This website uses cookies to ensure you get the best experience on our website. Learn more

Playlist of Africa Symphonic Poem

x
  • Africa Symphonic Poem - William Grant Still

    27:41

    Fort Smith Symphony Orchestra conducted by John Jeter

    I - Land of Peace: 0:00
    II - Land of Romance: 12:22
    III - Land of Superstition: 19:19

    Still's symphonic poem Africa had a torturous genesis. Still began to work on it in 1924, envisioning it as the first part of a trilogy of works depicting the African-American experience: Africa representing their roots, the Afro-American Symphony the life in America, and Symphony No.2 Song of a New Race, a vision of an integrated society.

    Still originally wrote the work for chamber orchestra, dedicating it to the French flautist George Barrère, who gave the first performance in 1930. Constantly refining the work, Still re-orchestrated it for full orchestra. Again, Howard Hanson gave the second première on 24th October, 1930, in Rochester, New York. It aroused a sensation, in Still’s words. It had successful German and Parisian performances the following year, further establishing his reputation. Still, however, was not totally satisfied, revising it six times before he, strangely, withdrew the work, leaving it unpublished.

    “The Africa of my imagination” is Still’s succinct description of this work in a letter to Barrère. His fuller description:

    “An American Negro has formed a concept of the land of his ancestors based largely on its folklore, and influenced by his contact with American civilization. He beholds in his mind’s eye not the Africa of reality but an Africa mirrored in fancy, and radiantly ideal.

    I. He views it first as a land of peace; peace that is partly pastoral in nature and partly spiritual.

    II. It is to him also a land of fanciful and mysterious romance; romance tinged with ineffable sorrow.

    III. Contact with American civilization has not enabled him to completely overcome his inherent superstitious nature. It is that heritage of his forebears binding him irrevocably to the past, and making it possible for him to form the most definite concept of Africa.”

    The first movement, Land of Peace, has two themes, depicting the pastoral and spiritual. After opening with the distant tom-toms that announce the work’s geographical focus, the flute intones a modal melody that arches upward from a rising whole step. The accompanying pizzicato seventh chords are in a different key, giving the blues-like melody a polytonal context. The contrasting short motive that follows, played by the oboe and outlining a G-minor triad, is accompanied by dotted chords fashioned from an octatonic scale.

    This fragment, which became the opening of Africa‘s first movement, was abandoned, incomplete. When Still returned to it (in 1927), he continued in a strikingly different style. After the opening section, four horns enter with a syncopated, unequivocally tonal melody emphasizing a descending whole step and suggesting a spiritual. Two expansive variations follow, building to the movement’s climactic statement, which begins as a stretching-out of the spiritual melody. The climax breaks off in a short piano cadenza, then dies away with an abbreviated suggestion of the opening.

    The second movement, Land of Romance, composed in 1927, reflects sadness, moving to passionate longing at the end. Forms a serenely legato da capo aria, begun by the bassoon. Near the end of the middle section, the orchestra builds to a climax reminiscent of the moment when the sun rises in Debussy’s La Mer-a nod to Europe from across the Mediterranean, as it were.

    The final movement, Land of Superstition, begins with a solo for the basses, featuring a deliberately awkward, Varèse-like unresolved rising tritone. It continues with several dances, building excitement to the climactic re-statement of the rising-tritone theme. Although the opening tom-toms from the first movement are never featured again, this movement firmly reinforces the initial African connection.

    After the first full orchestral performance, Still reported, “Africa was a sensation.” A year or two later, he commented, “I believe Africa will endure.” That it has been so little heard is the result of a contretemps with a publisher that remained unresolved until well after the composer’s death.

    Sources from the naxos booklet: and this review:

  • x
  • Excerpts From Symphonic Poem Africa

    30:59

    Excerpts From Symphonic Poem Africa (Marc van Delft)
    Searching for the Origin of Humanity

    1. The Night 0:00
    2. At the Battlefield 10:06
    3. Warrior Dance 22:33
    4. The Feast 25:52

    Album: Mid Europe Tour 2002

    De componist Marc van Delft zegt over dit werk: In deze compositie heb ik geprobeerd een werk te maken waarin verwijzingen naar de Afrikaanse volksmuziek een Afrikaanse sfeer oproepen. Het is een werk voor fanfare-orkest en een Afrikaans slagwerkensemble (Djembehensemble).

    Deel 1
    The Night: De Afrikaanse volksmuziek is pentatonisch. In de langzame inleiding vinden we boven een liggende bas motivische verwijzingen naar deze pentatonische melodieën. De grote terts speelt hierbij een grote rol.
    The Awakening of the Jungle: Zachte trommels klinken, het oerwoud ontwaakt in dissonante klanken en geschreeuw van dieren, uitgebeeld door kwintalen.
    In the Village: Typisch instrument voor Afrikaanse muziek is de marimba. Deze marimba speelt snelle zestiende noten terwijl een pentatonisch lied wordt ingezet.
    The Council of the Eldest: Het dreigende grote tertsen thema suggereert beraadslagingen van de stamoudsten.
    Male Dance: Een stoere mannendans als voorbereiding op de jacht en stammenoorlog.

    Deel 2
    At the Battlefield: Het dramatische gedeelte van deze compositie, de stammenoorlog.
    Voices of the Jungle: In deze cadens voor sax-soli klinken weer verwijzingen naar de oerwoudmuziek. Dit gaat over in Elegy tor the Beloved. Het lyrische gedeelte van het werk met een sterke ondertoon.
    The Golden Fields: Een pastoraal gedeelte waarin de rust van de gouden savannes is uitgebeeld. Het slotgedeelte is de finale waarbij dorpsfeesten plaatsvinden met trommelmuziek en pentatonisch gezang.

    Deel 3
    Warrior Dance

    Deel 4
    The Feast: Het dansfeest eindigt in een algehele extase.

    Dit werk is gecomponeerd voor het NJFO en haar dirigent Danny Oosterman. Aan dit werk is een eigen improvitatie toegevoegd.

    ==================

    To quote the composer Marc van Delft: With this composition I have tried to create a piece in which references to African folk music evoke an African atmosphere. It is a work for fanfare band and an African percussion ensemble (Djembeh-ensemble).

    Part 1
    The Night: African folk music is pentatonic. In the slow introduction motive-like references to these pentatonic melodies can be heard above a bass line with major thirds playing an important role .
    The awakening of the Jungle: Soft drums sound, the jungle wakes up in dissonant sounds and screaming of animals, represented by quintuplets.
    In the Village: A typical instrument for African music is the marimba . This marimba plays fast sixteenth notes while a pentatonic song begins.
    The Council of the Eldest: The threatening theme of major thirds suggests the deliberations of the elders sitting around a tribal council.
    Male Dance: A sturdy male dance as preparation for hunting and a tribal war.

    Part 2
    At the Battlefield: The dramatic part of this composition, the tribal war.
    Voices of the Jungle: In this cadenza for saxophone solos the references to jungle music can be heard. This leads to Elegy lor the Beloved. The lyrical part of the piece with strong sub harmonics.
    The Golden Fields: A pastoral interlude in which the quietness of the golden savannas is depicted. The last part consists of a finale in which village feasts take place, represented by bath the sounds of drums and pentatonic singing.

    Part 3
    Warrior Dance

    Part 4
    The Feast: The dance party ends in total ecstasy.

    This work was composed for the Dutch National Youth Fanfare Band and its conductor Danny Oosterman. This work is added with an own improvisation.

