Joni Mitchell "Don't Interrupt The Sorrow"

"Don't Interrupt The Sorrow"

Don't interrupt the sorrow
Darn right
In flames our prophet witches
Be polite
A room full of glasses
He says "Your notches, liberation doll"
And he chains me with that serpent
To that Ethiopian wall

Anima rising
Queen of Queens
Wash my guilt of Eden
Wash and balance me
Anima rising
Uprising in me tonight
She's a vengeful little goddess
With an ancient crown to fight

Truth goes up in vapors
The steeples lean
Winds of change patriarchs
Snug in your bible belt dreams
God goes up the chimney
Like childhood Santa Claus
The good slaves love the good book
A rebel loves a cause

I'm leaving on the 1:15
You're darn right
Since I was seventeen
I've had no one over me
He says "Anima rising
So what
Petrified wood process
Tall timber down to rock"

Don't interrupt the sorrow
Darn right
He says "We walked on the moon
You be polite"
Don't let up the sorrow
Death and birth and death and birth
He says "Bring that bottle kindly
And I'll pad your purse
I've got a head full of quandary
And a mighty mighty thirst"

Seventeen glasses
Rhine wine
Milk of the Madonna
Clandestine
He don't let up the sorrow
He lies and he cheats
It takes a heart like Mary's these days
When your man gets weak

http://www.youtube.com/watch?v=fQQA5KtDCOs&feature=related

03- Mahatma GANDHI

http://www.youtube.com/watch?v=o5Sdy9wNnXs&feature=related

02- Mahatma GANDHI

http://www.youtube.com/watch?v=F5zq5O7amz4&feature=related

01- Mahatma GANDHI

http://www.youtube.com/watch?v=im9GfxHebUA&feature=related

LITTLE BUDDHA

Conheça a historia de Buda e suas descobertas. Ele é o sábio guerreiro das encarnações.


http://www.youtube.com/watch?feature=player_embedded&v=JTViW9IN64k

Nicolas Jaar - Keep me there

http://www.youtube.com/watch?v=T6cvYqxcNxw&feature=related

Jeff Buckley - Dido's Lament (comments by Philip Sheppard)

http://www.youtube.com/watch?v=xSVCL262gmU&feature=related

Peter King - Dido's Lament

After the intro, comes THE sexiest sax piece I've EVER heard.

From the album Tamburello by Peter King, with:

*Alec Dankworth
*Stephen Keogh
*Steve Melling



http://www.youtube.com/watch?v=E7iA9yss8P8&feature=related

Foo Fighters - These Days

http://www.youtube.com/watch?v=TNLhxlEU52c&feature=share

Cat Stevens - O Caritas

The End of the World, narrated dramatically by Cat Stevens in his great song "O Caritas".
Will an object coming from outer space destroy our planet? or are we going to kill ourselves to save time?
"Give me time forever, give me time forever, here in my time"
Other songs: "Wild World","Sitting","Moonshadow","Peace Train"

http://www.youtube.com/watch?v=IlzRFHVs9Zo

R. A. P.

https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxdYdaO8Yjd3DMqzLgA1-LyG4BUIgqfTu5vwz15GYyPw1ZPS7xZS2TkwD-Ye4V_6fVzbzzwRx60Z9O_8Zj3mtI3U5evW87tgaAMVbjsmCVWgfKTfJDXEUpK7ltE7gkTAdx6diSP8z_JYw/s1600/rap+20120209.jpg

Με λένε Ελλάδα... / My name is Greece...

http://www.youtube.com/watch?v=cxIywbh6Cjk&feature=share




http://www.gulbenkian.pt/media/files/FTP_files/NL/NL130/index.html

Igor Stravinsky - Oedipus Rex, Act I (1/3)

http://www.youtube.com/watch?v=BcGT9CC_kO8&feature=related

Igor Stravinsky - Oedipus Rex, Act I (2/3)

http://www.youtube.com/watch?v=hw1b7Hhsl_M&feature=related

Igor Stravinsky - Oedipus Rex, Act I (3/3)

Oedipus Rex, opera-oratorio in two acts after Sophocles (1927)
Text by Jean Cocteau

