• Kiri Te Kanawa: The complete "Les nuits d'été H. 81" (Berlioz)

    Les nuits d'été (H. 81): I. Villanelle 00:00 II. Le spectre de la rose 02:09 III. Sur les lagunes 08:41 IV. Absence 14:43 V. Au cimitière 20:21 VI. L'île inconnue 25:51 Berlioz, Hector (1803-69) -composer Kiri Te Kanawa -soprano Daniel Barenboim -conductor Orchestre de Paris Scores: I. http://sausage.whatbox.ca:15263/imglnks/usimg/4/4f/IMSLP55645-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_I._Villanelle__orch._score_.pdf II. http://sausage.whatbox.ca:15263/imglnks/usimg/5/5e/IMSLP55646-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_II._Le_Spectre_de_la_Rose__orch._score_.pdf III. http://conquest.imslp.info/files/imglnks/usimg/c/c7/IMSLP55647-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_III._Sur_les_Lagunes__orch._score_.pdf IV. http://sausage.whatbox.ca:15263/imglnks/usimg/0/05/IMSLP55648-PMLP...

    published: 29 Mar 2014
  • L'Euridice by Giulio Caccini

    Innsbrucker Festwochen der Alten Musik 2013 Euridice, Tragedia Silvia Frigato (soprano) Orfeo Furio Zanasi (baritone) Dafne, Proserpina Sara Mingardo (alto) Venere Monica Piccinini (soprano) Arcetro Giampaolo Fagotto (tenor) Plutone Antonio Abete (bass) Aminta, Tirsi Luca Dordolo (tenor) Caronte Mauro Borgioni (baritone) Radamanto Matteo Bellotto (bass) Choir and instrumental ensemble Concerto Italiano Musical director and harpsichord Rinaldo Alessandrini Stage director and costumes Hinrich Horstkotte Stage design Nicolas Bovey Composta in Musica in Stile Rappresentativo by Giulio Caccini (1551--1618) Libretto by Ottavio Rinuccini Thirst printed version: 1600 Premiere: 1602, Florence In an attempt to revive classical Greek tragedy, the opera genre came into being around...

    published: 23 Aug 2013
  • Schubert: "Die Forelle" (Fischer-Dieskau, Moore)

    In answer to a request... Schubert wrote no fewer than five versions of this song, and also based his Trout Quintet, D667 on it. It's a charming mini-drama, reflecting the naturalist theme of the Romantic period and Schubert's own sense of playfulness. In the text, the narrator describes looking at a trout in the water, and his indignation when a fisherman catches it by unfair means. The famous six-note phrase that forms the majority of the accompaniment evokes the image of a fish literally rising to the bait. The vocal melody is equally light, until the moment when the fisherman muddies up the water to catch the fish, when both voice and piano change to a darker tone, creating the sense of a little drama enacted. (allmusic.com) Die Forelle In einem Bächlein helle, Da s...

    published: 21 Jun 2009
  • Ars Poliphonica: Dulces Exuviae - Alexander Agricola (ca.1445 - 1506)

    Ars Poliphonica en el VIII Festival Internacional de Música de las Navas del Marqués, Ávila. 30 de Julio de 2017. * Dulces Exuviae (La Eneida - Virgilio, 70 a.C. - 15 a.C.): Dulces exuviae, dum fata deusque sinebat, accipite hanc animam meque his exsolvite curis. vixi et quem dederat cursum Fortuna peregi, et nunc magna mei sub terras ibit imago. - - Dulces prendas, mientras los dioses del destino consentían, Acoged esta alma y libradme de mis pesares. He vivido, y recorrido completa la senda que Fortuna me marcó, Y ahora marchará mi sombra bajo las inmensas tierras. - - Objects dear to me, while divine fate allowed it, receive this life and release me from these troubles. I have lived; and the course that fortune had allotted to me I have fulfilled, and now the great ghost of myself wil...

    published: 04 Sep 2017
  • There's No Heroes-Blood Will Have Blood

    Live At The Green Turtle in Whittier, CA. If some of you never heard these guys before, please check them out and support them. www.myspace.com/theresnoheroes

    published: 19 Sep 2009
  • Giulio Caccini - Amor, io parto - Montserrat Figueras

    High resolution and stereo sound: http://www.youtube.com/watch?v=ClXFHhaACgs&fmt=18 Giulio Caccini (1551--1618) Amor, io parto Madrigal for soprano voice, from "Le nuove musiche, 1601" set on an anonymous text In this recording: Montserrat Figueras, soprano Hopkinson Smith, baroque guitar Harmonia Mundi The score I used is from a facsimile copy of Caccini's Le Nuove Musiche, 1601. I didn't edit the score at all, except that I cleared the specks around it . Here and there, the text may not be so easy to read on the score. But, as always, I included the text in modern spelling and the translation. "Caccini's Le Nuove Musiche is a collection of works for solo voice and basso continuo. Caccini uses two distinct compositional styles in the collection: twelve "madrigals" -- through-compos...

    published: 11 Aug 2008
  • Gs feat Shu Ga Сердце Prod by Gs

    собственно первая работа в стиле трип-хоп)) Большое спасибо оператору Толику http://vkontakte.ru/id7247322 Монтажеру Саше Пивоварову и естесвенно GS'у

    published: 10 Jun 2009
  • SMN6; DEFILONS VERT! (introducing Vste Entertainment)

    DEFILONS VERT! SMN Fronline Fashion Series, 2011 FOLLOW OUR FEED http://www.shootmenow.ca Featured Musician; Saya -- 'Ride Your Train' http://www.sayaofficial.com Mardi, le 29 novembre 2011, à la Salle Bain Mathieu, Vste | Entertainment vous présente DÉFILONS VERT! Un défilé de mode à but non-lucratif mandaté par la fondation des jeunes pour l'environnement au profit d'ÉQUITERRE. Nous sommes fières de vous présenter la ligne SURIN de l'ex-champion olympique d'athlétisme Bruny Surin et de plusieurs designers de la semaine de la mode de Montréal, tels que: anomal couture, Dinh Bà Design, Myco Anna, Lu Shyne et de plusieurs autres. C'est un évènement à ne pas manquer. Aidons à la cause: poursuivonslechangement.com Pour plus d'informations appeler au 514-993-4059 ou sur http://www...

    published: 22 Dec 2011
  • Malevolence - An Escape (A Short Horror Film)

    This is a short horror, that was written, shot and edited in 9 days. Filmed in Laguna Beach, California Malevolence is a suspense / Horror geared to keep you on the edge of your seat.

    published: 17 Aug 2009
  • Giovanni Gastoldi - Balletti per Cantare, Sonare e Ballare (1591)

    Giovanni Giacomo Gastoldi (ca. 1554 – 4 January 1609), was an Italian composer of the late Renaissance and early Baroque periods. He is known for his 1591 publication of balletti for five voices. Balletti (1591) 1. L'Innamorato 2. Introduittione a 1 Balletti (1:23) 3. Il bell'humore (3:07) 4. L'Acceso (7:28) 5. Concerto de Pastori a 8 (12:32) 6. Il contento (15:01) 7. Amor vittorioso (17:37) 8. Il Piacere (20:38) 9. La Bellezza (22:58) 10. L'Ardito (27:45) 11. Gloria d'Amore (31:14) 12. Speme Amorosa (34:53) Ensemble Musique Ancienne de Lyon Instrumentations et Direction musicale: François Castet Ensemble Vocal de Lyon Direction: Guy Cornut His two sets of balletti, a strophic vocal dance, however, are the most prominent and influential. These were written for five voices, and contain...

