Renaissance

Life

He may have come from Kortrijk, since an Oliver Joye, possibly his father, has been identified there in 1420. Gilles seems to have had an excellent musical education, probably at either Kortrijk or Bruges, where he was hired as a singer in 1449. Documents from the cathedral archives show that he was often in trouble: engaging in street brawls, frequenting brothels, refusing to take part in regular singing events, and in particular visiting a notorious prostitute of the town named "Rosabelle". In spite of these activities, he was made a priest, and became a canon at Cleves in 1453 and at St. Donatian in 1459.

Between 1454 and 1459 no record of his activities survives in the Low Countries; based on his composition of an Italian ballata on a poem by a contemporary Florentine, it has been suggested that he spent some time in Italy, as did so many other Franco-Flemish composers of his and succeeding generations. By 1459 he was back at St. Donatian in Bruges.

In 1462 he was hired as a singer by the Burgundian court chapel, a position he retained officially until 1471, although he had ceased to perform his duties in 1468. Between 1465 and 1473 he was also a rector at Delft. After 1471 he most likely returned to St. Donatian. He died in Bruges, and was buried in the church of St. Donatian.

A portrait of Joye has survived, possibly painted by Hans Memling in 1472. Currently it is in the Sterling and Francine Clark Art Institute in Williamstown, Massachusetts.

All of Joye's surviving music is vocal and secular, and for three voices only. Four of his works are rondeaux, in French (though the text for one rondeau is lost), and one is an Italian ballata, probably written between 1454 and 1459 when he may have been in Italy. Joye's songs are typical of the Burgundian secular music of the period; they are melodic, clear, and lyrical in style. One of them, Ce qu'on fait, is frankly obscene. No sacred music is known for certain to have been written by Joye, but two anonymous masses based on the contemporary lyric O rosa bella have been attributed to Joye for stylistic reasons; in addition, the similarity of O rosa bella to the name of his favorite prostitute, along with the general irreverent character evident in his life and other work, may support this hypothesis.

Joye is one of the composers mentioned in Guillaume Crétin's famous poem Déploration sur le trépas de Jean Ockeghem written on the death of Johannes Ockeghem in 1497; in it he is one of the angels welcoming Ockeghem into Heaven. The composers mentioned by Crétin have long been used as a list of those considered most famous in the late 15th century, thus indicating Joye's reputation, in spite of the small number of his works which have survived.

Orlando Gibbons

Orlando Gibbons (baptised 25 December 1583 – 5 June 1625) was an English composer and organist of the late Tudor and early Jacobean periods. He was a leading composer in the England of his day.

Gibbons was born in Oxford. Between 1596 and 1598 he sang in the Choir of King's College, Cambridge, where his brother was master of the choristers; he entered the university in 1598 and achieved the degree of Bachelor of Music in 1606. James I appointed him a Gentleman of the Chapel Royal, where he served as an organist from at least 1615 until his death. In 1625 he became senior organist at the Chapel Royal, with Thomas Tomkins as junior organist. He also held positions as keyboard player in the privy chamber of the court of Prince Charles (later King Charles I), and organist at Westminster Abbey. He died at age 41 in Canterbury of apoplexy, and a monument to him was built in Canterbury Cathedral.

One of the most versatile English composers of his time, Gibbons wrote a quantity of keyboard works, around thirty fantasias for viols, a number of madrigals (the best-known being The Silver Swan), and many popular verse anthems. His choral music is distinguished by his complete mastery of counterpoint, combined with his wonderful gift for melody. Perhaps his most well-known verse anthem is 'This is the record of John', which sets an Advent text for solo countertenor or tenor, alternating with full chorus. The soloist is required to demonstrate considerable technical facility at points, and the work at once expresses the rhetorical force of the text, whilst never being demonstrative or bombastic. He also produced two major settings of Evensong, the Second, and the 'Short' service. The former is an extended composition, combining verse and full sections, and the latter possesses a beautifully expressive Nunc Dimittis. Gibbons' full anthems include the expressive 'O Lord in thy wrath', and the Palm Sunday setting of 'O clap your hands together' for 8 voices. He contributed six pieces to the first printed collection of music in England, Parthenia (of which he was by far the youngest of the three contributors), published circa 1611.

Gibbons was the "favorite composer" of the Canadian pianist Glenn Gould. "Ever since my teen-age years his music has moved me more deeply than any other sound experience I can think of." To this day, his obit service is commemorated every year in King's College Chapel, Cambridge.

Baroque

Life

He is thought to have been born with the name Diderich Buxtehude. Scholars dispute both the year and country of his birth, although most now accept it taking place in 1637 in Helsingborg, Skåne, at the time part of Denmark (but now part of Sweden). His obituary stated that "he recognized Denmark as his native country, whence he came to our region; he lived about 70 years".^[3] Others, however, claim that he was born at Oldesloe in the Duchy of Holstein, which at that time was a part of the Danish Monarchy (but is now in Germany). Later in his life he Germanized his name and began signing documents Dieterich Buxtehude.

He was an organist, first in Helsingborg (1657-1658), then at Elsinore (Helsingør) (1660-1668), and last from 1668 at the Marienkirche in Lübeck, where he succeeded Franz Tunder and married Tunder's daughter Anna Margarethe (1668). His post in the free Imperial city of Lübeck afforded him considerable latitude in his musical career and his autonomy was a model for the careers of later Baroque masters such as George Frideric Handel, Johann Mattheson, Georg Philipp Telemann and Johann Sebastian Bach. In 1673 he reorganized a series of evening musical performances, initiated by Tunder, known as Abendmusik, which attracted musicians from diverse parts and remained a feature of the church until 1810. In 1703, Handel and Mattheson both traveled to meet Buxtehude. Buxtehude was old, and ready to retire, by the time he met them. He offered his position in Lübeck to Handel and Mattheson but stipulated that the organist who ascended to it must marry his eldest daughter, Anna Margareta. Both Handel and Mattheson turned the offer down and left the day after their arrival. In 1705, J.S. Bach, then a young man twenty years old, walked from Arnstadt to Lübeck, a distance of more than 400 kilometers (250 US miles), and stayed nearly three months to hear the Abendmusik, meet the pre-eminent Lübeck organist, hear him play, and as Bach explained "to comprehend one thing and another about his art."

Biography

Arcangelo Corelli was born at

Fusignano, Romagna, in the current-day province of Ravenna. Little is known about his early life. His master on the violin was Giovanni Battista Bassani. Matteo Simonelli, the well-known singer of the pope’s chapel, taught him composition.

