Bread - If (lyrics)

Regine Velasquez - Ryan Cayabyab Medley (2007)

Johann Strauss II - Rosen aus dem Süden, Op. 388 (Walzer)

Rosen aus dem Süden (Roses From the South), Op. 388, is a waltz medley composed by Johann Strauss II in 1880 with its themes drawn from the operetta Das Spitzentuch der Königin (The Queen's Lace Handkerchief). Strauss dedicated the waltz to King Umberto I of Italy. The waltz ranks among the "Waltz King's" magnificent works and is still regularly performed today at the Vienna Philharmonic's New Year's Concert. The general mood of the piece is rather pensive but the final moments of the piece are utter joy and sparkling with Strauss happier tunes. Waltz section 1 is in F major and is graceful but pensive in mood. Waltz 2A is also in a more reflective mood but waltz 2B is more uplifting. The entire waltz 3 section is in G major while waltz section 4 is in E-flat major and has the climax with cymbals. A restless-sounding coda in E flat is soon replaced with a reprise of the waltz 3A. Waltz 1A has a brief show at the end before the waltz 4B is introduced, this time in the home key of F major. A series of descending chords marks the end of the waltz, underlined with a drum roll and final flourish. Performers: - Vienna Philharmonic - Daniel Barenboim (Conductor)

Marriage d' Amour - Zhanna Kovaleva

Mariage d' Amour - Zhanna Kovaleva, piano

I RISE TO THE TOP - Lani Misalucha w/ Filipino American Symphony Orchestra

Video courtesy of Filipino American Symphony Orchestra (FASO)    / @fasothefilipinoamericansym5010   I RISE TO THE TOP BY LANI MISALUCHA with Filipino American Symphony Orchestra (FASO) Conductor: Maestro Robert Shroder FASO's 15th Anniversary concert Prelude to Magic at the First Congregational Church of Los Angeles Date: November 11, 2023 COMPOSER: JHAY C, JANICE ARANAS

Matt Monro - All Of A Sudden

Martin Nievera - Ikaw (Lyric Video)

102,760 views Jul 9, 2022 #Ikaw #MartinNievera #LyricVideo

Click to SUBSCRIBE: http://bit.ly/polyeastrec For more info please visit PolyEast Records social sites: Facebook: https://bit.ly/PolyEastFB Twitter: https://bit.ly/PolyEastTWT Instagram: https://bit.ly/PolyEastIG Tiktok: https://bit.ly/PolyEastTiktok PolyEast Records is one of the top record companies in the Philippines. Headed by veterans in the music business, PolyEast's artists include top recording artists such as Martin Nievera, Bamboo, Sandwich, Glaiza De Castro, Sassa Dagdag, Chan Millanes, Drei Raña, Komiko, Deuces, Eighth of March, Izzeah, Selena Marie, Vanz Bonaobra,Angela, Anna Aquino, Marlo Mortel, Ron Macapagal, Benedict Cua, and TJ Monterde. Featuring the music of JP Noche, Zsara, Jaja, Joanne, Emman Mores, Quennie, Richelle, Janelle Seva, Floramie, Paula Fernandez, Iris, Raye Imperial, Meleena, Tim Canda, Tery T& JunArcilla, Hazel Velasco, Fidelity, Vic Facultad and Weather the Roots, Pino G, Aksento, Jurassic Pards, Himaya and Makatha www.polyeastrecords.com

Tony Bennett, Lady Gaga - The Lady is a Tramp .

40,325,022 views Oct 3, 2011 #TonyBennett #LadyGaga #TheLadyIsATramp

40,325,022 views • Oct 3, 2011 • #TonyBennett #LadyGaga #TheLadyIsATramp

Tony Bennett performing "The Lady is a Tramp" with Lady Gaga from Duets II: The Great Performances

What are the best sounding musical songs of German modern music?

Volker Eichener

Professor at Hochschule Düsseldorf

Try these ones:

Hannes Wader: Heute hier, morgen dort

Nena: Nur geträumt

Nina Hagen: Auf’m Friedhof

Herbert Grönemeyer: Bochum

Sarah Connor: Wie schön du bist

BAP: Verdamp lang her

Klaus Lage: Faust auf Faust

Achim Reichel: Aloha he

Namika: Lieblingsmensch

Xavier Naidoo: Dieser Weg

Udo Lindenberg: Mein Ding

Juli: Perfekte Welle

Udo Lindenberg: Honky Tonky Show

Klaus Lage: 1000 und 1 Nacht

Marius Müller-Westernhagen: Sexy

Nena: 99 Luftballons

Rammstein: Du hast

David Bowie: Helden

s

Laura & Anton - "La Vie En Rose"

