n̈n̈n̈n̈n̈n̈n̈n̈n̈n̈n̈n̈n̈n̈n̈n̈n̈n̈n̈n̈n̈

When you get a chance can you send me a picture of the new one that you got for me please and thank you so much I appreciate it I love you so much and I hope you have a good day at work I love you too bye see you soon bye love you bye love you bye love mom m

پوکساید!؟؟ نه مرسی من الینی گوش میدم🫠

❤️🧡💛💚🩵💙💜🩷🤎🖤🩶🤍

بوک تایم

Directed by : Theodoros Angelopoulos
1998

Eleni Karaindrou - Eternity And A Day (Full OST)

Memorabilia of a Fall Day | Peyman Khazeni | پیمان خازنی

Eleni Karaindrou - Adagio (From the Movie-Landscape in the Mist)

Separation - Fardin Khalatbari

Album: Sormeh;
Music Composer: Shahin Alavi;
Oud: Shahin Alavi, Piano: Kaveh Vares, Flute Recorder: Farhoud Biglarbeigy

Shahin Alavi - Sormeh

Bruno Coulais is a French composer, born in Paris on 13 January 1954. He has a father from Vendée and his mother is an Iraqi Jew. He is most widely known for his music on film soundtracks.

Coulais began his musical education on the violin and piano, aiming to become a composer of contemporary classical music. However, a series of acquaintances gradually re-oriented him towards film music. Coulais was particularly influenced by director François Reichenbach, who asked him in 1977 to write the soundtrack to his new documentary Mexico Magico. The first full-length production he composed the score for was the 1986 film La femme secrète by Sébastien Grall. Until the end of the 1990s, he remained low-profile, composing mainly for television. His name can often be found from TV films by Gérard Marx and Laurent Heynemann. He also composed the soundtracks for Christine Pascal’s 1992 film Le petit prince a dit, and Agnès Merlet’s Le fils du requin in 1993.

In 1994, he met the television producer Josée Dayan, who let him write a theme for the TV series La rivière Esperance, aired on the France 2 network in autumn 1995. He worked with Dayan again with other major productions such as Le comte de Monte-Cristo, Balzac, and Les nuiteux.

The largest turning point of his career came in 1996, when he worked with directors Claude Nuridsany and Marie Pérennou of the documentary Microcosmos. This single film, which gave a great significance to the music in it, was a great success and made Coulais one of the most wanted composers of French film music. In 1997, he won the César award for the best musical score in a film, as well as a Victoire de la Musique. His reputation was confirmed by the soundtracks to Himalaya (1999) and Les rivières pourpres (2000), and after that Bruno Coulais’s name was to be found on most new French blockbusters, such as Belphégor and Vidocq.

After producing the soundtrack to Winged Migration in 2001, Coulais announced that he wanted to significantly reduce his contributions to film music, and instead concentrate on other projects, such as the creation of an opera for children, and collaborations with Akhenaton, Akhenaton’s group IAM and the Corsican group A Filetta, with whom he had worked since he had made the soundtrack for Jacques Weber’s film Don Juan in 1998.

In 2002, his name was found on the ending credits of the animation L’enfant qui voulait être un ours, and in 2004, on Frédéric Schoendoerffer’s Agents secrets. The same year, he wrote the soundtrack to the film Les choristes by Christophe Baratier, which subsequently became an international hit. The music for this film received as great praise as the film itself, and it won Coulais his third César award. Since then, Coulais’s collaborations in cinema seem to be limited to works by directors with whom he already shares some history, in particular Jacques Perrin, Frédéric Schoendoerffer, and James Huth.

Bruno Coulais’s musical style may vary significantly between different projects, but there are some constant factors visible: his taste for opera and for human voice (in particular that of children), for a search for original sonority, for world music and mixing different musical cultures, and finally, a certain tendency to give preference to the ambience created by lighting rather than the film’s narration.

Coraline Soundtrack Song  Exploration

Peyman Yazdanian - Strangers

I always gravitate towards those watery type textures. I hope you like the piece! You can check it out on spotify as well: https://open.spotify.com/track/6jYAPfyncVp0b7FOKCQldb?si=237b86469de64a53

The artist of the artwork is Shannon M. Valentine

The Water Nymph

stamatis spanoudakis

Adam Hurst - Empty Sky

Howl's Moving Castle Soundtrack  -Flower Garden-

Eleni Karaindrou - Ulysses' Gaze

برگ برگ سند عمر تو گر مثل درختی باشد
من به جز سرو، به جز کاج نمی‌بینم چون
که به هر باد، به هر خاک، به هر زمزمه‌ای 
گوش جان داده و روییده‌است در آتش و خون
به بهاران پر از اسرار طلوع خورشید
به خزان سبز و بلند و پر نجوای امید
که اگر سوزه سرمای زمستان به در منزلمان روی آورد،
تو همیشه هستی
تو همیشه بودی
تو همیشه روی بر طاق ثریا
دست مشغول دعا،
عشق باریدی همچون مادر
دست بر شانه و سر
مهر از روز ازل
آنچه در دست و دلت بود نثارم کردی.
ولی امروز پس از چند هزاران سالی
رنگ و رخسار تو انگار ندایی دگر است
پوششت بیشتر از پیش بسی سوزنی و
دور تا دور تو دیوار و حصار و سپر است
تو درختی خوش قامت و آزاد و بلند
چه نیازت بود این باغبن دوز پسند؟
باغبان اوست که در خدمت گل
لانه بلبل خوش‌خوان سازد
نه ز ترس تیغ ساقه او
نسترن را خشک خرمن سازد

شعر: آیدا شاه قاسمی

05 - Yellow Evergreen

arr. by trubaduo
violin:Anıl Gündoğan
guitar:Murat Bozyiğit
https://www.facebook.com/Trubaduo.Turkey
https://www.facebook.com/groups/trubaduo/

Eleni Karaindrou - Eternity And A Day (Full OST)

Eslam Mohamed

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