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Die Wiener Philharmoniker, Boskovsky und Ich ... Germano-Flemish Christmas

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My father, I inoculated the poison music

[I posted this blog entry also in the battles of the grandfather Chive, hoping that in 2011 all members of the same we get rid of that stubborn laziness invades us and we give a new impulse, which is a nice and nostalgic blog does not deserve the fallow required that we have submitted. Amen]

When I was a kid, always woke in the morning of New Year happy and undisguised anxiety at home that turned on the radio. Like the lottery monotonous soniquete meant the start of the holiday, waltz music always brought me to mind the proximity of the toys of kings and a lot of good intentions and purposes ... Study more, eat less, try to interact more naturally with classmates and people in general (he was sullen and solitary), be good, try to take a little bit better with my sister, put on my glasses every day. .. Suffice to say that some were met motu own because I always liked to study and learn something new, others came true strength (I've spent my life on a diet since she was nine years old and wearing glasses since the two), a few, such as isolation, alone would be solved over the years and a few others, without more, is left in the drawer of the purposes that never came to be.

Since I have memory usage Viennese music right out of the radio as background to my games cole or duties, and since 1965, with 8 years and had plenty that went into the house "TV "While sit-in against the old black and white Iberia, where Images came to me only in the second half of the concert. But is that what I remember with as much or more pleasure that music I heard was the figure of those who ran from 1 January morning. He looked totally Viennese (believe me that this type exists) and was a magician because of his baton out not only notes but candy, colorful scarves, paper flowers and jokes, jokes delicious white and white for a delightful concert . And I learned his name in 7 years, though much later I learned not to write: Willi Boskovsky.

had been for many years and was until his retirement, the concertmaster of the Vienna Philharmonic, an activity which he combined with his work in one of the quartets and septetos holders of that group. And as deputy director of Clemens Krauss and Josef Krips on New Year's concert, the orchestra used to lead vorgeiger , that is, while playing his violin, as he had done years before ever Strauss himself.

And for me, as I imagine that most of you, the beginning of each new year became friendly, cheerful, funny, beautiful. I missed a few concerts in my life. Even when he was abroad at least tried to listen to your car radio or through a transistor traveling to the purpose at that time. And in the wake of my mother (she died a New Year's Eve) did not connect at great volume the radio because my aunt would put the fuss and did not plan, not because she did not have fun at home was always and is maintained tradition despite the passage of time and the flight of the children.

Then, from the mid-eighties and after the baton of Lorin Maazel almost always compliant, we chose the formula that each year a baton lead the renowned orchestra. But, although the quality was still doubt, for me it is as if a spell had been broken. But times change is so inevitable as the passage of Cronus and you have to adapt. I think all we did and I am sure that many of the lectoyentes of this blog are true to their annual event in the Golden Hall of the Musikverein in Vienna, curd always with flowers donated by her sister, San Remo.

I would have loved to, but this time I could not give them any new video Boskovsky Herr, since I have little time to sit down calmly to write posts. That's why I have laid hold of the wardrobe and I bring the I uploaded three years ago at this time . I'm sure almost all will bring such beautiful memories of Don Willi like me.

Willi Boskovsky. Neujahr in Wienv (1963-1979). (Details of dates 1968,1971,1974). DVDDeutsche Grammophon, 2004

This year will lead the an Austrian orchestra of only 50 years, Franz Welser-Möst. And within the program devoted to classical waltzes, polkas fast gallops, etc., Be a special remember for Hungary, for the bicentennial of Liszt and it is this country that will hold the EU presidency during the first half and for Spain (with one year late), perhaps by the "exotic appeal" exerted on composers Austrians. It interprets the English March , op. 433, Johann Strauss Jr., the Cachucha-Galopp, Johann Strauss, father and gypsy dance ballet Iberia La Perla, Hellmesberger Joseph, who died recently.

I hope I'll sit back in front of the TV to enjoy the tradition, just before the ski jump ... And wish, with the music of my beloved and longed for Viennese director, a new year kind and accommodating the desire to perform, strength and energy (which will make us all much needed on many fronts), hope, peace and love to all . And they can enjoy the love, touch, heat and life of their own, are far or near, ultimately, is what matters most.

So ...

Vienna Philharmonic Orchestra, Willi Boskovsky and I wish, at heart, a happy and successful 2011 ... and our requests are heard by whom it may concern, that is not small.

And in the meantime and as always, try to be happy.

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Hotchkiss Boarding School

My wishes

For the holidays, a time of reunions,
of nostalgia and love, light and shadow,
you who are reading
accompany you in your dream, your dream, your hope
and I mean that my wishes are life
, love and joy,
of love, light and
confidence that everything good that you want to be given
soon and that life
how much you deserve as you want, as
hopes and dreams, that
love fill your life with beautiful moments
and that those who want and you want
accompany you and guide your way, your days and
steps
your dreams are fulfilled and fill you with hope,
of light and peace, life and hope. VK

http://cronicadelviento.blogspot.com/ © by ElPoeta

Can Someone Hack Into My Dongle Remotely

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To Ana, this old-fashioned greeting.

Years ago I heard that an old and admired teacher, Don Isidro Bango Torviso , the top seeds were paintings by Hieronymus Bosch's triptych The Temptation of St. Anthony in the Museu Nacional de Arte Antiga Lisbon and the Adoration of the Magi, in the Prado in Madrid. The match with him at that time was only partial. I looked and I still think an absolute wonder Lisbon box, but my preferences about Madrid were determined and radically by The Garden of Earthly Delights.