Tony Bennett, Amy Winehouse - Body and Soul

49,137,087 views Sep 14, 2011 #TonyBennett #Body #AmyWinhouse

49,137,087 views • Sep 14, 2011 • #TonyBennett #Body #AmyWinhouse

Tony Bennett performing Body and Soul with Amy Winehouse from Duets II: The Great Performances

19 January: Saint-Saëns’ Cello Concerto No. 1 Was Premiered

By Georg Predota, Interlude

Saint-Saëns, 1875

On 19 January 1873, the French cellist, viola da gamba player and instrument maker Auguste Tolbecque premiered Camille Saint-Saëns’ Cello Concerto No. 1 in A minor, Op. 33, a work specifically composed for him. Tolbecque was a close personal friend, and the solo cellist of the Conservatoire orchestra. He was a composer himself, and also a published music historian. Tolbecque was influential in the performance of early music as he conducted research into historical instruments and their restoration.

Saint-Saëns as a boy, 1846

His compositions tend to be light in style and influenced by Mendelssohn and Schumann. Tolbecque retired before he was able to produce a recording, and he does not figure prominently in the review of the Saint-Saëns concerto published in the Revue et gazette musicale de Paris immediately after the premiere. “If Mr. Saint-Saëns should decide to continue in this vein,” the reviewer wrote, “which is consistent with his violin concerto, the Trio in F, and other works of lesser significance, he is certain to recover many of the votes that he lost with his all-too-obvious divergence from classicism and the tendencies in a number of his recent works. We must say that the Cello Concerto seems to us to be a beautiful and good work of excellent sentiment and perfect cohesiveness, and as usual the form is of greatest interest.” 

Auguste Tolbecque

At the time Saint-Saëns composed his first Cello Concerto he had already reached the age of thirty-seven. He was highly regarded in French musical circles, but as a composer he was still searching for his breakthrough work. He clearly possessed a mastery of compositional technique, and his ease, ingenuity, naturalness and productivity was compared to “a tree producing leaves.” Although he was living in a period of extreme musical experimentations, Saint-Saëns remained stubbornly traditional. Romain Rolland wrote in 1908, “He brings into the midst of our modern restlessness something of the sweetness and clarity of past periods, something that seems like fragments of a vanished world.” In his first Cello Concert, Saint-Saëns takes a deliberate stance away from what the critic calls “the (modernist) tendencies in a number of his recent works.” His unmistakable melodic charm and characteristic freshness and vitality are clothed in a formal clarity that undoubtedly accounts for the widespread popularity the 1st Cello Concerto enjoyed from the very onset. 

Opening of Saint-Saëns’ Cello Concerto No. 1

For Saint-Saëns, “form was the essence of art.” As he once wrote, “the music-lover is most of all enchanted by expressiveness and passion, but that is not the case for the artist. An artist who does not feel a deep sense of personal satisfaction with elegant lines, harmonious colors or a perfect progression of chords has no comprehension of true art.” As the anonymous critic had written after the premiere, “it should be clarified that this is in reality a “Concertstück,” since the three relatively short movements run together. The orchestra plays such a major role that it gives the work symphonic character, a tendency present in every concerto of any significance since Beethoven.” Saint-Saëns might have been looking at Franz Liszt, a composer he greatly admired, as the three movements of the concerto are interconnected. In fact, the principle theme is sounded in legato running triplets, and it appears in all movements of the concerto. 

Saint-Saëns, circa 1880

Sir Donald Francis Tovey later wrote “Here, for once, is a violoncello concerto in which the solo instrument displays every register without the slightest difficulty in penetrating the orchestra.” The orchestra clearly plays a role beyond that of mere accompaniment, “as this work never succumbs to the imbalance frequently encountered in cello concertos whereby for long stretches the soloist is seen bowing furiously but is scarcely heard.” As Saint-Saëns tellingly suggested, “Virtuosity gives a composer wings with which to soar above the commonplace and the platitudinous.” Uniting the lyrical quality of the cello with instrumental virtuosity and carful orchestral scoring produced a work valued by performers and loved by audiences. But what is more, a good many composers, including Shostakovich and Rachmaninoff considered Saint-Saëns’ Cello Concerto No. 1 to be the greatest of all cello concertos.

Saint-Saëns: 1. Cellokonzert ∙ hr-Sinfonieorchester ∙ Gautier Capuçon ∙ ...

Camille Saint-Saëns: 1. Cellokonzert a-Moll op. 33 ∙ Allegro non troppo – Allegro molto – Tempo I – Allegretto con moto – Tempo I – Un peu moins vite – Più allegro comme le premier mouvement – Molto allegro hr-Sinfonieorchester – Frankfurt Radio Symphony ∙ Gautier Capuçon, Violoncello ∙ Alain Altinoglu, Dirigent ∙ hr-Sinfoniekonzert ∙ Alte Oper Frankfurt, 14. Februar 2020 ∙

Stephen Hough-Rach 3rd, 1st Movement excerpt