This is perhaps one of cinema's most famous phrases, spoken also by one of the most conspicuous of pop culture since the early 1960's, when it started, sorry for the repetition, one of the most successful film franchises in history. Whether played by Sean Connery or Daniel Craig, to George Lazenby, Roger Moore, Pierce Brosnan and even David Niven (in an irreverent parody of the espionage series), James Bond has thrilled audiences around the world their adventures to music by theme originally composed by Monty Norman jazz piece and enriched brilliantly for orchestra by John Barry, who composed the score of 12 of the 22 films that make up the series produced by the Broccoli. In the first adventure film, the James Bond theme was used as a sort of leitmotif associated with 007, and in the later films became 
the quintessential action issue, however, that Barry gave equal importance to other parts of the soundtrack. According to Wikipedia , the subject of James Bond has had many variations and adaptations according to the prevailing musical style in each época. Primeramente, se encuentra la versión "clásica" con los arreglos y orquestaciones de Barry y con Vic Flick en los riff de guitarra eléctrica; esta versión del tema aparece en las películas de Sean Connery, desde Dr. No hasta Diamantes para la eternidad , y ha sido la piedra angular para todos los compositores que han escrito música para alguno de los filmes de James Bond. Mencionemos que en Al servicio secreto de Su Majestad , Barry optó por una variación del tema en que un sintetizador moog tocaba la melodía, con el fin de distinguir al Bond de George Lazenby del representado por Connery. After the arrival of Roger Moore, Barry unveiled "" symphony "of the item bondiano with better arrangements and dramatic orchestration, and eliminate the electric guitar. This version was presented from The Golden Gun Man to The living daylights 
, which was only a slight variation with synthesizers as a way to differentiate Timothy Dalton's Bond predecessor.
also in full swing Moore, The Spy Who Loved Me presents a variation of the song in a style very close to music and disk funky, very fashionable in 1970. The composer Marvin Hamlisch called Bond 77 to variation composed, for the year that the movie was released.
Much later, in the second and final film Timothy Dalton Licence to Kill when Barry did not return to work more for the franchise, the composer Michael Kamen revived some of the elements of the "classic" to fit guitar English, and thus give a tone allegedly Hispanic Bond adventure against a Latin American drug dealer. And then, after an interlude of six years in the series, the French composer Eric Serra was commissioned
of the score in Goldeneye, but received severe criticism for the way he used the theme of Barry, played by synthesizers and vocals Hindus who gave inadequate gloomy tone to the melody. In fact the only appearance of Barry symphonic theme in the film, during the scene of the tank, due to the intervention of the composer John Altman.
, which was only a slight variation with synthesizers as a way to differentiate Timothy Dalton's Bond predecessor. also in full swing Moore, The Spy Who Loved Me presents a variation of the song in a style very close to music and disk funky, very fashionable in 1970. The composer Marvin Hamlisch called Bond 77 to variation composed, for the year that the movie was released.
Much later, in the second and final film Timothy Dalton Licence to Kill when Barry did not return to work more for the franchise, the composer Michael Kamen revived some of the elements of the "classic" to fit guitar English, and thus give a tone allegedly Hispanic Bond adventure against a Latin American drug dealer. And then, after an interlude of six years in the series, the French composer Eric Serra was commissioned
of the score in Goldeneye, but received severe criticism for the way he used the theme of Barry, played by synthesizers and vocals Hindus who gave inadequate gloomy tone to the melody. In fact the only appearance of Barry symphonic theme in the film, during the scene of the tank, due to the intervention of the composer John Altman. Finally, after the failed attempt to Serra, David Arnold British took over rock the series and began its work with the "classic" in Tomorrow Never Dies to present his version The world sufficient with novel orchestral elements and techno which takes up to Die Another Day. But the air classic James Bond theme heard again on the same score composed by Arnold to Casino Royale.
sacks of flour, boxes of vegetables and trash, the beautiful Deborah fulfills her dream of becoming a ballet dancer. Every morning at half-time, while his brother and father are busy serving the guests, the little girl runs away and locks work, alone, to dance like a delicate butterfly to the sound of Poppy . However, she knows not 
In a world full of wonders in itself, it seems pointless ramble made what are the seven wonders of something. However, it remains an interesting exercise in imagination and, above all, knowledge to think about what are the seven wonders of the architecture, the seven wonders of nature, the seven wonders of literature or seven in the film . Certainly, we feel compelled to reflect on what the seven wonders, the seven masterpieces non plus ultra of classical music. The following is, therefore, our very personal list, in no time intended to be definitive, let alone, tax: 1) Beethoven's Ninth Symphony, as no other symphony reached perfection and grandeur of this work, which is also a call for brotherhood in a chaotic Europe and which has yet to know two of the cruelest wars suffered by humanity, 2) Small serenade, perhaps the best known works of Mozart and undoubtedly one of the loveliest to be made, and yet, only a small sample great genius of its author, 3) Toccata and Fugue in D Bach musical masterpiece of an era in which a man took his first steps toward maturity intellectual 4) opera Nabucco of Verdi, the most beloved Italian composer, who with his music evoked the spirit of an Italy struggling for its very existence as a nation, 5) the Rite of Spring, Stravinsky, powerful work that, like a dream, evokes a primitive world and fascinating; 6) Ravel's Bolero, from a simple idea, which 
Czech Antonin Dvorak (1841-1904) is credited for bringing the "nationalism" musical at its best. His symphonies, chamber pieces, operas, dances, Slavic and are imbued with the air of his native Bohemia, and bursting with melodic genius thanks to the deep spirituality which is of romantic ideas, the generosity with which develops and color that comes to combine the instruments. Of all his works, perhaps the most famous is the New World Symphony , composed between late 1892 and first quarter 1893, although the release did not occur until December 16, 1893, under the baton of Anton Seidl conducting the New York Philharmonic. Its four movements are Adagio / Allegro molto, Largo, Molto vivace and Allegro con fuoco. The second motion, we wish to share with you a 
