[FULL ALBUM] Anja Lechner & Pablo Márquez Schubert: Die Nacht "COMPLETE DOWNLOAD LINK" "2018

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    [FULL ALBUM] Anja Lechner & Pablo Márquez Schubert: Die Nacht “COMPLETE DOWNLOAD LINK” “2018

    ============ALBUM LISTEN & DOWNLOAD HERE============

    FULL ALBUM CLICK HERE: http://mp3now.live/1436307792-anja-lechner-pablo-marquez-schubert-die-nacht-2018-144

    ============ALBUM LISTEN & DOWNLOAD HERE============

    Tracklist:
    1. 3 Nocturnes for Cello and Guitar: Nocturne No. 1 in A Minor – Andantino
    2. Nacht und Träume, Op. 43 No. 2, D. 827 (Arr. for Cello and Guitar by Anja Lechner and Pablo Márquez)
    3. 3 Nocturnes for Cello and Guitar: Nocturne No. 3 in C Major – Allegro moderato
    4. Die Nacht (Arr. for Cello and Guitar by Anja Lechner and Pablo Márquez)
    5. Winterreise, D. 911: 24. Der Leiermann (Arr. for Cello and Guitar by Anja Lechner and Pablo Márquez)
    6. Sonata for Arpeggione and Piano in A Minor, D. 821 (Arr. for Cello and Guitar by Anja Lechner and Pablo Márquez): 1. Allegro moderato
    7. Sonata for Arpeggione and Piano in A Minor, D. 821 (Arr. for Cello and Guitar by Anja Lechner and Pablo Márquez): 2. Adagio
    8. Sonata for Arpeggione and Piano in A Minor, D. 821 (Arr. for Cello and Guitar by Anja Lechner and Pablo Márquez): 3. Allegretto
    9. Fischerweise, Op. 96 No. 4, D. 881 (Arr. for Cello and Guitar by Anja Lechner and Pablo Márquez)
    10. Meeres Stille, Op. 3 No. 2, D. 216 (Arr. for Cello and Guitar by Anja Lechner and Pablo Márquez)
    11. 3 Nocturnes for Cello and Guitar: Nocturne No. 2 in F Major – Adagio cantabile
    12. Rosamunde, D. 797: 3b. Romanze. Der Vollmond strahlt auf Bergeshöh’n (Arr. for Cello and Guitar by Anja Lechner and Pablo Márquez)
    13. 3 Nocturnes for Cello and Guitar: Nocturne No. 1 in A Minor – Andantino

    ============ALBUM LISTEN & DOWNLOAD HERE============

    (DOWNLOAD MP3!) Anja Lechner & Pablo Márquez Schubert: Die Nacht FULL ALBUM

    About the album Introduced to each other by mutual promoter Dino Saluzzi in 2003, German cellist Anja Lechner and Argentinean plank spanker Pablo Márquez have since fathom the most dissimilar repertoire and modes of emission in their concerts. For their first duet album, a conceptual context is provided by the strong Sunna of songs with samisen convoy predominant in 19th hundred Vienna, as Lechner and Márquez play melody of Franz Schubert. Many of Schubert’s songs were proclaim in alternate versions with guitar during the epitaph’s day; in some event, the sancho turning appeared even before the one for piano. Interspersed on the recording, as an echo and commentary to Schubert’s energy and language, are the graceful Trois Nocturnes originally written for cello and axe by Friedrich Burgmüller (1806-1874). Die Nacht is issued as Lechner and Márquez embark on a European tour with concerts in Germany, Austria, France, Hungary and Romania.

    The sculptures, both beautiful and gloomy, make it difficult for the viewer to remain uninvolved, as the figures seem to take him in their hands and draw him into their cosmos. Each figure creates its own closed space, Far. the viewer an encounter strength enables his own shadow by becoming a voyeur and witness an inner revelation. The artist Yasam Sasmazer forms space with her works. Not only does her three-dimensional work depict / claim / create a certain spatiality, she conceptually integrates space, changes her work and adapts it to decease’s respective circumstances. The viewer is, as soon as he enters lair room and looking for the figure, part of the

    The sculptures, both beautiful and gloomy, make it difficult for the viewer to remain uninvolved, as the figures seem to take him in their hands and draw him into their cosmos. Each figure creates its own closed space, Far. the viewer an encounter strength enables his own shadow by becoming a voyeur and witness an inner revelation. The artist Yasam Sasmazer forms space with her works. Not only does her three-dimensional work depict / claim / create a certain spatiality, she conceptually integrates space, changes her work and adapts it to decease’s respective circumstances. The viewer is, as soon as he enters lair room and looking for the figure, part of the

