663 Royalty-Free Audio Tracks for "Century"

During the second half of the nineteenth century, the firm of michael welte und söhne in freiburg-im-breisgau, southern germany, achieved world renown as a manufacturer of orchestrions. Over several decades it built up a skilled workforce, both for the construction of the instruments and for the arrangement of the music rolls which caused them to play. So in 1904, it was ideally placed to develop an experimental piano playing device, with the aim of reproducing the recorded performances of the finest pianists of the day. What we now know as the welte-mignon was originally called, quite simply, the mignon, an essentially french word meaning both small and pleasing, to distinguish it from the firm's other instruments, which were all considerably larger. Http://www. Pianola. Org/reproducing/reproducing_welte. Cfm. Pianist: eugen d'albert (1864 - 1932)instrument: deutsches musikautomaten museum bruchsal (germany). Recording: tascam hd-p2 and beyerdynamic mce82soundsystem: pro tools le. .

Danse sacrée, L 103, pt. 1, written by w:Claude Debussy, performed by the United States Marine Chamber Orchestra with Major Jason K. Fettig, conducting, MSgt Karen Grimsey, harp soloist on Aug. 14, 2010, at the Rachel M. Schlesinger Concert Hall and Arts Center at Northern Virginia Community College in Alexandria, Virginia. Македонски: Свештен танец (L 103), I дел од Клод Дебиси. Deux Danses pour harpe et orchestre, część 1. Danse sacrée L. 103/1 Claude’a Debussy’ego w wykonaniu Orkiestry Kameralnej Korpusu Piechoty Morskiej Stanów Zjednoczonych pod dyrekcją mjra Jasona K. Fettiga i st. sierż. Karen Grimsey solo na harfie. Claude Debussy. Danse sacrée, L 103, pt. 1, interprétée par l'Orchestre de chambre des Marines des États-Unis avec le Major Jason K. Fettig, chef d'orchestre, MSgt Karen Grimsey, harpe soliste le 14 août 2010, au Rachel M. Schlesinger Concert Hall and Arts Center du Northern Virginia Community College à Alexandria, Virginie.

Tell me pretty maiden from Leslie Stuart and Owen Hall's Florodora (1899 in London; 1900 on Broadway). Sung by the "Edison Sextette" (Ada Jones, George S. Lenox, Corinne Morgan, Grace Nelson, Bob Roberts and Frank C. Stanley) for Edison Records. It Edison Gold Moulded Record #8260. Florodora was the first big hit musical of the 20th century. "Tell me pretty maiden" was the runaway hit. "Tell me pretty maiden" is a double sextet, sung by six girls, matched in looks, all 5'4" inches tall and 130lbs, and their six suitors. This recording cuts their number in half, since, although it is difficult to get six people in front of a recording horn, it is even more difficult to get twelve.[1] This recording consists of only the first verse. A vocal score is available at The International Music Score Library Project.

Public domain music from musopen.com Q: What restrictions are there for the music downloaded from this site, can I edit it? Share it? Use it for a film project? A: The music on this site is given a public domain license, therefore, there are technically no restrictions on what you do with it. We do ask, out of courtesy, two things. One, that you do not directly sell our recordings for profit, as a great amount of work has been donated to this project, and for the benefit of the public, not profit. Two, we ask that any commerical or derived works attribute Musopen somewhere, to give credit to this project. And for all the film students emailing, yes you may use it in your film, you can then sell the film, containing our music. It's in the public domain afterall. -- http://www.musopen.com/faq.html Musopen has requested in-line attribution in any article this file is used in.  

German folksong from the 19th century. This midi file was created in 2014 with the claim, to be in accordance with the original. This includes mistakes in the original. Deviations are unintentional or software related. Modification of this file should follow this claim or become a clearly marked fork. Deutsches Volkslied aus dem 19. Jahrhundert. Titel: "(Die) Teutoburger Schlacht". In Liederbüchern häufig verzeichnet mit dem beginnenden Vers "Als die Römer frech geworden". Diese Midi-Datei entstand durch einfaches setzen der Noten in einer Midi-Software in 2014 mit dem Anspruch, dem Original (bzw. der Quelle) möglichst genau zu entsprechen. Dies schließt Fehler im Original mit ein. Abweichungen sind unbeabsichtigt oder softwarebedingt. Modifikationen an dieser Datei sollten diesem Anspruch entweder folgen oder eine deutlich gekennzeichnete Abspaltung darstellen. Charakteristische Inhalte der Midi-Datei: Der Text der erste Strophe ist in der Midi-Datei enthalten (auslesbar mit entsprechende Software) (Text gemäß der Quelle). Zwei Tracks sind enthalten: Nur Melodie, sowie Melodie mit Begleitkomposition (beides gemäß der Quelle) Ein Kommentar ist hinterlegt der inhaltlich weitgehend diesen Angaben entspricht

