SOON AND VERY SOON
Dimitris Karavelis & Athens Choir Ensemble

Genre : Classical 

Catalogue: Phasma-Music 116

UPC: 731093480980

ΑΘΗΝΑΪΚΟ ΧΟΡΩΔΙΑΚΟ ΣΥΝΟΛΟ “ATHENS CHOIR ENSEMBLE”
  Leader, Pianist and Conductor: DIMITRIS KARAVELIS

Piano, orchestration and midi programming: Dimitris Karavelis

Sound engineer: Alexandros Chrysidis (SIERRA STUDIOS)

Graphic design: Michail Travlos

Production management: Iwona Glinka

Front Cover: Digital Art by Dimitris Karavelis

01. Fame
  Συνθέτης: Michael Gore -Στιχουργός : Dean Pitchford
  Ενορχηστρωτής: Jeff Funk / Ενορχήστρωση για ροκ μπάντα: Δημήτρης Καραβέλης
02. Dancing Queen
  Συνθέτης & Στιχουργός: ΑΒΒΑ
  (Benny Andersson & Stig Anderson, Björn Ulvaeus)
    Ενορχηστρωτής: Jeff Funk / Ενορχήστρωση για ροκ μπάντα: Δημήτρης Καραβέλης
03. Jesus Christ Superstar (highlights)
  Συνθέτης: Andrew Lloyd Webber - Στιχουργός : Tim Rice/ Διασκευή: Neil Slater                                               
                                                                        Ροκ Μπάντα
    Solo (Judas): Νίκος Ρουσσάκης /Solo (Mary Magdalene): Μαργαρίτα Σταμούλη
    Keyboards: Νικηφόρος Χρυσολωράς / Guitars (Electric & Acoustic): Σπύρος Λούκος
    Electric Bass: Αλέξανδρος Μασμανίδης / Drums: Δημήτρης Ρουβέλας
    Ενορχήστρωση για ροκ μπάντα: Δημήτρης Καραβέλης

04. Clap yo'hands

    Συνθέτης: George Gershwin - Στιχουργός : Ira Gershwin

    Διασκευή: Pete King / Πιάνο: Δημήτρης Καραβέλης

05. Goodnight sweetheart

    Συνθέτης: Calvin Carter - Στιχουργός : James Hudson

    Διασκευή:  Robert Sund / Ενορχήστρωση & Πιάνο: Δημήτρης Καραβέλης

06. Love changes everything 

    Συνθέτης: Andrew Lloyd Webber Στιχουργοί : Don Black & Charles Hurt

    Διασκευή: Ed Lojeski  / Πιάνο: Δημήτρης Καραβέλης

07. I am but a small voice 

    Συνθέτης : Roger Whittaker - Στιχουργός : Odina Batnac

    Διασκευή: John Coates, Jr / Ενορχήστρωση & Πιάνο: Δημήτρης Καραβέλης

08. Train for Jubilee

    Συνθέτης & Στιχουργός: Joseph M. Martin/ Πιάνο: Δημήτρης Καραβέλης

09. Lift them up
    Συνθέτης & Στιχουργός: Lon Beery / Πιάνο: Δημήτρης Καραβέλης

10. The Battle of Jericho
  Συνθέτης: Moses Hogan - Traditional Spiritual
11. Bridge over troubled water
  Συνθέτης & Στιχουργός: Paul Simon - Διασκευή: Kirby Shaw
  Πιάνο: Δημήτρης Καραβέλης
12. When I fall in love
  Συνθέτης: Victor Young- Στιχουργός: Edward Heyman/ Διασκευή: Kirby Shaw
13. Soon and very Soon
  Συνθέτης & Στιχουργός: Andraé  Edward Crouch
  Ενορχήστρωση για ροκ μπάντα:  Rollo Dilworth

ΑΘΗΝΑΪΚΟ ΧΟΡΩΔΙΑΚΟ ΣΥΝΟΛΟ “ATHENS CHOIR ENSEMBLE”

Soprani: Αραβανή Χρυσούλα, Θώδη Κατερίνα, Λάμπρου-Πούρη Ευθυμία,
Μαρίνη Σταυρούλα, Μήτσου Καλλιόπη, Μπεκιάρη Ευαγγελία,
Παναγιωτοπούλου Ελένη, Σκουλαρίκου Χαρά

Alti: Βλατάκη Δανάη, Ιωακείμ   Μοσχούλα, Παναγιώτου Κατερίνα,
Σπύρου Αγγελίνα, Φειδοπούλου Μαρία

Tenori: Αργυρέλλης Γιώργος, Γκιουλμπάνογλου Στράτος, Ζουλιάτης Σταύρος,
    Μαραθιανός Χρήστος, Παλτόγλου Θεόδωρος, Χαϊδεμένος Νικόλας-Ορφέας

Bassi: Διμπέλλας Κωνσταντίνος, Νασίκας Γιώργος,
            Παπαγεωργίου Ιωάννης, Τσίτσικας Παναγιώτης
Choral management: Δημήτρης Καραβέλης

ΑΘΗΝΑΪΚΟ ΧΟΡΩΔΙΑΚΟ ΣΥΝΟΛΟ “ATHENS CHOIR ENSEMBLE” 

Φωνητικό επαγγελματικό μικτό σύνολο που ιδρύθηκε το 2002 με πρωτοβουλία του Μαέστρου του, μουσικολόγου- συνθέτη- πιανίστα, Δημήτρη Καραβέλη, με τη στήριξη και συμμετοχή των μελών που το απαρτίζουν - οι περισσότεροι εκ των οποίων ασχολούνται επαγγελματικά με τη μουσική-, για ανάδειξη του χορωδιακού ρεπερτορίου, σύσφιξη των σχέσεων των μελών του σχήματος μέσα από ευρύτερους καλλιτεχνικούς στόχους καθώς και επαφή και γνωριμία του συνόλου μέσω της κοινής συμμετοχής και σύμπραξης με άλλα σχήματα. Το ρεπερτόριο του Α.Χ.Σ. περιλαμβάνει έργα κλασσικής, ελληνικής έντεχνης και ξένης μουσικής (σπιρίτσουαλς, μπαλάντες, μιούζικαλς, ροκ όπερες) με ιδιαίτερη έμφαση στην ενορχήστρωση των έργων. Παράλληλα, σύνολο jazz-rock από μέλη του συνόλου, έχει κατά καιρούς συμπράξει σε ειδικά διασκευασμένα για χορωδία και ροκ μπάντα,  έργα, τόσο  σε δισκογραφικό επίπεδο όσο και σε ζωντανές εμφανίσεις. Έχει διακριθεί με το Α΄ Βραβείο άνευ συναγωνισμού στο διαγωνισμό της Χ.Ο.Ν.(2003), ενώ έχει συμμετάσχει  σε πάρα πολλές εκδηλώσεις ανά την Ελλάδα και την Ιταλία: Ωδείο Αθηνών, Αίθουσα Φιλολογικού Συλλόγου ΄΄Παρνασσός΄΄, Αίθουσα Ωδείου΄΄Φ. Νάκας΄΄, Αίθουσα Αμερικάνικου Κολλεγίου΄΄Deree College΄΄, Γαλλικό Ινστιτούτο, Πανεπιστήμιο Αθηνών, ΄΄HALF NOTE΄΄, Σύνδεσμος Αιγυπτιωτών  Ελλήνων, Ένωση Ιμβρίων, Αιγάλεω, Νέα Μάκρη  Περιστέρι, Πέραμα, Πειραιάς, Κηφισιά, Μαρούσι, Υμηττός, Ηλιούπολη, Βριλήσσια, Ν. Ιωνία, Ν. Ψυχικό,  Λουτράκι, Άσσος Κορινθίας, Τρίπολη(19ο ΠΑ.ΣΥ.ΧΟ.), Ναύπλιο (1ο  και 2ο  Διεθνές Χορωδιακό Φεστιβάλ-2014 & 2015), Άργος, Σύρος (Διεθνές Φεστιβάλ Αιγαίου 2012), Μύλοι Αργολίδας, Μαρτίνο Φθιώτιδας, Σκιάθος, Κοζάνη, κ.α. Τον Νοέμβριο του 2007 συμμετείχε στο διαγωνιστικό πρόγραμμα του ΄΄11ου Διεθνούς Χορωδιακού & Λυρικών Σολίστ Φεστιβάλ Αθηνών΄΄(Θέατρο ΄΄Μ. Θεοδωράκης΄΄- Χολαργός και ΄΄Αίθουσα Αμερικάνικου Κολλεγίου΄΄ «Deree College»). Τον Ιούλιο του 2010 πραγματοποίησε επίσκεψη στα ελληνόφωνα χωριά της Κάτω Ιταλίας και στη Σικελία όπου και εμφανίστηκε με ιδιαίτερη επιτυχία συμπράττοντας μεταξύ άλλων, με την ιταλική χορωδία ''Don Ruggiero Coin'' σε κοντσέρτο στην  πόλη Bova Marina. Τον  Δεκέμβριο του 2011 συνέπραξε με την Συμφωνική Ορχήστρα του Δήμου Αθηναίων και την σοπράνο Αναστασία Τζαννή σε έργα μοντέρνου ρεπερτορίου συμμετέχοντας αφιλοκερδώς για την ενίσχυση του συλλόγου ΄΄ΕΛΠΙΔΑ΄΄, από όπου κυκλοφορεί δίσκος ψηφιακής ακτίνας (CD), ενώ τον Ιανουάριο του 2013 εμφανίστηκε στην τηλεόραση της Ν.Ε.Τ. στην παρουσίαση του δίσκου αυτού. Τον Μάρτιο του 2014 συμμετείχε στο Μέγαρο Μουσικής Αθηνών στην πανελλήνια πρώτη, του ιστορικού έργου του Zoltan Kodaly ΄΄Psalmus Hungaricus ΄΄ με την Κρατική Ορχήστρα Αθηνών με μαέστρο τον Βύρωνα Φιδετζή. Έχει συνεργαστεί με την Παιδική Νεανική Συμφωνική Ορχήστρα της Ε.Ρ.Τ. ερμηνεύοντας σε πρώτη πανελλήνια εκτέλεση έργα του Ακαδημαϊκού και Συνθέτη, Ευάγγελου Μουτσόπουλου (Μουσείο Μπενάκη), ενώ επίσης έχει συμμετάσχει στην πρώτη παγκόσμια εκτέλεση συμφωνικών έργων για Μπάντα και Χορωδία του Μουσουργού και Αρχιμουσικού, Νικηφόρου Νευράκη όπως επίσης και στη συναυλία Ανακήρυξης σε Επίτιμο Πρόεδρο του Συνδέσμου Ελλήνων Μουσουργών, του Πανεπιστημιακού, Μουσουργού και Παιδαγωγού, Βασίλη Μακρίδη.

Συμμετείχε ενεργά στην πανελλήνια πρώτη της όπερας του συνθέτη Αντώνη Καρατζίκη ΄΄Ελένη΄΄ (Δεκέμβριος 2015) καθώς επίσης και στο 2ο Διαγωνισμό Σύνθεσης Χορωδιακών έργων(Μάρτιος 2016).  που διοργάνωσε στην Αθήνα η Στέγη Ελληνικών Χορωδιών, της οποίας είναι Τακτικό Μέλος από το 2009. Εμφανίσθηκε στο 1ο Χορωδιακό Φεστιβάλ του Μητροπολιτικού Ωδείου Λιβαδειάς, στην 22η Χορωδιακή Συνάντηση Θρησκευτικής Μουσικής στην Καλαμάτα, στην 2η  Χορωδιακή Συνάντηση Νίκαιας, στο 18ο  και στο 19ο  Χορωδιακό Φεστιβάλ Αιγίου καθώς  και στο 1ο Χορωδιακό Φεστιβάλ Αρχαίας Ολυμπίας. Κατόπιν πρόσκλησης  από τον ιστορικό σύλλογο « Ένωσις Σμυρναίων» συμμετείχε στην επίσημη τελετή υποδοχής του Σεβασμιώτατου  Μητροπολίτη Σμύρνης  κ.κ. Βαρθολομαίου, στον χώρο της Παλαιάς Βουλής(Οκτώβριος 2017). Συμμετείχε στο 3ο Φεστιβάλ Χορωδιών Δήμου Ηρακλείου, ενώ επανειλημμένως έχει εμφανισθεί σε συναυλίες θρησκευτικής μουσικής στην εκκλησία Αγ. Διονυσίου του Αρεοπαγίτου καθώς και στην Γερμανική Εκκλησία. Τον Απρίλιο του 2018 συμμετείχε κατόπιν πρόσκλησης στο Χορωδιακό Φεστιβάλ Θρησκευτικής Μουσικής Αγίας Παρασκευής, ενώ τον Μάϊο του ίδιου έτους εμφανίσθηκε στο Μέγαρο Μουσικής Αθηνών (αίθουσα Α. Τριάντη) στα πλαίσια του 9ου Διεθνούς Φεστιβάλ Φιλαρμονικών-Χορωδιών & Ορχηστρών καθώς και στο Χορωδιακό Φεστιβάλ Δήμου Βριλησσίων. Επανειλημμένως έχει παρουσιάσει έργα  Ελλήνων συνθετών σε πρώτη εκτέλεση. Συνεργάστηκε με την Φιλαρμονική Λουτρακίου σε έργα θρησκευτικής μουσικής καθώς και στην παραγωγή του μιούζικαλ ΄΄Liberaj΄΄ του  συνθέτη Αντώνη Καρατζίκη. Το Απρίλιο του 2019 συνέπραξε με την Κρατική Ορχήστρα Αθηνών στην παραγωγή της Tosca του G.Puccini στο Μέγαρο Μουσικής Αθηνών με μαέστρο τον Στέφανο Τσιαλή και σπουδαίους Έλληνες και ξένους καλλιτέχνες.

Το Α.Χ.Σ. έχει βραβευθεί στον 3ο Διεθνή Χορωδιακό Διαγωνισμό Interkultur (Καλαμάτα 2019) με Χρυσό Μετάλλιο [Golden Diploma-Level 1] στην κατηγορία S(Sacred Music) και Αργυρό Μετάλλιο[Silver Diploma-Level X] (Mixed Choirs) -το υψηλότερο που δόθηκε στον διαγωνισμό με πρώτο το Α.Χ.Σ. στην κατηγορία αυτή, στο 16ο Διεθνή Διαγωνισμό (Καρπενήσι 2018) με Χρυσό Μετάλλιο στην κατηγορία Μοντέρνων & Jazz Συνόλων όσο και με Αργυρό Μετάλλιο στην κατηγορία Μικτών Χορωδιών στον ίδιο διαγωνισμό καθώς επίσης Αργυρό Μετάλλιο στο 3ο  Διεθνές Διαγωνιστικό Φεστιβάλ(Ναύπλιο 2016). Τον Δεκέμβριο του 2021 και του 2022 συνέπραξε με την Μπάντα του Πολεμικού Ναυτικού στο Μέγαρο Μουσικής Αθηνών σε κοντσέρτο με έργα από το λυρικό και ελληνικό ρεπερτόριο. Τον Δεκέμβριο του 2023 συνέπραξε με το Πινδάρειο Ωδείο Κύπρου και την Φιλαρμονική του Δήμου Στροβόλου-Ευρωπαϊκού Πανεπιστημίου Κύπρου σε κοντσέρτο στο Δημοτικό Θέατρο Στροβόλου (Κύπρος). Στα άμεσα πλάνα του Συνόλου είναι εμφανίσεις σε  χορωδιακά φεστιβάλ και διαγωνισμούς στην Ελλάδα και στο εξωτερικό, ενώ την περίοδο αυτή έχει ολοκληρωθεί στο στούντιο SIERRA η δεύτερη δισκογραφική εργασία του Συνόλου που πρόκειται σύντομα να κυκλοφορήσει. Σύμφωνα με την τελευταία παγκόσμια κατάταξη (2021) του  διεθνούς αναγνωρισμένου γερμανικού χορωδιακού φορέα Interkultur το Α.Χ.Σ. βρίσκεται στο Top 1000 σε όλο τον κόσμο. Από το 2009 είναι Τακτικό Μέλος της Στέγης Ελληνικών Χορωδιών.
Την φωνητική προετοιμασία, διδασκαλία, διεύθυνση και καλλιτεχνική επιμέλεια του Συνόλου έχει από ιδρύσεώς του ο Δημήτρης Καραβέλης, ο οποίος είναι και Πρόεδρος του Δ.Σ. του Συλλόγου.