Following several months, over seven long years, watching carefully and photographing, when institutions are allowed, all the paintings of Hieronymus Bosch to which I was able to access (and I assure you were few and that half of Europe kicked me spending hours and days in the Prado, the Lázaro Galdeano or El Escorial in Madrid, in the Louvre in Paris, at the Museum of Fine Arts in Brussels and Ghent, Bruges in Groeningen, in the aforementioned museum in Lisbon in Ducal Palace of Venice, in the National Gallery in London and at the Academy of Fine Arts in Vienna), I discovered several things. That there are a few of his works, at least, of doubtful authorship, that have been said many, many silly things about his life and his work and that my dear teacher had every reason in the world: the Adoration of the Magi is a most excellent picture.

See it and enjoy it because as soon as possible because although the pictures are from the author of this blog, probably more nationalist political alliances soon developed a new law might come Sinde and SGAE and on behalf of the English art gallery me close the log, which everything will come and if not, at the time. Paséense slowly in the details, get off all the pictures you want that, today, are my own and I know the gift. They will surely have as much fun now as I discovered I enjoyed it and trapping the Bosco through a telephoto lens. Of course, those who live around here and if it was not long ago that pass through the halls of Flemish paintings, go pay him a visit, sure that his spirit and his eyes are grateful.

Notice how the triptych is a master beyond doubt? For this painting curiously unnoticed spend a lot more visitors to the Prado than others because it has no rare birds or mussels that engulf bodies, and rivers overflowing with lewd pictures or phallic symbols to the gates of hell. And, from my point of view, Bosco has been interpreted by the general and until recently, bad, very bad. It was a visionary, no Adamite, let alone a "surreal." No, it was just a good believer, a craftsman who was lucky to make a good marriage and become a leading citizen in a small town and, above all, a painter of extraordinary quality and workmanship, heir of the Flemish painting technique and a medieval culture where the icons and images were a form of learning, educating and proselytizing. Nothing in the boxes Jeroen van acken a single figure, however strange it is, that did not exist before in the corbels or gargoyles and flying buttresses of Gothic and Romanesque churches, in the marginalia of manuscripts hidden in monasteries or books of hours or religious devotionals, both of his time as above. He did not invent anything. Was limited to follow the guidelines indicated he sponsors. I assure you that the iconographic program of Temptation San Antonio de Lisboa is of such knowledge and intellectual caliber that necessarily had to be of marked step by step by someone from a culture wide, deep and delicious and, therefore, with great purchasing power.

I do not know if your opinion about this inspiring artist has changed somewhat with what I said. If you are now able to look at it another way, stripped of topics will find much more fascinating is unreal yet. Because he had the ability to draw the figures of the books, the margins of the architectural elements of the churches to give them the principal and most important category of painting. And that is an achievement dramatically in the realm of art in the late fifteenth century.

Well, well, well. Pedantorro finished speaking on the table, they play harder now, because music comes from. It is not the first time that some of the pieces to be heard today throughout by the Variations. Two years ago, and to celebrate these days, I posted a similar entry in which he spoke of the composer and gave some general guidelines on the first work that I bring. If they want to refresh your memory or have time, can take a look at what I wrote about Heinrich Schütz.

try

What today is to offer guidance hearing, among many possible, for the Nativity Story of this German maverick. If they wish, continue to work with me, my dear lectoyentes (I definitely like that word, I think I'll use it generously before the coming of Monsieur le Mamoncin and I close the kiosk and make a display of piracy, copying and letting listen or download music that should only belong to its "rightful creators" EEOC , EMI, Deutsche Grammophon, Warner, Philips, Harmonia Mundi, whose nose the thing).
The theme of this work, contrary to what is normal then, is the narrative of the Evangelist. The intermediate explained in more detail what it describes counter history. Recitative, a natural wonder and in charge of a baritone, gives meaning and unity to all the work and the choir or singing passages are only intermediate . However, and lest they be excessively long and although Schütz oratory gave him a wealth of hitherto unknown emotional nuances to recited texts, I have just deleted them and I leave the intermediate. (Anyway, in the post to which I referred above recited and may select some texts and translations). So string but also hear wind and will gain by the brilliance of the latter ring Of course, grant me the benefit of the error, my ear is not always easily distinguishable and more the case of a disk, different instruments doubling the voices.
work begins with what the author called Symphony. Two choirs, with organ continuo and cello, horns, trombones, violas da gamba, recorders. The orchestra and chorus in full. Because it is the solemn prelude to the narrative that starts the Evangelist.
In the first intermission, the angel is directed to pastors announcing the coming of Jesus. The voice, soprano here, is bent recorders, cello and violas high. The tone is smooth and lively, repetitive in its phrases and has the feel of a lullaby. Sweet very sweet. Sometimes it even melancholy and then remade into a new sound of good news. Remember some passages written by the composer for The Seven Last Words of Christ on the Cross. Announces an important event.
In the second intermission, the event has happened and it is a choir of angels to sing a hymn of praise: "Glory to God in heaven .... and on earth peace to men of good will." Polyphony, alla maniera rinascimentale, invades the score but the language is much newer and fees and even dispute the primacy leaks. Solemn and successful at a time, followed by ligation with total finesse.
In contrast, the third intermediate is fully descriptive pastors painted with a single tone and a real popular one box, and you seem to see the nature around and the night light. The tone is fun and kind. The recorders dialogue of equals with the 3-voice choir.
now is the Magi who appear in the hand also the flute and recorders, following the star and asking for the newborn child in the recess. The Three Tenors (and I do Graciet) play a music that, under the appearance of lightness, hides a mysterious sense closed, as corresponds to the characters. The violins and help maintain low precisely that evening feeling of something hidden and mysterious. And
attention, immediately afterwards, ill come into play. Deep baritones and basses, very low, treacherous, perfidis. The chief priests and scribes embody the solemnity of the prophecy about the Messiah, through a religious anthem. We are in the middle fifth. Solemnity and bad omens that portend the future Passion and the role that Jewish priests of the church played in it. They are accompanied by the trombones, folding. Ultimately appears in the shadow of death. Death is, moreover, necessary for subsequent redemption.
Herod is the next to make an appearance (we are in the sixth interval). So clever and cryptic is interested in the newly born child. Horns, like seemingly festive tone of the score give us an idea of \u200b\u200bits falsity, played by a low not too dramatic. It is devious and the entire piece prefigures the envy and the supremacy of the endangered. The seventh and eighth
intermediate bring us to the angel warns Joseph of the danger since Herod ordered the slaughter of the innocent. The tone is urgent, monitoring and care. In the first, becomes the soprano voice, violin and viola all. The tone becomes progressively much more dramatic, trying to flee as soon as Joseph in Egypt. The bass viol contributing factor to this feeling. In a repeated theme, tone up and interpreted by a countertenor, to enhance the idea of \u200b\u200burgency that we need to hurry. repetition, almost the same text we create a sense of anxiety and the danger is real and immediate.
And we at the conclusion of the work. A solemn singing of praise to Christ and to thank him because the birth is the first step and the preamble of the passion, death and resurrection, that will accomplish the redemption of sins. As in the original symphony, all string, wind, low continuous and the two choirs join together in a beautiful setting

