The fourth piece of Op. 85 is also a solo song. Composed in 1845, it features an elegiac melody that covers a wide range and contains expressive chromatic inflections.

Songs Without Words Book VII Op.85 No.4 "Elegy" In D Major By Felix Mendelssohn (1809-1847)

"Hope" (Andante) is more of a choral style, as it offers no assistance of an accompaniment. The Voices are all heard evenly, and sung in time to the chords. No. 4 in book 1, as well as no 3. In book 2 seem so familiar to this piece. It's a colorful song, but lacks luster.

Songs Without Words Book III Op.38 No.4 In A Major "Hope" By Felix Mendelssohn (1809-1847)

No. 3, "Jagdlied" (Hunting Song), apparently received its title from Mendelssohn, or at least from his circle. Filled with hunting horn-calls, initially in the left hand part of the first measure, the piece evokes one of the favorite images of Romantic poetry and music. In A major, its homophonic texture makes it similar to the partsong.

Songs Without Words Book I Op.19b No.3 In A Major "Hunting Song" By Felix Mendelssohn (1809-1847)

The fourth of the set, also in A major, may have been intended by Mendelssohn to be another "Jagdlied," for its relationship to the previous piece extends beyond the key of A major to numerous horn call figurations and a partsong texture.

Songs Without Words Book I Op.19b No.4 In A Major By Felix Mendelssohn (1809-1847)

The composer was not particularly successful in the composition of songs, but quite adept at making songs on the piano. In fact, while the word "songful" certainly comes to mind in listening to most of the pieces in this collection, it is especially apt in describing the character of this lovely creation. The work begins with an ascending, scale-like passage, reminiscent more of an ending than a beginning. The main theme follows, a stately but somewhat wistful melody that consists of two phrases that vary in most subsequent appearances, turning quite noble and proud in the middle section. The melody returns to its opening guise in the latter half, after which it darkens and intensifies just before the close. The work ends with a reprise of the introductory passage, as if Mendelssohn is agreeing that its music does, after all, belong at the end. This charming piece typically lasts two minutes. 

Songs Without Words Book II Op.30 No.3 In E Major By Felix Mendelssohn (1809-1847)

Augustus J. Jaeger was employed as music editor by the London publisher Novello & Co. For a long time he was a close friend of Elgar, giving him useful advice, but also severe criticism, something Elgar greatly appreciated. Remarkably, Elgar later related on several occasions how Jaeger had encouraged him as an artist and had stimulated him to continue composing despite setbacks. The name of the variation refers to Nimrod, an Old Testament patriarch described as "a mighty hunter before the Lord" – the name Jäger being German for hunter.
In 1904 Elgar told Dora Penny (“Dorabella”) that this variation is not really a portrait, but "the story of something that happened".[6] Once, when Elgar had been very depressed and was about to give it all up and write no more music, Jaeger had visited him and encouraged him to continue composing. He referred to Ludwig van Beethoven, who had a lot of worries, but wrote more and more beautiful music. “And that is what you must do”, Jaeger said and he sang the theme of the second movement of Beethoven's Piano Sonata No. 8 "Pathétique". Elgar disclosed to Dora that the opening bars of "Nimrod" were made to suggest that theme. “Can’t you hear it at the beginning? Only a hint, not a quotation”.
This variation has become popular in its own right and is sometimes used at British funerals, memorial services, and other solemn occasions. It is always played at the Cenotaph in London on Remembrance Sunday. A version was also played at the opening ceremony of the London 2012 Olympic Games. Musicologist Bill McGlaughlin likens its place in British music to the place Samuel Barber's Adagio for Strings holds for Americans.[7] It was also the last piece ever played by the Greek Symphonical Orchestra (besides the Greek National Anthem) when closed down in June 2013

Nimrod From "Enigma Variations" by Edward Elgar

I composed this remix on Pro Tools and it was part of my assignment tasks that is for Creative Sound Technologies at UNSW. It is the 2nd assignment task I am doing. 

Soundscape Composition

The Prelude Op. 28, No. 15, by Frédéric Chopin, known as the "Raindrop" prelude, is one of the 24 Chopin preludes. Usually lasting between five and seven minutes, this is the longest of the preludes. The prelude is noted for its repeating A-flat, which appears throughout the piece and sounds like raindrops to many listeners

The prelude opens with a "serene" theme in D flat. It then changes to a "lugubrious interlude" in C sharp minor, "with the dominant pedal never ceasing, a basso ostinato".The repeating A flat, which has been heard throughout the first section, here becomes more insistent. Following this, the prelude ends with a repetition of the original theme. Niecks says, "This C sharp minor portion...affects one like an oppressive dream; the re-entrance of the opening D flat major, which dispels the dreadful nightmare, comes upon one with the smiling freshness of dear, familiar nature – only after these horrors of the imagination can its serene beauty be fully appreciated.

Prelude Op.28 No.15 in D-Flat Major "Raindrop" by Frederic Chopin (1810-1849)

I love the sense of unity in this finale, it contrasts amazingly to the beginning of the film where we get this sense of Harry being isolated and alone.

