Category Archives: MEMORIES

Watch “a-ha – Take On Me (Live From MTV Unplugged)” on YouTube




  1. We’re talking away
    Though I don’t know what I’m to say
    I’ll say it anyway
    Today’s another day to find you
    Shying away
    I’ll be coming for your love, OK?

    Take on me (take on me)
    Take me on (take on me)
    I’ll be gone
    In a day or two

    So needless to say
    I’m odds and ends
    But I’ll be stumbling away
    Slowly learning that life is ok
    Say after me
    It’s no better to be safe than sorry

    Take on me (take on me)
    Take me on (take on me)
    I’ll be gone
    In a day or two

    Oh, things that you say
    Is it a life or just to play my worries away
    You’re all the things I’ve got to remember
    You’re shying away
    I’ll be coming for you anyway

    Take on me
    Take me on
    I’ll be gone
    In a day
    (Take on me)
    Take me on (take on me)
    I’ll be gone (take on me)
    (Take on me)

    Source: LyricFind


    Songwriters: Pal Waaktaar / Morten Harket / Magne Furuholmen

    Take On Me lyrics © Sony/ATV Music Publishing LLC

Watch “Trump acquitted by Senate on both articles of impeachment” on YouTube (Way to go Mr. PRESIDENT, the first president of the 21st century!)


Watch “Beautiful Dreamer – Bill Shirley” on YouTube


Watch “Whitesnake – Here I Go Again ’87 (Official Music Video)” on YouTube


Watch “The Partisan – Leonard Cohen” on YouTube


HEALTHY RELATIONS: WHAT TO LOOK FOR IN A PARTNER’S BEHAVIOR BEFORE BEING LEFT SPEACHLESS


HEALTHY RELATIONS: WHAT TO LOOK FOR IN A PARTNER'S BEHAVIOR BEFORE BEING LEFT SPEACHLESS

HEALTHY RELATIONS: WHAT TO LOOK FOR IN A PARTNER’S BEHAVIOR BEFORE BEING LEFT SPEACHLESS

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Watch “Schubert, Trio No. 2, Op. 100, Andante con moto | Ambroise Aubrun, Maëlle Vilbert, Julien Hanck” on YouTube


Watch “Wolfgang Amadeus Mozart – Missa brevis in D major, K 194 (Mass. No. 8)” on YouTube


Watch “Bartók: Hungarian and Romanian Dances” on YouTube


Watch “Bredřch Smetana – Die Moldau (from “Ma Vlast”/My Fatherland) Karajan Berlin Philharmonic Orchestra” on YouTube


Watch “Berlioz – Symphonie fantastique, Op 14 – Jansons” on YouTube


Watch “Victor Borge – “Page-turner”” on YouTube


Watch “The Typewriter (a concerto for orchestra and solo typewriter)” on YouTube


HAPPY NEW YEAR 2020! Watch “HERBERT VON KARAJAN (2/2) – Vienna Philharmonic Radetzky March New Year Concert 1987” on YouTube


Watch “Santa Esmeralda – House Of The Rising Sun” on YouTube


Watch “Kill Bill Vol.1 O-Ren Ishii v The Bride (Cotton Mouth v Black Mamba) Fight Scene HD” on YouTube


IDEAS TO LIVE BY: WHEN PEOPLE MAKE YOU FEEL UNWANTED,…


IDEAS TO LIVE BY: WHEN PEOPLE MAKE YOU FEEL UNWANTED,...

IDEAS TO LIVE BY: WHEN PEOPLE MAKE YOU FEEL UNWANTED,…

https://pin.it/d5z2255jykkjhy

Watch “JUDY COLLINS – Turn Turn Turn (1966 ).mp4” on YouTube


Watch “Leonard Cohen’s Muse Suzanne Verdal – Part 2” on YouTube


Just a thought: “Imagination is fearlessness applied, with mother’s courage as weapon.”


“Imagination is fearlessness applied, with mother’s courage as weapon.”

(© poetic thought by GeorgeB @ euzicasa)

Watch “Handel – Messiah – by London Philharmonic (Complete Concerto/Full)” on YouTube


Handel – Messiah – by London Philharmonic (Complete Concerto/Full)

Messiah, composed in 1741 by George Frideric Handel, with a scriptural text compiled by Charles Jennens from the King James Bible, and from the version of the Psalms included with the Book of Common Prayer.
It was first performed in Dublin on 13 April 1742 and received its London premiere nearly a year later.
After an initially modest public reception, the oratorio gained in popularity, eventually becoming one of the best-known and most frequently performed choral works in Western music. ( From Wikipedia)

Access many fabulous websites from EUZICASA! (SEVERAL OF THEM ARE FEATURED IN THE SCREENSHOT BELLOW)


https://euzicasa.wordpress.com/

Access many fabulous websites from EUZICASA! (SEVERAL OF THEM ARE FEATURED IN THE SCREENSHOT BELLOW)

Access many fabulous websites from EUZICASA! (SEVERAL OF THEM ARE FEATURED IN THE SCREENSHOT BELLOW)

Intrebare de 30 de ani: cum e mai bine…


Cum e mai bine:

Sa fi pribeag binevenit printre straini

Sau

Sa te simti pribeag nedorit in tara in care te-ai nascut si care

ti-ngropat pe toti si toate?