    published: 04 Jan 2016
  • Sad, but Beautiful Music

    A sad, but very heart touching music! Subscribe: youtube.com/user/610fatima New Video every Friday, so check out! Read my blog: http://sadmusic1.blogspot.ca/2013/08/hello-everyone-this-is-just-very-quick.html Ending by: dreamscence.org

    published: 28 Aug 2013
  • Torna, deh torna pargoletto mio

    Strophic Variations

    published: 05 Nov 2012
  • Whimsey & Dabbler "Antiquing" Music Video

    Official music video for Whimsey & Dabbler's track #13 "Antiquing" from the 2011 album "Bricolage." This music video was created by Andrew Burke (Chico, CA) and was premiered as part of the CD release held on May 15th, 2011 in Pittsburgh, PA. Whimsey & Dabbler is an instrumental project created by Alexa Raquel Casciato. Buy this track from http://whimseydabbler.bandcamp.com For more music by Alexa Raquel Casciato, visit: http://littlewarrior.bandcamp.com

    published: 24 May 2011
  • ABACA Loop-Electronic Music

    This is my second assignment for my school's Electronic Music class. We had to create a piece of music that starts out, then changed towards the middle, and returns to how it was in the beginning, then a new piece of music, and back to the beginning once again. It is called ABACA. Like A, B, then A again, C, and then back to A. My teacher always approves the assignment before I submit it to him for a grade.

    published: 10 Feb 2013
  • USL LIVE - Phoenix Rising FC vs Rio Grande Valley FC 10/7/17

    http://uslsoccer.com/ Keep up with the latest news and subscribe! https://twitter.com/USL/ https://www.facebook.com/USLSoccer/ http://instagram.com/USLSoccer/ #USL

    published: 23 Aug 2017
  • Bejun Mehta: The complete "3 Shakespeare songs Op. 6" (Quilter)

    3 Shakespeare songs (Op. 6): I. Come away, death 00:00 II. O mistress mine 02:53 III. Blow, blow, thou winter wind 04:24 Quilter, Roger (1877-1953) -composer Bejun Mehta -countertenor Julius Drake -piano Playlist: "The art of British song: Elgar, Somervell, Williams, Finzi..": https://www.youtube.com/playlist?action_edit=1&list=PLdM8VSWYvcWG_X-lGBATHMoJTGPlAV1TQ Score: http://burrito.whatbox.ca:15263/imglnks/usimg/4/4c/IMSLP218532-SIBLEY1802.20489.bda5-39087013698479score.pdf Roger Quilter's first group of songs setting texts of Shakespeare, from 1905, was so successful that the composer was often (and with similiar success) to return to the Bard's work. Quilter was, of course, only one of the legion of composers who found inspiration in Shakespeare, but his sensitive, artistic setting...

    published: 30 Aug 2014
  • Christoph Willibald Gluck - Orphee et Eurydice (1774 tenor version in French) - No. 1. The Mourning of Eurydice (Richard Croft, Mireille Delunsch, Marion Harousseau & Claire Delgado-Boge; Marc Minkowski)

    Though originally set to an Italian libretto, "Orfeo ed Euridice", Gluck's first step in his reform of the operatic form, owes much to the genre of French opera, particularly in its' extensive use of accompanied recitative and a general absence of vocal virtuosity. In fact, it is generally supposed that Gluck frankly took Rameau's "Castor et Pollux" as his model when he sat down to compose "Orfeo": indeed, the plot of the earlier work has much in common with that of "Orfeo". Therefore, it seems quite fitting that twelve years after the 1762 premiere of the original work, in 1774, Gluck presented his work to the Parisian public, readapting it, in the process. This reworking was given the title "Orphee et Eurydice" which is the version of this ever well-known piece that I want to present in ...

    published: 10 Jan 2009
  • Forms 101: Binary Form

    Steve explains Binary Form, one of the foundational forms of the Classical Era, using a popular children's tune. Pieces featured in the episode: Hu, Debbie. “Piano Concerto No. 4 in G major, Op. 58.” Beethoven, Ludwig van. No date. Digital recording. http://commons.wikimedia.org/wiki/File:Beethoven_concerto4_1.ogg Licensed under Creative Commons-Share Alike 2.0 Generic: http://creativecommons.org/licenses/by-sa/2.0/deed.en. Ligoratti, Stefano. “12 Variations on ‘Ah, vous dirai-je maman,’ K. 265/300e.” Mozart, Wolfgang Amadeus. 29 July 2010. http://imslp.org/wiki/Special:ImagefromIndex/72959. Licensed under Creative Commons Attribution 3.0: http://imslp.org/wiki/IMSLP:Creative_Commons_Attribution_3.0. _ Follow The Listener's Guide: Tumblr - http://thelistenersguide.tumblr.com Twitter ...

    published: 27 Jul 2014
  • THERES NO HEROES

    THERES NO HEROES reunion show at Chain Reaction. April 1, 2011

    published: 03 Apr 2011
  • Milo Don - Running (Promo)

    Running Off The Dollar & A Dream Mixtape May 31st 2011 Directed By: Eazy Money Productions WWW.TWITTER.COM/REALMILODON WWW.NOINTRODUCTIONS.COM WWW.FACEBOOK.COM/IAMMILODON WWW.REVERBNATION.COM/MILODON

    published: 18 Oct 2010
  • "Ala fi Sabil Allah" by Sheikh Sayed El-Safti (Middle Eastern music)

    The renowned singer Sheikh Sayed El-Safti* (1875-1939) apparently began recording as early as 1907, possibly for the German independent Favourite label at first. Around ca. 1913 he recorded at least 2 dozen records for the Odeon company. He also recorded for Pathé ca. 1926, Polyphon, Columbia, and the Lebanese independent label Baidaphon in the late 1920s. His last recordings appear to have been ca. 1931. El-Safti specialized in several song types: the mawwal, a non-metric vocal improvisation on 4-7 lines of colloquial text, the dawr, a song type from the 19th century noted for the choral responses that occur in response to the soloist's improvisation in its second part (the ghusn), and the muwashah, a strophic song type in classical Arabic which originated in Al-Andalus. (These are simpl...

    published: 21 Aug 2013
  • Adrian Gagiu - Suite for violin and piano (3 of 6)

    https://store.cdbaby.com/cd/adriangagiu8 Transcription of the neo-romantic song cycle "Thoughts and Images" (2012), on poems by Eminescu. This third movement, strophic and almost minimalist, is based on the contemplative poem "Stars In the Sky" (lyrics, in Romanian, below). "Stelele-n cer Deasupra mărilor Ard depărtărilor Până ce pier. După un semn Clătind catargele, Tremură largele Vase de lemn; Niște cetăți Plutind pe marile Și mișcătoarele Pustietăți. Stol de cocori Apucă-ntinsele Și necuprinsele Drumuri de nori. Zboară ce pot Și-a lor întrecere, Vecinică trecere ­ Asta e tot... Floare de crâng, Astfel viețile Și tinerețile Trec și se stâng. Orice noroc Și-ntinde-aripele Gonit de clipele Stării pe loc. Până nu mor, Pleacă-te, înge...

    published: 02 Dec 2016
  • Cantiones Natalitiæ - Dutch Christmas carols from the Southern Netherlands in the 17th century

    A new genre of polyphonic Christmas carols that developed in the Southern Netherlands during the seventeenth century was called cantiones natalitiæ. These were sacred songs in Dutch (Flemish) or Latin, in simple, strophic four-part settings with figured bass. The composers of early seventeenth-century cantiones natalitiae were local church musicians of Antwerp, Brussels, and Ghent. The carols, mostly based on pre-existing songs, were sung in connection with Christmastide devotional services, especially the evening Marian Salve service. The earliest Flemish carols were published in the Laudes vespertinæ of 1604 and 1609. The three selected Christmas songs were all published in Antwerp in the 17th century and are by Guilielmus Messaus (1589-1640), by an unknown composer and by Joannes Ber...

    published: 20 Nov 2010
  • Casting - "Love the Skin You're In" Un Evenement de Mode Taille Forte - A Plus Size Fashion Event

