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Composed from four shots in PhotoShop (an extremely tricky task).
Taken in Molyvos (aka Mithima) harbour, Lesbos (aka Mytilini).
Astéracées (Composées) éparses au milieu de Grandes prêles (Equisetum maximum), en bordure d'étang, aux tiges de 80 à 150 cm, souvent rougeâtre et rameuse dans le haut. Feuilles palmatiséquées, à 3-5 segments lancéolés et dentés.
Petits capitules en corymbe ample ert dense, terminal, rappelant un peu celui de la Valériane officinale, à 5-6 fleurs en tube, espacées, rose blanchâtre (cf. C Favarger).
Just when I composed and pressed my camera's button to capture this image of Haystack Rock, this young girl accidently walked into the frame. I reassured her that it was okay ...she said she was sorry, smiled, and then ran off. Her mother was close by..she smiled also.
A group composed of educators, business partners and elected officials toured Forest Lake Elementary Technology Magnet School on Thursday, December 12, 2013. Visitors were able to step into numerous classes and observe the variety of learning opportunities occurring on an average day in the school. Student Ambassadors met visitors at the entrance of each classroom and explained what was going on. Students were: reading excerpts on Discovery Education, composing Google Drive slides, solving math problems on their Chromebooks, practicing multiplication with decimals and much more.
7 bracketed shots were used to compose this HDR photo. +3 to -3 ev. Composed in NIK software and processed in Aperture.
FIDELIO
Composed by Ludwig van Beethoven
Original libretto by Joseph Sonnleithner & Georg Friedrich Sonnleithner
Adapted and Directed by Ethan Heard
Arranged and Music Directed by Daniel Schlosberg
New English Dialogue Co-Written by Marcus Scott & Ethan Heard
Scenic Design by Reid Thompson
Costume Design by Valérie Thérèse Bart
Hair/Makeup Design by Jon Carter
Lighting Design by Oliver Wason
Sound Design by Kate Marvin
Projections Design by Nicholas Hussong & Joey Moro
Baruch Performing Arts Center
All photos by Russ Rowland
The three Waltzes, Op. 34, were composed by Frédéric Chopin from 1834 until 1838 and published in 1838.
These three waltzes were published as Grandes valses brillantes, but this title is usually reserved for the Waltz in E-flat major, Op. 18.
Being among the longest of Chopin's waltzes, this waltz is in A-flat major. The piece is introduced with a fanfare before modulating to D-flat major for a dreamy middle section. The A-flat material is succeeded by a coda, which leads to the end of the piece. This waltz was dedicated to Josefina von Thun-Hohenstein.
Frédéric Chopin’s waltzes are pieces of moderate length adhering to the traditional 3/4 waltz time, but are remarkably different from the earlier Viennese waltzes in that they were not designed for dancing but for concert performance. Some of them are accessible by pianists of moderate capabilities, but the more difficult of them require an advanced technique. Carl Maria von Weber's Invitation to the Dance was an early model for Chopin's waltzes.
Chopin started writing waltzes in 1824, when he was fourteen, and continued until the year of his death, 1849. He wrote 36 in total, of which 20 are numbered.
Probably the most famous are the Minute Waltz in D-flat major and the C-sharp minor waltz of 1847, two of the last set of waltzes Chopin published before his death (Op. 64).
💡HOW ? 🔽
🎥 Original Video: youtu.be/I7DuRjEJYOg
📋 Licence Video: creativecommons.org/licenses/by/3.0/legalcode
📋 Licence Music: creativecommons.org/licenses/by/3.0/deed.en (Be careful most websites block any content with chopin music like even... !!!)
♾️ The links :
- For Music (🎵) = COPY & PASTE [---]
- For Video (🎥) = COPY & PASTE [~~~]
- For Music & Video (🎵) & (🎥) = COPY & PASTE [---] & [~~~]
✔️ DOWNLOAD: www.dropbox.com/sh/qmi93j5i4vjk7os/AAAp4xe1lne0gDdEI_1uLV...
