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The Rise of Skywalker is finally here. Trailer 3 for Rise of Skywalker is our best tease at what Daisy Ridley's Rey, John Boyega's Finn, Oscar Isaac's Poe Dameron, Adam Driver's Kylo Ren and the late Carrie Fisher's General Leia are up to in the final installment of the Skywalker Saga.

In Star Wars: Rise of Skywalker, Emperor Palpatine returns, the Death Star is back and Rey maybe goes to the Dark Side -- but we'll find out how things finally shake out in the final Star Wars movie when TROS hits theaters on December 20, 2019.

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DEEP LOOK - Watch science and nature videos up close (really, really close). Twice a month, get a new perspective on our place in the universe and meet extraordinary new friends. Explore big scientific mysteries by going incredibly small. DEEP LOOK is a ultra-HD (4K) short video series created by KQED San Francisco and presented by PBS Digital Studios.

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Direct from America's space program to YouTube, watch NASA TV live streaming here to get the latest from our exploration of the universe and learn how we discover our home planet.

NASA TV airs a variety of regularly scheduled, pre-recorded educational and public relations programming 24 hours a day on its various channels. The network also provides an array of live programming, such as 24-hour coverage of missions, events (spacewalks, media interviews, educational broadcasts), press conferences and rocket launches.

In the United States, NASA Television's Public and Media channels are MPEG-2 digital C-band signals carried by QPSK/DVB-S modulation on satellite AMC-3, transponder 15C, at 87 degrees west longitude. Downlink frequency is 4000 MHz, horizontal polarization, with a data rate of 38.86 Mhz, symbol rate of 28.1115 Ms/s, and ¾ FEC. A Digital Video Broadcast (DVB) compliant Integrated Receiver Decoder (IRD) is needed for reception.

Hoy os traigo el capítulo 19 de mi survival absurdo :D En este capítulo saliremos de cazería y daré el ganador del portal :). Espero que os guste :D
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Sígueme en twitter: https://twitter.com/wineMFN

Whitney Houston's official music video for 'Million Dollar Bill'. Click to listen to Whitney Houston on Spotify: http://smarturl.it/WhitneyHSpo....tify?IQid=WhitneyHMD

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More From Whitney Houston
I Will Always Love You: https://youtu.be/3JWTaaS7LdU
I Look To You: https://youtu.be/5Pze_mdbOK8
I Wanna Dance With Somebody: https://youtu.be/eH3giaIzONA

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---------

Lyrics:

Came in the door, checked in my coat
And who I'm looking for is staring in my face, oh
They played our song, we hit the floor
He held me strong, and we danced the night away, oh

I can see the way that he's making me feel
This way about his love
I've been looking for something like this
I'm singing oh

If he make you feel like a million dollar bill
Say oh, oh, say oh, oh
Makes you go left, right, up, down
Got you spinning round and round
Say oh, oh, say ah, baby

It's been a long, long time
Since I felt that love has found my way, oh
I've been looking, I've been searching
For the man to touch this place, oh yeah

FC Barcelona history and the ACTUAL true history of Real Madrid CF & it's so called success |

~ Real Madrid vs Barcelona , Barcelona vs Real Madrid : The roots of the rivalry between Real Madrid and FC Barcelona is actually a fascinating study into the Spanish history of the early-to-mid 20th century. Real reason of the rivalry between the two clubs is because of the traditional standing of the two provinces politically. Madrid, as the capital of Spain and the seat of the royal family, was seen as the region promoting conservatism. Barcelona, as the capital of Catalonia, was the district which was at the forefront of ushering in the modern era in everything - fashion, republicanism etc. Hence a regional rivalry always existed between these two regions. Franco regime was centred, politically and economically, around Madrid. For this reason, Real Madrid, as the most successful team in the city, and the most prestigious team of entirely Castilian identity, was always likely to be the preferred team of the dictator. It was for this reason that the Generalísimo paid regular visits to watch the side in the 1950s and ’60s, especially during their most successful period when, inspired by the majestic Di Stefano, they won five consecutive European Cups between 1956 and 1960.