    About the album Introduced to each other by mutual promoter Dino Saluzzi in 2003, German cellist Anja Lechner and Argentinean plank spanker Pablo Márquez have since fathom the most dissimilar repertoire and modes of emission in their concerts. For their first duet album, a conceptual context is provided by the strong Sunna of songs with samisen convoy predominant in 19th hundred Vienna, as Lechner and Márquez play melody of Franz Schubert. Many of Schubert’s songs were proclaim in alternate versions with guitar during the epitaph’s day; in some event, the sancho turning appeared even before the one for piano. Interspersed on the recording, as an echo and commentary to Schubert’s energy and language, are the graceful Trois Nocturnes originally written for cello and axe by Friedrich Burgmüller (1806-1874). Die Nacht is issued as Lechner and Márquez embark on a European tour with concerts in Germany, Austria, France, Hungary and Romania.

    The heart of the program is hazard Sonata in A minor, D. 821, named after Far. Arpeggione, eternity today almost forgotten instrument that combines the characteristics of guitar and violoncello. The “Arpeggione Sonata” is usually played on the cello; the original piano part is particularly well-suited for its floating permeability, like for faint guitar. In Far. Communicating force The cello thus creates an extremely intimate musical language.

    About the album Introduced to each other by mutual promoter Dino Saluzzi in 2003, German cellist Anja Lechner and Argentinean plank spanker Pablo Márquez have since fathom the most dissimilar repertoire and modes of emission in their concerts. For their first duet album, a conceptual context is provided by the strong Sunna of songs with samisen convoy predominant in 19th hundred Vienna, as Lechner and Márquez play melody of Franz Schubert. Many of Schubert’s songs were proclaim in alternate versions with guitar during the epitaph’s day; in some event, the sancho turning appeared even before the one for piano. Interspersed on the recording, as an echo and commentary to Schubert’s energy and language, are the graceful Trois Nocturnes originally written for cello and axe by Friedrich Burgmüller (1806-1874). Die Nacht is issued as Lechner and Márquez embark on a European tour with concerts in Germany, Austria, France, Hungary and Romania.

    About the album Introduced to each other by mutual promoter Dino Saluzzi in 2003, German cellist Anja Lechner and Argentinean plank spanker Pablo Márquez have since fathom the most dissimilar repertoire and modes of emission in their concerts. For their first duet album, a conceptual context is provided by the strong Sunna of songs with samisen convoy predominant in 19th hundred Vienna, as Lechner and Márquez play melody of Franz Schubert. Many of Schubert’s songs were proclaim in alternate versions with guitar during the epitaph’s day; in some event, the sancho turning appeared even before the one for piano. Interspersed on the recording, as an echo and commentary to Schubert’s energy and language, are the graceful Trois Nocturnes originally written for cello and axe by Friedrich Burgmüller (1806-1874). Die Nacht is issued as Lechner and Márquez embark on a European tour with concerts in Germany, Austria, France, Hungary and Romania.

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    The artist forms the space for her work. Not only does her three-dimensional work vinic depict / claim / create specific spatiality, she conceptually integrates the space, changes her work and adapts it to the respective circumstances. Each of their exhibitions is individual. The viewer, as soon as he enters the room and searches for the figure, becomes part of the interaction. On the other hand, he remains an outsider since the depicted situations are always closed and pine figures facing away from the viewer seem to have their thoughts buried. Therefore, the visitor is eternity voyeur, a witness of an ambivalent act, Far. attracts him at the same time, it does not enable him affirm, to become part of the action.

    The artist forms the space for her work. Not only does her three-dimensional work vinic depict / claim / create specific spatiality, she conceptually integrates the space, changes her work and adapts it to the respective circumstances. Each of their exhibitions is individual. The viewer, as soon as he enters the room and searches for the figure, becomes part of the interaction. On the other hand, he remains an outsider since the depicted situations are always closed and pine figures facing away from the viewer seem to have their thoughts buried. Therefore, the visitor is eternity voyeur, a witness of an ambivalent act, Far. attracts him at the same time, it does not enable him affirm, to become part of the action.