🎥 VIDEO EDITING (eMotion) :
Laurent Guidali
~~~ --- 🎥 VIDEO 🎵 MUSIC :
👸 Anna Lipiak
📌 Youtube: www.youtube.com/c/AnnaLipiak
📌 Instagram: www.instagram.com/annalipiak
📌 Anna Lipiak Website: www.annalipiak.com/en
📌 Facebook: www.facebook.com/ania.pianist
👍 Donate: www.paypal.me/aniapianist
⚓ Recorded on Bechstein Grand Piano in Piano Salon www.pianina.pl in Pszczyna
📧 Mail: ania.lipiak@gmail.com
Frédéric Chopin
📌 Youtube: www.youtube.com/channel/UCyTnUReB5s38R-ZKlb2wyVg
📌 Soundcloud: soundcloud.com/chopin-frederic
~~~ ---
🎼Music promoted by eMotion :
📼Video Link : youtu.be/Z0uCjdlnS2M
📋WHAT ? 🔽
🌟Anna Lipiak - Waltz (in A-flat major Op. 34 no 1) [Frédéric Chopin]
💫Classical/Piano/Chopin/Romantic Music World
🌌Music [Creative Common]
✨Music Universe (🎵)
📝Type : 🎵Music (🔊 Instrumental)
💑 Romantic Music 🎎 Folk 🇵🇱 Polish Music 🇫🇷 French Music 🎻 Classical Music 🌐 World Music ⭐ European Music
🎺 Musical Instruments : 🎹 Piano
🔊Language : ️ International (🇬🇧 description in English)
WHO ? 🔽
🎵Music Composed by Frédéric Chopin
🎵Music Play by Anna Lipiak
📡Posted by Laurent Guidali
🎥 Video by Anna Lipiak
🎥 Video [Modification] by Laurent Guidali (eMotion Version)
🌅 Thumbnail by Laurent Guidali
📍WHERE ? 🔽
[Music Composition]
🇫🇷 France
🇵🇱 Poland
[Pianist]
🇵🇱 Poland
[Original Video]
🇵🇱 Poland (Pszczyna)
[Video Montage eMotion]
🇫🇷 France
🕓WHEN ? 🔽
🎆 1838 [Chopin Music]
🎆 11.03.2020 [Play]
🎆 2022 [Video eMotion]
🎆 11.03.2020 [Original Video]
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Lines Composed a Few Miles above Tintern Abbey, on Revisiting the Banks of the Wye During a Tour, July 13, 1798
William Wordsworth
Five years have past; five summers, with the length
Of five long winters! and again I hear
These waters, rolling from their mountain-springs
With a soft inland murmur.—Once again
Do I behold these steep and lofty cliffs,
That on a wild secluded scene impress
Thoughts of more deep seclusion; and connect
The landscape with the quiet of the sky.
The day is come when I again repose
Here, under this dark sycamore, and view
These plots of cottage-ground, these orchard-tufts,
Which at this season, with their unripe fruits,
Are clad in one green hue, and lose themselves
‘Mid groves and copses. Once again I see
These hedge-rows, hardly hedge-rows, little lines
Of sportive wood run wild: these pastoral farms,
Green to the very door; and wreaths of smoke
Sent up, in silence, from among the trees!
With some uncertain notice, as might seem
Of vagrant dwellers in the houseless woods,
Or of some Hermit’s cave, where by his fire
The Hermit sits alone.
These beauteous forms,
Through a long absence, have not been to me
As is a landscape to a blind man’s eye:
But oft, in lonely rooms, and ‘mid the din
Of towns and cities, I have owed to them
In hours of weariness, sensations sweet,
Felt in the blood, and felt along the heart;
And passing even into my purer mind,
With tranquil restoration:—feelings too
Of unremembered pleasure: such, perhaps,
As have no slight or trivial influence
On that best portion of a good man’s life,
His little, nameless, unremembered, acts
Of kindness and of love. Nor less, I trust,
To them I may have owed another gift,
Of aspect more sublime; that blessed mood,
In which the burthen of the mystery,
In which the heavy and the weary weight
Of all this unintelligible world,
Is lightened:—that serene and blessed mood,
In which the affections gently lead us on,—
Until, the breath of this corporeal frame
And even the motion of our human blood
Almost suspended, we are laid asleep
In body, and become a living soul:
While with an eye made quiet by the power
Of harmony, and the deep power of joy,
We see into the life of things.
If this
Be but a vain belief, yet, oh! how oft—
In darkness and amid the many shapes
Of joyless daylight; when the fretful stir
Unprofitable, and the fever of the world,
Have hung upon the beatings of my heart—
How oft, in spirit, have I turned to thee,
O sylvan Wye! thou wanderer thro’ the woods,
How often has my spirit turned to thee!
And now, with gleams of half-extinguished thought,
With many recognitions dim and faint,
And somewhat of a sad perplexity,
The picture of the mind revives again:
While here I stand, not only with the sense
Of present pleasure, but with pleasing thoughts
That in this moment there is life and food
For future years. And so I dare to hope,
Though changed, no doubt, from what I was when first
I came among these hills; when like a roe
I bounded o’er the mountains, by the sides
Of the deep rivers, and the lonely streams,
Wherever nature led: more like a man
Flying from something that he dreads, than one
Who sought the thing he loved. For nature then
(The coarser pleasures of my boyish days,
And their glad animal movements all gone by)
To me was all in all.—I cannot paint
What then I was. The sounding cataract
Haunted me like a passion: the tall rock,
The mountain, and the deep and gloomy wood,
Their colours and their forms, were then to me
An appetite; a feeling and a love,
That had no need of a remoter charm,
By thought supplied, nor any interest
Unborrowed from the eye.—That time is past,
And all its aching joys are now no more,
And all its dizzy raptures. Not for this
Faint I, nor mourn nor murmur, other gifts
Have followed; for such loss, I would believe,
Abundant recompence. For I have learned
To look on nature, not as in the hour
Of thoughtless youth; but hearing oftentimes
The still, sad music of humanity,
Nor harsh nor grating, though of ample power
To chasten and subdue. And I have felt
A presence that disturbs me with the joy
Of elevated thoughts; a sense sublime
Of something far more deeply interfused,
Whose dwelling is the light of setting suns,
And the round ocean and the living air,
And the blue sky, and in the mind of man;
A motion and a spirit, that impels
All thinking things, all objects of all thought,
And rolls through all things. Therefore am I still
A lover of the meadows and the woods,
And mountains; and of all that we behold
From this green earth; of all the mighty world
Of eye, and ear,—both what they half create,
And what perceive; well pleased to recognise
In nature and the language of the sense,
The anchor of my purest thoughts, the nurse,
The guide, the guardian of my heart, and soul
Of all my moral being.