H διπλωματική εργασία   αποφοίτησής του διαπραγματευόταν την ζωή και το έργο του πολυσχιδούς Έλληνα τυφλού χορδιστή και εφευρέτη Ευάγγελου Τσαμουρτζή, αναδεικνύοντας ουσιαστικά για πρώτη φορά, άγνωστες πτυχές της προσωπικότητάς του. Συμμετείχε ως ενεργό μέλος στα σεμινάρια του μουσικοπαιδαγωγικού συστήματος Kodάly (Κέτσκεμετ Ουγγαρίας 1986), (Εθνικό ωδείο Αθήνας 1987), διετέλεσε ιδρυτικό μέλος της Ελληνικής Εταιρείας Kodάly, ενώ έχει παρακολουθήσει σειρά σεμιναρίων πάνω στην σύγχρονη μουσική, την ανάλυση, την διεύθυνση χορωδιακών και οργανικών συνόλων και το πιάνο με τους Θ. Αντωνίου, Κ. Κλάββα, F.Dabrovsky, F. Kergomalz, P.Erdei, E.Tkats, κ.ά. Ως πιανίστας έχει συμπράξει τόσο σε συναυλίες μουσικής δωματίου  πραγματοποιώντας το 1994 κύκλο εμφανίσεων σε Αθήνα (Αίθουσα Φ.Νάκας), Θεσσαλονίκη (Μύλος) και Κατερίνη (Δημ. Θέατρο) με έργα για φαγκότο και πιάνο, όσο και συναυλίες ορχηστρικής υφής  (“Jesus Christ Superstar”, 1997 & “Showtime” -Deree College, 1999). Επί σειρά ετών έχει συνεργασθεί  με σημαντικά μουσικά ιδρύματα στην Ελλάδα [Πινδάρειο, Ραϋμόνδη, Ευγενίδειο,  Χ.Α.Ν., Λυκαβηττού, Αναγέννηση, Κεντρικό, Ελληνικό (Κεντρικό ίδρυμα & Αμαρουσίου), ΄΄Ορφείο΄΄Αθηνών,΄΄Φ. Νάκας΄,΄Εράτειο, Δημοτικό ωδείο Νίκαιας-Α .Ι. Ρέντη όπου  διετέλεσε και μαέστρος της Συμφωνικής Ορχήστρας Δωματίου του ωδείου] διδάσκοντας πιάνο, ανώτερα θεωρητικά, ιστορικά μαθήματα καθώς και σύνθεση. αφιερώνοντας σημαντικό μέρος της δραστηριότητάς του στην παιδαγωγική. Από το 2002 ίδρυσε και διευθύνει ανελλιπώς μέχρι σήμερα το επαγγελματικό φωνητικό σύνολο ΄΄Αθηναϊκό Χορωδιακό Σύνολο΄΄(ATHENS CHOIR ENSEMBLE) του οποίου είναι Πρόεδρος-Καλλιτεχνικός Διευθυντής & Μαέστρος με το οποίο έχει πραγματοποιήσει πολλές σημαντικές καλλιτεχνικές εμφανίσεις σε χορωδιακά φεστιβάλ και διαγωνισμούς σε όλη την Ελλάδα και την Ιταλία (Bova Marina) παρουσιάζοντας, προβάλλοντας  και ηχογραφώντας μεταξύ άλλων και έργα Ελλήνων συνθετών σε πρώτη εκτέλεση. Συγκεκριμένα εμφανίσθηκε σε χώρους όπως :Πνευματικό Κέντρο Γ. Ρίτσος: 2002-03-04, Ωδείο Αθηνών τελετή απονομής βραβείων διαγωνισμού «Φίλωνα»(Απρίλιος 2002), Ελληνικό ωδείο Αμαρουσίου (Δεκέμβριος 2002), συμμετοχή στο Xορωδιακό φεστιβάλ Υμηττού (Μάρτιος 2003), ωδείο Σαπφώ (Ιούνιος 2003), ΄΄Ορφείο΄΄ ωδείο Αθηνών (2004), Ωδείο Αθηνών (συμμετοχή σε συναυλία στη μνήμη του Κ. Κυδωνιάτη) (2006),10η Χορωδιακή Συνάντηση Ηλιούπολης (2006), Χορωδιακό Φεστιβάλ Σκιάθου (2006), ενώ στον χορωδιακό διαγωνισμό της Χ.Ο.Ν. με  το 2003 το Α.Χ.Σ. απέσπασε το Α΄ Βραβείο άνευ συναγωνισμού. Συμμετείχε στην πρώτη παγκόσμια εκτέλεση συμφωνικών  έργων  για  Μπάντα  και  Χορωδία  του Μουσουργού, Παιδαγωγού και Αρχιμουσικού, Νικηφόρου Νευράκη (Σύλλογος Ποντίων ΄΄ΑΡΓΟΝΑΥΤΑΙ-ΚΟΜΝΗΝΟΙ΄΄- Φεβρουάριος 2007), όπως επίσης και στη συναυλία Ανακήρυξης σε Επίτιμο Πρόεδρο του Συνδέσμου Ελλήνων Μουσουργών του Πανεπιστημιακού, Μουσουργού και Παιδαγωγού Βασίλη Μακρίδη (΄΄Φιλολογικός Σύλλογος Παρνασσός-Απρίλιος 2007), έχοντας και στις δύο αυτές συναυλίες την καλλιτεχνική επιμέλεια της διοργάνωσής τους. Το Νοέμβριο του 2007 συμμετείχε στο διαγωνιστικό πρόγραμμα του ΄΄11ου Διεθνούς Χορωδιακού & Λυρικών Σολίστ Φεστιβάλ Αθηνών΄΄(Θέατρο ΄΄Μ. Θεοδωράκης΄΄- Χολαργός και ΄΄Αίθουσα Αμερικάνικου Κολεγίου΄΄ «Deree College» Αγία Παρασκευή). 

Με τη συνεργασία της ορχήστρας και της παιδικής χορωδίας του Εράτειου ωδείου συμμετείχε στην παρουσίαση του μουσικού παραμυθιού του Γ. Δεσποτίδη   « Ο Δράκος  ήτανε ο Άγγελος» (Πνευματικό κέντρο δήμου Βριλησσίων- Δεκέμβριος 2007).

Με το Α.Χ.Σ. συμμετείχε σε χορωδιακή συνάντηση (Μπουσουλοπούλειο Θέατρο, Άργος - Δεκέμβριος 2007),στην 1η Πανελλήνια  Συνάντηση Χορωδιών Δήμου Περιστερίου («Θέατρο Πολιτών», Περιστέρι-Απρίλιος 2008), στη Διημερίδα Μουσικών Πολιτιστικών Προγραμμάτων υπό την αιγίδα της Νομαρχίας Πειραιά (Πολυχώρος «Απόλλων»- Απρίλιος 2008) και στα  21α Χορωδιακά Δήμου Κηφισιάς (Αίθριο Δημαρχείου-Ιούνιος 2008). Επίσης στο 2ο Πανελλήνιο Χορωδιακό Φεστιβάλ Δήμου Λέρνας (Μύλοι Αργολίδας- Ιούλιος 2008), στο 1ο Χορωδιακό Φεστιβάλ Δήμου Λουτρακίου-Περαχώρας (Λουτράκι- Σεπτέμβριος 2008), στον Δήμο Ν.Ψυχικού  σε συνεργασία με το Παναρμόνιο Ωδείο (Σπυροπούλειο Πνευματικό Κέντρο-Δεκέμβριος 2008), στην  Ν. Ιωνία (Αίθουσα Ιωνικού Συνδέσμου - Ιανουάριος 2009), στο 4ο  Πανόραμα Μαθητικού Πολιτισμού Νομαρχίας  Πειραιά ( Πολυχώρος « Απόλλων» -Απρίλιος 2009), στο Σύνδεσμο Αιγυπτιωτών Ελλήνων (Μάΐος 2009), στην 9η Χορωδιακή Συνάντηση Δήμου Άσσου-Λεχαίου Κορινθίας (Ιούλιος 2009) και στο 2ο Χορωδιακό Φεστιβάλ Λουτρακίου-Περαχώρας  (Σεπτέμβριος 2009). Διοργάνωσε με τη συμμετοχή του Α.Χ.Σ., κοντσέρτο λυρικού & χορωδιακού τραγουδιού στην τελετή εγκαινίων του Ωδείου Δημοτικής Ενότητας Μουρικίου Κοζάνης (Σεπτέμβριος 2009). Συμμετείχε επίσης στα πλαίσια των Χριστουγεννιάτικων εκδηλώσεων του Δήμου Πειραιά (Πλατεία Κοραή-Δεκέμβριος 2009) και του Δήμου Περάματος (Αίθουσα Δημαρχείου-Ιανουάριος 2010),ενώ συνέπραξε με το Α.Χ.Σ. και την Παιδική- Νεανική Συμφωνική Ορχήστρα της Ε.Ρ.Τ. παρουσιάζοντας σε πρώτη πανελλήνια εκτέλεση, έργα του Ακαδημαϊκού και συνθέτη Ευάγγελου Μουτσόπουλου (Αίθουσα Μουσείου Μπενάκη-Μάϊος 2010).Επιπλέον εμφανίσθηκε με το Σύνολο σε συναυλία στο Μαρτίνο Φθιώτιδας (Μάϊος 2010) και στο Δήμο Ηλιούπολης (Ιούνιος 2010). Τον Ιούλιο του 2010  συμμετείχε με το Α.Χ.Σ σε κοντσέρτο στην  Bova Marina συμπράττοντας με ιδιαίτερη επιτυχία με την ιταλική χορωδία ''Don Ruggiero Coin'' στα πλαίσια επίσκεψης που  πραγματοποίησε το Σύνολο στα ελληνόφωνα χωριά της Κάτω Ιταλίας και στη Σικελία. Τον Οκτώβριο του 2010 εμφανίστηκε στο Θέατρο του Δημαρχιακού Μεγάρου Ηλιούπολης σε  μεγάλη καλλιτεχνική εκδήλωση, ενώ τον Δεκέμβριο του ιδίου έτους με το Α.Χ.Σ. συνέπραξε στο ωδείο ΄΄Ορφείο Αθηνών΄΄, με το σολίστα της Ε.Λ.Σ., Γεράσιμο Ιωαννίδη σε έργα για κουϊντέτο χαλκίνων πνευστών και χορωδία. Τον  Δεκέμβριο του 2011 συνέπραξε με την Συμφωνική Ορχήστρα του Δήμου Αθηναίων και την σοπράνο Αναστασία Τζαννή σε έργα μοντέρνου ρεπερτορίου συμμετέχοντας αφιλοκερδώς για την ενίσχυση του συλλόγου ΄΄ΕΛΠΙΔΑ΄΄ καθώς και στην κυκλοφορία δίσκου ψηφιακής ακτίνας (CD) από τη συγκεκριμένη συνεργασία. Τον Απρίλιο του 2012 διοργάνωσε την επετειακή συναυλία για τα δεκάχρονα από την ίδρυση του Συνόλου που πραγματοποιήθηκε στην αίθουσα ΄΄Φίλιππος Νάκας΄΄, παρουσιάζοντας μεταξύ άλλων, έργα των διακεκριμένων συνθετών Νικηφόρου Νευράκη, Βαλεντίνου Πατρικίδη, Ευάγγελου Κοκκόρη και Μίμη Πλέσσα, οι οποίοι τιμήθηκαν παράλληλα για το πολύπλευρο καλλιτεχνικό τους έργο. Το Δεκέμβριο του 2012 συμμετείχε με το Α.Χ.Σ. στην  καλλιτεχνική εκδήλωση ΄΄CHRISTMAS VOICES ΄΄ του ωδείου ΄΄Μουσικοί Ορίζοντες ΄΄ στην εκκλησία του Αγ. Διονυσίου Αρεοπαγίτου.

Τον Ιανουάριο του 2013 εμφανίστηκε στην τηλεόραση της Ν.Ε.Τ. στην ζωντανή παρουσίαση του δίσκου της Α.Τζαννή, και την ίδια περίοδο έλαβε μέρος σε καλλιτεχνική εκδήλωση  της΄΄ Εταιρείας Μελέτης του έργου του Ιωάννη Καποδίστρια ΄΄ στο Πανεπιστήμιο Αθηνών. Τον Μάρτιο του 2013 διοργάνωσε  μεγάλη καλλιτεχνική εκδήλωση στο ωδείο   ΄΄Φ.Νάκας΄΄  παρουσιάζοντας τους σολίστες-μέλη του Α.Χ.Σ., ενώ τον Μάϊο του ίδιου έτους εμφανίστηκε με το Σύνολο στον ιερό ναό  του Αγ. Διονυσίου Αρεοπαγίτου σε κοντσέρτο θρησκευτικής μουσικής για χορωδία, ορχήστρα και σολίστες και τον Ιούνιο εμφανίστηκε στο χορωδιακό φεστιβάλ Νέας Μάκρης. 

Τον Ιούλιο του ίδιου έτους συμμετείχε με το Α.Χ.Σ. στη Σύρο στα πλαίσια του Διεθνούς Φεστιβάλ Αιγαίου σε αφιέρωμα στο οπερατικό έργο του Giuseppe Verdi με άλλες διακεκριμένες ελληνικές και ξένες χορωδίες και το Νοέμβριο εμφανίστηκε σε συναυλία στην Γερμανική Εκκλησία κατόπιν πρόσκλησης, του ωδείου ΄΄Μουσικοί Ορίζοντες΄΄.

Τον Μάρτιο του 2014 συμμετείχε με το Α.Χ.Σ. στο Μέγαρο Μουσικής Αθηνών στην πανελλήνια πρώτη του ιστορικού έργου του Zoltan Kodaly ΄΄Psalmus Hungaricus ΄΄ με την Κρατική Ορχήστρα Αθηνών.

