MSO celebrates 98 years of music with grand concert

Guest conductor Olivier Ochanine and Filipino violinist Diomedes Saraza Jr.

By MANILA TIMES

Embarking on the illustrious journey towards its centennial milestone, the Manila Symphony Orchestra joyously commemorates its 98th anniversary with a captivating concert gala that will bring together the elegant and graceful sound of the violin and the majestic but lyrical timbre of the MSO.

Titled "Peña, Nielsen, & Tchaikovsky: The MSO 98th Anniversary Concert," this performance is scheduled on January 31 at 7 pm at the Carlos P. Romulo Auditorium in RCBC Plaza.

Headlining the concert is esteemed Filipino Violinist, Diomedes Saraza, Jr., a distinguished Juilliard graduate and the first Filipino violin soloist to grace Carnegie Hall. Saraza currently serves as the concertmaster of the MSO.

Guiding the orchestra with expertise is guest conductor Olivier Ochanine, the acclaimed winner of the 2015 Antal Dorati International Conducting Competition in Budapest, Hungary. Ochanine is also recognized as the former musical director of the Philippine Philharmonic Orchestra, which previously performed at Carnegie Hall alongside Saraza. The event promises to be an exciting and memorable musical experience that will leave concert-goers enthralled.

The repertoire for the evening includes Angel Peña's "Trinity," Carl Nielsen's Symphony No. 1, and Pyotr Ilyich Tchaikovsky's Violin Concerto No. 1, all masterpieces poised to elevate the senses and transport the audience to new musical heights.

You Don't Have To Say You Love Me ( 1966 ) - DUSTY SPRINGFIELD - Lyrics

Sorry for a mistyping: at 1:16, it's "you don't have to stay for ever" and not "you don't have to say". Thank our fan. You Don't Have To Say You Love Me ( 1966 ) - DUSTY SPRINGFIELD - Lyrics When I said I needed you You said you would always stay It wasn't me who changed but you and now you've gone away Don't you see that now you've gone And I'm left here on my own That I have to follow you and beg you to come home You don't have to say you love me just be close at hand You don't have to stay forever I will understand Believe me, believe me I can't help but love you But believe me I'll never tie you down Left alone with just a memory Life seems dead and quite unreal All that's left is loneliness there's nothing left to feel

Aaron Copland; Appalachian Spring Suite

Johann Strauss II: Emperor Waltz op. 437 | Musikverein Vienna

Alfred Eschwé, conductor | Conductor Viennese Johann Strauss Orchestra Recorded live on October 26, 2016 in the Golden Hall of the Wiener Musikverein. Synopsis: In the fall of 1889, Johann Strauss (Sohn) was invited to conduct a number of his own compositions at several festivals on the occasion of the opening of the new Berlin establishment "Königsbau" in the former "Poduktenbörse".

He was granted generous terms and provided him with an orchestra of 100 men. It tempted the Waltz King to perform once again in the metropolis on the Spree and, moreover, in such a noble setting. Strauss (Sohn) therefore wrote a new composition for these concerts, for which he chose the title "Hand in Hand". This should probably point to the good relations between Vienna and Berlin. Corresponding to the festive occasion, Johann Strauss (Sohn) wrote a large-scale waltz with an introduction, the beginning of which was perceived as "Prussian." All the more Viennese was the following waltz. Before the work was played for the first time, an important political event took place in Berlin: Emperor Franz Joseph paid a visit to Kaiser Wilhelm II. On this occasion, the alliance between Austria-Hungary and the German Reich was solemnly summoned. Probably this imperial meeting in Berlin offered the suggestion to give the new waltz by Johann Strauss (son) the title "Kaiser-Walzer". The premiere of the work took place under the direction of the composer on October 21, 1889 in Berlin's "Königsbau". The Vienna premiere followed on 24th November in the Golden Hall of the Musikverein. Johann Strauss (Sohn) performed his masterpiece even in the hometown itself to the audience. In both cases, there was a complete success. The special rank of the festive composition was immediately recognized, and at the same time it remained in the future. Text: Prof. Franz Maile