Watch “The Traitor_Martha Wainwright_Leonard Cohen_I’m Your Man_720HD-022711.avi” on YouTube


Play “The Traitor”

on Amazon Music (ad)

Now the Swan it floated on the English river
Ah the Rose of High Romance it opened wide
A sun tanned woman yearned me through the summer
And the judges watched us from the other side

I told my mother “Mother I must leave you
Preserve my room but do not shed a tear
Should rumour of a shabby ending reach you
It was half my fault and half the atmosphere”

But the Rose I sickened with a scarlet fever
And the Swan I tempted with a sense of shame
She said at last I was her finest lover
And if she withered I would be to blame

The judges said you missed it by a fraction
Rise up and brace your troops for the attack
Ah the dreamers ride against the men of action
Oh see the men of action falling back

But I lingered on her thighs a fatal moment
I kissed her lips as though I thirsted still
My falsity had stung me like a hornet
The poison sank and it paralyzed my will

I could not move to warn all the younger soldiers
That they had been deserted from above
So on battlefields from here to Barcelona
I’m listed with the enemies of love

And long ago she said “I must be leaving,
Ah but keep my body here to lie upon
You can move it up and down and when I’m sleeping
Run some wire through that Rose and wind the Swan”

So daily I renew my idle duty
I touch her here and there, I know my place
I kiss her open mouth and I praise her beauty
And people call me traitor to my face

GeorgeB

General Comment:

Well I guess, it is fundamentally positive, and for a long time I just amaze myself at the beauty of the methaphore, the idea of the world as a stage, as the scene of a quest, in which the spectators are the judges as well, then I heard Leonard Cohen’s explaantion of the line of thought that made him write the poem. It goes like this:

“It was called “The traitor”. It was about the feeling that we have of betraying some mission that we were mandated to fulfill, and being unable to fulfill it, and then coming to understand that the real mandate was not to fulfill it, and that the deeper courage was to stand guiltless in the predicament in which you found yourself”.

It talks about the unvoidable predicament of failure from without, and the only right posture when one’s faced with a situation in which one cannot but fail: standing guiltless, in the predicament in which you find yourself. I think that is positive: not blaming yourself for outcomes of which you could not fully control.

Rating: +1

No Replies

12 Years AgoWinters

General Comment:

  1. It seems to be about a man settling for someone who is not right for him rather than what his heart desires. He becomes an enemy of love, The Men of Action Falling back is the man too weak to take action and leave, following his heart. He has a relationship of physical love but not real love. He is a traitor to himself.

Rating: 0

No Replies

11 Years Agobhoover247

General Comment:

The rose is the womans genitals, the swan would be his. The line “run some wire through the rose and wind the swan” would be the woman asking him to have sex with her. He daily performs his “idle duty” but he doesn’t love her. He has become an “enemy of love” for betraying his true love.

Rating: 0

1 Reply

9 Years AgoRJSoftware

General Comment:

Damb, aint any Cohen song remotley happy?

Rating: 0

No Replies

9 Years AgoStrangerinme

General Comment:

And long ago she said “I must be leaving,
Ah but keep my body here to lie upon
You can move it up and down and when I’m sleeping
Run some wire through that Rose and wind the Swan”

God what a punishment ( the cruelty of the victim is almost far more than of the criminal)
He betrayed her , she doesn’t love him no more but she keeps her body for him to have sex with while her soul is somewhere else …

Rating: 0

No Replies

6 Years AgoJohnnyBee

My Interpretation:

What the Traitor has betrayed is the ideal of love. His ‘scarlet fever’ is lust, but when it is satisfied by ‘lingering on her thighs’, the Traitor is shamed. He recognises that other young men go off to battle without high ideals and they too become ‘the enemies of love’.
Lovely metaphors – great Leonard Cohen.

Rating: 0

No Replies

4 Months Agoalerique

General Comment:

Please, note parallels with famous ‘O Rose Thou Art Sick’ by William Blake, with specific reference to Englishness to remove further doubts. This is widened reinterpretation of the famous poem from the worm’s point of view.

O Rose thou art sick.
The invisible worm,
That flies in the night
In the howling storm:

Has found out thy bed
Of crimson joy:
And his dark secret love
Does thy life destroy.

Rating: 0

My pot with flowers today 121919


My pot with flowers today 121919

My pot with flowers today 121919

Watch “Fischer/Mendelssohn Violin Concerto in E Minor, Op. 64/Myung Whun Chung/Festival de Saint Denis.” on YouTube


Violin Concerto (Mendelssohn
Felix Mendelssohn’s Violin Concertoin E minor, Op. 64, is his last large orchestral work. It forms an important part of the violin repertoire and is one of the most popular and most frequently performed violin concertosin history.[1][2][3] A typical performance lasts just under half an hour.
Violin Concertoby Felix Mendelssohn

Mendelssohn in 1846

KeyE minorCatalogueOp. 64Year1844PeriodRomanticGenreConcertoComposed1838–1844Movements3ScoringViolin and orchestraPremiereDate13 March 1845LocationLeipzig
Mendelssohn originally proposed the idea of the violin concerto to Ferdinand David, a close friend and then concertmaster of the Leipzig Gewandhaus Orchestra. Although conceived in 1838, the work took another six years to complete and was not premiered until 1845. During this time, Mendelssohn maintained a regular correspondence with David, who gave him many suggestions. The work itself was one of the foremost violin concertos of the Romantic era and was influential on many other composers.