H. Schütz (1585-1672). Weihnachts-Historie ( Nativity Story) - Symphony and Intermediate-, SWV 435. Concerto Vocale. René Jacobs, director. Harmonia Mundi, 1990

And as extra bonus , and have been able to get here, and delicious small pieces by the same author also on the Nativity. In the first, the Annunciation of Mary, soprano and dialogue countertenor with the chorus of voices and violins, viola high tenor viola, cello, violin, organ and lute. The second, a psalm of praise, is being woven by soprano and bass, doubled by organ, lute, cello and violin. The third and fourth parts are about the birth of Jesus, as the participants of the first, soprano and tenor to bass viol and organ, and in the last two choirs, with three violas da gamba (high tenor and low) , violin, organ, lute and cello.

They help me to wish, be Vds. celebrants of the winter solstice, Saturnalia or the birth of Jesus, a festival full of serenity, real love (and therefore abstain if possible by-law and brothers-number), joy and goodwill in the company of those you want. I try to be as happy as possible.

Good night of peace.

H. Schütz (1585-1672). Anderer Theil kleiner geistliche Concerten (more or less, Other small pieces of sacred music ) op.9, SWV 333, 322, 323 and 315 (1639) and Heute ist Christus geboren ( Today Christ is born ), SWV 439.Concerto Vocale. René Jacobs, director. Harmonia Mundi, 1990

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How To Make Homemade Water Guns

I need the light of your eyes looking,
the bright glow of your smile franca.
need to know that
still feel ravenous desire to have me in your arms.
long absence I feel your gentle touch,
of your look fresh, your passion nearby.
I have nostalgia and longing for your body resounding, vibrant
your chest, your arms open, clear
of your words, your kisses bold.
need the soft texture your skin,
desire in your eyes, the love of your soul. I miss the touch
calm and serene mood
word, the look of encouragement,
and need to see your climax unleashed,
throbbing sex, the hurricane of joy,
of your joy and mine, Rejoicing, bebiéndonos
feeling and giving, passion, pleasure, affection,
serenity and breath in the body and soul. VK

http://cronicadelviento.blogspot.com/ © by ElPoeta

Is A Pet Corn Snake Expensive

Variations alla francese large doses of alcohol with music, a bit of Curacao and many parentheses

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To Nameit ,

in expectation of his music serene

Pour
you represent in a mixing glass (previously cooled with lots of ice cubes):

- A generous dose that chamber hall of the National Auditorium (perfectly replaced by any other medium with an acoustic, at least, like yours).
- 2 parts of the Serenade op. Beethoven 8 to 3 parts of Bach's Goldberg Variations (it is imperative that these are basic ingredients and the steps above).
- 50 cc. interpretation of the brothers Capuçon (over Renaud Gautier)
- 25 cc. of magic and savoir faire violates of Gérard Causse.
- A few drops of Curaçao blue (turquoise that the bustle).

Remove all components but delicately and decisively, for heaven's sake, do not even think of shaking. Transferring the mixture with all the speed they are able (to keep the cold but thus preventing the ice ague combined) to a martini glass ...

... and obtain the cocktail "Countess happy." I tell you I tried it ten days ago.

All of you know only too well my inclinations (which are increasing day by day) for chamber music. Too long ago they shamelessly confessed my infatuation fulminant total and increasingly passionate about Capuçon brothers (especially the cello Gautier). With regard to my full and complete admiration for Beethoven and Bach I can not add more than what was said at the time. And if we start talking of the Goldberg Variations, I will not tell at this point in the film what it means to me that the work of "old wig." The oldest of my lectoyentes (a word that I'm probably not the first to coin but do not rule out its use for several times because I think I even like) know even collect any version of it falling on my hands (another thing is that after a first hearing, then listen to them always and only 10 or 12). If the most recent visitors feel like they know something that perhaps even unaware of the date and conditions under which it was written and what to nurture the fair (for real and deserved) reputation as narcissism conderil " can take a look at one of the first wrote serious posts for over three years on the topic. At least find it odd curious interpretation of the aria.