Church music classics from the Baroque to modern times

3,732 views Jan 14, 2024 ST.-BAVO-KATHEDRALE

Enjoy some highlights of spiritual choral and organ music from the Baroque to the modern era. The Collegium Vocale Gent under the direction of Philippe Herreweghe performs motets, mass movements and organ pieces by Monteverdi, Bruckner, Pärt and Messiaen. On the organ: Maude Gratton. The concert took place on September 22, 2020 at Saint Bavo’s Cathedral Ghent. (00:00) Coming on stage (00:22) Arvo Pärt: Annum per annum (09:09) Claudio Monteverdi: “Kyrie” from Missa a quattro voci da cappella (12:55) Anton Bruckner: Locus iste (15:43) Claudio Monteverdi: “Sanctus-Benedictus” form Missa a quattro voci da cappella (16:17) View of Jan van Eyck's “Adoration of the Mystic Lamb” (17:12) View of the Ghent altarpiece (19:24) Claudio Monteverdi: “Agnus Dei” from Missa a quattro voci da cappella (21:59) Anton Bruckner: Os justi (26:19) Arvo Pärt: For Jan van Eyck (29:12) Olivier Messiaen: Dieu parmi nous Maude Gratton | ORGAN Philippe Herreweghe | CONDUCTOR COLLEGIUM VOCALE GENT Annelies Brants | SOPRANO Magdalena Podkascielna | SOPRANO Joowon Chung | SOPRANO Cécile Pilorger | ALTO Alexander Schneider | ALTO James Hall | ALTO Tore Denys | TENOR Benedict Hymas | TENOR Vincent Lesage | TENOR Jimmy Holliday | BASS Robert van der Vinne | BASS Bart Vandewege | BASS This concert is not dedicated to a great musician, but to a great painter, with selected church works from the early Baroque to modern times. The Collegium Vocale Gent under the direction of Philippe Herreweghe sings in Saint Bavo’s Cathedral Ghent, where the world-famous monumental altar by the van Eyck brothers stands with its central painting “Adoration of the Mystic Lamb”. In 2020, the first year of the Covid pandemic, the Belgian city of Ghent celebrated the Flemish master of the late Middle Ages Jan van Eyck (born around 1390-1441). A commission in his honor went to the Estonian composer Arvo Pärt. His work “For Jan van Eyck” was inspired by the 18 biblical scenes on the altarpieces. Pärt studied the music of the Middle Ages extensively. He wrote his well-known mystical organ work “Annum per annum” (Year by Year) in 1980 for the 950th anniversary of the laying of the foundation stone of Speyer Cathedral. This five-part work refers to the sequence of the Holy Mass, which includes Kyrie, Gloria, Credo, Sanctus and Agnus Dei. It is played at the opening of the concert. “Kyrie”, “Sanctus-Benedictus” and “Agnus Dei” are taken from the four-part mass “Missa a quattro voci da cappella” by Claudio Monteverdi (1567-1643). The Italian composer is considered the “inventor” of opera and wrote world-famous vocal works. His “Missa a quattro voci da cappella” was published posthumously in 1650 in a collection of spiritual music. The exact year of composition is unknown. Two works by Anton Bruckner are on the program: his Latin motets “Locus iste” (This place), in C major and “Os Justi” (The mouth) in the church key of “Lydian”. He composed the four-part motet “Locus iste”, in 1869 for the inauguration of the votive chapel in the “Mariä-Empfängnis-Dom” in Linz, where he worked as organist for 10 years. It is a “gradual” prayer that is sung after the first reading in the Catholic liturgy. Today, this simple piece of music is very popular with choirs. Ten years later, he composed his motet “Os justi” with Gregorian chants. Bruckner himself played the organ at the premiere in 1879. Arvo Pärt’s world premiere “For Jan von Eyck”, the penultimate piece in this concert, is actually intended for 40 singers and organ. However, due to Covid restrictions in 2020, the founder and director of Collegium Vocale Gent, Philippe Herreweghe, had to make do with twelve singers, meaning he only had three singers for each voice part, which presented a particular challenge for the choir. Olivier Messiaen’s “Dieu parmi nous” (God among us) is the last movement of the organ work “La Nativité du Seigneur” (The Birth of the Lord) from 1936. This part of the “nine meditations” once again summarizes the stages of Jesus’ life from his birth to the resurrection and concludes the concert.