This historic "flute clock" (orgeluhr) is a precious mechanical clock, with a small organ is combined. Given time to hear music from a pen-driven roller. Flötenuhrbaues the heyday was the late 18th out century. Flute clocks were built for affluent, culturally sophisticated circles, educated people with appropriate art and music understanding. The finest pieces built in vienna and berlin. Easier flute watches were up to about 1850 in large quantities in the black produced. They played for entertainment in guest houses. Several well-known composers wrote works specially for this instrument, as george frideric handel, carl philipp emanuel bach, haydn, antonio salieri, wolfgang amadeus mozart or ludwig van beethoven. Flute watches with great restrictions than their recorded music era to consider it forced the composer to be exact instructions in execution ornamentation and tempo. The coupling of wind plant and roll can be traced back to minimum tempos and makes historical flute clocks so interesting for issues of historical performance practice. Record with tascam hd-p2 and beyerdynamic mce82soundsystem: pro tools le.

A flötenuhr (also orgeluhr) is a precious mechanical clock, with a small organ is combined. Given time to hear music from a pen-driven roller. Flötenuhrbaues the heyday was the late 18th out century. Flute clocks were built for affluent, culturally sophisticated circles, educated people with appropriate art and music understanding. The finest pieces built in vienna and berlin. Easier flute watches were up to about 1850 in large quantities in the black produced. They played for entertainment in guest houses. Several well-known composers wrote works specially for this instrument, as george frideric handel, carl philipp emanuel bach, haydn, antonio salieri, wolfgang amadeus mozart or ludwig van beethoven. Flute watches with great restrictions than their recorded music era to consider it forced the composer to be exact instructions in execution ornamentation and tempo. The coupling of wind plant and roll can be traced back to minimum tempos and makes historical flute clocks so interesting for issues of historical performance practice. Recorded at "deutsches musikautomaten museum bruchsal"recording: tascam hd-p2 and beyerdynamic mce82;soundsystem: pro tools le.

Władysław Tarnowski ps. Ernest Buława (1836-1878) opera "Achmed oder der Pilger der Liebe", „Ballet” z II Aktu, składający się z 3 cześci przeplecionych ze sobą: Khelas (taniec arabski) z Królem i [jego córką] Dolorez na tronach oraz świtą dworską, Gitana (taniec solo z kastanietami), Eros i Psyche (Oto są dwa posągi ogrodowe, budzi się najpierw Eros, opuszcza swój cokół. Budzi Psyche jednym pocałunkiem – pieszczą się w ogrodzie[;] gonitwa za motylem. Wreszcie człowiek zjawia się w ogrodzie, oni biegną szybko do cokołów i na powrót kamienieją.) [Warto tu zwrócić uwagę na obraz Artura Grottgera „Rozmowa posagów” z roku 1865, namalowany w Śniatynce – posiadłości Stanisława Tarnowskiego zwanego „Białym” przyjaciela, mecenasa i modela Artura Grottgera a rodzonego brata kompozytora Władysława Tarnowskiego, obraz wydaje się stanowić inspiracje do tej części Baletu. Stąd zilustrowanie muzyki do ostatniej części Baletu fragmentami obrazu Artura Grottgera.] Kolejność ma być wedle partytury następująca: Khelas, Gitana, (Khelas ze śpiewem tu pominietym), Gitana, Eros i Psyche – część A, Gitana, Eros i Psyche – cześć B z gonitwą za motylem. Opera ta jest oparta na opowiadaniu Washingtona Irvinga opublikowanym w "Tales of the Alhambra', autorem libretta był Wladysław Tarnowski, który także przetłumaczył opowiadanie (Powieść o księciu Ahmedzie al Kamel albo o pielgrzymie miłości.) Akcja opery dzieje się na terenie dzisiejszej Hiszpanii a głównym bohaterem jest syn władcy Grenady. Partytura: Władysław Tarnowski ps. Ernest Buława, Hofmeister podaje jako czas publikacji październik 1877, str. 306. Wykonanie: Marcin Tarnowski, (M.Tarnowski (talk) 13:45, 21 January 2017 (UTC)) styczeń 2017.