    On February 16 2014, P.S. Montreal and Cath.A.Strophic Productions held a model casting for the upcoming "Love the Skin You're In" Fashion show, to be held on April 26th 2014. Video by My 11.11 Productions (http://vimeo.com/user9827590 and https://www.facebook.com/pages/My-1111-Productions/121926871224698) Event details: https://www.facebook.com/events/1407674952822464/ Event tickets: http://www.clubsoda.ca/en/spec-love_the_skin_youre_in-1094.php Special thank you to our judging panel and volunteers: Cath.A.Strophic Productions, Yael Perez / Miss Meow - Model and Entertainer, Andrea Hausmann Photography, Sonia Levesque Design, Evanescent Twin, The Models' Coach - Naïad International, Sylvain Bergeron, Mitzi Perez and Adam Geraldi Filmed at Shift Space (http://www.shiftspace.ca/) ...

    published: 17 Mar 2014
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Kiri Te Kanawa: The complete "Les nuits d'été H. 81" (Berlioz)

Kiri Te Kanawa: The complete "Les nuits d'été H. 81" (Berlioz)

  • Order:
  • Duration: 29:29
  • Updated: 29 Mar 2014
  • views: 18828
videos
Les nuits d'été (H. 81): I. Villanelle 00:00 II. Le spectre de la rose 02:09 III. Sur les lagunes 08:41 IV. Absence 14:43 V. Au cimitière 20:21 VI. L'île inconnue 25:51 Berlioz, Hector (1803-69) -composer Kiri Te Kanawa -soprano Daniel Barenboim -conductor Orchestre de Paris Scores: I. http://sausage.whatbox.ca:15263/imglnks/usimg/4/4f/IMSLP55645-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_I._Villanelle__orch._score_.pdf II. http://sausage.whatbox.ca:15263/imglnks/usimg/5/5e/IMSLP55646-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_II._Le_Spectre_de_la_Rose__orch._score_.pdf III. http://conquest.imslp.info/files/imglnks/usimg/c/c7/IMSLP55647-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_III._Sur_les_Lagunes__orch._score_.pdf IV. http://sausage.whatbox.ca:15263/imglnks/usimg/0/05/IMSLP55648-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_IV._Absence__orch._score_.pdf V. http://javanese.imslp.info/files/imglnks/usimg/1/15/IMSLP55649-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_V._Au_Cimeti__re__orch._score_.pdf VI. http://conquest.imslp.info/files/imglnks/usimg/8/81/IMSLP55650-PMLP56273-Berlioz_-_Nuits_d___t____Op._7_-_VI._L_Ile_inconnue__orch._score_.pdf Playlist "The art of French song: Faure, Debussy, Ravel, Poulenc, Satie...": http://www.youtube.com/playlist?list=PLdM8VSWYvcWGecjk_VR0LNMYlVs05efWQ This is a cycle of six settings of poems written by Théophile Gautier. Though their subjects have little direct connection, each possesses the sultry, scented charm implied by Berlioz's title. The songs were composed in 1832 and published in 1841. Except for "Absence," which was orchestrated in 1843, the orchestral versions of the remaining songs were completed in 1856. Aside from their immediate appeal, they suggest that, before the rise of a new school of composers such as Fauré, Duparc, Debussy, and Ravel, Berlioz was reacting to a demand for songs of a distinctively French character, compared with the then-widely popular German lied. However, the American musicologist Alfred Einstein's assertion that Berlioz "sowed the seeds for the entire musical lyricism of the nineteenth century in the French language" is surely an exaggeration: he was too much an admirer of German music to do such a thing. Indeed, the first song "Villanelle" is almost strophic, only the third stanza showing any real harmonic or melodic changes in the vocal line, a device which makes it reminiscent of Schubert. Singers tend to pick and choose among the songs performed but, since all easily stand on their own merits, this does not matter a great deal. "Absence," a call for the return of the beloved, would, for example, make an impressive opening to the cycle. "Le spectre de la rose" (I am the ghost of the rose you wore at the ball) is operatic in character and avoids the obvious waltz rhythms used in the ballet music that was also inspired by this poem. "Sur la lagunes," a lament for a dead lover, was also set by Fauré under the title Chanson de pêcheur. Berlioz makes it into a barcarolle, with a flowing accompaniment and echoes of Spain and Italy. "Au cimetiere" (the churchyard where the beloved lies) is a lament, with the added dimension of modern-sounding semitone changes and enharmonic modulations - evidence of Berlioz's constant search for ways to distance himself from conventional tonality. The final song, "L'ile inconnue," a light serenade, (where will you go, fair one in my magic boat) is - apart from one rather awkward cadence just before the lady replies - similarly progressive in its tonality. The tenderly expressive qualities of these settings makes one wish that Berlioz had continued his dedication to French poetry. Source: http://www.allmusic.com/composition/les-nuits-d%C3%A9t%C3%A9-song-cycle-for-voice-piano-or-orchestra-h-81-op-7-mc0002360887 Buy the CD here: http://www.deccaclassics.com/en/cat/4109662
https://wn.com/Kiri_Te_Kanawa_The_Complete_Les_Nuits_D'Été_H._81_(Berlioz)
L'Euridice by Giulio Caccini

L'Euridice by Giulio Caccini

  • Order:
  • Duration: 4:02
  • Updated: 23 Aug 2013
  • views: 2013
videos
Innsbrucker Festwochen der Alten Musik 2013 Euridice, Tragedia Silvia Frigato (soprano) Orfeo Furio Zanasi (baritone) Dafne, Proserpina Sara Mingardo (alto) Venere Monica Piccinini (soprano) Arcetro Giampaolo Fagotto (tenor) Plutone Antonio Abete (bass) Aminta, Tirsi Luca Dordolo (tenor) Caronte Mauro Borgioni (baritone) Radamanto Matteo Bellotto (bass) Choir and instrumental ensemble Concerto Italiano Musical director and harpsichord Rinaldo Alessandrini Stage director and costumes Hinrich Horstkotte Stage design Nicolas Bovey Composta in Musica in Stile Rappresentativo by Giulio Caccini (1551--1618) Libretto by Ottavio Rinuccini Thirst printed version: 1600 Premiere: 1602, Florence In an attempt to revive classical Greek tragedy, the opera genre came into being around 1600 in the Florentine Camerata. Some of the recitative singing in Caccini's "L'Euridice", the first opera ever to be printed, merged into early little arias. The then common practice of polyphonic madrigals continued in scenes with strophic choruses. The pioneering work will be brought to life by Rinaldo Alessandrini and his Concerto Italiano in Innsbruck.
https://wn.com/L'Euridice_By_Giulio_Caccini
Schubert: "Die Forelle" (Fischer-Dieskau, Moore)

Schubert: "Die Forelle" (Fischer-Dieskau, Moore)

