Tag Archives: wikipedia the free encyclopedia

Alexander Borodin In The Steppes Of Central Asia

From Wikipedia, the free encyclopedia

On the Steppes of Central Asia (Russian: В средней Азии, V srednyeĭ Azii, literally In Central Asia) is the common English title for a “musical tableau” (or symphonic poem) byAlexander Borodin, composed in 1880.

The work was originally intended to be presented as one of several tableaux vivants to celebrate the silver anniversary of the reign of Alexander II of Russia, who had done much to expand the Russian Empire eastward. The intended production never occurred, but the work itself became, and has remained, a concert favorite ever since its first concert performance, on 8 April 1880 (Old style) in St. Petersburg by the orchestra of the Russian Opera under the conductorship of Nikolai Rimsky-Korsakov.[1] The work is dedicated toFranz Liszt.

This orchestral work idyllically depicts an interaction of Russians and Asians in the steppelands of the Caucasus. A caravan of Central Asians is crossing the desert under the protection of Russian troops. The opening theme, representing the Russians, is heard first (see chart of themes below); then we hear the haunting strains of an ornamented eastern melody on English horn, representing the Asians. These two melodies eventually are combined contrapuntally. Amidst these two ethnic melodies is heard a “traveling” theme inpizzicato that represents the plodding hoofs of the horses and camels. At the end only the Russian theme is heard.




J. Krishnamurti – What Love Is Not – (why human beings need discipline?)


Jiddu Krishnamurti

J. Krishnamurti cir. 1920s
Born May 11, 1895
MadanapalleMadras Presidency,British Raj
Died February 17, 1986 (aged 90)
Ojai, California
Occupation public speakerauthorphilosopher
Influenced Joseph CampbellDavid Bohm,Aldous HuxleyBruce LeePupul Jayakar,[1] Achyut Patwardhan,[2]Dada Dharmadhikari [3]
Parents Jiddu Narianiah and Sanjeevamma

Jiddu Krishnamurti (May 11, 1895 – February 17, 1986) was an Indian writer and speaker on philosophical and spiritual subjects. His subject matter included: psychological revolution, the nature of the mind, meditation, human relationships, and bringing about positive change in society. He constantly stressed the need for a revolution in the psyche of every human being and emphasized that such revolution cannot be brought about by any external entity, be it religious, political, or social.

Krishnamurti was born into a Telugu Brahmin family in what was then colonial India. In early adolescence, he had a chance encounter with prominent occultist and high-ranking theosophist Charles Webster Leadbeater in the grounds of the Theosophical Societyheadquarters at Adyar in Madras (now Chennai). He was subsequently raised under the tutelage of Annie Besant and Leadbeater, leaders of the Society at the time, who believed him to be a “vehicle” for an expected World Teacher. As a young man, he disavowed this idea and dissolved the worldwide organization (the Order of the Star) established to support it. He claimed allegiance to no nationality, caste, religion, or philosophy, and spent the rest of his life traveling the world, speaking to large and small groups and individuals. He authored many books, among them The First and Last Freedom, The Only Revolution, and Krishnamurti’s Notebook. Many of his talks and discussions have been published. His last public talk was in Madras, India, in January 1986, a month before his death at his home in Ojai, California.

His supporters, working through non-profit foundations in India, Great Britain and the United States, oversee several independent schools based on his views on education. They continue to transcribe and distribute his thousands of talks, group and individual discussions, and writings by use of a variety of media formats and languages.   (More)


Death Cab For Cutie – I Will Follow You Into The Dark

Love of mine
Someday you will die
But I’ll be close behind
I’ll follow you into the dark
No blinding light or tunnels to gates of white
Just our hands clasped so tight
Waiting for the hint of the spark

If heaven and hell decide that they both are satisfied
Illuminate the no’s on their vacancy signs
If there’s no one beside you when your soul embarks
Then I’ll follow you into the dark

In catholic school, as vicious as Roman rule
I got my knuckles bruised by a lady in black
And I held my tongue as she told me “Son fear is the heart of love”
So I never went back

If heaven and hell decide that they both are satisfied
Illuminate the no’s on their vacancy signs
If there’s no one beside you when your soul embarks
Then I’ll follow you into the dark

You and me
Have seen everything to see
From Bangkok to Calgary
And the soles of your shoes
Are all worn down, the time for sleep is now
But it’s nothing to cry about ’cause we’ll hold each other soon
In the blackest of rooms

If heaven and hell decide that they both are satisfied
Illuminate the no’s on their vacancy signs
If there’s no one beside you when your soul embarks
Then I’ll follow you into the dark
And I’ll follow you into the dark.