Κατόπιν πρόσκλησης έλαβε μέρος στο 19ο ΠΑ.ΣΥ.ΧΟ στην Τρίπολη (Απρίλιος 2014),ενώ εμφανίστηκε και στο jazz club ΄΄HALF NOTE΄΄(Ιούνιος 2014).  Συμμετείχε στο 1ο και 2ο Διεθνές Χορωδιακό Φεστιβάλ Ναυπλίου (Νοέμβριος 2014 & 2015) ενώ κατόπιν πρόσκλησης της ΄΄Εταιρείας μελέτης του έργου του Ιωάννη Καποδίστρια΄΄ στο Θέατρο του Αμερικάνικου Κολλεγίου ΄΄Deree College΄΄ στα πλαίσια επιστημονικού συνεδρίου για τα 200 χρόνια από την επέτειο του συνεδρίου της Βιέννης (Δεκέμβριος 2014). Τον Απρίλιο του 2015 πραγματοποίησε μεγάλη καλλιτεχνική εκδήλωση με τον τίτλο Laissez Vibrer I με έργα μαθητών του της τάξης σύνθεσης καθώς και δικά του (Αίθουσα ΄΄Φ.Νάκας΄΄). Συμμετείχε ενεργά στην πανελλήνια πρώτη της όπερας του μαθητή του, συνθέτη Αντώνη Καρατζίκη ΄΄Ελένη΄΄ (Δεκέμβριος 2015) καθώς επίσης και στο 2ο Διαγωνισμό Σύνθεσης Χορωδιακών έργων που διοργάνωσε στην Αθήνα η Στέγη Ελληνικών Χορωδιών-της οποίας είναι Τακτικό Μέλος από το 2009-(Μάρτιος 2016). 

Εμφανίσθηκε στο 1ο Χορωδιακό Φεστιβάλ του Μητροπολιτικού Ωδείου Λιβαδειάς, στην 22η Χορωδιακή Συνάντηση Θρησκευτικής Μουσικής στην Καλαμάτα, στην 2η Χορωδιακή Συνάντηση Νίκαιας, στο 18ο  και στο 19ο  Χορωδιακό Φεστιβάλ Αιγίου καθώς  και στο 1ο Χορωδιακό Φεστιβάλ Αρχαίας Ολυμπίας. Κατόπιν πρόσκλησης  από τον ιστορικό σύλλογο « Ένωσις Σμυρναίων» συμμετείχε στην επίσημη τελετή υποδοχής του Σεβασμιωτάτου Μητροπολίτη Σμύρνης  κ.κ. Βαρθολομαίου, στον χώρο της Παλαιάς Βουλής(Οκτώβριος 2017). Συμμετείχε στο 3ο Φεστιβάλ Χορωδιών Δήμου Ηρακλείου, ενώ επανειλημμένως έχει εμφανισθεί σε συναυλίες θρησκευτικής μουσικής στην εκκλησία Αγ. Διονυσίου του Αρεοπαγίτου, Τον Απρίλιο του 2018 συμμετείχε κατόπιν πρόσκλησης στο Χορωδιακό Φεστιβάλ Θρησκευτικής Μουσικής Αγίας Παρασκευής, ενώ τον Μάϊο του ίδιου έτους εμφανίσθηκε στο Μέγαρο Μουσικής Αθηνών (αίθουσα Α. Τριάντη) στα πλαίσια του 9ου Διεθνούς Φεστιβάλ Φιλαρμονικών-Χορωδιών & Ορχηστρών καθώς και στο Χορωδιακό Φεστιβάλ Δήμου Βριλησσίων. Επανειλημμένως έχει παρουσιάσει έργα  Ελλήνων συνθετών σε πρώτη εκτέλεση. Συνεργάστηκε με την Φιλαρμονική Λουτρακίου σε έργα θρησκευτικής μουσικής, στην παραγωγή του μιούζικαλ ΄΄Liberaj΄΄ του  μαθητή του , συνθέτη Αντώνη Καρατζίκη καθώς και με την Κρατική Ορχήστρα Αθηνών στην παραγωγή της Tosca του G.Puccini στο Μέγαρο Μουσικής Αθηνών με μαέστρο τον Στέφανο Τσιαλή και σπουδαίους Έλληνες και ξένους καλλιτέχνες με ιδιαίτερη επιτυχία. Ως  μαέστρος με το Α.Χ.Σ. έχει βραβευθεί στον 3ο Διεθνή Χορωδιακό Διαγωνισμό Interkultur (Καλαμάτα 2019) με Χρυσό Μετάλλιο [Golden Diploma-Level 1] στην κατηγορία S(Sacred Music) και Αργυρό Μετάλλιο[Silver Diploma-Level X] (Mixed Choirs) -το υψηλότερο που δόθηκε στον διαγωνισμό με πρώτο το Α.Χ.Σ. στην κατηγορία αυτή, στο 16ο Διεθνή Διαγωνισμό (Καρπενήσι 2018) με Χρυσό Μετάλλιο στην κατηγορία Μοντέρνων & Jazz Συνόλων όσο και με Αργυρό Μετάλλιο στην κατηγορία Μικτών Χορωδιών στον ίδιο διαγωνισμό καθώς επίσης Αργυρό Μετάλλιο στο 3ο  Διεθνές Διαγωνιστικό Φεστιβάλ (Ναύπλιο 2016). Τον Δεκέμβριο του 2021 και του 2022 συνέπραξε με την Μπάντα του Πολεμικού Ναυτικού στο Μέγαρο Μουσικής Αθηνών σε κοντσέρτα με έργα από το λυρικό και ελληνικό ρεπερτόριο σε συνεργασία με διακεκριμένους Έλληνες ερμηνευτές. Έχει την φωνητική προετοιμασία, διδασκαλία, διεύθυνση και καλλιτεχνική επιμέλεια του Συνόλου από ιδρύσεώς του και είναι Πρόεδρος του Δ.Σ. του Συλλόγου. Στα άμεσα πλάνα του με το Σύνολο είναι εμφανίσεις σε  χορωδιακά φεστιβάλ και διαγωνισμούς στην Ελλάδα και το εξωτερικό καθώς και σύμπραξη με σημαντικούς καλλιτέχνες, ενώ την περίοδο αυτή προετοιμάζει και επιμελείται της ηχογράφησης του δεύτερου δίσκου ακτίνας (CD) του Συνόλου με σύγχρονο ρεπερτόριο που πρόκειται να κυκλοφορήσει από την εταιρεία Phasma-Music (sub label NAXOS).

Κατά την διάρκεια της στρατιωτικής θητείας του (Όπλο Μηχανικού) τιμήθηκε από την διεύθυνση της Στρατιωτικής Μουσικής της 12ης Μεραρχίας (Αλεξ/λη) ως Ενορχηστρωτής και Διευθυντής Μπάντας.  

Από το 1999 έως και το 2005 διετέλεσε κατόπιν διαγωνισμού Διευθυντής και Αρχιμουσικός της Φιλαρμονικής του Δήμου της Αγίας Βαρβάρας, αναπτύσσοντας  έντονη καλλιτεχνική δραστηριότητα  σε τοπικό όσο και ευρύτερο επίπεδο με συμμετοχή σε  εκδηλώσεις στις πόλεις του Μεσολογγίου (2000), Τρίπολης (2000), καθώς και στα φεστιβάλ Οινοφύτων (2003) και Χαλανδρίου (2004).

Από το 2002 και κατόπιν διαγωνισμού Α.Σ.Ε.Π. διορίσθηκε ως μόνιμος καθηγητής Θεωρίας της Ευρωπαϊκής Μουσικής (Π.Ε.16) στο Μουσικό Σχολείο Πειραιά αφότου  μεταξύ 3000 περίπου υποψηφίων, πέρασε δεύτερος στην ειδικότητά του πανελλαδικώς. Μεταξύ άλλων δράσεων, ίδρυσε τη Φιλαρμονική Ορχήστρα  καθώς και τη Συμφωνική Ορχήστρα του Μ.Σ.Π.

της οποίας υπήρξε επί περίπου μία δεκαετία  καλλιτεχνικός υπεύθυνος, μαέστρος και ενορχηστρωτής και με την οποία έχει αποσπάσει τρία συνεχόμενα πρώτα Πανελλήνια Βραβεία με κορυφαίες στιγμές η κατόπιν επιλογής, εμφάνιση του σχήματος στην ΄΄Εβδομάδα Καλλιτεχνικής Έκφρασης΄΄(Απρίλιος 2007)  στο Μέγαρο Μουσικής Αθηνών παρουσία 2000 ατόμων, με εγκωμιαστικές κριτικές από την Τηλεόραση και τον Τύπο, στη Διεθνή Έκθεση Θεσσαλονίκης(2008) καθώς και στην Εθνική Λυρική Σκηνή (Απρίλιος 2010).  

Από την περίοδο 2017-2018 υπηρετεί ως μόνιμος καθηγητής στο Μουσικό Σχολείο Αθηνών έχοντας συστήσει 80μελή Συμφωνική Ορχήστρα. Έχει διατελέσει πρόεδρος και μέλος επιτροπών επιλογής υποψηφίων για τα Μουσικά Σχολεία, βαθμολογητής ειδικών μαθημάτων μουσικής και  μέλος της Καλλιτεχνικής Επιτροπής του Υ.Π.Ε.Π.Θ. (2007-2010) καθώς και αναπληρωματικό μέλος της Επιστημονικής Επιτροπής Παιδείας(2021). Συμμετείχε στην ομάδα εργασίας και ως μέλος του προεδρείου σε επιστημονικό συνέδριο με θέμα τη Μουσική που διοργάνωσε το Κ.Ε.Μ.Ε.Τ.Ε στο Ευγενίδειο Ίδρυμα(2009). Διετέλεσε πρώτος Γενικός Γραμματέας του ΠΑ.ΣΑ.Δ.Α.Υ.Φ.Ο.-Ο.Τ.Α. (Πανελλήνιος Σύλλογος Διευθυντών-Αρχιμουσικών και Υπαρχιμουσικών Φιλαρμονικής Ορχήστρας Οργανισμών Τοπικής Αυτοδιοίκησης) όπου είναι και ιδρυτικό μέλος του. Επίσης υπήρξε μέλος του Δ.Σ. της Στέγης Ελληνικών Χορωδιών,  και μέλος της E.P.T.A. Hellas (European Piano Teacher΄s Association-Department of Hellas) και της W.A.S.B.E.(World Association for Symphonic Bands and Ensembles).Δίδαξε το αντικείμενο της  μουσικής  ανάλυσης (τομέας ηχοληψίας  1999-2000) στο Ι.Ε.Κ. Χαλανδρίου ενώ την περίοδο 2007-2011 ανέλαβε ως μαέστρος την ανασύσταση της Χορωδίας και Μαντολινάτας του συλλόγου ΄΄Παληά Γραφική Αθήνα΄΄ διοργανώνοντας πλήθος καλλιτεχνικών εκδηλώσεων. Έχει διευθύνει ποικίλα οργανικά και χορωδιακά σύνολα στην Ελλάδα και στη Ρουμανία παρουσιάζοντας  έργα  κλασσικού  και ελληνικού  ρεπερτορίου. Η συνθετική του δραστηριότητα περιλαμβάνει έργα για σόλο πιάνο, κουαρτέτα για έγχορδα, για χάλκινα πνευστά και για διάφορα ensembles, κονσερτίνο για πιάνο και ορχήστρα, έργα ορχηστρικής υφής, lieder για φωνή και πιάνο, χορωδιακά έργα καθώς επίσης και πολλές ενορχηστρώσεις για μικρά και μεγάλα σύνολα, αρκετά δε από τα οποία έχουν κατά καιρούς παρουσιασθεί στην Ελλάδα και στο εξωτερικό (Ρουμανία) από διακεκριμένους καλλιτέχνες (Melos Brass Ensemble, Stefan Barbu, Simona  Neagu, Ioulia Timiras, Marcel Spinei, Βίκυ Στυλιανού,  Δημήτρης Βεζύρογλου,  κ.ά.). Είναι συγγραφέας του βιβλίου ΄΄ Πλήρης Προετοιμασία για την εισαγωγή στα Μουσικά Τμήματα των Πανεπιστημίων και την επιτυχία σε Μουσικούς Διαγωνισμούς΄΄ (εκδόσεις ΄΄Φ. Νάκας΄΄), ενώ υπό έκδοση βρίσκεται η πραγματεία του για τον Ε. Τσαμουρτζή, της οποίας η μελέτη έχει αποτελέσει βιβλιογραφική πηγή στο επιστημονικό σύγγραμμα του πανεπιστημιακού κ.ου  Γ. Σακαλιέρου ΄΄ Dimitri Mitropoulos and His Works in the 1920s-The Introduction of Musical Modernism in Greece΄΄ (Κέντρο Ελληνικής Μουσικής, 2016). Την περίοδο 2009-2015 διετέλεσε καλλιτεχνικός διευθυντής στο νεοσύστατο τότε, Ωδείο Δημοτικής Ενότητας Μουρικίου Κοζάνης, με πλήθος καλλιτεχνικών εκδηλώσεων, παρουσιάσεων και σεμιναρίων στην περιοχή της Εορδαίας ενώ επίσης έχει διατελέσει καλλιτεχνικός διευθυντής ωδείων και μέλος εξεταστικών επιτροπών σε μουσικά ιδρύματα ανά την Ελλάδα. Εδώ και χρόνια διατηρεί ιδιαίτερα στενούς δεσμούς με την Κύπρο συνεργαζόμενος με σημαντικούς φορείς και ιδρύματα τόσο σε παιδαγωγικό όσο και καλλιτεχνικό επίπεδο, ενώ εδώ και επί περίπου μία εικοσαετία είναι επίσημος εξεταστής στο Πινδάρειο  Ωδείο Κύπρου. Τα τελευταία χρόνια είναι καθηγητής σύνθεσης, ανώτερων θεωρητικών και πιάνου στο ΄΄Αττικό Ωδείο΄΄. Είναι υποψήφιος διδάκτορας στο Τμήμα Μουσικών Σπουδών στο Ιόνιο Πανεπιστήμιο με θέμα: «Δημήτριος Λιάλιος- Καταγραφή, μελέτη, ανάλυση και έκδοση με παράλληλη ηχητική παράθεση /παρουσίαση, επιλεγμένων χορωδιακών έργων του (a capella, με πιάνο ή και σε συνδυασμό με ενόργανο σύνολο) με υπεύθυνους τους πανεπιστημιακούς  καθηγητές τους κ.α Α.Σιώψη, Μ.Καλδή και Κ.Καρδάμη.Από τον Σεπτέμβριο του 2026 είναι Καλλιτεχνικός Διευθυντής και Αρχιμουσικός της Φιλαρμονικής του Δήμου Αγίου Δημητρίου. Μαθητές του συγκαταλέγονται μεταξύ των κορυφαίων σε όλο το φάσμα της κλασσικής και μοντέρνας συνθετικής δημιουργίας και παιδαγωγικής στον ελληνικό χώρο, με πάνω από 230 πτυχία και διπλώματα στο ενεργητικό του και τουλάχιστον 300 επιτυχίες στα πανεπιστημιακά τμήματα μουσικών σπουδών της Ελλάδας και του εξωτερικού. 

