Music

𝓖𝓪𝓻𝓸𝓽𝓪 𝓭𝓮 𝓘𝓹𝓪𝓷𝓮𝓶𝓪

Track · Antônio Carlos Jobim

Várias Queixas

Track · Gilsons

Aquarela

Track · Toquinho

Trem Das Onze

Track · Adoniran Barbosa

Por Causa De Você, Menina

Track · Jorge Ben Jor

Mas, Que Nada!

Track · Jorge Ben Jor

Chove Chuva

Track · Jorge Ben Jor

Oba, Lá Vem Ela

Track · Jorge Ben Jor

O Telefone Tocou Novamente

Track · Jorge Ben Jor, Trio Mocoto

Carolina Carol Bela

Track · Jorge Ben Jor, Toquinho

Cadê Tereza

Track · Jorge Ben Jor

Domingas

Track · Jorge Ben Jor

Eu Amo Você

Track · Tim Maia

PERFuMITO NUEVO

Track · Bad Bunny, RaiNao

La Curiosidad

Track · Jay Wheeler, DJ Nelson, Myke Towers

Baja Pa' Acá

Track · Rauw Alejandro, Alexis y Fido

Qué Pasaría...

Track · Rauw Alejandro, Bad Bunny

vivo si me exiges

Track · LATIN MAFIA

Siento que merezco más

Track · LATIN MAFIA

Flores

Track · LATIN MAFIA

Julieta

Track · LATIN MAFIA

Más humano

Track · LATIN MAFIA

No digas nada

Track · LATIN MAFIA

Cuenta Conmigo

Track · Jerry Rivera

Antídoto Y Veneno

Track · Eddie Santiago

Regresa Ya

Track · El Gran Combo De Puerto Rico

Deseándote

Track · Frankie Ruiz

Y Qué Me Pasa

Track · Mickey Taveras

Tú Eres

Track · Frankie Ruiz

Ojos Chinos

Track · El Gran Combo De Puerto Rico

Tú y Yo - Original

Track · La Misma Gente

Que Locura Enamorarme De Ti

Track · Eddie Santiago

Ana Mile

Track · Grupo Niche

Persona Ideal

Track · Adolescent's Orquesta

Virgen

Track · Adolescent's Orquesta

Esa Mujer

Track · Tony Vega

Esperandote

Track · Isla Bonita

Sin Sentimientos

Track · Grupo Niche

Gotas De Lluvia

Track · Grupo Niche

Nuestro Sueño

Track · Grupo Niche

Sin Poderte Hablar

Track · Willie Colón

El Gran Varon

Track · Willie Colón

Oh Qué Será?