~ The First Ever Encounter : El Clasico , the first ever encounter between the two clubs occurred on May 13, 1902. Barcelona won thatencounter 3-1,owing to the "6 foreigners that they lined up", according to the official Real Madrid website. Classic case of sour grapes, thus kicking off the biggest rivalry in all of world football.

~ The Spanish Civil War : The war raged from 1936 to 1939, and was the major factor in shaping the rivalry as we see it today. General Francisco Franco successfully staged a coup and captured Madrid in 1939 to end the war. Since Barcelona bitterly fought Franco's policies, he held a particular anger against that region, often resorting to murder or torture to get his point across - that a different culture and society under his rule would not be tolerated. Now, football was growing as an outlet of the people's views and sentiments. Hence, the people of Catalonia started supporting FC Barcelona in hordes, just to show that they are united in their hatred of General Franco, and to celebrate their unique culture and languages. In fact, FC Barcelona became “mes que un club,” more than a club, to Catalans as well as to progressives and left-leaning Spaniards across the country.

~ The Di Stefano Signing : As if the war wasn't enough, the battle between Barcelona and Real Madrid for the signature of Alfredo Di Stéfano took the rivalry to new heights. In 1953, Di Stefano had been plying his trade in Colombia for Millionarios when he was spotted by both Spanish clubs. He actually belonged to the Argentine club River Plate, but was on loan to the Colombians due to a player’s strike in Argentina. Both clubs sent emissaries to sign him, and after long and protracted negotiations, FIFA ruled that FC Barcelona would sign Di Stefano. Here is where the government in the form of the Spanish Football Federation stepped in - they banned the signing of any foreign player in Spain, allowing Real to swoop in and agree a deal with Di Stefano. This led to an impasse, which was resolved when the Spanish Federation ruled that Di Stefano would be allowed to play four years in Spain, two for Barcelona and two for Real. Barcelona though, backed out of this deal (supposedly on the orders of their Franco-backed president), which allowed Real Madrid to become the sole owner of Di Stefano. The rest,as they say, is history, as he led Real Madrid to 8 league titles, but more importantly, 5 consecutive European crowns, leaving Barcelona in their wake. This left more than a bitter taste in FC Barcelona's fans' mouth.

~ The Death of Gamper : Joan Gamper the founder of FC Barcelona was banned from the club which led to his suicide.

~ Real Madrid 11-1 Barcelona : On Barcelona’s part, there is a story, also steeped in myth, which sums up the way they were perceived and treated by the regime. The story goes that, in 1943, after winning the first leg of a cup semi-final against Real Madrid 3-0, Barcelona’s players were paid a visit by one of Franco’s cronies, who reminded them that they were only allowed to play at all due to “the generosity of the regime”, and suggested in no uncertain terms that they ease off in the second leg. Real Madrid went on to win that game 11-1, by far the biggest win in Clásico history.

MES QUE UN CLUB ! MORE THAN A CLUB ! VISCA EL BARCA !

Toni Braxton's official music video for 'Un-Break My Heart'. Click to listen to Toni Braxton on Spotify: http://smarturl.it/TBraxSpotify?IQid=...

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He Wasn't Man Enough: https://youtu.be/9_hKXk2qSuw
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---------

Lyrics:

Don't leave me in all this pain
Don't leave me out in the rain
Come back and bring back my smile
Come and take these tears away
I need your arms to hold me now
The nights are so unkind
Bring back those nights when I held you beside me

Un-break my heart
Say you'll love me again
Undo this hurt you caused
When you walked out the door
And walked out of my life
Un-cry these tears
I cried so many nights
Un-break my heart
My heart"

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Artist: RIAS Kammerchor, Akademie fur Alte Musik Berlin, René Jacobs (conductor)