  • Order:
  • Duration: 1:58
  • Updated: 21 Jun 2009
  • views: 1932994
videos
In answer to a request... Schubert wrote no fewer than five versions of this song, and also based his Trout Quintet, D667 on it. It's a charming mini-drama, reflecting the naturalist theme of the Romantic period and Schubert's own sense of playfulness. In the text, the narrator describes looking at a trout in the water, and his indignation when a fisherman catches it by unfair means. The famous six-note phrase that forms the majority of the accompaniment evokes the image of a fish literally rising to the bait. The vocal melody is equally light, until the moment when the fisherman muddies up the water to catch the fish, when both voice and piano change to a darker tone, creating the sense of a little drama enacted. (allmusic.com) Die Forelle In einem Bächlein helle, Da schoß in froher Eil Die launische Forelle Vorüber wie ein Pfeil. Ich stand an dem Gestade Und sah in süßer Ruh Des muntern Fischleins Bade Im klaren Bächlein zu. Ein Fischer mit der Rute Wohl an dem Ufer stand, Und sah's mit kaltem Blute, Wie sich das Fischlein wand. So lang dem Wasser Helle, So dacht ich, nicht gebricht, So fängt er die Forelle Mit seiner Angel nicht. Doch endlich ward dem Diebe Die Zeit zu lang. Er macht Das Bächlein tückisch trübe, Und eh ich es gedacht, So zuckte seine Rute, Das Fischlein zappelt dran, Und ich mit regem Blute Sah die Betrogene an. Christian Friedrich Daniel Schubart (1739-1791) The trout In a bright little brook there shot in merry haste a capricious trout: past it shot like an arrow. I stood upon the shore and watched in sweet peace the cheery fish's bath in the clear little brook. A fisher with his rod stood at the water-side, and watched with cold blood as the fish swam about. So long as the clearness of the water remained intact, I thought, he would not be able to capture the trout with his fishing rod. But finally the thief grew weary of waiting. He stirred up the brook and made it muddy, and before I realized it, his fishing rod was twitching: the fish was squirming there, and with raging blood I gazed at the betrayed fish. Translation: Emily Ezust Dietrich Fischer-Dieskau (baritone) Gerald Moore (piano)
https://wn.com/Schubert_Die_Forelle_(Fischer_Dieskau,_Moore)
Ars Poliphonica: Dulces Exuviae - Alexander Agricola (ca.1445 - 1506)

Ars Poliphonica: Dulces Exuviae - Alexander Agricola (ca.1445 - 1506)

  • Order:
  • Duration: 4:02
  • Updated: 04 Sep 2017
  • views: 214
videos
Ars Poliphonica en el VIII Festival Internacional de Música de las Navas del Marqués, Ávila. 30 de Julio de 2017. * Dulces Exuviae (La Eneida - Virgilio, 70 a.C. - 15 a.C.): Dulces exuviae, dum fata deusque sinebat, accipite hanc animam meque his exsolvite curis. vixi et quem dederat cursum Fortuna peregi, et nunc magna mei sub terras ibit imago. - - Dulces prendas, mientras los dioses del destino consentían, Acoged esta alma y libradme de mis pesares. He vivido, y recorrido completa la senda que Fortuna me marcó, Y ahora marchará mi sombra bajo las inmensas tierras. - - Objects dear to me, while divine fate allowed it, receive this life and release me from these troubles. I have lived; and the course that fortune had allotted to me I have fulfilled, and now the great ghost of myself will go beneath the earth.
https://wn.com/Ars_Poliphonica_Dulces_Exuviae_Alexander_Agricola_(Ca.1445_1506)
There's No Heroes-Blood Will Have Blood

There's No Heroes-Blood Will Have Blood

  • Order:
  • Duration: 3:41
  • Updated: 19 Sep 2009
  • views: 4309
videos
Live At The Green Turtle in Whittier, CA. If some of you never heard these guys before, please check them out and support them. www.myspace.com/theresnoheroes
https://wn.com/There's_No_Heroes_Blood_Will_Have_Blood
Giulio Caccini - Amor, io parto - Montserrat Figueras

Giulio Caccini - Amor, io parto - Montserrat Figueras

  • Order:
  • Duration: 3:31
  • Updated: 11 Aug 2008
  • views: 78018
videos
High resolution and stereo sound: http://www.youtube.com/watch?v=ClXFHhaACgs&fmt=18 Giulio Caccini (1551--1618) Amor, io parto Madrigal for soprano voice, from "Le nuove musiche, 1601" set on an anonymous text In this recording: Montserrat Figueras, soprano Hopkinson Smith, baroque guitar Harmonia Mundi The score I used is from a facsimile copy of Caccini's Le Nuove Musiche, 1601. I didn't edit the score at all, except that I cleared the specks around it . Here and there, the text may not be so easy to read on the score. But, as always, I included the text in modern spelling and the translation. "Caccini's Le Nuove Musiche is a collection of works for solo voice and basso continuo. Caccini uses two distinct compositional styles in the collection: twelve "madrigals" -- through-composed, somewhat rhythmically-free compositions with rhapsodic passages designed to emphasise the important words in the text -- and ten "arias" which are shorter and usually strophic. ... The type of solo "madrigal" pioneered by Caccini is distinguished from the polyphonic madrigal which was the most popular form of secular composition during the late Renaissance." - Sheila Barnes "Madrigals are, according to Caccini's definition, through-composed one part pieces which are usually elaborately ornamented on non-strophic texts whose metric structure is irregular. ... One main theme dominates all of the poems upon which Caccini's Nuove Musiche is based: love. Two literary forms reflect the two aspects of love, the elegiac madrigal, in which the plaint of the hapless lover finds its expression, and the canzonetta, in which the joy of reciprocated love and the rapturous desire of the young lover is celebrated in many stanzas. In setting the madrigals Caccini chose a free recitative form, whereas the canzonette find their musical counterpart in rhythmically striking arie, which bear similarity to dance songs" - Silke Leopold "Among the notational innovations developed by Caccini was the specification and writing out of ornamentation. Previously, ornamentation had always been left to the discretion of the performers. In order to eliminate "excesses" on the part of singers (which presumably obscured the text), Caccini wrote out the music exactly as he wished it to be performed. He did, however, still allow for improvisation to emphasise significant words and cadences. The use of ornamentation was thus restricted to expressing the text, and was no longer an end in itself, as had been the case in earlier vocal practice. One type of ornamentation specified by Caccini, which may be less familiar to modern ears is the trillo: a kind of "tremolo" in which fluctuations of intensity are sounded like a reiteration of the note. Caccini includes the trillo in "the good manner of singing" as a thing written one way, but sung another way "for more grace" and "refinement" ("squisitezza"), qualities of which Castiglione would have approved." - Sheila Barnes Original text: Amor, io parto, e sento nel partire al penar, al morire, ch'io parto da colei ch'è la mia vita, se ben ella gioisce quand'il mio cor languisce. O durezza incredibil'e infinita d'anima che 'l suo core può restar morto, e non sentir dolore! Ben mi trafigge amore l'aspra mia pen', il mio dolor pungente, ma più mi duol il duol ch'ella non sente. Translation (by Flavio Ferri Benedetti): Love, I depart, and I feel while I part, while I suffer and while I die, that I part from her who is my life, although she rejoices when my heart languishes. O incredible, endless harshness of the soul: her heart can die without feeling pain! Love pierces well my bitter pain and my sharp grief, but even more painful is the grief that she does not feel.
https://wn.com/Giulio_Caccini_Amor,_Io_Parto_Montserrat_Figueras
Gs feat Shu Ga Сердце Prod by Gs

Gs feat Shu Ga Сердце Prod by Gs

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  • Duration: 2:59
  • Updated: 10 Jun 2009
  • views: 1622
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собственно первая работа в стиле трип-хоп)) Большое спасибо оператору Толику http://vkontakte.ru/id7247322 Монтажеру Саше Пивоварову и естесвенно GS'у
https://wn.com/Gs_Feat_Shu_Ga_Сердце_Prod_By_Gs
SMN6; DEFILONS VERT! (introducing Vste Entertainment)

SMN6; DEFILONS VERT! (introducing Vste Entertainment)

