Sunday, April 24, 2011

When the roll is called up yonder I'll be there!

When the roll is called up yonder VBR MP3 Format 5.1 mb, When the roll is called up yonder OGG format 1.8 mb which is a free, open standard container format maintained by the Xiph.Org Foundation. The OGG format is unrestricted by software patents and is designed to provide for efficient streaming and manipulation of high quality digital multimedia.

Stereo channel added, hiss and pops removed, amplified and bass boosted by sookietex

Lyrics and Music: James Milton Black (1856–1938) When the roll, is called up yonder I'll be there! Song first published in 1894. CREATED / PUBLISHED Orange, N.J. : Edison, 1916. On label: tenor, baritone and mixed quartet with orchestra. With (reverse side): Abide with me / Elizabeth Spencer, Thomas Chalmers.

RELATED NAMES: Performer: Frederick Wheeler. [performed by] John Young and Frederick Wheeler. MEDIUM: 1 sound disc : analog, 80 rpm ; 10 in. CALL NUMBER: Edison Diamond Disc 80276-R. REPOSITORY: Library of Congress Motion Picture, Broadcasting and Recorded Sound Division Washington, D.C. 20540 USA. DIGITAL ID: edrs 80276r

Suggested credit line: Library of Congress, Motion Picture, Broadcasting, and Recorded Sound Division.

The Library is not aware of any U.S. copyright protection (see Title 17, U.S.C.) or any other restrictions in the materials in the Inventing Entertainment: The Motion Pictures and Sound Recordings of the Edison Companies.


Thomas Edison and his first Phonograph

Photo courtesy Public Domain Clip Art
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This file is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris), in this case James Milton Black (1856–1938), and that most commonly runs for a period of 50 to 70 years from December 31st of that year.

Performance Licence: This recording (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1923, in this case 1916 are now in the public domain.

1. When the trumpet of the Lord shall sound and time shall be no more
And the morning breaks eternal, bright and fair
When the saved of earth shall gather over on the other shore
And the roll is called up yonder, I'll be there!

2. On that bright and cloudless morning when the dead in Christ shall rise
And the glory of His resurrection share
When His chosen ones shall gather to their home beyond the skies
And the roll is called up yonder, I'll be there!

3. Let us labor for the Master from the dawn till setting sun,
Let us talk of all His wondrous love and care;
Then when all of life is over, and our work on earth is done
And the roll is called up yonder, I'll be there!

Chorus:
When the roll, is called up yonder,
When the roll, is called up yonder,
When the roll, is called up yonder
When the roll is called up yonder I'll be there!

This audio is part of the collection: Community Audio
Artist/Composer: Thomas Edison
Keywords: Thomas Edison; hymn; spiritual
Creative Commons license: Public Domain Mark 1.0

Sunday, April 17, 2011

Symphony No. 5 in C minor, Op. 67 Ludwig van Beethoven

Symphony No. 5 in C minor, Op. 67 VBR MP3 Format 7.7 mb, Symphony No. 5 in C minor, Op. 67 OGG format 4.3 mb which is a free, open standard container format maintained by the Xiph.Org Foundation. The OGG format is unrestricted by software patents and is designed to provide for efficient streaming and manipulation of high quality digital multimedia.

The Fifth symphony was finished in 1808, although its composition had occupied Beethoven's attention for many years before. The first two movements were written in 1805, and sketches for them have been found as early as 1800. At its first performance, at Vienna, Dec. 22, 1808, it was numbered on the programme as the Sixth; and the latter, the Pastoral, appeared as the Fifth. Both were finished in the same year, but the priority of the C minor is clearly established by Beethoven's own numbering in the autograph. Like the Sixth, it is dedicated to Prince Lobkowitz and Count Rasoumowsky, noble patrons of music, whose names are thus consigned to immortality.



Ludwig van BeethovenThe C minor symphony is probably the best known and most admired of the nine, perhaps because it is the most human in its qualities. Beethoven himself has left us a clew to its meaning, and with that clew nearly all critics have arrived at substantially the same decision, — namely, that it pictures the struggle of the individual with Fate, the alternations of hope and despair, and the final triumph, in contradistinction, for instance, with the motives of the ninth symphony, where the same struggle is fought, only upon the broader field of the world; where the triumph is the same, only it is the triumph of the universal brotherhood.

In speaking of the first four notes of the opening movement, Beethoven said, sometime after he had finished the symphony: "So pocht das Schicksal an die Pforte " (" Thus Fate knocks at the door "); and between that opening knock and the tremendous rush and sweep of the Finale, the emotions which come into play in the great conflicts of life are depicted.

Composition Licence: This MP3 (or other media file) is in the public domain because its copyright has expired.This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1923 (in this case 1804–08) are now in the public domain.

This file is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris), in this case Ludwig von Beethoven (17 December 1770 – 26 March 1827), and that most commonly runs for a period of 50 to 70 years from December 31st of that year.

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This audio is part of the collection: Community Audio
Artist/Composer: Ludwig van Beethoven
Keywords: Ludwig van Beethoven; Symphony No. 5
Creative Commons license: Public Domain Mark 1.0

Sunday, April 3, 2011

Felix The Cat Feline Follies 1919

Felix The Cat Feline Follies WMV 52.5 mb. Felix The Cat Feline Follies 512Kb MPEG4 15.8 mb. Felix The Cat Feline Follies OGV format 15.2 mb which is a free, open standard container format maintained by the Xiph.Org Foundation. The OGV format is unrestricted by software patents and is designed to provide for efficient streaming and manipulation of high quality digital multimedia. animated gif, 9 frames

Felix the Cats first appearance as Master Tom.