Continue reading

Message to the world: Our world is different, our goals are the same (euzicasa)


Watch “Julio Iglesias -Por el amor de una mujer” on YouTube



Por el amor de una mujer
Jugué con fuego sin saber
Que era yo quien me quemaba
Bebí en las fuentes del placer
Hasta llegar a comprender
Que no era a mi a quien amaba

Por el amor de una mujer
He dado todo cuanto fui
Lo más bonito de mi vida
Mas ese tiempo que perdí
Ha de servirme alguna vez
Cuando se cure bien mi herida
Todo me parece como un sueño todavía
Pero sé que al fin podré olvidar un día
Hoy me siento triste pero pronto cantaré
Y prometo no acordarme nunca del ayer
Por el amor de una mujer
Llegué a llorar why enloquecer
Mientras que ella se reía
Y en pedazos un cristal
Dejé mis venas desangrar
Pues no sabía lo que hacía
Por el amor de una mujer
He dado todo cuanto fui
Lo más bonito de mi vida
Mas ese tiempo que perdí
Ha de servirme alguna vez
Cuando se cure bien mi herida
Todo me parece como un sueño todavía
Pero sé que al fin podré olvidar un día
Hoy me siento triste pero pronto cantaré
Y prometo no acordarme nunca del ayer
Por el amor de una mujer
Jugué con fuego sin saber
Que era yo quien me quemaba
Bebí en las fuentes del placer
Hasta llegar a comprender
Que no era a mi a quien amaba
Por el amor de una mujer
He dado todo cuanto fui
Lo más bonito de mi vida
Mas ese tiempo que perdí
Ha de servirme alguna vez
Cuando se cure bien mi herida
Translate to English

Source: LyricFind


Songwriters: Daniel De La Campa Candon / Danny Daniel / Jesus Gonzalez Lopez / Sonny Marti
Por el Amor de una Mujer lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc

Watch “[Updated] Possible Chinese lyrics for “Anything Goes” from Indiana Jones and the Temple of Doom” on YouTube


OFF SEASON AT THE BEACH RESORT 121619


OFF SEASON AT THE BEACH RESORT

OFF SEASON AT THE BEACH RESORT 121619

My pot with flowers today 12/16/19


My pot with flowers today 12/16/19

My pot with flowers today 12/16/19

“Monday’s Prospects” (my virtual graphic arts work)


“Monday’s Prospects” (my virtual graphic arts work)

Monday’s Prospects

Thoughts of Wisdom: Forgive them, even when they are not sorry…


Thoughts of Wisdom:  Forgive them, even when they are not sorry...

Thoughts of Wisdom: Forgive them, even when they are not sorry…

https://pin.it/azrvgziccg6bd6

Watch “”The Rain in Spain” – Rex Harrison, Wilfrid Hyde-White and Audrey Hepburn, 1964″ on YouTube


Watch “Hugh Laurie – Saint James Infirmary (Let Them Talk, A Celebration of New Orleans Blues)” on YouTube


It was down by old Joe’s barroom, on the corner of the square
They were serving drinks as usual, and the usual crowd was there
On my left stood Big Joe McKennedy, and his eyes were bloodshot red
And he turned his face to the people, these were the very words he said
I was down to St. James infirmary, I saw my baby there
She was stretched out on a long white table,
So sweet, cool and so fair
Let her go, let her go, God bless her
Wherever she may be
She may search this whole wide world over
Never find a sweeter man as me
When I die please bury me in my high top Stetson hat
Put a twenty dollar gold piece on my watch chain
The gang’ll know I died standing pat
Let her go, let her go God bless her
Wherever she may be
She may search this wide world over
Never find a sweeter man as me
I want six crapshooters to be my pallbearers
Three pretty women to sing a song
Stick a jazz band on my hearse wagon
Raise hell as I stroll along
Let her go Let her go
God bless her
Wherever she may be
She may search this whole wide
World over
She’ll never find a sweeter
Man as me
Source: LyricFind
Songwriters: Joe Primrose / Irving Mills
St. James Infirmary lyrics © Sony/ATV Music Publishing LLC, Universal Music Publishing Group, Downtown Music Publishing, Spirit Music Group, BMG Rights

St. James Infirmary Blues

“St. James Infirmary” on tenor sax

St. James Infirmary Blues” is an American jazz song of uncertain origin. Louis Armstrong made the song famous in his 1928 recording on which Don Redman was credited as composer; later releases gave the name Joe Primrose, a pseudonym of Irving Mills. The melody is 8 bars long, unlike songs in the classic blues genre, where there are 12 bars. It is in a minor key, and has a 4/4 time signature, but has also been played in 3/4.

Authorship and historyEdit

“St. James Infirmary Blues”, sometimes known as “Gambler’s Blues”, is often regarded as an American folk song of anonymous origin. Moore and Baxter published a version of “Gambler’s Blues” in 1925.[1]In 1927, Carl Sandburg published a book called The American Songbagwhich contained lyrics for two versions of a song called “Those Gambler’s Blues”.[2] However, the song “St. James Infirmary Blues” is sometimes credited to the songwriter Joe Primrose (a pseudonym for Irving Mills), who held copyrights for several versions of the song, registering the first in 1929. He claimed the rights to this specific title and won a case in the U.S. Supreme Court on this basis, the defendants having failed to produce the documentary evidence required by the court that the song had been known by that name for some years.[1]

“St. James Infirmary Blues” is sometimes said to be based on an eighteenth-century traditional folk song called “The Unfortunate Rake” (also known as “The Unfortunate Lad” or “The Young Man Cut Down in His Prime”) about a soldier who uses his money on prostitutes and then dies of venereal disease. But the familiar recorded versions (such as Armstrong’s) bear little relation to the older traditional song. The earliest known form of this song was called “The Buck’s Elegy” and is set in Covent Garden, London.[3]

According to Robert W. Harwood, A. L. Lloyd was the first person to connect “St. James Infirmary” with “The Unfortunate Lad/Rake”.[1]:36 Harwood refers to a five-page article by Lloyd in the January 1947 issue of the English music magazine Keynote.[4] In 1956, Lloyd published a revised version of this article in Sing magazine.[5] In both articles Lloyd refers to an English broadside song entitled “The Unfortunate Lad”, commenting that the song is sometimes known as “The Unfortunate Rake”. No date or source for the latter title is given. The opening line of this version of the song refers to the “lock hospital”, not to an institution named St James. The term “lock hospital” was the name of an institution in Southwark, London, where lepers were isolated and treated. The lock in Southwark was used for those suffering from venereal diseases. The longer term came into use as a generic term for a hospital treating venereal diseases. Its first recorded use is 1770.