Johann Sebastian Bach’s Mass in B minor is regarded by many as one of the supreme achievements of Western classical music. Even before its first complete performance, the Swiss music historian and publisher Hans Georg Nägeli described it as the “greatest musical masterpiece of all times and nations”. Many scholars believe that, along with the Art of Fugue and the Musical Offering, the work presents a summation of Bach’s musicianship as well as the most glorious presentation of the composer’s deeply held religious beliefs. Much of the Mass gave new form to vocal music that Bach had composed throughout his career, some of which was not from sacred sources (a point of contention for Leipzig churchgoers). The Kyrie and Gloria (known as the “Missa”) had been written as an application for the post of court composer at Dresden. The remaining movements, the Sanctus, Benedictus and Agnus Dei, turn the “Missa” into a “Missa tota”: the full setting of the Ordinary of the Mass.

In the Kyrie, Bach explores three different forms of musical expression in an impassioned entreaty for God’s mercy. He brings in trumpets and drums to sing the praises of the Lord in the Gloria, Credo and Sanctus, and, as so often before, saves one of his most exquisite and poignant musical phrases to express the idea of peace in the ‘et in terra pax’. The dramatic contrast forged between the ‘Crucifixus’ and ‘Et resurrexit’ movements of the Credo serve as a dramatic representation of the Christian statement of belief, and the lamenting Agnus Dei aria gives way to a exultant chorus of ‘Dona nobis pacem’ (Grant us thy peace), bringing the vast score to its conclusion. René Jacobs directs the Akademie für Alte Musik Berlin in this reading, which was described as “Spacious and intimate … a compelling performance” by the BBC Music Magazine following its first release.

The Reissue of one of the finest recordings of Bach’s “Hohe Messe’!

This “compelling performance..spacious and intimate” (Gramophone) boasts of a line‐up of famous soloists: Christoph Prégardien, Matthias Goerne, Bernarda Fink and Hillevi Martinpelto, singers of world renown who have amply won their spurs in Early Music. René Jacobs and his Akademie für Alte Musik Berlin and the Rias Kammerchor count among the best (if not THE best..) of Baroque ensembles and choirs around the world.

00:00:00 Mass in B Minor BWV 232, Pt. 1: I. Chorus. Kyrie eleison (A 5)
00:10:10 Mass in B Minor BWV 232, Pt. 1: II. Duet. Christe eleison (Two Sopranos)
00:15:32 Mass in B Minor BWV 232, Pt. 1: III. Chorus. Kyrie eleison (A 4)
00:19:48 Mass in B Minor BWV 232, Pt. 1: IV. Chorus. Gloria in excelsis Deo (A 5)
00:21:37 Mass in B Minor BWV 232, Pt. 1: V. Chorus. Et in terra pax hominibus (A 5)
00:28:18 Mass in B Minor BWV 232, Pt. 1: VI. Aria. Laudamus te (Soprano II)
00:32:35 Mass in B Minor BWV 232, Pt. 1: VII. Chorus. Gratias agimus tibi (A 4)
00:35:08 Mass in B Minor BWV 232, Pt. 1: VIII. Duet Domine Deus (Soprano I, Tenor)
00:40:37 Mass in B Minor BWV 232, Pt. 1: IX. Chorus. Qui tollis peccata mundi (A 4, Soloists)
00:43:07 Mass in B Minor BWV 232, Pt. 1: X. Aria. Qui sedes ad dexteram Patris (Alto)
00:47:22 Mass in B Minor BWV 232, Pt. 1: XI. Aria. Quoniam tu solus Sanctus (Bass II)
00:51:59 Mass in B Minor BWV 232, Pt. 1: XII. Chorus. Cum Sancto Spiritu (A 5)
00:55:48 Mass in B Minor BWV 232, Pt. 2: I. Chorus. Credo in unum Deum (A 5)
00:58:30 Mass in B Minor BWV 232, Pt. 2: II. Chorus. Patrem omnipotentem (A 4)
01:00:32 Mass in B Minor BWV 232, Pt. 2: III. Duet. Et in unum Dominum (Soprano I, Alto)
01:05:31 Mass in B Minor BWV 232, Pt. 2: IV. Chorus & Soloists. Et incarnatus est (A 5)
01:08:08 Mass in B Minor BWV 232, Pt. 2: V. Chorus. Crucifixus etiam pro nobis (A 4)
01:11:25 Mass in B Minor BWV 232, Pt. 2: VI. Chorus & Soloists. Et resurrexit tertia die (A 5)
01:15:16 Mass in B Minor BWV 232, Pt. 2: VII. Aria. Et in Spiritum Sanctum (Bass)
01:20:13 Mass in B Minor BWV 232, Pt. 2: VIII. Chorus. Confiteor unum baptisma etiarn pro nobis (A 5)
01:25:18 Mass in B Minor BWV 232, Pt. 2: IX. Chorus. Et expecto resurrectionem (A 5)
01:27:24 Mass in B Minor BWV 232, Pt. 3: Chorus. Sanctus (A 6)
01:32:41 Mass in B Minor BWV 232, Pt. 4: I. Chorus. Osanna in excelsis (A 8)
01:35:15 Mass in B Minor BWV 232, Pt. 4: II. Aria. Benedictus (Tenor)
01:39:31 Mass in B Minor BWV 232, Pt. 4: III. Chorus. Osanna in excelsis (A 8)
01:42:05 Mass in B Minor BWV 232, Pt. 4: IV. Aria. Agnus Dei (Soprano II)
01:47:03 Mass in B Minor BWV 232, Pt. 4: V. Chorus. Dona nobis pacem (A 4)