FelineFollies, a Felix the Cat 1919 silent animated short by Pat Sullivan (February 2, 1887, Sydney, New South Wales – February 15, 1933, United States). Length 4 minutes 44 seconds. This version is a derivative of the Internet Archive OGV video with the sound removed by Sookietex on 2011-04-02. The sound added at a later date was most likely not in the public domain.


Mr. Sullivan was a pioneer animator, best known for producing the first Felix the Cat silent cartoons.

This media file is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1923, in this case 1919 are now in the public domain.

This Media file is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris) in this case Pat Sullivan (February 2, 1887 – February 15, 1933 and that most commonly runs for a period of 50 to 70 years from December 31st of that year.

This movie is part of the collection: Community Video
Producer: Pat Sullivan
Audio/Visual: silent
Keywords: Felix The Cat
Creative Commons license: Public Domain Mark 1.0

Sunday, March 27, 2011

Trio no. 1 in B flat Franz Peter Schubert

Trio no. 1 in B flat Franz Peter Schubert VBR MP3 3.5 mb, Trio no. 1 in B flat Franz Peter Schubert OGG format 1.9 mb which is a free, open standard container format maintained by the Xiph.Org Foundation. The OGG format is unrestricted by software patents and is designed to provide for efficient streaming and manipulation of high quality digital multimedia.

Composed by: Franz Peter Schubert January 31, 1797 – November 19, 1828. Artist Name: The New York Trio. Track Title: Trio no. 1 in B flat, part 1- 1st movement- allegro moderato, Op. 99. Album Title: Edison Diamond Disc test pressing 18527-A-1-1

Matrix number: 18527-A-1-1. Recording date: May 23, 1928. Genre: Classical instrumental. Comments: Edison National Historic Site - NPS catalog # EDIS 80125. Engineer: Edison NHS. NPS object catalog number: EDIS 80125.



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This MP3 (or other media file) is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris) in this case Franz Peter Schubert January 31, 1797 – November 19, 1828 and that most commonly runs for a period of 50 to 70 years from December 31st of that year.

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Artist/Composer: Franz Peter Schubert
Keywords: Franz Peter Schubert
Creative Commons license: Public Domain Mark 1.0

Saturday, March 19, 2011

Franklin D. Roosevelt FDR first fireside chat Sunday, March 12, 1933

FDR first fireside chat VBR MP3 Format 9.0 mb, FDR first fireside chat OGG format 6.9 mb which is a free, open standard container format maintained by the Xiph.Org Foundation. The OGG format is unrestricted by software patents and is designed to provide for efficient streaming and manipulation of high quality digital multimedia.

This file is a work of an employee of the United States Government, taken or made during the course of the person's official duties. As a work of the U.S. federal government, the file is in the public domain.

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"Bank Chat" First Fireside Chat Sunday, March 12, 1933 From the collections of the Franklin D. Roosevelt Presidential Library and Museum. This item is in the public domain. "Bank Chat" First Fireside Chat Sunday, March 12, 1933 FULL TEXT in PDF FORMAT

On the Bank Crisis March 12, 1933

http://www.archive.org/download/FdrFiresideChat_740/FDR_First_Fireside_Chat_3-12-33-1_2.mp3



Address of President Roosevelt by radio, delivered from the President's Study in the White House at 10 PM today.

Franklin D. Roosevelt FDR first fireside chatI want to talk for a few minutes with the people of the United States about banking -- with the comparatively few who understand the mechanics of banking but more particularly with the overwhelming majority who use banks for the making of deposits and the drawing of checks. I want to tell you what has been done in the last few days, why it was done, and what the next steps are going to be. I recognize that the many proclamations from State Capitols and from Washington, the legislation, the Treasury regulations, etc., couched for the most part in banking and legal terms should be explained for the benefit of the average citizen. I owe this in particular because of the fortitude and good temper with which everybody has accepted the inconvenience and hardships of the banking holiday. I know that when you understand what we in Washington have been about I shall continue to have your cooperation as fully as I have had your sympathy and help during the past week.

First of all let me state the simple fact that when you deposit money in a bank the bank does not put the money into a safe deposit vault. It invests your money in many different forms of credit-bonds, commercial paper, mortgages and many other kinds of loans. In other words, the bank puts your money to work to keep the wheels of industry and of agriculture turning around. A comparatively small part of the money you put into the bank is kept in currency -- an amount which in normal times is wholly sufficient to cover the cash needs of the average citizen. In other words the total amount of all the currency in the country is only a small fraction of the total deposits in all of the banks.

What, then, happened during the last few days of February and the first few days of March? Because of undermined confidence on the part of the public, there was a general rush by a large portion of our population to turn bank deposits into currency or gold. -- A rush so great that the soundest banks could not get enough currency to meet the demand. The reason for this was that on the spur of the moment it was, of course, impossible to sell perfectly sound assets of a bank and convert them into cash except at panic prices far below their real value.

By the afternoon of March 3 scarcely a bank in the country was open to do business. Proclamations temporarily closing them in whole or in part had been issued by the Governors in almost all the states.

It was then that I issued the proclamation providing for the nation-wide bank holiday, and this was the first step in the Government's reconstruction of our financial and economic fabric.
The second step was the legislation promptly and patriotically passed by the Congress confirming my proclamation and broadening my powers so that it became possible in view of the requirement of time to entend (sic) the holiday and lift the ban of that holiday gradually. This law also gave authority to develop a program of rehabilitation of our banking facilities. I want to tell our citizens in every part of the Nation that the national Congress -- Republicans and Democrats alike -- showed by this action a devotion to public welfare and a realization of the emergency and the necessity for speed that it is difficult to match in our history.