Nor perchance,
If I were not thus taught, should I the more
Suffer my genial spirits to decay:
For thou art with me here upon the banks
Of this fair river; thou my dearest Friend,
My dear, dear Friend; and in thy voice I catch
The language of my former heart, and read
My former pleasures in the shooting lights
Of thy wild eyes. Oh! yet a little while
May I behold in thee what I was once,
My dear, dear Sister! and this prayer I make,
Knowing that Nature never did betray
The heart that loved her; ‘tis her privilege,
Through all the years of this our life, to lead
From joy to joy: for she can so inform
The mind that is within us, so impress
With quietness and beauty, and so feed
With lofty thoughts, that neither evil tongues,
Rash judgments, nor the sneers of selfish men,
Nor greetings where no kindness is, nor all
The dreary intercourse of daily life,
Shall e’er prevail against us, or disturb
Our cheerful faith, that all which we behold
Is full of blessings. Therefore let the moon
Shine on thee in thy solitary walk;
And let the misty mountain-winds be free
To blow against thee: and, in after years,
When these wild ecstasies shall be matured
Into a sober pleasure; when thy mind
Shall be a mansion for all lovely forms,
Thy memory be as a dwelling-place
For all sweet sounds and harmonies; oh! then,
If solitude, or fear, or pain, or grief,
Should be thy portion, with what healing thoughts
Of tender joy wilt thou remember me,
And these my exhortations! Nor, perchance—
If I should be where I no more can hear
Thy voice, nor catch from thy wild eyes these gleams
Of past existence—wilt thou then forget
That on the banks of this delightful stream
We stood together; and that I, so long
A worshipper of Nature, hither came
Unwearied in that service: rather say
With warmer love—oh! with far deeper zeal
Of holier love. Nor wilt thou then forget,
That after many wanderings, many years
Of absence, these steep woods and lofty cliffs,
And this green pastoral landscape, were to me
More dear, both for themselves and for thy sake!
William Wordsworth
Composed Salad of Shaved Country Ham, Grilled Figs & Bitter Greens
preserved lemon, aged balsamic vinaigrette
Hastily composed because the chocolate was hot and looked and smelled oh so good. The two on the right are "rich dark" while the one on the left is "70% dark" There was also a "caliente" which has hot peppers. Taken at the Cocoa Tree in Pittenweem, Fife.
Composed Cheese Selection
A sampling of all six cheeses on the menu from lightest to strongest. ($18/$9 at Happy Hour)
Petite Basque
Drunken Goat
Top Hat Cheddar
Maytag Blue
Roquefort
Notes: How many do you see? I see five. i didn't realize that the Humboldt Fog was missing until I uploaded this photo.
Program description excerpt: Composed of desiccated coconut, this installation by Noni Kaur fills the length and breadth of a Hanna Avenue walkway titillating and teasing the viewer's senses. The skeletal (or armature) for the work includes nylons with foam fillers to form the overall shape and form the landscape of a body.
The distinctive smell of coconut made everyone smile as they walked along the avenue, trying to discern whether any body parts were recognizable.
Practice...practice... practice! There are 25 of these small practice shacks used by professionals, visitors and the approximately 200 top students here on scholarship studying with the professionals. Thee shacks are clustered to allow the privacy for the person practicing while at the same time allowing neighbors peace and quiet. A stroll through this area yields a cacophony of sounds and that is pleasant experience.
George Gershwin visited Chautauqua for two summers to study, practice and compose. It was in one of these shacks (# 5) where a significant portion of Gershwin's Concerto in F was composed. The shack is still there and is identified as you can see by the inset.
*This brilliantly composed photograph with inscription on back, was taken by my father sometime after the annexation of Austria and the occupation of Czechoslovakia in march or april of 1938.
The inscription reads: "Steffl /my nickname at that time/ is blowing out the candles and with it our life which will never be the same" My father had a great sense of humor, was an amateur photographer known for taking pictures with a double meaning, mostly of a humorous nature. This picture was the exception for he must have known what was in store for us.