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  • Duration: 4:25
  • Updated: 22 Dec 2011
  • views: 2847
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DEFILONS VERT! SMN Fronline Fashion Series, 2011 FOLLOW OUR FEED http://www.shootmenow.ca Featured Musician; Saya -- 'Ride Your Train' http://www.sayaofficial.com Mardi, le 29 novembre 2011, à la Salle Bain Mathieu, Vste | Entertainment vous présente DÉFILONS VERT! Un défilé de mode à but non-lucratif mandaté par la fondation des jeunes pour l'environnement au profit d'ÉQUITERRE. Nous sommes fières de vous présenter la ligne SURIN de l'ex-champion olympique d'athlétisme Bruny Surin et de plusieurs designers de la semaine de la mode de Montréal, tels que: anomal couture, Dinh Bà Design, Myco Anna, Lu Shyne et de plusieurs autres. C'est un évènement à ne pas manquer. Aidons à la cause: poursuivonslechangement.com Pour plus d'informations appeler au 514-993-4059 ou sur http://www.vsteentertainment.com ------ Tuesday, November 29th, 2011, at the Salle Bain Mathieu, Vste | Entertainment present: DÉFILONS VERT! A non-profit fashion show commissioned by the Foundation of Youth for the Environment in favor of ÉQUITERRE. We are proud to present the line SURIN of former Olympic athletics champion Bruny Surin and many designers of the fashion week of Montreal, such as anomal couture, Dinh Bà Design, Myco Anna, Lu Shyne and many more. Don't miss you chance to joint us and Help the cause: poursuivonslechangement.com For more information or an admission: call 514-993-4059 or http://www.vsteentertainment.com
https://wn.com/Smn6_Defilons_Vert_(Introducing_Vste_Entertainment)
Malevolence - An Escape (A Short Horror Film)

Malevolence - An Escape (A Short Horror Film)

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  • Duration: 4:05
  • Updated: 17 Aug 2009
  • views: 1186
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This is a short horror, that was written, shot and edited in 9 days. Filmed in Laguna Beach, California Malevolence is a suspense / Horror geared to keep you on the edge of your seat.
https://wn.com/Malevolence_An_Escape_(A_Short_Horror_Film)
Giovanni Gastoldi - Balletti per Cantare, Sonare e Ballare (1591)

Giovanni Gastoldi - Balletti per Cantare, Sonare e Ballare (1591)

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  • Duration: 38:44
  • Updated: 04 Jan 2016
  • views: 9616
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Giovanni Giacomo Gastoldi (ca. 1554 – 4 January 1609), was an Italian composer of the late Renaissance and early Baroque periods. He is known for his 1591 publication of balletti for five voices. Balletti (1591) 1. L'Innamorato 2. Introduittione a 1 Balletti (1:23) 3. Il bell'humore (3:07) 4. L'Acceso (7:28) 5. Concerto de Pastori a 8 (12:32) 6. Il contento (15:01) 7. Amor vittorioso (17:37) 8. Il Piacere (20:38) 9. La Bellezza (22:58) 10. L'Ardito (27:45) 11. Gloria d'Amore (31:14) 12. Speme Amorosa (34:53) Ensemble Musique Ancienne de Lyon Instrumentations et Direction musicale: François Castet Ensemble Vocal de Lyon Direction: Guy Cornut His two sets of balletti, a strophic vocal dance, however, are the most prominent and influential. These were written for five voices, and contained passages of nonsense syllables (e.g. "fa la la") which seemed to personify a type of lover and love-making. As a whole, Gastoldi's balletti were a musical commedia dell'arte, and included the following compositions: Contento (The Lucky One), Premiato (The Winner), L'Inamorato (The Suitor), Piacere (Pleasure), La Bellezza (Beauty), Gloria d'Amore (Praise of Love), L'Acceso (The Ardent), Caccia d'Amore (Love-Chase), Il Martellato (The Disdained), Il Bell’humore (The Good Fellow), Amor Vittorioso (Love Victorious), and Speme Amorosa (Amorous Hope). His balleti music basically had a simple chordal texture, fast declamation and rhythmic accents at the expense of contrapuntal display, as is to be expected from their close relationship to dance music. Gastoldi's Balleti a Cinque Voci was published in Venice in 1591, and immediately became a "best seller." Within a short time, the collection was reprinted ten times, not only by their original publisher but also in other countries as well. Composers like Vecchi, Banchieri, Hassler, and Morley were greatly captivated by this musical creation (compare Morley's ballett Now is the Month of Maying for a clear example of Gastoldi's influence). It is certain that many frottole, villancicos, and chansons francaises were intimately related to dance, but it seems true that Gastoldi was the first scholarly author, presumably since the thirteenth century, to compose songs for dancing which were modeled on instrumental patterns, and were perfectly apt for instrumental performance alone. The title page of the balletti bestows the title "Maestro di Cappella del Serenissimo Signor Duca di Mantova" to Gastoldi. However, this has no slightest intention of masking sophistication behind the spontaneous naivete of Gastoldi's works, because the entire content is a collection of simplicty, healthy playfulness, communicative carefreeness, and gaiety. The common trait is, of course, the Fa-la refrain, (which incidentally became "lirum-lirum "in Gloria d’amore) with skipping rhythms, clear lines, and frank tonality. Gastoldi sought to vary his compositions from ballet to ballet by sometimes writing in triple time, in double or by the alternate use of major and minor. Otherwise, it cannot be said that he at all attempted a psychological differentiation between the several "characters" depicted.
https://wn.com/Giovanni_Gastoldi_Balletti_Per_Cantare,_Sonare_E_Ballare_(1591)
Sad, but Beautiful Music

Sad, but Beautiful Music

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  • Duration: 1:45
  • Updated: 28 Aug 2013
  • views: 344
videos
A sad, but very heart touching music! Subscribe: youtube.com/user/610fatima New Video every Friday, so check out! Read my blog: http://sadmusic1.blogspot.ca/2013/08/hello-everyone-this-is-just-very-quick.html Ending by: dreamscence.org
https://wn.com/Sad,_But_Beautiful_Music
Torna, deh torna pargoletto mio

Torna, deh torna pargoletto mio

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  • Duration: 3:46
  • Updated: 05 Nov 2012
  • views: 823
videos https://wn.com/Torna,_Deh_Torna_Pargoletto_Mio
Whimsey & Dabbler "Antiquing" Music Video

Whimsey & Dabbler "Antiquing" Music Video

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  • Duration: 5:29
  • Updated: 24 May 2011
  • views: 69
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Official music video for Whimsey & Dabbler's track #13 "Antiquing" from the 2011 album "Bricolage." This music video was created by Andrew Burke (Chico, CA) and was premiered as part of the CD release held on May 15th, 2011 in Pittsburgh, PA. Whimsey & Dabbler is an instrumental project created by Alexa Raquel Casciato. Buy this track from http://whimseydabbler.bandcamp.com For more music by Alexa Raquel Casciato, visit: http://littlewarrior.bandcamp.com
https://wn.com/Whimsey_Dabbler_Antiquing_Music_Video
ABACA Loop-Electronic Music

ABACA Loop-Electronic Music

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  • Duration: 2:45
  • Updated: 10 Feb 2013
  • views: 250
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This is my second assignment for my school's Electronic Music class. We had to create a piece of music that starts out, then changed towards the middle, and returns to how it was in the beginning, then a new piece of music, and back to the beginning once again. It is called ABACA. Like A, B, then A again, C, and then back to A. My teacher always approves the assignment before I submit it to him for a grade.
https://wn.com/Abaca_Loop_Electronic_Music
USL LIVE - Phoenix Rising FC vs Rio Grande Valley FC 10/7/17

USL LIVE - Phoenix Rising FC vs Rio Grande Valley FC 10/7/17

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  • Duration: 0:00
  • Updated: 23 Aug 2017
  • views: 202
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http://uslsoccer.com/ Keep up with the latest news and subscribe! https://twitter.com/USL/ https://www.facebook.com/USLSoccer/ http://instagram.com/USLSoccer/ #USL
https://wn.com/Usl_Live_Phoenix_Rising_Fc_Vs_Rio_Grande_Valley_Fc_10_7_17
Bejun Mehta: The complete "3 Shakespeare songs Op. 6" (Quilter)

Bejun Mehta: The complete "3 Shakespeare songs Op. 6" (Quilter)