  • x
  • Saint Saens: AFRICA—Fantasie for Piano and Orchestra, Op. 89

    10:49

    Performed by the Royal Philharmonic Orchestra with Jean Philippe-Collard. Conducted by Andre Previn

  • Symphony No.1 in A flat major Afro-American - William Grant Still

    24:10

    Detroit Symphony Orchestra conducted by Neeme Järvi

    I - Longings. Moderato assai: 0:00
    II - Sorrows. Adagio: 7:24
    III - Humor. Animato: 12:44
    IV - Aspirations. Lento con risoluzione: 15:53

    The Symphony No.1 Afro-American was completed in 1930, premiered in 1931, conducted by Howard Hanson with the Rochester Symphony Orchestra. It was the first time in the history of the United States that a major orchestra premiered a symphony written by a black person. The work obtained a great triumph and soon became repertoire work, being interpreted by all the important orchestras of the United States. With this work, Still obtains a fame of world-wide scope.

    First, we must mention that, at the beginning of the 20th decade, the black cultural movement known as Harlem Renaissance had been born, when Still came to New York. It was designed to show that the black race had a rich culture, which would soon prove to the United States and the entire world. Still was an active member of this movement, influencing him in his music throughout his life. In 1924 he began to work on a trilogy of works that describe the Afro-American reality: The symphonic poem Africa ​​represents its roots, the Afro-American Symphony the life of blacks in America and the Symphony No.2 Song of a new race the vision of an integrated society.

    Let the composer himself talk about his work: The themes came to mind and I wrote them down carefully, an enveloping form was growing slowly, I knew that I wanted to write a symphony, I knew it should be an American work. I wanted to show how blues, often considered as a low-level genre of expression, could be raised to the highest musical level.

    In his orchestration he uses a banjo, being the first time in the history of the symphony that this instrument is used. It is a five-string instrument from West Africa, introduced in the United States during the nineteenth century by black musicians. It is part of the Dixieland music around 1890, becoming the musical instrument of American folk music.

    The first movement, moderato assai, carries the subtitle Longings. It begins with the main theme initiated by the English horn, a melody in an ambiguous tone, which will become the core of the work. It is a blues, which reminds us of the one used by Dvorak in his New World Symphony. The trumpet with a mute exposes the theme completely, which is developed below. The second theme is presented by the oboe, representing the spiritual part of black music. These elements are used in a masterful section of development, taking them to a great splendor. The recapitulation presents the themes in the in the reverse way. The blues theme appears in the final part fully orchestrated, leading to an affirmative coda.

    The second movement, adagio, bears the subtitle Sorrows. It expresses the pain of a people oppressed but not destroyed. The main theme is presented by the oboe accompanied by the strings and flute. The flute itself performs a hesitant repetition of the blues theme of the first movement. The arpeggios of the harp accompany a new transformation of the blues. The two themes are presented in reverse order at the end of the movement.

    The third movement, animato, carries the subtitle Humor. Being the scherzo of the work, presenting an animated dance. It is the most popular movement of its author, often interpreted separately. The rhythms used belong to ragtime and jazz. Syncopated themes are characteristic. The use of banjo adds coloration to the festive scene. Some of the rhythms remind us of Gershwin.

    The last movement, slow with risoluzione, carries the subtitle Aspirations. The themes used are from the previous movements. It represents the confidence in the future of the black American people, indicating that part of their culture comes from Africans. A broad theme unfolds nobly, like a hymn to hope. In the final part the characteristic rhythm of the race returns, which leads to a great coda of triumphant aspect, as a sign of a future victory.

    The themes used in the symphony, despite the style and similarity with the songs and dances of black folklore, have all been born from the imagination of its author. They remind us of the style of the spirituals, that of the shout songs, the rhythmic religious songs with their brusque answers, the black songs with the accompaniment of the banjo, the motives of the jazz music. Still was a man endowed with a great religiosity, dedicating all his works to God. His symphony represents the hope of the black people, using their religious music as a way of expression.

    Sources from this spanish website on Still symphonism:

  • x
  • Symphony #5-Africa : Allegro Ma Non Troppo-The Gathering/Allegro...

    9:17

    Provided to YouTube by The Orchard Enterprises

    Symphony #5-Africa (A Tone Poem) : Allegro Ma Non Troppo-The Gathering/Allegro Vivace-Celebration/Allegro Ma Non Troppo-Initiation · The State Philharmonic Of Brno; Leos Svarovsky · Hayden Wayne · Leos Svarovsky · The State Philharmonic Of Brno

    Hayden Wayne-Symphony #6-AFRICA (a tone poem)

    ℗ 1992-Lion Autumn Music

    Released on: 1994-03-01

    Contributor: Otakar Tajovsky
    Producer: Hayden Wayne
    Producer: Yitka Wayne

    Auto-generated by YouTube.

  • Symphony No. 5 Africa: I. Childs Play the Tribal Elder:  Lento - Allegro Vivace

    5:02

    Provided to YouTube by CDBaby

    Symphony No. 5 Africa: I. Child's Play the Tribal Elder:  Lento - Allegro Vivace · Hayden Wayne · The State Philharmonic of Brno · Leos Svarovsky

    Symphony No. 5 Africa

    ℗ 2013 Lion Autumn Music Publishing Ascap

    Released on: 2013-07-09

    Auto-generated by YouTube.

  • x
  • African Symphony

    4:04

    sf Annual Gala V
    25/12/212
    Tsuen Wan Town Hall

  • Symphony #5-Africa : Lento-Childs Play/Allegro Vivace-The Tribal Elder

    5:02

    Provided to YouTube by The Orchard Enterprises

    Symphony #5-Africa (A Tone Poem) : Lento-Child's Play/Allegro Vivace-The Tribal Elder · The State Philharmonic Of Brno; Leos Svarovsky · Hayden Wayne · Leos Svarovsky · The State Philharmonic Of Brno

    Hayden Wayne-Symphony #6-AFRICA (a tone poem)

    ℗ 1992-Lion Autumn Music

    Released on: 1994-03-01

    Contributor: Otakar Tajovsky
    Producer: Hayden Wayne
    Producer: Yitka Wayne

    Auto-generated by YouTube.

  • Symphony #5-Africa : Allegro/Allegro Ma Non Troppo/Allegro-Running/Lento-The...

    4:03

    Provided to YouTube by The Orchard Enterprises

    Symphony #5-Africa (A Tone Poem) : Allegro/Allegro Ma Non Troppo/Allegro-Running/Lento-The Singing Bird · The State Philharmonic Of Brno; Leos Svarovsky · Hayden Wayne · Leos Svarovsky · The State Philharmonic Of Brno

    Hayden Wayne-Symphony #6-AFRICA (a tone poem)

    ℗ 1992-Lion Autumn Music

    Released on: 1994-03-01

    Contributor: Otakar Tajovsky
    Producer: Hayden Wayne
    Producer: Yitka Wayne

    Auto-generated by YouTube.

  • x
  • Symphonic Poem N° 3 Dance of the Moklins

    11:50

    Tom-toms, West African Djembe, and Conga drums dominate this playful mischievous piece for orchestra. The title is a reference to the science fiction short story by Murray Leinster, If You Was A Moklin.
    Copyright © 2017. All rights reserved

  • Dawson: Negro Folk Symphony - 1. The Bond of Africa: Adagio - Allegro con brio

    13:40

    Provided to YouTube by Universal Music Group

    Dawson: Negro Folk Symphony - 1. The Bond of Africa: Adagio - Allegro con brio · American Symphony Orchestra · Leopold Stokowski

    Stokowski / Mitropoulos

    ℗ 1963 Deutsche Grammophon GmbH, Berlin

    Released on: 2007-01-01

    Producer: Simon Rady
    Composer: William L. Dawson

    Auto-generated by YouTube.