Lloyd claims that a song collected by Cecil Sharp in the Appalachians in 1918 which contains the words “St James Hospital” is the parent song and that it looks like an elder relative of “The Dying Cowboy”. The opening of that song, as quoted by Lloyd, is:

As I went down by St James Hospital one morning,
So early one morning, it was early one day,
I found my son, my own son,
Wrapped up in white linen, as cold as the clay.

He also claims that this Appalachian version derives in turn from the version published by Such in London in the 1850s which refers to a lock hospital. The opening verse of this song, entitled “The Unfortunate Lad”, is:

As I was walking down by the Lock Hospital,
As I was walking one morning of late,
Who did I spy but my own dear comrade,
Wrapp’d up in flannel, so hard was his fate.

Lloyd’s articles comment on the jazz hit “St. James Infirmary Blues”. The first article asserts that “the song is, or was before it became corrupted, a narrative ballad. Such ballads are rare in Negro song…So doubts are raised about whether ‘St. James Infirmary’ began life as a Negro song”.[4]:10 The second article includes the following comment on the song: “Most versions of ‘Infirmary’ include a number of stanzas from other songs, grafted on to the main stem – a confusion especially common with songs current among Negroes. The curious switchover from the actual death of the girl to the hypothetical death of the gambler creates some ambiguity too”.[5]:19 Lloyd points out that in some early variants of “The Unfortunate Rake” the sex of the victim of venereal disease was female. “We realise that the confusion in the ‘Infirmary’, where the dead person is a woman but the funeral is ordered for a man, is surely due to the fact that the original ballad was commonly recorded in a form in which the sexes were reversed, so singers were often in two minds whether they were singing of a rakish man or a bad girl”.[5]:21

Lloyd’s second article is cited as a reference by Kenneth Goldstein in his liner notes for a 1960 Folkways LP called The Unfortunate Rake. These liner notes are often used as a source for the history of “St. James Infirmary Blues”. One example is an article by Rob Walker.[6] The liner notes raise the question of whether St. James’ Hospital was a real place and, if so, where it was. Goldstein claimed in the notes that “St. James” refers to London’s St. James Hospital, a religious foundation for the treatment of leprosy. His references list an article by Kenneth Lodewick. That article states, giving no reference or source for the idea, that the phrase “St. James Hospital” refers to a hospital of that name in London.[7]There is some difficulty in this because the hospital in question closed in 1532 when Henry VIIIacquired the land to build St James’s Palace.[8]

Another possibility suggested by Higginbotham on the basis of his claim that the song “St. James Infirmary” dates at least from the early nineteenth century, is the Infirmary section of the St James Workhousewhich the St. James Parish opened in 1725 on Poland Street, Piccadilly, and which continued well into the nineteenth century.[9] This St. James Infirmary was contemporaneous with the estimated advent of the song “The Unfortunate Lad”, but it is not the London Lock Hospital. Another difficulty is that, out of the early versions of the song mentioned in the references given by Goldstein, only the one collected by Cecil Sharp in the Appalachians in 1918, and one found in Canada in the 1920s, make use of the phrase “St. James”.

The liner notes link the Rake to an early fragment called “My Jewel, My Joy”, stating that it was heard in Dublin. The same statement appears in the Lodewick article referenced in those notes[7] The notes given in the source cited for this fragment, a collection of songs collected by William Forde and published by P. W. Joyce, state that the song was heard in Cork, not Dublin.[10]

The version of the “Unfortunate Rake” on the LP of that name is sung by Lloyd, of whom it has been said that he “sometimes modified lyrics or melodies to make the songs more palatable for contemporary listeners”,[1]:38 and its first verse is as follows:

As I was a-walking down by St. James Hospital,
I was a-walking down by there one day.
What should I spy but one of my comrades
All wrapped up in a flannel though warm was the day.[a]

The liner notes[11] state that Lloyd is singing a nineteenth century broadside version, but do not specify which. The Lloyd article cited in the references given in the liner notes,[5]refers to a version published by Such and to no other version. The title and words sung by Lloyd are not those of the Such broadside[12] which has no reference to St. James and is not called “The Unfortunate Rake”. Lloyd recorded a slightly different version in 1966, this time calling the song “St James Hospital”.[13] In 1967, his book Folk Song in England was published.[14] This includes some comment on the song, claims without any supporting references or information that a Czech version pre-dates the British ones, repeats the confusion between Dublin and Cork as the place where the “My Jewel My Joy” fragment had been heard, and includes an unattributed quotation of two verses that differ from the versions sung by Lloyd.

Variations typically feature a narrator telling the story of a young man “cut down in his prime” (occasionally, a young woman “cut down in her prime”) as a result of morally questionable behaviour. For example, when the song moved to America, gambling and alcohol became common causes of the youth’s death.[15]

There are numerous versions of the song throughout the English-speaking world. For example, it evolved into other American standards such as “The Streets of Laredo“.[16]

The song, “Dyin’ Crapshooter’s Blues”, has sometimes been described as a descendant of “The Unfortunate Rake”, and thus related to “St. James Infirmary Blues”. This song was issued as a record four times in 1927, and attributed to pianist, arranger, and band-leader Porter Grainger.[17] Blind Willie McTell recorded a version of the former for John Lomax in 1940 and claimed to have begun writing the song around 1929.