El director del Grupo ACI, Alejandro Bermúdez, nos ofrece a diario reflexiones en audio y vídeo sobre temas de actualidad en los que los católicos necesitamos tener una posición clara e informada. Compártelo con tus amigos, tu comunidad o en tu medio de comunicación católico.

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Composer: Luigi Boccherini
Artists: La Magnifica Comunitá, Enrico Casazza (violin and concert master)

Boccherini’s string quintets have more to offer than the almost infamous Minuet (from G 275). The gifted Italian composer has written a huge amount of chamber music, including many string quintets for different combinations of instruments.Some of his earlier quintets for 2 violins, 1 viola and 2 celli have now been recorded by the Italian Baroque ensemble La Magnifica Comunita. The ensemble pays a lot of attention to stylistic research. All members have studied at prestigious musical institutions like the Royal Conservatory in The Hague and Schola Cantorum Basiliensis. They play on period instruments. Since Boccherini himself was a professional cello-player he often choose for this more unusual combination with the 2 celli. His music is often a vibrant mixture of Romantic, Italian and Spanish or rather Andalusian elements. Intense performances by La Magnifica Comunitá.

00:00:00 Quintetto I in La Maggiore / A Major, G. 265: Andantino
00:06:02 Quintetto I in La Maggiore / A Major, G. 265: Largo
00:11:57 Quintetto I in La Maggiore / A Major, G. 265: Minuetto Allegro, Trio
00:17:23 Quintetto I in La Maggiore / A Major, G. 265: Allegro assai
00:20:29 Quintetto II in Mi Bemolle Maggiore / E-Flat Major, G. 266: Amoroso
00:27:04 Quintetto II in Mi Bemolle Maggiore / E-Flat Major, G. 266: Allegro non tanto
00:33:07 Quintetto II in Mi Bemolle Maggiore / E-Flat Major, G. 266: Minuetto, Trio
00:38:34 Quintetto II in Mi Bemolle Maggiore / E-Flat Major, G. 266: Presto
00:41:37 Quintetto III in Do Minore / C Minor, G. 267: Allegretto
00:51:17 Quintetto III in Do Minore / C Minor, G. 267: Adagio non tanto
00:55:23 Quintetto III in Do Minore / C Minor, G. 267: Minuetto, Trio
01:00:22 Quintetto III in Do Minore / C Minor, G. 267: Presto
01:04:58 Quintetto IV in Do Maggiore / C Major, G. 268: Adagio
01:06:19 Quintetto IV in Do Maggiore / C Major, G. 268: Allegro e con forza
01:15:41 Quintetto IV in Do Maggiore / C Major, G. 268: Adagio
01:20:30 Quintetto IV in Do Maggiore / C Major, G. 268: Rondeau Allegro
01:24:26 Quintetto V in Mi Bemolle Maggiore / E-Flat Major, G. 269: Non tanto sostenuto
01:29:16 Quintetto V in Mi Bemolle Maggiore / E-Flat Major, G. 269: Allegro assai
01:37:04 Quintetto V in Mi Bemolle Maggiore / E-Flat Major, G. 269: Allegretto
01:44:19 Quintetto VI in Re Maggiore / D Major, G. 270: Pastorale