  • Symphony #5-Africa : Allegro Moderato-Rain/Largo-Dawn

    9:20

    Provided to YouTube by The Orchard Enterprises

    Symphony #5-Africa (A Tone Poem) : Allegro Moderato-Rain/Largo-Dawn · The State Philharmonic Of Brno; Leos Svarovsky · Hayden Wayne · Leos Svarovsky · The State Philharmonic Of Brno

    Hayden Wayne-Symphony #6-AFRICA (a tone poem)

    ℗ 1992-Lion Autumn Music

    Released on: 1994-03-01

    Contributor: Otakar Tajovsky
    Producer: Hayden Wayne
    Producer: Yitka Wayne

    Auto-generated by YouTube.

  • Symphonic Poem N° 3, Dance of the Moklins, by David Kenstad

    11:51

    Tom-toms, West African Djembe, and Conga drums dominate this playful mischievous piece for orchestra. The title is a reference to the science fiction short story by Murray Leinster, If You Was A Moklin. Copyright © 2014. All rights reserved

  • Gloriosa: Symphonic Poem for Band | 2016 OBDA High School Select Band | MultiCam

    17:35

    SUBSCRIBE to our videos:


    Recorded at the Oahu Band Directors Association 2016 Music Festival on February 14, 2016. Held at the McKinley HS Auditorium, Honolulu, Hawaii.

    This is the 2016 High School Select Band performing:

    “Gloriosa”
    Symphonic Poem for Band

    by Yasuhide Ito

    Guest Conductor: Gary D. Green.

    Schools represented:
    Castle
    Kailua
    Kaiser
    Kalani
    Kapolei
    McKinley
    Mid Pacific
    Mililani
    Moanalua
    Pearl City
    Punahou
    Radford
    Roosevelt
    UH Laboratory
    Waipahu

    Video: Canon 7D / Sony Nex Vg10
    Audio: Sony Nex Vg10 (Quad Capsule Spatial Array Stereo Microphone)

  • Feliks Nowowiejski, Beatrice, Op 17 No 1, Symphonic Poem

    20:02

    Feliks Nowowiejski, Beatrice, Op. 17 No. 1, Symphonic Poem (1903)

    Opole Philharmonic Symphony Orchestra
    Przemyslaw Neumann, conductor

    Feliks Nowowiejski (Wartenburg, 7 February 1877 - Poznań, 23 January 1946) was a Polish composer, music teacher, conductor and organ virtuoso. He was the fifth of the eleven children of the couple Franciszek Nowowiejski and Katarzyna, b. Falk.
    Nowowiejski already received lessons in piano, cello, horn, harmony, and especially organ at the monastery school Święta Lipka (1887-1893). He became a member of the military music chapel of the Prussian Grenadier Regiment in Olsztyn in 1893 and wrote works for orchestra, concert band and amateur associations. In 1898 he won a competition for marching compositions: The British Musician in London with his work Unter der Friedensflagge.

    The associated prize money enabled him to study music theory, counterpoint, composition with Ernest Eduard Taubert, organ with Adolf Stemler and cello at the Julius Stern Conservatory in Berlin for six months in 1898. After his return he was from 1898 to 1900 organist at the St. Jacobus Cathedral in Allenstein, now: Olsztyn. He then studied Gregorian chant and polyphony for three months in 1900 at the High School of Church Music in Regensburg. He completed his studies with Max Bruch (composition), Otto Dienel and Joseph Renner (organ) at the Königlich Staatliche Musikhochschule in Berlin (1900-1906). At the same time he studied musicology with Max Friedlaender, Oskar Fleischer and Heinrich Bellermann and aesthetics with Max Dessoir at Friedrich-Wilhelms University in Berlin.

    Thanks to a scholarship (Meyerbeer stipendium) he was able to make concert trips through Europe, Asia and Africa from 1902 to 1905. In Europe he visited Germany, the Czech Republic, Austria, Italy, France and Belgium. During these concert trips he came in contact with Antonín Dvořák, Gustav Mahler, Camille Saint-Saëns, Pietro Mascagni and Ruggero Leoncavallo.

    After his studies he was a music teacher, teacher and choir conductor in Berlin (1905-1909). As a composer and conductor he collaborated with choirs of Polish emigrants and also received a lot of information about Polish culture, tradition and songs. From 1909 he also worked as a music teacher and teacher in Poznań, Krakow and Warsaw. In Krakow in 1914, he became director of the Krakowskiego Towarzystwa Muzycznego, the musical company. He was an important person in Krakow and Poznań and organized many musical events. Nowowiejski was known throughout Poland as an organ virtuoso and a great organ improviser and gave many concerts. From 1920 to 1927 he taught at the Ignacy Jan Paderewski Music Academy in Poznań. He was also conductor of the orchestra of this conservatory.

    He wrote music for all genres. In addition to his well-known patriotic song Rota (Oath), originally entitled Grunwald, he acquired international fame mainly through his organ works. The best known of his oratorios is undoubtedly the Quo vadis, op.49 nr 3 with a performance time of more than 2 hours. This premiered in Amsterdam in 1909 and only had 200 performances until 1939.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • Arnold Cooke, Symphony No 1 in B Flat Major 1947

    36:41

    Arnold Cooke, Symphony No. 1 in B-Flat Major (1947)

    1. Allegro moderato
    2. Scherzo: Molto vivace
    3. Lento ma non troppo
    4. Allegro

    London Philharmonic Orchestra
    Nicholas Braithwaite, conductor

    Arnold Atkinson Cooke (4 November 1906 – 13 August 2005) was a British composer. Cooke was born at Gomersal, West Yorkshire into a family of carpet manufacturers. As a child Cooke learned the piano and later the cello and was already composing by the age of 7 or 8. He was educated at Streete Preparatory School, Repton School and at Gonville & Caius College, Cambridge, where he read History taking Part 1 of his Tripos in 1927 and gaining his B.A., but he changed to read music where his composition teacher was E. J. Dent. At Cambridge, Cooke continued to play the cello in the CUMS orchestra and in a string quartet. He was President of the Cambridge Musical Society from 1927 to 1928. In 1929, he gained his Music degree and went to Berlin where he studied composition and piano at the Berlin University of the Arts under Paul Hindemith. He later became Musical Director of the Festival Theatre at Cambridge, and in 1933 was appointed a professor at the Royal Manchester College of Music (now merged into the Royal Northern College of Music). He moved to London in 1938 to further his career.

    In the 1930s Cooke carved out a reputation for himself as a promising young composer, and his music was taken up by leading interpreters. The harpist Maria Korchinska introduced his Harp Quintet in 1932; Sir Henry Wood conducted his Concert Overture No.1 at the 1934 Promenade Concerts and the Griller Quartet premiered his String Quartet no. 1 in 1935. In 1936 Havergal Brian singled out for praise a cantata, Holderneth, a setting of a text by the American poet Edward Sweeney. Louis Kentner and the BBC Symphony Orchestra conducted by Sir Adrian Boult premiered his Piano Concerto in 1943, which he had completed just before his call-up in 1941. The concerto had been commissioned by the South African pianist Adolph Hallis in 1939 but the outbreak of WWII meant that Hallis had to return to South Africa so Kentner gave the first performance in a BBC studio broadcast on 11 November 1943. The work received subsequent broadcast performances from Franz Reizenstein with the BBC Northern Orchestra under Clarence Raybould in 1952 [2] and Eric Parkin with the BBC Northern Orchestra under Brian Priestman in 1972.[3]

    In the Second World War, he served in the Royal Navy, first in the aircraft carrier HMS Victorious and subsequently as a liaison officer in a Norwegian escort vessel and a Dutch tug that took part in the D-Day Landings. After demobilisation he returned to London in 1946, becoming a founder member of the Composers' Guild of Great Britain, and from 1947 until his retirement in 1978 he was Professor of Harmony and Composition at Trinity College of Music in London. In 1948, through the recommendation of E. J. Dent he obtained a doctorate from Cambridge submitting as his composition portfolio his Symphony no. 1 (1946–47), Piano Concerto (1939-40) and Sonata for viola and piano (1936–37). After a stroke in 1993 he virtually ceased to compose, but lived to the age of 98 dying at his nursing home in Five Oak Green in Kent.

