℗ 2009 Simco Limited under exclusive license to Sony Music Entertainment UK Limited
Released on: 2009-05-25
Composer: Leslie Bricusse
Composer: Anthony Newley
Bass Guitar, Producer, Programmer: Trevor Horn
Guitar: Phil Palmer
Guitar: Steven Lipson
Guitar: Lol Creme
Drums, Percussion: Ash Soan
Organ, Piano, Performance Arranger: Pete Murray
Chorus Master: Jenny OGrady
Associated Performer: Metro Singers
Engineer, Mixing Engineer: Tim Weidner
Engineer: Gary Langan
Assistant Engineer: Sam Farr
Assistant Engineer: Graham Archer
Engineer: Mark Lewis
Assistant Producer: Magnus Johnstone
Mastering Engineer: Tim Young
КРАСИВАЯ РАССЛАБЛЯЮЩАЯ МУЗЫКА (ПИАНИНО), МУЗЫКА ДЛЯ СНА, СПОКОЙНАЯ МУЗЫКА, РОМАНТИЧЕСКАЯ МУЗЫКА
Пианино, красивая музыка фортепиано (3 часа релаксации), волшебная музыка фортепиано, грустная музыка, музыка для сна, РАССЛАБЛЯЮЩАЯ МУЗЫКА, СПОКОЙНАЯ МУЗЫКА, РОМАНТИЧЕСКАЯ МУЗЫКА, Пианино Звуки дождя и грома, Осенние мотивы, музыка для снятия стресса, успокаивающая музыка, фоновая музыка
Relaxing music, meditation, massage, yoga, relaxation, calmness, concentration, meditation, sound therapy; zen music, new age music, peaceful music, sleep music, insomnia, spa music, soft music, anti-stress music, music for studying, homework, music for learning, music for peace and mental harmonization, background music, reiki, instrumental music, study music, music for homework, yoga music, spiritual music, solfeggio frequency, ambient music, relaxdaily, chillout, lounge, slow music, piano music, soothing music, anti-stress music, solfeggio, musica rilassante, spiritualismo, massage music, slow music, sound therapy; music for hotel lobby;
Música para relaxar, ioga, meditação, sossego, concentração, estudo, trabalhos de casa, terapia de som; música zen, música para tranquilizar, música para paz e harmonização mental, música new age, música para sossego de espírito, música para spa, música suave, musica relax, música para dormir, música para insônia, música para massagem, música anti-stress, reiki, música para a paz, frequências da alma; frequências solfeggio; chillout, lounge, música instrumental, música ambiente, música para estudo, música para ante-sala de hotel, piano.
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
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.