From Wikipedia, the free encyclopedia
This article is about the band. For the 1967 song, see Death Cab for Cutie (song).
Death Cab for Cutie

Death Cab for Cutie performing “Transatlanticism” on their Codes and Keys European tour, atManchester Academy on July 4, 2011. Left to right: Harmer, McGerr, Gibbard, Walla.
Background information
Origin Bellingham, Washington, United States
Genres Alternative rock,[1][2]emo,[3][4] indie pop,[2][5][6] indie rock[2][7][8]
Years active 1997–present
Labels Warner MusicAtlanticBarsuk,Fierce PandaSub PopGrand Hotel van Cleef
Associated acts All-Time QuarterbackThe Postal ServiceMartin Youth Auxiliary,Eureka Farm, Strawberry Girls
Website www.deathcabforcutie.com
Ben Gibbard
Chris Walla
Nick Harmer
Jason McGerr
Past members
Nathan Good
Michael Schorr

Death Cab for Cutie is an American alternative rock band formed in Bellingham, Washington in 1997.[9] The band consists of Ben Gibbard(vocals, guitar, piano), Chris Walla (guitar, production, keyboards), Nick Harmer (bass) and Jason McGerr (drums). Death Cab for Cutie’s music has been labeled as indie rock, indie pop, emo, and alternative rock, and is noted for its use of unconventional instruments as well as Gibbard’s unique lyrical style. The band has released seven studio albums, five EPs, and one demo to date. The group takes its name from a song by The Bonzo Dog Doo-Dah Band featured in The Beatles‘ 1967 film, Magical Mystery Tour.

Ottorino Respighi: Metamorphoseon modi XII (P. 169) (1930)

Ottorino Respighi (1879-1936): Metamorphoseon modi XII, Tema e Variazioni per orchestra (P. 169) (1930) — Philharmonia Orchestra diretta da Geoffrey Simon —

I. Tema (Andante moderato)
II. Modus I (Moderato non troppo)
III. Modus II (Allegretto)
IV. Modus III (Lento)
V. Modus IV (Lento espressivo)
VI. Modus V (Molto vivace)
VII. Modus VI (Vivace)
VIII. Modus VII (Cadenza)
IX. Modus VIII (Andantino mosso)
X. Modus IX (Lento non troppo)
XI. Modus X (Molto allegro)
XII. Modus XI (Molto allegro)
XIII. Modus XII (Vivo non troppo)

— painting by Mario Sironi

From Wikipedia, the free encyclopedia.
  ”  Among Italian composers of the twentieth century historian, Ottorino Respighi (1879-1936) is surely what he had and has less need of external pressures, festival promotions, conferences and opportunities to find the one monographic dissemination, fortune and fame to international ‘author of three symphonic poems Roman smiled almost immediately, on the basis of chopsticks which Toscanini , De Sabata and Karajan day before yesterday or yesterday, Maazel , Muti , or Sinopoli today.  “
  Alberto Cantù , Respighi composer , Turin, Eda, 1985 )

Ottorino Respighi

Mario Sironi

Mario Sironi   (click on Picture to access the art gallery at wikipaintings)

Winter Night (a poetic thought by George-B)

And then there was no sound to be heard
while the light dimmed –
behind the  darkness only few impressions survived…

An owl  attacked, and a mouse gave the last cry…

A handful of wind combed the plane of the leaves,
the plane of the air behind the branches:
The ripple in the still surface of the pond 
froze then, as if touched by a spell:

‘There will be no Spring in sight, not anytime  soon!’

On a Lighter Tone:Juno Soundtrack – Anyone Else But You by The Moldy Peaches (Lyrics)


From Wikipedia, the free encyclopedia
This article is about the 2007 film. For other uses, see Juno.

Theatrical release poster
Directed by Jason Reitman
Produced by John Malkovich
Lianne Halfon
Mason Novick
Russell Smith
Written by Diablo Cody
Starring Ellen Page
Michael Cera
Jennifer Garner
Jason Bateman
Allison Janney
J. K. Simmons
Olivia Thirlby
Music by Mateo Messina
Cinematography Eric Steelberg
Editing by Dana E. Glauberman
Studio Mandate Pictures
Mr. Mudd
Distributed by Fox Searchlight Pictures
Release date(s)
  • September 1, 2007(Telluride)
  • December 5, 2007
Running time 96 minutes
Country Canada
United States
Language English
Budget $6.5[1]–$7 million[2]
Box office $231,411,584[3]

Juno is a 2007 comedy-drama film directed by Jason Reitman and written by Diablo CodyEllen Page stars as the title character, an independent-minded teenager confronting an unplanned pregnancy and the subsequent events that put pressures of adult life onto her. Michael CeraOlivia ThirlbyJ. K. SimmonsAllison JanneyJennifer Garner, and Jason Bateman also star. Filming spanned from early February to March 2007 in Vancouver, British Columbia. It premiered on September 8 at the 2007 Toronto International Film Festival, receiving a standing ovation.

Juno won the Academy Award for Best Original Screenplay and earned three other Oscar nominations, including Best Picture and Best Actress for Page. The film’s soundtrack, featuring several songs performed by Kimya Dawson in various guises, was the first chart-topping soundtrack since Dreamgirls and 20th Century Fox’s first number one soundtrack since Titanic. Juno earned back its initial budget of $6.5 million in twenty days, the first nineteen of which were when the film was in limited release.[4] It went on to earn $231 million. Juno received positive reviews from critics, many of whom placed the film on their top ten lists for the year. It has received criticism and praise from members of the pro-life and pro-choice communities regarding its treatment of abortion.