    Four of his symphonies and other orchestral works have been issued on the Lyrita label, whilst the Clarinet Quintet and the Clarinet Concerto No. 1 were recorded on Hyperion.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • William Levi Dawson: Negro Folk Symphony

    35:44

    Composer: William Levi Dawson (September 26, 1899 -- May 2, 1990) was an African-American composer, choir director and professor.

    Composition: Negro Folk Symphony (1934)
    I. The Bond of Africa
    II. Hope in the Night
    III. O Let Me Shine!

    Orchestra: The American Symphony Orchestra, Leopold Stokowski conductor

    Cover Art:
    1a. Bond of Arfica: African Elephants
    1b. African Sunset by Abglanz
    2 Hope in the Night: African Night Jungle Landscape by Abhidhanbad
    3 O Let Me Shine!...African Sunset

  • Wiliam Levi Dawson Negro Folk Symphony

    28:32

    William Levi Dawson Negro Folk Symphony (1934)

    1. The Bond of Africa
    2. Hope in the Night
    3. O Let Me Shine!

    Detroit Symphony Orchestra
    Neeme Järvi

  • Out Of Africa | John Barry | Czech National Symphony Orchestra | Prague Proms 2017

    3:52

    Out Of Africa (Vzpomínky na Afriku) | Festival Prague Proms | Not Just A Hollywood Night | Czech National Symphony Orchestra



    Conductor: Carl Davis
    Orchestra: Czech National Symphony Orchestra


    Festival Prague Proms:



    Orchestra:


  • William Grant Still: Afro-American Symphony - II. Adagio

    5:21

    William Grant Still (1874 - 1954): Symphony No. 1 (Afro-American Symphony)
    II. Adagio
    Besetzung: 3(Pic).3(Eh).4(Bk).2-4331-12, Str, Hf, Cel

  • x
  • And They Lynched Him On A Tree-Still, Harry T. Burleigh Society & Urban Playground Chamber Orchestra

    18:09

    As a part of From Song Came Symphony, Conductor Thomas Cunningham, Chorus Master Courtney Carey, Contralto Lucia Bradford, Baritone Lawrence Craig, the Brooklyn Ecumenical Choir (Chorus of Mourners), Ad Hoc Chorus (Lynch Mob), and the Urban Playground Chamber Orchestra perform William Grant Still’s choral ballad “And They Lynched Him on a Tree” (1940). A work of great immediacy, Still wrote the work for two choruses; an all white lynch mob, and a black chorus of mourners of the murdered man.

    The story begins directly following the lynching. The lynch mob revels in their deed before retiring to their homes. Soon after the murdered man’s mother and a chorus of mourners emerge to grieve. At the end of the work the two choruses come together, but not in any measure of solidarity or resolution, but more so as a combined Greek chorus proffering a warning. This work is also an early example of Still’s remarkable ability to synthesize his avantgard training with Edgard Varèse, with more conservative models of composition and his own lived experience as a black man in America. Still, although he publicly downplayed the role of race as an impediment to his career, was a keen observer of America. He completed the work while an anti-lynching bill was able to pass the House of Representatives, but unable to advance in the Senate. Still said: “It is my sincere hope that this [piece] will accomplish some good, and that it will come to the attention of those who have perhaps not thought much about the subject. Then I also pray that it will outlast the purpose for which it was written.”

    Alain Locke, dean of the Harlem Renaissance (and editor of the seminal text _The New Negro_), was a fundamental figure in William Grant Still’s life (1885-1978) and specifically in the creation of “And They Lynched Him on a Tree.” It was Locke who initially sent the poem by Katharine Garrison Chapin to Still and even reviewed the work’s premiere: “[It] universalizes its particular theme and expands a Negro tragedy into a purging and inspiring plea for justice and a fuller democracy.” This idea of a “fuller democracy” was further explored by Still in his 1944 work “In Memoriam: The Colored Soldiers Who Died for Democracy, the subtext of which pointed to the cruel irony of soldiers of color fighting for freedom abroad that they did not experience at home.

    The concert took place on Wednesday, May 8th, 2019 at 7:30pm in the Langston Hughes Auditorium of the Schomburg Center for Research in Black Culture.

    The Harry T. Burleigh Society (@burleighsoc) is a non-profit organization that advances studies of black art music through scholarship and performance. Grounded in African American history and culture and committed to social justice, the Society continues Burleigh’s radical legacy of disrupting boundaries and challenging social norms. Fortified by the beauty and bravery of his model, the Society consciously shapes arenas where encounters between disparate racial, religious, generational, national, and creative groups can thrive. Founded on the 150th anniversary of Burleigh’s birth, the Society follows generations of African American music-makers and intellectual laborers, working to center their foundational contributions to American music.

    Born in New York City in 2014, Urban Playground Chamber Orchestra (@UPChamberOrch) is a non-profit organization that prioritizes the music of women and composers of color to further enliven the classical canon. The ensemble is malleable in size, genre and venue, and creates new spaces for classical music in partnership with our diverse, vibrant audience. Urban Playground broadcasts historically marginalized voices, and nurtures emerging composers. Musicians from Urban Playground currently play with the New York Philharmonic, Beyoncé, the Metropolitan Opera Orchestra, Broadway, Late Night television programs, and lead a variety of solo and chamber projects.


  • Die Stem van Suid-Afrika — Anthems Symphony Orchestra

    1:13

    In May 1918, C.J. Langenhoven wrote an Afrikaans poem called Die Stem, for which music was composed by the Reverend Marthinus Lourens de Villiers in 1921. It was widely used by the South African Broadcasting Corporation in the 1920s, which played it at the close of daily broadcasts, along with God Save the King. It was sung publicly for the first time on 31 May 1928.

    It was not translated into English until 1952, while God Save the Queen did not cease to have official status until 1957. The poem originally had only three verses, but the government asked the author to add a fourth verse with a religious theme.

    The anthem speaks throughout of commitment to the Vaderland (father land) and to God. However, the anthem was generally disliked by black South Africans, who saw it as triumphalist and associated it with the apartheid regime where one verse shows dedication to Afrikaners. As the dismantling of apartheid began in the early 1990s, South African teams were readmitted to international sporting events, which presented a problem as to the choice of national identity South Africa had to present. Agreements were made with the African National Congress that Die Stem would not be sung at rugby matches, but at a rugby union test match against New Zealand in 1992, an instrumental version of it was played, and the crowd sang along, instead of the agreed moment of silence for peace and democracy in South Africa. At the 1992 Summer Olympics in Barcelona that year, Schiller's Ode to Joy, as set to Beethoven's music, was used instead, along with a neutral Olympic flag.

    In spite of this, Die Stem retained official status after the advent of full democracy which followed the 1994 general election. The anthem shared equal status with Nkosi Sikelel' iAfrika, which had long been a traditional hymn used by the ANC. In a remarkable gesture in 1995, Die Stem was sung by a black choir at the Rugby World Cup final match.

    The practice of singing two different anthems had been a cumbersome arrangement during the transitional phase of the new South African era. In 1997, following the adoption of a new constitution, a new hybrid anthem was introduced, which combined Nkosi Sikelel' iAfrika and Die Stem. Only the first verse of the Stem was sung at schools and ceremonies in both official languages prior 1994.

