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