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  • Duration: 6:57
  • Updated: 30 Aug 2014
  • views: 4750
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3 Shakespeare songs (Op. 6): I. Come away, death 00:00 II. O mistress mine 02:53 III. Blow, blow, thou winter wind 04:24 Quilter, Roger (1877-1953) -composer Bejun Mehta -countertenor Julius Drake -piano Playlist: "The art of British song: Elgar, Somervell, Williams, Finzi..": https://www.youtube.com/playlist?action_edit=1&list=PLdM8VSWYvcWG_X-lGBATHMoJTGPlAV1TQ Score: http://burrito.whatbox.ca:15263/imglnks/usimg/4/4c/IMSLP218532-SIBLEY1802.20489.bda5-39087013698479score.pdf Roger Quilter's first group of songs setting texts of Shakespeare, from 1905, was so successful that the composer was often (and with similiar success) to return to the Bard's work. Quilter was, of course, only one of the legion of composers who found inspiration in Shakespeare, but his sensitive, artistic settings are a breed apart. The three songs of Op. 6 are among the best of English art songs from the early twentieth century. The first song, "Come away, Death," from Twelfth Night, achieves a state of melancholy but avoids depression, which is appropriate for its context in the play. Quilter uses melodic sequence and repetition in creating a highly singable melodic line. As often occurs in Quilter's songs, the second verse is varied in the accompaniment rather than the melody, and the piano wreathes arpeggiated triplets around the melodic line. "O Mistress mine," also from Twelfth Night, is a charmingly persuasive air notable for its consistently disjunct melodic line. Yet in Quilter's hands the intervals always make vocal sense. The accompaniment and vocal line coexist flirtatiously, echoing the ambiguous relationship of the singer and his intended: sometimes meeting up, and sometimes going separate ways. The final song, "Blow, blow, thou Winter Wind," is a fitting end to the set, combining elements of the previous two songs. The text, from As You Like It, combines a bitter verse with a less pessimistic refrain. Quilter sets the verse in minor and the refrain in the parallel major, resulting in an infusion of optimism. Two different time signatures also enhance the difference between the two sections, one funereal and one dancelike. The accompaniment, notably, is identical between the two stanzas. Each of the three songs, like so many of Quilter's others, are in a modified strophic form, with a single repetition. As a unit, they coexist remarkably well, for example in their tonal structure: the minor of the first gives way to its relative major in the second, and then returns to the minor for the third. Quilter orchestrated the three songs as well, for piano and strings, but much later, near the conclusion of his compositional career, in 1944 and 1945. Source: http://www.allmusic.com/composition/shakespeare-songs-3-for-voice-piano-or-orchestra-op-6-mc0002367727 Buy the CD here: http://www.amazon.com/Down-Salley-Gardens-Bejun-Mehta/dp/B00585QLZK/ref=sr_1_2?ie=UTF8&qid=1409409395&sr=8-2&keywords=bejun+mehta
https://wn.com/Bejun_Mehta_The_Complete_3_Shakespeare_Songs_Op._6_(Quilter)
Christoph Willibald Gluck - Orphee et Eurydice (1774 tenor version in French) - No. 1. The Mourning of Eurydice (Richard Croft, Mireille Delunsch, Marion Harousseau & Claire Delgado-Boge; Marc Minkowski)

Christoph Willibald Gluck - Orphee et Eurydice (1774 tenor version in French) - No. 1. The Mourning of Eurydice (Richard Croft, Mireille Delunsch, Marion Harousseau & Claire Delgado-Boge; Marc Minkowski)

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  • Duration: 10:19
  • Updated: 10 Jan 2009
  • views: 124687
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Though originally set to an Italian libretto, "Orfeo ed Euridice", Gluck's first step in his reform of the operatic form, owes much to the genre of French opera, particularly in its' extensive use of accompanied recitative and a general absence of vocal virtuosity. In fact, it is generally supposed that Gluck frankly took Rameau's "Castor et Pollux" as his model when he sat down to compose "Orfeo": indeed, the plot of the earlier work has much in common with that of "Orfeo". Therefore, it seems quite fitting that twelve years after the 1762 premiere of the original work, in 1774, Gluck presented his work to the Parisian public, readapting it, in the process. This reworking was given the title "Orphee et Eurydice" which is the version of this ever well-known piece that I want to present in this series of uploads. The changes, though seemingly insignificant, are actually essential to the work's inner equilibrium. First off, the libretto is given a French translation which does shift some of the accents. Next, and more importantly, the work is greatly expanded, including the addition of a bravura, coloratura-filled aria for Orfeo at the close of Act 1, a more elaborate dance of the blessed spirits and an aria for Eurydice during the Elysium scene; the transformation of the B section of Eurydice's second aria into an intense duettino for the lovers; a penultimate terzet for all three characters and a large ballet for the end of the opera; thus, the work's original omissions are amended with the structure of the piece becoming more logical in the process. Thirdly, the orchestration is changed somewhat: for example, originally each verse of the strophic "Chiamo il mio ben cosi" is accompanied by different solo instruments - flute, horns and English horns - but in 1774 Gluck was required to change this orchestration to that of a single horn and two clarinets. Finally, and even more importantly, the transformation of the originally castrato-voiced Orfeo into the high tenor Orphee, including a more passionate reading than the original. As if that wasn't enough, the present recording, rather controversially, sets the pitch at A=403, a full tone below current pitch, which leads to a further transformation of the work which is especially evident in the baritonal lower notes that the tenor has to approach. All in all, a much different version from the original, and this is where its' interest lies. There are only three versions of this particular version, one - under Hans Rosbaud with Leopold Simoneau in the title role; a more recent one - the Naxos release with Jean-Paul Fouchecourt; and the one that I am going to use in this case (as it is my only recording of the tenor version of "Orfeo") - Minkowski's 2004 live recording of the work with the following cast: Richard Croft - Orphee, Mireille Delunsch - Eurydice, Marion Harousseau - L'Amour, Claire Delgado-Boge - Une ombre heureuse. As per usual, I had to cut some of the music to keep each upload (all in all, ten full postings) under eleven minutes, though I tried to keep these cuts to a minimum: the repeat of the opening chorus and (though I could upload it separately) the ballet sequence which brings the opera its' closure; all the rest of the music is retained. Finally, here is a link to the complete libretto: http://opera.stanford.edu/iu/libretti/orphee.html Hope you'll enjoy :). No. 1. Sinfonia. Berlioz, when creating his own version of the score, went so far as to describe the overture to "Orfeo" as "an unbelievable trifle" ("une niaiserie incroyable") and, truth be told, it seems ironic that the firstborn of Gluck's reform begins with a piece which, though by turns lively, exciting and life-affirming, does not really go that well with the work as a whole. There are, though, more somber sections that come as a hint to the tragedy that is about to unfold but they quickly give way to the strings' unfailingly thunderous melody. No. 2. Chorus, Dance & Ritournelle - "Ah! dans ce bois tranquille et sombre". The opening scene shows the tomb of Eurydice erected in a grassy valley - a justly famous coup-de-theatre - though this choice comes at the expense of a rather small part for Eurydice and the love of the pair underrepresented from the beginning (even Monteverdi's "Orfeo", where there is, arguably, an even larger part for Orfeo and an even smaller part for Eurydice, gives us an opportunity to see the lovers' symbolic wedding)). Orpheus stands beside it plunged in the deepest grief, while a troop of shepherds and maidens bring flowers to adorn it. The singer's despairing cry of "Eurydice" breaks passionately upon their mournful chorus, and the whole scene, though drawn in simple lines, is instinct with genuine pathos. After a pantomime of Eurydice's death, the chorus slowly leaves over the same melody which is placed strategically to close the scene and to set up Orpheus' first great lament. And again, hope you'll enjoy :).
https://wn.com/Christoph_Willibald_Gluck_Orphee_Et_Eurydice_(1774_Tenor_Version_In_French)_No._1._The_Mourning_Of_Eurydice_(Richard_Croft,_Mireille_Delunsch,_Marion_Harousseau_Claire_Delgado_Boge_Marc_Minkowski)
Forms 101: Binary Form