  • Symphony #5-Africa : Allegro Con Brio-Embarkation

    9:49

    Provided to YouTube by The Orchard Enterprises

    Symphony #5-Africa (A Tone Poem) : Allegro Con Brio-Embarkation · The State Philharmonic Of Brno; Leos Svarovsky · Hayden Wayne · Leos Svarovsky · The State Philharmonic Of Brno

    Hayden Wayne-Symphony #6-AFRICA (a tone poem)

    ℗ 1992-Lion Autumn Music

    Released on: 1994-03-01

    Contributor: Otakar Tajovsky
    Producer: Hayden Wayne
    Producer: Yitka Wayne

    Auto-generated by YouTube.

  • The Script - Superheroes

    4:34

    ‘Superheroes’ is the first single from the new album ‘No Sound Without Silence' which will be released in September 2014. For more information visit: Pre-order ‘Superheroes’ here: Pre-order ‘No Sound Without Silence’ here: iTunes – Amazon – Official Store – Sign up to The Script's newsletter here: Subscribe to The Script on YouTube: Stream The Script’s music: Follow The Script online: Facebook - Twitter - Instagram – Google+ - Music video by The Script performing Superheroes. (C) 2014 Sony Music Entertainment UK Limited

    #TheScript #Superheroes #Vevo #Pop

  • Symphonic Poem Danse Macabre Op.40 / GAHS Unison Wind Orchestra

    8:30

    from 'Gyeongbuk Arts High School 53rd Annual Concert'

    Symphonic Poem Danse Macabre Op.40(Camille Saint-Saëns)

    2018.04.16.(Mon) 07:00pm / Yongji-Hall, Suseong Artpia
    Conducted by Byeong-gi Shin
    Performed by GAHS Unison Wind Orchestra


    '경북예술고등학교 제53회 정기음악회' 中

    교향시 죽음의 무도 작품40(카미유 생상스)

    2018년 4월 16일(월) 오후7:00 / 수성아트피아 용지홀
    지 휘 : 신병기
    연 주 : 경북예고 유니즌 윈드 오케스트라

  • Symphony of Science - Children of Africa

    3:59

    A musical celebration of humanity, its origins, and achievements, contrasted with a somber look at our environmentally destructive tendencies and deep similarities with other primates. Featuring Jacob Bronowski, Alice Roberts, Carolyn Porco, Jane Goodall, Robert Sapolsky, Neil deGrasse Tyson and David Attenborough.

    Children of Africa is the tenth installment in the ongoing Symphony of Science music video series. Materials used in the creation of this video are from:

    BBC Incredible Human Journey
    BBC Ascent of Man
    BBC Life of Mammals
    BBC Human Planet
    BBC Walking With Cavemen
    Carolyn Porco: Hollywood
    Quest for Fire
    Hubblecast 29A
    What Makes Us Human (Leakey Foundation)
    What Separates Us from Chimps (Sapolsky)
    Chimpanzee
    Neil Tyson - Human Intelligence
    Gemini Observatory Time-lapse

    mp3:

    Rights to use Carl Sagan have been put on hold for the time being. Please be patient if you wish to see more Carl!

    Special thanks to everybody who's donated to keep the project alive and to those who helped track down the materials used in this video.

    To download and watch more videos visit

    Enjoy!

    ~John
    john@symphonyofscience.com

    Lyrics:

    [Jacob Bronowski]
    Man is a singular creature;
    He has a set of gifts which make him unique among the animals
    So that unlike them, he is not a figure in the landscape
    He is the shaper of the landscape

    [Alice Roberts]
    We are all children of Africa
    They say this is where it all began

    [Bronowski]
    In a parched African landscape
    Man first put his foot to the ground

    [Roberts]
    Africa was our only home
    for tens of thousands of years
    until a small handful of people made their way
    out of Africa

    [Carolyn Porco]
    These beings with soaring imagination
    Eventually flung themselves and their machines
    Into interplanetary space

    [Roberts]
    We are all children of africa
    This landscape has been home to humans
    Two hundred thousand years

    [Porco]
    We have come so far
    All of this is cause for great celebration
    We have come so far
    This is a story about us

    [Roberts]
    Those early Europeans
    Were people like you and me
    But it is humbling
    When you see the challenges they faced

    People like you and me
    Overcame the Neanderthals
    People like you and me
    Made it through the ice age

    [Refrain]

    [Jane Goodall]
    We are not the only beings
    With personalities, minds, and feelings
    Chimpanzees have very clear personalities

    [Robert Sapolsky]
    Take a chimp brain foetally
    And let it go two or three more rounds of division
    And out comes symphonies and ideology

    [Neil deGrasse Tyson]
    Everything that we are
    That distinguishes us from chimps
    Emerges from that one percent
    Difference in DNA

    [Roberts]
    People like you and me
    Overcame the Neaderthals
    People like you and me
    Made it through the ice age

    [Refrain]

    [David Attenborough]
    Using his burgeoning intelligence,
    This most successful of all mammals
    Has exploited the environment to produce food
    For an ever increasing population.

    Instead of controlling the environment
    For the benefit of the population
    Perhaps it's time we controlled the population
    To allow the survival of the environment

  • composing 8 Greater Adria Symphonic poem in F-sharp major Eng. annotated film| Greater Adria 交響詩F#

    6:12

    #GreaterAdria #SymphonicPoem #Composing
    This is a symphonic poem I composed about the long-lost continent Greater Adria, which broke off from Northern Africa about 240 million years ago and began slipping beneath southern Europe about 100 million years ago. 
    It’s so poignant and beautiful that after hundreds millions of years those prehistoric lives all disappeared the lost-continent which they lived on finally had been discovered.
    Here you can fetch the video made by the lead author, Prof. Douwe van Hinsbergen from Department of Earth Sciences, Utrecht University, the Netherlands, of this research


    So that I created this symphonic poem.

    Welcome to purchase my composition sheets at sheetmusicplus.


    [Greater Adria] 交響詩 F#大調 是我的第八個作曲作品。
    2019年秋天的時候歐洲的研究學者發現了消失的陸塊Grteater Adria
    這個陸塊在2億多年前的時候由北非分裂出來
    並於1億多年前逐漸沒入南歐陸塊之下。

    在數億年之後這塊已經消失的史前生物們所生活的陸塊
    終於被發現
    是多麽的淒美
    所以我創作了這首交響詩。

    此篇研究第一作者尼德蘭烏特勒支大學地球科學學院的Hinsbergen教授所做的陸塊變動的影片

    歡迎到sheetmusicplus購買我各首的作曲作品樂譜。
    作曲所使用的軟體是MuseScore。
    製作動畫所使用的軟體是iMovie。

    作曲No.8 Greater Adria
    Greater Adria交響詩F#major
    は私の8番目の作曲です。
    2019年秋
    ヨーロッパの学者たちはに失落の大地を発見
    この大地は2億年以上前に北アフリカからよって分離されました
    そして、1億年以上前に南ヨーロッパのブロックに徐々に沈みました。

    数億年後、先史時代の生き物が姿を消したこの大地

    いよいよこ失落のの大地
    最終的に発見された

    なんて美しいの物事

    だから私はこの交響詩を書きました。
    あたしの作曲楽譜を購入
    ヨーロッパの学者の解説

  • Drums - A Symphonic Poem

    9:26

    Provided to YouTube by The Orchard Enterprises

    Drums - A Symphonic Poem · James P. Johnson · Concordia Orchestra · Leslie Stifelman · Marin Alsop

    Victory Stride: The Symphonic Music Of James P. Johnson

    ℗ 1994 Amerco, LLC.

    Released on: 2008-11-18

    Auto-generated by YouTube.

  • Jean Sibelius - Finlandia

    9:37

    Finlandia, Op. 26 is a symphonic poem by the Finnish composer Jean Sibelius. The first version was written in 1899, and it was revised in 1900. The piece was composed for the Press Celebrations of 1899, a covert protest against increasing censorship from the Russian Empire, as the last of seven pieces, each performed as an accompaniment to a tableau depicting episodes from Finnish history.

