Based in Lithuania, GarsuMene specializes in high-quality Classical, Pop, Rock, Electronica, Easy Listening, and Urban Contemporary production music. The stylistic palette of its creative output ranges from superb performances of Classical piano masterpieces (Beethoven, Chopin, Debussy, and many others), to popular mainstream genres. GarsuMene's tracks offer a wide and varied selection of audio content for TV, Film, Corporate, and New Multimedia projects, as well as cinematic soundscapes for diverse visual scenarios.
The Fantasy in F minor, Op. 49 was completed and published in 1841. It is one of the pinnacles of Frédéric Chopin's creative art. Generally regarded as a masterpiece, it has received a number of brilliant pianistic interpretations. It is a work that has fascinated successive generations of listeners, Instrumental, Classical, Classical Piano
The principal theme of Frédéric Chopin's Grande Polonaise Brilliante in E-flat major, Op. 22 combines soaring flight with spirit and verve, bravura with elegance – all of those features that characterize a dance in the style brillant. As befits a composition in the brillant style, the work is, Instrumental, Classical, Classical Piano
The Impromptu No. 3 in G-flat major, Op. 51 was composed in 1842 and published in 1843. It carries within it something of the atmosphere of Frédéric Chopin’s salon – an exceptional salon, not conventional and snobbish, but as poetic as it is elegant, transporting its denizens into another dimension. Instrumental, Classical, Classical Piano
Frédéric Chopin’s Largo in E flat major, Op. posth. has the the melody of the song “God, Thou who Poland” that Chopin played at church during his final year at the Warsaw Lyceum. The anthem-like melody is calm, yet stately, prideful, and elevated. Instrumental, Classical, Classical Piano
The B flat major Mazurka has the form of a rondo. The refrain, of unconventional design, thrusts its way upwards, swinging and swaggering, before falling back down in a delicate scherzando. The Mazurka is one of the few that could be danced; indeed, it seems to pull the listener up onto the, Instrumental, Classical, Classical Piano
The Mazurka in B minor is one of Chopin’s great wonders. In it, one hears a synthesis of the heard and remembered with the personally experienced and profoundly true. Lyrical contemplation and dialogue, eruptions of passion, rocking and calming. Instrumental, Classical, Classical Piano
The Mazurka in C sharp minor delights the listener with its songfulness. It was written in the style of new simplicity and in expression of a melancholy tone. Instrumental, Classical, Classical Piano
The F sharp minor became one of Chopin’s best loved mazurkas. It consists of three dance themes. The first of them dominates the whole of this lyrical-dance miniature with a character of a rhythmically capricious and melodically refined folk tune. Instrumental, Classical, Classical Piano
Frédéric Chopin’s Nocturne in B major, Op. 32, No. 1, dedicated to Madame Camile de Billing, was published by the composer in 1837. It is initially marked andante sostenuto, then transitions to adagio. The piece is more aptly described as a ballade in miniature. Instrumental, Classical, Classical Piano
Frédéric Chopin's Nocturne in B-flat minor, Op. 9, No. 1 has a rhythmic freedom that came to characterize Chopin's later work. The left hand has an unbroken sequence of simple arpeggios throughout the entire piece, while the right hand moves with freedom in patterns of seven, eleven, twenty, and, Instrumental, Classical, Classical Piano
Frédéric Chopin’s Nocturne in D-flat major, Op. 27, No. 2 consists of two strophes, repeated in increasingly complex variations. The main cadence, near the end of the piece, is one of the most glorious moments in Chopin's entire output. The duality of voices is reminiscent of the sweet summer of two, Instrumental, Classical, Classical Piano
Nocturne in E major, Op.62, No.2 is one of Frédéric Chopin's last works. The melody proceeds slowly and with stifled voice. The strength of emotion is articulated by the expression of the melody which complements the initial idea. It explodes, shattering the melody's calm passage with sudden leaps, Instrumental, Classical, Classical Piano
Frédéric Chopin’s Nocturne in E minor, Op. 72, No. 1 is a soulful and spirited expression of a melancholy state of mind with a prophetic sense of a mysterious world to come. Instrumental, Classical, Classical Piano
