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

Frank Sinatra - The World We Knew (1967)

Lyrics : Over and over I keep going over the world we knew Once when you walked beside me That inconceivable, that unbelievable world we knew When we two were in love And every bright neon sign turned into stars And the sun and the moon seemed to be ours Each road that we took turned into gold But the dream was too much for you to hold Now over and over I keep going over the world we knew Days when you used to love me And every bright neon sign turned into stars And the sun and the moon seemed to be ours Each road that we took, it turned into gold But the dream was too much for you to hold Now over and over I keep going over the world we knew Days when you used to love me Over and over I keep going over the world we knew

Aaron Copland - his music and his life

 

Aaron Copland managed the difficult feat of becoming a popular classical composer while retaining the respect of critics and the ‘serious musical establishment'.

Born in a humble street in Brooklyn, the son of Lithuanian immigrants, Copland is generally regarded as the first indisputably great American composer. The piano came easily to him and, after he’d graduated from the local high school, he had lessons in harmony and counterpoint from the eminent (though conservative) teacher and composer Rubin Goldmark. His first published piece, The Cat and the Mouse, appeared in 1920.

He was able to scrape together enough to go to Paris to study with the doyenne of European teachers, Nadia Boulanger. Here, during his four years at the New School for Americans at Fontainebleau (1921-25), Copland was introduced to an enormous range of musical influences, all of which he was encouraged to absorb: jazz, the neo-classicism of Stravinsky and the whimsicality of Les Six made a particularly strong impression on him and colour the first period of his mature compositions. With a thorough grounding in composition and orchestration under his belt, he returned to America where he became involved in a wide range of musical activities, working as a pianist in a hotel, as a lecturer and as an organiser of various musical societies, as well as composing.

Conductor, publisher and patron of music Serge Koussevitzky became an influential champion of his music throughout his tenure as conductor of the Boston Symphony Orchestra, an incalculable boost to Copland’s growing reputation. Between 1930 and 1936 he entered a phase of experimental and dissonant writing (Variations and the Piano Sonata, for instance, are difficult works) before discovering the power of American folk idioms. Here his music is as essentially American as Mussorgky’s or Stravinsky’s is Russian – El Salón México, the ballets Billy the Kid, Rodeo and Appalachian Spring are as American as apple pie. His Lincoln Portrait, using texts from Lincoln’s speeches and letters, has been performed (for better or worse, but generally worse) by world leaders. His patriotic Fanfare for the Common Man (1942) has been used for the opening of every type of formal ceremony. Some of Copland’s film music (The Red Pony, for example, Our Town and Of Mice and Men) is among the most distinguished ever written (he won an Oscar in 1950 for the score of The Heiress). In a nutshell, Copland managed the difficult feat of becoming a popular classical composer while retaining the respect of critics and the ‘serious musical establishment’. In his later works, Copland reverted to serial techniques, writing in a far less approachable, more austere manner.

Whatever one thinks of his virtually unknown middle- and late-period music, Copland has to be admired for his steadfast independence and unwillingness to court popularity for its own sake.

YESTERDAY WHEN I WAS YOUNG - Shirley Bassey (Lyrics)

Aging is not lost youth but a new stage of opportunity and strength. There is a fountain of youth: it is in your mind, your talents, the creativity you bring to your life and the lives of the people you love. When you learn to tap this source, you will truly have defeated age. For those who struggled through, never be a prisoner of your past. The past is where you learned the lesson and the future is where you apply that lesson. Leave your past behind and give your life to Jesus who makes all things new. _ _ _ _ _ _ _ _ _ _

Franz Lehar- "Gold und Silber",Walzer (Springtime In Vienna 98)

Vladimir Fedosejev conducting the Wiener Symphoniker Re-processed for better audio performance,personnel preference for best audio quality listening is by setting the video setting option to 480p.

Iosif Ivanovici - Waves of the Danube

"Waves of the Danube" (Romanian: Valurile Dunării) is a waltz composed by Iosif Ivanovici in 1880, and is one of the most famous Romanian tunes in the world. The song has many variations throughout the piece, reminiscent of the music of Johann Strauss. Through the Viennese style variations, there is still a distinct Slavic style. In the United States, it is frequently referred to as "The Anniversary Song", a title given by Al Jolson when he and Saul Chaplin released an adaptation of the song in 1946.