    The premiere was on 2 July 1900 in Helsinki with the Helsinki Philharmonic Society conducted by Robert Kajanus. A typical performance takes anywhere from 7½ to 9 minutes.

    A recurrent joke within Finland at this time was the renaming of Finlandia at various musical concerts so as to avoid Russian censorship. Titles under which the piece masqueraded were numerous, a famously flippant example being Happy Feelings at the awakening of Finnish Spring.

    Most of the piece is taken up with rousing and turbulent music, evoking the national struggle of the Finnish people. But towards the end, a calm comes over the orchestra, and the serenely melodic Finlandia Hymn is heard. Often incorrectly cited as a traditional folk melody, the Hymn section is of Sibelius's own creation.

    Although initially composed for orchestra, in 1900 Sibelius arranged the entire work for solo piano.

    Sibelius later reworked the Finlandia Hymn into a stand-alone piece. This hymn, with words written in 1941 by Veikko Antero Koskenniemi, is one of the most important national songs of Finland (though Maamme is the national anthem). With different words, it is also sung as a Christian hymn (Be Still, My Soul), and was the national anthem of the short-lived African state of Biafra (Land of the Rising Sun).

    Created by
    Wild Scandinavia / Wildes Skandinavien / (2011)
    Directors: Oliver Goetzl
    Writers: Oliver Goetzl
    Cinematography: Ivo Nörenberg, Jan Henriksson and Rolf Steinmann
    Gulo Film Productions


    This film shows animal behaviour that has never been filmed before: Oliver Goetzl and Ivo
    Nörenberg got the first ever made shots of a wild lynx in the finish wilderness, they did highspeed shots of Goldeneye chicks jumping out of their tree nest, they filmed exciting encounters of bears and wolves. The documentary was shot with more than 650 shooting days.

  • Symphony of Science - 10th Anniversary Tribute

    2:27

    Celebrating 10 years of remixing scientists with a mashup of my earliest work. It all began with a goofy remix of Carl Sagan I thought nobody would ever see - I had no idea what I was doing or where I was going, but I was having fun. The response blew me away. I owe everything to you guys - my deepest thanks to everyone who has followed along on this weird and wild creative journey and made the whole thing possible.

    I kinda cringe at the quality of those old videos, but the spirit is much the same, and I hope you dig this little nostalgic trip back through the past decade.

    I always thought my dream job would be a musician or film composer. But this trip has taught me that filmmaking is where my passion is strongest. Exploring the endless possible synergies between visuals, music, sound, and thought will keep me occupied for a lifetime. I am slowly phasing out the use of auto-tune as I gear up for the next phase in this creative journey, which will be to deliver truly mind-bending, sensory rich experiences that explore the frontiers of human knowledge.

    This journey is just beginning. Big things are in store. I would love for you to join me for the next 10 years.

    Follow along for more deep thoughts and deep tunes :)

    Peace and love,

    Melodysheep
    @musicalscience
    @melodysheep_
    melodysheep.com

    Featuring:
    Carl Sagan
    Stephen Hawking
    Neil deGrasse Tyson
    Richard Feynman
    Bill Nye
    Jill Bolte Taylor
    Brian Cox
    Carolyn Porco

    Help us caption & translate this video!

  • Arnold Bax

    9:27

    Arnold Bax (1883-1953) (GB)
    The Happy Forest, symphonic poem (1922)
    Dir : David Lloyd-Jones

    On collectionCB we can also listen to Arnold Bax's « Saga fragment, for piano and Small orchestra » (1932) and « Oliver Twist » orchestral suite d'orchestre from David Lean's film (1948).

    Grand admirateur du Finlandais Jean Sibelius, l'Anglais Arnold Bax s'initia ensuite aux styles de Claude Debussy, de Maurice Ravel et d'Igor Stravinsky avant de puiser son inspiration dans les paysages irlandais, puis dans ceux de l'Ecosse où il finit par s'installer. Il s'essaya aussi à la poésie sous le pseudonyme de Dermot O'Byrne et écrivit une biographie nostalgique « Farewell my youth/ Au revoir ma jeunesse » (1943). Arnold Bax composa une œuvre importante (380 opus) d'où émergent sept symphonies romantiques et paysagistes, de nombreux poèmes symphoniques, presque tous bucoliques, dont le plus célèbre est « Tintagel » (1917). Ses trois « Northern Ballad » (1927, 1933, 1934) sont parmi ses œuvres les plus jouées, de même ses « Winter Legends » (1930), pour piano et orchestre. Son style tient de l'impressionnisme français et de la pastorale anglaise telle que l'a portée à sa perfection Ralph Vaughan Williams. Les sujets de ses compositions sont pour la plupart empruntés à la mythologie anglo-saxonne et de la chevalerie courtoise dont les héros furent Gauvain, Perceval, Lancelot et Galaad. Son dense, concis et inspiré poème symphonique « The Happy Forest » ne faillit pas à la règle : l'ayant d'abord écrit en 1914 pour piano solo, Arnold Bax en réalisa en 1922 une version orchestrale qui met en valeur toutes les facettes de son talent.

    LIST OF UPLOADS OF COLLECTIONCB, COLLECTIONCB2 and COLLECTIONCB3
    and
    IDEAL DISCOTHEQUE OF MORE THAN 1,300 ORCHESTRAL WORKS OF FEELINGS :

  • Camille Saint Saëns, La Jeunesse dHercule, Symphonic Poem, Op 50

    16:56

    Camille Saint Saëns, La Jeunesse d'Hercule, Symphonic Poem, Op. 50

    I - Andante sostenuto - Alla moderato - Andantino - Allegro - Adagio - Andante sostenuto - Alla animato - Maestoso (le double plus lent)

    Philharmonia Orchestra
    Charles Dutoit, conductor

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • Symphony of Science - The Big Beginning

    3:01

    The Big Beginning is the eighth installment in the Symphony of Science music video series. It deals with the origins of our universe, covering the Big Bang theory, expansion and cooling of the universe, formation of galaxies, the interplay between matter and anti-matter, and cosmic radiation. The music video features Stephen Hawking, Richard Dawkins, Carl Sagan, Tara Shears, and Neil deGrasse Tyson. Videos sampled for this installment include Into the Universe with Stephen Hawking; God, the Universe, and Everything Else; The Universe (History Channel); NOVA ScienceNOW; interviews with Richard Dawkins and Tara Shears, and Carl Sagan's Cosmos.

    The principal design for the motion graphic at the end was designed by Joe Snodgrass. Check out his record label: . Thanks to him!

    Check out for more science music videos. You can find links to all the sources used in this video at the website under additional info for each one.

    Enjoy!

    ~John

    Lyrics:

    [Hawking]
    We observe that distant galaxies are moving away from us
    They must have been closer together in the past

    It was the beginning of the universe
    And of time itself
    Anything that happened before the big bang
    Could not affect what happened after

    [Dawkins]
    The poetry of the expanding universe
    The poetry of the complexity of life
    We're not normally equipped to understand
    And science gives it to us

    Science is opening your eyes
    To the wonderfulness of what's there
    Science is opening your eyes
    To the poetry of the expanding universe

    [Sagan]
    The early cosmos was everywhere white hot
    But then as time passed
    The radiation expanded and cooled

    Then little pockets of gas began to grow
    Steadily brightening, we call them the galaxies

    [Shears]
    In the big bang we had equal amounts of matter and anti-matter
    And as soon as they met each other,
    They annihilated together

    And this battle played out
    Whilst the universe expanded
    In its first minute of existence

    [DeGrasse Tyson]
    It's not all that hard to detect the big bang
    All you need to do is change the channel
    Until you come between two stations

    About one percent of the snow and noise
    Comes from the big bang itself
    We're all eavesdropping
    On the birth pangs of the cosmos

    Help us caption & translate this video!