Frédéric Chopin composed his most popular Nocturne in E-flat major, Op. 9, No. 2 when he was about twenty. The nocturne is reflective in mood until it suddenly becomes passionate near the end. The new concluding melody begins softly but then ascends to a high register and is played forcefully in, Instrumental, Classical, Classical Piano
In his Nocturne in F major, Op. 15, No. 1, Frédéric Chopin juxtaposed an idyll of sounds, bright, delicate and pleasant, illumined by the sun, with a tempest that erupts suddenly with violence and brute force. The tempest then suddenly disappears, giving way to the returning music of the opening. Instrumental, Classical, Classical Piano
Composed in 1832, Frédéric Chopin’s Nocturne in F-sharp major, Op. 15, No. 2 is a technically challenging piece. The first section, Larghetto, features an intricate, elaborately ornamental melody over an even quaver bass. The second section, labeled doppio movimento (double speed), resembles a, Instrumental, Classical, Classical Piano
The first part of Frédéric Chopin’s Nocturne in G minor, Op. 15, No. 3, has a peculiar atmosphere – fantastic, mystical, surreal, turning in the second part of the Nocturne into a chorale, played sotto voce, as if under one’s breath, in a quietude that evokes the mood of religious contemplation. Instrumental, Classical, Classical Piano
Frédéric Chopin’s Nocturne in G minor, Op. 37, No. 1 is one of the simpler nocturnes with a more ornamental melodic line. A church-like atmosphere in the chords of the middle section potentially allude to religion. The chorale-like music may have represented Chopin's faith in the consoling power of, Instrumental, Classical, Classical Piano
Tradition has it that Chopin imagined the A major Polonaise functioning as a coronation polonaise. It bears the character of heroic military music, evoking for many interpreters the sounds of a snare drum in a festive parade or a royal ceremony. Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
Belongs to Chopin's 24 Preludes, Op. 28, a set of short pieces for the piano, one in each of the twenty-four keys, originally published in 1839. Chopin wrote them between 1835 and 1839, partly at Valldemossa, Majorca, where he spent the winter of 1838-39 and where he had fled with George Sand and, Instrumental, Classical, Classical Piano
The Scherzo No. 2 in B-flat minor, Op. 31 was composed and published in 1837. Schumann compared this scherzo to a Byronic poem, "so overflowing with tenderness, boldness, love and contempt." The renowned sotto voce opening was a question and the second phrase the answer. For Chopin it was never, Instrumental, Classical, Classical Piano
The Scherzo No. 3, Op. 39, in C-sharp minor by Frédéric Chopin, completed in 1839, was written in the abandoned monastery of Valldemossa on the Balearic island of Majorca, Spain. This is the most terse, ironic, and tightly constructed of the four scherzos, with an almost Beethovenian grandeur. The, Instrumental, Classical, Classical Piano
The Scherzo No. 4 in E major, Op. 54 is different from the other scherzos by Chopin. Close to the fairytale sphere, though devoid of elves and goblins, it is brighter than the others, written with a finer, lighter pen, though it too occasionally reminds us of the existence of shadows and frights. Instrumental, Classical, Classical Piano
Frédéric Chopin’s Waltz in B minor, Op. 69, No. 2 is largely melancholic and changes to B major and again reverts to the original theme. It is not technically demanding and is one of Chopin's better known pieces. Instrumental, Classical, Classical Piano
Frédéric Chopin's Waltz in C-sharp minor, Op. 64, No. 2 is a masterpiece in its category – a gem of poetry, expressed in a concise, essential way. This Waltz takes the form of a dance with trio. The unforgettable opening theme is imbued with harmoniousness, sweetness and melancholy. The lyrical tone, Instrumental, Classical, Classical Piano
Frédéric Chopin's Waltz in D-flat major, Op. 64, No. 1 hearkens back to the style brillant. The dazzling, but insubstantial expression acquired new characteristics. Firstly, a succinctness of utterance, secondly, the somewhat melancholy tenderness with which the waltz’s trio is expressed. But the, Instrumental, Classical, Classical Piano
Frédéric Chopin composed his Waltz in E minor, Op. Posth c. 1830. The piece is characterized by youthful playfulness in the relaxed and delightful settings of the aristocratic salon. Instrumental, Classical, Classical Piano
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