01:48:29 Quintetto VI in Re Maggiore / D Major, G. 270: Allegro Maestoso
01:54:54 Quintetto VI in Re Maggiore / D Major, G. 270: Minuetto con variazioni

Tracklist below.
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‘My compositions take shape without any predetermined plan and are, as it were, the reflection of a quest for an unknown goal.’ Simeon ten Holt

The Dutch composer Simeon ten Holt (b.1923) began his career immersed in the intricacies and innovations of serialism, exploring what he described as ‘the semantics of musical language’ in an endeavour to expand his musical expression. However, in 1970 he abandoned the complex twelve-note technique that had been the standard since the Second World War, and returned to sounds and patterns that were easier for the ear to understand. In doing so, he created a unique Dutch minimalist style, using simple triads, shifting rhythmic patterns and repetition.

Canto Ostinato, scored for four grand pianos, is the quintessential example of Ten Holt’s groundbreaking minimalist style, one of his most well-known and critically-acclaimed compositions. Constructed using short cells that can be repeated an indeterminate number of times by performers, the music is hypnotic and emotionally moving, taking listeners on a journey through musical landscapes. With an expert performance by Piano Ensemble, a group that includes a number of specialists in minimalism, this recording is authoritative, complex yet accessible, and an essential addition to the collection of anyone interested in minimalism.
00:00:00 Canto Ostinato, Part I: Section 1
00:03:54 Canto Ostinato, Part I: Section 5
00:08:09 Canto Ostinato, Part I: Section 10
00:13:30 Canto Ostinato, Part I: Section 14
00:22:12 Canto Ostinato, Part I: Section 20
00:30:23 Canto Ostinato, Part I: Section 25
00:37:25 Canto Ostinato, Part I: Section 35
00:42:44 Canto Ostinato, Part I: Section 41
00:50:32 Canto Ostinato, Part I: Section 56
00:54:31 Canto Ostinato, Part I: Section 60
00:55:41 Canto Ostinato, Part I: Section 69
00:59:52 Canto Ostinato, Part I: Theme I, Section 74
01:05:04 Canto Ostinato, Part I: Section 78
01:08:27 Canto Ostinato, Part I: Section 83
01:14:50 Canto Ostinato, Part II: Section 88 A
01:22:22 Canto Ostinato, Part II: Section 88 B
01:31:06 Canto Ostinato, Part II: Section 88 E
01:36:53 Canto Ostinato, Part II: Section 88 F
01:45:37 Canto Ostinato, Part II: Section 88 C
01:52:04 Canto Ostinato, Part II: Section 89
01:54:42 Canto Ostinato, Part II: Section 91 A
01:57:25 Canto Ostinato, Part II: Section 91 C
02:01:43 Canto Ostinato, Part II: Section 91 E
02:09:43 Canto Ostinato, Part II: Section 92
02:11:15 Canto Ostinato, Part II: Theme II, Section 95
02:16:13 Canto Ostinato, Part II: Section 97
02:20:03 Canto Ostinato, Part II: Section 105
02:21:46 Canto Ostinato, Part II: Section 106

