@josefaneitep: Esos merengues y esos recuerdos #Mcbo #vanezuela🇻🇪 #paratii #merenguebomba🔥🎶♥️

José Faneite

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Sunday 20 April 2025 03:35:37 GMT

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Comments

Ronald :

Primoo pero ahora sube el video bailándola 💪🏻😂

2025-04-20 17:05:14

1

🦋🩷S T E F F Y 🪗♈ :

cuñadooooo😊

2025-04-20 14:20:49

3

Anthuan :

Bendición

2025-04-23 15:41:12

1

Claudiataty :

negro bello ☺️

2025-04-20 16:56:50

1

/> :

A la escuela no creo . Amazon puede ser 🤣🤣

2025-04-20 15:39:06

1

FANEITE ANGEL :

tioo bendición 🙏😎

2025-04-20 03:58:19

1

maribel coromoto perozo :

q bello negro bendiciones José Ángel 🥰🥰

2025-04-20 10:45:25

1

María de Jesús 💕 :

🥰🥰🥰🥰🥰🥰

2025-04-21 12:58:18

1

Carmen Victoria :

😅

2025-04-20 19:16:38

1

La morena :

🥰🥰🥰🥰🥰

2025-04-20 07:22:44

1

𝓥🍒 :

😍😍😍😍😍😍

2025-04-20 04:03:48

1

licda Faneite :

🥰🥰🥰

2025-04-20 03:39:18

1

berli_zabaleta2025 :

Una chica pa mi negro🥰

2025-04-22 21:23:09

1

Christybell García 🫶🏻 :

Mi negro 😍😘😘😘

2025-05-22 04:06:21

1

Auri Rodriguez :

Dios te bendiga

2025-04-20 13:42:01

1

To see more videos from user @josefaneitep, please go to the Tikwm homepage.

Other Videos

That’s too dang BAD!🤣 #imtired #tiredmom #oversizedshirt #ferral #OOTD

That’s too dang BAD!🤣 #imtired #tiredmom #oversizedshirt #ferral #OOTD

أستغفروا🌷#قران #quran #المنشاوي #تلاوة_خاشعة

أستغفروا🌷#قران #quran #المنشاوي #تلاوة_خاشعة

yes.

#نجران

Monti’s Csárdás (1904) is a rhapsodic concert work modeled on the Hungarian dance of the same name—slow, yearning lassú sections alternating with fiery friss episodes. It was originally written for violin with piano (also issued for mandolin and piano) and almost immediately proliferated in countless arrangements—from solo with orchestra to wind band and more—helping it become one of the most-performed violin encores of the last century. Formally, the piece unfolds in a string of contrasted “mini-movements” marked by abrupt tempo and character changes: an opening Largo in D minor; a first Allegro vivo; Allegretto and Molto più vivo spurts; a reflective Meno, quasi lento; and a final acceleration to a brilliant close. Many editions present seven such sections, with the tonal plan moving chiefly from D minor to D major and back—ending triumphant in D major. Performers are expected to use generous rubato and vivid dynamics (pp–ff). If you’re following the widely circulated Carl Fischer/Czerwonky edition (the one most students encounter), you’ll see these landmarks clearly on the score: Largo at the start (2/4, D minor), the first Allegro vivo appears later on the first page; Allegretto and Molto più vivo drive the virtuoso passagework (rapid scales, off-string sautillé indicated in the part); Meno, quasi lento arrives on p. 6 with a hushed cantabile before the final Allegro vivo dash to the finish. Editors often add performance notes like “sautillé at middle of bow,” underscoring the showpiece character. (Measure numbers vary by edition, so most analyses reference these sectional tempo headings.) Technically, Csárdás mixes lyrical portamenti and expressive slides in the lassú with quick spiccato/sautillé, left-hand agility, and occasional double-stops in the friss. Some editions highlight artificial harmonics in the slow reprise (often placed in the Meno, quasi lento) for a glassy, voice-like color two octaves above the stopped pitch—a coloristic flourish that has become part of the piece’s signature sound. Context & reception: Monti (a Neapolitan violinist/mandolinist who worked in Paris and conducted the Lamoureux Orchestra) wrote light stage works and salon pieces, but Csárdás eclipsed them all. Its hybrid Italian-Gypsy-Hungarian idiom made it a natural for both classical recital stages and “Gypsy” (Roma) ensembles, and it remains ubiquitous in recordings and live encores—from traditional stylists to crossover virtuosi such as Roby Lakatos. A few curiosities: (1) The title is often misspelled “Czardas,” but the Hungarian is Csárdás with accents. (2) Although frequently assumed to be “folk music,” the piece is an original salon rhapsody that borrows the dance’s style, not a direct folk transcription. (3) It exists in an unusually large variety of instrumentations (mandolin, clarinet, flute, sax ensembles, winds, strings), reflecting its instant popularity and adaptability; IMSLP lists dozens of historical arrangements. (4) Typical duration is about 4–5 minutes, but rubato and tempo choices can stretch or compress it dramatically—part of its charm as a showpiece. #classicalmusic #comedia #violin #classical