The third stage has been the series of regulations permitting the banks to continue their functions to take care of the distribution of food and household necessities and the payment of payrolls.

This bank holiday while resulting in many cases in great inconvenience is affording us the opportunity to supply the currency necessary to meet the situation. No sound bank is a dollar worse off than it was when it closed its doors last Monday. Neither is any bank which may turn out not to be in a position for immediate opening. The new law allows the twelve Federal Reserve banks to issue additional currency on good assets and thus the banks that reopen will be able to meet every legitimate call. The new currency is being sent out by the Bureau of Engraving and Printing in large volume to every part of the country. It is sound currency because it is backed by actual, good assets.

A question you will ask is this - why are all the banks not to be reopened at the same time? The answer is simple. Your Government does not intend that the history of the past few years shall be repeated. WE do not want and will not have another epidemic of bank failures.

As a result we start tomorrow, Monday, with the opening of banks in the twelve Federal Reserve Bank cities -- those banks which on first examination by the Treasury have already been found to be all right. This will be followed on Tuesday by the resumption of all their functions by banks already found to be sound in cities where there are recognized clearinghouses. That means about 250 cities of the United States.

On Wednesday and succeeding days banks in smaller places all through the country will resume business, subject, of course, to the Government's physical ability to complete its survey. It is necessary that the reopening of banks be extended over a period in order to permit the banks to make applications for necessary loans, to obtain currency needed to meet their requirements and to enable the Government to make common sense checkups.

Let me make it clear to you that if your bank does not open the first day you are by no means justified in believing that it will not open. A bank that opens on one of the subsequent days is in exactly the same status as the bank that opens tomorrow.

I know that many people are worrying about State banks not members of the Federal Reserve System. These banks can and will receive assistance from member banks and from the Reconstruction Finance Corporation. These state banks are following the same course as the national banks except that they get their licenses to resume business from the state authorities, and these authorities have been asked by the Secretary of the Treasury to permit their good banks to open up on the same schedule as the national banks. I am confident that the state banking departments will be as careful as the National Government in the policy relating to the opening of banks and will follow the same broad policy.

It is possible that when the banks resume a very few people who have not recovered from their fear may again begin withdrawals. Let me make it clear that the banks will take care of all needs -- and it is my belief that hoarding during the past week has become an exceedingly unfashionable pastime. It needs no prophet to tell you that when the people find that they can get their money -- that they can get it when they want it for all legitimate purposes -- the phantom of fear will soon be laid. People will again be glad to have their money where it will be safely taken care of and where they can use it conveniently at any time. I can assure you that it is safer to keep your money in a reopened bank than under the mattress.

The success of our whole great national program depends, of course, upon the cooperation of the public -- on its intelligent support and use of a reliable system.

Remember that the essential accomplishment of the new legislation is that it makes it possible for banks more readily to convert their assets into cash than was the case before. More liberal provision has been made for banks to borrow on these assets at the Reserve Banks and more liberal provision has also been made for issuing currency on the security of those good assets. This currency is not fiat currency. It is issued only on adequate security -- and every good bank has an abundance of such security.

One more point before I close. There will be, of course, some banks unable to reopen without being reorganized. The new law allows the Government to assist in making these reorganizations quickly and effectively and even allows the Government to subscribe to at least a part of new capital which may be required.

I hope you can see from this elemental recital of what your government is doing that there is nothing complex, or radical in the process.

We had a bad banking situation. Some of our bankers had shown themselves either incompetent or dishonest in their handling of the people's funds. They had used the money entrusted to them in speculations and unwise loans. This was of course not true in the vast majority of our banks but it was true in enough of them to shock the people for a time into a sense of insecurity and to put them into a frame of mind where they did not differentiate, but seemed to assume that the acts of a comparative few had tainted them all. It was the Government's job to straighten out this situation and do it as quickly as possible -- and the job is being performed.

I do not promise you that every bank will be reopened or that individual losses will not be suffered, but there will be no losses that possibly could be avoided; and there would have been more and greater losses had we continued to drift. I can even promise you salvation for some at least of the sorely pressed banks. We shall be engaged not merely in reopening sound banks but in the creation of sound banks through reorganization. It has been wonderful to me to catch the note of confidence from all over the country. I can never be sufficiently grateful to the people for the loyal support they have given me in their acceptance of the judgment that has dictated our course, even though all of our processes may not have seemed clear to them.

After all there is an element in the readjustment of our financial system more important than currency, more important than gold, and that is the confidence of the people. Confidence and courage are the essentials of success in carrying out our plan. You people must have faith; you must not be stampeded by rumors or guesses. Let us unite in banishing fear. We have provided the machinery to restore our financial system; it is up to you to support and make it work.

It is your problem no less than it is mine. Together we cannot fail.

This audio is part of the collection: Community Audio
Artist/Composer: Franklin D. Roosevelt Presidential Library
Keywords: FDR; fireside chat
Creative Commons license: Public Domain Mark 1.0

Sunday, March 13, 2011

Sonata.No. 16 in c major k.545 Wolfgang Amadeus Mozart

Sonata.No. 16 in c major k.545 VBR MP3 Format 3.0 mb, Sonata.No. 16 in c major k.545 OGG format 2.8 mb which is a free, open standard container format maintained by the Xiph.Org Foundation. The OGG format is unrestricted by software patents and is designed to provide for efficient streaming and manipulation of high quality digital multimedia.