SPECIAL THANKS

ΑΘΗΝΑΪΚΟ ΧΟΡΩΔΙΑΚΟ ΣΥΝΟΛΟ “ATHENS CHOIR ENSEMBLE”

www.athenschoir.gr

x.com/AthensChoir

www.facebook.com/p/Athens-Choir-Ensemble-100063337711532/ 

In Closing

Αυτός ο δίσκος ακτίνας (CD) που έρχεται στα χέρια σας από την κορυφαία παγκοσμίως δισκογραφική εταιρεία Phasma-Music (sub label ΝΑΧΟΣ ) αποτελεί για όλους μας στο ΄΄ATHENS CHOIR ENSEMBLE΄΄,το αποτέλεσμα μίας μακρόχρονης, δημιουργικής και ταυτόχρονα ιδιαίτερα απαιτητικής διαδικασίας αλλά παράλληλα και ένα στοίχημα-πρόκληση για εμένα και τους συνεργάτες μου, που ξεκίνησε στα τέλη του 2014 στο studio SUBWAYS με ηχολήπτη τότε, τον κ.ο Βαγγέλη Σαπουνά και ολοκληρώθηκε μετά από πάρα πολλές αναθεωρήσεις, δυσκολίες, ανατροπές και συμβάντα (πανδημία, κ.ά.) στα τέλη του 2023 στο studio SIERRA με ηχολήπτη και τεχνικό σύμβουλο στο όλο εγχείρημα, τον εξαίρετο τεχνικό ήχου κ.ο Αλέξανδρο Χρυσίδη. Πιο συγκεκριμένα  η δισκογραφική αυτή εργασία ξεκίνησε ως αφορμή κυρίως μέσα από τις δικές μου αναζητήσεις σχετικά με μία πιο σύγχρονη άποψη του πώς αντιλαμβανόμαστε σήμερα την χορωδία, τόσο ως σύνολο όσο και ως μέσο έκφρασης καθώς επίσης και ως εργαλείο συνθετικής δημιουργίας, εν γένει. Αυτές τις σκέψεις είχα την χαρά και την τύχη να μοιράζομαι από το 2002 μέχρι και σήμερα με εκλεκτούς φίλους και φίλες-συνοδοιπόρους μου, που στελέχωσαν το Αθηναϊκό Χορωδιακό Σύνολο ΄΄ATHENS CHOIR ENSEMBLE΄΄ όλα αυτά τα χρόνια, δίχως των οποίων  τη συμμετοχή, την στήριξη, τον ενθουσιασμό αλλά και την πίστη
τίποτε δεν θα μπορούσε να πραγματοποιηθεί.

Παράλληλα θέλω να ευχαριστήσω ιδιαίτερα:
α)την κα Χρυσούλα Αραβανή, διακεκριμένη Καθηγήτρια και Παιδαγωγό,
Αντιπρόεδρο του Α.Χ.Σ. και απόλυτο στήριγμα του Συνόλου όλα αυτά τα χρόνια,
β) τον κ.ο Νικηφόρο Νευράκη , κορυφαίο Έλληνα Συνθέτη, Αρχιμουσικό και Μαέστρο &
γ) τον κ.ο Θεόδωρο Κουσούλη  αγαπητό φίλο και λάτρη της Μουσικής
για την έμπνευση, εμψύχωση και στήριξή τους σε όλα τα επίπεδα.

Θερμές ευχαριστίες σε όλα τα Μέλη καθώς και σε όλα τα
Διοικητικά Συμβούλια του Συνόλου που στήριξαν τούτη την προσπάθεια επί σειρά ετών.
Εξαιρετική τιμή για όλους μας επίσης η συνεργασία μας σε επίπεδο δισκογραφικής παραγωγής αλλά και καλλιτεχνικού σχεδιασμού με την εταιρεία ΄΄PHASMA-MUSIC΄΄ και ιδιαιτέρως την κορυφαία φλαουτίστα και μουσικολόγο κ.α Iwona Glinka καθώς και τον σπουδαίο Έλληνα συνθέτη  και παιδαγωγό κ.ο Μιχάλη Τραυλό,
αγαπημένο μου καθηγητή στη σύνθεση, μέντορα και εκλεκτό φίλο.
Τέλος ένα μεγάλο ευχαριστώ  για πάντα, στους γονείς μου  Νίκο Καραβέλη και Τζένη Καρβελά,
στον θείο μου και αδερφό του πατέρα μου Γιώργο Καραβέλη καθώς και στον αδερφό μου Αντώνη
και στην οικογένειά του για όλη την αγάπη και πίστη τους σε εμένα.
Υ.Γ.
Το CD αφιερώνεται σε όλους εσάς που πιστέψατε και ενισχύσατε με κάθε τρόπο την προσπάθεια τούτη.
Σας ευχαριστούμε όλοι πάρα πολύ!
Καλή σας ακρόαση και η Μουσική πάντα να μας ενώνει! Δ.Κ.

Fame" is a song written by Michael Gore (music) and Dean Pitchford (lyrics)[1] and released in 1980, that achieved chart success as the theme song to the Fame film and TV series.[1] The song was performed by Irene Cara, who played the role of Coco Hernandez in the original film and sang the vocals for the theme song.
It was also her debut single as a recording artist. The song won the Academy Award for Best Original Song in 1980,[1] and the Golden Globe Award the same year.
In 2004, it finished at number 51 on AFI's 100 Years...100 Songs survey of top tunes in American cinema. The music for the song was by Michael Gore and the lyrics were by Dean Pitchford. The song earned Cara a Grammy nomination for Best Female Pop Vocal Performance.[2] The movie became an "overnight sensation". The song won an Oscar for best film theme song in 1981. In July 1982, it was re-released on the back of the successful TV series and topped the charts in several countries, including the Netherlands, New Zealand and the United Kingdom.[3] The song was later used as the theme song for the Fame television series, which aired from 1982 to 1987. For seasons 1-4, the song was performed by Erica Gimpel who played Cara's character, Coco, on the show. For seasons 5-6, it was performed by Loretta Chandler.

The song was also used in other TV shows related  to Fame.

The original promotional music video was the scene from the film. Cara only has a very short part in that scene. To promote the re-release of the single Cara appeared in a new video shot in mid-June 1982 in New York City, mainly on and around Broadway. It includes Cara sitting on one of New York's Yellow Cabs and dancing at the entrance to the School Of Performing Arts.[4]  "Fame" rose to number four on the Billboard Hot 100 in September 1980. It also reached number one on the Billboard dance chart for one week.[5] The song was re-released in the United Kingdom in July 1982, where it peaked at the top of the UK Singles Chart for three weeks following the debut of the Fame TV series on the British television network BBC One the previous month, becoming Britain's third best-selling song of 1982 behind "Eye of the Tiger" by Survivor and "Come On Eileen" by Dexys Midnight Runners and the Emerald Express, the latter of which dethroned "Fame" from the top of the UK Singles Chart.[1] It has over sold 1.07 million copies in Britain. as of September 2017.[6] The song also reached number one in Flanders (Belgium), Ireland, the Netherlands and New Zealand, and number three in Australia and Sweden.

"Dancing Queen" is a song by the Swedish group ABBA, released as the lead single from their fourth studio album, Arrival (1976). It was written by Benny Andersson, Björn Ulvaeus and Stig Anderson. Andersson and Ulvaeus also produced the song. "Dancing Queen" was released as a single in Sweden in August 1976, followed by a UK release and the rest of Europe.[3] It was a worldwide hit.[3] It became ABBA's only number one hit in the United States, and topped the charts in Australia, Canada, Denmark, the Netherlands, Belgium, Czechoslovakia, Ireland, Mexico, New Zealand, Portugal, Norway, South Africa, Spain, Sweden, the United Kingdom, West Germany and the Soviet Union.[2] "Dancing Queen" also reached the top five in many other countries.[4][5] Musically, "Dancing Queen" is a Europop version of American disco music.[5][6] As disco music dominated the US charts, the group decided to follow the trend, replicating Phil Spector's Wall of Sound arrangements.[5] Andersson and Ulvaeus have cited George McCrae's "Rock Your Baby" as a source of inspiration for the style of the song. The song alternates between "languid yet seductive verses" and a "dramatic chorus that ascends to heart-tugging high notes". It features keyboard lines by Andersson, which accentuate the melody's sophistication and classical complexity, while Ulvaeus and Andersson interlace many instrumental hooks in and out of the mix.[7] Agnetha Fältskog and Anni-Frid Lyngstad’s layered vocals have been noted for their dynamism,[5] "[negotiating] the melody's many turns flawlessly."[7] Lyrically, the song concerns a visit to the discothèque, but approaches the subject from the joy of dancing itself.[7] In 2015, the song was inducted into the Grammy Hall of Fame.[8] Background and release The recording sessions for "Dancing Queen" began on 4 August 1975. The demo was called "Boogaloo" and as the sessions progressed, Andersson and Ulvaeus found inspiration in the dance rhythm of George McCrae's "Rock Your Baby", as well as the drumming on Dr. John's 1972 album, Dr. John's Gumbo.[2] The opening melody echoes "Sing My Way Home" by Delaney & Bonnie (from Motel Shot, 1971).[citation needed] Fältskog 

and Lyngstad recorded the vocals during sessions in September 1975, and the track was completed three months later. During the sessions, Benny Andersson brought a tape home with the backing track on it and played it to Anni-Frid Lyngstad, who apparently started crying when listening. Lyngstad said, "I found the song so beautiful. It's one of those songs that goes straight to your heart".[2] Agnetha Fältskog later said: "It's often difficult to know what will be a hit. The exception was 'Dancing Queen.' We all knew it was going to be massive."[9] While working on the lyrics, the first half of the second verse was scrapped: "Baby, baby, you're out of sight/hey, you're looking all right tonight/when you come to the party/listen to the guys/they've got the look in their eyes..." It survives in footage from a recording session.[10] The band (especially Andersson) wanted to release "Dancing Queen" as the follow-up single to "Mamma Mia" but their manager, Stig Anderson, insisted that the more sedate and folksy "Fernando" should be first,[2] as he felt it would appeal to a broader audience and so was more likely to be a hit.[11] Therefore, whilst "Dancing Queen" premiered on both German and Japanese television during the spring of 1976, the song did not appear on vinyl until later that summer, having had its first live and domestic performance on 18 June 1976 during an all-star gala staged by Kjerstin Dellert at the Royal Swedish Opera[12] (and shown on Swedish TV) in honour of King Carl XVI Gustaf and his bride-to-be, Silvia Sommerlath, who were married the next day.[citation needed] For their 1980 Spanish-language compilation-album Gracias Por La Música, ABBA recorded a Spanish version of "Dancing Queen", renamed "Reina Danzante", with Spanish lyrics provided by Buddy and Mary McCluskey. The track was retitled "La Reina Del Baile" when included on the compilation album ABBA Oro: Grandes Éxitos in the 1990s. In 1993, in honour of Swedish Queen Silvia's 50th birthday, Anni-Frid Lyngstad was asked to perform "Dancing Queen" on stage, repeating ABBA's 1976 performance of the song at the pre-wedding gala for King Carl XVI Gustaf and Queen Silvia. Frida contacted the Real Group and together they did 

an a cappella version of the song on stage at the Royal Opera House in Stockholm, in front of the king and queen. The Swedish prime minister at the time, Ingvar Carlsson, was also in the audience that night and said it was an ingenious idea to perform "Dancing Queen" a cappella. The performance was recorded by Sveriges Television (SVT) and is included in the biographical documentary Frida – The DVD and the Real Group's 1994 compilation album Varför får man inte bara vara som man är. When King Carl Gustaf and Queen Silvia attended the Tramp nightclub in London, the King requested that the DJ would play "Dancing Queen" owing to its use shortly before their wedding as previously mentioned.[13] For the soundtrack of the 1994 Australian film Muriel's Wedding, songwriters Ulvaeus and Andersson allowed the use of "Dancing Queen" and other ABBA hits. "Dancing Queen" was among the ABBA songs included in Mamma Mia!, the jukebox musical first produced in 1999 and adapted into film in 2008, as well as the sequel, Mamma Mia! Here We Go Again (2018). The first International Standard Musical Work Code was assigned in 1995 to "Dancing Queen"; the code is T-000.000.001-0.[14] "Dancing Queen" received widespread critical acclaim upon release. According to Donald A. Guarisco of AllMusic, the track's "sincerity and sheer musicality have allowed it to outlast the disco boom and become a standard of dance-pop."[7] The song's release also cemented ABBA as an international act and signified the beginning of the group's 'classic period', which would span the following four years.[3] It has become a standard for dance divas like Carol Douglas and Kylie Minogue,[7] and it has been covered numerous times by acts including Ireland's U2.[15] The song has been adopted by the LGBT community[3] and, according to Mojo magazine, remains one of the most ubiquitous "gay anthems".[16][17] Billboard magazine found the theme of a person's greatest experience coming at a disco age 17 to be more substantive than most ABBA songs, and compared the vocal harmonies to The Mamas and the Papas.[18] Cash Box said that the song is "backed by a strong upbeat, in keeping with the title" 

and "the hooks brought by lush vocal harmonies, as well as the reverb-soaked wall of sound that distinguishes this group, are present."[19] Record World wrote that "the disco-styled treatment should make it a favorite [in the United States]."[20] Matthew Lewin of Magdalena Bay said in an interview in 2024, "It's just like the best feeling song of all time". "Dancing Queen" was a worldwide No. 1 hit, topping the charts in more than a dozen countries including ABBA's native Sweden (where it spent 14 weeks at the top),[21] Australia, Belgium, Brazil, Canada, West Germany, the United Kingdom,[22] Ireland, Mexico, the Netherlands, New Zealand, Norway (where it charted for 32 weeks (VG-lista Top 10), making it the 11th best-performing single in that country),[23] South Africa and Rhodesia. "Dancing Queen" also topped the charts in the United States, ABBA's only No. 1 on the Billboard Hot 100,[24] and was a Top 5 hit in Austria, Finland, France and Switzerland. The song sold over three million copies.[25] The track was the fourth biggest single of 1976 in the UK.[26] In the UK Singles Chart, "Dancing Queen" was the last of three consecutive chart-toppers for ABBA in 1976, following "Mamma Mia" and "Fernando" earlier in the year.[22] The song was re-released in the UK in 1992, taking advantage of an ABBA revival sparked by the success of Erasure's Abba-esque EP. The re-issued "Dancing Queen" reached No. 16 in the UK in September 1992. As of September 2021, it is ABBA's biggest song in the UK, being their only million-seller with 1.65 million chart sales, including 93 million streams since 2014.[27] In 2023, it was listed as the 102nd best-selling single of all time in the UK.[28] The song re-entered the Swedish Sverigetopplistan in 2021 and 2024. In 2022 it was reported to be the fifth most profitable song in Sweden in 2021, and to have more than 19 million weekly streams on Spotify.[29] The song was accompanied by a music video filmed in 1976 in Alexandra's discotheque in central Stockholm, Sweden directed by the Swedish film director Lasse Hallström.[30] It features all four members of ABBA singing and performing to dancing club patrons. On June 29, 2025 at 19:24 UTC the music video on YouTube  reached 1 billion views. The video was remastered in ultra-high definition in August 2021 to celebrate the 500 million view milestone.[31] In 2000, "Dancing Queen" came fourth in a Channel 4 television poll of "The 100 Greatest Number One Singles".[32][33] It was chosen as No. 148 on the Recording Industry Association of America's Songs of the Century list. It was ranked No. 171 on Rolling Stone's 2004 list of "The 500 Greatest Songs of All Time",[34] the only ABBA song on the list. That same year, it made VH1's "100 Greatest Dance Songs in Rock & Roll" at No. 97. Also in 2000, editors of Rolling Stone with MTV compiled a list of the best 100 pop songs; "Dancing Queen" placed 12th among songs of the 1970s.[35] Billboard and Rolling Stone both ranked the song number one on their lists of the greatest ABBA songs.[36][37] In 2023, it was ranked No. 2 on Billboard's list of "The 500 Best Pop Songs".[38] On 9 November 2002, the results of a poll, "Top 50 Favourite UK #1's", was broadcast on Radio 2, celebrating the 50th anniversary of The Official UK Charts Company. 188,357 listeners voted and "Dancing Queen" came out at No. 8. On 5 December 2010, Britain's ITV broadcast the results of a poll to determine "The Nation's Favourite ABBA Song" in which "Dancing Queen" placed at No. 2.[39] In 2009, the British performing rights group Phonographic Performance Limited celebrated its 75th anniversary by listing the 75 songs that have played most in Great Britain on the radio, in clubs and on jukeboxes. "Dancing Queen" was number eight on the list.[40] Former US presidential candidate John McCain named "Dancing Queen" as his favourite song in a top-10 list submitted to Blender magazine in August 2008.[41] In August 2012, listeners to the 1970s-themed UK radio station "Smooth 70s" voted "Dancing Queen" as their favourite hit of the decade.[42] In October 2014, the musical instrument insurer Musicguard carried out a survey determining "Dancing Queen" to be the United Kingdom's favourite "floorfiller". Unlike its closest competitors, "Billie Jean" by Michael Jackson (No. 2) and "Twist and Shout" by the Beatles (No. 3), it turned  out to be very popular throughout the nation whereas the other two were strong regional favourites.[43][44] In June 2015, "Dancing Queen" was inducted into the Recording Academy's Grammy Hall of Fame.[45] Online music magazine Pitchfork positioned "Dancing Queen" at number 80 in its 2016 ranking of the 200 best songs of the 1970s. Reviewer Cameron Cook wrote it is "a song so confident in its structure that its starts from the middle of its chorus", adding that it "bottles the out-of-body euphoria that accompanies dancing for dancing's sake, with no agenda or motive other than pure joy." Eschewing the "disco" label sometimes attached to the track by latter-day critics, Cook called it "a pitch-perfect portrait of the hedonistic disco scene they were mimicking via their own, more down-to-Earth Europop".[46] In September 2016, The Guardian ran an article by Tim Jonze entitled "Why Abba's Dancing Queen is the best pop song ever". Jonze writes: "Dancing Queen is beautifully produced: catchy and euphoric, the perfect backdrop for a song that encapsulates the carefree bliss of youth". Several artists are cited as being influenced by the song, including Elvis Costello ("Oliver's Army"), MGMT ("Time to Pretend") and Chris Stein of Blondie ("Dreaming").[47] In 1993, Hong Kong singer Angela Pang covered this song in the Cantonese language. The British online music industry magazine NME placed "Dancing Queen" at number 27 in its 2018 listing of the top 100 songs of the 70s, reviewer Rebecca Schiller calling it "one of the greatest pop songs ever."[48] In 2022, "Dancing Queen" received a BMI Million-Air award, having been played 6 million times on radio in the United States.[49] Two years later, it was inducted into the Library of Congress's National Recording Registry along with all the other songs in Arrival. [50] In October 2024, during the "Heavenly Harmony in Concert", singer Julie Anne San Jose held a concert featuring this song and other secular songs at the altar of the Nuestra Señora del Pilar Shrine and Parish in Mamburao, Occidental Mindoro. She, Parish Priest Fr. Carlito Meim Dimaano, and Sparkle GMA Artist Center then issued an apology. 

