What music are you listening to? | 1

[Hans Bulvai]

bXe5H2wBtGU

[Hans Bulvai]

NGbKiwRqiQY

[Hans Bulvai]

dUP52yw8aFk

[Azrael]

I just found out about this one ten minutes ago. It's great.

sLPoukOg0lk

[Azrael]

i9Q3gVAkrc0

It's not a very accurate translation of the original.

qJFVPxBpezk

[Azrael]

5eXslvmgkSA

You don't want to come home and find your wife listening to this one.

[Hoosiernorm]

CwIvBNsSywQ

[Azrael]

e1CLjF8Q8xo

[Azrael]

6PHwtdTyay0

As I was watching this, it dawned on me that what I was seeing in the video looked familiar.

It's in the vicinity of Sticklerville, NJ, where I have an aunt. She lives within two miles of where the video was taken.

[Apollonius]

I really think everyone should have a listen to this. Absolutely wonderful:



La Girigonça (fragment from Jubilate) - Mateo Flecha 'El Viejo' (1481-1553) ; Nuria Rial, soprano, Carlos Mena, countertenor ; Orphénica Lyra directed by José Miguel Moreno
TK4J1Oi0Tog



Explanatory note: The performing group has taken its name from a collection of music called Orphénica Lyra published by Miguel de Fuenllana in Seville, 1554.

[Apollonius]

More Café Zimmermann:

Concerto for harpsichord in D minor, BWV1052 - Johann Sebastian Bach (1685-1750) ; Céline Frisch, harpsichord ; Café Zimmermann directed by Pablo Valetti
o1C_jErV35Q

1.Movement: Allegro




Concerto for harpsichord in D minor, BWV1052 - Johann Sebastian Bach (1685-1750) ; Céline Frisch, harpsichord ; Café Zimmermann directed by Pablo Valetti
pVkRCS1smnQ

2.Movement: Adagio




Concerto for harpsichord in D minor, BWV1052 - Johann Sebastian Bach (1685-1750) ; Céline Frisch, harpsichord ; Café Zimmermann directed by Pablo Valetti
r5pvhRWrz1k

3.Movement: Allegro

[Apollonius]

Concerto for oboe d'amore in A major, BWV1055 - Johann Sebastian Bach (1685-1750) ; Antoine Torunczyk, oboe d'amore ; Café Zimmermann directed by Pablo Valetti
sDaxMh7PfTA

[Hoosiernorm]

kmdwsLtNx2E

[Hoosiernorm]

zLG1MkRIHEI

[Hans Bulvai]

kmdwsLtNx2E

That's what I am talking about!
Good one.

[Hans Bulvai]

The whole album has elements of Black Sabbath but this song is Iommi all the way!

5ayuL3j1TNM

[Hans Bulvai]

IQtLeCoqkd0

[Apollonius]

Cachua a duo y a quatro - anon. (Perú, 17th century) ; Tembembe Ensamble Continuo, Hespèrion XXI directed by Jordi Savall
B3Hk9KM1FmI



Source: Códice Martinez Compañón Trujillo, Perú, c. 1780

The music included in the manuscript represents the traditional Spanish sones repertory, a repertory which, as a result of several changes in Spanish society during the second half of the Age of Englightenment, was to disappear in Spain shortly after the book was written. Nevertheless, the music survived in Mexico and other parts of Latin America, becoming one of the defining characteristics of the identity of each of the nations which emerged following the revolutions of independence of the 19th century.

[Typhoon]

3fAXl97-RFg

[Apollonius]

3 canzoni alla francese a 4 voci per suonare - Adriano Banchieri (1568-1634) ; The King's Noyse directed by David Douglass
Tj-UiexCFss


From Libro II (1596)


I. La Guamina n. 7
II. L'Alcenagina n. 6
III. La Pomponazza n. 5

[Hoosiernorm]

Vqma6BAQO_g

Darkness at the break of noon
Shadows even the silver spoon
The handmade blade, the child's balloon
Eclipses both the sun and moon
To understand you know too soon
There is no sense in trying.

Pointed threats, they bluff with scorn
Suicide remarks are torn
From the fool's gold mouthpiece
The hollow horn plays wasted words
Proves to warn
That he not busy being born
Is busy dying.

Temptation's page flies out the door
You follow, find yourself at war
Watch waterfalls of pity roar
You feel to moan but unlike before
You discover
That you'd just be
One more person crying.

So don't fear if you hear
A foreign sound to your ear
It's alright, Ma, I'm only sighing.

As some warn victory, some downfall
Private reasons great or small
Can be seen in the eyes of those that call
To make all that should be killed to crawl
While others say don't hate nothing at all
Except hatred.