  • La jeunesse dHercule Symphonic Poem in E flat major - Camille Saint Saëns

    17:01

    Philarmonia Orchestra conducted by Charles Dutoit

    I - Andante sostenuto - Alla moderato - Andantino - Allegro - Adagio - Andante sostenuto - Alla animato - Maestoso (le double plus lent): 0:00

    For the last of his symphonic poems, in 1877, Saint-Saëns returned to the legend of Hercules. This time he was concerned with the youth of the hero. There is not much of a story but rather the philosophical confrontation encountered by young Hercules, the choice between pleasure and virtue. The work is his most ambitious symphonic poem, and the most Lisztian of them.

    The composer depicted the alternative by means of two contrasting themes, one Lisztian and one Schumannesque. The work opens with the strings playing almost inaudibly. The first theme is insinuated, and after a muffled timpani roll, the second one is presented in full, followed by the second. These themes alternate. A pause is followed by a change of mood to a stormy section with oriental suggestions where the first theme also appears. Suddenly the movement stops, and and a homophonic passage on the lower strings announces the return of the second theme, this time imbued of a certain wagnerian nobility. There is a playful reappearance of the second theme but the first one ultimately prevails. The work closes in a very Lisztian triumphant way.

    Sources from this description of the work:

  • tone poem vcd.asx

    7:47

    Dr. Paul Konye of Siena College conducts his composition A Tone Poem for Africa, May 15, 2008. Performed by the Siena Commencement Orchestra.

  • An Unexpected Journey Symphonic Poem

    18:32

    Music from the film The Hobbit: An Unexpected Journey, composed and conducted by Howard Shore and performed by the London Philharmonic Orchestra with the London Voices.

  • Apocalypse Orchestra - The Garden Of Earthly Delights

    8:39

    MEDIEVAL/ROCK/METAL
    The first single The Garden of Earthly Delights from Apocalypse Orchestra's album, The End Is Nigh.
    100% Independent.

    Support us, buy our music directly:





    More from Apocalypse Orchestra:






    Video directed, filmed and edited by Magnus Ewald

    Apocalypse Orchestra would like to thank:
    Our friends at Despotz Records

    Mia Ulin at Vasaborgen Uppsala slott/Uppsala Castle, for letting us borrow this wonderful historical place.


    Christer Circle Linde, the actor performing in the video.

    Nymla, the artist who have created several of the masks seen in the video.

    Karin for letting us borrow one of the masks.

    Petra at Cotton & Steel i Gävle for lending us props.


    Anna for being on set, being a driver, and prop holder.

    Stephansdotter Photography (writer) for all the wonderful photos taken on set.

    Stay folk!

    Lyrics:
    The Garden of Earthly Delights

    Born from the void and still pristine
    Tranquil, vast and cold
    See the orb of blue and green
    When he spake the light shone gold

    Brought to life, in the image of god
    In this holy place
    Settled among the creatures odd
    Eve, dear girl, avert thy gaze

    Claims to love them all;
    his world below
    Minding not their fall;
    a mirthful show

    Merriments in the centerpiece
    Weird things in galore
    Is this the cradle of the disease
    that man alone must answer for?

    Joy and delight, forever ceased
    Suffering’s abloom
    Eaten alive by the cauldron beast
    Let the drones ring to the sound of doom

    #ApocalypseOrchestra #TheGardenofEarthlyDelights #Medieval #rockmusic

    ℗ & © 2017 Despotz Records

  • Saint-Saëns - Phaéton, opus 35

    9:05

    Camille Saint-Saëns
    (1835-1921)

    Phaéton, opus 35

    The symphonic poem of Phaéton has for its story the legend of the unfortunate amateur charioteer of the sun, who, having obtained permission to drive the fiery steeds, approaches so near the earth that it is only saved from destruction by Jupiter, who interposes with a timely thunderbolt, and hurls the reckless driver into the outer limbo. It begins with a bright, pleasant melody, the driver evidently contemplating an agreeable journey. Soon another theme comes in; the chariot is taking an upward flight. Anon he loses his course, and the first theme appears with significant chromatic changes. His indecision, fear, and despair are clearly indicated in the uncertain, abrupt and wandering character of the music. At last Jupiter settles matters with an outburst of trumpets; and the poem closes with the second theme in dirge form, singing a lament for the unfortunate victim of over-curiosity and confidence.

  • Symphony #5-Africa : Moderato-Dusk/Night

    9:19

    Provided to YouTube by The Orchard Enterprises

    Symphony #5-Africa (A Tone Poem) : Moderato-Dusk/Night · The State Philharmonic Of Brno; Leos Svarovsky · Hayden Wayne · Leos Svarovsky · The State Philharmonic Of Brno

    Hayden Wayne-Symphony #6-AFRICA (a tone poem)

    ℗ 1992-Lion Autumn Music

    Released on: 1994-03-01

    Contributor: Otakar Tajovsky
    Producer: Hayden Wayne
    Producer: Yitka Wayne

    Auto-generated by YouTube.

  • DEK 2013 - Lets celebrate : African Symphony

    3:28

    80 jaar Door Eigen Kracht

  • Dawson: Negro Folk Symphony - 3. O le me shine!: Allegro con brio

    8:40

    Provided to YouTube by Universal Music Group

    Dawson: Negro Folk Symphony - 3. O le' me shine!: Allegro con brio · American Symphony Orchestra · Leopold Stokowski

    Stokowski / Mitropoulos

    ℗ 1963 Deutsche Grammophon GmbH, Berlin

    Released on: 2007-01-01

    Producer: Simon Rady
    Composer: William L. Dawson

    Auto-generated by YouTube.

  • V. McCoy African Symphony 카벨프루트오케스트라, 이광범 지휘

    4:51

    KBL Flute Orchestra
    {카벨플루트오케스트라 제45회 정기연주회}
    이광범 지휘
    2019년 10월 9일, 영산아트홀

    V. McCoy African Symphony

    {카벨플루트오케스트라}

    음악감독 겸 상임지휘자 : 이광범
    악장 : 김남희 부악장 : 서미란
    단무장 : 남재연 총무 : 최미래

    고주현 권정희 김남희 김수영 김수정 김순연
    김연기 김영은 김준수 김지선 김진주 김진화
    김현숙 김형태 남재연 박은영 박지원 서미란
    신혜경 안세연 여정희 연승주 유경희 유진영
    윤영선 이길숙 이민아 이보영 이유진 이희윤
    전복재 정다은 정연욱 조경자 주미숙 최미래
    최진희 황현숙

    Cla 박진숙, 김혜림, 노혜주
    Cello 최승희, 송지은, 김소영
    C. Bass 이종순, 박시현 Piano 구자영
    Tim. 정예나 Drum 강우철, 조해찬

    협연 :
    Flute 안윤서
    3 Ten. 강성구, 허하용, 오상택
    Picc. 서미란
    Alphorn 최인구, Panflute 이광범
    께나(Quena) 김준수

    음원 매스터링 및 영상 편집 : Video Master Tech. 심진섭
    .

  • UPSO - Symphony Goes African

    6:54

    The opening number from the Symphony Goes African concert. A great introduction to South African musical culture for the non-locals and many nostalgic melodies for the South African locals.

  • Symphony of Science - The Poetry of Reality

    3:07

    mp3:

    The Poetry of Reality is the fifth installment in the Symphony of Science music video series. It features 12 scientists and science enthusiasts, including Michael Shermer, Jacob Bronowski, Carl Sagan, Neil deGrasse Tyson, Richard Dawkins, Jill Tarter, Lawrence Krauss, Richard Feynman, Brian Greene, Stephen Hawking, Carolyn Porco, and PZ Myers, promoting science through words of wisdom.