Special Evening at the Concert: Celebrating Bruckner – Symphony No.7, in E major, WAB107 – Harnoncourt/WPh(2007Live)

Anton Bruckner (1824-1896)

Symphony No.7 in E major, WAB107
Nikolaus Harnoncourt
Wiener Philharmoniker
Festspielhaus, Salzburg, 26 8/2007

  1. Allegro moderato E major.
  2. Adagio.  C-sharp minor
  3. Scherzo.  A minor 
  4. Finale.  E major
From Wikipedia, the free encyclopedia
“Symphony No. 7 in E major”
Anton Bruckner.jpg
Dedication Ludwig II of Bavaria
Composed 1881–1883
Premiere Arthur Nikisch, 30 December 1884, Stadttheater, Leipzig
First published 1885
Other editions ed. Robert Haas, 1944
ed. Leopold Nowak, 1954
First recording Oskar FriedBerlin Staatskapelle, 1924

Anton Bruckner‘s Symphony No. 7 in E major (WAB 107) is one of his best-known symphonies. It was written between 1881 and 1883 and was revised in 1885. It is dedicated to Ludwig II of Bavaria. The premiere, given under Arthur Nikisch and theGewandhaus Orchestra in the opera house at Leipzig on 30 December 1884,[1] brought Bruckner the greatest success he had known in his life. The symphony is sometimes referred to as the “Lyric”, though the appellation is not the composer’s own, and is seldom used.


Visit Headline Grabber:  http://www.headlinegrabber.com/)

Thurday Evening at the Concert: Forrest Gump Theme by Alan Silvestri (enthusiastic in perpetuity)

From Wikipedia, the free encyclopedia
Alan Silvestri

Silvestri in 2009
Background information
Birth name Alan Anthony Silvestri
Born March 26, 1950 (age 62)
New York City
Genres Film score
Occupations Composerconductor
Instruments GuitarPianoSynthesizer,SynclavierDrums
Years active 1972–present

Alan Anthony Silvestri (born March 26, 1950) is an American film composer and conductor.

Silvestri is best known for his collaborations with director Robert Zemeckis, having scored Romancing the Stone (1984), the Back to the Futuretrilogy (1985, 1989, 1990), Who Framed Roger Rabbit (1988), Death Becomes Her (1992), Forrest Gump (1994), Contact (1997), What Lies Beneath (2000), Cast Away (2000), The Polar Express (2004), Beowulf (2007), A Christmas Carol (2009) and Zemeckis’ upcoming film Flight(2012).

Silvestri is also known for his work on Predator (1987) and Predator 2 (1990), both of which are considered preeminent examples of action/science fiction film scores. He has also begun a collaboration with director Stephen Sommers, scoring the films The Mummy Returns in 2001, Van Helsingin 2004, and G.I. Joe: The Rise of Cobra in 2009. His most recent work included The Avengers in 2012.

Silvestri has also composed music for television shows, including TJ Hooker (one episode), Starsky & Hutch (three episodes), CHiPs, andManimal (all but one episode).

Silvestri was 21 years old when he started his film/television composing career. His style is marked by a strong use of the octatonic scale, as well as the use of different notes and instruments.

Personal life

Silvestri grew up in Teaneck, New Jersey[1] and attended Teaneck High School there.[2]

Silvestri also owns a vineyard, Silvestri Vineyards, located in Carmel Valley, California.[3]


Silvestri has received two Academy Award nominations, one for Best Original Score for Forrest Gump (1994) and one for Best Original Song for “Believe” on The Polar Express soundtrack. He also received two Golden Globe nominations: Best Score for Forrest Gump and Best Song for The Polar Express.

He has also received four Grammy Award nominations, winning two awards – Best Song Written for a Motion Picture, Television or Other Visual Media, for “Believe” from The Polar Express in 2004 and Best Instrumental Composition, for “Cast Away End Credits” from Cast Away in 2002. His other two nominations were for Best Soundtrack Album (for Back to the Future and Who Framed Roger Rabbit). During the 2005 Grammys, Josh Groban performed “Believe.” [4]

On September 23, 2011 he was awarded with the Max Steiner Film Music Achievement Award by the City of Vienna at the yearly film music gala concert Hollywood in Vienna.



  • The Doberman Gang (1972)
  • The Mack (1973) (1983 video reissue)
  • Las Vegas Lady (1975)
  • The Amazing Dobermans (1976)
  • The Fifth Floor (1978)
  • CHiPs (1978–1983)






Thursday Evening a the Concert: Schubert – Der Tod und das Madchen (“Death and the Maiden”) , Strings Quartet in D Minor, Op. 14, D810

Franz Schubert
String quartet No. 14 d minor, D810 ‘Death and the Maiden’

I. Allegro

II. Andante con moto

III. Scherzo: Allegro molto / IV. Presto

Nachum Erlich
Chamber orchestra of the Music Conservatory Karlsruhe

Live Recording 24.1.2011 Crown Hall, Jerusalem

FRANZ SCHUBERT (1797-1828)

String quartet no. 14 in D minor “Der Tod und das Madchen” D810

Performed by the Takacs Quartet

HIGH QUALITY: http://ca.youtube.com/watch?v=azGjSn52KRo&fmt=18 

*The String Quartet in D minor was written in 1824, just after Schubert became aware of his ruined health. It is popularly known as the “Death and the Maiden” Quartet because the second movement is adapted from the piano accompaniment to Schubert’s 1817 song (or lied), “Death and the Maiden”.