Jesus Christ Superstar

A timeless work, Jesus Christ Superstar is a rock opera set against the backdrop of an extraordinary and universally known series of events seen through the eyes of Judas Iscariot. The main characters are all familiar to anyone with a knowledge of the New Testament and this show follows the last week of Jesus Christ's life. It contains hardly any dialogue and is quite gritty within the realm of composer Andrew Lloyd Webber's canon. Jesus Christ Superstar is a product of its era, fused with 1970's rock, gospel, folk, and funk as well as modern colloquialisms and energetic choreography. The themes that appear throughout Superstar are fame, revolution, radicalism, and humility. This was the second collaboration between Andrew Lloyd Webber and Tim Rice, who had previously created Joseph and the Amazing Technicolor Dreamcoat together. Superstar was introduced as an album first, and Lloyd Webber and Rice were able to streamline the score more effectively than they otherwise could have. In addition to making the work itself better, the album promoted the work so well, so when it finally hit the stage, everybody knew the entire score and the show had a built-in fanbase. Jesus Christ Superstar tells the story of Jesus in the final days leading up to his crucifixion. Loosely based on the Gospels, Superstar focuses on the personal conflicts between Jesus, his disciples, the people of Israel, and the leadership of Rome. Special attention is also played to the fractured friendship between Judas Iscariot and Jesus, as well as Jesus's relationship with Mary Magdalene, a devoted follower. The concept album of Jesus Christ Superstar was staged on Broadway in 1971 at the Mark Hellinger Theatre. Some critics hated what they saw as a brash production (including a drag queen King Herod) and Lloyd Webber made it no secret that he was not a fan of the original Broadway production which was directed by Tom O'Horgan, renowned for his work on Hair. 

The negativity also garnered protests by Christians who were offended by the insinuation   that Jesus and Mary Magdalene had a physical relationship. They also thought the whole production made a hero of Judas, not Jesus. Protests later followed across the Atlantic, when the West End show premiered at the Palace Theatre. "Jesus Christ Superstar" is a significant work in the evolution of musical theater, establishing the rock opera genre. Created by Andrew Lloyd Webber and Tim Rice, it was first released as a double album in 1969 and later made its Broadway debut in 1971. The musical tells the story of the Passion of Jesus through the perspective of Judas Iscariot, raising questions about faith and betrayal. It generated considerable controversy for its modern and irreverent approach to biblical themes, leading to polarized responses from critics and audiences alike. Despite initial mixed reviews, it ran for 720 performances on Broadway, indicating a strong public interest that revitalized a struggling theater scene.
This success paved the way for future rock operas and musicals, influencing the development of theatrical productions that integrated popular music styles. Following "Jesus Christ Superstar," Lloyd Webber and Rice continued to innovate within the genre, particularly with their subsequent work "Evita," which further established their reputations in musical theater. The impact of "Jesus Christ Superstar" extended globally, inspiring numerous productions and cementing its place as a key fixture in the musical theater repertoire.

Clap Yo' Hands" is a song composed by

George Gershwin, with lyrics by Ira Gershwin. It was introduced in the musical Oh, Kay! (1926), and was featured by Fred Astaire and Kay Thompson in a song and dance routine in Funny Face (1957). This is the “revival” type song that was popular back in the 20s and 30s. Another example is the “Gabriel” number in Porter’s “Anything Goes.” Ira Gershwin writes he wanted to keep the song simple and he avoided a twist at the end that might ruin the one-mindedness (as he put it) of the lyrics. The original title was “Clap-a Yo’ Hand,” which does show up in the lyrics where the present title does not. Even Ira couldn’t explain it and dismissed it as unimportant.  George Gershwin lived the American dream of the “self-made man”: with his successful musical comedies, he worked his way up from humble beginnings to become an acclaimed Broadway star. He landed his first big hit in 1918 with the song Swanee. Gershwin’s works, which were an idealised representation of the American concept of the “modern way of life”, were soon being played in concert halls – without the composer ever having attended a conservatory George Gershwin was born in 1898 in Brooklyn, New York, the son of Russian-Jewish immigrants. As a child, he heard Anton Rubinstein’s  Melody in F from a music automaton: “I can no longer hear this melody without seeing myself standing on 125th Street, barefoot, in cotton trousers, and eagerly drinking in this music”. Gershwin was inspired. At the piano of a fellow pupil, he playfully tried to imitate what he heard on the streets. It was not until he was twelve years old that his parents bought him an instrument – actually for his brother Ira, who later became his closest collaborator as a songwriter. Gershwin received piano and music theory lessons, although it is not known for how long. In May 1914, he gave up his training at the High School of Commerce, which he had pursued with little enthusiasm, to take up a position as a demonstration pianist with the publishing house Jerome H. Remick & Company. It was located on the section of Manhattan’s 28th Street known as Tin Pan Alley, which was the centre of the popular music industry at the time. Gershwin joined the Broadway show Miss 1917 as a rehearsal pianist, where he made important contacts. In the meantime, his own songs were becoming increasingly successful. His Rhapsody in Blue, which the bandleader

Paul Whiteman had skilfully presented as an “experiment in modern music”, brought him a triumph at its premiere in New York’s Aeolian Hall in 1924. The premiere of Porgy and Bess marked Gershwin’s final breakthrough as a “classical” composer – two years before he died at the age of 38 from a brain tumour that was detected too late. "Clap Yo' Hands" is a song by Fred Astaire, George Gershwin, and Kay Thompson. It was the result of a unique collaboration between a renowned dancer/actor, a prolific composer, and a famous vocalist/writer. The song was composed by George Gershwin, one of the most significant and popular American composers of the 20th century. Known for his originality and complex harmonies, Gershwin's work often blended elements of jazz and classical music. Fred Astaire, known primarily for his dancing, also contributed his vocals to "Clap Yo' Hands". Though not as widely recognized for his singing, Astaire's untrained but naturally rhythmic voice has been praised by critic. 

The song ΄΄Goodnight, Sweetheart, Goodnight΄΄
(James Hudson - Calvin Carter)by The Spaniels talks about the bittersweet moment of saying goodbye to a loved one at night. The lyrics convey the reluctance to leave, the deep affection felt, and the acknowledgment of external pressures that make staying difficult, ultimately capturing the tender emotions of parting ways. "Goodnite, Sweetheart, Goodnite" is a popular song that was a hit during the mid-1950s. It was written by Calvin Carter and James "Pookie" Hudson in 1951, and was first recorded by The Spaniels in 1953.[2] It has also been released by some artists as "Goodnight, Well It's Time to Go".[6] The song was originally released by the R&B doo-wop group The Spaniels in March 1954.[1][7] The original version peaked at No. 5 on Billboard's "Rhythm and Blues Records" chart of "Best Sellers in Stores",[8][9] No. 5 on Billboard's "Rhythm and Blues Records" chart of "Most Played in Juke Boxes",[10] and No. 3 on Cash Box's Rhythm & Blues Top 15.[11] The Spaniels' version was ranked No. 20 on Billboard's ranking of "1954's Top R&B Records according to Retail Sales" and No. 15 on Billboard's ranking of "1954's Top R&B Records according to Juke Box Plays".[12] It was also ranked No. 16 in Cash Box's ranking of "1954's Top R&B Records as Voted in the Cash Box Poll".[13] The best-selling version of the song was recorded by The McGuire Sisters in 1954.[14] Under the title "Goodnight, Sweetheart, Goodnight", their version reached No. 8 on Billboard's chart of "Best Sellers in Stores",[15] No. 7 on Billboard's chart of "Most Played in Juke Boxes",[15] and No. 9 on Billboard's chart of "Most Played by Jockeys".[16] A million copies of the McGuire Sisters' single were sold.[17][1] The McGuire Sisters' version was ranked No. 21 on Billboard's ranking of "1954's Top Popular Records according to Juke Box Plays".[18] It was also ranked No. 33 in Cash Box's ranking of "1954's Top Pop Records as Voted in the Cash Box Poll".[19] It was also recorded in 1954 by country music duo Johnnie & Jack,[20] whose version reached No. 3 on Billboard's "Country & Western Records" chart "Most Played by Jockeys",[21] No. 4 on Billboard's "Country & Western Records" chart "Best Sellers in Stores",[21] No. 4 on Billboard's "Country & Western Records" chart "Most Played in Juke Boxes",[22] No. 4 on Cash Box's chart of

"The 10 Top Folk & Western Best Sellers",[23] No. 4 on Cash Box's chart of "The Ten Folk and Western Disk Jockeys Played Most This Week",[24] and No. 4 on Cash Box's chart of "Hillbilly, Folk & Western Juke Box Tunes".[25] Johnnie & Jack's version was ranked No. 20 on Billboard's ranking of "1954's Top C&W Records according to Retail Sales" and No. 21 on Billboard's ranking of "1954's Top C&W Records according to Juke Box Plays".[26] It was also ranked No. 17 in Cash Box's ranking of "1954's Top Country Records as Voted in the Cash Box Poll".[27] Sunny Gale also released a version in 1954, which reached No. 27 on Billboard's chart of "Best Sellers in Stores".[15] The song reached No. 8 on the Cash Box Top 50, in a tandem ranking of the McGuire Sisters, Sunny Gale, the Spaniels, Johnnie & Jack, Ella Mae Morse, and Gloria Mann & Carter Rays' versions, with the McGuire Sisters and Sunny Gale's versions marked as bestsellers,[28] while reaching No. 5 on Cash Box's Top Ten Juke Box Tunes chart,[29] and No. 7 on Cash Box's chart of "The Ten Records Disk Jockeys Played Most This Week", in a tandem ranking of the McGuire Sisters and Sunny Gale's versions.[30] The song also reached No. 8 on Billboard's "Honor Roll of Hits", with the McGuire Sisters, the Spaniels, and Sunny Gale's versions listed as best sellers.[31] The Spaniels re-recorded the song in 1969 for Buddah Records; however, the title was shown as "Goodnight Sweetheart" and the songwriting misattributed to Ray Noble, Jimmy Campbell, Reg Connelly and Rudy Vallee, implying they covered the 1930s standard.[32][33] The song became well known again in the late 1970s as the closing song performed by Sha Na Na on their weekly variety show, as well as because of its appearance in the 1973 movie American Graffiti. In 1975, Australian band Ol' 55 released a version as their debut single. The song peaked at number 95 on the Kent Music Report. The song was sung by Marla Gibbs, Jackee Harry and Alaina Reed Hall in the season 4 episode of 227, titled “A Funny Thing Happened on the Way to the Pageant”. In the late 1980s it was used again as a lullaby in the major hit film Three Men and a Baby. For many years, Dick Biondi played the song at the end of every show on Chicago's 94.7 WLS-FM.[34]

"Love Changes Everything" is a song from the musical Aspects of Love, composed by Andrew Lloyd Webber, with a lyric written by Charles Hart and Don Black.[1] It was first sung in the musical by the character Alex Dillingham, which was originated by Michael Ball in both the London and Broadway casts. The song was released as a single in 1989, also sung by Ball,[2] and stayed on the UK Singles Chart for 15 weeks, peaking at No. 2 and becoming Ball's signature tune.[3] The song was later featured on Ball's 1992 self-titled debut album and Love Changes Everything: The Collection.[4][5] In the prologue to Aspects of Love, a young Englishman, Alex, is lovestruck by a French actress, Rose. This upends his world, and he sings that "Love changes everything ... How you live and / How you die" for better or for worse. He notes that love "Makes fools of everyone" and concludes that, once love strikes, "Nothing in the / World will ever / Be the same." Musically, it is a "simple, effective three-chord piano-accompanied anthem".[6] The song became the best-known number from Aspects of Love and it "delivered yet more proof that Andrew Lloyd Webber could deliver soaring, anthemic ballads".[7] The song was featured at the 44th Tony Awards.[8] The 2018 compilation album, Andrew Lloyd Webber Unmasked: The Platinum Collection, included a remixed version of the 1989 single recording. 