Maybe now understand why, given all these loves together in one session, the Countess come out to Prince of Vergara (wet with rain and quite cold at that hour by the way) floating about 30 cms. soil. I mean, what remained of Santa Teresa in a magic show ridiculous to me. And without any arrow pierced, that with age we need less and less of mysticism.

at home There is no version of this Serenade of the deaf, but I refuse to put them videos to Beethoven can down the most "human", delicate, cheerful, lively. Classicism in its purest form. Anything you say about the composition of the work is little (that's why I say nothing, that references to it will find all the world and more so Immerse yourself, and already has quite understood the network). Well, if you can imagine another version, I'd say just wonderful, always in the right tone of joy and of course infinitely bright, will have the first part of the December 1st concert in Madrid.

LvBeethoven (1770-1827). Serenade for string trio op.8 . Szymon Goldberg, violin , Paul Hindemith, viola and Emanuel Feuermann, cello . Arkiv.

(Notice to mariners: the version is old and naturally musical quality is weak. But the sound defective supplies more than its historical, artistic and absolute reference. I give very special thanks to nyankothecat per share in youtube).

And taking advantage of the virtual through the concert, I will formally present Gautier Capuçon. Under the look of a posh boy, a good child Chambéry (the southeastern French, not here) lies one of those musicians, in my opinion, absolutely exceptional. The angel has only just turned 29 years and plays like one of them. And since things are going well variations, I placed a video (Larguita, are aware) Rococo ditto on Tchaikosvky Pedrito (or Tchaikovsky, you prefer), with the hope that this video will lead to another and another and may also know his brother Renaud, who plays a decent Bach partitas be heard in detail). Judge for yourselves if the little one is worth:

PIChaikovski (1840-1893). Rococo Variations .
S. Prokoviev (1891-1953). Sinfonia Concertante. Mariinsky
Orchestra.Valery Gergiev, director . Gautier Capuçon, cello . Recorded live in San Petersburg for EMI / Virgin in December 2008. Video promotion of the album: via emiclassics

I know, I know this is a trap in the making. Instead of letting the 20 Minutillo de rigueur to go, you smoke the cigarette, chat with friends (as well as other needs less worthy), I've pulled down another video (and kilometers) before the second part of the input . But is that just because I have got all of you well entreteniditos sets and music, which I'm quite absorbed lately (for) and absorbed (in) other little matter. Turn then and I was not cool to go with the best of the afternoon. The

I bring here is the best known transcript (I read somewhere that there is another more modern electronic piano trio) that was made to string instruments of the Goldberg Variations. If you have the patience and desire to hear the full version, check for yourselves that, opposed to other "translations" were made earlier (eg organ), which in 1984 made Dmitri Sitkovetsky is based on balance of the interpretation by the three instruments. There are none that stand out above the others relegated to others to "deal" with the bass. The Russian is based on technical improvements that have evolved to the three instruments and offers a continuous dialogue between them. And that has sometimes been much maligned by some scholars, to my ear is one of the elements which make it so special and beautiful. Thus it is also impossible to avoid monotony or natural dominance (by the bell) on violin viola and cello. Throughout the two arias and the 30 variations, check how sometimes there are brief solos of one of the three strings. But in other passages of dialogue to two, one with other interchangeably. Or join the three in a perfect filling where nothing is blurred.

I know that a recording however excellent, does not help the ear to distinguish perfectly the sound of each instrument, which is much easier in a listening room because the eye tends to work well in the effort. Maybe, I recommend this time (and without creating a precedent), good headphones and a discrete volume (pulling low) to eliminate as far as possible noise. Surely thus timbral differences highlight the three instruments more easily.

I am increasingly convinced that the more knowledge is acquired about something, the more you enjoy your hearing or vision or touch. Agree that the first impression is unforgettable blind sits directly on the senses and feelings much earlier than in the brain. But then the analysis and greatly enrich the learning that impression (and still more as conceptual art and so little time "rational" as is music). I have no idea how to read sheet music (beyond the placement of the notes on the staff and to distinguish the different keys), but I know the music of this piece from beginning to end, inch by inch. And believe me when I say that knowing in advance the goal posts, go to the basket progressive clothing becomes infinitely more beautiful. Los tres intérpretes estaban absolutamente concentrados en lo que hacían pero, de tanto en tanto,  se dirigían sonrisas cómplices. Yo creo que eran plenamente conscientes de que lo que estaban recreando era bueno, muy bueno. Se dejaban llevar por la música al tiempo que la dominaban. Cuando eso sucede aparece el "duende" y se instala durante toda la velada. Y es que esos chicos, a pesar de su juventud, tocan como si tuvieran 60 años (por eso no existe ningún salto generacional entre los dos hermanos y Caussé).  Lo hacen con una madurez, con una delicadeza, con tal cantidad de infinitos matices y, sobre todo (y especialmente el cello), con un sonido tan bello que el día that recorded the Goldberg Variations so trite, here and now, I bet it will become one of the reference records. And finally to round this evening, that were not heard a pin drop (except the three or four coughs rigor between variation and change to the rule) in the case of the National Auditorium (well that is the chamber hall ), is a manifesto of what is there to enjoy.

Pending this promising future and drive, I leave you now with the transcribed version Sitkovetsky ("in memoriam Glenn Gould) and recorded with Maisky and Caussé in 1985.

JSBach (1685-1750). Goldberg-Variationen. Aria mit verschiedene Veränderung , BWV 988 (Fassung von für Streichtrio Dmitry Sitkovetsky "In memoriam Glenn Gould". D. Sitkovetsky, violin G. Caussé, viola , M. Maisky, cello . Orfeo, 1985.



Sean Vds. as happy as they can, they are not saving the time to walk on it.