Bert Kaempfert - Wonderland By Night (1960) 4K

Bert Kaempfert and his Orchestra performing "Wonderland By Night", released originally in 1960. It reached #1 in the US Billboard Hot 100, #1 in New Zealand Charts, and #5 in the US Billboard Hot R&B Sides. "Wonderland By Night" is an instrumental song that served as the theme of a film about Germany. Bert Kaempfert was a German-born multi-instrumentalist who worked with popular artists such as Elvis Presley, Frank Sinatra, and the Beatles. He produced the Beatles' first session in 1961, in which the Beatles backed Tony Sheridan, and Kaempfert's influence continued to inspire them. Kaempfert started to achieve success with "Wonderland by Night," and his rise to the top began in 1959, when he was hired as a staff producer for Polydor Records in Germany. The song was particularly appealing to more mature listeners, and Decca Records, which made an agreement with Polydor to distribute Kaempfert's releases in America, worked to assemble an album around the song. As a result, many of the tracks that rounded out the album, including the Kaempfert original "Lullaby for Lovers" and his version of the standard "La Vie En Rose," were filler. Bert Kaempfert continued to chart albums through 1971. He died at the age of 56 in June 1980 in Switzerland.

The World We Knew (Over And Over)

14,176,648 views Jul 30, 2018

14,176,648 views • Jul 30, 2018

Provided to YouTube by Universal Music Group The World We Knew (Over And Over) · Frank Sinatra The World We Knew ℗ 1967 Frank Sinatra Enterprises, LLC

Glenn Miller - Chattanooga Choo Choo - Sun Valley Serenade (1941) HQ

13,501,926 views Aug 17, 2009

Sun Valley Serenade is the first of the only two movies featuring The Glenn Miller Orchestra (the other is 1942's Orchestra Wives). Besides "Chattanooga Choo Choo", other Glenn Miller tunes in the film are "Moonlight Serenade", "It Happened in Sun Valley", "I Know Why (and So Do You)", and "In the Mood".

THE LAST WALTZ - (ENGELBERT HUMPERDINCK / Lyrics)

7,248,325 views Nov 4, 2018

7,248,325 views • Nov 4, 2018

Scene from the movie Cinderella (2015)

Four Seasons ~ Vivaldi

256,043,945 views Jan 31, 2011

Antonio Vivaldi - Four Seasons Budapest Strings Bela Banfalvi, Conductor You can get the exact album I have here on Amazon: http://amzn.to/1I2dNNu (affiliate). Here are the times for the specific movements: Spring 0:00 Summer 10:31 Autumn 20:59 Winter 32:48 I hope you love this recording! It is my favorite one I've heard yet. Happy Listening!

Let’s meet in the Rat hole! Franz Liszt and Marie d’Agoult

by Georg Predota  

“She was beautiful, very beautiful, a Lorelei: slender, of lofty bearing, enchantingly graceful and yet dignified in her movements, her head proudly raised, with an abundance of fair tresses, which waved over her shoulders like molten gold, a regular, classic profile, which stood in strange and interesting contrast with the modern breath of dreaminess and melancholy that was spread over her countenance; these were the general features which rendered it impossible to overlook her in the salon, the concert-room, or the opera-house, and these were enhanced by the choicest toilets, the elegance of which was surpassed by few, even in the salons of the Faubourg St. Germain.

