Alexander Porfiryevich Borodin (Russian: Алекса́ндр Порфи́рьевич Бороди́н, (About this sound listen)12 November 1833 – 27 February 1887)was a Russian Romantic composer of Georgian-Russian origin who was a doctor and chemist by profession and made important early contributions to the field of organic chemistry. Although he is better known today as a composer, during his lifetime, he regarded medicine and science as his primary occupations, only pursuing music and composition in his spare time or when he was ill.[3] Musically, he was one of the prominent 19th-century composers known as The Mighty Handful, a group dedicated to producing a uniquely Russian kind of classical music, rather than imitating earlier Western European models.

Borodin is best known for his symphonies, his two string quartets, the tone poem In the Steppes of Central Asia and his opera Prince Igor. Music from Prince Igor and his string quartets was later adapted for the US musical Kismet. A notable advocate of women's rights, Borodin was a promoter of education in Russia and founded the School of Medicine for Women in Saint Petersburg.

As a chemist, he is best known for his work in organic synthesis, including being among the first chemists to demonstrate nucleophilic substitution, as well as being the co-discoverer of the aldol reaction.

Polovtsian Dance #2-Alexander Borodin

Minuet-Anon

Domenico Zipoli (17 October 1688 – 2 January 1726) was an Italian Baroque composer who worked and died in Córdoba, in the Viceroyalty of Peru, Spanish Empire, (presently in Argentina). He became a Jesuit in order to work in the Reductions of Paraguay where he taught music among the Guaraní people. He is remembered as the most accomplished musician among Jesuit missionaries.

Little Fugue-Domenico Zipoli

In February 1922, a festival of modern art took place in São Paulo and Villa-Lobos contributed performances of his own works. The press were unsympathetic and the audience were not appreciative; their mockery was encouraged by Villa-Lobos's being forced by a foot infection to wear one carpet slipper.[9] The festival ended with Villa-Lobos's Quarteto simbólico, composed as an impression of Brazilian urban life.

In July 1922, Rubinstein gave the first performance of the piano suite A Prole do Bebê (The Baby's Family), composed in 1918. There had recently been an attempted military coup on Copacabana Beach, and places of entertainment had been closed for days; the public possibly wanted something less intellectually demanding, and the piece was booed. Villa-Lobos was philosophical about it, and Rubinstein later reminisced that the composer said, "I am still too good for them." The piece has been called "the first enduring work of Brazilian modernism".

Rubinstein suggested that Villa-Lobos tour abroad, and in 1923 he set out for Paris. His avowed aim was to exhibit his exotic sound world rather than to study. Just before he left he completed his Nonet (for ten players and chorus) which was first performed after his arrival in the French capital. He stayed in Paris in 1923–24 and 1927–30, and there he met such luminaries as Edgard Varèse, Pablo Picasso, Leopold Stokowski and Aaron Copland. Parisian concerts of his music made a strong impression.

In the 1920s, Villa-Lobos also met the Spanish guitarist Andrés Segovia, who commissioned a guitar study: the composer responded by writing a set of twelve such pieces, each based on a tiny detail or figure played by Brazilian itinerant street musicians (chorões), transformed into a étude that is not merely didactic. The music of chorões also provided the initial inspiration for his Chôros, a series of compositions written between 1920 and 1929. The first European performance of Chôros No. 10, in Paris, caused a storm: L. Chevaillier wrote of it in Le Monde musical, "[...it is] an art [...] to which we must now give a new name."

Prelude #4

In Paris, his musical vocabulary established, Villa-Lobos solved the problem of his works' form. It was perceived as an incongruity that his Brazilian impressionism should be expressed in the form of quartets and sonatas. He developed new forms to free his imagination from the constraints of conventional musical development such as that required in sonata form. The multi-sectional poema form may be seen in the Suite for Voice and Violin, which is somewhat like a triptych, and the Poema da criança e sua mamã for voice, flute, clarinet, and cello (1923). The extended Rudepoêma for piano, written for Rubinstein, is a multi-layered work, often requiring notation on several staves, and is both experimental and demanding. Wright calls it "the most impressive result" of this formal development.[36] The Ciranda, or Cirandinha is a stylised treatment of simple Brazilian folk melodies in a wide variety of moods. A ciranda is a child's singing game, but Villa-Lobos's treatment in the works he gave this title are sophisticated. Another form was the Chôros. Villa-Lobos composed more than a dozen works with this title for various instruments, mostly in the years 1924–1929. He described them as "a new form of musical composition", a transformation of the Brazilian music and sounds "by the personality of the composer"

Prelude #3

Antonio Lauro was born in Ciudad Bolívar, Venezuela. His father Antonio Lauro Ventura, an Italian immigrant, was a barber who could sing and play the guitar so he taught his son what he could, but died when Antonio was still a child. After the family moved to Caracas, Lauro pursued formal musical study (piano, composition) at the Academia de Música y Declamación, where the composer Vicente Emilio Sojo (1887–1974) was one of his teachers. A 1932 concert performed in Caracas by Agustín Barrios, the Paraguayan guitarist and composer, so much impressed the young Lauro (already an accomplished folk guitarist) that he was persuaded to abandon piano and violin in favor of the guitar. From 1933, Lauro studied with Raúl Borges (1888–1967), and was introduced to the classical guitar repertoire. In the next decade, Borges' pupils would also include Rodrigo Riera, José Rafael Cisneros, and Alirio Díaz. These colleagues, especially Díaz, were later responsible for unveiling Lauro's works to an international audience, introducing these unheard works to, among others, Andrés Segovia, Leo Brouwer and John Williams.