His first major success was gained in Paris at the age of nineteen, and to this he owed his European reputation. From Paris, Corelli went to Germany. In 1681 he was in the service of the electoral prince of Bavaria; b

etween 1680 and 16

85 he spent a considerable time in the house of his friend and fellow violinist-composer Cristiano Farinelli (believed to be the uncle of the celebrated castrato Farinelli).

In 1685 Corelli was in Rome, where he led the festival performances of music for Queen Christina of Sweden and he was also a favorite of Cardinal Pietro Ottoboni, grand-nephew of another Cardinal Pietro Ottoboni who in 1689 became Pope Alexander VIII. From 1689 to 1690 he was in Modena; the Duke of Modena was generous to him. In 1708 he returned to Rome, living in the palace of Cardinal Ottoboni. His visit to Naples, at the invitation of the king, took place in the same year.

The style of execution introduced by Corelli and preserved by his pupils, such as Francesco Geminiani, Pietro Locatelli, and many others, was of vital importance for the development of violin playing. It has been said that the paths of all of the famous violinist-composers of 18th-century Italy lead to Arcangelo Corelli who was their "iconic point of reference." (Toussaint Loviko, in the program notes to Italian Violin Concertos, Veritas, 2003)

Arcangelo Corelli.

However, Corelli used only a limited portion of his instrument's capabilities. This may be seen from his writings; the parts for violin very rarely proceed above D on the highest string, sometimes reaching the E in fourth position on the highest string. The story has been told and retold that Corelli refused to play a passage which extended to A in altissimo in the overture to Handel’s oratorio il Trionfo del Tempo e Disinganno (premiered in Rome, 1708), and took serious offense when the composer played the note.

Nevertheless, his compositions for the instrument mark an epoch in the history of chamber music. His influence was not confined to his own country. Johann Sebastian Bach studied the works of Corelli and based an organ fugue (BWV 579) on Corelli's Opus 3 of 1689.

Musical society in Rome also owed much to Corelli. He was received in the highest circles of the aristocracy, and for a long time presided at the celebrated Monday concerts in the palace of Cardinal Ottoboni.

Corelli died in possession of a fortune of 120,000 marks and a valuable collection of pictures, the only luxury in which he had indulged. He left both to his benefactor and friend, who generously made over the money to Corelli's relatives. Corelli is buried in the Pantheon at Rome. One can still trace back many generations of violinists from student to teacher to Corelli.

His compositions are distinguished by a beautiful flow of melody and by a mannerly treatment of the accompanying parts, which he is justly said to have liberated from the strict rules of counterpoint.

His concerti grossi have often been popular in Western culture. For example, a portion of the Christmas Concerto, op.6 no.8, is in the soundtrack of the film Master and Commander: The Far Side of the World. He is also referred to frequently in the novel Captain Corelli's Mandolin.

Romantic era

Biography

Anton Bruckner was born in Ansfelden on September 4, 1824. His father, a schoolmaster and organist, was his first music teacher. He died when Anton was 13 years old. Bruckner worked for a few years as a teacher's assistant, fiddling at village dances at night to supplement his income. He studied at the Augustinian monastery in St. Florian, becoming an organist there in 1851. In 1855, he took up a counterpoint course with Simon Sechter. He later studied with Otto Kitzler, who introduced him to the music of Richard Wagner, which Bruckner studied extensively from 1863 onwards. Bruckner continued his studies to the age of 40. Bruckner's genius, unlike that of a child prodigy (Wolfgang Amadeus Mozart, for example), did not appear until well into the fourth decade of his life. Furthermore, broad fame and acceptance did not come until he was over 60. A devout Catholic who loved to drink beer, Bruckner was out of step with his contemporaries. He had already in 1861 made acquaintance with Liszt who, like Bruckner, had a strong religious faith and who first and foremost was a harmonic innovator, initiating the new German school together with Wagner. Soon after Bruckner had ended his studies under Sechter and Kitzler, he wrote his first mature work, the Mass in D Minor.

In 1868, after Sechter had died, Bruckner hesitantly accepted Sechter's post as a teacher of music theory at the Vienna Conservatory, during which time he concentrated most of his energy on writing symphonies. These symphonies, however, were poorly received, at times considered "wild" and "nonsensical". He later accepted a post at the Vienna University in 1875, where he tried to make music theory a part of the curriculum. Overall, he was unhappy in Vienna, which was musically dominated by the critic Eduard Hanslick. At the time there was a feud between advocates of the music of Wagner and Brahms; by aligning himself with Wagner, however, Bruckner made an unintentional enemy out of Hanslick. However, he was not without supporters; Deutsche Zeitung's music critic Theodor Helm, and famous conductors such as Arthur Nikisch and Franz Schalk constantly tried to bring his music to the public, and for this purpose proposed 'improvements' for making Bruckner's music more acceptable to the public. While Bruckner allowed these changes, he also made sure in his will to bequeath his original scores to the Vienna National Library, confident of their musical validity. Another proof of Bruckner's confidence in his artistic ability is that he often started work on a new symphony just a few days after finishing another.

In addition to his symphonies, Bruckner wrote masses, motets and other sacred choral works, and a few chamber works, including a string quintet. Unlike his romantic symphonies, Bruckner's choral works are often conservative and contrapuntal in style.

Biographers generally characterize Bruckner as a very simple man, and numerous anecdotes abound as to his dogged pursuit of his chosen craft and his humble acceptance of the fame that eventually came his way. Once, after a rehearsal of his Fourth Symphony, the well-meaning Bruckner tipped the conductor Hans Richter: "When the symphony was over," Richter related, "Bruckner came to me, his face beaming with enthusiasm and joy. I felt him press a coin into my hand. 'Take this' he said, 'and drink a glass of beer to my health.'" Richter, of course, accepted the coin, a Maria Theresa thaler, and wore it on his watch-chain ever after.

Bruckner was a renowned organist in his day, impressing audiences in France in 1869, and England in 1871, giving six recitals on a new Henry Willis organ at Royal Albert Hall in London and five more at the Crystal Palace. Though he wrote no major works for the organ, his improvisation sessions sometimes yielded ideas for the Symphonies. He taught organ performance at the Conservatory; among his students were Hans Rott and Franz Schmidt. Gustav Mahler, who called Bruckner his "forerunner", attended the conservatory at this time (Walter n.d.).

