Thanks again.  I enjoyed every second and have sent to my lady, who is currently in China

word.....

I knew exactly what love looked like
in seventh grade.
Even though I hadn’t met love yet
if Love had wondered into my homeroom,
I would’ve recognized him at first glance.
Love wore a hemp necklace.
I would’ve recognized her at first glance.
Love wore a tight french braid.
Love played acoustic guitar,
and knew all my favorite Beatles songs.
Love wasn’t afraid to ride the bus with me.

And I knew,
I just must be searching the wrong classrooms;
just must be checking the wrong hallways.
She was there, I was sure of it.
If only I could find him.

But when Love finally showed up,
She had a bullcut.
He wore the same clothes every day for a week.
Love hated the bus.
Love didn’t know anything about the Beatles.

Instead,
Everytime I tried to kiss Love,
our teeth got in the way.
Love because the reason I lied to my parents.
I’m going to… Ben’s house
Love had terrible rhythm on the dance floor,
but made sure we never missed a slow song. 
Love waited by the phone,
because she knew if her father picked up
it would be, (heavy breathing)
“Hello, hello… I guess they hang up.”

And Love grew…
Stretched like a trampoline.
Love changed.
Love disappeared
slowly, like baby teeth
losing parts of me I thought I needed.
Love vanished like an amateur magician,
everyone could see the trapdoor but me.
Like a flat tire,
there were other places I had planned on going
but my plans didn’t matter.

Love stayed away for years.
And when Love finally reappeared,
I barely recognized him.
Love smelled different now,
had darker eyes,
a broader back.
Love came with freckles I didn’t recognize,
new birthmarks,
a softer voice.
Now there were new sleeping patterns,
new favorite books.
Love had songs that reminded him of someone else;
songs Love didn’t like to listen to
so did I.

But we found a park bench that fit us perfectly.
We found jokes that make us laugh.
And now Love makes me fresh homemade chocolate cookies.
But Love will probably finish most of them for a midnight snack.

Love looks great in lingerie but still likes to wear her retainer.
Love is a terrible driver but a great navigator.
Love knows where she’s going,
it just might take her two hours longer than she planned.

Love is messier now;
not as simple.
Love uses the word ‘boobs’ in front of my parents.
Love chews too loudly.
Love leaves the cap off the toothpaste.
Love uses smiley messages in her text messages
And turns out,
Love shits.

But Love also cries.
And Love will tell you, “You are beautiful.”
And mean it.
Over and over again,
“You are beautiful.”
When you first wake up,
“You are beautiful.”
When you’ve just been crying,
“You are beautiful.”
When you don’t want to hear it,
“You are beautiful.”
When you don’t believe it,
“You are beautiful.”
When nobody else will tell you,
“You are beautiful.”
Love still thinks,
“You are beautiful.”
But love is not perfect,
and will sometimes forget,
when you need to hear it most,
“You are beautiful.”
Do not forget this.

Love is not who you are expecting.
Love is not what you can predict.

Maybe Love is in New York City,
already asleep.
You are in California, Australia,
wide awake.
Maybe Love is always in the wrong timezone.

Maybe Love is not ready for you.
Maybe you are not ready for Love.
Maybe Love just isn’t the marrying type.
Maybe the next time you see Love is twenty years after the divorce.
Love looks older now but just as beautiful as you remembered.

Maybe Love is only there for a month.
Maybe Love is there for every firework,
every birthday party,
every hospital visit.

Maybe Love stays.
Maybe Love can’t.
Maybe Love shouldn’t.

Love arrives exactly when Love is supposed to.
And Love leaves exactly when Love must.

When Love arrives,
say, “Welcome, make yourself comfortable.”
If Love leaves,
ask her to leave the door open behind her,
turn off the music,
listen to the quiet,
whisper, “Thank you for stopping by.”

Sarah Kay   Phil Kaye When Love Arrives

This is a studio recording from 2012 for the BBC film 'Loving Miss Hatto'. A biopic penned by the British comedian Victoria Wood about pianist Joyce Hatto.

The character piece is like the art song's fun-loving cousin who always shows up to the party with a bottle of emotional perfume. It's perfect for those intimate gatherings or solo rendezvous with your piano. Thanks to the piano's rise to fame in the 1800s, character pieces were popping up everywhere, and composers were flaunting their creations at the hottest recital events of the time. Basically, character pieces were the 19th century's version of a hot new single. If you thought Franz Liszt's music was boring, think again! This guy was all about giving his character pieces creative and whimsical titles, like "Sposalizio" and "Vallée d'Obermann". But don't worry, he didn't forget about those of us who like our music titles to be a little more straightforward - he also composed plenty of works with no-nonsense names like "Album Leaves" and "Klavierstücke". With his "Consolations" (a.k.a. "Six Poetic Thoughts"), Liszt took a page out of Chopin's book and delved into the world of nocturnes. And let me tell you, the third Consolation in D-flat major is pure Chopin - even the key is pianist-friendly, unlike those pesky "easy" keys like C major. Looks like Liszt knew a thing or two about pleasing his audience! If you're a Chopin fan, you're gonna love Liszt's "Consolation No. 3"! I mean, talk about a tribute - this piece is basically a carbon copy of Chopin's Opus 27, no. 1. And while it might not have the same flashy piano solos that Liszt is known for, it more than makes up for it with its dreamy, slow-moving melodies. Plus, it's in the same key as Chopin's original, so you know it's gotta be good.