Ariel Dorfman‘s 1991 play “Death and the Maiden” and its 1994 film adaptation (directed by Roman Polanski) take their names from the quartet. 

From Wikipedia, the free encyclopedia

Original manuscript of Death and the Maiden quartet, from The Mary Flagler Cary Music Collection, Morgan Library, NY

Original manuscript of Lied Death and the Maiden

The String Quartet No. 14 in D minor, known as Death and the Maiden, by Franz Schubert, is one of the pillars of the chamber music repertoire. Composed in 1824, after the composer suffered through a serious illness and realized that he was dying, it is Schubert’s testament to death. The quartet is named for the theme of the second movement, which Schubert took from a song he wrote in 1817 of the same title; but the theme of death is palpable in all four movements of the quartet.

The quartet was first played in 1826 in a private home, and was not published until 1831, three years after Schubert’s death. Yet, passed over in his lifetime, the quartet has become a staple of the quartet repertoire. It is D. 810 in Otto Erich Deutsch‘s thematic catalog of Schubert’s works.

1823 and 1824 were hard years for Schubert. For much of 1823 he was sick with an outburst of tertiary stage syphilis, and in May had to be hospitalized.[1] He was broke: he had entered into a disastrous deal with Diabelli to publish a batch of works, and received almost no payment; and his latest attempt at opera, Fierabras, was a flop. In a letter to a friend, he wrote,

“Think of a man whose health can never be restored, and who from sheer despair makes matters worse instead of better. Think, I say, of a man whose brightest hopes have come to nothing, to whom love and friendship are but torture, and whose enthusiasm for the beautiful is fast vanishing; and ask yourself if such a man is not truly unhappy.”[2]

The quartet takes its name from the lied “Der Tod und das Mädchen” (“Death and the Maiden, D.531), which Schubert wrote in 1817. The theme of the song – a setting of a poem by that name by Matthias Claudius. – is the theme of the second movement of the quartet. The theme is a death knell that accompanies the song about the terror and comfort of death:

Death and the Maiden

Peter Schöne (baritone) and Boris Cepeda (piano)


Der Tod und das Mädchen, Hans Baldung Grien, 1517

The Maiden:

Oh! leave me! Prithee, leave me! thou grisly man of bone!
For life is sweet, is pleasant.
Go! leave me now alone!
Go! leave me now alone!


Give me thy hand, oh! maiden fair to see,
For I’m a friend, hath ne’er distress’d thee.
Take courage now, and very soon
Within mine arms shalt softly rest thee!”[12]
 Takacs Quartet has a great interpretation of this string quartet        here


Robert Schumann Carnaval Op.9 Claudio Arrau piano


Robert Schumann Zwickau, 8 giugno 1810 – Endenich, Bonn, 29 luglio 1856 – Carnaval Op.9
Claudio Arrau piano


Claudio Arrau León (February 6, 1903 – June 9, 1991) was a Chilean-American pianist known for his interpretations of a vast repertoire spanning from the baroque to 20th-century composers, especially BeethovenSchubertChopinSchumannLisztBrahms and Debussy. He is widely considered one of the greatest pianists of the twentieth century.

Claudio Arrau


Arrau was born in ChillánChile, the son of Carlos Arrau, an ophthalmologist who died when Claudio was only a year old, and Lucrecia León Bravo de Villalba, a piano teacher. He belonged to an old, prominent family of Southern Chile. His ancestor Lorenzo de Arrau, a Spanish engineer, was sent to Chile by King Carlos III of Spain. Through his great-grandmother, María del Carmen Daroch del Solar, Arrau was a descendant of the Campbells of Glenorchy, a Scottish noble family.[citation needed]


Arrau was a child prodigy, giving his first concert at age five. When he was 6 he auditioned in front of several congressmen and President Pedro Montt, who became so impressed as to start arrangements for his future education. At age 8 he was sent on a 10-year long grant from the Chilean government to study in Germany, travelling in the company of his mother and sister Lucrecia. He was admitted at the Stern Conservatory of Berlinwhere he eventually became a pupil of Martin Krause, who had studied under Franz Liszt. At the age of 11 he could play Liszt’s Transcendental Etudes, considered to be one of the most difficult sets of works ever written for the piano, and also Brahms‘s Paganini Variations. Arrau’s first recordings were made on Aeolian Duo-Art player piano music rolls. Krause died after five years of teaching Arrau, who at fifteen was devastated at the loss of his mentor.  Read more here



same time, next year (universal) 1978 part 4 (what happened the year past…what will happen next) Alan Alda, and Ellen Burstyn


