Synonyms for wiegenlied or Related words with wiegenlied

volkslied              romanze              trompeten              variationen              volkslieder              abendlied              traurigkeit              schlaflied              weinen              gesang              geistliche              saiten              abschied              symphonische              konzert              klavier              violine              beethovens              lyrische              freuden              elegie              meinen              trauer              barcarole              melodien              kantate              liebeslieder              bariton              trinklied              sopran              sehnsucht              klagen              deinen              konzerte              musicalische              gebet              streichquartett              singt              lobgesang              sechs              sonaten              herze              schwingt              praeludium              musikalischer              liebeslied              unsre              hirten              liederbuch              wandrers             

Examples of "wiegenlied"
Wiegenlied, J. Brahms, arr. M. Susan Brown (1956- ), September 2003
One such example is present in Schubert's "Wiegenlied" D. 867:
Debussy ("Le Colline d’Anacapri"), Strauss-Risler ("Till Eulenspiegel"), Brahms-Cortot ("Wiegenlied")
"Schlafe, mein Prinzchen, schlaf' ein" ("Sleep, my little prince, fall asleep") is perhaps the most famous "Wiegenlied" (German lullaby), dating from the 18th century.
Mariae Wiegenlied (Mary's lullaby) is a German Christmas song for solo voice and piano, with music by Max Reger and words by . It was originally published in 1912.
Lullabies written by established classical composers are often given the form-name "berceuse", which is French for lullaby, or cradle song. The most famous lullaby is the one by Johannes Brahms ("Wiegenlied", 1868). While there has been no confirmation, there are many strong arguments that Brahms suffered from a sleep disorder known as sleep apnea. It is speculated (based on lullabies' utility as a sleep aid) that this was part of his inspiration for composing "Wiegenlied."
In 1953, they had a no 1 hit in Germany with "Es hängt ein Pferdehalfter an der Wand". Buijsman wrote the song "Cowboys Wiegenlied" which was the single's B side.
Alois Melichar arranged "Wiegenlied" along with incidental music from Schubert's opera "Rosamunde" to form the song "Mille cherubini in coro" for the 1935 film "Vergiß mein nicht". It was performed by the tenor Beniamino Gigli with the Berlin State Opera Orchestra.
Franz Schubert's Wiegenlied "Schlafe, schlafe, holder süßer Knabe", D 498, Op. 98, No. 2, is a lullaby composed in November 1816. The song is also known as "Mille cherubini in coro" after an Italian language arrangement for voice and orchestra by Alois Melichar.
Ferguson is most known for his English translations of German texts including Ottfried's "Schubert Fantasies" (1914); three 1903 duets based on German folk songs by Ralph Vaughan Williams, "Adieu", "Think of Me", and "Cousin Michael"; and Charles Macpherson's "The Shepherds' Cradle Song" (1912) based on "Der Hirten Wiegenlied" of Karl Neuner (1814).
The is a series of music videos using Yamaha's Vocaloid vocal synthesizer software. It is a collection of 9 songs that intertwine to create the story. They were all made by MOTHY (Master Of The Heavenly Yard), also known as Akuno-P(悪ノp). There are four main novels that go with the series, as well as three extra fanbooks. It's also of note that the series is focused on "Pride", which is one of the Seven deadly sins. Other, less dark themes in the series include Love (Servant of Evil and Regret Message), Pity (Twiright Prank, Daughter of White, and Thousand Year Wiegenlied), Forgiveness (Regret Message and Daughter of White), and Friendship (Daughter of White and Thousand Year Wiegenlied).
In 1982, Gulda teamed up with jazz pianist Chick Corea, who was between the breakup of Return to Forever and the formation of his Elektric Band. Issued on "The Meeting" (Philips, 1984), Gulda and Corea communicate in lengthy improvisations mixing jazz ("Some Day My Prince Will Come" and the lesser known, adapted by Miles Davis song "Put Your Foot Out") and classical music (Brahms' "Wiegenlied" ["Cradle song"]).
Berceuse élégiaque, Op. 42 is an orchestral work composed by Ferruccio Busoni in 1909. Originally written for solo piano, to be added as the seventh piece in his 1907 collection "Elegies", Busoni adapted it for orchestra later the same year. This orchestral version was sub-titled "Des Mannes Wiegenlied am Sarge seiner Mutter" ("The man's lullaby at his mother's coffin"). The first performance of "Berceuse élégiaque" was in New York City on February 21, 1911, and was conducted by Gustav Mahler.
Edward Teschemacher (1876–1940) also known as Edward Frederick Lockton was an American lyricist, translator, arranger, librettist, and popular music composer responsible for writing and co-writing a number of well-known pieces, including "Because"(1902) and co-writing "I'll Walk Beside You"(1939). Teschemacher wrote much of his lyrics for popular music between 1900 and the late 1920s. His work as a translator includes translating "Mattinata" from Italian to English in 1904, translating a series of folksongs from Norwegian and Danish to English in 1906, and translating the "Mariae Wiegenlied" (The Virgin's Slumber Song) from its native German to English in 1917.