In July 1886, the emperor decorated him with the Order of Franz-Josef.

Bruckner died in Vienna in 1896, of natural causes. He is buried in the crypt of St. Florian monastery church, right below his favorite organ.

Anton Bruckner Private University for Music, Drama, and Dance, an institution of higher education in Linz, close to his native Ansfelden, was named after him in 1932 ("Bruckner Conservatory Linz" until 2004). The Bruckner Orchester Linz was also named in his honor.

Biography

In March 1828, at the age of nine, the young Clara Wieck performed at the Leipzig home of Dr. Ernst Carus, director of a mental hospital at Colditz Castle, and met another gifted young pianist invited to the musical evening named Robert Schumann, nine years older than she. Schumann admired Wieck's playing so much that he asked permission from his mother to discontinue his studies of the law, which had never interested him much, and take music lessons with Wieck's father. While taking lessons, he took rooms in the Wieck household, staying about a year, until Wieck left on a concert tour to Paris. In 1830 at the age of eleven, Wieck gave her first solo concert, giving her debut at Leipzig's famed Gewandhaus, followed by concerts in various cities and towns, including Weimar, where she performed for Goethe, who presented her with a medal with his portrait and a written note saying, "For the gifted artist Clara Wieck."

Clara Wieck had a brilliant career as a virtuoso pianist from the age of thirteen. In her early years her repertoire, selected by her father, was showy and popular, in the style common to the time, with works by Kalkbrenner, Henselt, Thalberg, Herz, Pixis, Czerny, and her own compositions. As she matured, however, becoming more established and planning her own programmes, she began to play works by the new Romantic composers, such as Chopin, Mendelssohn and, of course, Schumann, as well as the great, less showy, more "difficult" composers of the past, such as Scarlatti, Bach, Mozart, Beethoven and Schubert.

In her nineteenth year, her father did everything in his power to prevent her from marrying Schumann, forcing the lovers to take him to court. During this period Robert Schumann, inspired by his love for Wieck, wrote many of his most famous Lieder. They eventually married on December 12, 1840. She continued to perform and compose after the marriage even as she raised seven children, an eighth child having died in infancy. In the various tours on which she accompanied her husband, she extended her own reputation beyond Germany, and her efforts to promote his works gradually made his work accepted throughout Europe.

In 1853 Johannes Brahms, age twenty, met Clara and Robert in Leipzig and immediately impressed both of them with his talent. Brahms became a lifelong friend to Wieck-Schumann, sustaining her through the illness of Robert, asking for her advice about new compositions, even caring for her young children while she went on tour. It is clear that they developed a deep and life-long love for each other, although there is no indication that it was ever consummated physically.

Clara Schumann's reputation brought her into contact with the leading musicians of the day, including Mendelssohn, Chopin and Liszt. She also met violinist Joseph Joachim who became one of her frequent performance partners.

Clara Schumann often took charge of the finances and general household affairs due to Robert's mental instability. Part of her responsibility included making money, which she did by giving concerts, although she continued to play throughout her life not only for the income, but because she was a concert artist by training and by nature. Robert, while admiring her talent, wanted a traditional wife to bear children and make a happy home, which in his eyes and the eyes of society were in direct conflict with the life of a performer. Furthermore, while she loved touring, Robert hated it.

After Robert's death (July 29, 1856), Clara devoted herself principally to the interpretation of his works. But when she first visited England in 1856, the critics received Robert's music with a chorus of disapproval. She returned to London in 1865 and continued her visits annually, with the exception of four seasons, until 1882. She also appeared there each year from 1885 to 1888. In 1878 she was appointed teacher of the piano at the Hoch Conservatory in Frankfurt am Main, a post she held until 1892, and in which she contributed greatly to the improvement of modern piano playing technique.

Clara Schumann played her last public concert in Frankfurt in March 1891. Five years later, on March 26, 1896, she suffered a stroke, dying on May 20, at age 77. She is buried at Bonn's Alter Friedhof (Old Cemetery) with her husband.

Clara Schumann was a woman of great character. She was the main breadwinner for her family through giving concerts and teaching, and she did most of the work of organizing her own concert tours. She refused to accept charity when a group of musicians offered to put on a benefit concert for her. In addition to raising her own large family, when one of her children became incapacitated, she took on responsibility for raising her grandchildren. During a time of revolution in Dresden, she famously walked into the city through the front lines, defying a pack of armed men who confronted her, rescued her children, then walked back out of the city through the dangerous areas again.

Classic era

Life

Paisiello was born at Taranto, where he attended the Jesuit college. The beauty of his singing voice attracted attention so much, that in 1754 he was sent to the Conservatorio di S. Onofrio at Naples, where he studied under Francesco Durante, and in due course became assistant master. For the theatre of the Conservatorio, which he left in 1763, he wrote some intermezzi, one of which attracted so much notice that he was invited to write two operas, La Pupilla and Il Mondo al Rovescio, for Bologna, and a third, Il Marchese di Tidipano, for Rome.

His reputation being now firmly established, he settled for some years at Naples, where, despite the popularity of Niccolò Piccinni, Domenico Cimarosa and Pietro Guglielmi, of whose triumphs he was bitterly jealous, he produced a series of highly successful operas, one of which, L'ldolo cinese, made a deep impression upon the Neapolitan public.

In 1772 Paisiello began to write church music, and composed a requiem for Gennara di Borbone, of the reigning dynasty. In the same year he married Cecilia Pallini, and the marriage was a happy one. In 1776 Paisiello was invited by the empress Catherine II of Russia to St Petersburg, where he remained for eight years, producing, among other charming works, his masterpiece, Il barbiere di Siviglia, which soon attained a European reputation. The fate of this opera marks an epoch in the history of Italian art; for with it the gentle suavity cultivated by the masters of the 18th century died out to make room for the dazzling brilliance of a later period.

When, in 1816, Gioachino Rossini set a newly revised and updated version of the libretto to music, under the title of "Almaviva ossia la inutil precauzione" the fans of Paisiello stormed the stage. Il barbiere di Siviglia is now acknowledged as Rossini's greatest work, while Paisiello's opera is only infrequently produced -- a strange instance of poetical vengeance, since Paisiello himself had many years previously endeavoured to eclipse the fame of Giovanni Battista Pergolesi by resetting the libretto of his famous intermezzo, La Serva padrona.