Portrait of Marie d’Agoult by Henri Lehmann, 1843

That fantastic dreams were hidden behind the purity of her profile, and passion, burning passion, under the soft melancholy of her expression, was known to but a few, at the time that her connection with the young artist began.” The lady in question — described by the early Liszt biographer Lina Ramann — was none other than Marie Catherine Sophie d’Agoult. Born Marie Flavigy in Frankurt am Main, she was sent to Paris at the age of sixteen. Once she had finished her education at the Sacré Coeur, and after a torrid affair with the poet Alfred de Vigny, she married the Comte Charles d’Agoult in 1827. He was fifteen years her senior, an ill-mannered and hardly functioning war veteran, and love was simply not part of the equation. They did have two children, but by and large, they conducted an open marriage. That left Marie — who described herself as six inches of snow covering twenty feet of lava — with plenty of time to enjoy the sparkling gaiety of the salon. 

In early 1833, the Marquise Le Vayer invited Marie to sing in a women’s choir. The guest of honor was Franz Liszt. In her memoirs, Marie details this first encounter: “I use apparition because I can find no other word to describe the sensation aroused in me by the most extraordinary person I had ever seen. He was tall and extremely thin. His face was pale and his large sea-green eyes shone like a wave when the sunlight catches it. His expression bore the marks of suffering. He moved indecisively and seemed to glide across the room in a distraught way, like a phantom for whom the hour when it must return to the darkness is about to sound. Franz spoke with vivacity and with an originality that awoke a whole world slumbering in me. The voice of the young enchanter opened out before me a whole infinity, into which my thoughts were plunged and lost. Between us there was something at once very young and very serious, at once very profound and very serious.”

Marie was six years older than the young enchanter, and by the early summer of 1833 their affair was in full bloom. Liszt visited her in Croissy, and Marie came to Paris where they secretly met in a small apartment affectionately referred to as the “rat hole.” The chemistry was unmistakable, and by May 1833 she wrote, “Sometimes I love you foolishly, and in these moments I comprehend only that I could never be so absorbing a thought for you as you are for me.”

Franz Liszt, 1847

Liszt’s declaration of love was not far behind, and burning with desire he writes: “How ardent, how glowing on my lips is your last kiss! Marie, Marie, let me repeat that name a thousand times. It lives within me, burns me and threatens to consume me. I am not writing you; I am with you. Oh for an eternity in your arms. There is heaven and hell, and everything else, inside you, yes, inside you. Let me be wild and crazy. I am beyond help.” Concordantly, Liszt introduced himself to the public as a mature and original composer with his poetic Harmonies poétiques et religieuses and a set of three Apparitions. However, these early days of courtship did not run entirely smoothly. Some of the love letters he had written to Adèle de Laprunarède following their winter tryst in the Savoy came into Marie’s hands and sparked a violent jealous row. Although he pleaded with her to accept the letters as immature follies, Marie never really forgave him. In addition, Marie’s six-year-old daughter Louise fell ill, and within a couple of days died from massive inflammation of the brain.

It is unclear whether Marie considered this tragedy a punishment for her illicit affair with Franz, but in her state of depression and despair, in which she contemplated suicide, she refused to answer his calls or his letters. After nearly six months of being unable to see Marie, Franz wrote her a letter announcing his intention of leaving France, and expressing his desire to see her one last time. Marie relented and travelled to Paris for an emotional reunion in March of 1835. Blandine, their first daughter, was born nine months later.

Sweetest Harmony

by Hermione Lai  January 11th, 2024

Harmony in music is easy; you take two or more notes and play them together. Of course, all this developed into a complex system of chords and rules. In theory, harmony among nations and people should also be a simple concept, but as we all know, it gets rather complicated in practice.

For me personally, it’s such an uplifting thought that countless people, particularly in the arts and music, are trying to promote peace and harmony through shared performances. Take for example, the “Harmony of Nations Baroque Orchestra,” a period-instrument group of young musicians from all over Europe. The 20-founding members are from 14 different Nations, including England, France, Germany, Greece, Hungary, Italy, Norway, Poland, Portugal, Spain, Sweden, Switzerland, and Wales.