It is indeed difficult to believe that, at the age of only ten Mozart had written the Sonata Facile in C, which is one of his compositions included in this volume. I am sure that its delightfully melodious themes will please every lover of music,

The Piano Sonata No. 16 in C major, K. 545, by Wolfgang Amadeus Mozart was described by Mozart in his thematic catalogue as "for beginners," and it is sometimes known by the name Sonata facile or Sonata semplice.

Mozart added the work to his catalogue on June 26, 1788. The exact circumstances of the work's composition are not known. Although the piece is well known today it was not published in Mozart's lifetime, first appearing in print in 1805.



Composition Licence: This MP3 (or other media file) is in the public domain because its copyright has expired.This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1923 (in this case 1805) are now in the public domain.

This file is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris), in this case Wolfgang Amadeus Mozart ((27 January 1756 – 5 December 1791), and that most commonly runs for a period of 50 to 70 years from December 31st of that year.

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Sonata No. 16 In C Major, K.545 'Sonata Facile'Sonata No. 16 In C Major, K.545 'Sonata Facile' Full Sheet Music in PDF Format.

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Artist/Composer: Wolfgang Amadeus Mozart
Keywords: Wolfgang Amadeus Mozart
Creative Commons license: Public Domain Mark 1.0

Sunday, March 6, 2011

X-37B Space Plane Orbital Test Vehicle

Orbital Test Vehicle X-37B Space Plane MPEG4 13.7 mb. Orbital Test Vehicle X-37B Space Plane 512Kb MPEG4 5.2 mb. Orbital Test Vehicle X-37B Space Plane OGV format 4.4 mb which is a free, open standard container format maintained by the Xiph.Org Foundation. The OGV format is unrestricted by software patents and is designed to provide for efficient streaming and manipulation of high quality digital multimedia. animated gif, 17 frames

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3/5/2011 - CAPE CANAVERAL AIR FORCE STATION, Fla. (AFNS) -- In the latest step to improve space capability and further develop an affordable, reusable space vehicle, Air Force technicians launched the second X-37B here March 5, officials said.

The Orbital Test Vehicle-2 launch comes on the heels of the successful flight of OTV-1, which made an autonomous landing at Vandenberg Air Force Base, Calif., Dec. 3 after 224 days in space.

According to officials, post-flight analysis of OTV-1 revealed OTV-2 needed no significant changes, but detailed assessments of the first mission are ongoing.

"Launch is a very demanding business and having what appears to be a successful launch is always welcome news," said Deputy Under Secretary of the Air Force for Space Programs Richard McKinney, adding he is pleased with the vehicle's initial status reports. "It is important to remember that this is an experimental vehicle; that this is just the second launch; and that we have just started what is a very systematic checkout of the system."

Mr. McKinney explained the second X-37B flight will help Air Force scientists better evaluate and understand the vehicle's performance characteristics and expand upon the tests from OTV-1.

One performance test, for example, will evaluate a change following the flight of OTV-1, which showed potential for greater flexibility in the landing parameters.

Orbital Test Vehicle X-37B Space Plane
"We look forward to testing enhancements to the landing profile," said Lt. Col. Troy Giese, X-37B program manager for the Air Force Rapid Capabilities Office, which leads the Department of Defense OTV program.

Colonel Giese added that program officials want to test landing capabilities in stronger wind conditions.

"The X-37B really is a remarkable scientific and aerospace achievement," he said. "We'll also be looking at the performance of its advanced thermal protection systems and tiles, solar power systems and environmental modeling - all important system capabilities for a space vehicle that we want to be able to bring back and then re-launch quickly."

Power and environmental protections are also important to one of the most promising capabilities of the vehicle: its orbit duration, which is much longer than a manned mission like NASA's space shuttle, Colonel Giese said.

Similar to OTV-1, OTV-2's actual mission duration will depend on the vehicle achieving its test objectives, but he expects it to remain on orbit for approximately 270 days.

"We may extend the mission to enhance our understanding of the OTV capabilities," Colonel Giese said, "especially since the performance data from the first flight suggest that the vehicle could have gone beyond the 270-day requirement."

Air Force officials assert the X-37B program has the potential to make space experiments more affordable, which would allow future experiment designers to focus resources and dollars on technology and innovation rather than on basic services, layers of redundancy, or ground operations.

"This program provides a test capability that was difficult to achieve through other means, the ability to examine how highly complex technologies will perform in space before they are made operational," Mr. McKinney said, "But right now our focus is on the X-37B itself, and this second flight is important to our further understanding of its capabilities."

Air Force officials anticipate multiple missions will be required to satisfy the X-37B program test objectives, but a third mission has not yet been scheduled.

The OTV is the United States' newest and most advanced re-entry spacecraft and is the first vehicle since NASA's Shuttle Orbiter with the ability to return experiments to Earth for further inspection and analysis.

by Master Sgt. Amaani Lyle Secretary of the Air Force Public Affairs(Eric Brian contributed to this story)

This movie is part of the collection: Community Video
Producer: The Air Force Space Command
Audio/Visual: sound
Keywords: Orbital Test Vehicle
Creative Commons license: Public Domain Mark 1.0

Sunday, February 27, 2011

Sonata No. 14 in C Sharp Minor (Moonlight Sonata) Op. 27 No. 2 - III. Presto Ludwig van Beethoven

Sonata No. 14 in C Sharp Minor (Moonlight Sonata) VBR MP3 Format 15.1 mb, Sonata No. 14 in C Sharp Minor (Moonlight Sonata) OGG format 2.0 mb which is a free, open standard container format maintained by the Xiph.Org Foundation. The OGG format is unrestricted by software patents and is designed to provide for efficient streaming and manipulation of high quality digital multimedia.