Władysław Tarnowski ps. Ernest Buława (1836-1878) opera "Achmed oder der Pilger der Liebe", „Ballet” z II Aktu, składający się z 3 cześci przeplecionych ze sobą: Khelas (taniec arabski) z Królem i [jego córką] Dolorez na tronach oraz świtą dworską, Gitana (taniec solo z kastanietami), Eros i Psyche (Oto są dwa posągi ogrodowe, budzi się najpierw Eros, opuszcza swój cokół. Budzi Psyche jednym pocałunkiem – pieszczą się w ogrodzie[;] gonitwa za motylem. Wreszcie człowiek zjawia się w ogrodzie, oni biegną szybko do cokołów i na powrót kamienieją.) [Warto tu zwrócić uwagę na obraz Artura Grottgera „Rozmowa posagów” z roku 1865, namalowany w Śniatynce – posiadłości Stanisława Tarnowskiego zwanego „Białym” przyjaciela, mecenasa i modela Artura Grottgera a rodzonego brata kompozytora Władysława Tarnowskiego, obraz wydaje się stanowić inspiracje do tej części Baletu. Stąd zilustrowanie muzyki do ostatniej części Baletu fragmentami obrazu Artura Grottgera.] Kolejność ma być wedle partytury następująca: Khelas, Gitana, (Khelas ze śpiewem tu pominietym), Gitana, Eros i Psyche – część A, Gitana, Eros i Psyche – cześć B z gonitwą za motylem. Opera ta jest oparta na opowiadaniu Washingtona Irvinga opublikowanym w "Tales of the Alhambra', autorem libretta był Wladysław Tarnowski, który także przetłumaczył opowiadanie (Powieść o księciu Ahmedzie al Kamel albo o pielgrzymie miłości.) Akcja opery dzieje się na terenie dzisiejszej Hiszpanii a głównym bohaterem jest syn władcy Grenady. Partytura: Władysław Tarnowski ps. Ernest Buława, Hofmeister podaje jako czas publikacji październik 1877, str. 306. Wykonanie: Marcin Tarnowski, (M.Tarnowski (talk) 13:39, 21 January 2017 (UTC)) styczeń 2017.

A chantar m'er de so qu'eu no volria, a 12th century Occitan language song by Comtessa de Dia. It is the only surviving music by a woman troubadour. Català: La seva cançó "A chantar m'er de so qu'eu no volria", és l'única peça trobadoresca d'autoria femenina la música de la qual sobreviu intacta. "A chantar m'er de so qu'eu no volria", ein Lied des 12. Jahrhunderts in okzitanischer Sprache von der Comtessa de Dia, ist die einzige überlieferte Melodie eines weiblichen Trobadors. "A chantar m'er de so qu'eu no volria", la única canción existente por una trovadora occitania que ha llegado hasta nuestros días con música, por Comtessa de Dia. Galego: A súa canción "A chantar m'er de so qu'eu no volria", é a única peza trobadoresca dunha muller que chegou até nos con a música que acompañaba. Македонски: „Морам да пејам за она што не сакам“ (A chantar m'er de so qu'eu no volria) - трубадурска песна на окситански јазик од XII век. Автор е грофицата Беатриса де Дија. Ова е единствената зачувана песна на жена-трубадур. Occitan : Sa cançon "A chantar m'er de so qu'eu no volria", es la sola peça trobadoresca d'una femna que se ne siá servada intacta la musica. Português: "A chantar m'er de so qu'eu no volria" por Comtessa de Dia, a única canção por uma trovadora, que sobrevive com música. "A chantar m'er de so qu'eu no volria" av Grevinnan de Dia är den enda sång skriven av en kvinnliga trobadourerna som idag finns bevarad med både text och musik.