Paisiello left Russia in 1784, and, after producing Il Re Teodoro at Vienna, entered the service of Ferdinand IV of Naples, where he composed many of his best operas, including Nina and La Molinara. After many vicissitudes, resulting from political and dynastic changes, he was invited to Paris (1802) by Napoleon, whose favor he had won five years previously by a march composed for the funeral of General Hoche. Napoleon treated him munificently, while cruelly neglecting two more famous composers, Luigi Cherubini and Etienne Méhul, to whom the new favorite transferred the hatred he had formerly borne to Cimarosa, Guglielmi and Piccinni.

Paisiello conducted the music of the court in the Tuileries with a stipend of 10,000 francs and 4800 for lodging, but he entirely failed to conciliate the Parisian public, who received his opera Proserpine so coldly that, in 1803, he requested and with some difficulty obtained permission to return to Italy, upon the plea of his wife's ill health. On his arrival at Naples Paisiello was reinstated in his former appointments by Joseph Bonaparte and Joachim Murat, but he had taxed his genius beyond its strength, and was unable to meet the demands now made upon it for new ideas. His prospects, too, were precarious. The power of the Bonaparte family was tottering to its fall; and Paisiello's fortunes fell with it. The death of his wife in 1815 tried him severely. His health failed rapidly, and constitutional jealousy of the popularity of others was a source of worry and vexation.

Paisiello's operas (of which he is known to have composed 94) abound with melodies, the graceful beauty of which is still warmly appreciated. Perhaps the best known of these airs is the famous "Nel cor più non mi sento" from La Molinara, immortalized by Beethoven's variations. His church music was very voluminous, comprising eight masses, besides many smaller works; he also produced fifty-one instrumental compositions and many detached pieces. Manuscript scores of many of his operas were presented to the library of the British Museum by Domenico Dragonetti.

The library of the Gerolamini at Naples possesses an interesting manuscript compilation recording Paisiello's opinions on contemporary composers, and exhibiting him as a somewhat severe critic, especially of the work of Pergolesi.

The Grove Concise Dictionary of Music[1] notes that "Paisiello was one of the most successful and influential opera composers of his time. Most of his over 80 operas are comic and use a simple, direct and spirited style, latterly with sharper characterization, more colorful scoring and warmer melodies (features that influenced Mozart). His serious operas have less than the conventional amount of virtuoso vocal writing; those for Russia are the closest to Gluck's 'reform' approach."

Biography

Arne was born in the Covent Garden area of London; his father and grandfather were upholsterers. He was educated at Eton College. A chance meeting with composer Michael Christian Festing would become key as Festing would persuade the elder Arne to allow his son to pursue a career in music. Arne's sister, Susannah Maria Arne, was a famous contralto, who performed in some of his works, including his first opera, Rosamund. (She would later become known professionally as "Mrs Cibber".) They and their brother Richard would often perform Arne's works together. Between 1733 and 1776, Arne wrote music for about 90 stage works, including plays, masques, pantomimes, and opera. Many of his dramatic scores are now lost, probably in the disastrous fire at Covent Garden in 1808.^[1]

Arne was a Freemason^[2] and active in the organisation which has long been centred around the Covent Garden area of London, of which Arne was a native.

On 15 March 1737 [1], Arne married singer Cecilia Young, whose sister, Isabella was the wife of John Frederick Lampe. Arne's operas and masques became very popular, and he received the patronage of Frederick, Prince of Wales, at whose country home, Cliveden, the Masque of Alfred, featuring "Rule Britannia", was debuted.

In 1741 Arne filed a complaint in Chancery pertaining to a breach of musical copyright and claimed that some of his theatrical songs had been printed and sold by Henry Roberts and John Johnson, the London booksellers and music distributors. The matter was settled out of court. Thomas Arne subsequently wrote:
"As Mr. Arne has His Majesty's royal Patent for the sole printing and publishing of his works, he humbly hopes no Gentlemen or Ladies will give any Encouragement to pirated copies, written or printed, such persons who deliver them acting in open contempt of His Majesty's Authority and greatly injuring the Author in his Property. And as Mr. Arne can offend no honest Shopkeeper in maintaining his Right; he gives the Public Notice, that whosoever shall offer to write or print any of his works shall be prosecuted according to law."^{[cite this quote]}
Arne was certainly one of the very first composers to have appealed to the law over copyright issues. ^[3]

In 1750, after an argument with David Garrick, Susannah left Drury Lane for Covent Garden Theatre, and Thomas followed. In 1755, he separated from Cecilia, who, he alleged, was mentally ill. He began a relationship with one of his pupils, Charlotte Brent, a soprano and former child prodigy. Brent performed in several of Arne's works including the role of Sally in his 1760 opera Thomas and Sally and Mandane in his 1762 opera Artaxerxes. Thomas and Sally was the first English comic opera to be sung throughout (it contained no dialogue).^[1] Artaxerxes was one of the most successful and influential English operas of the eighteenth century and is the only known attempt to write an Italianate, Metastasian opera seria, in the English language.^[4] Eventually Brent and Arne went their separate ways and Brent married a violinist. In 1777, shortly before his death, Arne and his wife were reconciled. They had one son, Michael Arne. Thomas Arne is buried at St Paul's, Covent Garden, London.

21st century

Biography

Berio was born on Oneglia (now Borgo d'Oneglia, a small village 3 km N of Imperia). He was taught the piano by his father and grandfather who were both organists. During World War II he was conscripted into the army, but on his first day he injured his hand while learning how a gun worked. He spent time in a military hospital, before fleeing to fight in anti-Nazi groups. Following the war, Berio studied at the Milan Conservatory under Giulio Cesare Paribeni and Giorgio Federico Ghedini. He was unable to continue studying the piano because of his injured hand, so instead concentrated on composition. In 1947 came the first public performance of one of his works, a suite for piano.Berio made a living at this time accompanying singing classes, and it was in doing this that he met American mezzo-soprano Cathy Berberian, whom he married shortly after graduating (they divorced in 1964). Berio would write many pieces exploiting her versatile and unique voice.

In 1951, Berio went to the United States to study with Luigi Dallapiccola at Tanglewood, from whom he gained an interest in serialism. He later attended the Internationale Ferienkurse für Neue Musik at Darmstadt, meeting Pierre Boulez, Karlheinz Stockhausen, György Ligeti and Mauricio Kagel there. He became interested in electronic music, co-founding the Studio di Fonologia, an electronic music studio in Milan, with Bruno Maderna in 1955. He invited a number of significant composers to work there, among them Henri Pousseur and John Cage. He also produced an electronic music periodical, Incontri Musicali.