Alan Alda (George) and Ellen Burstyn (Doris)

Same Time, Next Year

Theatrical release poster
Directed by Robert Mulligan
Produced by Walter Mirisch
Written by Bernard Slade
Starring Ellen Burstyn
Alan Alda
Music by Marvin Hamlisch
Cinematography Robert Surtees
Editing by Sheldon Kahn
Distributed by Universal Pictures
Release date(s) November 22, 1978
Running time 119 minutes
Country United States
Language English

Same Time, Next Year is a 1978 American romantic comedy-drama film directed by Robert Mulligan. The screenplay by Bernard Slade is based on his 1975 play of the same title.
The film opens in 1951 at an inn located on the Mendocino County coast. Doris (Ellen Burstyn) is a 24-year-old housewife from Oakland, George (Alan Alda) a 27-year-old accountant from New Jersey. They meet at dinner, have an affair, and then agree to meet once a year to rekindle the sparks they experience at their first meeting, despite the fact that both are happily married, with six children between them.  More…


Le Plat Pais – Jacques Brel


Le Plat Pais

Avec la mer du Nord pour dernier terrain vague
Et des vagues de dunes pour arrêter les vagues
Et de vagues rochers que les marées dépassent
Et qui ont à jamais le coeur à marée basse
Avec infiniment de brumes à venir
Avec le vent de l’est écoutez-le tenir
Le plat pays qui est le mien

Avec des cathédrales pour uniques montagnes
Et de noirs clochers comme mâts de cocagne
Où des diables en pierre décrochent les nuages
Avec le fil des jours pour unique voyage
Et des chemins de pluies pour unique bonsoir
Avec le vent d’ouest écoutez-le vouloir
Le plat pays qui est le mien

Avec un ciel si bas qu’un canal s’est perdu
Avec un ciel si bas qu’il fait l’humilité
Avec un ciel si gris qu’un canal s’est pendu
Avec un ciel si gris qu’il faut lui pardonner
Avec le vent du nord qui vient s’écarteler
Avec le vent du nord écoutez-le craquer
Le plat pays qui est le mien

Avec de l’Italie qui descendrait l’Escaut
Avec Frida la blonde quand elle devient Margot
Quand les fils de novembre nous reviennent en mai
Quand la plaine est fumante et tremble sous juillet
Quand le vent est au rire quand le vent est au blé
Quand le vent est au sud écoutez-le chanter
Le plat pays qui est le mien.

From Wikipedia, the free encyclopedia

Le plat pays (French) or in Dutch Mijn vlakke land is a song by the Belgian singer Jacques Brel, who performed the song in both languages.

The success encountered in Paris by his Swiss mentor friend Jean Villard Gilles‘ Venoge, about an unknown little river, inspired and encouraged him to write the song.

The flat country referred to in the song is West Flanders, the region in Belgium from which his family originated. It is a region with many open fields and few trees. Because this landscape is rather typical not only of the West Flanders, but of large swathes of the Low Countries, the Dutch version of the song is popular in the Netherlands.

The French lyrics are by Jacques Brel, the Dutch lyrics by Ernst van Altena.

Valencian singer Ovidi Montllor wrote a largely modified version, “El Meu Poble Alcoi” (“My Hometown Alcoi“), which he dedicated to the city where he was born and grown up.

The song was also referenced in the original French language version of Asterix in Belgium, where the Belgian leader tells AsterixObelix and Vitalstatistix that “in his flat country oppidumsare the only mountains.”


Mozart Symphony no. 38, in D Major, K. 504 ‘Prague Symphony’

From Wikipedia, the free encyclopedia

The Symphony No. 38 in D major, K. 504, was composed by Wolfgang Amadeus Mozart in late 1786. It was premiered in Prague on January 19, 1787, a few weeks after Le nozze di Figaro opened there. It is popularly known as the Prague Symphony. Mozart’s autograph thematic catalogue bears December 6, 1786, as the date of composition. Other works written by Mozart about contemporary with this symphony include the twenty-fifth piano concerto and the piano trio in B-flat (K. 503 and K. 502, respectively) the former also written in December 1786, the latter written in November. The aria scena and rondo Ch’io mi scordi di te? K.505 for soprano and orchestra with piano obligato, regarded by Girdlestone in his book on Mozart and his Piano Concertos as a work on the same level, also dates from the same period. This work would be called No. 37 if the K. 444 work (mostly by Michael Haydn, except for the slow introduction, which is by Mozart) was removed from the numbering. The early classical symphony of the 18th century would either have three movements or four (or one movement in three recognizable sections, like the 26th or the 32nd), the four-movement symphonies having a minuet in addition.

By the time Mozart wrote his Prague symphony, however, the symphony was no longer a step away from the opera overture, no longer bound to this tradition, so that the symphony without a minuet could be, and was, similar in weight to his other symphonies, different mostly in the lack of that minuet and not in overall specific gravity. The Prague Symphony was scored for two flutes, two oboes, two bassoons, two horns, two trumpets, timpani and strings. The work has the following three movements:

  • 1. Adagio—Allegro, 4/4 (Sonata form)
  • 2. Andante in G major, 6/8 (Sonata form)
  • 3. Finale (Presto), 2/4.