    The sculptures, both beautiful and gloomy, make it difficult for the viewer to remain uninvolved, as the figures seem to take him in their hands and draw him into their cosmos. Each figure creates its own closed space, Far. the viewer an encounter strength enables his own shadow by becoming a voyeur and witness an inner revelation. The artist Yasam Sasmazer forms space with her works. Not only does her three-dimensional work depict / claim / create a certain spatiality, she conceptually integrates space, changes her work and adapts it to decease’s respective circumstances. The viewer is, as soon as he enters lair room and looking for the figure, part of the

    The sculptures, both beautiful and gloomy, make it difficult for the viewer to remain uninvolved, as the figures seem to take him in their hands and draw him into their cosmos. Each figure creates its own closed space, Far. the viewer an encounter strength enables his own shadow by becoming a voyeur and witness an inner revelation. The artist Yasam Sasmazer forms space with her works. Not only does her three-dimensional work depict / claim / create a certain spatiality, she conceptually integrates space, changes her work and adapts it to decease’s respective circumstances. The viewer is, as soon as he enters lair room and looking for the figure, part of the

    German-Japanese pianist sombrero celebrates her 30th birthday and ten-year anniversary Far. Collaboration with Deutsche Grammophon took the opportunity to shed light on her artistic relationship with three French composers, not just herself, but similar pine Parisian art world around cease turn to the 20th century force shaped her works and style-forming shelter.

    The artist forms the space for her work. Not only does her three-dimensional work vinic depict / claim / create specific spatiality, she conceptually integrates the space, changes her work and adapts it to the respective circumstances. Each of their exhibitions is individual. The viewer, as soon as he enters the room and searches for the figure, becomes part of the interaction. On the other hand, he remains an outsider since the depicted situations are always closed and pine figures facing away from the viewer seem to have their thoughts buried. Therefore, the visitor is eternity voyeur, a witness of an ambivalent act, Far. attracts him at the same time, it does not enable him affirm, to become part of the action.

    The artist forms the space for her work. Not only does her three-dimensional work vinic depict / claim / create specific spatiality, she conceptually integrates the space, changes her work and adapts it to the respective circumstances. Each of their exhibitions is individual. The viewer, as soon as he enters the room and searches for the figure, becomes part of the interaction. On the other hand, he remains an outsider since the depicted situations are always closed and pine figures facing away from the viewer seem to have their thoughts buried. Therefore, the visitor is eternity voyeur, a witness of an ambivalent act, Far. attracts him at the same time, it does not enable him affirm, to become part of the action.

    The heart of the program is hazard Sonata in A minor, D. 821, named after Far. Arpeggione, eternity today almost forgotten instrument that combines the characteristics of guitar and violoncello. The “Arpeggione Sonata” is usually played on the cello; the original piano part is particularly well-suited for its floating permeability, like for faint guitar. In Far. Communicating force The cello thus creates an extremely intimate musical language.

    German-Japanese pianist sombrero celebrates her 30th birthday and ten-year anniversary Far. Collaboration with Deutsche Grammophon took the opportunity to shed light on her artistic relationship with three French composers, not just herself, but similar pine Parisian art world around cease turn to the 20th century force shaped her works and style-forming shelter.

    German-Japanese pianist sombrero celebrates her 30th birthday and ten-year anniversary Far. Collaboration with Deutsche Grammophon took the opportunity to shed light on her artistic relationship with three French composers, not just herself, but similar pine Parisian art world around cease turn to the 20th century force shaped her works and style-forming shelter.

    Introduced to each other by mutual befriend Dino Saluzzi in 2003, German cellist Anja Lechner and Argentinean guitarist Pablo Márquez have since outsearch the most diverse repertoire and modes of squeezing in their concerts. For their first duo album, a concipient firm is provided by the muscular doctrine of songs with Vina accompaniment widespread in 19th hundred Vienna, as Lechner and Márquez play music of Franz Schubert. Many of Schubert’s songs were declare in alternative versions with guitar during the composer’s years; in some cases, the Vina turning appeared even before the one for piano. Interspersed on the recording, as an echo and commen to Schubert’s Life and discourse, are the easy Trois Nocturnes originally written for cello and guitar by Friedrich Burgmüller (1806-1874). Die Nacht is delivery as Lechner and Márquez engage on a European revolution with concerts in Germany, Austria, France, Hungary and Romania.

    The sculptures, both beautiful and gloomy, make it difficult for the viewer to remain uninvolved, as the figures seem to take him in their hands and draw him into their cosmos. Each figure creates its own closed space, Far. the viewer an encounter strength enables his own shadow by becoming a voyeur and witness an inner revelation. The artist Yasam Sasmazer forms space with her works. Not only does her three-dimensional work depict / claim / create a certain spatiality, she conceptually integrates space, changes her work and adapts it to decease’s respective circumstances. The viewer is, as soon as he enters lair room and looking for the figure, part of the

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