In 1960, Berio returned to Tanglewood, this time as Composer in Residence, and in 1962, on an invitation from Darius Milhaud, took a teaching post at Mills College in Oakland, California. In 1965 he began to teach at the Juilliard School, and there he founded the Juilliard Ensemble, a group dedicated to performances of contemporary music. In 1966, he again married, this time to the noted philosopher of science Susan Oyama (they divorced in 1972). His students include Louis Andriessen, Steve Reich, Luca Francesconi and, perhaps most surprisingly, Phil Lesh of the Grateful Dead.

All this time Berio had been steadily composing and building a reputation, winning the Italian Prize in 1966 for Laborintus II. His reputation was cemented when his Sinfonia was premiered in 1968. In 1972, Berio returned to Italy. From 1974–80 he acted as director of the electro-acoustic division of IRCAM in Paris, and in 1977 he married for the third time with musicologist Talia Pecker. In 1987 he opened Tempo Reale in Florence, a centre similar in intent to IRCAM. In 1994 he became Distinguished Composer in Residence at Harvard University, remaining there until 2000. He was also active as a conductor and continued to compose to the end of his life. In 2000, he became Presidente and Sovrintendente at the Accademia Nazionale di Santa Cecilia in Rome. Luciano Berio died in 2003 in a hospital in Rome.

Biography

Xenakis was born in Brăila, Romania to Clearchos Xenakis and Fotini Pavlou, and was educated as a child by a series of governesses. At the age of ten he was sent to a boarding school on the Aegean island of Spetsai, Greece and later studied architecture and engineering in Athens. Xenakis participated in the Greek Resistance during World War II and during the period of British martial law,^[8][9] in the first phase of the Greek Civil War as a member of the communist students' company Lord Byron of the leftwing ELAS (Ethnikos Laikos Apeleftherotikos Stratos, Greek People's Liberation Army). He received a severe face wound from a British shell which resulted in the loss of eyesight in one eye.^[10] In 1947 he fled under a false passport to Paris. In the meantime, in Greece he was sentenced in absentia to death by the right-wing administration. In Paris he worked with Le Corbusier; while his assistant, Xenakis designed the Philips Pavilion for the 1958 World's Fair in Brussels.^[11] The Pavilion's hyperbolic structure was, in fact, based on the formative structure of one of his most famous pieces, Metastaseis, composed some four years earlier. The dual nature of "Metastaseis" and the Pavilion are an example of Xenakis' theory of meta-art – the concept that an artistic expression can be realized mathematically in any artistic medium.^[12] Xenakis performed at many world expositions and fairs, and played annually in the Shiraz Art Festival in Iran.

Xenakis's primary teachers of composition were Aristotelis Koundouroff, Arthur Honegger, Darius Milhaud, and Olivier Messiaen.^[13]. His first meeting with Honegger exemplifies his attitude toward formal instruction: asked to play one of his compositions on the piano, Xenakis was stopped promptly as Honegger pointed out parallel fifths and octaves. Xenakis had written them intentionally and refused to "correct" the piece. Honegger attempted to humiliate Xenakis, who simply left to study with Milhaud. However, he believed Milhaud's teaching also imposed restrictions he found arbitrary and inessential.^{[verification needed]}

Meanwhile, he continued to work full-time as an architect in Le Corbusier's employ, composing only as a hobby. Xenakis was a creative architect, exploring the possibilities of new materials and shapes in construction, and was frequently entrusted with important projects that called on his technical and artistic skills. Le Corbusier, who came from a musical family (and pretended to hate music) also mentored Xenakis as a composer; he regarded Xenakis and Varèse as two of France's most innovative and promising.^{[verification needed]}

Later, Xenakis approached Olivier Messiaen for compositional advice, expecting to have to start his musical studies again from the beginning, but was told "No, you are almost thirty, you have the good fortune of being Greek, of being an architect and having studied special mathematics. Take advantage of these things. Do them in your music." Messiaen, whose own compositional style did not follow established precedents, did not try to impose the limitations of baroque counterpoint or serialism as previous teachers had, but rather let Xenakis find his own musical ideas and guided them along. Xenakis attended Messiaen's Paris Conservatoire classes regularly, and his confidence grew along with his compositional skill; he would shortly thereafter combine the mathematical ideas he had been developing in Corbusier's studio with the musical tools he had been honing with Messiaen to produce his first major work.

Notable students include Pascal Dusapin and Robert Carl.

He was married to writer Françoise Xenakis, née Gargouïl. They had a daughter, painter and sculptor Mâkhi Xenakis.

He died in Paris in 2001.

20th century

Sir Edward William Elgar, 1st Baronet, OM, GCVO (2 June 1857 – 23 February 1934) was an English Romantic composer. Several of his first major orchestral works, including the Enigma Variations and the Pomp and Circumstance Marches, were greeted with acclaim. He also composed oratorios, chamber music, symphonies, instrumental concertos, and songs. He was appointed Master of the King's Musick in 1924.

Edward Elgar was born in the small village of Lower Broadheath outside Worcester, England to William Elgar, a piano tuner and music dealer, and his wife Anne (née Greening). The fourth of seven children, Elgar's siblings were Henry John (Harry) (15 October 1848– 5 May 1864), Lucy Ann (Loo)^[1] (born 29 May 1852), Susannah Mary (Pollie) (born 28 December 1854), Frederick Joseph (Jo) (born 28 August 1859), Francis Thomas (Frank) (born 1 October 1861), and Helen Agnes (Dott or Dot) (born 1 January 1864).^[2] His mother, Anne, had converted to Catholicism shortly before Edward's birth, so Edward was baptised and brought up as a Roman Catholic.

Elgar was an early riser, and would often turn to reading Voltaire, Drayton historical classics, Longfellow and other works encouraged by his mother. By the age of eight, he was taking piano and violin lessons, and would often listen to his father playing organ at St. George's church, and soon took it up also. His prime interest, however, was the violin, and his first written music was for that instrument.

Surrounded by sheet music, instruments, and music textbooks in his father's shop in Worcester's High Street, the young Elgar became self-taught in music theory. On warm summer days, he would take manuscripts into the countryside to study them (he was a passionate and adventurous early cyclist from the age of 5). Thus there began for him a strong association between music and nature. As he was later to say, "There is music in the air, music all around us, the world is full of it and you simply take as much as you require."