Prelude

Raftam Ke Raftam Persian Trance Remix ft. Marziyeh and Shakila

ترانه سرا: رحیم معینی کرمانشاهی - آهنگساز: علی تجویدی
Produced by: Majorhitrecords Inc.
Trance Remixed By: Art Tawanghar

از برت دامن کشان رفتم ای نامهربان
از من آزرده دل کی دگر بینی نشان
رفتم که رفتم
رفتم که رفتم
از برت دامن کشان رفتم ای نامهربان
از من آزرده دل کی دگر بینی نشان
رفتم که رفتم
رفتم که رفتم
از من دیوانه بگذر
بگذر ای جانانه بگذر
هر چه بودی
هر چه بودم
بی خبر رفتم که رفتم
رفتم که رفتم
شمع بزم دیگران شو
جام دست این و آن شو
هر چه بودی
هر چه بودم
بی خبر رفتم که رفتم
رفتم که رفتم
بعد از این بعد از این کن فراموشم که رفتم
دیگر از دست تو می نمی نوشتم که رفتم
با دل زود آشنا گشتم از دامت رها
بی وفا بی وفا بی وفا رفتم که رفتم
بی وفا بی وفا بی وفا رفتم که رفتم
من نگویم که به درد دل من گوش کنید
بهتر آن است
بهتر آن است که این قصه فراموش کنید
عاشقان را بگذارید بنالند همه
عاشقان را بگذارید بنالند همه
مصلحت نیست
مصلحت نیست که این زمزمه خاموش کنید
من نگویم…

Raftam Ke Raftam Persian Trance Remix ft. Marziyeh and Shakila

Raftam Ke Raftam Persian Trance Remix 2019 Ft. Marziyeh And Shakila

Infinite Patterns
نقش ماندگار
in-memories-of-maestro-Payvar
به یاد استاد پایور
World Fusion series
Santoor Performed by: Reza Rezaie

Master Farâmarz Pâyvar was an Iranian composer and santur player. Payvar died on 9 December 2009 after a long struggle with brain damage. Although once perceived as marginal, the santur is now considered an important solo instrument in Persian classical music, largely as a result of his work.

Divide and Conquer Music Review; 
https://www.divideandconquermusic.com/indie-music-album-reviews/art-tawanghar-infinite-pattern-in-memories-of-maestro-payvar-ft-reza-rezaie

Produced by Majorhitrecords Inc. 
Promoted by: Freemusicpromo.com

Infinite Pattern-نقش ماندگار-in-memories-of-maestro-Payvar-به یاد استاد پایور ft. Reza Rezaie

The perfect, delicate, crucial moment; the fleeting rightness of time and place that creates the opportune atmosphere for action, words, or movement; also, weather.
They don’t happen often do they? Those kairos moments in life when everything syncs up perfectly. Ah, but when they do it is exquisite! It is arriving at a God moment—the “set time” of maximum opportunity.

A Kairos moment in time is made up of three elements: It is a moment of maximum opportunity. It is a moment when change is possible. It is an exquisite syncretistic moment when all things “come together” and align.
More details: https://woundresser.com/2017/04/22/arriving-kairos-moment/

Very uplifting and energetic song combining over 300+ diff instruments. Instruments from China, India, Iran, Turkey, Arabic, combined with the extreme epic orchestra with movements of Epic and some rapid tempo shifts moving from 6 different genres, scales and subscales.  
Produced by: Majorhitrecords.com

Kairos Moments a world fusion ecstasy

We have killed all the insects
Nearly destroyed the oceans
Burned all the Rainforests
And Killed or abused all animals for our own gain 

Did we really come here to do this?
The universe is calling for an S.O.S
Awaken! Time is NOW!
Produced  By: Majorhitrecords Inc.
Ehu Performed By: Guo Gan

Universe Is Calling S.O.S. Erhu Improvisation Soundtrack in 432Hz

"Americas leading Classical Guitarist"
Philadelphia Inquirer, USA 

“Taylor has brought a new aura of excitement to the concert stage. He is widely acclaimed by audiences, conductors and critics as one of the most fiery and charismatic guitarists of our time." 
Manila Bulletin/Philippines

“Jonathan Taylor has become one of the best American guitarists, recitalists and teachers of today.”
​Het Laastste News/Brussels Belgium 

Bach's "Chaconne" seemed like the effort of two guitars. The "Leyenda" by Albeniz produced results equal to a convoy of guitars. His was truly a marvelous performance."
Daily Nation, Bridgetown Barbados

"A Master in his field"
Barbados Advocate

Prelude

Jonathan Taylor

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