Harmony of Nations Orchestra

They speak different languages and celebrate an incredible diversity of cultural heritage. Many have lived and studied in countries other than their own, but what unites them is a common musical heritage and a desire for social harmony. And it is easy to hear the delicious result in their delight in producing the sweetest harmonies. 

In 1695, the composer Georg Muffat wrote, “Weapons of war and their use are something I am unable to engage with. I busy my time with notes, strings, and sounds. I work in the cause of harmony, mixing the sounds of France, Germany, and Italy and attempting thus to prevent wars and to serve the cause of peace among nations and their striving for peace.’’

Georg Muffat

Muffat’s words are as relevant today as they were over 300 years ago. He was among the most cosmopolitan composers of the seventeenth century, growing up in the Duchy of Savoy and Alsace, regions subject to political ambitions of France and the Holy Roman Empire.

His “Florilegium Secondum” (Second Garland of Flowers) of 1698 contains dances in what he calls “a more sweet harmony.” Here, the composer takes us on a musical tour of European national musical styles and conventions, all the way from Spain to Holland, England, Italy, and France. 

The Austrian composer, violinist, and silvologist—a biological scientist studying the natural ecosystems of forests and woodlands, Carl Ditters von Dittersdorf was born in 1739. He was a prolific and versatile contemporary of Haydn and Mozart, and he already knew that engagement and dialogue were the most important elements in establishing harmony among nations.

Portrait of Carl Ditters von Dittersdorf by Heinrich Eduard Wintter

National musical differences have long stimulated the creative interest of artists. For his “Symphony in the Style of Five Nations” Dittersdorf presents a fairly predictable line-up. We find the Germans, the Italians, the French, the English and the Turks. But Dittersdorf adds a little twist. He actually composes parodies of musical tastes and perhaps characters.

The Germans get things started, and all with a good bit of earnestness and determination. The Italians are portrayed as bombastic, the French as courtly and old-fashioned, the English as musically naïve, and the Turks with vigorous rhythmic intensity. The point of parody is not to insult but to invite dialogue about differences. Stand-up comedians do this all the time. In the end, Dittersdorf brings everybody together in a Finale that represents a kind of musical equivalent of the European Union. 

If you ask me personally, the two biggest factors in achieving sweet harmony among nations are education and enlightenment. The sheer amount of misinformation floating around us today is pretty staggering. Education won’t give you the answers, but it will teach you how to ask meaningful and enlightened questions about any subject.

Orchestra of the Age of Enlightenment

Taking a long and hard look at what constituted an “orchestra” led to the formation of the OAE, the Orchestra of the Age of Enlightenment, in 1986. They threw out the rulebook on conducting and specializing in repertoires of a particular area. They picked up period instruments and kept questioning, adapting, and inventing.

The real challenge was to turn eccentric idealists into a coherent group. So, they agreed on how to organise and remain experimentalists. They welcomed new talents and kept on exploring performance formats, rehearsal approaches, and musical techniques. If only we could get politicians to approach their responsibilities in such an enlightened manner. 

If you believe that music cannot bring people together, think again. Just ask Maestro Paavo Järvi and the Deutsche Kammerphilharmonie Bremen. The orchestra is considered at the forefront of interpreting the Classical and Romantic repertoire. Committed to colourful and transparent performances, the ensemble has captivated audiences around the world.

Maestro Paavo Järvi

But here is the unusual part. All 41 members of the orchestra enjoy brilliant and highly successful solo careers. From the very beginning, the musicians wanted to break new musical grounds and make key decisions on all musical issues, including performance repertory, via a democratic process. Every member of the orchestra is also a vested shareholder, and they are jointly responsible for the economic success of the business as a whole.

Collaborating with the Grammy Award-winning conductor Paavo Järvi, the result has been called sensational. The orchestra is responsive, virtuosic and alert, and Järvi’s readings are energetic, often thrilling and thoughtful, yet also driving and objective. Based on mutual respect, artistic chemistry and a profound and intuitive understanding between conductor and orchestra, isn’t it amazing that so many highly skilled individuals come together to produce the sweetest harmony in complete agreement—after much deliberation and discussion, I am sure. 