Forms 101: Binary Form

  • Order:
  • Duration: 5:43
  • Updated: 27 Jul 2014
  • views: 46424
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Steve explains Binary Form, one of the foundational forms of the Classical Era, using a popular children's tune. Pieces featured in the episode: Hu, Debbie. “Piano Concerto No. 4 in G major, Op. 58.” Beethoven, Ludwig van. No date. Digital recording. http://commons.wikimedia.org/wiki/File:Beethoven_concerto4_1.ogg Licensed under Creative Commons-Share Alike 2.0 Generic: http://creativecommons.org/licenses/by-sa/2.0/deed.en. Ligoratti, Stefano. “12 Variations on ‘Ah, vous dirai-je maman,’ K. 265/300e.” Mozart, Wolfgang Amadeus. 29 July 2010. http://imslp.org/wiki/Special:ImagefromIndex/72959. Licensed under Creative Commons Attribution 3.0: http://imslp.org/wiki/IMSLP:Creative_Commons_Attribution_3.0. _ Follow The Listener's Guide: Tumblr - http://thelistenersguide.tumblr.com Twitter - http://twitter.com/listeners_guide _ Images included in the episode: Feitscher, George. “Cello front side.” Digital photograph. 11 February 2010. http://commons.wikimedia.org/wiki/File:Cello_front_side.png. Licensed under Creative Commons Attribution 3.0 Unported: http://creativecommons.org/licenses/by/3.0/deed.en. Hustvedt. “Oboe modern.” Digital photograph. 12 February 2008. http://commons.wikimedia.org/wiki/File:Oboe_modern.jpg. Licensed under GNU Free Documentation License: http://en.wikipedia.org/wiki/en:GNU_Free_Documentation_License. jaschon. “Musical Symbol.” Clip art. 13 April 2011. http://openclipart.org/collection/collection-detail/jaschon/2317. Just plain Bill [sic]. “Bratsche.” Digital photograph. 15 March 2006. http://commons.wikimedia.org/wiki/File:Bratsche.jpg. Public domain. Rizzi, Len. “NCI Visuals Food Hamburger.” Photograph. 1990. http://commons.wikimedia.org/wiki/File:NCI_Visuals_Food_Hamburger.jpg. Public domain. Kepert, Andrew. “AGK bass1 full.” Digital photograph. 17 December 2003. http://commons.wikimedia.org/wiki/File:AGK_bass1_full.jpg. Licensed under Creative Commons Attribution-Share Alike 3.0 Unported: http://creativecommons.org/licenses/by-sa/3.0/deed.en. Kniesel, A. “The front side of a violin.” Digital photograph. 8 September 2007. http://commons.wikimedia.org/wiki/File:Violin_front.jpg. Licensed under Creative Commons Attribution-Share Alike 3.0 Unported: http://creativecommons.org/licenses/by-sa/3.0/deed.en. Lukeford.net. “Brian Baumgartner.” Digital photograph. 13 December 2007. http://commons.wikimedia.org/wiki/File:Brian_Baumgartner_LF.JPG. Licensed under Creative Commons Attribution-Share Alike 2.5 Generic: http://creativecommons.org/licenses/by-sa/2.5/deed.en. Maxwell, Gregory F. “Fox Bassoon.” Digital photograph. 30 May 2005. http://commons.wikimedia.org/wiki/File:FoxBassoon.jpg. Licensed under GNU Free Documentation License: http://en.wikipedia.org/wiki/en:GNU_Free_Documentation_License. Mozart, Wolfgang Amadeus. “Zwolf Variationen uber ‘Ah, Vous-Dirais Je, Maman,’ KV 265.” Knuth, Jurgen, ed. Werner Icking musical collection. http://imslp.org/wiki/Special:ImagefromIndex/228371. Licensed under Creative Commons Non-commercial Share-Alike 3.0: http://imslp.org/wiki/IMSLP:Creative_Commons_Attribution_Non-commercial_Share_Alike_3.0. Nachmonta. “It’s not lupus.” Digital art. 27 December 2011. http://nachmonta.deviantart.com/art/It-s-not-lupus-276202207. Licensed under Creative Commons Attribution-Share Alike 3.0: http://creativecommons.org/licenses/by-sa/3.0/. Ratigan. “Clarinet.” Digital photograph. 29 June 2010. http://commons.wikimedia.org/wiki/File:Clarinet.png. Unrestricted. Steinway & Sons. “Steinway & Sons concert grand piano, model D-274, manufactured at Steinway's factory in Hamburg, Germany cropped.” 10 February 2012. http://commons.wikimedia.org/wiki/File:Steinway_%26_Sons_concert_grand_piano,_model_D-274,_manufactured_at_Steinway's_factory_in_Hamburg,_Germany_cropped.jpg. Licensed under Creative Commons Attribution-Share Alike 3.0 Unported: http://creativecommons.org/licenses/by-sa/3.0/deed.en. Sylvar. “It’s lupus.” Meme. 17 March 2009. https://www.flickr.com/photos/sylvar/3361870231/. Licensed under Creative Commons 2.0 Generic: https://creativecommons.org/licenses/by/2.0/. Unknown author. “French horn front.” Digital photograph. No date. http://commons.wikimedia.org/wiki/File:French_horn_front.png. Licensed under Creative Commons-Share Alike 3.0 Unported: http://creativecommons.org/licenses/by-sa/3.0/deed.en. Unknown author. “Western Concert Flute.” Digital photograph. No date. http://commons.wikimedia.org/wiki/File:Western_concert_flute_2.JPG. Licensed under Creative Commons-Share Alike 3.0 Unported: http://creativecommons.org/licenses/by-sa/3.0/deed.en. Van Gogh, Vincent. “Starry Night.” Oil on canvas. 1889. Museum of Modern Art. http://commons.wikimedia.org/wiki/File:Van_Gogh_-_Starry_Night_-_Google_Art_Project.jpg. Public domain.
https://wn.com/Forms_101_Binary_Form
THERES NO HEROES

THERES NO HEROES

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  • Duration: 10:01
  • Updated: 03 Apr 2011
  • views: 1621
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THERES NO HEROES reunion show at Chain Reaction. April 1, 2011
https://wn.com/Theres_No_Heroes
Milo Don - Running (Promo)

Milo Don - Running (Promo)

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  • Duration: 3:27
  • Updated: 18 Oct 2010
  • views: 1389
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Running Off The Dollar & A Dream Mixtape May 31st 2011 Directed By: Eazy Money Productions WWW.TWITTER.COM/REALMILODON WWW.NOINTRODUCTIONS.COM WWW.FACEBOOK.COM/IAMMILODON WWW.REVERBNATION.COM/MILODON
https://wn.com/Milo_Don_Running_(Promo)
"Ala fi Sabil Allah" by Sheikh Sayed El-Safti (Middle Eastern music)

"Ala fi Sabil Allah" by Sheikh Sayed El-Safti (Middle Eastern music)

  • Order:
  • Duration: 3:25
  • Updated: 21 Aug 2013
  • views: 469
videos
The renowned singer Sheikh Sayed El-Safti* (1875-1939) apparently began recording as early as 1907, possibly for the German independent Favourite label at first. Around ca. 1913 he recorded at least 2 dozen records for the Odeon company. He also recorded for Pathé ca. 1926, Polyphon, Columbia, and the Lebanese independent label Baidaphon in the late 1920s. His last recordings appear to have been ca. 1931. El-Safti specialized in several song types: the mawwal, a non-metric vocal improvisation on 4-7 lines of colloquial text, the dawr, a song type from the 19th century noted for the choral responses that occur in response to the soloist's improvisation in its second part (the ghusn), and the muwashah, a strophic song type in classical Arabic which originated in Al-Andalus. (These are simplistic definitions for what is a deep and detailed school of music, but I offer them to illustrate El-Safti's virtuosity.) This piece, however, is a qasida - a classical Arabic poem. It's English translation is "In the Path of God." El-Safti is accompanied here by a small ensemble of violin, kanun, and ney. As to when it was recorded, it's difficult to say. It was released on the German Parlophon label, which may (or may not) indicate that it was originally released on another German label (Baidaphon, Beka -- perhaps even Odeon or Favourite). Therefore it truly could have been recorded anytime between ca. 1907 and ca. 1925 -- a fascinating time in terms of recorded music in the Middle East. Technical Notes Label: Parlophone Issue Number: Bx 5708-I Matrix Number: 1344
https://wn.com/Ala_Fi_Sabil_Allah_By_Sheikh_Sayed_El_Safti_(Middle_Eastern_Music)
Adrian Gagiu - Suite for violin and piano (3 of 6)