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What Concentration Is Best In Business

I need truth and silence

Sometimes the truth is painful
and is generous and noble consider whether it is better
choosing silence. I think, though the truth ends
imposing its light
and that silence is never the best solution.
So I do not like streets when you know
I hope your words as I hope
breeze in hot weather.
also why I think that is a remedy never shoot the messenger:
When comes to light an uncomfortable truth,
try to silence it is a vain effort
and it is better to defend and explain our actions
that traitor who shows a secret .
There are white lies and silences kind,
but although we do not like, the truth is stronger
and light always shining and destroying just
the dark designs of the ley del silencio.



V. K.

http://cronicadelviento.blogspot.com/
© by ElPoeta

How Do You Know Your Stomach Is Bleeding

NO to child abuse and gender violence!

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Today ends the week dedicated to lucha contra el maltrato a la mujer. Y una vez más tengo que subir esta vieja entrada a la palestra. Daría algo por no tener que repetirla año tras año y, además, cada vez con mayor urgencia y motivos. Ojalá esta semana y este 25 de noviembre sirvan para que  recordemos que no es trabajo de una semana o un día y solo de las afectadas, sino diario y de todos. Que al maltrato se le va ganando terreno con la educación, el apoyo y el afecto, la solidaridad, el considerarlo un asunto común y no de algunas mujeres... Y también con la firmeza, la denuncia, la intolerancia, el parar los pies...

... Y salir a la calle a gritar cuantas veces then missing:

BASTA YA!

Otello "? .. No thanks

Because this is not a struggle by women against men, but men and women against barbarism and violence.
Because IAGOS fact that there does not justify any Otello.
Because we all need to pitch in to stop women being murdered by their partners.
Because it is our responsibility to educate our children respect for others and nonviolence.
Because we have to go outside to scream whenever necessary.
Because we can not stay out of the "problem" of our neighbors, sisters, brothers.
For us nothing worth the repentant Otello.
Because it is an injustice.
Why is everyone's responsibility. Put him

all "because" you want, you wish to obtain or occur.

BASTA YA!

Otello

Niun my theme

armed even if he sees me. This is the end of my journey ...

Oh! Glory! Othello was

And you ... how pale you are! and tired!, and dumb!,

and beautiful!,

pious creature born under an evil star.

Cold as your chaste life, and absorbed in the sky.

Desdemona! Desdemona! ... Ah! dead!

... dead! ... Dead! ...

I have a weapon yet!

Cassio

Ah! Stop!

Lodovico, Montano

Wretch!

Othello

Before you kill yourself ... bride ... I kissed you.

Or dying ... shadow where I lie ...

A kiss ... one more kiss ... ah ...

a altro bacio ...

::::::::::::::::::::::::::::

Otello

That no matter

me but I still see armed. I reached the end

of my way ... Oh, Gloria! Otello is over.

And you ... How pale you are!, How tired!, How quiet!

how beautiful!

godly creature born under a star malignancy.

Cold as your caste life, and ascended to heaven ...

Desdemona! ... Desdemona! ... Dead! ...

dead! ... Dead! ...

Still I have a gun!

Cassio

Stop!

Lodovico, Montano

bastard!

Otello

kill before ... wife ... I kissed you.

now dying .. in the middle of the shadow that I ice ...

A kiss ... one more kiss ... ah! ... another kiss

George Lopez Wedding Episode Song

Reunion

Qué hermoso es el reencuentro con el dulce recuerdo
de un tiempo de sonrisas y de tiernas palabras,
murmuradas al oído en medio de la noche,
susurradas a solas en un rincón del viento.
Qué bello es reencontrarse cuando ha pasado el tiempo
pero el cariño sigue vivo en nuestros sueños,
cuando los dos sabemos que, aunque la vida ha hecho
que nuestros dos caminos se separen un tiempo,
encontrarse de nuevo es igual que si nunca
hubiéramos dejado de hablarnos al ear, as if
between vivid dreams every night
my eyes and yours have found every time
afternoon gives way to night
during all those years, as if without knowing
had lived side by
another in spite of being away. VK

http://cronicadelviento.blogspot.com/ © by ElPoeta

Bubble Butt Thumbnails

Health absurd violence

time ago I published for the first time these lines, but given the date that is celebrated today, I think it's always more remember.

VK

Real love is the antithesis of jealousy, possessiveness generated which in turn lead to aberration, unfortunately so frequent, assault and even kill a person who is claims to love.

If indeed we humans have to learn to love people as they are and do not want to make our mere toy, insecurity, fear of loneliness, wanting our do we love, which would cease to exist as we love, what his whoever makes it.

why not imagine a love that limited subjects and terror, but only love that lets us be who we are ...

As Salinas said:

"Give me liberty.
I do not want your fatigue,
not, nor thy leaves,
your dream, eyes closed.
Come to me from you, not from your fatigue
you
. I feel.
Your freedom brings, like a wind
universal, the smell of wood
remote
your furniture, a flock of visions


when you saw that at the height of your freedom and closed your eyes
... "


(Pedro SALINAS, Reason of Love)

http://cronicadelviento.blogspot.com/ © by ElPoeta

I Want To Buy A Towel Rack Like In The Hotels

Congratulations, Diego! Parnassus and saints

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There are days when the Countess facing the blank box Blogger with special joy. And today is just one of them. Not for the sake of giving a story that everyone already knows, but just for the goodness of this. When I read late yesterday in El Pais Digital granting the National Music Prize 2010 at interpretation Diego Fernández Magdaleno, I was glad of heart for this pianist immense and the world of music in general. And what the hell!, Also for me, I'm proud to know virtually three years long, personally for having heard less and live in a couple of chances and go for the twelve months now.