Gottlieb considered whether there were Jewish American influences through the use of the Ukrainian Dorian mode, but only found hints of this in a version published by Siegmeister and Downes.[18] He also suggests that there may have been Jewish influences on the rendition by Cab Calloway.[18]:211 A melody very similar to the Armstrong version can be found in an instrumental composition entitled “Charleston Cabin”, which was recorded by Whitey Kaufman’s Original Pennsylvania Serenaders in 1924 (three years before the earliest recording of “Gambler’s Blues”).[1]:39

As with many folk songs, there is much variation in the lyric from one version to another. These are the first two stanzas as sung by Louis Armstrong on a 1928 Odeon Records release:

I went down to St. James Infirmary,
Saw my baby there,
Stretched out on a long white table,
So cold, so sweet, so fair.

Let her go, let her go, God bless her,
Wherever she may be,
She can look this wide world over,
But she’ll never find a sweet man like me.

Some of the versions, such as the one published as “Gambler’s Blues” and attributed to Carl Moore and Phil Baxter, frame the story with an initial stanza or stanzas in which a separate narrator goes down to a saloon known as “Joe’s barroom” and encounters a customer who then relates the incident about the woman in the infirmary. Later verses commonly include the speaker’s request to be buried according to certain instructions, which vary according to the version.[19]

Other versionsEdit

Koko the clown (a rotoscopedCab Calloway) performing the song in the 1933 Betty Boopanimation Snow White

The song was first recorded (as “Gambler’s Blues”) in 1927 by Fess Williams and his Royal Flush Orchestra with credits given to Moore and Baxter.[1]:150This version mentions an infirmary but not by name. The song was popular during the jazz era, and by 1930 at least eighteen different versions had been released.[1]:30 The Duke Ellington Orchestra recorded the song using pseudonyms such as “The Ten Black Berries”, “The Harlem Hot Chocolates”, and “The Jungle Band”,[1]:19 while Cab Callowayperformed a version in the 1933 Betty Boop animated film Snow White, providing vocals and dance moves for Koko the clown.[20]

In 1961, Bobby “Blue” Bland released a version of “Saint James Infirmary” on the flip side of his No. 2 R&B hit “Don’t Cry No More” and included it in his album Two Steps from the Blues.[21][22]In 1967 the French-American singer Joe Dassin recorded the song. In 1968, Don Partridge released a version on his self-named album, as did Eric Burdon and the Animals on their album Every One of Us.[23]Dock Boggs recorded a version of the song entitled “Old Joe’s Barroom” (1965)[24]

The song was often performed by cabaret surrealists The Mystic Knights of the Oingo Boingo in South California; the band’s vocalist and songwriter, Danny Elfman, often cited Cab Calloway as his inspiration in his youth. The White Stripes covered the song on their self-titled debut album, and Jack White says he and fellow band member, Meg White, were introduced to the song from a Betty Boop cartoon.[25] In 1981, Bob Dylan adapted the song when he wrote and recorded “Blind Willie McTell”. The song was written for his 1983 release, Infidels, but was not released until The Bootleg Series, Vol. 1-3: Rare and Unreleased, 1961-1991 (Columbia, 1991).[26] In 2012, Trombone Shortyand Booker T. Jones performed an instrumental version as the opening number of the “Red, White, and Blues” concert at the White House.[27]

See alsoEdit

Watch “In the Upper Room” on YouTube


In the upper room with Jesus
Singing in tears blessed fears
Daily there my sins confessing
Beggin for his mercy sweet
Trusting his grace and power
Seeking help in loving prayers
It is this how I feel the spirit
And I sat with him and pray
Oh, he’s in in the upper room
With Jesus
Oh, it’s in the upper room
When my lord and your god
When he’s in the upper room
Yes, he’s in the upper room
Well he’s in the upper room
Talking with the Lord
Oh my, Hallelujah, Lord
He’s in the upper room
With Jesus
Oh, he’s in the upper room
Talking with my Lord
Yes, and your God
I know he’s in the upper room
It’s in the upper room
Lord, he’s in, yeah, the upper room
Talking with the Lord, oh yes
But Hallelujah
In the upper room
In the upper room
In the upper room
In the upper room
In the upper room
In the upper room
In the upper room, Lord
In the upper room
In the upper room
In the upper room
In the upper room, Lord
In the upper room
Yeah, in the upper room, Lord
In the upper room
Talking with my Lord
Oh, and your God
Hallelujah
It’s in the upper room
With Jesus
Oh, in the upper room
Talking with my Lord
Yes, and your God
You know I’m in the upper room, whoo
It’s in the upper room
Lord, he in the upper room
Talking with the Lord
Oh, yeah, yeah
Hallelujah
It’s in the upper room
With Jesus
Now I’m in the upper room
Talking with my Lord
Yes, and you God
You know I’m in the upper room
Yeah, I’m in the upper room
Lord, he’s in, in the upper room
Talking with my Lord, oh yeah
Source: LyricFind
Songwriters: Mahalia Jackson
In the Upper Room lyrics © Bess Music

Watch “Johnny Cash – Supper Time” on YouTube


Many years ago in days of childhood
I used to play till evenin’ shadows come
Then windin’ down that old familiar pathway
I’d hear my mother call at set of sun

Come home, come home it’s supper time
The shadows lengthen fast
Come home, come home it’s supper time
We’re going home at last

Some of the fondest memories of my childhood
Were woven around supper time
When my mother used to call
From the backsteps of the old homeplace
“Come on home now son, it’s supper time”

Ah, but I’d love to hear that once more
But you know for me time has woven the realization of
The truth that’s even more thrilling and that’s when
The call come up from the portals of glory
To come home, for it’s supper time

When all of God’s children
Shall gather around the table
Of the Lord himself
And the greatest supper time of them all

Come home, come home, it’s supper time
The shadows lengthen fast
Come home, come home, it’s supper time
We’re going home at last

Source: LyricFind
Songwriters: Ira F. Stanphill
Suppertime lyrics © Capitol Christian Music Group

From Wikipedia:

Supper Time

Supper Time” is a popular song written by Irving Berlin for the 1933 musical As Thousands Cheer, where it was introduced by Ethel Waters.