Although Mozart’s popularity among the Viennese waxed and waned, he was consistently popular among the Bohemians and had a devoted following in Prague. A piece appearing in the Prager Neue Zeitung shortly after Mozart’s death expresses this sentiment:

“Mozart seems to have written for the people of Bohemia, his music is understood nowhere better than in Prague, and even in the countryside it is widely loved.”
The Prague Symphony was written in   gratitude for their high esteem.

Back from the Movies: Unkle – Every Single Prayer (feat. Gavin Clark) (soundtrack of “The Caller”)


Will you count to three,
Write yourself a day,
Catch every single spark?
There’s tracks inside my head
Will you find it there?
You believe?
You swear?
Will the beads around your wrist,
Capture every single prayer?
CHORUS: There’s no more,
No more to save now, there’s no more(x2)
But an image of ourselves
Don’t let me (ever) go
Don’t let me down you know
I’ll never come again(x2 or x4)
Will you grinch your teeth,
See what lies beneath?
Number every single hair,
And every word I speak?

From Wikipedia, the free encyclopedia 

The Caller

Theatrical Poster
Directed by Matthew Parkhill
Produced by Amina Dasmal
Robin C. Fox
Piers Tempest
Luillo Ruiz
The Pimienta Film Company[1]
Written by Sergio Casci
Starring Rachelle Lefevre
Stephen Moyer
Distributed by Bankside Films
Release date(s)
Running time 92 minutes
Country Puerto Rico
Language English

The Caller is a supernatural thriller directed by Matthew Parkhill and written by Sergio Casci, starring Rachelle LefevreStephen Moyer andLorna Raver. The movie was filmed entirely in Puerto Rico. The Gala Premiere of the movie was on August 23, 2011 at Metro Cinema in Puerto Rico.[2]         More…

Sergei Prokofiev – Symphony No. 1 ‘Classical’, op.25 (Riccardo Muti, conductor Wiener Philharmoniker 2 April 2000)

 From Wikipedia, the free encyclopedia

 Sergei Prokofiev began work on his Symphony No. 1 in D major (Op. 25) in 1916, but wrote most of it in 1917, finishing work on September 10.[1] It is written in loose imitation of the style of Haydn (and to a lesser extent, Mozart), and is widely known as the Classical Symphony, a name given to it by the composer. It premiered on April 21, 1918 in Petrograd, conducted by Prokofiev himself,[1] and has become one of his most popular and beloved works.  More…

Taraf de Haïdouks – “Romanian Folk Dances” Back to Origins

Live recording from the “Maskarada” sessions. Bartok drew his inspiration from Balkan folk music to compose this famous piece in 1915. Taraf de Haïdouks have now repossessed it and given it a wild make-over…

Taraf de Haidouks music is available on the Crammed Shop : 

The Danubia Orchestra (conducted by Domonkos Héja) and the Muzsikás perform the Romanian Folk Music of Bartók in the Liszt Academy, Budapest

Romanian Folk Dances, Sz. 56, BB 68 is a suite of six short piano pieces composed by Béla Bartók in 1915. He later orchestrated it for small ensemble in 1917 as Sz. 68, BB 76.

It is based on seven Romanian tunes from Transylvania, originally played on fiddle or shepherd’s flute. The original name for the piece was titled Romanian Folk Dances from Hungary but was later changed by Bartók when Transylvania was annexed to Romania in 1918.[1] It is nowadays available in the 1971 edition which is written with key signaturesalthough Bartok rarely ever wrote key signatures.   Read more:


Andy Griffith sings TV Show Theme Song: RIP Andy Griffith, (1926-2012)


“TAGS” redirects here. For other uses, see Tag (disambiguation).
For other uses, see Andy Griffith (disambiguation).
The Andy Griffith Show
TAGS title.JPG
Genre Sitcom
Created by Arthur Stander
Starring Andy Griffith
Ronny Howard
Don Knotts
Elinor Donahue
Frances Bavier
Theme music composer Earle Hagen and Herbert W. Spencer
Opening theme The Fishin’ Hole
Country of origin United States
No. of seasons 8
No. of episodes 249 (List of episodes)
Executiveproducer(s) Sheldon Leonard
Danny Thomas
Location(s) Desilu Studios (1960–67)
Paramount Studios (1967–68)
Camera setup Single-camera
Running time 25–26 minutes
Original channel CBS
Picture format Black-and-white (1960–65)
Color (1965–68)
Audio format Monaural
Original run October 3, 1960 – April 1, 1968
Followed by Mayberry R.F.D.
Related shows The Danny Thomas Show
Gomer Pyle, U.S.M.C.

