Otto Nicolai's last opera Die lustigen Weiber von Windsor is the only one left and also his only one in German language. It is still one of the most performed opera's in Germany opera houses. The libr...
Otto Nicolai's last opera Die lustigen Weiber von Windsor is the only one left and also his only one in German language. It is still one of the most performed opera's in Germany opera houses. The libr...
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Otto Nicolai's last opera Die lustigen Weiber von Windsor is the only one left and also his only one in German language. It is still one of the most performed opera's in Germany opera houses. The libr...
Otto Nicolai's last opera Die lustigen Weiber von Windsor is the only one left and also his only one in German language. It is still one of the most performed opera's in Germany opera houses. The libr...
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Der Karneval in Paris, opus 100, is a gallop composed by Johann Strauss Sr. in 1838. Dutch arranger Jos van de Braak transcribed this galop for Symphonic Band.
Der Karneval in Paris, opus 100, is a gallop composed by Johann Strauss Sr. in 1838. Dutch arranger Jos van de Braak transcribed this galop for Symphonic Band.
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Der Karneval in Paris, opus 100, is a gallop composed by Johann Strauss Sr. in 1838. Dutch arranger Jos van de Braak transcribed this galop for Symphonic Band.
Der Karneval in Paris, opus 100, is a gallop composed by Johann Strauss Sr. in 1838. Dutch arranger Jos van de Braak transcribed this galop for Symphonic Band.
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Der Karneval in Paris, opus 100, is a gallop composed by Johann Strauss Sr. in 1838. Dutch arranger Jos van de Braak transcribed this galop for Symphonic Band.
Der Karneval in Paris, opus 100, is a gallop composed by Johann Strauss Sr. in 1838. Dutch arranger Jos van de Braak transcribed this galop for Symphonic Band.
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Der Karneval in Paris, opus 100, is a gallop composed by Johann Strauss Sr. in 1838. Dutch arranger Jos van de Braak transcribed this galop for Symphonic Band.
Der Karneval in Paris, opus 100, is a gallop composed by Johann Strauss Sr. in 1838. Dutch arranger Jos van de Braak transcribed this galop for Symphonic Band.
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A 'Cachucha' is a Spanish folk dance originating in Andalusia, characterized by the use of castanets and popularized by ballerina Fanny Elssler in the 19th century. In 1837 Johann Strauss sr. composed...
A 'Cachucha' is a Spanish folk dance originating in Andalusia, characterized by the use of castanets and popularized by ballerina Fanny Elssler in the 19th century. In 1837 Johann Strauss sr. composed...
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A 'Cachucha' is a Spanish folk dance originating in Andalusia, characterized by the use of castanets and popularized by ballerina Fanny Elssler in the 19th century. In 1837 Johann Strauss sr. composed...
A 'Cachucha' is a Spanish folk dance originating in Andalusia, characterized by the use of castanets and popularized by ballerina Fanny Elssler in the 19th century. In 1837 Johann Strauss sr. composed...
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A 'Cachucha' is a Spanish folk dance originating in Andalusia, characterized by the use of castanets and popularized by ballerina Fanny Elssler in the 19th century. In 1837 Johann Strauss sr. composed...
A 'Cachucha' is a Spanish folk dance originating in Andalusia, characterized by the use of castanets and popularized by ballerina Fanny Elssler in the 19th century. In 1837 Johann Strauss sr. composed...
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A 'Cachucha' is a Spanish folk dance originating in Andalusia, characterized by the use of castanets and popularized by ballerina Fanny Elssler in the 19th century. In 1837 Johann Strauss sr. composed...
A 'Cachucha' is a Spanish folk dance originating in Andalusia, characterized by the use of castanets and popularized by ballerina Fanny Elssler in the 19th century. In 1837 Johann Strauss sr. composed...
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Die Zauberflöte isn't a romantic love story but a real parable: a resemblance about higher human striving to purity and self-improvement. Not love between two people is in the centre but a more indivi...
Die Zauberflöte isn't a romantic love story but a real parable: a resemblance about higher human striving to purity and self-improvement. Not love between two people is in the centre but a more indivi...
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Die Zauberflöte isn't a romantic love story but a real parable: a resemblance about higher human striving to purity and self-improvement. Not love between two people is in the centre but a more indivi...
Die Zauberflöte isn't a romantic love story but a real parable: a resemblance about higher human striving to purity and self-improvement. Not love between two people is in the centre but a more indivi...
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Un dì, felice, eterea' is a duet from the first act of Giuseppe Verdi's Opera 'La Traviata'. It is sung by the male and female protagonists of the opera, Alfredo (a tenor) and Violetta (a soprano). Th...