Sonata No. 14 in C Sharp Minor Moonlight, Op. 27 No. 2 - III. Presto Ludwig van Beethoven.

Piano Sonata No. 14 in C♯ minor "Quasi una fantasia", op. 27, No. 2, by Ludwig van Beethoven, popularly known as the Moonlight Sonata (Mondscheinsonate in German), was completed in 1801. It is dedicated to his pupil, 17-year-old Countess Giulietta Guicciardi.



There is probably no composition for the piano of any real merit, by any writer, which is so universally known, at least by name, as this sonata: Every one has heard of it, read about it, and most persons are more or less familiar with the music, or at any rate with portions of it, especially the first movement, which is, technically, easy enough to be executed, in the literal sense, with the greatest facility by every school-girl.

According to strict requirements of the law of form it is, in reality, not a sonata at all, but a free fantasia, in three detached movements, of a very pronounced but widely diverse emotional character. There has been considerable questioning on the part of the public, and much discussion among musicians, as to the origin of its name, its relevancy to the music, and the true artistic significance of the work:

There is little, if any, suggestion of moonlight, or the mood usually associated with a moonlight scene, in any of the movements; but there are several more or less credited traditions concerning it afloat, legitimatizing the title and explaining its origin. Of these, the one that seems to the present writer most fully authenticated and best sustained by the content of the compositions as a whole is the following. It is given, not as a verified fact, but as a suggestive possibility, a legendary background in keeping with the work.

It is a well-known matter of history that, during his early struggles for existence in Vienna, while experiencing the inevitable period of probation, well named the "starvation epoch," common to the lot of every creative artist, and the equally inevitable heritage of great genius, born fifty years in advance of its time,—lack of appreciation and scathing abuse from the self-constituted, self-satisfied foes of all progressive art, called critics,—Beethoven had the additional misfortune to fall deeply, but hopelessly, in love with a beautiful and brilliantly accomplished, though shallow, young heiress, of noble birth and lofty social position, Julie Guicciardi by name, who was, for a short time, one of his pupils. She is said to have returned his affection, but the union was, of course, under the then prevailing conditions, utterly impossible; and even if it could have taken place, would doubtless have proved most incompatible and uncongenial. She was a countess, accustomed to luxury and splendor; he an obscure musician fighting for the bare necessities of life, hardly higher in the social scale than her father's valet and not so well paid. It was absurd; and blind Love had blundered once again in his marksmanship. Or was it an intentional, cruel shaft from the tricky little god? In any case, Beethoven was deeply smitten; and this unlucky passion darkened and saddened his life for many years, and is accountable for much of the somber tone which we find in his compositions of that period.

So much is fact. The story goes that one evening, when wandering in the outskirts of the city, on one of those long, solitary walks, which were his only relaxation, he chanced to pass an elegant suburban villa in which a gay social gathering was in progress. Some one was playing one of his recent compositions as he went by—a rare occurrence in those days. His attention was attracted and, half unconsciously, he stopped to listen—stopped, as luck would have it, in a full flood of moonlight, was recognized from within, and a laughing company of the guests, Julie among them, sallied out, surrounded and captured him, and fairly compelled him to come in and play for them. They insisted that he should improvise and should take for his theme the moonlight which had been the cause of his capture and their unexpected pleasure. The usually reticent, intractable, not to say morose, Beethoven at last consented—under who shall say what subtle spell of Julie's voice and eyes?—and seated himself at the piano.

But those who are at all familiar with his music know that Beethoven was, except in a few rare instances, an emotional, not a realistic writer; a subjective, not an objective artist; reproducing not the scenes and circumstances of his environment or fancied situations, but the emotional impressions which they produced upon his own inner being, colored by his own personality and the mental conditions of the moment, often just the reverse of what might naturally have been expected. What he most keenly felt on this particular occasion was not the soft splendor of the summer night, or the opulent luxury and careless, superficial gaiety about him, but the bitter and cutting contrast which they afforded to his own struggling, sorrow-darkened, care-laden existence, full of disappointments and humiliations, of petty, sordid, yet unavoidable anxieties, with those twin vultures ever at his heart—a hopeless love, an unappreciated genius. The result was moonlight music in which no gleam of moonlight was reflected; only its somber shadow lying heavily and depressingly upon the stream of his emotions, which poured themselves out through the harmonies of this composition with an unconscious power and truth and a pathetic grandeur which have justly made it world-famous.

The first movement expresses unmingled sadness, but without any weakness of vain complaint; a calm, candid, but hopeless recognition of the inevitable:

The second seems to be an attempt at a lighter, more cheerful strain, a fleeting recollection of his ostensible theme; but it is only partially successful and very brief, and is followed by a reaction into r mood far more intense and darkly fierce than the first;

The last movement is full of indignant protest, of passionate rebellion, with occasional bursts of fiery defiance: In it we see the strong soul, surging like the waves of a mighty sea against the rocky borders of fate, striving desperately to break through or over them, and returning again and again to the fruitless attempt, with a courage only equaled by its futility. It is the Titan Beethoven battling with the gods of destiny.