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Composer: Georg Philipp Telemann
Artists: Valerio Losito baroque (violin), Federico Del Sordo (harpsichord)

Brilliant Classics presents the release of a new recording which delves further into the protean output of that most prolific of composers, Georg Philipp Telemann. In the year that he is remembered with particular enthusiasm, 250 years after his death in Hamburg, the breadth of his achievement can be appreciated more than ever, not least thanks to recent recordings of the recorder sonatas (BC95247), concertos and suites for flute (BC95147), double concertos with recorder (BC95249), oboe concertos (BC95379), and a reissue of the classic account of the complete Tafelmusik (BC92177), which is the modern counterpart to the Bruggen recording that brought Telemann’s name to so many listeners half a century ago.

Much of this music concentrates on the composer’s fondness for wind instruments. Now Valerio Losito brings our attention to the accompanied sonatas. Rather as with Bach, when we think of Telemann and the violin, it is the unaccompanied music that first springs to mind, for the free and unbridled imagination and the evident pleasure it gives to violinists who perform and record the 12 fantasias. However (like Bach), Telemann produced a set of six sonatas for violin accompanied by harpsichord, with or without a separate basso continuo, and first published in 1715.

The sonatas were effectively his opus 1, published in 1715 at the comparatively late age of 24, and dedicated to the violin-playing Duke of Saxe-Weimar, from whom Telemann evidently wished to curry favour to judge from his long and obsequious preface. In just six sonatas may be found a remarkable diversity of elements: the Italianate style and Corelli-like fugues of Sonatas 1 and 5, echoes of Polish and ‘gypsy’ folk music in Sonatas 3 and 4, melodious arias reminiscent of Handel in sonata 3, and dance movements in the French style in Sonatas 2 and 6. Telemann’s genius allowed him to condense and reconcile in one volume parallel worlds that would appear to be mutually incompatible.

00:00:00 Sonata No. 1 in G Minor, TWV 41:g1: I. Adagio
00:01:50 Sonata No. 1 in G Minor, TWV 41:g1: II. Allegro
00:04:40 Sonata No. 1 in G Minor, TWV 41:g1: III. Adagio
00:05:53 Sonata No. 1 in G Minor, TWV 41:g1: IV. Vivace
00:08:57 Sonata No. 2 in D Major, TWV 41:D1: I. Allemanda, largo
00:12:56 Sonata No. 2 in D Major, TWV 41:D1: II. Corrente, vivace
00:16:15 Sonata No. 2 in D Major, TWV 41:D1: III. Sarabanda
00:17:53 Sonata No. 2 in D Major, TWV 41:D1: IV. Gique
00:20:41 Sonata No. 3 in B Minor, TWV 41:h1: I. Cantabile
00:23:15 Sonata No. 3 in B Minor, TWV 41:h1: II. Allegro assai
00:25:40 Sonata No. 3 in B Minor, TWV 41:h1: III. Andante
00:27:32 Sonata No. 3 in B Minor, TWV 41:h1: IV. Vivace
00:30:33 Sonata No. 4 in G Major, TWV 41:G1: I. Largo
00:31:51 Sonata No. 3 in B Minor, TWV 41:h1: II. Allegro
00:34:14 Sonata No. 3 in B Minor, TWV 41:h1: III. Adagio
00:37:08 Sonata No. 3 in B Minor, TWV 41:h1: IV. Allegro
00:39:40 Sonata No. 5 in A Minor, TWV 41:a1: I. Allemanda, largo
00:42:24 Sonata No. 3 in B Minor, TWV 41:h1: II. Corrente, vivace
00:44:27 Sonata No. 3 in B Minor, TWV 41:h1: III. Sarabanda
00:46:02 Sonata No. 3 in B Minor, TWV 41:h1: IV. Giga
00:48:30 Sonata No. 6 in A Major, TWV A1: I. Allemanda, largo
00:51:39 Sonata No. 6 in A Major, TWV A1: II. Corrente, allegro
00:54:05 Sonata No. 6 in A Major, TWV A1: III. Sarabanda
00:55:57 Sonata No. 6 in A Major, TWV A1: IV. Giga

Tracklist below.