It is about a wife’s reaction to news of her husband’s lynching.[1]

Notable recordingsEdit

ReferencesEdit

  1. ^ Lyrics of Supper Time at lyrics.astraweb.com

Watch “Green, Green Grass of Home (Live at Folsom State Prison, Folsom, CA – January 1968)” on YouTube



The old home town looks the same
As I step down from the train
And there to meet me is my Mama and Papa
Down the road I look and there runs Mary
Hair of gold and lips like cherries

It’s good to touch the green, green grass of home
Yes, they’ll all come to meet me, arms reaching, smiling sweetly
It’s good to touch the green, green grass of home

The old house is still standing tho’ the paint is cracked and dry
And there’s that old oak tree that I used to play on
Down the lane I walk with my sweet Mary
Hair of gold and lips like cherries
It’s good to touch the green, green grass of home

Then I awake and look around me
At four grey walls that surround me
And I realize, yes, I was only dreaming
For there’s a guard and there’s a sad old padre
Arm in arm, we’ll walk at daybreak
Again I touch the green, green grass of home

Yes, they’ll all come to see me
In the shade of that old oak tree
As they lay me ‘neath the green, green grass of home

Source: LyricFind


Songwriters: Curly Putman
Green Green Grass Of Home lyrics © Sony/ATV Music Publishing LLC

Green, Green Grass of Home

Song written by Curly Putman


Green, Green Grass of Home“, written by Claude “Curly” Putman Jr. and first recorded by singer Johnny Darrell, is a country song originally made popular by Porter Wagoner in 1965, when it reached No. 4 on the country chart. That same year, it was sung by Bobby Bare and by Jerry Lee Lewis, who included it in his album Country Songs for City Folks (later re-issued as All Country). Tom Jones learned the song from Lewis’ version, and in 1966, he had a worldwide No. 1 hit with it.

Quick facts: Released, Genre
Quick facts: B-side, Released

Lyrics

A man returns to his childhood home; it seems that this is his first visit home since leaving in his youth. When he steps down from the train, his parents are there to greet him, and his beloved, Mary, comes running to join them. All is welcome and peace; all come to meet him with “arms reaching, smiling sweetly.” With Mary, the man strolls at ease among the monuments of his childhood, including “the old oak tree that I used to play on.” It is “good to touch the green, green grass of home.” Yet the music and the words are full of foreshadowing, strongly suggestive of mourning.

Abruptly, the man switches from song to speech as he awakens in prison: “Then I awake and look around me, at four grey walls that surround me. And I realize that I was only dreaming.” He is, indeed, on death row. As the singing resumes, we learn that the man is waking on the day of his scheduled execution (“there’s a guard, and there’s a sad old padre, arm in arm, we’ll walk at daybreak”), and he will return home only to be buried: “Yes, they’ll all come to see me in the shade of that old oak tree, as they lay me ‘neath the green, green grass of home.”

The Joan Baez version ends: “Yes, we’ll all be together in the shade of the old oak tree / When we meet beneath the green, green grass of home.”

Tom Jones version

Welsh singer Tom Jones, who was appearing on The Ed Sullivan Show in 1965, visited Colony Records while staying in New York City. On asking if they had any new works by Jerry Lee Lewis, he was given the new country album.

Impressed with the song, Jones recorded and released the song in the UK in 1966 and it reached No. 1 on 1 December, staying there for a total of seven weeks. The song has sold over 1.25 million copies in the UK as of September 2017. Jones’ version also reached #11 pop, #12 easy listening on the Billboard US charts.

In February 2009, Jones performed the song live on a special Take-Away Show with Vincent Moon, along with “If He Should Ever Leave You” and “We Got Love“, live in front of a camera in a hotel room in New York.

In September 2006, Jones performed the song as a duet with Jerry Lee Lewis during the taping of the latter’s Last Man Standing TV special in New York City, and credited Lewis with providing the inspiration behind his own recording.

Jones sang the song on the 2009/10 edition of Jool’s Annual Hootenanny on 1 January 2010.

Chart performance

More information: Chart (1967), Peak position

Other versions

Since then it has been recorded by many other solo vocalists and groups including:

Watch “Green, Green Grass of Home (Live at Folsom State Prison, Folsom, CA – January 1968)” on YouTube


The old home town looks the same
As I step down from the train
And there to meet me is my Mama and Papa
Down the road I look and there runs Mary
Hair of gold and lips like cherries
It’s good to touch the green, green grass of home
Yes, they’ll all come to meet me, arms reaching, smiling sweetly
It’s good to touch the green, green grass of home
The old house is still standing tho’ the paint is cracked and dry
And there’s that old oak tree that I used to play on
Down the lane I walk with my sweet Mary
Hair of gold and lips like cherries
It’s good to touch the green, green grass of home
Then I awake and look around me
At four grey walls that surround me
And I realize, yes, I was only dreaming
For there’s a guard and there’s a sad old padre
Arm in arm, we’ll walk at daybreak
Again I touch the green, green grass of home
Yes, they’ll all come to see me
In the shade of that old oak tree
As they lay me ‘neath the green, green grass of home

From Wikipedia:

Green, Green Grass of Home

Song written by Curly Putman


Green, Green Grass of Home“, written by Claude “Curly” Putman Jr. and first recorded by singer Johnny Darrell, is a country song originally made popular by Porter Wagoner in 1965, when it reached No. 4 on the country chart. That same year, it was sung by Bobby Bare and by Jerry Lee Lewis, who included it in his album Country Songs for City Folks (later re-issued as All Country). Tom Jones learned the song from Lewis’ version, and in 1966, he had a worldwide No. 1 hit with it.