΄΄I Am But a Small Voice" is a song, often associated with Roger Whittaker, in 1993 where that expresses themes of hope, unity, and the power of even small actions to create positive change. The lyrics emphasize that while the singer's voice may be small, their dream is to bring joy, freedom, and love to the world. The song also promotes the idea that "we are one" and that a collective effort, even with small voices, can achieve great things. The song's message resonates with various audiences, including young children, as it encourages empathy, kindness, and the understanding that even small actions can make a difference. The song is often used in educational and community settings, such as graduations, moving-up ceremonies, and youth events, to inspire a sense of unity and hope. The song's popularity is evident in the numerous performances, recordings, and covers available online, including choral arrangements, karaoke versions, and performances by various groups like the ISB Virtual Choir. The song's enduring appeal lies in its simple yet profound message of hope, unity, and the power of collective action The song has a message that many songs have; kids can empower the world. It has all of the things that kids hope for; world peace, an end for poverty, and love among the human race; pretty much what the movement through girl’s education hopes to achieve. Please forgive the fact that the opening is in Tagalog; don’t let that turn you off! The song was the child star’s first hit (I kid you not; out of the twenty-one videos, seven of them are set to songs sung by Lea both as a child and as an adult. What can I say? She’s my muse!!!) More to come on the Girl Rising subject!!! Small Voice is the debut album by Filipina singer and actress Lea Salonga released in 1981 by FGS Records. It was recorded when she was only nine years old.[1] Philippine critics gave the album and Salonga's performance positive reviews. The album was certified gold in the Philippines.[2] After the success of the album, she was given her own TV variety show called Love, Lea.

΄΄Train for Jubilee΄΄   Here's a novel encore for any concert or service of celebration. Scored for one piano, four-hands (a one piano, two-hands version is available for download), this virtuosic romp is sure to put a smile in the heart of all. The music uses special techniques to imitate a train, matching imagery in the text. Let your accompanist(s) shine and discover the festive innovations and pyrotechnics of this “one of a kind” piece! Joseph Martin (b. 1959 ), a native of North Carolina, earned his Bachelor of Music degree in Piano Performance at Furman University in Greenville, South Carolina. Subsequently he earned a Master of Music degree in Piano Performance at the University of Texas, Austin. Joseph taught for five years in the Piano Pedagogy Department of the University of Texas. His piano teachers include Jimmy Woodle, David Gibson, Amanda Vick Lethco, Martha Hilley and Danielle Martin. While at Furman University, he was accompanist for choral director and composer Milburn Price and, inspired by his teaching, Martin began to compose. He is a member of the staff of Shawnee Press as Director of Sacred Publications, with responsibilities for overseeing the editorial and creative direction of the company as sacred publications and also coordinating the recording and production aspects of future sacred publishing efforts. Joseph has performed solo piano recitals and has been the featured artist with symphony orchestras in the United States and Mexico. As winner of the Nina Plant Wideman Competition, he performed with the Guadalajara Symphony Orchestra. His solo recital in Ex-convento del Carmen was broadcast nationally throughout the country. Though he continues to perform in concert, he now devotes his efforts to playing in churches and for conferences of church musicians His first solo piano recording, American Tapestry, was nominated for a Dove Award. This album, along with his other recordings (Songs of the Journey, Celtic Tapestry, and A Christmas Tapestry) has been enormously popular in the sacred and secular markets. He has recorded for Yamaha's Disklavier series and has composed hundreds of commissioned works. Recognized throughout the United States for his many choral compositions, over 1200 compositions are currently in print and the list continues to grow. His composition ""Pieta"" was recently honored with an award from the John Ness Beck Foundation. In 2008 he was inducted as a National Patron of the Delta Omicron International Music Fraternity. Along with Mark Hayes and David Angerman, Joseph has co-authored a fully graded, progressive piano method for the Christian student called Keys for the Kingdom. His major works include nearly 40 choral cantatas and extended works and Song of Wisdom, a choral tone poem based on the best-selling children's book, Old Turtle. His music can be heard in such diverse locations as Carnegie Hall in New York City; the Lawrence Welk Theatre in Branson, Missouri; and in hundreds of worship services in churches across the United States and Canada. In addition, his works have been performed in cathedrals in Germany, Austria, England, Ireland, Scotland and Austria. Joseph lives in Austin, Texas with his children Jonathan and Aubrey and his wife Sue. Joseph Martin is one of the most influential composers in sacred music today. His music has graced countless congregations and led many to consider with awe the glory of creation. From a very young age, this was his mission. Martin grew up in North Carolina, the son of a minister and a church pianist. Music and faith blended together for him from the very beginning of his life. When he was young, his family moved to Fort Lauderdale, Florida, where his father took over a large urban congregation. While the city was new for Martin, nothing about his love of faith and music changed. In fact, while living in Florida, he met one of his greatest influences – a piano teacher named Esther Chilson. A woman of faith, Chilson would pray over her student’s hands and ears before every lesson. Only an adolescent at the time, Martin saw great beauty in this practice and continued to learn how tightly music and faith are intertwined. Today, Joseph Martin’s music is a staple of many worship communities. He has written 47 cantatas and many more anthems. In his own words, Martin says that he cannot go a day without composing: “I’m always looking for that next song, the next way of telling the old, old story in a brand-new way.” Seven days a week, all year round, Joseph Martin is working hard on his next great piece. He works in isolation, having built his own small studio in his home. There, he toils away at the piano, singing the lines and perfecting each melody, sharing his heart and faith with every note.

΄΄Lift them Lift them up΄΄ Dr. Lon Beery is a vocal music educator at Spry Middle School in Webster, New York. Prior to returning to public school teaching, he was an Assistant Professor of Music Education at Syracuse University. Dr. Beery has also taught Choral Arranging at the Eastman School of Music. He is a frequent guest choral conductor, working especially with middle school choruses. In 2009, he was named the Rochester Philharmonic Orchestra's Choral Music Educator of the Year. In January 2013, he served as the vocal music headliner for the Michigan Music Conference. He has also served as the Eastern Division ACDA Middle School Repertoire and Standards Chair. Dr. Beery has written several articles related to General Music and Choral Music education which have appeared in the Music Educators Journal and the Choral Journal. He has presented sessions at state, regional, and national conferences of NAfME and ACDA. "Lift them up! Lift your voices to the sky!" Lon Beery has written a terrific gospel cooker, with a feel-good secular text that's a bulls-eye for mixed groups in high schools and middle schools. Three-part mixed voices with optional baritone; bright syncopated rhythms; a playable gospel piano part; a couple of key changes into the finale.

΄΄Joshua Fit the Battle of Jericho΄΄(or alternatively "Joshua Fought de Battle of Jericho", "Joshua Fit the Battle" or just Joshua and various other titles) is a well-known African-American spiritual.[1] The lyrics allude to the biblical story of the Battle of Jericho, in which Joshua led the Israelites against Canaan (Joshua 6:15-21).[1] Like those of many other spirituals, the song's words may also be alluding to eventual escape from slavery – in the case of this song, "And the walls came tumblin' down."[2][3] The lively melody and rhythm also provided energy and inspiration.[4] Critic Robert Cummings wrote: "The jaunty, spirited theme hardly sounds like the product of the pre–Civil War era, and would not sound out of place in a ragtime or even jazz musical from the early 20th century. The closing portion of the tune, sung to the words quoted above, is its most memorable portion: the notes plunge emphatically and impart a glorious sense of collapse, of triumph."[3] The song is believed to have been composed by enslaved peoples in the first half of the 19th century. Some references suggest that it was copyrighted by Jay Roberts in 1865.[5] In 1882, the song was published in Jubilee Songs by M. G. Slayton and in A Collection of Revival Hymns and Plantation Melodies by Marshall W. Taylor. Early published versions include some parts in dialect, such as "fit" for "fought". A rare, unpublished variation, "Jacob fought the battle of Jericho", has evolved and has been heard sung in the later twentieth century. In this instance, "Jacob" refers to the people of Israel, who won the battle. Though this version is almost never used, the two-syllable name 'Jacob' fits more naturally into the song's meter than the three-syllable name 'Joshua'. The first recorded version was by Harrod's Jubilee Singers, on Paramount Records No. 12116 in 1922[6] (though some sources[who?] suggest 1924). The Online 78 Discography entry for this record credits Jay Roberts as the author. Later recordings include those by Paul Robeson[7] (1925), Mahalia Jackson[7] (1958), Clara Ward, Laurie London, Hugh Laurie (2011) and Elvis Presley (1960) among many others. In 1930, Marshall Bartholomew created his arrangement of the song.[8]Composer and conductor Morton Gould used the song as the basis for his 1941 composition for concert band, Jericho Rhapsody.[9][8] Ralph Flanagan adapted it under the title "Joshua". Ralph Flanagan and His Orchestra recorded the spiritual in New York City on March 1, 1950. It was released by RCA Victor Records as catalog number 20-3724 (in USA)[10] and by EMI on the His Master's Voice label as catalog numbers B 9938 and IP 604. Bing Crosby included the song in a medley on his album 101 Gang Songs (1961)[11] The Golden Gate Quartet performed the song live in 1967 in Yugoslavia.[12] Sister Thea Bowman learned the song from her elders and recorded it in 1988 on the stereocassette Songs of My People. In 2020 it was re-released for the 30th anniversary of her death as part of the digital album Songs of My People: The Complete Collection[permanent dead link]. Hugh Laurie covered it on his 2013 album Let Them Talk. A version by Grant Green featured briefly in episode 2 "Half Loop" of the TV thriller Severance.[13] Joshua Fit the Battle of Jericho" is a spiritual song based on the biblical story of Joshua and the Israelites' conquest of Jericho. The song recounts how Joshua led the Israelites, marching around the city walls and blowing trumpets, causing the walls to fall down. The lyrics, with their lively melody, were also interpreted as a message of hope and liberation, particularly for enslaved African Americans, suggesting that even seemingly insurmountable obstacles (like the walls of Jericho or the walls of slavery) could be overcome through faith and perseverance. Here's a breakdown of the key elements: The song directly references the biblical account in the Book of Joshua chapter 6. The Israelites, under Joshua's leadership, marched around Jericho for six days, and on the seventh day, after marching around it seven times, the walls fell down after the priests blew their trumpets and the people shouted.  The song is a spiritual, a type of religious song that originated among enslaved African Americans. It's understood that the lyrics provided a dual meaning: one understandable to the slave owners, and another, deeper meaning for the enslaved people. The song could be interpreted as a straightforward retelling of the biblical story, but also as a coded message of hope and resilience for the enslaved. The "tumbling walls" could symbolize the fall of slavery, and the Israelites' victory could represent the eventual triumph over oppression. The song's energetic melody and rhythm were intended to inspire and motivate. It encouraged listeners to be brave and to fight for freedom and justice, drawing strength from the biblical narrative.  

The falling walls of Jericho serve as a potent symbol of overcoming seemingly impossible challenges through faith and perseverance. The song suggests that with faith and determination, even the most formidable barriers can be brought down "Joshua Fit the Battle of Jericho" is a traditional spiritual arranged by Moses Hogan. It tells the biblical story of Joshua's victory at Jericho, where the city walls fell after the Israelites marched around the city and blew horns. Hogan's arrangement is known for its powerful choral harmonies and dramatic intensity. The song is based on the biblical account in Joshua 6:15-21, where Joshua leads the Israelites to conquer Jericho by marching around the city for six days and then on the seventh day, blowing horns and shouting, causing the walls to fall. Hogan's arrangement is particularly well-regarded for its dramatic flair, intricate harmonies, and powerful impact on the listener. The piece is typically performed by choirs and is known for its strong choral layering and dynamic contrasts. The song features memorable lines like "Joshua fit the battle of Jericho, and the walls come tumblin' down". 

Moses George Hogan (March 13, 1957 – February 11, 2003) was an American composer and arranger of choral music. He was best known for his settings of spirituals. Hogan was a pianist, conductor, and arranger of international renown. His works are celebrated and performed by high school, college, church, community, and professional choirs today. Over his lifetime, he published 88 arrangements for voice, eight of which were solo pieces.[1] Born in New Orleans, Hogan lived with five siblings and his parents, who gave their children a passion for music. He was an accomplished pianist by the age of nine. The family attended the A.L. Davis New Zion Baptist Church. Hogan's father, of the same name, was a bass singer in the church choir while Hogan's uncle, Edwin B. Hogan, was the Minister of Music and organist. His mother, Gloria Hogan, was a nurse.[2] Hogan was musically educated from a young age, first enrolling in Xavier University Junior School of Music. In his sophomore year of high school, he was accepted to New Orleans Center for Creative Arts High School and was in its first graduating class of 1975. Hogan was awarded a full scholarship to the Oberlin Conservatory of Music, where he studied piano and graduated in 1979 with a Bachelor of Music degree. Immediately after graduation, he began graduate studies at the Juilliard School of Music, which he did not complete, and later went to study classical music in Vienna. During his piano performance years, Hogan won several competitions including first place at the 28th Annual Kosciuszko Foundation Chopin Competition in New York.

He returned to Louisiana State University, where he was offered the opportunity to work for his doctorate but decided not to pursue it. In 1980, he formed the New World Ensemble and began arranging choral music. In 1993, he founded the Moses Hogan Chorale and the following year published his first arrangement, "Elijah Rock". The choir was invited to sing at the 1996 World Choral Symposium in Sydney, Australia.[1] In 1997, he founded the Moses Hogan Singers; their first album was released in 2002.[1] He died from a brain tumor on February 11, 2003.[3]

 He was one of the most celebrated directors and masters of spirituals who created dozens of new original arrangements of classic spirituals, and formed several choirs that performed them with new vitality. He is recognized as a leading force in promoting and preserving the African-American musical experience. Hogan was born in New Orleans, Louisiana on March 13, 1957. He went on to graduate from the New Orleans Center for Creative Arts (NOCCA) and Oberlin Conservatory of Music in Ohio. He also studied at New York's Juilliard School of Music and Louisiana State University in Baton Rouge. Since 1980 Hogan began his exploration of the choral music idiom forming a series of vocal group--the New World Ensemble, the Moses Hogan Chorale, and the Moses Hogan Singers, which recorded and performed at such prestigious venues as the Kennedy Center and the Sydney Opera House. Hogan soon became one of the most influential names in modern choral singing by rejuvenating the genre of African-American Spirituals for both choral singers and audiences. He also established his own record label MGH Records, which recorded many of his works. With over 70 published works, Hogan's arrangements have become staples in the repertoires of high school, college, church, community and professional choirs worldwide. A graduate of the New Orleans Center for Creative Arts (NOCCA) and Oberlin Conservatory of Music in Ohio, he also studied at New York's Juilliard School of Music and Louisiana State University in Baton Rouge. Mr. Hogan's many accomplishments as a concert pianist included winning first place in the prestigious 28th annual Kosciuszko Foundation Chopin Competition in New York. Hogan was recently appointed Artist In Residence at Loyola University in New Orleans. Hogan began his exploration of the choral music idiom in 1980. Hogan's former New Orleans based Moses Hogan Chorale received international acclaim. The Moses Hogan Singers made their debut in 1998 on the EMI record label with the acclaimed soprano Barbara Hendricks. Hogan was commissioned to arrange and perform several compositions for the 1995 PBS Documentary,

THE AMERICAN PROMISE, whose soundtrack was released separately by Windham Hill records under the title VOICES. His discography includes a recording of arrangements of spirituals for the acclaimed soprano Barbara Hendricks, sung by the Moses Hogan Singers entitled Give Me Jesus, produced by EMI Virgin Records; An American Heritage of Spirituals, sung by the famed Mormon Tabernacle Choir, conducted by Moses Hogan and Albert McNeil; Two recordings of spirituals with renowned countertenor Derek Lee Ragin on Aria Records and on Channel Classic Records; This Little Light of Mine, featuring Hogan's most recent commissions and dedications, with excerpts from the Oxford Book of Spirituals, MGH Records: The Moses Hogan Choral Series 2002, features a collection of thirty-nine spirituals and songs of faith, sung by the Moses Hogan Chorale and Moses Hogan Singers, with excerpts from the Oxford Book of Spirituals, produced and arranged by Moses Hogan, MGH Records; Lift Every Voice For Freedom, a collection of American folk songs, poems, hymns, songs of faith and patriotic songs. Hogan served as editor of the new Oxford Book of Spirituals, an expansive collection of spirituals, published by Oxford University Press. Hogan's contemporary settings of spirituals, original compositions and other works have been revered by audiences and praised by critics including Gramophone magazine. With over 70 published works, Hogan's arrangements have become staples in the repertoires of high school, college, church, community and professional choirs worldwide. Hogan's choral style, high musical standards and unique repertoire have consistently elicited praise from critics worldwide. Hogan is an exclusive arranger and composer for Hal Leonard Music Corporation and a member of Phi Mu Alpha Fraternity and ASCAP. Mr. Hogan has been increasingly in demand internationally as an arranger, conductor and clinician. Hogan's choral series is published by Hal Leonard Corporation and by Alliance Music Publishers. Moses Hogan explained his arrangement of ‘Battle of Jericho’ ~ “I wanted to create a ‘battle’ if you will, opposing forces. So on one level, you have the men singing “Joshua fit the ba*TT*le, the ba*TT*le…” in a very heroic way. Then you have the ladies with the counter-melody, the melody that has been handed down, in 3-part harmony. I ask for the men to strongly accent the T’s in the word ‘battle’, as opposed to the ‘sh’ sound of the women: ‘Jo*SH*ua.’ When you get those opposing forces, you get that conflict of a battle for 2’40” that builds with great enthusiasm! It’s the energy of the text that really drives the energy of this piece.” 