Despite the unusual title, the Consolations were inspired by both poetry and religious contemplation, just like Harmonies Poétiques et Religieuses. Some say the title comes from an 1830 poetry collection by Sainte-Beuve, while others think it's based on a poem by Lamartine called A Tear (or Consolation). Either way, it seems like Liszt was in a pretty contemplative mood when he wrote these pieces. But don't worry, Liszt didn't completely forget his roots - he snuck in a little Hungarian folk song as the primary theme, which he later used in his "Hungarian Rhapsody No. 1". So even though this piece might not match the wild, hair-flailing image we have of Liszt, it's still got a little bit of that old-school flavor. Liszt's "Consolation No. 3" wasn't just a musical masterpiece - it was also a major turning point in the composer's life. And let me tell you, Liszt's early life was a doozy - it was basically one big, crazy party. But don't take my word for it, just ask his first mistress (and mother of his three children) Marie d'Agoult, who wrote all about it under the pen name Daniel Stern. And if you're feeling really adventurous, you can even watch the 1975 film "Lisztomania" for all the juicy details. Talk about living the dream! Liszt's life was like something out of a Hollywood movie - seriously, this guy was breaking class barriers and performing like a superstar. But as he got older, he decided to trade in the limelight for a little bit of privacy. He started conducting orchestras and composing more, and even started teaching aspiring pianists from around the world. I guess you could say he was the original piano man!

My SoundCloud Channel: https://soundcloud.com/archie-chen
Official Website: http://www.archiechen.com
Youtube DIPF https://www.youtube.com/c/PianofestivalIe
Youtube Archie https://www.youtube.com/c/ArchieChenPianist
Festival Website: http://www.pianofestival.ie
Teaching Website: http://www.pianoacademy.ie

Piano: Yamaha C7
Piano Technician: Martin Walsh
Recorded at Cauldron Studios, Dublin
Recording Engineers: Ciarán Byrne & Michael Manning
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An NFT of this track will be available from the artist soon!

Franz Liszt Consolation no. 3 in D flat Major, S. 172

MAHLER, Gustav
Symphony #5 in C sharp minor - 4. Adagietto, sehr langsam

Gustav Mahler - Symphony #5 in C sharp minor - 4. Adagietto, sehr langsam

Annen Polka op.117

Johann STRAUSS II (1825-1899)

Arrangement : Duo CORD'EOLE

Live concert Été 2013 

Fanny MAYNE & Nicolas FAURE

Flûte Traversière & Violoncelle

www.duocordeole.fr

Johann STRAUSS II (1825-1899) - Annen Polka op.117

My take on Chopin's saddest little prelude.  Two and a half minutes of ache.


Chopin Prelude No. 4 In E Minor, Op. 28

improvisation on Bach´s cantata Jesu, Joy Of Man's Desiring, check download button for wav format