Quick facts: Released, Genre
Quick facts: B-side, Released

Lyrics

A man returns to his childhood home; it seems that this is his first visit home since leaving in his youth. When he steps down from the train, his parents are there to greet him, and his beloved, Mary, comes running to join them. All is welcome and peace; all come to meet him with “arms reaching, smiling sweetly.” With Mary, the man strolls at ease among the monuments of his childhood, including “the old oak tree that I used to play on.” It is “good to touch the green, green grass of home.” Yet the music and the words are full of foreshadowing, strongly suggestive of mourning.

Abruptly, the man switches from song to speech as he awakens in prison: “Then I awake and look around me, at four grey walls that surround me. And I realize that I was only dreaming.” He is, indeed, on death row. As the singing resumes, we learn that the man is waking on the day of his scheduled execution (“there’s a guard, and there’s a sad old padre, arm in arm, we’ll walk at daybreak”), and he will return home only to be buried: “Yes, they’ll all come to see me in the shade of that old oak tree, as they lay me ‘neath the green, green grass of home.”

The Joan Baez version ends: “Yes, we’ll all be together in the shade of the old oak tree / When we meet beneath the green, green grass of home.”

Tom Jones version

Welsh singer Tom Jones, who was appearing on The Ed Sullivan Show in 1965, visited Colony Records while staying in New York City. On asking if they had any new works by Jerry Lee Lewis, he was given the new country album.

Impressed with the song, Jones recorded and released the song in the UK in 1966 and it reached No. 1 on 1 December, staying there for a total of seven weeks. The song has sold over 1.25 million copies in the UK as of September 2017. Jones’ version also reached #11 pop, #12 easy listening on the Billboard US charts.

In February 2009, Jones performed the song live on a special Take-Away Show with Vincent Moon, along with “If He Should Ever Leave You” and “We Got Love“, live in front of a camera in a hotel room in New York.

In September 2006, Jones performed the song as a duet with Jerry Lee Lewis during the taping of the latter’s Last Man Standing TV special in New York City, and credited Lewis with providing the inspiration behind his own recording.

Jones sang the song on the 2009/10 edition of Jool’s Annual Hootenanny on 1 January 2010.

Chart performance

More information: Chart (1967), Peak position

Other versions

Since then it has been recorded by many other solo vocalists and groups including:

Watch “”Peer Gynt” Complete Incidental Music – Edvard Grieg” on YouTube


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Peer Gynt (Grieg)

Edvard Grieg, in a photograph taken in 1888 by Elliott & Fry

Peer Gynt, Op. 23, is the incidental music to Henrik Ibsen‘s 1867 play of the same name, written by the Norwegian composer Edvard Grieg in 1875. It premiered along with the play on 24 February 1876 in Christiania(now Oslo).[1]

Grieg later created two suites from his Peer Gynt music. Some of the music from these suites has received coverage in popular culture; see Grieg’s music in popular culture.

BackgroundEdit

Edvard Grieg (1843-1907) was one of the definitive leaders of Scandinavian music and his influence was great. Although composing many short piano pieces and chamber works, the work Grieg did for Henrik Ibsen stood out. Originally composing 90 minutes of orchestral music for the play, he later went back and extracted certain sections for the suites. Peer Gynt’s travels around the world and distant lands are represented by the instruments Grieg chooses to use.[2]

When Ibsen asked Grieg to write music for the play in 1874, he reluctantly agreed. However, it was much more difficult for Grieg than he imagined. “Peer Gynt progresses slowly,” he wrote to a friend in August 1874, “and there is no possibility of having it finished by autumn. It is a terribly unmanageable subject.”[3]

Letter from Henrik Ibsen to Grieg, January 23, 1874.

“The more he saturated his mind with the powerful poem, the more clearly he saw that he was the right man for a work of such witchery and so permeated with the Norwegian spirit,” his wife wrote of him and his music.[4]Even though the premiere was a “triumphant success”, it prompted Grieg to complain bitterly that the Swedish management of the theatre had given him specifications as to the duration of each number and its order: “I was thus compelled to do patchwork… In no case had I opportunity to write as I wanted… Hence the brevity of the pieces,” he said.[3]

For many years, the suites were the only parts of the music that were available, as the original score was not published until 1908, one year after Grieg’s death, by Johan Halvorsen.[5]

Original score, Op. 23Edit

Various recordings have been made of this music. Some recordings that claim to contain the complete incidental music have 33 selections;[6]the recording conducted by Ole Kristian Ruud is split into 49 items.[7]Both recordings include several verses from the drama, read by actors.

The original score contains 26 movements:[5] Movements indicated in bold were extracted by Grieg into two suites.