΄΄Bridge over Troubled Water΄΄ is a song by the American folk rock duo Simon & Garfunkel, released in January 1970 as the second single from their fifth and final studio album, Bridge over Troubled Water (1970). It was written by Paul Simon and produced by Simon, Art Garfunkel and Roy Halee. "Bridge over Troubled Water" features lead vocals by Art Garfunkel and a piano accompaniment influenced by gospel music, with a "Wall of Sound"-style production.[4][5] It was the last song recorded for the album, but the first completed.[6] The instrumentation, provided by the Wrecking Crew, was recorded in California, while Simon and Garfunkel's vocals were recorded in New York.[6][7][8][9] Simon felt Garfunkel should sing solo, an invitation Garfunkel initially declined.[10] Session musician Larry Knechtel performs piano, with Joe Osborn playing bass guitar and Hal Blaine on drums. The song won five awards at the 13th Annual Grammy Awards in 1971, including Grammy Award for Record of the Year and Song of the Year. It is Simon & Garfunkel's most successful single, topping the US Billboard Hot 100 chart for six weeks, and was the No. 1 song on the Billboard Year-End Hot 100 singles of 1970. It also hit number one in the United Kingdom, Canada, France and New Zealand. It reached the top five in eight other countries, eventually selling over six million copies worldwide. It became one of the most performed songs of the 20th century, covered by over 50 artists, including Elvis Presley, Aretha Franklin and Johnny Cash. It is ranked number 66 on Rolling Stone's 500 Greatest Songs of All Time. "Bridge over Troubled Water" was written by Paul Simon in early 1969; the song came to him very quickly, so much so that he asked himself: "Where did that come from? It doesn't seem like me."[10][11][12] The title concept was inspired by Claude Jeter's line "I'll be your bridge over deep water if you trust in my name," which Jeter sang with his group, the Swan Silvertones, in the 1959 song "Mary Don't You Weep".[13][14] According to gospel producer and historian Anthony Heilbut, Simon acknowledged his debt to Jeter in person, and handed Jeter a check.[15] Simon named Johann Sebastian Bach's "O Sacred Head, Now Wounded" as inspiration for parts of the melody.[16] Simon wrote the song initially on guitar but used the piano to reflect the gospel influence and suit Garfunkel's voice.[6] Simon told his partner, Art Garfunkel, that Garfunkel should sing it alone, the "white choirboy way", though Simon adds harmony on the final verse.[10] Garfunkel felt it was not right for him;[6] he liked Simon's falsetto on the demo and suggested that Simon sing. At the suggestion of Garfunkel and producer Roy Halee, Simon wrote an extra verse and a "bigger" ending, though he felt it was less cohesive with the earlier verses.[17] The final verse was written about Simon's then-wife Peggy Harper, who had noticed her first gray hairs ("Sail on, silvergirl").[18][19] It does not refer to a drug abuser's hypodermic needle, as is sometimes claimed.[20] The verse was Garfunkel's idea, but Simon reportedly did not like it.[21] "Bridge over Troubled Water" was the final track recorded for the album but the first completed, with an additional two weeks of post-production.[6] Simon initially wrote the song in G major, but arranger and composer Jimmie Haskell transposed the song to E-flat major to suit Garfunkel's voice.[22] The song's instrumental parts were recorded in August 1969 in California, to make it easier for Garfunkel to go to Mexico to film Catch-22.[9][12] Simon wanted a gospel piano sound, and hired session musician Larry Knechtel. Joe Osborn played two separate bass tracks, one high and the other low. A string section entering in the third verse completed the arrangement. The drums were played by Hal Blaine in an echo chamber to achieve a hall effect and Los Angeles session percussionist Gary Coleman played the Vibraphone. Haskell misheard the demo's chorus, writing "Like a Pitcher of Water" on the title page of his sheet music: Simon later framed it.[23] Simon and Garfunkel returned to New York in November 1969 to record the vocals.[24][7][6][12] The vocal style in "Bridge over Troubled Water" was inspired by Phil Spector's technique in "Old Man River" by The Righteous Brothers.[25] Simon said it sounded like the Beatles' "Let It Be", stating in a Rolling Stone interview: "They are very similar songs, certainly in instrumentation."[26] As their relations frayed preceding their 1970 breakup, Simon began to experience regret for allowing Garfunkel to sing it solo: He felt I should have done it, and many times on a stage, though, when I'd be sitting off to the side and Larry Knechtel would be playing the piano and Artie would be singing "Bridge", people would stomp and cheer when it was over, and I would think, "That's my song, man..."[10]Billboard  called it a "beautiful, almost religious-oriented ballad" whose "performance and arrangement are perfect."[27] Cash Box said that "set in parable, this love ballad carries a two-level interpretation" and praised "Garfunkel's magnificent vocal performance and the material."[28] Record World predicted that the song would "equal [the duo's] 'Boxer' success."[29] The song has also been lauded as one of the greatest by Simon & Garfunkel. In 2017, The Guardian called the song one of the best by the duo, describing it as "heart-stirring".[30] The Independent similarly lauded the song in 2020, calling it "a transcendent experience" and ranking it as the best song by the group.[31] Despite the song's five-minute length, Columbia decided to release "Bridge over Troubled Water" for play on pop radio. AM radio had previously played Bob Dylan's "Like a Rolling Stone" in 1965, despite its running over the conventional three-minute playtime limit. This figured in Columbia's decision to release the five-minute version of "Bridge over Troubled Water" as a single.[32] It reached number one on the Billboard Hot 100 chart on February 28, 1970, and stayed at the top of the chart for six weeks. "Bridge over Troubled Water" also topped the adult contemporary chart in the US for six weeks.[33] Billboard ranked it as the No. 1 song for 1970.[34] The song was certified Gold for over one million copies in the US by the Recording Industry Association of America,[35] and sold over six million copies worldwide.[36][37] The single won the Grammy Award for Record of the Year, Song of the Year, Best Contemporary Song, and Best Arrangement, Instrumental and Vocals in the Grammy Awards of 1971, with its album also winning Album of the Year.

΄΄When I Fall in Love΄΄ is a popular song, written by Victor Young (music) and Edward Heyman (lyrics). It was introduced in Howard Hughes' last film One Minute to Zero as the instrumental titled "Theme from One Minute to Zero". Jeri Southern sang on the first vocal recording released in April 1952 with the song's composer, Victor Young, handling the arranging and conducting duties. The song has become a standard, with many artists recording it; the first hit version was sung by Doris Day released in July 1952. Day's recording was made on June 5, 1952. It was released by Columbia Records as catalog number 39786 and issued with the flip side "Take Me in Your Arms". The song reached number 20 on the Billboard chart.[1] A 1996 recording by Natalie Cole, sung as a duet with her father Nat King Cole using vocals from his 1956 version, won 1996 Grammys for Best Pop Collaboration with Vocals and Best Instrumental Arrangement with Accompanying Vocal(s).A version was recorded by Nat King Cole on December 28, 1956. It was issued by Capitol Records on the album titled Love Is the Thing, catalog number SW824. The song was also used as the recurrent love theme in the 1957 film Istanbul, in which Cole sang the song onscreen. The single was released in the UK in 1957 and reached No. 2 on the UK Singles Chart. This recording was rereleased in 1987 and reached number 4. The start of Cole's version was sampled in Pop Will Eat Itself's 1988 single "There Is No Love Between Us Anymore".[2] 

Since 2014, Cole's version of the song has been featured in adverts for SSE.Natalie Cole recorded two different versions of the song: a contemporary R&B/smooth jazz version for her 1987 album Everlasting (No. 14 U.S. AC) and a more traditional version for her 1996 Stardust album as a virtual duet with her father Nat King Cole, including recordings of his vocals from his 1956 version. This version won two awards at the 39th Grammy Awards: Best Pop Collaboration with Vocals and Best Instrumental Arrangement with Accompanying Vocal(s) for arrangers Alan Broadbent and
David Foster.Johnny Mathis recorded the song for his 1959 album Open Fire, Two Guitars, which charted in the UK and many other countries.Blues singer Etta Jones released a version of the song in 1960, which spent eight weeks on the Billboard Hot 100, reaching No. 65.[3]A version by the Lettermen was released as a single in 1961 and spent 14 weeks on the Billboard Hot 100, reaching No. 7,[4] while reaching No. 1 on the Billboard's Easy Listening chart.[5] Veteran drummer Earl Palmer played on this version.[6]Donny Osmond recorded the song in 1973 for his album A Time for Us. It spent 13 weeks on the Billboard Hot 100, reaching No. 55,[7] while reaching No. 4 on the UK Singles Chart[8] and No. 1 in France.[9]In 1984, Linda Ronstadt released the song as the lead track on her album Lush Life and as a single. Ronstadt's version reached No. 24 on Billboard's Adult Contemporary chart.[10]Van Morrison quoted the song extensively in his 1993 medley rendition of "It's All in the Game", which appears on his live album A Night in San Francisco.Michael Bublé recorded the song in 2018 for his album Love. The song was released as the first single for the record in 27 September 2018.Blue Mitchell on Blue's Moods, 1960; jazz version.The version of "When I Fall in Love" by English singer-songwriter Rick Astley was released on November 30, 1987, coinciding with the 30th anniversary of the release of Nat King Cole's version of the song. This single is mainly remembered for a closely fought contest for UK Christmas number one. Rivals EMI, hoping to see their act, Pet Shop Boys, reach number one with "Always on My Mind", re-released the version by Nat King Cole.[11][12] This led to a slow down of purchases of Astley's version, allowing Pet Shop Boys to reach the coveted top spot. Despite selling over 250,000 copies and gaining a Silver certification from the BPI,[13] it peaked in the UK at number 2 for two weeks. The re-release by Nat King Cole reached number 4. Since the single was released as a double A-side, the other half of the single was "My Arms Keep Missing You", which was successful in its own right in Europe. In 2019, Astley recorded and released a "reimagined" version of the song for his album The Best of Me, which features a new piano arrangement.[14] On November 24, 2022, the original music video was remastered to 1080p HD for a limited edition 12" double A-side red vinyl issue of the "Love This Christmas" single.[15][16]A review in Pan-European magazine Music & Media considered that Astley's cover version as "surprisingly matching the original" and added: "With the romantic string arrangements and Astley's mature vocals, the perfect seasonal single, bound for a no. 1 in the UK".[17] When reviewing the parent album, British magazine Music Week underlined the track, adding that Astley "stretches his vocal chords on a credible and reverent recreation" of Cole's song.[18] In the same magazine, Jerry Smith deemed it a potential hit in spite of "the cloying strings arrangement", and added that this cover was "not a patch" on Cole's original version.[19] Chris Heath of Smash Hits praised the song as "brilliantly effective" with a "plinkety-plonkety orchestration and Rick crooning away, sounding uncannily like a 50 year old Frank Sinatra type".[20] In another issue of the same magazine, Lola Borg considered it as "truly splendid" and added that Astley "ably croons a slushy lump of woefulness" and that this version is similar to the original since "the sweeping strings are exactly the same, note for note".[21]

΄΄Soon and Very Soon΄΄

Andraé Edward Crouch (July 1, 1942 – January 8, 2015). Born in San Francisco on July 1942, and raised in Los Angeles, he   was the son of   bivocational-pastor parents Benjamin and Catherine Crouch. He has recounted that he received the gift of music as a child, when his father was called as a guest preacher and pastoral candidate to a small rural church that had no musicians. He began playing for them at the age of 11. He wrote his first gospel song at 14, and formed his first band, the COGICS, in 1960. In 1965 he formed The Disciples, which lasted until 1979, and as a protegé of Audrey Mieir, Ralph Carmichael, and other leading Contemporary Christian Music artists of the time, went on to win a total of nine Grammies, and numerous other awards. He wrote his first well-known song, "The Blood Will Never Lose Its Power", at the age of 15, but most of his songs that have gained congregational currency flowed from the years when he was active with The Disciples. After The Disciples were disbanded, Crouch continued his recording and performing career, and also became more active in church ministries. was an American gospel singer, songwriter, arranger, record producer and pastor. Referred to as "the father of modern gospel music" by contemporary Christian and gospel music professionals,[1] Crouch was known for his compositions "The Blood Will Never Lose Its Power",