But I still alegró más leer que se le había concedido por:

" ...su excelencia como pianista, su constante labor de promoción de la música española, en especial la contemporánea, en su amplitud y diversidad estética; su permanente estímulo para la creación de nuevas obras, tanto de compositores consagrados como emergentes, destacando el estreno de 22 obras de creadores españoles en un solo concierto celebrado en Madrid, en el Auditorio Nacional de Música, el 14 de diciembre de 2009 ".

... Y es que, egoístamente, yo participé en uno de esos motivos escuchando y aprendiendo and in another, learning and listening.

I know these praises Diego nervous. No can do, is uncomfortable with praise. And to show I invite you to read the entry posted on his blog yesterday: Today . She will tell a lot from that great man, Fernández Magdaleno and in what spirit she received the news of the prize. But I want to acknowledge it or not, now is a pianist absolute reference in contemporary English music and also your sound is beautiful.

labor program that December 14, 2009 prepared by Luis Garcia Vegas, said: " not often find such an ambitious, dense and varied, as this journey that today offers us a pianist Diego Fernández Magdaleno. A intérpete than 37 years has become a key reference for contemporary interpretations piano, and it is shown by its more than two hundred premieres . " (excuse to say that I keep it, along with the entrance in one of the favorite places of my library)

During that evening

were parading through the keys of the Steinway, the excited parts of 22 co-Ramón Barce. 22 elegies of very different style and structure but with the common bond of having been composed in homage to the composer in Madrid on the first anniversary of his death. There were small and heartfelt tribute to Marco, Sarda, Garcia Alvarez, Calandin, Garcia Demestres, Cartal, Legido, García Abril, Soler ... And danced around the piano, Impromptus, Wailing Epifafios, Limits, Elegies, and such beautiful compositions titles like "Whisper in my ear," "The path of the Cuckoo," "Sons de dol per Barce" ...

But hearing in all its subtlety, sadness, longing and admiration and teacher and colleague who died was made possible by to another great friend of the shelling was a quintessential art, a truly beautiful and unique sound and a feeling that almost felt down from the diaphragm to the toes. And who played was Diego Fernández Magdaleno, with depth and serenity. With the affection of friendship applied to interpretative mastery. And surely they are not hollow words and empty flattery.

That day I saw him reach the camera room and beat me a little respect for the salute. I said I would after the concert. But I assure you that the end of this was so moving it would have been a total lack of education and sensitivity on my part to try to interrupt. And is that at the end of the evening with the "Small Changes " Ramón Barce, the audience burst into applause and Diego asked all the composers who were there-they were all or almost all, to go up on stage. And if I was not wrong in my deductions, so did the shipmates. And the wood of the Chamber Hall welcomed excited hugs to her and the author whose memory was very much on the eyes and hands of those who went there. I assure you it was exciting. And I was not one to get me through something so beautiful.

But all the saints are eighth and recently, after the lost opportunity to Guadalajara, I was lucky attending a lecture-concert Diego. And if I like listening to their interpretations, I assure you it is no less delightful to hear their explanations teaching. In a pedagogical sense based on a clear use of the simplicity and humor was tacking real gems of knowledge relating to Ramón Carnicer, Enrique Barrera or the influence of Wagner and Chopin in our territory during the nineteenth century. And then paraded through her voice Jacinto Ruiz Felix Antonio Llamas and father. And leaping dancers names Aurelio González, José María Aparicio, mixed with those of Jorge Guillén, Eslava or Marcelino Villalba. And, as a brooch, Aizpurua, Legido, Agustín González Acilu ...

All these explanations and teachings were truffled with interpretations. Despite the small size of the room and "uncomfortable" acoustics, Schimmel sounded good, very good, finished good. And believe me it's a true pleasure to see Diego play, how his lips move vocalizing fun bars, dedicated and focused on what he plays. One after another, paraded enchanted a "Sonatina " of Barrera, a fragment of a piano sonata Llamazares, another early work of this: a " Night", full of finesse. And a "English Fantasy " of Villalba, with elements other than the popular and well romanticism of earlier pieces. Later came two beautiful little works of Felix Antonio, based on poems by Jorge Guillén entitled " Lullaby" and "mud Figures" (if I fail the notes taken on the fly).

ended the concert with " Klasteriana Didacus " Peter Aizpurua, the composer created for Diego friend and who reminded me of paintings by Rothko and Kandinsky. Art in constant search. Freed from any trim that does not say anything new. And by " Fúrfulas " (or " furcula " I do not know if I understood well), Jesus Legido, balanced and subtle as a painting by Cezanne.

I repeat it was a delight from beginning to end. But I can assure you high above their interpretations, research, knowledge, is the person Diego. Although interrupted miserably testing and our understanding was a bit steep for my fault, I assure you is great, intimate, warm, open smile. All of it friendly. And that is what most rooted in the mind, even beyond their technical needs and everything he has done for music research and contemporary music in this country. I promise you solemnly that I have not exaggerated at all the description that he do in this post. Or personally or professionally. It's good, very good and even better person.

And surely you know, Mr. Fernández Magdaleno, as well as a writer, is beautiful and specialized discography. I can not speak, unfortunately, of his books as I have not read yet either, but I can tell you about the two albums I've heard:

I have considered whether or not to put any part thereof. I resisted a little to do since I prefer be heard you represent in the CD drive with an original. But since you can freely listen to music on youtube , I decided to bring a small (by time, not quality) Josep Soler to taste its interpretation and superb sound. But there are cheats me, promise me if you like, acquire the records, that I have made it very easy to link. And yes, I bet the bodice ties that probably do not have yet, like me, a dedicated ... Envy filthy, why wait?!