Classical music is not locked-up in history but as relevant as ever because it deals with fundamental human issues. And harmony amongst nations and people is an eternal, and sometimes it seems hopeless quest. But that doesn’t mean that musicians, artists, and thinkers aren’t continuing to promote peace and harmony.

Daniel Barenboim © Peter Adamik

The pianist and conductor Daniel Barenboim is simultaneously a citizen of Argentina, Israel, Palestine, and Spain. In 1999, he teamed up with the Palestinian American academic, literary critic, and political activist Edward Said. Together they established the West-Eastern Divan orchestra as an attempt to promote understanding between Israelis and Palestinians. Bringing together young classical musicians from Israel, the Palestinian territories, and Arab countries to study and perform, this initiative advocates a peaceful and fair solution to the Arab-Israeli conflict.

Barenboim stated, “The Divan is not a love story, nor a peace story. It has very flatteringly been described as a project for peace. It isn’t. It’s not going to bring peace, whether you play well or not so well. The Divan was conceived as a project against ignorance… I am not trying to convert members of the Divan to a certain point of view, but create a platform where the two sides can disagree and not resort to knives.”

Well, Barenboim was correct, as the West-Eastern Divan Orchestra has certainly not brought peace to the region. In fact, Barenboim is now being viciously attacked for trying to advocate peace, harmony, and understanding. As elsewhere, however, the voices of reason, enlightenment, and knowledge will never be silenced when it comes to art and music.

Vivaldi’s Four Seasons and the Impact of Climate Change

by Hermione Lai , Interlude

The Four Seasons, the fabulous collection of four violin concerti by Antonio Vivaldi have topped the Classical Music charts for decades on end. It has become part of modern culture, and the music is reshaped and arranged into different musical styles and adapted for solo instruments other than violin.

Portrait of Antonio Vivaldi

Vivaldi gave each concerto the title of a specific season, and his music imitates the sounds of barking dogs, warbling birds, the icy paths across frozen water, and even the blazing temperatures of summer. It’s a delightful and charming nature painting in music. The music was composed roughly 300 years ago, but times are changing, and so is the climate. 

Simone Candotto, the solo trombonist of the Hamburg Elbphilharmonie Orchestra, was born in a town near Venice, Vivaldi’s place of work. And we all know that Venice is gradually sinking into the sea because of the consequences of climate change. As such, Candotto decided to let people hear the consequences of climate change by re-composing The Four Seasons using climate data.

Simone Candotto

He engaged a team of software developers and music arrangers, and with the aid of a specific algorithm, he modified the source material to reflect the consequences of climate change. Much of that algorithm is based on 300 years of climate data, incorporating the increase in greenhouse gas carbon dioxide over the past centuries to the present day.

You can hear these changes very clearly in the music, as the summer motif already sneaks into the score in the spring. The seasons are clearly changing, and the rise of the global CO2 curve results in the notes becoming longer. Candotto explains, “It’s a big deal because I think it has an impact. But above all, there are the themes from the other seasons that come in so imperceptibly. That gives the impression that things are no longer the same as they used to be.” 

Since there are 15 percent fewer birds chirping in the trees than in the time of Vivaldi, the algorithm uses 15 percent less of the bird motifs to indicate the extinction of species. Extreme weather is sharply increasing, and Vivaldi arrives in the present.

You can hear the solo violin continuing to play part of the Vivaldi “Winter” concerto while the orchestra sinks into dissonant lethargy. It’s almost like a metaphor, with people continuing to live as before while nature sinks into chaos due to man-made climate change.

The idea of using climate data to recompose Vivaldi’s “The Four Seasons” has also been taken up by composer Hugh Crosthwaite and Monash University’s Climate Change Communication Research Hub. This creation looks to portray a future where the world has failed to act on global warming. 