At the age of 15, Elgar had hoped to go to Leipzig, Germany to study music, but lacking the funds he instead left school and began working for a local solicitor. Around this time he made his first public appearances as a violinist and organist. After a few months, he left the solicitor and embarked on a musical career, giving piano and violin lessons, and working occasionally in his father's shop. Elgar was an active member of the Worcester Glee Club, along with his father, and he accompanied singers, played violin, composed and arranged works, and even conducted for the first time. At 22 he took up the post of bandmaster at the Worcester and County Lunatic Asylum in Powick, three miles south-west of Worcester, a progressive institution which believed in the recuperative powers of music. He composed here too; some of the pieces for the asylum orchestra (music in dance forms) were rediscovered and performed locally in 1996.

In many ways, his years as a young Worcestershire violinist were his happiest. He played in the first violins at the Worcester and Birmingham Festivals, and one great experience was to play Antonín Dvořák's Symphony No. 6 and Stabat Mater under the composer's baton. As part of a wind quintet and for his musical friends, he arranged dozens of pieces by Mozart, Beethoven, Haydn, and other masters, honing his arranging and compositional skills, and applying them to his earliest pieces. Although somewhat solitary and introspective by nature, Elgar thrived in Worcester's musical circles.

Elgar's Salut d'Amour is one of his most well-known works.

In his first trips abroad in 1880-82, Elgar visited Paris and Leipzig, attended concerts by first rate orchestras, and was exposed to the music of Richard Wagner, then the rage. Returning to his more provincial milieu increased his desire for a wider fame. He often went to London in an attempt to get his works published, but this period in his life found him frequently despondent and low on money. He wrote to a friend in April 1884, "My prospects are about as hopeless as ever ... I am not wanting in energy I think, so sometimes I conclude that 'tis want of ability...I have no money--not a cent." ^[3]

At 29, through his teaching, he met (Caroline) Alice Roberts, daughter of the late Major-General Sir Henry Roberts and a published author of verse and prose fiction. Eight years older than Elgar, she became his wife three years later, against the wishes of her family. They were married on 8 May 1889, at Brompton Oratory. Alice's faith in him and her courage in marrying 'beneath her class' were strongly supportive to his career. She dealt with his mood swings and was a generous musical critic. She was also his business manager and social secretary. She did her best to gain him the attention of influential society, though with limited success. In time he would learn to accept the honours given him, realizing that they mattered more to her and her social class. She also gave up some of her personal aspirations to further his career. In her diary she later admitted, "The care of a genius is enough of a life work for any woman." ^[4] As an engagement present, Elgar presented her with the short violin and piano piece Salut d'Amour. With Alice's encouragement, the Elgars moved to London to be closer to the centre of British musical life, and Edward started composing in earnest. The stay was unsuccessful, however, and they were obliged to return to Great Malvern, where Edward could earn a living teaching and conducting local musical ensembles. Though disappointed at the London episode, the return to the country proved better for Elgar's health and as a base of musical inspiration, bringing him closer to nature and to his friends.

Carl August Nielsen (9 June 1865 – 3 October 1931) was a conductor, violinist, and composer from Denmark. His works have long been well known in Denmark and they have been "a mainstay throughout the Nordic countries and, to a lesser extent, in Britain," noted the critic Alex Ross in 2008 in The New Yorker, and rising young conductors such as Gustavo Dudamel and Alan Gilbert are now playing Nielsen's music in the United States.

Carl Nielsen is especially admired for his six symphonies and his concertos for violin, flute and clarinet.

Carl Nielsen appears on the Danish hundred-kroner bill.

Nielsen was the seventh of twelve children in a poor peasant family in Sortelung (Nørre Lyndelse), south of the city of Odense, Denmark. His father was a house painter and amateur musician. Carl first discovered music by experimenting with the sounds and pitches he heard when striking logs in a pile of firewood behind his home. He managed to learn the violin and piano as a child.

He also learned how to play brass instruments, which led to a job as a bugler in the 16th Battalion at nearby Odense. He later studied violin and music theory at the Copenhagen Music Conservatory, but never took formal lessons in composition. Nonetheless, he began to compose. At first, he did not gain enough recognition for his works to support him. During the concert which saw the premiere of his first symphony on 14 March 1894 conducted by Johan Svendsen, Nielsen played in the second violin section. However, the same symphony was a great success when played in Berlin in 1896, and from then his fame grew.

Nielsen continued to play the violin at the Royal Theatre in Copenhagen until 1905, when he became 2nd conductor at the Theatre (till 1914). From 1914-26, he conducted the orchestra of "Musikforeningen". In 1916 he took a post teaching at the Royal Danish Conservatory in Copenhagen, and continued to work there until his death, in his last year as director of the institute.

On 10 April 1891 Nielsen married the Danish sculptor Anne Marie Brodersen, after having met just a month before in Paris, and the couple honeymooned in Italy. Despite a long period of marital strife including a lengthy separation and mutual accusations of infidelity, they remained married until Nielsen's death. They had three children: Irmelin, Anne Marie, and Børge.

For his son-in-law, the Hungarian violinist Dr. Emil Telmanyi, Nielsen wrote his Violin Concerto op. 33 (1911).

Nielsen suffered a serious heart attack in 1925 and from that time on he was forced to curtail much of his activity, although he continued to compose until his death. Also during this period he wrote a delightful memoir of his childhood called My Childhood on Funen (1927). He also produced a short book of essays entitled Living Music (1925). Both have been translated into English. He died in Copenhagen in 1931.

Make it Mine

Wake up everyone
How can you sleep at a time like this
Unless the dreamer is the real you
Listen to your voice
The one that tells you to taste past the tip of your tongue
Leap and the net will appear

I don't wanna wake before
The dream is over
I'm gonna make it mine
Yes I... I known it
I'm gonna make it mine
Yes I'll make it all mine

I keep my life on a heavy rotation
Requesting that it's lifting you up
Up up and away
And over to a table at the gratitude cafe

And I am finally there
And all the angels they'll be singing
Ah la la la ah la la ah Ia la la la la love this

Well I don't wanna break before
The tour is over
I'm gonna make it mine
Oh yes I... I will own it
I'm gonna make it mine
Yes I'll make it all mine...