It is, of course, unlikely, even impossible, that this improvisation,—the tradition being true,—was precisely the music of the Moonlight Sonata in its present form. It could but furnish the themes, outlines, and moods of the various movements, subsequently developed into the composition so widely known and admired.

Composition Licence: This MP3 (or other media file) is in the public domain because its copyright has expired.This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1923 (in this case 1801) are now in the public domain.

This file is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris), in this case Ludwig von Beethoven (17 December 1770 – 26 March 1827), and that most commonly runs for a period of 50 to 70 years from December 31st of that year.

Performance Licence: This work has been released into the public domain by its author, Paul Pitman at musopen.com

Public domain works are not protected by U.S. copyright law and are free to be used, copied, performed and distributed by anyone for any purpose, even if sold for profit.

This audio is part of the collection: Community Audio
Artist/Composer: Ludwig van Beethoven / Paul Pitman
Keywords: Beethoven; Moonlight Sonata
Creative Commons license: Public Domain Mark 1.0

RESOURCE:

Sunday, February 20, 2011

Supercell Thunderstorm and Tornadoes VIDEO

Supercell Thunderstorm and Tornadoes Windows Media 13.7 mb. Supercell Thunderstorm and Tornadoes 512Kb MPEG4 13.4 mb. Supercell Thunderstorm and Tornadoes OGV format 12 mb which is a free, open standard container format maintained by the Xiph.Org Foundation. The OGV format is unrestricted by software patents and is designed to provide for efficient streaming and manipulation of high quality digital multimedia. animated gif, 7 frames

April 24th Reno County Tornado! (4/25/2007) By: Robb Lawson and Chance Hayes. Multiple Tornadoes from supercell in Reno and Rice Counties. During the evening hours of Tuesday April 24th, a small but powerful supercell thunderstorm tracked across Northwest Reno County. This storm produced several small short-lived tornadoes across Northwest Reno County. Video shot by NWS Wichita Meteorologist Robb Lawson

supercell thunderstormPicture of funnel cloud southwest of Nickerson at around 7pm. Picture taken by NWS meteorologist Robb Lawson. This image, video and accompanying story was brought to you by the National Weather Service - Wichita, Kansas

Use of Data and Products: The information on government servers are in the public domain, unless specifically annotated otherwise, and may be used freely by the public so long as you do not 1) claim it is your own (e.g. by claiming copyright for NWS information), 2) use it in a manner that implies an endorsement or affiliation with NOAA/NWS, or 3) modify it in content and then present it as official government material. You also cannot present information of your own in a way that makes it appear to be official government information.


As required by 17 U.S.C. 403, third parties producing copyrighted works consisting predominantly of the material appearing in NWS Web pages must provide notice with such work(s) identifying the NWS material incorporated and stating that such material is not subject to copyright protection.

This file is a work of a employee of the NOAA/NWS, taken or made during the course of the person's official duties. As a work of the U.S. federal government, the file is in the public domain.

Generally speaking, works created by U.S. Government employees are not eligible for copyright protection in the United States. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office.

This movie is part of the collection: Community Video
Producer: NOAA/NWS
Audio/Visual: sound
Keywords: Thunderstorm
Creative Commons license: Public Domain Mark 1.0

Saturday, February 12, 2011

Für Elise Bagatelle No. 25 in A minor Ludwig van Beethoven

Für Elise Bagatelle No. 25 in A minor in VBR MP3 Format 2.8 mb, Für Elise Bagatelle No. 25 in A minor OGG format 2.0 mb which is a free, open standard container format maintained by the Xiph.Org Foundation. The OGG format is unrestricted by software patents and is designed to provide for efficient streaming and manipulation of high quality digital multimedia.

Ludwig van Beethoven, (December 17, 1770 – March 26 1827) Born in Bonn, then the capital of the Electorate of Cologne and a part of the Holy Roman Empire of the German Nation in present-day Germany, he moved to Vienna in his early twenties and settled there.

Bagatelle No. 25 in A minor (WoO 59 and Bia 515) for solo piano, commonly known as "Für Elise" (English: "For Elise") by Ludwig van Beethoven. The score was not published until 1867, 41 years after the composer's death.



Für Elise Bagatelle No. 25 in A minorAuthor: Composed by Ludwig van Beethoven, Performed by (Gaodifan)

Composition Licence: This MP3 (or other media file) is in the public domain because its copyright has expired.This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1923 (in this case 1867) are now in the public domain.

This file is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris), in this case Ludwig von Beethoven (17 December 1770 – 26 March 1827), and that most commonly runs for a period of 50 to 70 years from December 31st of that year.

Performance Licence: I Gaodifan, the copyright holder of this work, release this work into the public domain. This applies worldwide. In some countries this may not be legally possible; if so: I grant anyone the right to use this work for any purpose, without any conditions, unless such conditions are required by law.

This audio is part of the collection: Community Audio
Artist/Composer: Beethoven/Gaodifan
Keywords: Beethoven
Creative Commons license: Public Domain Mark 1.0

Sunday, February 6, 2011

Suez Canal Seized By Egyptians VIDEO

Suez Canal Seized By Egyptians MPEG2 format 18.5 mb Suez Canal Seized By Egyptians 512Kb MPEG4 2.8 mb. Suez Canal Seized By Egyptians OGV format 2.6 mb which is a free, open standard container format maintained by the Xiph.Org Foundation. The OGV format is unrestricted by software patents and is designed to provide for efficient streaming and manipulation of high quality digital multimedia. animated gif, 9 frames

Nasser tells crowd he has seized Suez Canal, pictures of canal and Mideast (partial newsreel).