You can watch the full video at: http://www.youtube.com/watch?v=HDtw62Ah2zY 

A Rock, A River, A Tree
Hosts to species long since departed,
Mark the mastodon.
The dinosaur, who left dry tokens
Of their sojourn here
On our planet floor,
Any broad alarm of their of their hastening doom
Is lost in the gloom of dust and ages.
But today, the Rock cries out to us, clearly, forcefully,
Come, you may stand upon my
Back and face your distant destiny,
But seek no haven in my shadow.
I will give you no hiding place down here.
You, created only a little lower than
The angels, have crouched too long in
The bruising darkness,
Have lain too long
Face down in ignorance.
Your mouths spelling words
Armed for slaughter.
The rock cries out today, you may stand on me,
But do not hide your face.
Across the wall of the world,
A river sings a beautiful song,
Come rest here by my side.
Each of you a bordered country,
Delicate and strangely made proud,
Yet thrusting perpetually under siege.
Your armed struggles for profit
Have left collars of waste upon
My shore, currents of debris upon my breast.
Yet, today I call you to my riverside,
If you will study war no more.
Come, clad in peace and I will sing the songs
The Creator gave to me when I
And the tree and stone were one.
Before cynicism was a bloody sear across your brow
And when you yet knew you still knew nothing.
The river sings and sings on.
There is a true yearning to respond to
The singing river and the wise rock.
So say the Asian, the Hispanic, the Jew,
The African and Native American, the Sioux,
The Catholic, the Muslim, the French, the Greek,
The Irish, the Rabbi, the Priest, the Sheikh,
The Gay, the Straight, the Preacher,
The privileged, the homeless, the teacher.
They hear. They all hear
The speaking of the tree.
Today, the first and last of every tree
Speaks to humankind. Come to me, here beside the river.
Plant yourself beside me, here beside the river.
Each of you, descendant of some passed on
Traveller, has been paid for.
You, who gave me my first name,
You Pawnee, Apache and Seneca,
You Cherokee Nation, who rested with me,
Then forced on bloody feet,
Left me to the employment of other seekers--
Desperate for gain, starving for gold.
You, the Turk, the Swede, the German, the Scot...
You the Ashanti, the Yoruba, the Kru,
Bought, sold, stolen, arriving on a nightmare
Praying for a dream.
Here, root yourselves beside me.
I am the tree planted by the river,
Which will not be moved.
I, the rock, I the river, I the tree
I am yours--your passages have been paid.
Lift up your faces, you have a piercing need
For this bright morning dawning for you.
History, despite its wrenching pain,
Cannot be unlived, and if faced with courage,
Need not be lived again.
Lift up your eyes upon
The day breaking for you.
Give birth again
To the dream.
Women, children, men,
Take it into the palms of your hands.
Mold it into the shape of your most
Private need. Sculpt it into
The image of your most public self.
Lift up your hearts.
Each new hour holds new chances
For new beginnings.
Do not be wedded forever
To fear, yoked eternally
To brutishness.
The horizon leans forward,
Offering you space to place new steps of change.
Here, on the pulse of this fine day
You may have the courage
To look up and out upon me,
The rock, the river, the tree, your country.
No less to Midas than the mendicant.
No less to you now than the mastodon then.
Here on the pulse of this new day
You may have the grace to look up and out
And into your sister's eyes,
Into your brother's face, your country
And say simply
Very simply
With hope
Good morning. 

Maya Angelou Speech
On the Pulse of Morning


Maya Angelou - "On The Pulse of Morning" at Presidents Bill Clinton's Inauguration 1993

Sonata XII - "La Follia" - Antonio Vivaldi (1678-1741)

live performance with Julie Andrijeski and Danny Mallon - September 25, 2010

La Follia - Vivaldi

Everybody's Free To Wear Sunscreen... While Tipsy  - THEDJMATTYB

They are partners in music and in life — recovering something ancient and deeply American all at once, bringing both beauty and meaning to what they play and how they live. Béla Fleck is one of the greatest living banjo players in the world. He’s followed what many experience as this quintessential American roots instrument back to its roots in Africa and taken it where no banjo has gone before. Abigail Washburn is a celebrated banjo player and singer, both in English and Chinese. Experience our public conversation with them on stage before an adoring crowd at the Belcourt Theatre in Nashville, Tennessee.

See more at www.onbeing.org/program/bela-fleck-abigail-washburn-beauty-in-banjo-and-in-life/7705

Béla Fleck + Abigail Washburn — Beauty in Banjo and in Life

This unedited conversation with Nancy Cantor and Christopher Howard comes from the produced episode "Beyond the Ivory Tower."

When we talk about the relationship between colleges and the world, we tend to focus on economics. But what is the place of institutions of higher education in the communities they inhabit? How can and should they nurture students as citizens and leaders for the emerging 21st century world? Two visionary college presidents of two very different institutions take up these questions with Krista at the American Council on Education's 97th Annual Meeting.

http://www.onbeing.org/program/christopher-howard-nancy-cantor-beyond-the-ivory-tower/8015

[Unedited] Nancy Cantor and Christopher Howard — Beyond the Ivory Tower

Johann Sebastian Bach: Violin Concerto in A minor, BWV 1041

Thomas Gould, violin
Senesino Players

Johann Sebastian Bach: Violin Concerto in A minor: 3. Allegro assai

Grieg - Peer Gynt Suite No. 1 - III. Anitra's Dance

Tom Boyd performing live March 27, 2012 at APU.

Gabriel's Oboe

Solo Violin: Ainhoa Galvany
Violins: Laura Torcal & Raquel Paleo
Viola: Isa Juarez
Cello: Queralt Garcia
Harpsichord: Ilil Danin

Recorded at the Fentener van Vlissingenzaal
Recording: NanoGrammophon

June2013
Utrecht

J. S. BACH - Violin Concerto in D minor BWV 1052. IIl. Allegro

Groundbreaking Peabody Award-winning conversation about the big questions of meaning, hosted by Krista Tippett. Every Thursday a new discovery about the immensity of our lives — and frequent special features like poetry, music and Q + A with Krista.

Béla Fleck + Abigail Washburn — Beauty in Banjo and in Life

On Being Studios

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