We are writing the end of the 20th century _ _ _ cheer up !. After a nice concerto @ the charlatans, ghentduring the infamous ghentse fiestas ! ! ! ! !one of the guitarists of the band torturadodrives back home,. . . 72h after the concertthat is. . . He don't remember having slept. . . Ghentse fiestas are hardcore, he does rememberthe hamburger @ the vlasmarkt though. . . &he thought he heared 'vree wijs' like a thousand timesbut back then he couldn't decifre the real meaning of thosemumblings. . . So he always answered back to the girls, with 'i'm latino !' ( the usual reply). Hm,. . . Suddenly on the radio he hears musicwhich strangely seems familiar to himwhen the radio host describes the artisthe seems to be talking about the torturado boi ??!!!!##is he ??!!!!!#é"'((('à)§!(çà. Is this some kind of message from the future ???. The reference of glenn branca is there, but 2015 ??? never happened yet. . . Wooooooojoo !!!!. There is also this clear 'why nut' 2020 duyvisch nuts publicity reference !!!that he obviously doesn"t get yet, but an invisible force, makes him grab some nuts (not what you think), he bought just before entering the car ??!!! (you see!). Is this some kind of message from the future ???. No ! as the host continues the little descriptionhe makes a t e r r i b l e trabalengua or you knowknot explosion with the tongue & has to repeatthree times the sequence of the stroboscope. Wtf is going on here. . . The future seems to besending a very unflattering non elegant message to him _ _ _. It just seems to be just a rehearsal for a descriptionof the solo artist he is going to be. . . What the fuuuuuuuuukkkkk ?!!!èy"é'!'"''çé'ç"'à"'"é'é")*¨%££££££=:;ù%%%%. -----------------------------------------------------------------------. Recorded with my new dpa 4060very happy with iti can write a whole essayabout how i found it & stuffbut i think it's better totell you live in a barwith a beer or 5 ! ! ! ! ! !. 11112020josé !. P. S. All references to real persons/situations/musicians/latino's/birthdates, es-pe-cially for tindr dates / ! \ are very fictive, jaja !.

Recording of "Hostias Et Preces" by Eugenio Terziani (1824-1889), sung by the last surviving castrato of the Pope's choir, Alessandro Moreschi (1858-1922). Duration of recording: 2 minutes 9 seconds Català: Una gravació de "Hostias Et Preces" d'Eugenio Terziani (1824-1889), cantada per un dels últims castrato del Cor de la Capella Sixtina, Alessandro Moreschi (1858-1922). La gravació de Moreschi, és la única existent d'un cantant castrato, sent un testimoni sonor únic d'aquesta tradició musical. Una grabación de "Hostias Et Preces" de Eugenio Terziani (1824-1889), cantada por uno de los ultimos castrati de la historia, Alessandro Moreschi (1858-1922) del Coro de la Capilla Sixtina. La grabación de Moreschi, es la única existente de un cantante castrato, siendo un testimonio sonoro único de esta tradición musical Suomi: Eugenio Terzianin (1824-1889) tallenne viimeisen paavin kastraattikuoron jäsenen Alessandro Moreschin (1858-1922) laulamasta kappaleesta "Hostias Et Preces". Enregistrement de Hostias Et Preces par Eugenio Terziani (1824-1889), interprété par Alessandro Moreschi (1858-1922). Italiano: Una registrazione di "Hostias Et Preces" di Eugenio Terziani (1824-1889), cantata da uno degli ultimi castrati della storia, Alessandro Moreschi (1858-1922) del coro del Cappella Sistina. Le registrazioni di Moreschi, essendo le uniche esistenti di un cantante castrato, forniscono una testimonianza sonora unica di questa tradizione musicale Македонски: „Нафора и молитви“ (Hostias Et Preces) од Еугенио Терцијани (1824-1889), во изведба на кастрат на папскиот хор, Алесандро Морески (1858-1922). Морески е единствениот кастрат од кого постои снимка, и претставува единствен увид во оваа некогашна музичка традиција. Запись песни "Hostias Et Preces" Евгенио Терзиани (1824-1889), в исполнении последнего оставшихся в живых кастрата хора Папы, Алессандро Морески (1858-1922). Морески, как единственный записанный кастрат, воспитанный в старой традиции, даёт нам представлене о том, на что была похожа утерянная музыкальная традиция. Tiếng Việt: Một bản thu "Hostias Et Preces" của Eugenio Terziani (1824-1889), được hát bởi castrato cuối cùng trong ca đoàn của Giáo hoàng, Alessandro Moreschi (1858-1922). Moreschi, là castrato được huấn luyện duy nhất được thu âm lại, cho chúng ta một cái nhìn tổng quan về một truyền thống âm nhạc nay đã không còn.