Timing's everything
And this time there's plenty
I am balancing
Careful and steady
And reveling in energy that everyone's emitting

Well I don't wanna wait no more
Oh I wanna celebrate the whole world
I'm gonna make it mine
Oh yes I'm following your joy
I'm gonna make it mine
Because I... I am open
I'm gonna make it mine
That's why... I will show it
I'm gonna make it oh mine
Gotta make gotta make gotta make gotta make it make
It make it mine
Oh mine...
Yes I'll make it all
Mine

wHat aN oRdinArY dAY...

halo guys... mzta na??.. pasensya if ngayon lng ako nka blog ulit?.. ngayon lng ako nagkagana eh!.. ehehehe... hmmmm,,, ano nga pala ang mga nangyari sa mga nakalipasa na mga araw??.. hmmmmm.... hehehe... di ko na isulat rito ha??.. di ko na naaalala eh!...





"ANG MGA NANGYARI NGAYON!!"



well, as usual late nman ako ngayon sa klase ko pero isang himala na naka abot ako ng sakto.. nagrecite kami tungkol sa mga nangyari sa aming weekend kasi haba ng weekend namin.. 3 days .. sa akin ang sinabi ko ay ORDINARY and BAD.. kasi BAD, nagkasakit kasi ako nang dahil sa ulan.. grrrr... porbida na ulan!!!... dinamay pa ako...


sa math time namin, lumabas ako ng room kasi boring magturo si ma'am Blason.. kasama ko si Cags.. my bestfriend.. hhehe... pumunta kami sa CUBE nila sa dance troupe.. pagdating doon, as usual lonely again sa labas pero nakikinig ng radio ng CP ko..heheheh... wla kasing magawa eh.. natatamad rin akong magbasa..


sa time ng Filipino, wala kaming klase!!... hahahaha.. sobrang saya ko kasi wala kasi akong mairecite sa ma'am namin... harhar.. at si Chevy (my classmate) nagplano na mag half day kami at nagpauto naman lahat ng kaklase ko so, umuwi halos lahat.. hahahaha,,, love it!!..



LUNCH time!!,, hindi ako kumain kasi naiwan ko ang balon ko na kanin sa bahay kasi nagmamadali ako nun.. huhuhuhu.. pero ok lang kasi nakaipon ako ng P50.. hehehehe.. pangload ko.. at nangyari ang best part ng araw ko, nakita ko at nakausap ko ang crush ko.. hahaha.. ganda ng feeling.. hheheh.. naging magnda pa kasi napatawa ko sya.. cute niya talaga!!.. hmmmm....


after LUNCH, nakatanga lang ako sa labas ng CUBE nd dance troupe nag-iisa.. hahaha.. buti na lng dumating ang mga classmates ko at least naging masaya...







wala nang special ang nangyari pagkatapos ng 3pm kasi umuwi na ako.. hwheheh..




"TAPOS"
















salamat sa pagbasa!!!....

















to be continue.....

















+++ Mr. Lonely +++

Fallin'

ooh... yeah..

our little conversations
are turning into little sweet sensations
and they're only getting sweeter everytime

our friendly get togethers
are turning into visions of forever
if i just believe this foolish heart of mine

i can't pretend
that i'm just a friend
'cause i'm thinkin' maybe we were meant to be

chorus:
i think i'm fallin', fallin' in love with you
and i don't, i don't know what to do
i'm afraid you'd turn away
but i'll say it anyway

coda:
i think i'm fallin... for you
i'm fallin' for you...

whenever we're together
wishing that goodbyes would turn to never
'cause with you is where i've always wanna be
whenever i'm beside you
all i really wanna do is hold you
no one else but you has meant this much to me

i can't pretend(ooh...)
that i'm just a friend(i'm just a friend...)
'cause i'm thinkin' maybe we were meant to be

repeat chorus 2x

coda 2:
i think i'm fallin'... for you
i'm fallin' for you
i'm fallin', i'm fallin' for you
i'm fallin', i'm fallin for you
and i don't know what to do, yeah yeah
i'm fallin' for you

Winner at a Losing Game

Baby look here at me have you ever seen me this way
Ive been fumbling for words through the tears and the hurt and the pain
Im gonna lay it all out on the line tonight
And I think that it’s time to tell this uphill fight goodbye

Have you ever had to love someone that just don’t feel the same
Trying to make somebody care for you the way I do
Is like trying to catch the rain
And if love is really forever then
Im a winner at a losing game

I know that baby you’ve tried to find me somewhere inside of you
But you know you can lie girl you can’t hid the truth
Sometimes two hearts just can’t dance to the same beat
So ill pack up my things and I’ll take what remains of me

Have you ever had to love someone that just don’t feel the same
Trying to make somebody care for you the way I do
Is like trying to catch the rain
And if love is really forever then
Im a winner at a losing game

I know that I’ll never be the man that you need or love
Yeh, baby its killing me to stand here and see Im not what you’ve been dreaming of

Have you ever had to love someone that just don’t feel the same
Trying to make somebody care for you the way I do
Is like trying to catch the rain
And if love is really forever
Im a winner at a losing game

If love is really forever Im a winner at a losing game
Oh I’m tired of losing 

Crush

I hung up the phone tonight,
something happened for the first time, deep inside
It was a rush, what a rush
Cause the possibility that you would ever
Feel the same way about me
It's just too much, just too much
Why do I keep running from the truth
All I ever think about is you
You got me hypnotized, so mesmerized, and I just got to know


Do you ever think, when you're all alone
All that we could be, Where this thing could go
Am I crazy or falling in love
Is it real or just another crush
Do you catch a breath, when I look at you
Are you holding back, like the way I do
Cause I'm trying, trying to walk away
But I know this crush ain't goin away, goin away


Has it ever crossed your mind when we were hanging
Spending time girl, are we just friends
Is there more, is there more
See it's a chance we've gotta take
Cause I believe we can make this into
Something that will last, last forever, forever


Do you ever think, when you're all alone
All that we could be, Where this thing could go
Am I crazy or falling in love
Is it real or just another crush
Do you catch a breath, when I look at you
Are you holding back, like the way I do
Cause I'm trying, trying to walk away
But I know this crush ain't goin away, goin away


Why do I keep running from the truth
All I ever think about is you
You got me hypnotized, so mesmerized
And I just got to know


Do you ever think, when you're all alone
All that we could be, Where this thing could go
Am I crazy or falling in love
Is it realor just another crush
Do you catch a breath, when I look at you
Are you holding back, like the way I do
Cause I'm trying, trying to walk away
But I know this crush ain't goin away, goin away