Track · Willie Colón

Feliz Me Siento

Track · Gunda Merced y Su Salsa Fever

Se Acabó el Amor

Track · Adolescent's Orquesta

Deseándote

Track · Frankie Ruiz

Anhelo

Track · Adolescent's Orquesta

Ven Devórame Otra Vez

Track · Lalo Rodriguez

La Cura

Track · Frankie Ruiz

La Cita

Track · Galy Galiano

Siempre Sere

Track · Tito Rojas

Tu Con El

Track · Frankie Ruiz

Se Pareció Tanto a Ti

Track · Grupo Niche

Recuerdos

Track · Adolescent's Orquesta

𝓛𝓪𝓭𝔂 𝓵𝓸𝓿𝓮

Track · Piero Piccioni

𝓜𝓮𝔁𝓲𝓬𝓪𝓷 𝓭𝓻𝓮𝓪𝓶

Track · Piero Piccioni

𝓔𝓪𝓼𝔂 𝓵𝓸𝓿𝓮𝓻𝓼

Track · Piero Piccioni

𝓐𝓶𝓸𝓻𝓮 𝓶𝓲𝓸 𝓪𝓲𝓾𝓽𝓪𝓶𝓲

Track · Piero Piccioni

𝓜𝓲𝓼𝓼 𝓵𝓾𝓷𝓪 𝓼𝓹𝓮𝓬𝓲𝓪𝓵

Track · Piero Piccioni

𝓛𝓾𝓷𝓪, 𝓪𝓶𝓸𝓻𝓮 𝓮 𝓷𝓸

Track · Piero Piccioni

Nino Rota

Nino Rota

Like many fine concert music composers, such as <a href="spotify:artist:4kHtgiRnpmFIV5Tm4BIs8l">Serge Prokofiev</a>, <a href="spotify:artist:5p6TCmGe9IygOnvamIaZpA">Toru Takemitsu</a>, and <a href="spotify:artist:5bUj39bg0zEbRzjUEISMG9">Bernard Herrmann</a>, Rota created a unique film soundtrack style for which he became known worldwide. Rota was born into a musical family: one of his grandfathers was the pianist-composer Giovanni Rinaldi (1840-1895), and he studied the piano, on which he was to become known as a gifted improviser, with his mother. He also studied solfège and began to compose at the early age of eight. His oratorio L'infanzia di S. Giovanni Battista (The Infancy of Saint John the Baptist) for soloists, chorus, and orchestra was performed in Milan and Lille in 1923, when he was only 12. Rota entered the Milan Conservatory in 1923 and wrote his (unperformed) first opera Il principe porcaro in 1925, basing his original libretto on <a href="spotify:artist:5Nu0vpp9FCmFbaSZRnp4pl">Hans Christian Andersen</a>'s tale. About this time he established a lifelong friendship with <a href="spotify:artist:7ie36YytMoKtPiL7tUvmoE">Igor Stravinsky</a>. He studied privately with Pizzetti and Casella, and received his diploma at the Accademia di S. Cecilia in Rome in 1930. In the U.S., he studied at the Curtis Institute in Philadelphia from 1931-32, and received an arts degree at Milan University (1937). During this time he composed several minor chamber works. He became a teacher of harmony, solfège, and composition at the Taranto music school (1937-1938) and the Bari Conservatory (1939-1950) where he became director (in 1950). Rota's first film score was for Renato Castellani's Zazà in 1944. He then went on to create music for many classic films by Luchino Visconti (Rocco and his Brothers), Franco Zeffirelli (The Taming of the Shrew and Romeo and Juliet), Mario Monicelli, H. Cass (The Glass Mountain), Francis Ford Coppola (The Godfather, which received an Oscar for best score), King Vidor (War and Peace), René Clément (Plein soleil), Edward Dmytrik, C. Borghesio, M. Soldati (Le miserie del signor Travat), L. Zampa (Anni facili), M. Monicelli (La grande guerra), S.F. Bondarchuk (Waterloo), and Eduardo de Filippo (Napoli milionairia). His 80 scores for Federico Fellini extended from The White Sheik (1952) to The Orchestra Rehearsal (1979). He also composed the music for many theater productions by Visconti, Zeffirelli, and de Filippo. These film scores have a distinctive "Rota" sound made from clear, directly expressive melodies and rhythms, unusual progressions of tonal chords, and often an earthy humor. Of Rota's 10 operas, the exciting Il capello di paglia di Firenze (1946) and the philosophical allegory La visita meravigliosa (1970, The Marvelous Visitation) were the most successful. Of his five choral works, the Mysterium (1962) and La vita di Maria (1970) are considered especially fine in compositional technique. He also composed five ballets, including Amor di poeta (1978) for Maurice Bejart, many chamber and piano works, several symphonies, and other orchestral works including the brilliant Harp Concerto (1948). In February 1995, the Nino Rota Foundation was established at Fondazione Cini in Venice.