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Artist: Alessandro Deljavan (piano)

With his two books of Etudes, Frédéric Chopin threw down the gauntlet for all who would come after him. These 24 studies, and the three works published as ‘Nouvelles Etudes’ within the Méthode des Méthodes de Moscheles et Fétis – a publication including studies by Henselt, Liszt, Mendelssohn and Thalberg – probe and refine every aspect of a pianist’s technique, as one might expect from the technical and didactic implications of their title. What distinguishes them, however, from the hundreds of other similar volumes published throughout the 19th century and beyond, is the melodic genius, harmonic novelty and long-range structure that is peculiar to Chopin.
Alessandro Deljavan is a young Italian pianist whose previous recordings for Brilliant Classics include the violin sonatas of Anton Rubinstein (BC94605), played with his regular duet partner Daniela Cammarano. Perhaps more pertinently, Brilliant has also just released his new recording of Chopin’s Waltzes (BC95208). According to Fou T’Song – no mean Chopin pianist himself – Alessandro Deljavan is ‘one of the most interesting pianists I have heard in my life’. Excerpts on YouTube from his success at the 2013 Van Cliburn Competition in Fort Worth confirm the truth and promise of Fou T’Song’s acclamation. Deljavan’s approach to the Etudes is not as monuments of pianism but with a charming and sometimes surprising sense of relaxation which takes for granted the kind of formidable technique that they were designed to test. Deljavan is free with the rubato that makes this music breathe: there are many other recordings of the Etudes that set the pages on fire: this one riffles them in the breeze, tapping into the vein of aching nostalgia from which all of Chopin’s music draws. It was first made available as part of the most recent Chopin Edition from Brilliant Classics (BC94660).
Chopin Etudes are the Mount Everest for every concert pianist: the combination of technical difficulties of the highest level and a rich and complex musical content make them even today the biggest challenge a mortal pianist can meet.
Young Italian pianist Alessandro Deljavan presents a strong and highly personal interpretation: deeply poetic and passionate, backed by a superlative technical mastery.
Deljavan is one of the most remarkable pianists of his generation. “His playing is full of intensive power and contagious artistry” (Dmitri Bashkirov), “he is one of the most interesting pianists I’ve heard in my life” (Fou Ts’Ong), “he is one of the most major talents of his age” (John Perry), “Jaw-dropping virtuosity and heart-stopping eloquence” (Dallas Morning News).

