9 best unknown keyboard stands

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Recorded before an enthusiastic audience at Broadway Studios in San Francisco, on June 21, 2001. The performance includes three of his best known songs, Christo Redentor, Wade in the Water and The Snake and the sound quality is incredible, taken from a Digital Master Soundboard (DAT) with 4 Subgroups - Guitar, Bass and Stereo Drum Mix plus stage. Harvey The Snake Mandel at his peak!

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Supertramp's "Breakfast in America" was the biggest selling album in the world in 1979. Following the album's release Supertramp embarked on a 10 month world tour which arrived in Paris at the end of November. Now for the first time, transferred and restored to full HD from the original 16mm film, this footage is available to Supertramp's legion of fans worldwide.

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A delightful new compilation to aid parents in putting their child down for a nap. The music features many wonderful soothing classical works including the opening "Aria" from Bach's Goldberg Variations and Debussy's Reverie played by Yolanda Kondonassis on the harp. Turn the lights off, press play and close the door.let these high quality recordings for the telarc vaults music work its magic. Features works of Puccini, Bizet, Vivaldi, Satie, Bach, Beethoven, Faure and Debussy.

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2018 album from L.A. hard-rock/glam-metal veterans, Jesse Hughes of Eagles of Death Metal guests.

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CHICAGO - VOL 2: 1979-2008: STUDIO ALBUMS - 10 CD SET

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Mike Portnoy & Derek Sherinian of Dream Theater with Jeff Scott Soto, Ron "Bumblefoot" Thal & Billy Sheehan. (links: Journey, Guns'n'Roses, Mr Big)

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The Classical Piano Concerto - Jan Ladislav Dussek (1760-1812) - Piano Concertos Opp 3, 14 & 49 Howard Shelley (piano), Ulster Orchestra, Howard Shelley (conductor)

Howard Shelley’s earlier release of Dussek concertos was described as ‘a real find’ (BBC Music Magazine). This successor is, if anything, even more impressive, culminating in one of the finest unknown piano concertos from the early nineteenth century.

At the turn of the eighteenth to the nineteenth century, composers of piano concertos exploited the paradigms laid down by Haydn and Mozart. Jan Ladislav Dussek (1760-1812) composed almost twenty concertos over a thirty-year span, the earliest of these largely mirroring the formal plans of his illustrious predecessors, while several later efforts reflect and manifest new directions and priorities. This second instalment of Dussek’s piano concertos offers a further trio of examples from different points in his career: one of his earliest efforts (Op 3 in E flat major, published in 1787), another from a few years later (Op 14 in F major, from around 1791), and finally Dussek’s solitary effort in the minor mode (Op 49 in G minor, published in 1801).

Born in Cáslav, Bohemia (now the Czech Republic), Dussek left home before the age of twenty, migrating via northern Europe to St Petersburg, and subsequently becoming Kapellmeister to Prince Radziwill in Lithuania. In 1784, he began a long, itinerant concert tour, arriving in Paris two years later, where he remained until 1789. Fleeing the French Revolution, he spent the next decade in London, before returning to his Bohemian home at the turn of the century. In 1804, he became Kapellmeister to the Prussian Prince Louis Ferdinand, then returned to Paris two years later, where he remained until his death in 1812.

Dussek’s concertos (his only orchestral works) are mostly cast in the standard three movements. The first movements fall into the so-called ‘double exposition’ concerto form codified by Mozart at the end of the eighteenth century. This is typically followed by a lyrical slow movement (usually in a ternary design) in a closely related key, and capped by a rousing rondo in the key of the first movement. As one might expect, they make ever-increasing virtuosic demands on the soloist. One of the most salient features of Dussek’s later concertos is the absence of the cadenza, which Mozart had considered one of the staples of the form. Dussek dispensed with this traditional gesture quite early in his career: the latest to include one is the Op 14 concerto featured on this recording, from around 1791. He seems to have been the first important composer to omit the cadenza, although most others would later follow suit.

The Piano Concerto in E flat major, Op 3, is light in character and manifests a classical conception of the form, in line with the Mozartian paradigm of its time. In the first movement of Op 3 there is no harmonic digression after the secondary theme, and the thematic material of the exposition is used exclusively throughout. However, more progressive design elements include Dussek’s rather abrupt, Haydnesque shift from G major to A flat major in the development section, the omission of a recapitulation of the primary thematic material, and the lack of a cadenza. The second movement is a lovely ternary setting in the relative minor contrasted in selected places by forceful unison writing between the strings and piano, not unlike passages in Mozart’s D minor concerto, K466, composed a couple of years before the publication of Dussek’s Op 3 in 1787. A contrasting section in the parallel major (C major) follows, capped by a return to the original minor mode. As per usual, a rousing, Haydn-tinged rondo in E flat major closes the concerto with much passing of thematic material back and forth between the soloist and tutti, and several ‘false reprises’ in various distant keys.

Composed approximately four years later, around 1791 (the year of Mozart’s death), the more expansive Piano Concerto in F major, Op 14, shows considerable growth on the part of the composer. While it is equally in line with Mozart’s model of the concerto, its design is more self-assured, revealing fewer ‘seams’ in the formal outline than his earlier work. Thematic inspiration seems stronger, and the harmonic digression within the transition section of the first movement, coupled with the introduction of new thematic material in the development, is indicative of a more progressive approach. This assurance is also evident in the greater scale of the movement, which at almost thirteen minutes is nearly half as long again as the corresponding opening of the Op 3 concerto, and features masterful concertante scoring for the winds, brass, and strings in turn. Virtuosity meets harmonic innovation in the ‘multiple approach’ to the big second tutti, where the solo piano’s semiquaver passagework leads to trills over the local dominant, preparing the ground to cadence in the new key of C major (in a very similar manner to the corresponding section in the Op 3 concerto), before the entire cadential passage is repeated to increase the tension and expectation. The second movement of Op 14 is a beautiful pastoral adagio in B flat major, with fetching pizzicato strings accompanying the piano. This movement is capped by a marvellous improvised cadenza of Shelley’s own devising (the only one on this recording). The concerto closes with a highly virtuosic rondo finale.