The Andy Griffith Show is an American sitcom first televised by CBS between October 3, 1960, and April 1, 1968. Andy Griffith portrays a widowed sheriff in the fictional small community of MayberryNorth Carolina. His life is complicated by an inept, but well-meaning deputy, Barney Fife (Don Knotts), a spinster aunt and housekeeper, Aunt Bee (Frances Bavier), and a young son, Opie (Ron Howard, billed as Ronny). Local ne’er-do-wells, bumbling pals, and temperamental girlfriends further complicate his life.

The series was a major hit, never placing lower than seventh in the Nielsen ratings and ending its final season at number one. It has been ranked by TV Guide as the 9th-best show in television history.[1] Though neither Griffith nor the show won awards during its eight-season run, series co-stars Knotts and Bavier accumulated a combined total of six Emmy Awards. The show, a semi-spin-off from an episode ofThe Danny Thomas Show titled “Danny Meets Andy Griffith”, spawned its own spin-off series, Gomer Pyle, U.S.M.C. (1964), a sequel series, Mayberry R.F.D. (1968), and a reunion telemovieReturn to Mayberry (1986). The show’s enduring popularity has generated a good deal of show-related merchandise. Reruns currently air across the United States, and the complete series is available on DVD. All eight seasons are also now available by streaming video services such as Netflix….
Read more here 

Mendelssohn – A Midsummer Night’s Dream: Overture (London Symphony Orchestra – Claudio Abbado)

From Wikipedia, the free encyclopedia
This article is about Shakespeare’s play. For other uses, see A Midsummer Night’s Dream (disambiguation).
A Midsummer Night’s Dream

Title page of the first quarto, 1600.
Written by William Shakespeare
Characters TheseusHippolyta

Robin Goodfellow (Puck)
Titania’s Fairy Servants

Peter QuinceNick Bottom
Francis FluteRobin Starveling
Tom SnoutSnug

Date premiered c. 1590-96
Place premiered The TheatreShoreditch, London
Genre Comedy
Setting Athens, Greece

A Midsummer Night’s Dream is a play by William Shakespeare. Believed to have been written between 1590 and 1596, it portrays the events surrounding the marriage of the Duke of AthensTheseus, and the Queen of the Amazons, Hippolyta. These include the adventures of four young Athenian lovers and a group of six amateur actors, who are controlled and manipulated by the fairies who inhabit the forest in which most of the play is set. The play is one of Shakespeare’s most popular works for the stage and is widely performed across the world.


VoicesInBratislava: How can one go through life without one look over the shoulder, to where the foot stood a second before?


For the personal name Bratislava, see Bratislav.
Bratislava Montage, Clockwise from top of left:View of Novy Bridge, Danube River and Old Bratislava from Castle of Bratislava, St.Michael Gate, View of sunset in Danube River, Slovak Parliament and Bratislava Castle, Statue of Tof Slavin, Peace Earth sculpture fountain in Hodzovo Square, Bratislava Castle and fortification
Coat of arms
Nickname: Beauty on the Danube, Little Big City, Blava
Country Slovakia
Region Bratislava
Districts Bratislava IIIIIIIVV
Rivers DanubeMoravaLittle Danube
Elevation 134 m (440 ft)
Coordinates 48°08′38″N 17°06′35″E
Highest point Devínska Kobyla
 – elevation 514 m (1,686 ft)
Lowest point Danube River
 – elevation 126 m (413 ft)
Area 367.584 km2 (142 sq mi)
 – urban 853.15 km2 (329 sq mi)
 – metro 2,053 km2 (793 sq mi)
Population 462,603 (2012-01-02)
 – urban 586,300
 – metro 659,578
Density 1,258 / km2 (3,258 / sq mi)
First mentioned 907
Government City council
Mayor Milan Ftáčnik
Timezone CET (UTC+1)
 – summer (DST) CEST (UTC+2)
Postal code 8XX XX
Phone prefix 421 2
Car plate BA, BL
Location in Slovakia
Location in Slovakia
Location in the Bratislava Region
Location in the Bratislava Region
Wikimedia Commons: Bratislava
Statistics: MOŠ/MIS
Website: bratislava.sk

Bratislava (Slovak pronunciation: [ˈbracɪslava] ( listen)English pronunciation: /ˌbrætɨˈslɑːvə/ or /ˌbrɑːtɨˈslɑːvə/German: Pressburg formerlyPreßburg, Hungarian: Pozsony) is the capital of Slovakia and, with a population of about 460,000, also the country‘s largest city.[1] Bratislava is in southwestern Slovakia on both banks of the Danube River. Bordering Austria and Hungary, it is the only national capital that borders two independent countries.[2]

Bratislava is the politicalcultural, and economic centre of Slovakia. It is the seat of the Slovak president, the parliament, and the Slovak Executive. It is home to several universities, museums, theatres, galleries and other important cultural and educational institutions.[3] Many of Slovakia’s large businesses and financial institutions also have headquarters there.

The history of the city, long known in English by the German name Preßburg, has been strongly influenced by people of different nations and religions, namely by AustriansCzechsGermansHungariansSlovaks, and Jews.[4] The city was the capital of the Kingdom of Hungary, a part of the larger Habsburg Monarchy territories,[5] from 1536 to 1783 and has been home to many SlovakHungarian, andGerman historical figures.