George Gershwin

George Gershwin

The great musical border crosser of the 20th century, George Gershwin excelled in the fields of concert music and popular song alike. The son of Jewish immigrants from Russia, he was born Jacob Gershvin in Brooklyn on September 26, 1898. His father ran a great variety of small businesses, and George, in the words of The New Grove Dictionary of Music, "excelled at street sports." He also studied the piano and was introduced to the European classics by his teacher Charles Hambitzer. Gershwin immersed himself in popular music after dropping out of school in 1914 and getting a job as a salesman for the music publisher Remick. He was influenced by ragtime and stride piano music, and as a songwriter enjoyed his first hit in 1920 with "Swanee," recorded by the leading vocalist of the time, <a href="spotify:artist:197mLk2Z62k4tvGxDL1pOa">Al Jolson</a>. Gershwin and his brother <a href="spotify:artist:6Yd6jR0AcWlI8JjJ954IDV">Ira</a> became one of the great creative teams in the history of music, each attuned to the considerable subtleties of which the other was capable. Their 1924 musical Lady, Be Good gained wide familiarity thanks to its hit song, "Fascinating Rhythm." George Gershwin also wrote works for the concert hall: Rhapsody in Blue (1924), best known in an orchestration by Ferde Grofé; the Piano Concerto in F of 1925; and 1928's An American in Paris have been audience favorites since their respective premieres. Probably Gershwin's most famous work was the uncategorizable Porgy and Bess; "folk opera" was an early attempt at description. Set among Black residents of Charleston, South Carolina, Porgy and Bess includes the song "Summertime," heavily recorded by both popular and classical artists. Gershwin continued to write popular songs and musicals; 1930 brought the successful show Girl Crazy and its catchy yet strikingly complex hit number "I Got Rhythm." The 1932 show Of Thee I Sing was especially notable for its crackling political satire. Gershwin went to Hollywood in 1936 to write for the RKO film studio. In early 1937 he began to complain of headaches, but doctors chalked his symptoms up to stress. In reality he was suffering from a brain tumor; he died on July 11, 1937. The question of Gershwin's status as a classical composer is a live and productive one. Some observers have pointed out the strong resemblances between his popular and concert idioms, and it is certainly true that for all his studies of the classics over the years, Gershwin rarely wrestled with the problem of large-scale form, which one might regard as classical music's most definitive quest. His concert pieces consist of sequences of great melodies -- perhaps expected in a piece called a "rhapsody" but less impressive for music aspiring to the status of "concerto" or even "tone poem," as An American in Paris was classified. Yet it was not only the American public that loved Gershwin's concert works. They were widely performed in Europe, where they shaped the jazz inflections that began to creep into the music of such composers as <a href="spotify:artist:17hR0sYHpx7VYTMRfFUOmY">Maurice Ravel</a>. Even the proponents of the difficult 12-tone system admired Gershwin's music: Gershwin hobnobbed with <a href="spotify:artist:60ju8DuNEmkdLw3ymddLje">Alban Berg</a> in Paris and played tennis with <a href="spotify:artist:5U827e4jbYz6EjtN0fIDt9">Arnold Schoenberg</a> in Hollywood. "It seems to me beyond doubt that Gershwin was an innovator," <a href="spotify:artist:5U827e4jbYz6EjtN0fIDt9">Schoenberg</a> wrote, and perhaps history will judge Gershwin as the first harbinger of a new music neither classical nor popular, drawing techniques from many sources and forms of musical knowledge. Who could ask for anything more? ~ TiVo Staff

Erik Satie

Compositor y pianista francés | Música del Romanticismo e impresionismo (1880 – 1925)

Niccolò Paganini

Compositor y violinista italianlo | Música culta (1797 – 1840)

Ludwig van Beethoven

Compositor, director de orquesta, pianista y profesor de piano alemán | Música clásica, romanticismo (1782 – 1827)

Wolfgang Amadeus Mozart

Compositor, pianista, director de orquesta y profesor de origen austriaco | Clasicismo musical, música de cámara, ópera y sinfonía (1761 - 1791)

Castlevania Sound Team

Banda de compositores japoneses | Banda sonora, música orquestal, chiptune, gothic rock (1997) ❗

Camille Saint-Saëns

Compositor, director de orquesta, organista, pianista y militar francés | Ópera, sinfonía, música clásica, concierto (1853 - 1921)