Little is known about Flies. He composed some piano pieces and songs. He is best known for the romantic music to the lullaby "Schlafe, mein Prinzchen, schlaf ein", (Sleep, my little prince, go to sleep) attributed to him, also known as "Das Wiegenlied" (the Cradle Song), from the theatre play "Esther" written by Friedrich Wilhelm Gotter (1746–1797). Recent research suggests that the song was originally composed by Johann Friedrich Anton Fleischmann. For a long time, the composition was mistakenly attributed to Wolfgang Amadeus Mozart (K.350 in the Köchel-Verzeichnis).
Despite his reputation as a serious composer of large, complex musical structures, some of Brahms's most widely known and most commercially successful compositions during his life were small-scale works of popular intent aimed at the thriving contemporary market for domestic music-making. During the 20th century, the influential American critic B. H. Haggin, rejecting more mainstream views, argued in his various guides to recorded music that Brahms was at his best in such works and much less successful in larger forms. Among the most cherished of these lighter works by Brahms are his sets of popular dances, the "Hungarian Dances", the "Waltzes" for piano duet (Op. 39), and the "Liebeslieder Waltzes" for vocal quartet and piano, and some of his many songs, notably the "Wiegenlied" (Op. 49, No. 4, published in 1868). This last was written (to a folk text) to celebrate the birth of a son to Brahms's friend Bertha Faber and is universally known as "Brahms's Lullaby".
A novel titled Daughter of Evil, Closure of Yellow (悪ノ娘 黄のクロアテュール, Aku no Musume Ki no Kuroatyuuru), which was written by Akuno-P(mothy), was released on August 10, 2010. On his blog, mothy announced that the novel is based on the songs he wrote and the plot story he offered for the theater play. The storyline is different in several respects and there are some differences in settings. Most of personages' names are the same as those used in the play ("Riliane", "Allen", etc.) and more characters appear in the novel. The illustrations are drawn by Ichika, Yunomi-P and 憂. A sequel titled Daughter of Evil, Wiegenlied of Green was released on February 24, 2011.
In the final decade of the 19th century Schenker was also active on the concert stage. He did not give solo recitals but participated as an accompanist or participant in chamber music, occasionally programming his own works. Programs exist showing that Schenker accompanied French horn virtuoso Louis Savart in Schenker's "Serenade für Waldhorn" on November 5, 1893 (at the Salle der Börse) and March 5, 1894 (at the Bösendorfersaal). Schenker also was the accompanist for Lieder singer Johan Messchaert on a tour organized by the Ludwig Grünfeld Bureau whose stops included: Klagenfurt (January 8), Graz (January 11), Trieste (January 13), Brünn (January 15), Lemberg (January 17), Vienna (January 19), Budapest (January 21), Linz (January 24), Vienna again (January 26), Ústí nad Labem (January 30) and again Budapest (February 3). This tour enabled Schenker to play his own pieces, namely the Fantasia op. 2 and the Allegretto grazioso from Op. 4, no. 2. Existing correspondence shows that Messachaert was highly appreciative. Schenker also accompanied the bass singer Eduard Gärtner on occasion, and Gärtner programmed Schenker's song "Meeresstille" Op. 6, no. 3 and Blumengruss on a concert at the Bosendorfersall on January 19, 1895. On a Gärtner recital January 26, 1900, Schenker and Moritz Violin gave the premiere of the "Syrian Dances". On December 1, 1900, Gärtner, accompanied by Alexander von Zemlinsky, sang Schenker's "Wiegenlied", Op. 3 no. 2 and on March 13, 1902 Gärtner sang "Ausklang", Op. 3, no. 4, and on January 26, 1905 at the Bosendorfersaal), Gärtner sang Op. 6, nos. 1 and 2.
From his earliest works, Brahms wrote music that prominently featured the viola. Among his first published pieces of chamber music, the sextets for strings Op. 18 and Op. 36 contain what amounts to solo parts for both violas. Late in life he wrote two greatly admired sonatas for clarinet and piano, his Op. 120 (1894): he later transcribed these works for the viola (the solo part in his horn trio is also available in a transcription for viola). Brahms also wrote "Two Songs for Alto with Viola and Piano", Op. 91, "Gestillte Sehnsucht" ("Satisfied Longing") and "Geistliches Wiegenlied" ("Spiritual Lullaby") as presents for the famous violinist Joseph Joachim and his wife, Amalie. Dvořák played the viola and apparently said that it was his favorite instrument: his chamber music is rich in important parts for the viola. Another Czech composer, Bedřich Smetana, included a significant viola part in his quartet "From My Life": the quartet begins with an impassioned statement by the viola. It should also be noted that Bach, Mozart and Beethoven all occasionally played the viola part in chamber music.