Monti’s Csárdás (1904) is a rhapsodic concert work modeled on the Hungarian dance of the same name—slow, yearning lassú sections alternating with fiery friss episodes. It was originally written for violin with piano (also issued for mandolin and piano) and almost immediately proliferated in countless arrangements—from solo with orchestra to wind band and more—helping it become one of the most-performed violin encores of the last century. Formally, the piece unfolds in a string of contrasted “mini-movements” marked by abrupt tempo and character changes: an opening Largo in D minor; a first Allegro vivo; Allegretto and Molto più vivo spurts; a reflective Meno, quasi lento; and a final acceleration to a brilliant close. Many editions present seven such sections, with the tonal plan moving chiefly from D minor to D major and back—ending triumphant in D major. Performers are expected to use generous rubato and vivid dynamics (pp–ff). If you’re following the widely circulated Carl Fischer/Czerwonky edition (the one most students encounter), you’ll see these landmarks clearly on the score: Largo at the start (2/4, D minor), the first Allegro vivo appears later on the first page; Allegretto and Molto più vivo drive the virtuoso passagework (rapid scales, off-string sautillé indicated in the part); Meno, quasi lento arrives on p. 6 with a hushed cantabile before the final Allegro vivo dash to the finish. Editors often add performance notes like “sautillé at middle of bow,” underscoring the showpiece character. (Measure numbers vary by edition, so most analyses reference these sectional tempo headings.) Technically, Csárdás mixes lyrical portamenti and expressive slides in the lassú with quick spiccato/sautillé, left-hand agility, and occasional double-stops in the friss. Some editions highlight artificial harmonics in the slow reprise (often placed in the Meno, quasi lento) for a glassy, voice-like color two octaves above the stopped pitch—a coloristic flourish that has become part of the piece’s signature sound. Context & reception: Monti (a Neapolitan violinist/mandolinist who worked in Paris and conducted the Lamoureux Orchestra) wrote light stage works and salon pieces, but Csárdás eclipsed them all. Its hybrid Italian-Gypsy-Hungarian idiom made it a natural for both classical recital stages and “Gypsy” (Roma) ensembles, and it remains ubiquitous in recordings and live encores—from traditional stylists to crossover virtuosi such as Roby Lakatos. A few curiosities: (1) The title is often misspelled “Czardas,” but the Hungarian is Csárdás with accents. (2) Although frequently assumed to be “folk music,” the piece is an original salon rhapsody that borrows the dance’s style, not a direct folk transcription. (3) It exists in an unusually large variety of instrumentations (mandolin, clarinet, flute, sax ensembles, winds, strings), reflecting its instant popularity and adaptability; IMSLP lists dozens of historical arrangements. (4) Typical duration is about 4–5 minutes, but rubato and tempo choices can stretch or compress it dramatically—part of its charm as a showpiece. #classicalmusic #comedia #violin #classical

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