Antonín Dvořák Serenade For Strings in E major Op.22

Antonín Dvořák Serenade For Strings in E major Op.22
English Chamber Orchestra
Daniel Barenboim Conductor

From Wikipedia, the free encyclopedia

Antonín Dvořák‘s Serenade for Strings in E major (Czech: Smyčcová serenáda E dur), Op. 22, was composed in just two weeks in May 1875. It remains one of the composer’s more popular orchestral works to this day.

Composition and Premiere

1875 was a fruitful year for Dvořák’s composing. This was the same year that he wrote his Symphony No. 5, String Quintet No. 2, Piano Trio No. 1, the opera Vanda, and the Moravian Duets. These were happy times in his life. His marriage was young, and his first son had been born. For the first time in his life, he was starting to be recognized as a composer, and was able to live stably without fear of poverty. He received a generous stipend from a commission in Vienna, which allowed him to compose his Fifth Symphony and several chamber works as well as theSerenade.

Allegedly, Dvořák wrote the Serenade in just 12 days, from 3–14 May. The piece was premiered in Prague on 10 December 1876 by Adolf Čech and the combined orchestras of the Czech and German theatres. It was published in 1877 in the composer’s piano duet arrangement by Emanuel Starý in Prague. The score was printed two years later by Bote and Bock, Berlin.

Dvořák’s Serenade for Strings consists of five movements:

  1. Moderato
  2. Tempo di Valse
  3. ScherzoVivace
  4. Larghetto
  5. Finale: Allegro vivace

With the exception of the Finale, which is in modified sonata form, the movements follow a rough A-B-A form. It is believed that Dvorak took up this small orchestral genre because it was less demanding than the symphony, but allowed for the provision of pleasure and entertainment. He combines several expressive characteristics throughout this piece; cantabile style (first movement), slow waltz (second movement), humorous high spirits (third movement), lyrical beauty (fourth movement) and exuberance (fifth movement).

Quotes and Interpretation

“The Serenade (Op. 22) was aptly entitled, since at least four of its five movements (the second of which was a delightful waltz) displayed an elegant touch suggestive of gracious living accompanied by ‘serenading’ in the stately home of some eighteenth-century aristocrat; in the finale alone did the composer discard periwid and lace cuffs, and even here the junketing, though lively, was well-bred, and in the closing moments there was a delicious return to the courtliness of the opening. Pastiche perhaps, but what excellent pastiche! Since Dvorak was as yet only on the threshold of developing an individual style, it is perhaps not surprising that this slightly uncharacteristic but extremely accomplished and enjoyable Serenade is the earliest of his compositions in which a detached listener is likely to discover enchantment.” (Gervase Hughes 1967)2

“Just like delivering good news to someone has a positive rub-off effect on the messenger, performing Dvorak’s Serenade is really a very therapeutic endeavor for performers. There is so much “pure goodness” in it. Somehow even the moments which could cast a gloomy shadow – light melancholy of the Waltz, or the fragility of the opening of Larghetto – retain the wonderfully cloudless atmosphere… The remarkable thing about Dvorak’s Serenade – this “cloudless goodness” is fully sufficient for sustaining meaningful communication for nearly half an hour of music.” (Misha Rachlevsky, 2000)

Antonin Dvorak – American Suite, Op. 98B

Yesterday I was listening to Dvorak’s American Suite on KUSC in my way to work. I told myself how much I will enjoy sharing this glorious music with you all, with many thanks for following, and commenting, and really making me feel that I belong. So here it is: The American Suite by Antonin Dvorak, and if you enjoy it as much as I do, please share it or comment, or both!

  Antonín Leopold Dvořák: Suite In A, Op. 98B, B 190, “American” 

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.

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 

English: Antonin Dvorak in Spillville (Iowa) Č...

English: Antonin Dvorak in Spillville (Iowa) Česky: Antonín Dvořák ve Spillvilu (Iowa) (Photo credit: Wikipedia)

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.Background


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

  1. Molto vivace
  2. Allegro
  3. Moderato (alla Pollacca)
  4. Andante
  5. Allegro

Analysis and reception

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 up through the conclusion of the work. This opening theme is marked by his American-influenced style. It is difficult to determine if it comes from the typical folk music of the New World or simply of 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 byflute and oboe in unison, where the orchestra passes easily from the minor theme to the major one. This final Allegro movement was used in the trailer for the adventure computergame The Elder Scrolls II: Daggerfall.

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 Brahms appreciated 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.

Gustav Klimt:

Gustav Klimt At Googleartproject

Gustav Klimt At Googleartproject (click to take the virtual tour)

From Wikipedia, the free encyclopedia: 

Gustav Klimt (July 14, 1862– February 6, 1918) was an Austrian Symbolist painter and one of the most prominent members of the Vienna Secession movement. His major works include paintingsmuralssketches, and other art objects. Klimt’s primary subject was the female body,[1]and his works are marked by a frank eroticism—nowhere is this more apparent than in his numerous drawings in pencil (see Mulher sentada, below).[2]