Universal Newsreel, produced from 1929 to 1967, was released twice a week. Each issue contained six or seven short stories, usually one to two minutes in length, covering world events, politics, sports, fashion.

Universal City Studios gifted Universal Newsreel to the American people, put the newsreels into the public domain, and gave film materials to the National Archives in 1976. Surviving materials from the entire collection are available at the National Archives and Records Administration in College Park, Maryland.


The Suez Crisis, also referred to as the Tripartite Aggression, was a war fought by Britain, France, and Israel against Egypt beginning on 29 October 1956.

The attack followed Egypt's decision of 26 July 1956 to nationalize the Suez Canal,

The events that brought the crisis to a head occurred in the spring and summer of 1956. On 16 May, Nasser officially recognised the People's Republic of China, a move that angered the U.S. and its secretary of state, John Foster Dulles, a keen sponsor of Taiwan. This move, coupled with the impression that the project was beyond Egypt's economic capabilities, caused Eisenhower to withdraw all American financial aid for the Aswan Dam project on 19 July.

Nasser's response was the nationalization of the Suez Canal. On 26 July, in a speech in Alexandria, Nasser gave a riposte to Dulles. During his speech he deliberately pronounced the name of Ferdinand de Lesseps, the builder of the canal, a code-word for Egyptian forces to seize control of the canal and implement its nationalization.

This movie is part of the collection: Universal Newsreels
Production Company: Universal Studios
Audio/Visual: sound, b&w
Creative Commons license: Public Domain
TEXT RESOURSE: Suez Crisis From Wikipedia

Monday, January 24, 2011

Enrico Caruso Recondita armonia Giacomo Puccini Tosca

Enrico Caruso Recondita armonia Giacomo Puccini Tosca VBR MP3 4.12 mb, Enrico Caruso Recondita armonia Giacomo Puccini Tosca OGG format 1.7 mb which is a free, open standard container format maintained by the Xiph.Org Foundation. The OGG format is unrestricted by software patents and is designed to provide for efficient streaming and manipulation of high quality digital multimedia.

Enrico Caruso's (1873-1921) performance of "Recondita armonia", ("Hidden harmony") from Giacomo Puccini's (1858-1924) Tosca. This is Matrix B-8347, recorded November 6, 1909, and released under various labels

Recondita Armonia is the first romanza in the opera Tosca, by Giacomo Puccini. It is sung by the painter, Mario Cavaradossi, when comparing his love, Tosca, to a lady he was painting.

Tosca is an opera in three acts set to an Italian libretto by Luigi Illica and Giuseppe Giacosa. It premiered at the Teatro Costanzi in Rome on 14 January 1900.



Composition Licence: This MP3 (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1924, in this case 1900 are now in the public domain.

This file is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris in this case Giacomo Puccini (1858-1924), and that most commonly runs for a period of 50 to 70 years from December 31 of that year.

Enrico CarusoPerformance Licence: This recording (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1924, in this case 1909 are now in the public domain.

This file is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris in this case Enrico Caruso (1873-1921), and that most commonly runs for a period of 50 to 70 years from December 31 of that year.

Libretto:

Italian

Dammi i colori...

Recondita armonia di bellezze diverse!
È bruna Floria, l'ardente amante mia.
E te, beltade ignota, cinta di chiome bionde,
Tu azzurro hai l'occhio,
Tosca ha l'occhio nero!

L'arte nel suo mistero,
le diverse bellezze insiem confonde...
Ma nel ritrar costei,
Il mio solo pensiero,
Il mio sol pensier sei tu,
Tosca, sei tu!

Translation in English

Pass me the colors...

Concealed harmony of contrasting beauties!
Floria, my ardent lover, is dark haired.
And you, unknown beauty, crowned with blond hair,
You have blue eyes,
Tosca has black eyes!

Art, in its mysterious way,
blends the contrasting beauties together...
But while I'm painting her,
My only thought,
My only thought is of you,
Tosca, it is of you!

This audio is part of the collection: Community Audio
Artist/Composer: Giacomo Puccini Enrico Caruso
Keywords: Enrico Caruso; Puccini; Tosca
Creative Commons license: Public Domain Mark 1.0

TEXT CREDIT:

Sunday, January 23, 2011

Johann Sebastian Bach Fugue in C major

Bach Fugue in C major VBR MP3 1.6 mb, Bach Fugue in C major OGG format 1.2 mb which is a free, open standard container format maintained by the Xiph.Org Foundation. The OGG format is unrestricted by software patents and is designed to provide for efficient streaming and manipulation of high quality digital multimedia.

Johann Sebastian Bach March 31, 1685 – July 28, 1750 was a German composer, organist, harpsichordist, violist, and violinist. He is now generally regarded one of the main composers of the Baroque style,

Performance Licence: converted and placed into the public domain by the creator Mutopia Project. Instrument(s): Harpsichord, Piano, Clavichord, Style: Baroque, Opus: BWV 953, Copyright: Public Domain. Music ID Number: Mutopia-2002/07/29-254. Johann Sebastian Bach Fugue in C major, Sheet Music in PDF FORMAT



Composition Licence: This MP3 (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1924, are now in the public domain.

This file is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris in this case Johann Sebastian Bach March 31, 1685 – July 28, 1750, and that most commonly runs for a period of 50 to 70 years from December 31 of that year.