This reworking also features AI algorithms based on climate predictions for the year 2050. It is a musical design system “that combines music theory with computer modelling to algorithmically generate countless local variations of the Vivaldi composition.” That is, it can model climate predictions for every location on the planet.

Looking at climate data, the algorithm alters the musical score to account for predicted changes in rainfall, biodiversity, sea-level rise, and extreme weather events for the location of performance. In some locations, storms will be more intense, the sea level will be dangerously rising, and wildlife will disappear.

There is no doubt that climate change is unravelling our seasons, and Spanish music director Hache Costa has adopted Vivaldi’s most famous work to reflect the grim reality of global warming. “If someone were to compose The Four Seasons from an absolutely realistic perspective,” the composer writes, “the music would be much more aggressive and grittier.” 

Costa projects the effects of global warming by adding prominence and drama to the summer concerto while shortening the other three. This re-composition is accompanied by projected images of wildfires and other effects of climate change, including drought. As Costa explained, “I would love the audience to feel really bothered at some point by becoming truly aware of what is happening.”

Max Richter

Award-winning composer and pianist Max Richter is not attempting to shock his audience, but he is actually advocating dialogue instead. Classically trained, Richter graduated in composition from the Royal Academy of Music and studied with the legendary Italian composer Luciano Berio. He loved the Vivaldi original as a child, but hearing the music abused for various reasons and causes, “it becomes an irritant.”

So, he decided to recompose the music, and his “New Four Seasons” weaves and loops the music to become a conversation between instruments and also a dialogue between the two composers. “There are sections where I’ve left Vivaldi alone,” he explains, “and other bits where there is basically only a homeopathic dose of Vivaldi in completely new music.” When it comes to climate change, we need a global dialogue with everybody pulling at the same string, and hopefully, Vivaldi can bring us all together.

Barenboim - "El amor brujo" (Danza ritual del fuego) Falla

Daniel Barenboim conducts Manuel de Falla's "El Amor Brujo" (Danza ritual del fuego) with the Chicago Symphony Orchestra from the Kölner Philharmonie (Germany)

FILIPINO CLASSIC SONGS - Winning Piece By Harvard Westlake Choir

FILIPINO CLASSIC SONGS - Winning Piece By Harvard Westlake Choir.. Ginalingan Eh! Paru-Parong Bukid is a traditional Filipino folk song which originated from "Mariposa Bella", a Filipino song in Spanish originated in the 1890s. The song "Mariposa Bella" was composed during the time of American invasion of the Philippines. During American occupation of the Philippines in 1898, the Spanish speaking Filipinos commenced including the song itself. In 1938, "Mariposa Bella" was totally forgotten when "Paru-Parong Bukid" was released as a soundtrack of a film of the same title. The Tagalog rendition was composed by Felipe De Leon. PARU-PARONG BUKID LYRICS: Paruparong bukid na lilipad-lipad Sa gitna ng daan papaga-pagaspas Isang bara ang tapis Isang dangkal ang manggas Ang sayang de kola Isang piyesa ang sayad May payneta pa siya — uy! May suklay pa man din — uy! Nagwas de-ohetes ang palalabasin Haharap sa altar at mananalamin At saka lalakad nang pakendeng-kendeng. May payneta pa siya — uy! May suklay pa man din — uy! Nagwas de-ohetes ang palalabasin Haharap sa altar at mananalamin At saka lalakad nang pakendeng-kendeng. Paruparong bukid na lilipad-lipad Sa gitna ng daan papaga-pagaspas Isang bara ang tapis Isang dangkal ang manggas Ang sayang de kola Isang piyesa ang sayad May payneta pa siya — uy! May suklay pa man din — uy! Nagwas de-ohetes ang palalabasin Haharap sa altar at mananalamin At saka lalakad nang pakendeng-kendeng. May payneta pa siya — uy! May suklay pa man din — uy! Nagwas de-ohetes ang palalabasin Haharap sa altar at mananalamin At saka lalakad nang pakendeng-kendeng. Source: Musixmatch Songwriters: Traditional