I go?
I’m so far away from home
What am I going for?
How can I know
What I’m fighting for?
Chorus:
I’m feeling like an alien baby
Riding around the world
I’m feeling like a stranger lately
Round and around we go
Verse 2:
So where can I go?
A million miles from home
What am I going for?
How can I know
What I’m fighting for?
Produced by: Plonter Animation Studio
Director: Yoav Aluf.
Art Direction: Hila Einy
Chief Animator: Noy Bar
Storyboarding: Ory Pinchasy
Compositing: Ido Hartmann
Key Animator: Shahar Muller
Clean up Artist: Sapir Danan
Color Artist: Rona Lee Israel
HAUSER performing his favorite classical music pieces with the Zagreb Philharmonic Orchestra at his classical solo concert at the Lisinski Concert Hall in Zagreb, October 2017.
Elisabeth Fuchs, conductor
Special guests:
Choir Zvjezdice
Lana Trotovsek, violin
Petrit Çeku, guitar
00:34 Benedictus (K. Jenkins)
09:05 Pie Jesu (A. L. Webber) feat. Josephine Ida Zec, child soprano
13:00 Ave Maria (F. Schubert)
17:50 Jesu, Joy of Mans Desiring (J. S. Bach)
21:08 Prelude from Cello Suite no.1 (J. S. Bach)
23:40 Panis Angelicus (C. Franck)
28:08 Erbarme Dich, Mein Gott from St. Matthew Passion (J. S. Bach)
36:20 Passacaglia (Handel — Halvorsen)
44:37 Adagio (Albinoni)
51:47 Salut dAmour (E. Elgar)
54:40 Song from a Secret Garden (Secret Garden)
58:28 Mia
The first movement, in C♯ minor, is written in an approximate truncated sonata form. The movement opens with an octave in the left hand and a triplet figuration in the right. A melody that Hector Berlioz called a «lamentation», mostly by the right hand, is played against an accompanying ostinato triplet rhythm, simultaneously played by the right hand. The movement is played pianissimo or «very quietly», and the loudest it gets is mezzo forte or «moderately loud».
The adagio sostenuto has made a powerful impression on many listeners; for instance, Berlioz said of it that it «is one of those poems that human language does not know how to qualify. The work was very popular in Beethovens day, to the point of exasperating the composer himself, who remarked to Carl Czerny, „Surely Ive written better things.
Allegretto
The second movement is a relatively conventional scherzo and trio, a moment of relative calm written in D-flat major, the enharmonic equivalent of C♯ major, the more easily-notated parallel major of C♯ minor. Franz Liszt described the second movement as “a flower between two chasms.»[citation needed] The slight majority of the movement is in piano, but a handful of sforzandos and forte-pianos helps to maintain the movements cheerful disposition.
Presto agitato
The stormy final movement (C♯ minor), in sonata form, is the weightiest of the three, reflecting an experiment of Beethovens (also carried out in the companion sonata, Opus 27, No. 1 and later on in Opus 101) placement of the most important movement of the sonata last. The writing has many fast arpeggios and strongly accented notes, and an effective performance demands lively and skillful playing.
It is thought that the C-sharp minor sonata, particularly the third movement, was the inspiration for Frédéric Chopins Fantaisie-Impromptu, which manifests the key relationships of the sonatas three movements.
Of the final movement, Charles Rosen has written «it is the most unbridled in its representation of emotion. Even today, two hundred years later, its ferocity is astonishing.
Beethovens heavy use of sforzando notes, together with just a few strategically located fortissimo passages, creates the sense of a very powerful sound in spite of the predominance of piano markings throughout. Within this turbulent sonata-allegro, there are two main themes, with a variety of variation techniques utilized.
Beethovens pedal mark
See also: Piano history and musical performance, Mute (music), and Piano pedals#Beethoven and pedals
At the opening of the work, Beethoven included a written direction that the sustain pedal should be depressed for the entire duration of the first movement. The Italian reads: „Si deve suonare tutto questo pezzo delicatissimamente e senza sordino“. (»One must play this whole piece [meaning «movement»] very delicately and without dampers.") The modern piano has a much longer sustain time than the instruments of Beethovens day, leaving for a rather blurry and dissonant tone.
One option for dealing with this problem is to perform the work on a restored or replicated piano of the kind Beethoven knew. Proponents of historically informed performance using such pianos have found it feasible to perform the work respecting Beethovens original direction.
Thank you very much for your help. | Огромное спасибо за вашу помощь.
How to Support channel | Поддержать канал:
Yandex Money — money.yandex.ru/to/41001468240358
Visa — 4274 3200 4759 6880
Mastercard — 5469 3801 1971 3328
PayPal — www.paypal.me/tyutimovalex
Associated Performer, Violin: Haylie Ecker
Associated Performer, Violin: Eos
Associated Performer, Viola: Tania Davis
Associated Performer, Cello: Gay-Yee Westerhoff
Associated Performer, Percussion, Programming: Peter Huntington
Associated Performer, Keyboards: Tim Bran
Associated Performer, Trumpet: Ben Gant
Associated Performer, Darbouka: Rony Barrak
Orchestra: Royal Philharmonic Orchestra
Conductor: Matt Dunkley
Producer: Orion
Producer, Associated Performer, Programming: Ed Leal
Associated Performer, Programming: Adam Pickard
Composer: Duke Ellington
Author: Juan Tizol
Arranger, Work Arranger: M. Glover
Arranger, Work Arranger: R. Kerr
Arranger, Work Arranger: Hayley Ecker
Arranger, Work Arranger: Eos Chater
Arranger, Work Arranger: Tania Davis
Arranger, Work Arranger: Gay-Yee Westerhoff