This audio is part of the collection: Community Audio
Artist/Composer: Johann Sebastian Bach
Keywords: Johann Sebastian Bach
Creative Commons license: Public Domain Mark 1.0

TEXT CREDIT: Johann Sebastian Bach From Wikipedia

MUSIC FILE CREDIT: Bach Fugue in C major

Sunday, January 16, 2011

Mozart Piano Sonata No. 11, Menuetto

Mozart Piano Sonata No. 11 VBR MP3 4.5 mb, Mozart Piano Sonata No. 11 OGG format 2.7 mb which is a free, open standard container format maintained by the Xiph.Org Foundation. The OGG format is unrestricted by software patents and is designed to provide for efficient streaming and manipulation of high quality digital multimedia.

Performance Licence: converted and placed into the public domain by the creator Mutopia Project. Instrument(s): Piano, Style: Classical, Opus: KV 331, Date of composition: 1778 or 1781-3, Source: Breitkopf & Hartel, Leipzig, Copyright: Public Domain. Sonate Opus KV 331 - Menuetto Sheet Music in PDF FORMAT

The second movement of Mozart's Piano Sonata No. 11. This file is 5:34 long.

This was converted from Image:Piano Sonata No. 11, Menuetto.mid, which is itself from mutopiaproject.org, specifically KV331_2_1_menuetto.mid. Mutopia credits "Breitkopf & Hartel, Leipzig" as a source.

Note that this is synthesized music, not a live recording.



Composition Licence: This MP3 (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1924, in this case c1778 or 1781-3, are now in the public domain.

This file is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris in this case W. A. Mozart (1756–1791), and that most commonly runs for a period of 50 to 70 years from December 31 of that year.

MUSIC FILE CREDIT: Sonate Opus KV 331

Friday, January 7, 2011

Humpback Whale Songs Humpback Whale (Megaptera novaeangliae)

Humpback Whale Songs VBR MP3 9 mb, Humpback Whale Songs OGG format 6 mb which is a free, open standard container format maintained by the Xiph.Org Foundation. The OGG format is unrestricted by software patents and is designed to provide for efficient streaming and manipulation of high quality digital multimedia.

Whale Songs, Humpback Whale (Megaptera novaeangliae): Singing humpback whale recorded in The Hawaiian Islands Humpback Whale National Marine Sanctuary waters.

Although many species of whales and dolphins are vocal, humpback whales are best known for their songs. The “humpback song” consists of sequences of sounds that are repeated over and over in a pattern. Patterns of humpback whale sounds change from year to year and can vary in different parts of the ocean. Scientists have found that male humpback whales sing while in their breeding grounds. Other humpback whale sounds have also been recorded in feeding areas. Each of the sounds made by the humpback is thought to have a distinct purpose.



Most NOAA photos and files are in the public domain and CANNOT be copyrighted.

There is no fee for downloading any images or other files on the NOAA site.

This file is a work of a employee of the National Oceanic & Atmospheric Administration (NOAA), taken or made during the course of the person's official duties. As a work of the U.S. federal government, the file is in the public domain.

Generally speaking, works created by U.S. Government employees are not eligible for copyright protection in the United States. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright.

Credit requested be given to the National Oceanic and Atmospheric Administration/Department of Commerce. Where a photographer is noted, please credit the photographer and his/her affiliated organization as well.

The information on government servers are in the public domain, unless specifically annotated otherwise, and may be used freely by the public so long as you do not 1) claim it is your own (e.g. by claiming copyright for NOAA information -- see below), 2) use it in a manner that implies an endorsement or affiliation with NOAA, or 3) modify it in content and then present it as official government material. You also cannot present information of your own in a way that makes it appear to be official government information.

This audio is part of the collection: Community Audio
Artist/Composer: the National Oceanic and Atmospheric Administration
Keywords: Whale Songs; Humpback Whales
Creative Commons license: Public Domain Mark 1.0

Sunday, January 2, 2011

The Blue Danube a Waltz

The Blue Danube VBR MP3 2.5 mb, The Blue Danube OGG format 2.7 mb which is a free, open standard container format maintained by the Xiph.Org Foundation. The OGG format is unrestricted by software patents and is designed to provide for efficient streaming and manipulation of high quality digital multimedia.

The Blue Danube, An der schönen blauen Donau, Op. 314 (At the Beautiful Blue Danube), a waltz by the Austrian composer Johann Strauss II, composed in 1866.

Johann Strauss II (October 25, 1825 – June 3, 1899; also known as Johann Baptist Strauss, Johann Strauss, Jr., the Younger, or the Son. An Austrian composer he composed over 500 waltzes, polkas, quadrilles, and other types of dance music, as well as several operettas and a ballet. He is known as "The Waltz King",

Played by Finnish orchestra Rytmi-Pojat, directed by Eugen Malmstén. The recording Tonava kaunoinen Kultaa ja hopeaa by Columbia. Doria database of Finnish National Library



Composition Licence: This MP3 (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1924, in this case 1866, are now in the public domain.

Johann Strauss

Johann Strauss
This file is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris in this case Johann Strauss II October 25, 1825 – June 3, 1899), and that most commonly runs for a period of 50 to 70 years from December 31 of that year.

Performance Licence: This image (or other media file) is in the public domain because its copyright has expired. According to the Finnish copyright law, the rights to the recording lapse 50 years after the publication of the recording. This recording was published in 1936 and the rights to it have lapsed.

This audio is part of the collection: Community Audio
Artist/Composer: Johann Strauss II
Keywords: The Blue Danube; Johann Strauss II; waltz
Creative Commons license: Public Domain Mark 1.0