00:00:00 Etudes, Op. 10: I. Etude in C Major “Waterfall”. Allegro
00:02:03 Etudes, Op. 10: II. Etude in A Minor. Allegro
00:03:35 Etudes, Op. 10: III. Etude in E Major “Tristesse”. Lento ma non troppo
00:08:01 Etudes, Op. 10: IV. Etude in C-Sharp Minor. Presto
00:10:09 Etudes, Op. 10: V. Etude in G-Flat Major “Black Keys”. Vivace
00:11:58 Etudes, Op. 10: VI. Etude in E-Flat Minor. Andante
00:15:50 Etudes, Op. 10: VII. Etude in C Major. Vivace
00:17:31 Etudes, Op. 10: VIII. Etude in F Major. Allegro
00:19:52 Etudes, Op. 10: IX. Etude in F Minor. Allegro molto agitato
00:22:25 Etudes, Op. 10: X. Etude in A-Flat Major. Vivace assai
00:24:47 Etudes, Op. 10: XI. Etude in E-Flat Major. Allegretto
00:27:17 Etudes, Op. 10: XII. Etude in C Minor “Revolutionary”. Allegro con fuoco
00:30:06 Etudes, Op. 25: I. Etude in A-Flat Major “Aeolian Harp”.Allegro sostenuto
00:32:39 Etudes, Op. 25: II. Etude in F Minor. Presto
00:34:36 Etudes, Op. 25: III. Etude in F Major. Allegro
00:36:32 Etudes, Op. 25: IV. Etude in A Minor. Agitato
00:38:17 Etudes, Op. 25: V. Etude in E Minor. Vivace
00:42:01 Etudes, Op. 25: VI. Etude in G-Sharp Minor. Allegro
00:44:17 Etudes, Op. 25: VII. Etude in C-Sharp Minor. Lento
00:50:20 Etudes, Op. 25: VIII. Etude in D-Flat Major. Vivace
00:51:33 Etudes, Op. 25: IX. Etude in G-Flat Major “Butterfly”. Allegro assai
00:52:44 Etudes, Op. 25: X. Etude in B Minor. Allegro con fuoco
00:56:55 Etudes, Op. 25: XI. Etude in A Minor “Winter Wind”. Lento
01:00:37 Etudes, Op. 25: XII. Etude in C Minor. Allegro molto con fuoco
01:03:30 3 Nouvelles études, B. 130: I. Andantino in F minor
01:06:00 3 Nouvelles études, B. 130: II. Allegretto in D-Flat Major
01:08:11 3 Nouvelles études, B. 130: III. Allegretto in A-Flat Major

Here's the exact 72 steps I use to create a YouTube episode: setting up, shooting, editing, rendering, uploading, thumbnail, keywords, description, end screens, cards, playlists, and publishing. Make sure to http://bit.ly/SubscribeToBasicFilmmaker More info in description.

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Music by Premium Beat: http://bit.ly/PremiumBeatMusic

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Filmed on location at one of five sold-out shows at Wembley Stadium in London, Michael Jackson's "Another Part of Me" short film captures the King of Pop on the Guinness World Record-breaking Bad World Tour.

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Written and Composed by Michael Jackson
Produced by Quincy Jones for Quincy Jones Productions
Co-Produced by Michael Jackson for MJJ Productions, Inc.
From the album Bad, released August 31, 1987
Released as a single July 11, 1988

THE SHORT FILM
Director: Patrick T. Kelly
Primary Production Location: Wembley Stadium, London, England

Michael Jackson's short film for "Another Part of Me" was the fifth of nine short films produced for recordings from Bad, one of the best selling albums of all time. The "Another Part of Me" single hit No. 1 on the Billboard Hot Black Singles chart in the United States and reached the Top 10 in Ireland, Germany, The Netherlands, Belgium and Switzerland. In the U.S., "Another Part of Me" also reached No. 11 on the Billboard Hot 100.

The "Another Part of Me" short film is a live concert film recorded on Michael's Bad World Tour in the summer of 1988, as the tour made its way through Europe following a successful run through the United States in the winter and spring of that year. The short film captures the sheer excitement of a live Michael Jackson performance, with fans cheering wildly as he sang and danced across the stage at Wembley Stadium, where he played for five consecutive sold-out nights before a crowd that included members of the Royal Family. The vibrant live band for the Bad World Tour included longtime collaborators Greg Phillinganes on keyboards, Jonathan "Sugarfoot" Moffett on drums and a group of background vocalists that included a young Sheryl Crow.

The Bad World Tour earned Michael awards and acclaim around the world. In 1988, the tour set four Guinness World Records for Most Successful Concert Series, Most Sold Out Shows At Wembley Stadium, Highest Grossing Tour by a Male Solo Artist and Largest Attendance of Audience. In 2011, NME named the Wembley shows one of "21 Seminal Gigs You'd Sell Your House to Have Seen," praising him for "moonwalk[ing] his way through three hours of generation-defining classics."

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