Un dì, felice, eterea' is a duet from the first act of Giuseppe Verdi's Opera 'La Traviata'. It is sung by the male and female protagonists of the opera, Alfredo (a tenor) and Violetta (a soprano). Th...
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Un dì, felice, eterea' is a duet from the first act of Giuseppe Verdi's Opera 'La Traviata'. It is sung by the male and female protagonists of the opera, Alfredo (a tenor) and Violetta (a soprano). Th...
Un dì, felice, eterea' is a duet from the first act of Giuseppe Verdi's Opera 'La Traviata'. It is sung by the male and female protagonists of the opera, Alfredo (a tenor) and Violetta (a soprano). Th...
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Un dì, felice, eterea' is a duet from the first act of Giuseppe Verdi's Opera 'La Traviata'. It is sung by the male and female protagonists of the opera, Alfredo (a tenor) and Violetta (a soprano). Th...
Un dì, felice, eterea' is a duet from the first act of Giuseppe Verdi's Opera 'La Traviata'. It is sung by the male and female protagonists of the opera, Alfredo (a tenor) and Violetta (a soprano). Th...
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Un dì, felice, eterea' is a duet from the first act of Giuseppe Verdi's Opera 'La Traviata'. It is sung by the male and female protagonists of the opera, Alfredo (a tenor) and Violetta (a soprano). Th...
Un dì, felice, eterea' is a duet from the first act of Giuseppe Verdi's Opera 'La Traviata'. It is sung by the male and female protagonists of the opera, Alfredo (a tenor) and Violetta (a soprano). Th...
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Die Zauberflöte isn't a romantic love story but a real parable: a resemblance about higher human striving to purity and self-improvement. Not love between two people is in the centre but a more indivi...
Die Zauberflöte isn't a romantic love story but a real parable: a resemblance about higher human striving to purity and self-improvement. Not love between two people is in the centre but a more indivi...
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Die Zauberflöte isn't a romantic love story but a real parable: a resemblance about higher human striving to purity and self-improvement. Not love between two people is in the centre but a more indivi...
Die Zauberflöte isn't a romantic love story but a real parable: a resemblance about higher human striving to purity and self-improvement. Not love between two people is in the centre but a more indivi...
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About Mendelssohn's oratorio Elias The Times said: 'Never was there a more complete triumph - never a more thorough and speedy recognition of a great work of art.' The libretto of Elijah is most skilf...
About Mendelssohn's oratorio Elias The Times said: 'Never was there a more complete triumph - never a more thorough and speedy recognition of a great work of art.' The libretto of Elijah is most skilf...
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About Mendelssohn's oratorio Elias The Times said: 'Never was there a more complete triumph - never a more thorough and speedy recognition of a great work of art.' The libretto of Elijah is most skilf...
About Mendelssohn's oratorio Elias The Times said: 'Never was there a more complete triumph - never a more thorough and speedy recognition of a great work of art.' The libretto of Elijah is most skilf...
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About Mendelssohn's oratorio Elias The Times said: 'Never was there a more complete triumph - never a more thorough and speedy recognition of a great work of art.' The libretto of Elijah is most skilf...
About Mendelssohn's oratorio Elias The Times said: 'Never was there a more complete triumph - never a more thorough and speedy recognition of a great work of art.' The libretto of Elijah is most skilf...
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About Mendelssohn's oratorio Elias The Times said: 'Never was there a more complete triumph - never a more thorough and speedy recognition of a great work of art.' The libretto of Elijah is most skilf...
About Mendelssohn's oratorio Elias The Times said: 'Never was there a more complete triumph - never a more thorough and speedy recognition of a great work of art.' The libretto of Elijah is most skilf...
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Most of Mozart's solo horn music was composed between 1781 and 1789 for his friend and fellow freemason, Ignaz Leutgeb, an accomplished player from Salzburg who continued to perform after setting up a...
Most of Mozart's solo horn music was composed between 1781 and 1789 for his friend and fellow freemason, Ignaz Leutgeb, an accomplished player from Salzburg who continued to perform after setting up a...
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Most of Mozart's solo horn music was composed between 1781 and 1789 for his friend and fellow freemason, Ignaz Leutgeb, an accomplished player from Salzburg who continued to perform after setting up a...
Most of Mozart's solo horn music was composed between 1781 and 1789 for his friend and fellow freemason, Ignaz Leutgeb, an accomplished player from Salzburg who continued to perform after setting up a...
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Most of Mozart's solo horn music was composed between 1781 and 1789 for his friend and fellow freemason, Ignaz Leutgeb, an accomplished player from Salzburg who continued to perform after setting up a...
Most of Mozart's solo horn music was composed between 1781 and 1789 for his friend and fellow freemason, Ignaz Leutgeb, an accomplished player from Salzburg who continued to perform after setting up a...
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