Adrian Gagiu - Suite for violin and piano (3 of 6)

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  • Duration: 2:19
  • Updated: 02 Dec 2016
  • views: 19
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https://store.cdbaby.com/cd/adriangagiu8 Transcription of the neo-romantic song cycle "Thoughts and Images" (2012), on poems by Eminescu. This third movement, strophic and almost minimalist, is based on the contemplative poem "Stars In the Sky" (lyrics, in Romanian, below). "Stelele-n cer Deasupra mărilor Ard depărtărilor Până ce pier. După un semn Clătind catargele, Tremură largele Vase de lemn; Niște cetăți Plutind pe marile Și mișcătoarele Pustietăți. Stol de cocori Apucă-ntinsele Și necuprinsele Drumuri de nori. Zboară ce pot Și-a lor întrecere, Vecinică trecere ­ Asta e tot... Floare de crâng, Astfel viețile Și tinerețile Trec și se stâng. Orice noroc Și-ntinde-aripele Gonit de clipele Stării pe loc. Până nu mor, Pleacă-te, îngere, La trista-mi plângere Plină de-amor. Nu e păcat Ca să se lepede Clipa cea repede Ce ni s-a dat?"
https://wn.com/Adrian_Gagiu_Suite_For_Violin_And_Piano_(3_Of_6)
Cantiones Natalitiæ - Dutch Christmas carols from the Southern Netherlands in the 17th century

Cantiones Natalitiæ - Dutch Christmas carols from the Southern Netherlands in the 17th century

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  • Duration: 7:39
  • Updated: 20 Nov 2010
  • views: 15287
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A new genre of polyphonic Christmas carols that developed in the Southern Netherlands during the seventeenth century was called cantiones natalitiæ. These were sacred songs in Dutch (Flemish) or Latin, in simple, strophic four-part settings with figured bass. The composers of early seventeenth-century cantiones natalitiae were local church musicians of Antwerp, Brussels, and Ghent. The carols, mostly based on pre-existing songs, were sung in connection with Christmastide devotional services, especially the evening Marian Salve service. The earliest Flemish carols were published in the Laudes vespertinæ of 1604 and 1609. The three selected Christmas songs were all published in Antwerp in the 17th century and are by Guilielmus Messaus (1589-1640), by an unknown composer and by Joannes Berckelaers (?Antwerpen ±1630-?Antwerpen ±1700). 1) Guilielmus Messaus, Lof sy dat soete kindeken cleyn (1629) (performed by Camerata Trajectina (http://www.camerata-trajectina.nl)) 2) Incognito, O herders al soetjens (1651) (see for lyrics and other songs to the same tune: http://www.dbnl.org/tekst/duys001oude03_01/duys001oude03_01_0021.php ) (performed by Early Music New York) 3) Joannes Berckelaers, Titer wat een goede maer (1667) (see for lyrics: http://books.google.be/books?id=QzLaAAAAMAAJ&q=%22Titer+wat+een+goede+maer%22&dq=%22Titer+wat+een+goede+maer%22&hl=nl&ei=rf_nTJ7RBcGVOvGc7dQK&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCgQ6AEwAA) (performed by Guy de Mey and Knapenkoor in Dulce Jubilo) Images: 00:19 Portrait of Archduchess Isabella Clara Eugenia, Spanish Regent of the Low Countries from 1621 to 1633, as a Nun, 1625, by Peter Paul Rubens, Norton Simon Art Foundation 00:44 Adoration of the Magi, between 1618 and 1628 ?, by Peter Paul Rubens and his workshop (Anthony van Dyck?), Brussels, Museum of Fine Arts 01:10 Adoration of the Magi, 1624, by Peter Paul Rubens (and his workshop?), Antwerp, Royal Museum of Fine Arts 01:58 Archduke Leopold Wilhelm of Austria, the Governor of the Spanish Netherlands from 1647 to 1656, as marshal, 1652, by David Teniers the Younger, Vienna, Kunsthistorisches Museum 02:37 Brabant, Hainaut and Flanders honour the Virgin Mary, 1654, by Theodoor van Thulden, Vienna, Kunsthistorisches Museum 03:22 Adoration of the Shepherds, between 1630-1640?, by Theodoor van Loon, Paris, Louvre 04:00 Adoration of the Magi, by Theodoor van Loon, Vienna, Lichtenstein Museum 04:32 King Charles II of Spain, ruler of the Spanish Netherlands, as a child, 1666 (?), ascribed to David Teniers III, Brussels, Royal Museums of Fine Arts 05:10 Adoration of the Shepherds, by Jacob Jordaens, Athens, National Art Gallery 05:55 Adoration of the Magi, by Jacob Jordaens, Cherbourg, Musée Thomas Henry 06:36 Coronation of the Virgin Mary, 1630, by Cornelis Schut 07:07 The 1670 edition of the Cantiones natalitiæ by Johannes Berckelaers, published in Antwerp
https://wn.com/Cantiones_Natalitiæ_Dutch_Christmas_Carols_From_The_Southern_Netherlands_In_The_17Th_Century
Casting - "Love the Skin You're In" Un Evenement de Mode Taille Forte - A Plus Size Fashion Event

Casting - "Love the Skin You're In" Un Evenement de Mode Taille Forte - A Plus Size Fashion Event

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  • Duration: 2:05
  • Updated: 17 Mar 2014
  • views: 522
videos
On February 16 2014, P.S. Montreal and Cath.A.Strophic Productions held a model casting for the upcoming "Love the Skin You're In" Fashion show, to be held on April 26th 2014. Video by My 11.11 Productions (http://vimeo.com/user9827590 and https://www.facebook.com/pages/My-1111-Productions/121926871224698) Event details: https://www.facebook.com/events/1407674952822464/ Event tickets: http://www.clubsoda.ca/en/spec-love_the_skin_youre_in-1094.php Special thank you to our judging panel and volunteers: Cath.A.Strophic Productions, Yael Perez / Miss Meow - Model and Entertainer, Andrea Hausmann Photography, Sonia Levesque Design, Evanescent Twin, The Models' Coach - Naïad International, Sylvain Bergeron, Mitzi Perez and Adam Geraldi Filmed at Shift Space (http://www.shiftspace.ca/) ***** Le 16 Février 2014, P.S. Montréal et Cath.A.Strophic Productions ont tenu une casting de modèle pour la prochaine défilé de mode, "Love the Skin You're In" qui se tiendra le 26 Avril 2014. Vidéo par My 11.11 Productions (http://vimeo.com/user9827590 et https://www.facebook.com/pages/My-1111-Productions/121926871224698) Détails d'événement: https://www.facebook.com/events/1407674952822464/ Billets d'événement: http://www.clubsoda.ca/en/spec-love_the_skin_youre_in-1094.php Merci spécial à notre panel de juges: Cath.A.Strophic Productions, Yael Perez / Miss Meow - Model and Entertainer, Andrea Hausmann Photography, Sonia Levesque Design, Evanescent Twin, The Models' Coach - Naïad International, Sylvain Bergeron, Mitzi Perez and Adam Geraldi Filmé au Shift Space (http://www.shiftspace.ca/)
https://wn.com/Casting_Love_The_Skin_You're_In_Un_Evenement_De_Mode_Taille_Forte_A_Plus_Size_Fashion_Event
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