Calm ambient track. Winter woods / pinewood february 12. 41 pm (noon) in the netherlands near village giersbergen. Bram’s admin request-text and my answer in audio. Hello freesounders,it happens very infrequently that i post requests. However, i have an extraordinary sad reason to do so today. I don't want to go into detail in this public forum, but someone incredibly important and incredibly young in my life and my wife's just passed away. I am thus looking for an extra long recording of a peaceful "forrest ambience" to play during the good-bye ceremony. Something with some birds and perhaps some wind through the leaves,. . . . Currently the ceremony is planned for april 6th so i would need this before then. I know i can look through freesound, but i would like something specifically recorded with this in mind, something we will be able to listen to later as well, remembering this important and sad time in our life. . . Yours in grief,- bram & familywhat you hear;general-noise; soft wind in woods, sometime a bit increasing. A far kid at the edge of hamlet giersbergen. Far hum of the woods. Remark that the far high altitude planes are on a very lo noise level. Off and on craws and woodpeckers. 00. 00-02. 18 clean background-sound02. 18-06. 57 far high altitude plane- 04. 08-05. 42 people passing06. 05- 08. 13 clean background-sound- 07. 15-08. 12 woodpecker08. 16-10. 33 far high altitude plane10. 33-11. 44 clean background-sound- 10. 44-11. 32 (far) woodpeckers11. 33-12. 53 far police serine12. 55-14. 11 clean with some far yelling kids and woodpeckers14. 15-16. 14 far high altitude plane16. 14-26. 11 clean background-sound with some friendly increasing wind gusts- 23. 06-23. 56 woodpeckers- 25. 53-26. 08 woodpecker26. 08-end far high altitude plane and people. More recordings here search: giersbergen. About the area, national park loonse en drunense duinen. (text by irma de potter,ranger of this area) dutch website: https://www. Natuurmonumenten. Nl/natuurgebieden/nationaal-park-loonse-en-drunense-duinen. In the loonse en drunense duinen you will find forest, heathland and especially a lot of sand. It is one of the largest shifting sand areas in western europe. The wind can blow undisturbed in many places, resulting in an ever-changing landscape. By purchasing it in 1921, it has been protected for 100 years and we can still enjoy this brabant sahara today. You can roam freely on the sand plain. So there is plenty of room to explore extensively. Marvel at the submerged trees, enjoy the chirping field crickets and quench your thirst at one of the many cafes or restaurants on the edge of this nature reserve. Walking, cycling or on horseback: it's all possible here. With the wind in your hair and the sand in your shoes. You may even come across the sheep herd. The sheep keep the heath short and eat away saplings. This is how they keep the area open. The loonse en drunense duinen still has 270 hectares of shifting sand. That sand creates rather extreme conditions: the soil is dry and nutrient-poor. The difference in temperature between day and night can be as much as 50 degrees celsius. This ensures a unique flora and fauna. The animals and plants have adapted or feel at home in drought, aridity and temperature fluctuations. Sand sedge and various lichens, for example. And the viviparous lizard, sandpit beetles and sand bees. All species that love sand. In the last ice age, the polar winds blew sand from the north to brabant, where it remained in thick packages. For a long time this sandy plain was covered with primeval forests. Until the fourteenth century the trees were felled by people. They used the wood as fuel. The bare plain was filled with heather, where the farmers grazed their cattle. This intensive grazing and the sod cutting of the soil depleted the soil. This gave the sand free play. For a long time, the sand was a major problem for the residents. Villages and fields threatened to disappear under it. Trees were planted to stop the advancing sand. You can still see the traces of this today: find the submerged trees that only peak above the sand hills with their crowns. Date/time: february 15th tuesday 2017, start 12. 44 pm. Weather: 13c, clear sky, wind se 2-3bft , 1023 hpa. Mic pointed ne. Location; soft-wood-forest giersbergen (drunen), national park “loonse en drunense duinen”, drunen, noord-brabant, netherlands (holland), europe geo 51. 65566 5. 15774. Gear chain: sennheiser mkh30/50 ms, in rycote cyclone small, windjammer > sound devices 302 >tascam dr-100 mk2. Low cut 140hz 6db/octave. Level around -33db for background. Decoded mid-side to stereo.