J. Soler (1935). Polyphonies (1990). Diego Fernández Magdaleno, piano. Music Foundation Contemporary, 2002.

I going to let this last paragraph goes for a shell todito Medina de Rioseco ...

Oh yes, Diego, I know. That makes you feel to hear that fatal praises in the mouth or other key. That would give something because even with all the joy that is, spend these days of praise, congratulations and interviews. But you can not reproach is never in this post has a bit of lying or excess. And I tell you I am particularly pleased that National Award (I told you yesterday) by just and deserved for the pianist but, above all, because everything have big, beautiful person you have it.

A kiss very very strong and Congratulations!

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Variable Rate Depress Scheme Hdfc

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What were they thinking, I was not going to go? Well, almost, Vds. They are right .. that for one thing it does Countess and from time to time, always catches the bull.

But once here and reassembled the bustle, I would say that I could not go through the day without a ticket. Of course, for solace, they advance that will be well cortita: just music with bugs (which is what youtube has that, as in videos out instrumentalists, singers and director of thing becomes more pleasant and bearable) and the occasional snapshot of today's honorees.

Cecilia Legend has it that Roman was married to Valerian, sister of Tiburcio, virgin and martyr. If you are interested in their lives, their avatars and above all, his martyrdom decapitated, here is a link and soak you from wisdom, I'm blown time today.

I would have loved to be held today also the day but as the poor Euterpe was morita, ran out of onomastics or celebration. It is also true that his credit had the advantage not go through suffering, torture or twisting the flesh of various kinds, and among his many thanks to not have had to hand the spoon to San Pedro. Moreover, a famous poet says "muses are immortal because aspiring rejuvenate the aura of peace" (there is nothing, the phrase!). Our muse of music and poetry for quiet living on Parnassus with his half brother Apollo and the rest of her sisters, was engaged to play the double flute, ate, rested and had a great life in the extreme. Nothing to do with our family noble senators Metellus, who ended his days losing his head hopelessly. Yo Santa Cecilia, of course, I would have changed by the muse without hesitation ... though he had a day Saints nor the huequecito Golden Legend.

Well, I do not roll up. Enjoy some pictures of you from the pagan and Christian holy semid and listen to this small wonder of the Ode to St Cecilia's Day of the German British was extended, Don Jorge Federico.

Euterpe and St. Cecilia in the art

GF Handel (1685-1759). Ode for St Cecilia's Day. HWV 76. Orchestra and Chorus of Les Arts Florissants. Dir: Paul Agnew. Sophie Daneman, soprano. Recorded at the Festival de Beaune, 2008. Via

carosaxone

And do not think this short entry will set a precedent. Whenever I get a little bit of insomnia will come to them with magnanimity to watch that they deserve.

Vds. Have a weekend musical journey and more serene than mine. And above all, enjoy the joie de vivre Baroque.

Good afternoon.

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Itchy Red Bumps On Stomach

Synesthesia delusional

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A whole team of Delirio

Dēlirãtio-onis f.: delirium, extravagance, and dementia.
rave 1 intr.: Rave, or say or do crazy antics. Nonsense.
Dēlirus -a-um, crazy, bizarre
(Spes Dictionary Latin-English / English Latino. Madrid, 1965)

"It is never late if that is good" , "All the saints have octave" , "All's well that ends well" , "Better late than never ..." "It was not until ad kalendas graeca" ...

In all these phrases before, I let them choose which one they like. Yes, this post comes with great delay, which everyone is preparing the next issue but it's more business as usual and I'm tired of repeating myself .. The countess often late, wrong and never ... but it comes.

is not the first time, nor the last, that this blog is talk of delirium. First and foremost because the magazine is incredibly good. But also because the director, publishers, editors, typesetters, scouts, the whole team going, does its job beautifully and so all I know personally (except Paco), I admire them, I have affection or love them directly lot. And because it assist people who also know, admire and love. I could give many more reasons but I still think that with these (it will cost me to get used to not accentuate the pronouns) are more than enough. In summary, quality, professionalism, many hours of work and love (the one of them to their work and mine for them) are reason enough to bring her here every time a new issue comes to light.

And this time he played the number 7 and the theme was "The 7 Deadly Sins." That's nothing. As the movement by doing, so far, here are the complete issue:

Open publication - Free publishing - More plastic
( Double click and hojéenla ojéenla and big, you deserve it)

Have you taken a look? Would you like it? I I bet the bonds of turquoise and ivory bodice so. But let me be as little as always and objective stories or illustrations hint that further rest. On page 16 they will find a small but precious text Izaskun Legarza. A bit further, in the 20 and then 74 and 75, several collaborations of Sue D. Marin (sorry Sue, but I have your blog address. Pets murmurs). And following the thread, at 55, the first-but no less splendid collaboration of Rafael García Almazán . A little later, someone very special poem: Manuel Ortiz (I can not provide link because the two posts are closed and well you feel), p. 77. Our MegaMag Gemma Pellicer dissected one by one the sins with seven short, precise and inquitantes texts between 102 and 103. Finally Oscar Varona left us an excellent essay between 123 and 125.

And if after all that they please stop by my collaboration, 96, does not need to look for that to facilitate the task of self-promotion and what I bring here is the whole piece and with illustrations that , clear, complete and complementary.

See

first four photographs. They can then get the relatillo between chest and back. If you then entertained with music and slides I can assure you will enjoy great entertainment.