Ms, Independent

Ooh
It's something about
Just something about
The way she moved
I can't figure it out
There's something
About her
(About her)
Say ooh
There's something
About kinda women
That want you
But don't need you
Hey
I can't figure it out
There's something
About her
Cuz she walk like a boss
Talk like a boss
Manicured nalis
Just sent
The pedicure off
She's fly effortlessly
Cuz she move like a boss
Do what a boss
Do
She got me thinking
About getting involved
That's the kinda girl
I need

She got her own thing
That's why I love her
Miss independent
Won't you come
And spend a little time
She got her own thing
That's why I love her
Miss independent
Ooh
The way you shine
Miss independent

Hey, yeah, yeah
Yeah, yeah, yeah
Yeahhh, mmm
Ooh
There's something
About kinda woman
That can do
It for herself
I look at her
And it makes me proud
There's something
About her
There something
Ooh
So sexy
About the kinda women
That don't even
From http://6lyrics.com
Need my help
She says she got it
She got it
No doubt
There's something
About her
Cuz she work
Like the boss
Play like the boss
Car and a crib
She about
To pay em both off
And her bills
Are paid on time
She made for a boss
Soley a boss
Anything less
She's telling em
To get lost
That's the girl
That on my mind

She got her own thing
That's why I love her
Miss independent
Won't you come
And spend
A little time
She got her own thing
That's why I love her
Miss independent
Ooh
The way you shine
Miss independent

Yeah, yeahhh

Her favourite thing
Is to say
Don't worry I got it
And everything she got
Best believe
She bought it
She gon steal my heart
Ain't no doubt about it
Girl
Your everything I need
Said your everything
I need

She got her own thing
That's why I love her
Miss independent
Wont you come
And spend a little time
She got her own thing
That's why I love her
Miss independent
Ooh the way you shine
Miss independent
That's why I love her

Last Day Of INTRAMS...

pasensya kung ngayon lang ako nka blog ulit kasi nga kahapon ay sobrang pagod ako dahil marami ang nangyari kasi last day na kasi ng INTRAMS namin... heto ang mga nangyari kahapon:





sa umaga, tinext ko ang friend ko kung anong oras siya pupunta ng skul kasi para may kasama ako sa skul at hindi ako maging lonely ulit.. hehehe.. sabi nya mga 1pm pa daw siya kaya 1pm na rin ako pumunta pra maging masaya..
pagdating ko dun, ang ingay ng mga pipz sa school.. may nag aanounce, may naglalaro, may nag lalove knot, may mga barkada na nagsisigawan.. ang saya talaga.. hehehe.. pagkakita ko sa kanila (barkada ko) syempre nagbatian at nagsimula na kaming maging masaya dahil sa isa naming friend na magaling magpatawa.. sobrang tawa ko nga kahapon halos nanakit ang aking tiyan.. hehehe..
umikot kami sa school namin para maghanap ng ka-love knot ng friend ko pero wala kasi hindi siya makapili kasi ang mga magaganda, nakuha na.. pero nagtaka ako, bakit walang ka-love knot ang crush ko?.. ang ganda nman nya.. dba?.. haay!.. pero pasalamat na rin ako kasi talagang mag seselos ako.. hahahah...






nag stand by kami ng oval at dun nagkwentuhan ng mga jokes.. hehehe.. kakatawa talaga ni marjun yung friend namin.. grabe magpatawa.. kung sa facial expression pagbabasehan, kalma xa pero pag sa joke na sinasabi talagang nkakatawa.. hahaha.. haay! ewan ko nlng!..





dami nangyari sa hapon na yun.. pagkatapos nun uminom kami ng pepsi na P5 pesos lng pero maliit na baso lng pero sa pag closing na naging P2.. hahaha.. mga bakla kasi ang nakabantay kaya wala masyadong bumibili.. hahaha..











mga 5:40 yata yun, umalis na kami ng school nina Ana, Bem, Cags, Marjun, Alin at pumunta sa Almendras Gym at nanood ng mga acrobacs (acrobats pla..) .. hahaha... habang nasa jeep kami, sobrang tawa namin dahil kay Marjun kasi talagang nakakatawa nya, ang sikip pa sa jeep.. hehehe.. first time ko yun na pumunta ng ibang lugar na kasama ang mga friends ko.. kaya na-excite ako.. hahaha.. pero bumabagabag sa akin "pano na lang if mtalagalan ako?.. papagalitan talaga ako..." pero hindi ko na inisip yun ang mahalaga nung oras na yun ay mag-enjoy at maglibang.. bale treasure every moment as if ther is no tomorrow.. hahaha..



pagdating namin sa Almendras Gym kasma ang ibang friends nila maliban sa mga friends ko, nagsimula na ang palabas at rinig na rinig ko ang tawanan ng mga manonood.. kaya pala sila tumatawa eh kasi nman may clown at mga circus exhibitionist dun.. hehehe.. nkakatawa tlga ng clown.. at salamat sa kanya nakita ko nman ang cute na smile ng crush ko.. napaka cute talaga.. hehehe.. hndi ko nga mapigilang mapangiti na rin kasi sa sobrang cute at ganda nya.. hahaha..











nakakamangha ang mga acrobats nila, hirap gayahin.. at yung mga clown, sobrang nakaktawa.. yung isang performer nga nag balance sa lubid at tumawid.. nakakaba talaga yun at yung nag balance sa plywood na gumagalaw-galaw dahil inilagay nya sa pabilog na lalagyan.. yung iba nag unicycle sa lubid.. wew!!.. nakakakaba talaga yun...

nag basketball pa nga sila gamit ang mga unicycle nila.. ang iba ang taas..










natapos yung palabas ng 10:30pm at nababahala na ako kasi baka pagalitan ako nito.. at mas natagalan pa kami kasi pumunta pa kami sa bahay ng friend namin dun sa malapit at dun nag kwentuhan.. haay nko!.. pero ok lng yun.. charge to experience.. hehehe..
natapos kami ng 11:00pm at umuwi na kami ni cags kasi kami lng ang pareho ang sasakyan.. nakarating ako ng bahay 11:30pm.. hahaha.. kumain ako kasi sobrang gutom na.. hahaha...


















napakasaya ng araw na yun kasi complete yun.. hehe.. kaya pala hindi ako nka blog kahapon kasi pagdating ko sa bahay ay sobrang antok ko na halos hindi na ako makamulat.. bagsak ako agad sa foam.. haha..















ang blog ko ngayon eh, wala kasi this is just a normal day just like the normal people..
hehehe...
pasensya...


















salamat sa pagbasa........





















to be continue....................................



































+++ DeAtH ReApEr +++