Narrator - Michel Piccoli
Oedipus - Thomas Moser, tenor
Jocasta - Jessye Norman, mezzo-soprano
Creon - Siegmund Nimsgern, baritone
Tiresias - Roland Bracht, bass
Messenger - Siegmund Nimsgern, baritone
Sheperd - Alexandru Ionita, tenor

Male Chorus of the Bavarian Radio
Symphony Orchestra of the Bavarian Radio
Colin Davis

Oedipus Rex can be seen as a product of many aspects of Igor Stravinsky's development: his lifelong interest in Greek mythology and drama, his forays into what would come to be identified as neo-Classicism, and most importantly, his increasing tendency to depersonalize his music, lending it a cool, almost analytical visage. Oedipus Rex is one of the very first masterpieces of Stravinsky's neo-Classical period, in which he attempted to invest old forms with new vitality, and it is an impressive and absorbing musical statement.

Stravinsky's intention was to compose a lengthy, dramatic work, but he could not at first decide what language to use. He wanted something from the distant past, with an incantory tone that he could exploit musically. He eventually settled on Latin because, in his words, the language was "not dead but turned to stone and so monumentalized as to have become immune from all risk of vulgarization." (The libretto also includes narration which is to be spoken in the language of the audience.) This general theme of monumentalism extended to Stravinsky's conception of the staging, which involved as little movement as possible: Entrances and exits would be accomplished with lighting rather than actual movement, the singers would declaim from elevated platforms and move only their heads and arms, like "living statues," and the characters would remain in costumes and masks throughout. Still, Stravinsky identified the work as an "opera-oratorio" to indicate that it could be performed without staging.

The composer chose the Oedipus myth in large part because he assumed that audiences would be familiar with it, and this would, therefore, enable him to concentrate on musical dramatization rather than storytelling. He employed Jean Cocteau to write the libretto in French; after many disputes, drafts and edits, Stravinsky obtained from the writer a libretto that fit his conception, and gave it to Abbe Jean Danielou to translate into Latin. Cocteau introduced the idea of the narrator, which Stravinsky accepted only reluctantly and later regretted; still, it has the benefit of clarifying the story for those who are not familiar with it.

Oedipus Rex was performed first as an oratorio by Diaghilev's Ballets Russes in 1927, and premiered as an opera in the following year. The music is mostly in the minor mode; Oedipus' music in particular attempts to achieve the solace of the major mode, but is rarely successful in this regard. While the music uses elements of basic tonality, these at times seem disconnected from the drama, almost depersonalized; the C major triad in Creon's aria, sounding weirdly out of place, is an excellent example. Moreover, Stravinsky in this work abandons the shifting rhythms that characterized much of his earlier music for a steady, at times insistent pulse. All of these combine to give the listener a vivid musical depiction of an impersonal Fate pursuing Oedipus until he must give everything up. The effect is at once chilling and mesmerizing. The general spirit of Stravinsky's interpretation is true to Sophocles' play and to ancient Greek thought, and the music, paradoxically, involves the listener by its very impersonality. [Allmusic.com]

Art by Max Ernst


http://www.youtube.com/watch?v=WieGaNvSdRs&feature=related

Open publication - Free publishing - More astronomy

http://astropt.org/blog/2012/01/31/magazine-janeiro-2012/

http://issuu.com/astropt/docs/2012jan

Maria de Medeiros & Raimundo Amador O que sera (Chico Buarque)

Maria de Medeiros & Raimundo Amador O que Sera de Chico Buarque Sevilla Tetaro Lope de Vega 20 - 10 - 2010, Pasacal Salmon (piano) Edmundo Carneiro (percussion) Ricardo Feijão (bass) Manuel Martínez del Fresno (Celllo) Mundy amador (cajón), presentación de Penínsulas & Continenetes, invitados especiales Raimundo y Mundy Amador.


http://www.youtube.com/watch?v=Exn2UE936Ks

Air - Seven Stars

http://www.myspace.com/intairnet


http://www.youtube.com/watch?v=gA_MqOVKYr0&feature=related

Acoustic guitar piece in DADGAD + tablature

http://www.youtube.com/watch?v=ej_lEh7V7GU&feature=youtu.be

Barbara Streisand & Barry Gibb "What Kind Of Fool"

http://www.youtube.com/watch?v=bdQ6o9Aig9o&feature=share