Some preliminary details. The text is somewhat tremebundo, but in my humble opinion and belief, totally accurate. The Baroque style of the style and twisting of the case are attributable solely to the countess, who already know that is Rarita and extravagant.

The photos were taken by her over several months and at a time when the Museo del Prado did not deprive both the interest nor the desire mercantilist monetary concerns, well above issues artistic and quality, as now and always quietly could photograph not use flash or tripod. I assure you that at times and in the dim light of the room was not easy to take still fairly decent and will notice that in the slideshow. But I used to be a pretty good idea of \u200b\u200bhow to place images in the text. If you give them to expand, enjoy the details almost as much as I enjoyed making me.

The second point is on the music. I tried searching and sometimes contemporary pieces, to strictly contemporary of the two Flemish masters. I do not know if they will enjoy, but it also will help them be at a time and a place where love, life, religion, death intermingled, interposed, is hindered and acquired renders the side by side each other, in all artistic.

and let me stories and give way to images, text and music into a delirious and sinful synesthesia.

FLAMENCO TABLE

- "Cave Cave Deus videt" ...

myself I can hear that phrase repeated like a litany, but I can not just see if there is enough light ... This irritates me dirty blue, translucent and deep that I am forming ...

- "Beware, beware. God sees you "goes the chant tools I grow arms, legs, trunk and head disembodied ... I fail to take delight. I ether fade, stupidly amorphous and inconclusive. At least I do not feel pain but cold ... Clearly begin to see an empty room. Maybe it is night.

Now I can move, walk in my appearance of liquid smoke ... And to turn around and suddenly, I felt it my work ... This room may even belong to me ... The Garden of Earthly Delights ... The Temptation of Antonio ... The Hay Wain ...

And of course ... is also the table ... The table in attitude and position of table ... As instructed me, as I imagined, as I was forced to give life, as I felt before painting ... The Bureau of the Seven Deadly Sins of Jeroen van Aken ... El Bosco ... Mine.

not listen to those who say that cash had a helper, a slave of the brush in my name and me. This table from beginning to end was mine. I saw it, the gesture and the pari drawing and painting. Turn around and return it to me and then immersed in the fierce and dilated pupil. I divided the iris, the sins permeable compartments. Forged with the late oil in their eyes external ... I suffered, the vomit ... I did it.

Step by step represents the envy in idle criticism looming in the square in the shadow of the dogs ... the anger weapons in the violent peasant and the monk fools ... the pride crouching behind the mirror and the Wolf ignorant of doors and windows open. And profile, corrected, gave color to the lust pale intriguing among perfumes, music and trees concealing ... But the laziness and gluttony , interior sins propagators of new disorders to the love of idleness and a misunderstood tolerance. If I continue my back about it, and then I remember clearly the last and worst of all ... the greed c on its charge of petty shortsightedness, of hoarding honor and possessions. Unavailable, muddy and flooded everything ...

Giro

rotation around the table and its abject tangle, as the world has been doing without me for five centuries ... And nothing has changed. There is the stigma of this table flamenco. The teaching that I thought, that transitions to the wood with oil pigments and not worth anything. The gap is appalling that produces the sterility of the taught and their efforts useless. What helped my belief in a God who watches everything? It did not help ... because I was wrong to create such a huge eye embedded in the table. Only real iris. The aftermath involving the critical eye of the eyeball icon everlasting are just fakes ... "The move towards real life, hell, final trial, the glory? .. Do not make me laugh. The false starts in the first one to the love of the inert bed, the edge of the doorway. When I described the imagined and put my faith in what he did. But I cheated ... I cheated ... and perhaps I cheated on you unintentionally.

Behind the dying there is no angel nor devil fighting over the soul for a nonexistent doomsday .. because there is eternal fire, limbo and paradise. Look at her well ... Behind the curtain, after the head of that journey will take only a skeleton toothless and angry, waiting and abstruse ... And if as you are watching insolent face that I see looking up, you would find the key ...

Look at the front, on the opposite wall. Here's the answer ...

... in Table spectral overshadows mine. The one who followed me and developed my work ... Does it sound the old Brueghel? Wander through the surface of ivory bones guide boats, cars ... That skinned, reap, push and entice ... Trailing fire and conviction ... Wheels causing torment in crisp and on top, in forks ... That pillage, torture, rape, dismember.

Él y no yo tenía razón. Detrás del lecho mortuorario donde quiera que éste nos sorprenda y nos tome, no hay nada más que un ser sin el menor asomo de piedad... Él no... Ella... Solo ella triunfa. Después de ella no hay más que oscuridad, vacío... Nada

Yo mismo ni siquiera existo. Soy solo el esperpento reflejado en la mente de un loco, el aspaviento de la mediocridad, el último coletazo del dolo y del engaño, apenas un espectro desvaído... Me diluyo... Me deshago... Ya casi no soy si acaso fui.

Cuando el camino acabe razón tendréis para temerla. Porque ella será la única que os espere al borde silence ... Ugly, hideous, old, thin, black. Willing to sever, break, break, end ... There is nothing more ... No more ... Nothing

When you cross the other side of the mirror only death will embrace you with her cold fingers and sound ... "

VV.AA. The Songbook of Hieronymus Lauweryn (the Songbook of Hieronymus Lauweryn. Egidius Kwartet & Consort. Et'Cetera, 2006.

Jeroen van acken (El Bosco) - The Bureau of Seven Deadly Sins

VV.AA. Music in the Age of El Greco (Music in times of El Greco). Music Museum. The Metropolitan Museum of Art The National Gallery. London, 2003.

Brueghel the Elder - The Triumph of Death

I can not complain, with text, music and pictures to fill. Enjoy them while you can because life is short and full of potholes.

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