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John Philip Sousa's Hands Across the Sea, performed by the Navy Band.
The Fairest of the Fair
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Sousa's Fairest of the Fair, performed by the Navy Band.
Eternal Father, Strong to Save
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William Whiting's Eternal Father, Strong to Save, performed by the Sea Chanter's Chorus.
A Dream of a Witches' Sabbath
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The fifth movement from Hector Berlioz's Symphonie fantastique, also known as A Dream of a Witches' Sabbath. Performed by the Navy Concert Band.
Under the Double Eagle
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Josef Wagner's Under the Double Eagle, performed by the Navy Band.
March Grandioso
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Roland F. Seitz's March Grandioso, performed by the Navy Band.
Belford's Carnival
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Russell Alexander's Belford's Carnival, performed by the Navy Band.
Anchors Aweigh (1929)
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1929 acetate recording of Charles A. Zimmerman's Anchors Aweigh, performed by the Navy Band.
Anchors Aweigh
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Zimmerman's Anchors Aweigh, performed by the Navy Band.
Auld Lang Syne
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Robert Burns Auld Lang Syne, performed by the Navy Band.
The Florentiner March
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Julius Fučík's The Florentiner March, performed by the Navy Band.
Finale of Symphony No. 4 in F minor
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Pyotr Ilyich Tchaikovsky's Symphony No. 4 in F minor, Op. 36, performed by the Navy Band.
Oberon Overture
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Carl Maria von Weber's Overture to Oberon, or The Elf King's Oath, performed by the Navy Band.
In Storm and Sunshine
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John Clifford Heed's In Storm and Sunshine, performed by the Navy Band.
“Good-by, my book! Like mortal eyes, imagined ones must close some day. Onegin from his knees will rise—but his creator strolls away. And yet the ear cannot right now part with the music and allow the tale to fade; the chords of fate itself continue to vibrate; and no obstruction for the sage exists where I have put The End: the shadows of my world extend beyond the skyline of the page, blue as tomorrow’s morning haze—nor does this terminate the phrase.” —Vladimir Nabokov (1899–1977)
“If you really believe music is dangerous, you should let it go in one ear and out the other.” —José Bergamín (1895–1983)
“The further jazz moves away from the stark blue continuum and the collective realities of Afro-American and American life, the more it moves into academic concert-hall lifelessness, which can be replicated by any middle class showing off its music lessons.” —Imamu Amiri Baraka (b. 1934)