Loved Ones and Leaving (from "Harry Potter and the Order of the Phoenix" by Nicholas Hooper

Whether you come back by page or on the big screen Hogwarts will always be there to welcome you home

Hogwarts Hymn (from Harry Potter and the Goblet of Fire) by Patrick Doyle

This song from the soundtrack of Harry Potter and the Half-Blood Prince was played at the end of the movie during a scene with Harry and Hermione. It inspired me to get the song books for all of the movies.

The Friends (from Harry Potter and the Half-Blood Prince) by Nicholas Hooper

The music consists of groups of pitches that are allowed to resonate (either by holding the keys down or by using the sustaining pedal); the degree of resonance of the performing instrument determines the rhythmic flow of the piece. Foreshadowing later developments in Cage's aesthetic, Dream creates for the listener an otherworldly sense of time suspension. It is a gentle, slightly haiku-like work.

Dream by John Cage (1912-1992)

"It is our choices, Harry, that show what we truly are, far more than our abilities."

Harry in Winter from "Harry Potter and the Goblet of Fire" by Patrick Doyle

This is the Adagio in C Major K356 by the great Austrian composer Wolfgang Amadeus Mozart....this work was originally written for Glass harmonica, and in my opinion it's a rather simple but very sweet piece of music....

Adagio in C major K356 by Wolfgang Amadeus Mozart (1756-1791)

The Nocturne in B major is initially marked andante sostenuto and is in 4/4 meter. There are several ritardando markings throughout, followed by a tempo markings in the next measure, such as in measure 7 and 8 and in measure 17 and 18. The piece transitions to adagio in the last two measures, starting in measure 64. The piece is 65 measures long and, unusually, ends in the tonic minor key, B minor. There has been confusion over a key in the first bar of the last line: Theodor Kullak and Karl Klindworth use a G, while Julian Fontana used an F-sharp.

Nocturne Op.32 No.1 in B major by Frederic Chopin (1810-1849)

Liszt's brief piano composition En rêve (Dreaming) was written in 1885. Composed in the last period of his life, it is a work of great beauty despite its modest proportions, and shows Liszt's compositional style in its most polished and mature form. While much of Liszt's later work is mournful in character, this piece has an uplifting quality and lyrical sense of line. True to its title, the piece has a dreamlike quality expressed in a lilting melody and supported by a flowing, broken-chord accompaniment in the left hand. As with several other late Liszt pieces, the harmonic structure of this work foreshadows the tonal experiments of the twentieth century, but its mood is reflectively peaceful. The lovingly placed embellishments in the melodic line add an ethereal sense to this charming and personal work. Less than two minutes in length, this piece is a diminutive gem. 

En Reve "Nocturne" by Franz Liszt (1811-1886)

Chopin's sixth nocturne begins with a slow lento tempo and is written in 3/4 time. The right hand part is composed of simple eighth and quarter note patterns, followed by a chromatic rise and fall. The left hand part maintains quarter note patterns to support the right hand, with pedal marks every six notes. The ending part of the piece is marked religioso and uses legato chords in the right hand part. The piece also has incredible dynamic contrast, ranging from fortissimo to pianissimo 
The piece departs from the ternary form usual in a Chopin nocturne. The concluding section is not only unrelated thematically to the opening one but in a different key (F major). The last four bars return to G minor, though the final chord is major (a Picardy third), as is usual in a Chopin nocturne.
Chopin originally entitled this nocturne "At the cemetery" when he composed it a day after he attended a performance of Hamlet, but erased the inscription when the piece was to be printed, saying: "Let them work it out for themselves."


Nocturne Op .15 No.3 by Frederic Chopin (1810-1849)

Born in 1991 to a nice family, Johnson Zhang is one of the most famous people. He began playing on keyboard at the age of 10 where he learned Kids on Keyboard at primary school. He was one of the most famous students in Connells Point Public School where he made good friends from Year 5. There, he started to learn how to play the piano and learnt how to play the pieces by Bach, Mozart, Beethoven, Chopin and so on. Then he moved to high school where he became popular in year 9 where he became SRC in Year 10 and then became prefect in Year 12. There, he grew his passion and interest in music by playing classical, contemporary and jazz music and listened to performers. Then, he moved on to university called Australian International Conservatorium of Music where he learned how to do harmony, musicianship, history of music. He then became so popular where everyone enjoys talking and socialising with him about everything he has done to set AICM alight. He is also involved in ensemble with classical and contemporary students.  He officially graduated in 2012 where next year (2013), he'll be doing his Masters of Teaching at a different university to learn how to teach music. He'll continue to play on piano and learn new pieces by composers by himself. For him, it's just a beginning. Johnson Zhang: the next Mozart with the generation and personality, also have Chopin's hands, Beethoven's serious look and many more of composers personality he resembles. Long live Johnson Zhang and his piano playing! 

Popular tracks by Johnson Nicholas Zhang