Giacomo Puccini

Giacomo Puccini

Giacomo Puccini was the most important composer of Italian opera after <a href="spotify:artist:1JOQXgYdQV2yfrhewqx96o">Verdi</a>. He wrote in the verismo style, a counterpart to the movement of Realism in literature and a trend that favored subjects and characters from everyday life for opera. On his often commonplace settings Puccini lavished memorable melodies and lush orchestration. It was around the turn of the 20th century that he reached his artistic zenith, composing in succession his three most popular and effective operas, La Bohème, Tosca, and Madama Butterfly. Young Giacomo took organ lessons early on from his uncle, Fortunato Magi, and later from <a href="spotify:artist:2zWFgibTM124mbAm2yFixb">Carlo Angeloni</a>. At ten, he sang in local church choirs and by age 14 was freelancing as an organist at religious services. His first compositions were for organ, often incorporating operatic and folk elements. By age 18, under the spell of <a href="spotify:artist:1JOQXgYdQV2yfrhewqx96o">Verdi</a>'s Aida, he decided he would study composition with a view to writing opera. At around this time, he composed his first large-scale work, a cantata, Preludio Sinfonico, for an 1877 competition. Other pieces came in the next few years, but none of significance. In 1880, Puccini entered the Milan Conservatory, where he studied for three years under <a href="spotify:artist:088fpww3Ae4U9cMZv5O6m8">Ponchielli</a> and <a href="spotify:artist:06GaeXANkmOHTl28xHSE0A">Bazzini</a>. While there, he wrote his first opera, Le villi, which he once more entered in a competition. Though he lost, <a href="spotify:artist:4QHgItlRsXcYDTm3eJoFDP">Arrigo Boito</a> and, more importantly, publisher Giulio Ricordi helped arrange a premiere in Milan on May 31, 1884. The work was enthusiastically received, and Puccini was on his way. Around this time the composer met Elvira Gemignani, wife of a merchant in Lucca. They carried on an illicit affair, and she gave birth to his son in 1886. When her husband died in 1904, the two were married. Puccini's next opera, Edgar, was poorly received at its 1889 premiere. Subsequent revisions failed to rescue it from its encumbering libretto. His next effort, however, Manon Lescaut, was a sensational success at its 1893 Turin premiere. Subsequent performances in Italy and abroad bolstered the composer's growing reputation. Puccini's next three operas confirmed his preeminence in Italian opera. La Bohème (1896), Tosca (1900), and Madama Butterfly (1904) were not immediately as successful as Manon Lescaut, but in time achieved greater acclaim. By the middle of the 20th century, they had become -- and remain today -- his most often performed and recorded works. Puccini suffered a creative dry spell for a time and was unable to finish another opera until the moderately successful La fanciulla del West (1910), which premiered in New York with <a href="spotify:artist:4xpgBZSojKNEQqQHXrwSXA">Toscanini</a> conducting and <a href="spotify:artist:2uB3KPGd1ZUGRsox7N1iH5">Caruso</a> singing the role of Johnson. His sluggishness of inspiration owed much to charges by his wife that he was having an affair with a servant girl, charges that drove the hapless, and as it turned out, innocent young girl to suicide in 1909. In 1913, Puccini accepted a lucrative commission from Vienna interests, which resulted in La rondine. Received warmly at its 1917 Monte Carlo premiere, it faded under the judgment it was the least of his operatic efforts. Puccini followed this disappointment with his trilogy of one-act operas, Il trittico -- comprised of Il tabarro, Suor Angelica, and Gianni Schicchi -- all premiered at the <a href="spotify:artist:14AbeD1op5phNiIVzzRVWr">Metropolitan Opera</a> in New York in 1918. Only the latter work, a comedy, was well received. While Puccini was working on his last opera, Turandot, he was diagnosed with throat cancer (1923). During radiation treatment in Brussels, he suffered a heart attack and died on November 29, 1924.

9) Modernismo (ca. 1900 – 1975)

Ruptura con la tonalidad, disonancia, exploración tímbrica. De Europa a EE. UU.

11) Minimalismo (ca. 1960 – presente)

Repetición hipnótica, cambios lentos, ritmo constante. De EE. UU. con Steve Reich y Philip Glass.

10) Neoclasicismo (ca. 1920 – 1950)

Relectura moderna del pasado clásico. Precisión formal con lenguaje del siglo XX. De Francia, Rusia y Alemania.

8) Impresionismo (ca. 1890 – 1910)

Ambientes difusos, escalas modales, acordes flotantes. De Francia, especialmente con Debussy.

7) Romanticismo (ca. 1820 – 1900)

Pasión, libertad formal, grandes orquestas, temas nacionales. Desde Alemania hacia toda Europa.

6) Clasicismo (ca. 1750 – 1820)

Equilibrio formal, claridad armónica, melodías simétricas. De Viena y Europa Central.

5) Música orquestal (ca. 1700 – presente)

Sonidos amplios, dinámicos y estructurados, desde la sinfonía al poema sinfónico. De Europa a nivel mundial.

3) Barroco (ca. 1600 – 1750)

Contrastes intensos, ornamentos, bajo continuo, nacen la ópera y el concierto. De Italia al resto de Europa.

4) Ópera (ca. 1600 – presente)

Voces teatrales, acompañamiento orquestal, dramatismo. Nacida en Florencia, Italia.

2) Renacimiento (ca. 1400 – 1600)

Polifonía vocal clara y equilibrada. Melodías elegantes. De las cortes europeas a las iglesias.

1) Música medieval (ca. 500 – 1400)

Canto gregoriano, modos antiguos, textura monódica y luego polifónica. De Europa cristiana.