I DO NOT OWN THIS VISIT ORIGINAL: https://www.youtube.com/watch?v=_5TZoGBOGXg Listen 4 - 12 times a day (or as many times as you want) (This is a subliminal to get larger breasts) Visible results in a week! enjoy!
http://blowinguptheworkshop.com/project/lucrecia Mechthild Von Leusch - Rungholter Tanz Paul Lansky, Hannah MacKay - Six Fantasies on a Poem by Thomas Campion Paul de Marinis - An appeal Laurent Fairon - Congés Payants Instrumental Laurent Fairon - Congés Payants (Excerpt) Mechthild von Leusch - Legenden des Windes (Excerpt) Anne Gillis - Thalibilis Aaron Dilloway - Karaoke With Cal Jacques Brel - Le diable „ça va“ (Excerpt) Anna Zaradny - Go Go Theurgy Two Florian Hecker - C2 Dino J.A. Deane - She dresses in Red ft. Elizabeth Wiseman Carl Stone - Shing Kee Jimmy Giuffre - Dervish Burundi : musiques traditionnelles - Salutation Akazéhé Gloria Ann Taylor - World That’s Not Real (Excerpt) German Shepherds - I Adore You Beatriz Ferreyra - Echos Rashad Becker - Dances I Ruth White - Spleen Marcus Schmickler - Mystery Bouffe Maryanne Amacher - Head Rhythm 1 (Excerpt) Mechthild Von Leusch - Rungholter Tanze 19 Robert Ashley - Act I - Love Letter Part 1 Bernard Herrmann - Eye Of The Beholder: The Nurse (Falling) Paul Lansky - The Lesson Ursula Bogner - Refrain für einen Formanten Krzysztof Komeda - Knife In The Water Jacques Lejeune - Premier temps: Christe Eleison Trio Martirio - Noches de Bocagrande, Dalt’s version. Michel Portal - Chantakoa Rupert Clervaux, Beatrice Dillon - X Robin Fox - 3 Phase Jake Thackray - Old Mollu Metcalfe Sea Urchin - Child Warrior Demons Follow Asda - Universal Themes Kontrasax - Rose 1 Bonet de San Pedro - Jardín Español Throbbing Gristle - Persuasion Franco Battiato - L’Era Del Cinghiale Bianco (micro Excerpt) Terence Trent D’Arby - Sign Your Name (micro Excerpt) Esplendor Geométrico - P.I.E Tod Dockstader - Brass Slipnslide
Looking back the path you walked so far.
Music for piano and strings.
Neuapostolische Kirche Mühlacker Organist: M. Dreja Orgelmeditation: Gert van Hoef
Bach/Gounod's beautiful Ave Maria sung by mezzo soprano Marianne Lihannah and accompanied by Gavin Meredith from the wonderful company www.mp3accompanist.com on piano. Ave Maria is a popular and much-recorded setting of the Latin prayer Ave Maria, originally published in 1853 as Méditation sur le Premier Prélude de Piano de S. Bach. The piece consists of a melody by the French Romantic composer Charles Gounod that he superimposed over an only very slightly changed version of the Prelude No. 1 in C major, BWV 846, from Book I of J.S. Bach's The Well-Tempered Clavier, written 137 years earlier. A translation of the famous Latin text is as follows: Hail Mary, full of grace! The Lord is with Thee. Blessed art thou among women, and blessed is the fruit of thy womb, Jesus. Hail Mary, Mother of God! Pray for us sinners! Now, and in the hour of our death.
Here’s a real rarity/oddity … Composer Joseph Carl Breil is best known for his pioneering work in film music. He compiled and composed the score for D. W. Griffith’s BIRTH OF A NATION, for example. But before that, he worked extensively in theater music—mostly light operettas. (He was trained as both a composer and as a tenor.) In 1919, New York’s Metropolitan Opera debuted three newly commissioned works, one of which was Breil’s “grand opera,” THE LEGEND: A LYRIC TRAGEDY. Critics savaged it—partly because the vocal writing was pretty stodgy, partly because one of the Met’s other commissions, Puccini’s IL TRITTICO, was far superior. THE LEGEND quickly closed. The score was tossed out (soprano Rosa Ponselle claimed to have burned her copy in effigy), and the whole affair was largely forgotten. Breil was crushed by the mean-spirited reviews, which led to a rapid decline in his health. He passed away only a few years later. I became obsessed with THE LEGEND and its place in Breil’s life while working on IMPOSSIBLE SILENCE. (It’s still coming along!) Last fall I obtained a Breil-signed copy of the piano-vocal score. Yes, the vocal writing leaves much to be desired—and yes, next to Puccini, it’s very old-fashioned. That said, there are also patches of great color, vibrancy, and cinematic drama. In fact, some parts sound like grander settings of Breil’s silent film music. I decided to see what would happen if I attempted to recast the score as an orchestral suite. To my surprise, it kind of worked. It’s episodic and melodramatic, true, but lovers of film music are rarely put off by such things. The piano-vocal gave no indication of orchestration, so those were all redone from scratch. They’re probably a touch more modern than Breil’s, but hopefully he’ll forgive me that one. Here, you can hear the suite. Be forewarned, this is not really a proper mock-up—it’s just a Finale playback using cheapo sounds. But this is likely the first time THE LEGEND has been heard in nearly 100 years—so it’s pretty interesting nonetheless. Enjoy!
A piano track with cello arrangement...
Official demo for Berlin Symphonic Harps by Helge Borgarts & Thomas Stanger www.orchestraltools.com www.facebook.ocm/orchestraltools