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On est 27 visiteur(s) en ligneVideo Internet - Stream 1918
![Recherche de vidéos [1918]](http://video.google.com/common/google_logo_small.jpg){kind=logo} Longueur inconnue - 26 juil. 2008 ZACIETA WALKA  Francis Poulenc - Sonata for Piano Duetryojikun 8 mn - 26 juil. 2008 Angelica Teng and Andrew Hsieh perform Francis Poulenc's "Sonata for Piano Duet" (1918) at the Kurosawa Piano Music Foundation's 2nd Young Piano Artists' Duo/Duet Concert, at the Finn Center in Mountain View, California.  Stan Laurel Music Videokrazydy 3 mn - 26 juil. 2008 Stan Laurel Clips from: Fraudes and Frenzies (1918) Short Orders (1923) Detained (1924) Pie-Eyed (1925) Somewhere in Wrong (1925) Get 'em Young (1926) Song: That's Amore Sung by: Dean Martin Made by: Me. Note: All Pre - Laurel and Hardy!  HEMINGWAY GONE BORHEGYI 1. DOUGLASS 1.adahman1907 10 mn - 26 juil. 2008 I THINK THAT BORHEGYI SF DE 1961 "SHARK TEETH, STIGRAY SPINES AND SHARK FISHING IN ANCIENT MEXICO AND CENTRAL AMERICA SOUTHWESTERN JOURN OF ANTHROP 17: 273-296 ALBURQUERQUE IS AN APPROPRIATE ENDING TO HEMINGWAYS STREAMS AND THE FIGHT WITH THAT FISH! DOUGLASS AE 1889 "A PORTRAIT PIPE FROM SAN SALVADOR, CENTRAL AMERICA AMER ANTIQUARIAN 11:348-53 CHICAGO MIGHT BE A GOOD START TO RELOOK AT THE CARD PLAYERS AND THEIR HANGING PIPES AS OPPOSED TO HANGING POOL STICKS. THE HILLS AND THE CORN 1918 BURKITT RJ MIGHT ADD INSIGHT TO OKEEFE THE CORN AND MAYANS, "THE MUS. JOURN VOL 9 NUMS 3 Y 4 PHILADELPHIA. THE ONLY PROBLEM IS "MUS" IS NOT LISTED AS AN ABBREVIATION. GO AHEAD ASK THE REMNENTS OF VERY BAD EVERYTHING. I BUY BOOKS ON VACATION DONT YOU! HISTORIA Y RELIGION DE LOS MAYAS J. ERIC S. THOMPSON SIGLO VEINTIUNO AMERICA NUESTRA MEXICO ESPANA ARGENTINA COLOMBIA. I DO KNOW WHAT EXCOMMUNICATION MEANS, I JUST DO NOT KNOW WHAT "IN THE CATHOLIC TRADITION MEANS ON NEW YORK MEDICAL COLLEGE" LETTERHEAD. I MISSED JES THOMPSON 1951 "CANOES NAVIGATION OF THE MAYA AND THEIR NEIGHBORS" JOURN OF ROYAL ANTHROPOLIGICAL INSTITUTE 79 69-78, ENDING ARE LOOK INTO THE SHUTTERS OF MATISSE!  Harold Lloydsixsticks 5 mn - 26 juil. 2008 scenes from: Get Out & Get Under (1920) Haunted Spooks (1920) High & Dizzy (1920) Now or Never (1921) Number Please? (1920) Never Weaken (1921) Ask Father (1919) Captain Kidd's Kids (1920) From Hand to Mouth (1920) An Eastern Westerner (1920) Grandma's Boy (1922) Chop Suey & Co. (1918) Captain Kidd's Kids (1920) A Sailor-Made Man (1921) A Sailor-Made Man (1921) The Non-Stop Kid (1919) Doctor Jack (1922) Why Pick On Me? (1918)  La Croix des Redoutes - 4gilbertlely 2 mn - 26 juil. 2008 A walk in the german trenches of the world war 1 (1914-1918), near Saint-Mihiel (France)  Copeland plays Debussy Prélude à L'apres-midi d'un Faunepianopera 8 mn - 25 juil. 2008 Claude Debussy (1862-1918) Prélude à L'apres-midi d'un Faune (1892), transcribed for piano-solo by George Copeland Recorded in 1933. George Copeland (1882-1971) was born in Boston and was one of the first pianists to play Debussy's music regularly in the United States. He was also a champion of Spanish music. In 1911, he met Debussy and played for the composer. On one occasion, Debussy must have remarked: "It is not my habit to pay compliments. But I wish to say, Mr. Copeland, that I never thought to hear my music played as well as that in my lifetime." "I spoke to him of my desire to transcribe some of his orchestral things for the piano -- music which I felt to be essentially pianistic. He was at first sceptical, but finally agreed, and was in complete accord with the result. He was particularly delighted with my piano version of L'après-midi d'un faun, agreeing with me that in the orchestral rendering, which called for different instruments, the continuity of the procession of episodes was disturbed. This has always seems to me the loveliest, the most remote and essentially Debussyan, of all his music, possessing, as it does, a terrible antiquity, translating into sound a voluptuous sense that is in no wise physical." George Copeland, "Debussy, the man I knew", The Atlantic Monthly, January 1955. Picture: Nijinsky's Faun Costume in "L'Après Midi d'un Faune" by Claude Debussy. Artist: Leon Bakst (1866-1924)  César Cui: At the Chapel, from 'À Argenteau', Op. 40PSearPianist 4 mn - 25 juil. 2008 Cui (1835-1918) was a nember of the group of Russian composers known as 'The Five' or 'Mighty Handful'. Like most of the other members he was not a full-time musician and was actually a Russian army general, and expert on fortifications. He was nevertheless a prolific composer. 'À Argenteau' is a set of nine pieces from 1887 - musical reminiscences of the Belgian estate of his patron, Louise, Comptesse de Mercy-Argenteau. Therefore the Chapel depicted is a Catholic one and not Russian Orthodox, and Cui hints at plainsong in the middle section. --------------------------------------- Played by Phillip Sear http://www.psear.co.uk  VILLA LOBOSjacquillo 4 mn - 25 juil. 2008 je travaille le prélude 1  Dulce et Decorum Estcurtismcmullan 3 mn - 25 juil. 2008 A small school project on the famous World War I poem; Dulce et Decorum Est by Wilfred Owen. Although the clip is relatively short, I received more help and support than I have ever had while making movies. Without the time and effort of those mentioned in the credits, this clip would not have been possible. I thank you all. "My subject is war and the pity of war. The poetry is in the pity." Wilfred Owen 1893-1918 |
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