As if to announce the beginning of a new era in his approach to the composition of a concerto, Dussek’s Piano Concerto in G minor, Op 49, his first in the nineteenth century, differs strikingly from its predecessors in his oeuvre. Published as Op 49 (and, by virtue of Dussek selling the same piece to multiple publishers, also as Op 50), it dates from 1801, around the same time as Beethoven’s first three piano concertos. It is his only concerto in the minor mode, and reflects a darker and more romantically oriented mood, sombre and filled with gravitas where in the previous two concertos presented here classical lightness and gaiety prevail. The second movement is an E flat major adagio, and the third the obligatory rondo, cast, like the first movement, in G minor.

Subtle and interesting formal innovations abound in the first movement of Op 49, especially regarding the treatment of themes. The first ritornello uses its primary theme for both the secondary (in the relative major) and closing (back in the tonic) themes, as well as the initial theme of the second and third ritornellos. The soloist offers a completely fresh trinity of themes (primary, secondary, and closing), each of which returns in the tonic in the recapitulation. The orchestra’s primary theme is never uttered by the soloist, and vice versa. This disposition of themes goes one step beyond Dussek’s usual thematic treatment, which allows separate primary, transition, and closing themes for the orchestra and soloist, but with a shared second theme. In the G minor concerto, Dussek seems to define a totally discrete, isolated world for the soloist, far removed from that of the orchestra. The development contains elaborate harmonic sequential patterns, unlike the development of any previous Dussek concerto. It would seem that subsequent romantic composers—Mendelssohn, Chopin, Schumann, Wieck, Liszt, and many others—were paying attention, as their later concertos would eventually manifest many of these qualities.

The gorgeous second movement, in E flat major, begins with a wonderfully scored tutti which features octave French horn doublings. The fantastic dissonant sonority near the final cadence tinges the lovely conclusion with an element of pathos. The concluding rondo has an alla Turca (or alla Hongroise) sort of feel, with a jaunty, rhythmic lilt. The rhythmic energy is counterbalanced by the darker tonality, as Dussek writes in the minor mode throughout,

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Michael Riesman - Philip Glass Soundtracks Volume II - Orange Mountain Music presents the new album PHILIP GLASS SOUNDTRACKS VOL. II by pianist Michael Riesman. Riesman was the producer, conductor, and pianist on most every Philip Glass soundtrack including Glass's three Oscar-nominated scores to The Hours, Kundun, and Notes on a Scandal, as well as on Glass' Golden Globe-winning score to The Truman Show. On this new recital, Riesman presents a complement to his 2008 album Glass Soundtracks (Vol. I) in a chronological survey of Glass' work from arthouse films like Koyaanisqatsi, documentary features The Thin Blue Line and The Fog of War, to selections from never-heard-before major commercial films like Taking Lives (starring Angelina Jolie) and Secret Window (Johnny Depp) to a five movement suite from the cult horror film Candyman featuring violinist Chase Spruill. All pieces were pieces chosen by Riesman who is the music director of the Philip Glass Ensemble, and arranged for piano (or violin and piano) by Riesman for this new disc. The result is a refreshing look at treasures from some of Philip Glass's best work in the medium of film.

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Lychee Mechanical Wireless Gaming Keyboard and Mice Set for Computer PC Desktop Laptop



Specifications:

Model: G528

Material: Aluminum/ABS

Connection Type: Wireless/Wired

Interface Type: USB

Operating force: brown switch 60±10g; blue switch 60±20GF; red switch 40±20GF

Keyboard lifespan: 50 million times

Voltage&Current: 5V/≤200mA

Keyboard size: 17.7 x 5.2 x 1.5 in

Mouse size: 5.3 x 3.1 x 1.6 in

Support: Windows2000, XP Vista, Win7, Win8, Win10, MacOS, Android & ios



Package included:

1 x Wireless Keyboard

1 x Wireless Mouse

1 x User Guide

• [2.4G Wireless & Rechargeable]: With 2.4G wireless transmission, the mechanical gaming keyboard and computer mice can achieve long range wireless control; built-in battery for power saving, recharging and avoid changing batteries frequently.
• [Intelligent NANO Receiver]: No driver or software is required. The gamer keyboard and mice share a NANO receiver that’s plug and play, working range of approx: 32.8 ft; compatible with notebook, desktop, smart TV, etc.
• [Mechanical Brown Switch]: Providing you with good tactile feedback, clicky and fairly quiet, great compromise of noise levels and mechanical feel, suitable for home or office; switch lifespan: 50 million times; operating force: 60±10g
• [Rainbow Backlit Keyboard]: Create a comfortable gaming and working environment by selecting your favorite lighting effect: Fn + PrtSc to switch different lighting effects; Fn + ↑↓ to adjust brightness; Fn + ← → to change the glowing speed.
• [Professional Gaming Mouse]: The gaming mouse features a breathing backlit and adjustable 4-level DPI for mutiple needs (1200DPI for office, 1600DPI for graphic design, 2400DPI for casual games, 3200DPI for e-Sports).

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