  • Act I
    • Prelude: At the Wedding (I brudlaupsgarden)
    • The Bridal Procession (Brudefylgjet dreg forbi)
    • Halling (Halling)
    • Springar (Springdans)
  • Act II
    • Prelude: The Abduction of the Bride. Ingrid’s Lament(Bruderovet / Ingrids klage)
    • Peer Gynt and the Herd-Girls (Peer Gynt og seterjentene)
    • Peer Gynt and the Woman in Green (Peer Gynt og den grønkledde)
    • By His mount You Shall Judge Him (På ridestellet skal storfolk kjennes)
    • In the Hall of the Mountain King (I Dovregubbens hall)
    • Dance of the Mountain King’s Daughter (Dans av Dovregubbens datter)
    • Peer Gynt hunted by the trolls (Peer Gynt jages av troll)
    • Peer Gynt and the Boyg (Peer Gynt og Bøygen)
  • Act III
    • Prelude: Deep in the Forest (Dypt Inne I Barskogen)
    • Solveig’s Song (Solvejgs sang)
    • The Death of Åse (Åses død)
  • Act IV
    • Prelude: Morning Mood(Morgenstemning)
    • The Thief and the Receiver (Tjuven og heilaren)
    • Arabian Dance (Arabisk dans)
    • Anitra’s Dance (Anitras dans)
    • Peer Gynt’s Serenade (Peer Gynts serenade)
    • Peer Gynt and Anitra (Peer og Anitra)
    • Solveig’s Song (Solvejgs sang)
  • Act V
    • Prelude: Peer Gynt’s Homecoming (Peer Gynts heimfart)
    • Shipwreck (Skipsforliset)
    • Day Scene
    • Solveig sings in the hut (Solvejg syngjer i hytta)
    • Night Scene (Nattscene)
    • Whitsun Hymn (Pinsesalme)
    • Solveig’s Cradle Song (Solvejgs vuggevise)

The complete score of the incidental music includes several songs and choral pieces. The complete score was believed to be lost until the 1980s and has been performed in its entirety only since then.[8] (See the article on Ibsen’s play for a list of notable productions, including concert performances of the incidental music.)

It was originally orchestrated for: one piccolo, two flutes, two oboes, two clarinets in A, two bassoons, four horns in E, two trumpets in E, three trombones, a tuba, timpani, cymbals, bass drum, triangle, harp, and strings.

SuitesEdit

Over a decade after composing the full incidental music for Peer Gynt, Grieg extracted eight movements to make two four-movement suites. The Peer Gynt suites are among his best-known works, however they initially began as incidental compositions. Suite No. 1, Op. 46 was published in 1888, and Suite No. 2, Op. 55 was published in 1891. A typical rendition of both suites lasts 20 to 35 minutes.

Suite No. 1, Op. 46Edit

  1. Morning Mood (Morgenstemning) (in E major)
  2. The Death of Åse (Åses død) (in B minor)
  3. Anitra’s Dance (Anitras dans) (in A minor)
  4. In the Hall of the Mountain King(I Dovregubbens hall) (in B minor)

Suite No. 2, Op. 55Edit

  1. The Abduction of the Bride. Ingrid’s Lament (Bruderovet. Ingrids klage) (in G minor)
  2. Arabian Dance (Arabisk dans) (in C major)
  3. Peer Gynt’s Homecoming (Stormy Evening on the Sea) (Peer Gynts hjemfart (Stormfull aften på havet)) (in F minor) – Compared to the one in the Peer Gynt Incidental Music (Op. 23), Grieg added an extra coda that ended this movement with an imperfect cadence in A minor.
  4. Solveig’s Song (Solveigs sang) (in A minor)

Originally, the second suite had a fifth number, The Dance of the Mountain King’s Daughter, but Grieg withdrew it.[9]

See also

Watch “Marita Solberg Solveig’s song Edvard Grieg Peer Gynt” on YouTube


Watch “A. Dvořák – Humoresque, Op.101 No. 7 – Josef Suk, Violin” on YouTube


Watch “The most Romantic Music by Antonin Dvorak. American Suite in A, opus 98b.” on YouTube


American Suite

The American Suite in A major (Czech: Suita A dur), Op. 98b, B. 190, is an orchestral suite written in 1894–1895 by Czech composer Antonín Dvořák.

BackgroundEdit

Dvořák initially wrote the Suite in A major for piano, Op. 98, B. 184, in New York between February 19 and March 1, 1894.[1] He orchestrated it in two parts more than a year after his return to the United States and immediately before his departure for Europe. The piano version was performed soon after its composition, but the orchestral version waited some years. The orchestral version of the American Suite was first played in concert in 1910 and not published until 1911, seven years after Dvořák’s death in 1904.

MovementsEdit

The suite is written in five movements, each with a marked rhythm:

  1. Andante con moto
  2. Allegro
  3. Moderato (alla pollacca)
  4. Andante
  5. Allegro

Analysis and receptionEdit

As often is the case with Dvořák, the orchestral version gives the work a new breadth. The cyclic aspects of Dvořák’s composition are apparent, in that the principal theme of the first movement recurs during the conclusion of the work. This opening theme is marked by his American-influenced style. It is difficult to determine whether it comes from the typical folk music of the New World or simply from the music of the Czech emigrants, to which the Dvořák liked to listen during his stay in the United States.

This mix of American influence with Slavic tradition is also perceptible in the rhythm of the “alla Polacca” third movement, and in the last movement’s themes native to the Far East, played by flute and oboe in unison, where the orchestra passes easily from the minor theme to the major one.

Far from any exoticism, the art of Dvořák’s orchestral work is in the field of pure music, and it is undoubtedly for this reason that Brahmsappreciated it. Even in New York, when Dvořák encouraged his pupils to work on their own folk melodies, it was authentic recreation of the popular folk musics that he called for.

Appearances in popular cultureEdit

Along with several other works by Dvořák (including some of the Slavonic Dances and the second movement of the New World Symphony), the first movement, Andante con moto is part of the sound track to Sid Meier’s Civilization IV. The allegro was used in the trailer for The Elder Scrolls II Daggerfall.