    Special thanks are due to The Sagan Appreciation Society:


    and Connie Barlow:


    for their huge help in finding source materials. Check out their Youtube pages! Thanks also to all of you who suggested footage that I have not mentioned, I really appreciate it.

    Check out for more science music videos!

    And my other website for more original electronic music:

    Now available in HD for your viewing pleasure. Enjoy!

    John
    john@symphonyofscience.com

    Lyrics:

    [Michael Shermer]
    Science is the best tool ever devised
    For understanding how the world works

    [Jacob Bronowski]
    Science is a very human form of knowledge
    We are always at the brink of the known

    [Carl Sagan]
    Science is a collaborative enterprise
    Spanning the generations
    We remember those who prepared the way
    Seeing for them also

    [Neil deGrasse Tyson]
    If you're scientifically literate,
    The world looks very different to you
    And that understanding empowers you

    Refrain:
    [Richard Dawkins]
    There's real poetry in the real world
    Science is the poetry of reality

    [Sagan]
    We can do science
    And with it, we can improve our lives

    [Jill Tarter]
    The story of humans is the story of ideas
    That shine light into dark corners

    [Lawrence Krauss]
    Scientists love mysteries
    They love not knowing

    [Richard Feynman]
    I don't feel frightened by not knowing things
    I think it's much more interesting

    [Brian Greene]
    There's a larger universal reality
    of which we are all a part

    [Stephen Hawking]
    The further we probe into the universe
    The more remarkable are the discoveries we make

    [Carolyn Porco]
    The quest for the truth, in and of itself,
    Is a story that's filled with insights

    (Refrain)

    [Greene]
    From our lonely point in the cosmos
    We have through the power of thought
    Been able to peer back to a brief moment
    After the beginning of the universe

    [PZ Myers]
    I think that science changes the way your mind works
    To think a little more deeply about things

    [Dawkins]
    Science replaces private prejudice
    With publicly verifiable evidence

    (Refrain)

    Help us caption & translate this video!

  • Juli Garreta

    20:08

    Juli Garreta (1875-1925) (Catalogne/Espagne)
    Les Illes Medas, symphonic poem (1923)
    Dir : Edmond Colomer

    LIST OF UPLOADS OF COLLECTIONCB, COLLECTIONCB2 and COLLECTIONCB3
    and
    IDEAL DISCOTHEQUE OF MORE THAN 1,300 ORCHESTRAL WORKS OF FEELINGS :

  • Camille Saint-Saëns - Spartacus Overture

    14:33

    The Spartacus Overture is a far too rarely played orchestral work by French composer Camille Saint-Saëns (1835-1921). He composed it in 1863 as a stand-alone entry for a competition. Though not programmatic in the same way as Saint-Saëns' symphonic poems, this work is intended to convey the bravery, heroism and tragedy of the historical figure Spartacus (c.109-71 BC), a Thracian gladiator and slave leader in the Third Servile War (73-71 BC) against Rome.

    Conductor: Jean-Jacques Kantorow
    Ensemble Orchestral de Paris

  • Smetana ~ Moldau

    13:14

    The World Rose:

    From Smetana's Ma Vlast

  • Samuel Coleridge Taylor, Symphonic Variations on an African Air, Op 63

    20:36

    Samuel Coleridge-Taylor, Symphonic Variations on an African Air, Op.63 (1906)

    Royal Liverpool Philharmonic Orchestra
    Grant Llewellyn, conductor

    Samuel Coleridge-Taylor (15 August 1875 – 1 September 1912) was an English composer and conductor of mixed race; his mother was an English woman and his father was a Sierra Leone Creole physician. Coleridge-Taylor achieved such success that he was referred to by white New York musicians as the African Mahler when he had three tours of the United States in the early 1900s. He was particularly known for his three cantatas based on the epic poem, Song of Hiawatha by American Henry Wadsworth Longfellow. Coleridge-Taylor premiered the first section in 1898, when he was 22.

    He married an Englishwoman, Jessie Walmisley, and both their children had musical careers. Their son Hiawatha adapted his father's music for a variety of performances. Their daughter Avril Coleridge-Taylor became a composer-conductor.

    The music on my channel is meant to introduce a large audience to music by unknown classical composers and unknown classical music by famous composers in the music period of about 1870 till about 1970.
    The program presents works by relatively unknown composers and unknown music by well-known composers and has no commercial purposes.
    Tens of thousands of people around the world learn about unknown music through our channel (educational task) and unite the people from the many countries who give their comments and reactions. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to YouTube, and it will be our care to remove immediately the video accordingly.

  • Symphony No.2 in G minor Song of a New Race - William Grant Still

    29:25

    Detroit Symphony Orchestra conducted by Neeme Järvi

    I - Slowly: 0:00
    II - Slowly and deeply expressive: 9:55
    III - Moderately fast: 18:17
    IV - Moderately slow: 22:00

    The Symphony No.2 in G minor by William Grant Still was completed in 1937, premiered on December 10, 1937, performed by the Philadelphia Orchestra conducted by Leopold Stokowski.

    The structure of the symphony is identical to his first symphony. A classic style in four movements, inherited from Brahms, in which the weight of the work falls on the extreme movements, being the two central ones more lighter. If we analyze the internal structure of each of the movements we will see that it is identical to the one used previously.

    The first movement, Slowly, begins with a brief introduction, presenting the main theme of the work, a new blues theme. This theme is developed before the interpretation of the second theme, a lyrical theme of noble grandeur. After a brief development, the recapitulation presents the themes in reverse. The main theme leads us to a conclusive coda. Corresponds to the longings of his previous symphony, but now, what was once only a project, has been realized.

    The second movement, Slowly and Deeply Expressive, begins presenting a sweet theme, which develops until its conversion into the main theme. Presented by the first violin, it consists of a characteristic theme of folk affinity. Its development leads us to moments of romanticism, until being interrupted by a new theme of rhythmic character. But a brief climax brings us back to the main theme that is recapitulated. The coda, with a more agitated character, acts as a link with the next movement, which is interpreted without interruption. The feelings of pain of his first symphony have become a spiritual development of these feelings, to achieve the greatness of his goals.

    The third movement, Moderately Fast, which corresponds to the scherzo, presents us with an air of folkloric dance, typically of the American ragtime. Classic jazz motifs adorn the theme. The music shows the style of symphonic jazz cultivated by white Americans. The religious exaltation of his previous Humor, has been moderated to approach the religiosity of other peoples.

    The last movement, Moderately Slow, presents a theme derived from the blues of the first movement. Its development becomes more classical, as to indicate the possible integration of black music in the patrimony of the white race. The westernized blues theme is repeated solemnly. A conclusive coda closes the work. The previous Aspirations have become the desire to offer humanity, the best heritage inherited by the Africans of America.

    Despite having the structure similar to his first symphony, this style is more tempered, more moderate. He has left primitivism to approach Western civilization. According to the composer himself, the Afro-American Symphony showed the daily life of black people shortly after the period of the civil war. The Symphony in G minor describes the black people of the current America, a totally new man, as a result of the mixture of white, Indian and black bloods.

    Sources from this spanish website on Still symphonism:

  • TRIPS - Symphonic Poem for Concert Band- Oscar Navarro

    14:56

    TRIPS - Poema Sinfónica para Banda
    - Interpretado por la Banda Sinfónica de la Diputación de Tarragona
    - Dirige: Oscar Navarro
    - Música: Oscar Navarro

    SÍGUEME EN/FOLLOW ME IN:

    Web:

    Facebook:

    Twitter: @oscarcomposer

Menu