Aprender, Aprender Sempre ! (Lenine) ..... Olá, Diga Bom Dia com Alegria, Boa Tarde, sem Alarde, Boa Noite, sem Açoite ! E Viva a Vida, com Alegria e Fantasia (Victor Nogueira) ..... Nada do que é humano me é estranho (Terêncio)
Gigliola Cinquetti - Non ho l'età in 1964 with 16 years old
Non ho l’età (per amarti), de Nicola Salerno e letra de Mário Panzeri.
Non ho l'età,
non ho l'età per amarti Non ho l'età per uscire sola con te E non avrei, non avrei nulla di dirti perchè tu sai molte più cose di me
Lascia ch'io viva un amore romantico nell'attesa che venga quel giorno ma ora no Non ho l'età, non ho l'età per amarti, non ho l'età per uscire sola con te. Se tu vorrai, se tu vorrai aspettarmi quel giorno avrai tutto il mio amore per te
Lascia ch'io viva un amore romantico nell'attesa che venga quel giorno ma ora no
SOME PICTURES OF CHARLIE CHAPLIN'S MOVIES WITH CITY LIGHTS SOUNDTRACK (original song). One of my all fav movie, no need to know what the characters say, the magy of Charlie Chaplin is powerful. The musics of Chaplin underline the scenes and are a such of master pieces.
Mi aportación al recuerdo del compositor almeriense José Padilla (Almería, 1889 - Madrid, 1960). Estudió en el Conservatorio de Madrid y dirigió compañías de zarzuelas por España y Argentina. Como compositor creó las zarzuelas La bien amada, Sol de Sevilla y La mayorala, entre otras. Sus mayores éxitos los obtuvo con la canción popular, género para el que creó piezas tan populares como El relicario, La violetera o Valencia (ésta perteneciente a La bien amada). En total creó unas sesenta obras teatrales y varios cientos de canciones. En París, compuso para los cantantes Josephine Baker, Maurice Chevalier y Mistinguette.
Como curiosidad, habría que decir que Charles Chaplin plagió esta canción, haciéndola pasar como suya en la película "Luces de la ciudad" (se puede comprobar en http://es.youtube.com/watch?v=ilZgLTDHb_A ). Al final los jueces dieron la razón a Padilla, a quien Chaplin tuvo que pagar una considerable cantidad de dinero por el plagio.
La letra de la canción dice así:
Como aves precursoras de primavera
en Madrid aparecen las violeteras
que pregonando parecen golondrinas
que van piando, que van piando
Llévelo usted señorito
que no vale más que un real
cómpreme usted este ramito
cómpreme usted este ramito
p'a lucirlo en el ojal
Son sus ojos alegres
su faz risueña
lo que se dice un tipo
de madrileña.
Neta y castiza
que si entorna los ojos
te cauteriza, te cauteriza
Llévelo usted señorito
que no vale más que un real
cómpreme usted este ramito
cómpreme usted este ramito
p'a lucirlo en el ojal
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La siepe di viole
è rifiorita
chi mai da Carmencita
comprar le vuole?
Ne ho colmi i cesti
venite, siate lesti
orsù signori
comprate i fiori.
Oh senor y senorita
le violette mi comprate
che la man di Carmencita
ha raccolte ed intrecciate
per recarle alla città.
Adornatevi signore
del sereno fior gentile
nel silenzio il vostro cuore
in un fascino sottile
dolci cose vi dirà.
Dalle ceste ancora piene
un bouquet prendete almeno
e colui che vi vuol bene
poi guardandole sul seno
queste viole invidierà.
E voi bel giovinotto
ben pettinato
perchè così soletto?
Guardate a lato.
C'è una signora
che vi sorride e implora
e chiede e vuole
delle viole
Por senor y senorita
dalla man di Carmencita
ora vola in tutta fretta
fin quest'ultima violetta
ben felice chi l'avrà.
Mi dovete perdonare
non ho altro questa sera.
Cosa mai vi potrei dare?
La più bella violetera
può dar solo quel che ha.
Mi dovete perdonare
non ho altro questa sera.
Cosa mai vi potrei dare?
La più bella violetera
può dar solo quel che ha.
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. claudettecolbert60— 2 de Fevereiro de 2008 — Marlene Dietrich - Where Have All The Flowers Gone?
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. Maria Verstakova - Where have all the flowers gone
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Where have all the flowers gone,
Long time passing,
Where have all the flowers gone,
Long time ago
Where have all the flowers gone,
Young girls picked them every one
When will they ever learn
When will they ever learn
Where have all the young girls gone,
Long time passing,
Where have all the young girls gone,
Long time ago,
Where have all the young girls gone,
gone to young men every one
When will they ever learn
When will they ever learn
Where have all the young men gone,
Long time passing,
Where have all the young men gone,
Long time ago,
Where have all the young men gone,
gone to soldiers every one,
When will they ever learn
When will they ever learn
Where have all the soldiers gone,
Long time passing,
Where have all the soldiers gone,
Long time ago,
Where have all the soldiers gone,
Gone to graveyards every one
When will they ever learn
When will they ever learn
Where have all the graveyards gone,
Long time passing,
Where have all the graveyards gone,
Long time ago,
Where have all the graveyards gone,
Gone to flowers every one
When will they ever learn
When will they ever learn
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setfree69—26 de Dezembro de 2007 — Classic Joan Baez track backed with a video showing the futility of War without end.