 "My Tribute (To God Be the Glory)" and "Soon and Very Soon". He collaborated on some of his recordings with famous and popular artists such as Stevie Wonder, El DeBarge, Philip Bailey, Chaka Khan, and Sheila E., as well as the vocal group Take 6, and many popular artists covered his material, including Bob Dylan, Barbara Mandrell, Paul Simon, Elvis Presley and Little Richard.[2] In the 1980s and 1990s, he was known as the "go-to" producer for superstars who sought a gospel choir sound in their recordings; he appeared on a number of recordings, including Michael Jackson's "Man In the Mirror", Madonna's "Like a Prayer", and "The Power", a duet between Elton John and Little Richard.[3] Crouch was noted for his talent of incorporating contemporary secular music styles into the gospel music he grew up with. His efforts in this area helped pave the way for early American contemporary Christian music during the 1960s and 1970s.[4] Crouch's original music arrangements were heard in the films The Color Purple, for which he received an Oscar nomination, and Disney's The Lion King, as well as the NBC television series Amen. Awards and honors received by him include seven Grammy Awards, induction into the Gospel Music Hall of Fame in 1998, and a star on the Hollywood Walk of Fame.[4] Andraé Edward Crouch was born, along with his twin sister, Sandra Crouch, on July 1, 1942, in Los Angeles, California,[5][6] to parents Benjamin and Catherine (née Hodnett) Crouch.[7] His father was a minister in the Church of God in Christ (COGIC) and pastored Christ Memorial Church of God in Christ in Pacoima, California. When he was young, Crouch's parents owned and operated Crouch Cleaners, a dry-cleaning business, as well as a restaurant business in Los Angeles, California.[8] In addition to running the family's businesses, Crouch's parents also had a Christian street-preaching ministry and a hospital and prison ministry.[9] Crouch's first musical group was formed in 1960 as the Church of God in Christ Singers (COGICS). The group included future recording artist and session musician Billy Preston on keyboards[7] and was the first to record Crouch's song "The Blood Will Never Lose Its Power". The song's popularity grew following the initial 1964 recording, becoming a standard in churches and  hymnals worldwide.[12][4] While attending Valley Junior College in the San Fernando Valley to become a teacher, he formed the gospel music group "The Disciples" in 1965 with fellow musicians Perry Morgan, Reuben Fernandez, and Bili Thedford.[13] The group became a frequent attraction at "Monday Night Sing" concerts in southern California put on by Audrey Mieir, a Christian minister and music composer who frequently sponsored new Christian music groups.[11] Following Mieir's introduction of Crouch to Manna Music Publishing's founders Tim and Hal Spencer, Manna published Crouch's song "The Blood Will Never Lose Its Power", written when he was 15 years old. The Spencers helped launch Crouch's recording career by introducing him to Light Records founder and prolific Christian songwriter Ralph Carmichael. After the addition of Sherman Andrus to The Disciples, Light Records recorded and released the group's first album, Take the Message Everywhere, in 1968.[14] Following the group's first album release, Crouch's twin sister, Sandra, joined The Disciples in 1970 after Fernandez' departure. Two more albums would follow, Keep On Singin'[15] and Soulfully, before a major change in the group's lineup in 1972.[16] When Sherman Andrus left the Disciples to join the Imperials, he was replaced by singer Danniebelle Hall. More musicians were being added and the group's membership by the early 1970s included Fletch Wiley on trumpet, Harlan Rogers on keyboards, Hadley Hockensmith on bass, and Bill Maxwell on drums.[11] The group appeared on The Tonight Show Starring Johnny Carson in 1972[11] and to sold-out crowds at Carnegie Hall in 1975 and 1979.[17] Crouch's most popular songs with the group included "The Blood Will Never Lose Its Power", "Through It All", "Bless His Holy Name", "Soon and Very Soon", "Jesus is the Answer", and "My Tribute". After The Disciples disbanded in 1982, Crouch continued on with a solo career. His backing ensemble included Howard Smith, Linda McCrary, Táta Vega, and Kristle Murden, along with The Andraé Crouch Singers. Joe Sample, Wilton Felder, Dean Parks, David Paich, Phillip Bailey, Stevie Wonder, El DeBarge, and other secular artists were included in Crouch's recording sessions. With former Disciples drummer-turned-producer Bill Maxwell, Crouch co-produced projects for The Winans, Danniebelle Hall, and Kristle Murden. Many musical acts and solo performers covered his more popular works, including Elvis Presley with "I've Got Confidence". In 1986, Crouch composed the theme music of the Sherman Hemsley sitcom Amen, sung by Vanessa Bell Armstrong.

In 2006 Crouch released Mighty Wind, a 40th anniversary album featuring guest performances by Lauren Evans, Crystal Lewis, Karen Clark Sheard, Táta Vega, and Marvin Winans. On February 7, 1982, Crouch guest appeared in Season 8 Episode 16 "Man of the Cloth" on The Jeffersons. He also appeared in the TV movie In Search of Dr. Seuss, playing the title character in "Yertle the Turtle". Crouch has been credited as a key figure in Jesus music of the 1960s and 1970s and, as a result, helping to bring about contemporary Christian music into the church.[18] As well, he is also credited with helping to bridge the gap between black and white Christian music and revolutionizing the sound of urban Gospel music. Though sometimes criticized for diluting the Christian message by using contemporary music styles, his songs have become staples in churches and hymnals around the world and have been recorded by mainstream artists such as Elvis Presley and Paul Simon.[7] His affiliation with Light Records was instrumental in bringing Walter and Tramaine Hawkins, Jessy Dixon and The Winans to the label, from where they all enjoyed successful gospel music careers.[19] In 1996, Crouch and his music were honored on the Grammy Award-winning CD, Tribute: The Songs of Andraé Crouch, released by Warner Bros. Records. The album featured a wide range of artists performing Crouch's classic songs and featured the Brooklyn Tabernacle Choir, Take 6, Twila Paris, and Michael W. Smith.[20] Crouch and his sister Sandra had a friendship and music relationship with Michael Jackson.[21] In 1987, the Andraé Crouch Choir sang background vocals along with Siedah Garrett and The Winans on Jackson's hit single "Man in the Mirror" from the Bad album. The Andraé Crouch Singers were also featured on the songs "Keep the Faith" and "Will You Be There" from Jackson's 1991 Dangerous album. On Jackson's HIStory: Past, Present and Future, Book I project in 1995, the Andraé Crouch Choir is heard on "Earth Song." They are also heard on "Morphine" from HIStory's remix album Blood on the Dance Floor: HIStory in the Mix as well as "Speechless" from the Invincible album. Crouch's composition "Soon and Very Soon" was performed by the Andraé Crouch Choir at the public memorial service for Jackson held at the Staples Center in Los Angeles on July 7, 2009.[22] Between 1993 and 1994, Crouch suffered the loss of his father, mother, and older brother.[7] After his father's death, Crouch and his sister took over the shared duty of senior pastor at the church his parents founded, Christ Memorial Church of God in Christ in Pacoima, California.[7][25] Crouch survived a number of personal attacks from four different forms of cancer, which claimed the life of his mother, father and brother in 1993 and 1994. He was also hospitalized for complications from diabetes in his last few years of life.[26][27] In early December 2014, Crouch was hospitalized for pneumonia and congestive heart failure. As a result, his December 2014 tour was postponed.[28][29] He was hospitalized again on January 3, 2015, in Los Angeles, as the result of a heart attack.[30] On January 8, 2015, Crouch died at Northridge Hospital Medical Center.[17][29] He was 72. On the same day, his sister, Sandra, released the following statement: "Today my twin brother, womb-mate and best friend went home to be with the Lord. Please keep me, my family and our church family in your prayers.

I tried to keep him here but God loved him best."[31] Following Crouch's death, Christian recording artist Michael W. Smith told Billboard Magazine, "...I'll never forget hearing Andraé for the first time. It was like someone had opened a whole new world of possibilities for me musically. I don't think there is anyone who inspired me more, growing up, than Andraé Crouch. The depth of his influence on Christian music is incalculable. We all owe him so much and I'll forever be grateful for the times we got to work together."[32Crouch later worked as a producer and arranger with Michael Jackson, Madonna, Quincy Jones, Mika (We Are Golden), Diana Ross, Elton John, Rick Astley ("Cry for Help") and Prefab Sprout. Crouch also had a long relationship with the Oslo Gospel Choir, which he occasionally produced, arranged [33] for and performed with.[34] In 2014, Crouch joined a cast of artists from around the world on a recording of "One World" by Hong Kong duo the Chung Brothers.[35] Crouch won numerous awards throughout his career that included seven Grammy Awards[19] and four GMA Dove Awards. He was also the recipient of ASCAP, Billboard, and NAACP Awards.[citation needed] In 2004, he became the only living Gospel artist – and just the third in history – to have a star on the Hollywood Walk of Fame.[citation needed] In 2011, Sandra and Andrae Crouch were granted an honorary "Artist-in-Residence" Award by the International Center of Worship of Regent University in Virginia Beach, Virginia.[36] Crouch has won seven Grammys:[37] 1975: Best Soul Gospel Performance – Take Me Back/1978: Best Contemporary Soul Gospel Album – Live in London/1979: Best Contemporary Soul Gospel Album – I'll Be Thinking of You/1980: Best Gospel Performance, Contemporary or Inspirational – "The Lord's Prayer" (collaborative)/1981: Best Contemporary Soul Gospel Album – Don't Give Up/1984: Best Soul Gospel Performance, Male – "Always Remember"/

1994: Best Pop/Contemporary Gospel Album – Mercy . Crouch, sometimes called "the father of modern gospel music," led the choirs that sang on such hits as Michael Jackson's Man in the Mirror and Madonna's Like a Prayer. As a songwriter, he wrote several gospel favorites, most notably The Blood Will Never Lose Its Power, My Tribute (To God Be the Glory) and Soon and Very Soon, a song sung at Jackson's public memorial service. A San Francisco native who grew up in the Church of God in Christ, Crouch wrote his first gospel tune at age 14. By 1960, he had formed the Church of God in Christ Singers, a group that featured Billy Preston on keyboards. He started another group, Andraé Crouch & the Disciples, in 1965, eventually signing to a contemporary Christian label, Light Records. Crouch brought a contemporary pop and R&B melodic sensibility to gospel, making him uniquely suited to appeal to both black and white audiences during the early days of the countercultural "Jesus movement" and also bringing him attention beyond the church. Elvis Presley recorded Crouch's I've Got Confidence for his 1972 gospel album He Touched Me, and Paul Simon recorded his Jesus Is the Answer on 1974's Paul Simon in Concert: Live Rhymin'. Crouch also became the go-to vocal arranger for Los Angeles recording sessions that needed a gospel sound, working not only with Jackson and Madonna but also Elton John, Quincy Jones, The Commodores, Diana Ross and Ringo Starr. Crouch's gospel albums often featured guests from the R&B and jazz worlds, including Stevie Wonder, El DeBarge, Wilton Felder and Earth,  Wind & Fire's Philip Bailey. Chaka Khan, Sheila E. and vocal group Take 6 appeared on his most recent album, 2011's The Journey. His recordings brought him seven Grammys, and Crouch also received an Academy Award nomination for his arranging work on the 1985 film The Color Purple.Throughout his life, Crouch struggled with dyslexia, sometimes memorizing words by the shapes of their combination of letters. He often drew simple pictures to help him comprehend words and write songs. Crouch's sister, Sandra Crouch, served as his spokeswoman, and the siblings were pastors at the New Christ Memorial Church in San Fernando, Calif., carrying on a work begun by their parents. After his parents died (1993-94), with his twin sister Sandra he took over the pastorate at the church his parents had led, New Christ Memorial Church of God in Christ in Pacoima, California. In December, 2014, Crouch was hospitalized for treatment of pneumonia and congestive heart failure, and on January 3, 2015, he was readmitted to the hospital following a heart attack. He died there five days later, at the age of 72. His twin sister and co-pastor Sandra Crouch issued the following statement: "Today my twin brother, womb-mate and best friend went home to be with the Lord. Please keep me, my family and our church family in your prayers. I tried to keep him here but God loved him best." Crouch survived multiple bouts with cancer and also suffered from diabetes. In early December, Crouch was hospitalized with pneumonia and congestive heart failure, forcing the cancelation of his Let the Church Say Amen Celebration tour, which had been scheduled to begin Dec. 6 in Philadelphia. He was re-admitted to the hospital Saturday with what his sister characterized in a statement as "serious health complications."

Rollo A. Dilworth (born September 23, 1970) is an American choral composer, arranger, conductor, and music educator from St. Louis, Missouri. His choral spiritual music stands as a testament to his profound artistry.

A distinguished composer, Dilworth weaves a rich tapestry of emotive harmonies and dynamic arrangements. His works, like “Freedom Train” and “Didn’t It Rain,” breathe contemporary life into traditional spirituals, resonating with both choirs and audiences. Dilworth’s innovative approach infuses these sacred melodies with a vibrant energy, capturing the essence of spiritual expression. Choirs worldwide find inspiration in the authenticity and soul-stirring power of Dilworth’s compositions, fostering a renewed appreciation for the cultural and historical significance of choral spiritual music in the modern era. Singing City welcomes Rollo Dilworth as our 5th Artistic & Music Director. He brings vast experience, leadership, and a passion for education. Rollo’s very essence is the embodiment of all that Singing City aspires to be and we are excited about what he will bring to the choir and, by extension, the City of Philadelphia. On his appointment, Rollo said, "Since its inception in 1948, Singing City has successfully brought people from various backgrounds together through the celebration of diverse vocal and choral traditions.  It is Singing City’s long-standing commitments to diversity, inclusion, belonging, and social consciousness that resonate with me and my work as a conductor, composer, and educator.  I humbly look forward to continuing the work of my predecessors, and I hope to help advance the ways in which the ensemble can serve the citizens of the greater Philadelphia area through song."  Rollo Dilworth is currently Vice Dean and Professor of Choral Music Education in the Department of Music Education and Therapy at Temple University’s Center for the Performing and Cinematic Arts in Philadelphia, PA.

He has served on the faculty since 2009. Prior to his position with Boyer College, he taught music education and was the director of choral activities for 13 years at North Park University in Chicago, where he prepared and conducted numerous extended and choral-orchestral works. Rollo is a prolific composer and arranger, renowned conductor,

and master educator. He is an active clinician and frequent guest conductor of all-state, honors, festival, community, church and professional choirs. He has researched, lectured, and presented extensively on various topics including

African American choral music, composing/arranging for choirs, social justice, social emotional learning, cultural appropriation, urban music education, community engagement, and diversity, equity, and inclusion. Dilworth, as a young boy, was impassioned by singing experiences in his school and church choirs. At the age of 11, he began experimenting with the music he was given by testing out alternate pitches and rhythms. His elementary music teacher fostered this curiosity by realizing his work.[1] This period marked the beginning of his love for arranging music.
At this time, he also began studying music theory and piano.[2] During his high school years, he quickly discovered that he wanted to pursue music as a career.[1] To fulfill his ambitions, Dilworth continued his education at Case Western Reserve in Cleveland, Ohio. There, he continued his study of voice and piano and received a Bachelor of Science degree in Music Education.[3] He spent a year teaching elementary school music full-time while also attending the University of Missouri-St. Louis to complete a master's degree in secondary education.[3] Throughout the program, Dilworth's long-time musical idol, Robert Ray, taught him composition and arranging skills. After completing the master's degree in 1994, Dilworth spent another year teaching elementary music. He then continued on to receive a DMA in conducting, this time studying with Robert Harris.[1] Dilworth served as the director of the music education and choral programs at North Park University in Chicago, Illinois from 1996 to 2009.[4] In 1998, both Colla Voce and Hal Leonard contacted Dilworth, offering him publishing contracts.[1] Since then, Dilworth has had over 150 works published.[3] He has contributed to the Choir Builders series of choral textbooks and to the music magazine Music Express, [5] both of which are published by Hal Leonard. In 2003, he was the recipient of North Park University's Zenos Hawkinson Award for Teaching Excellence and Campus Leadership.[6] After 2009, Dilworth accepted a position as a professor of music at Temple University in Pennsylvania.  He is the chair of the Music Education and Music Therapy department there.
In 2017, he was honored with the Temple University Faculty Award for Research and Creative Achievement.[3] Dilworth has, through his compositional and educational endeavors, become an active participant in the domestic and international worlds of music.[7] In celebration of composer Leonard Bernstein’s 100 birthday, Nolan Williams, Jr. commissioned the re-working of Leonard Bernstein’s Mass by four Philadelphia composers – Dilworth, Jay Fluellen, Ruth Naomi Floyd, and Evelyn Simpson. Williams tasked them to “collectively write a new version that expresses their faith or crisis of faith”.[8] The new piece premiered at Philadelphia’s Monumental Baptist Church in August 2018.[8] Both classical music and African-American folk music have influenced Dilworth's musical development and style.
He recognizes Beethoven and Chopin as beloved classical icons in his life, but his compositional style is largely influenced by Gospel and Spiritual composers such as Robert Ray and Moses Hogan.[1] Dilworth also draws inspiration from African-American literary tradition. He has a particular affinity for the poetry of Langston Hughes
and Paul Laurence Dunbar,[9] a love which has moved him to compose settings of their texts.