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Thespadecaller—18 de Fevereiro de 2008 — On July 26, 1956, the House of Representatives voted 373 to 9 to cite Pete Seeger and seven others (including playwright Arthur Miller) for contempt, as they failed to cooperate with House Un-American Activities Committee (HUAC) in their attempts to investigate alleged subversives and communists. Pete Seeger testified before the HUAC in 1955.
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In one of Pete's darkest moments, when his personal freedom, his career, and his safety were in jeopardy, a flash of inspiration ignited this song. The song was stirred by a passage from Mikhail Sholokhov's novel "And Quie Flows the Don". Around the world the song traveled and in 1962 at a UNICEF concert in Germany, Marlene Dietrich, Academy Award-nominated German-born American actress, first performed the song in French, as "Qui peut dire ou vont les fleurs?" Shortly after she sang it in German. The song's impact in Germany just after WWII was shattering. It's universal message, "let there be peace in the world" did not get lost in its translation. To the contrary, the combination of the language, the setting, and the great lyrics has had a profound effect on people all around the world. May it have the same effect today and bring renewed awareness to all that hear it.
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cschoon1213—12 de Agosto de 2009 —Peter Paul and Mary, Where Have All The Flowers Gone
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swing52a— 8 de Setembro de 2008 — Gigliola Cinquetti A senza rete accompagnata alla chitarra da Mario Ganci in Where Have All The Flowers Gone (P.Seeger) e L'acquabelle
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Maria Verstakova - Where have all the flowers gone - MariaVerstakova—25 de Abril de 2008 — The song of Pete Seeger.
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paveljiracek—14 de Maio de 2009 — Where have all the flowers gone & The days of wine and roses, performed by Pavel B. Jiracek
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. Mireille Mathieu - Where have all the flowers gone- DmitriBukin—21 de Abril de 2009 —
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"Where Have All the Flowers Gone?" (1961) is a folk song. The first three verses were written by Pete Seeger in 1955, and published in Sing Out!.[1] Additional verses were added by Joe Hickerson in May 1960, who turned it into a circular song.[2] Its rhetorical "where?" and meditation on death can be seen as falling in the ubi sunt tradition.[3]
Seeger found inspiration for the song in October 1955, while on a plane bound for a concert in Ohio. Leafing through his notebook he saw the passage, "Where are the flowers, the girls have plucked them. Where are the girls, they've all taken husbands. Where are the men, they're all in the army."[4] These lines were taken from traditional Ukrainian folk song "Tovchu, tovchu mak", referenced in the Mikhail Sholokhov novel And Quiet Flows the Don (1934).[3] .
Seeger adapted it to a tune, possibly a pre-existing folk song. With only three verses, he recorded it once in a medley on a Rainbow Quest album (Folkways LP FA 2454) and forgot about it. Joe Hickerson later added verses one, four and five,[3] in May 1960 in Bloomington.[5] .
The original Koloda Duda was published in Sing Out! in 1962.[6] In 2010, the New Statesman listed it as one of the "Top 20 Political Songs".[7]
Versions
The Kingston Trio recorded the song in 1961 and believing it to be a traditional song claimed authorship, but they took their name off when Seeger asked them to;[5] their single, with "O Ken Karanga" as the A-side and the hit "Where Have All The Flowers Gone?" the B-side, reached #21 in the 1962 charts, as shown in the Billboard Hot 100.
Marlene Dietrich performed this song in English, French and German. The song was first performed in French (as "Qui peut dire où vont les fleurs?") by Marlene in 1962 at a UNICEF concert. She also recorded the song in English and in German, the latter titled "Sag' mir, wo die Blumen sind", with lyrics translated by Max Colpet. She performed the German version on a tour of Israel, where she was warmly received; she was the first person to break the taboo of using German publicly in Israel since WWII. [8][3]
Dalida also recorded the song in French as "Que sont devenues les fleurs?", in 1962 (Les Années Barclay, vol. 5, 1962).
Vera Lynn recorded the song as the eleventh cut on her 1964 album "Among My Souvenirs".
Harry Belafonte has made one recording of it at a beneficiary concert in Stockholm, Sweden, 1966 on the album BEL-1.
Jazz guitarist Wes Montgomery recorded an instrumental version in his trademark style on the 1968 LP Road Song
In 1969, Rufus Harley recorded a jazz instrumental version on his trademark bagpipes, but the track was never commercially released until it was included in his posthumously released limited edition collection Courage - The Atlantic Recordings in 2006.