Disillusioned words like bullets bark
As human gods aim for their mark
Made everything from toy guns that spark
To flesh-colored Christs that glow in the dark
It's easy to see without looking too far
That not much
Is really sacred.

While preachers preach of evil fates
Teachers teach that knowledge waits
Can lead to hundred-dollar plates
Goodness hides behind its gates
But even the president of the United States
Sometimes must have
To stand naked.

An' though the rules of the road have been lodged
It's only people's games that you got to dodge
And it's alright, Ma, I can make it.

Advertising signs that con you
Into thinking you're the one
That can do what's never been done
That can win what's never been won
Meantime life outside goes on
All around you.

You lose yourself, you reappear
You suddenly find you got nothing to fear
Alone you stand with nobody near
When a trembling distant voice, unclear
Startles your sleeping ears to hear
That somebody thinks
They really found you.

A question in your nerves is lit
Yet you know there is no answer fit to satisfy
Insure you not to quit
To keep it in your mind and not fergit
That it is not he or she or them or it
That you belong to.

Although the masters make the rules
For the wise men and the fools
I got nothing, Ma, to live up to.

For them that must obey authority
That they do not respect in any degree
Who despise their jobs, their destinies
Speak jealously of them that are free
Do what they do just to be
Nothing more than something
They invest in.

While some on principles baptized
To strict party platform ties
Social clubs in drag disguise
Outsiders they can freely criticize
Tell nothing except who to idolize
And then say God bless him.

While one who sings with his tongue on fire
Gargles in the rat race choir
Bent out of shape from society's pliers
Cares not to come up any higher
But rather get you down in the hole
That he's in.

But I mean no harm nor put fault
On anyone that lives in a vault
But it's alright, Ma, if I can't please him.

Old lady judges watch people in pairs
Limited in sex, they dare
To push fake morals, insult and stare
While money doesn't talk, it swears
Obscenity, who really cares
Propaganda, all is phony.

While them that defend what they cannot see
With a killer's pride, security
It blows the minds most bitterly
For them that think death's honesty
Won't fall upon them naturally
Life sometimes
Must get lonely.

My eyes collide head-on with stuffed graveyards
False gods, I scuff
At pettiness which plays so rough
Walk upside-down inside handcuffs
Kick my legs to crash it off
Say okay, I have had enough
What else can you show me?

And if my thought-dreams could be seen
They'd probably put my head in a guillotine
But it's alright, Ma, it's life, and life only.

[Apollonius]

In the studio:


Der Hölle Rache (from Die Zauberflöte) - Wolfgang Amadeus Mozart (1756-1791) ; Diana Damrau, soprano ; Le Cercle de l'Harmonie directed by Jérémie Rhorer
FMPv8mADpA4


I think I agree with this comment, certainly about her German:

Diana Damrau definitely does Der Holle Rache the best out of any other person I've heard. She also emphasizes the German well. Other people like Erika Miklosa dont flow as well through this song with the German... But she is overall the best with fluency, heart, and voice!

On stage:


Der Hölle Rache (from Die Zauberflöte) - Wolfgang Amadeus Mozart (1756-1791) ; Diana Damrau, soprano ; Orchestra of the Royal Opera House Covent Garden directed by David McVicar
DvuKxL4LOqc

Hell's vengeance seethes in my heart;
the flames of death and despair engulf me!
If Sarastro dies not by your hand,
you will be my daughter no more.
Forever repudiated, forever abandoned,
forever destroyed be all the ties of nature
if Sarastro's blood is not shed by your hand!
Hear, hear, hear me, ye gods of vengeance!
Hear a mother's vow!

From the comments:

forget about the high notes, that vocal run at 4:06 KILLED ME... She is beyond amazing!

[Hans Bulvai]

6WZ3na8NGjY

[Apollonius]

Les Surprises de l'amour - Jean Philippe Rameau (1683-1764) ; Les Musiciens du Louvre directed by Marc Minkowski
2nB_EdstJFY



I. Ouverture (Vif - Adagio - Gai)
II. Ritournelle - Entrée Des Crotoniates - Air tendre pour Venus et les Graces -- Sarabande
III. Entrée des jeux, Amour et plaisirs - Menuet - Air pour les sybarites - Passepied - Gavotte I & Ii
IV. Rigaudon - Loure - Passepieds I & Ii - Tambourins - Air Pour Les Gladiateurs
V. Entrée des suivants de L'amour et de Bacchus - Gigue En Rondeau
VI. Mouvement de chaconne -- Contredanse
VII. Annonce de chasse - Descente de Diane - Sommeil d'Endymion - Air pour Diane -- Majestueusement
VIII. Rondeau - Sarabande - Annonce de chasse - Airs I & Ii
IX. Entrée des Sirènes -- Gavotte
X. Sommeil d'Anacréon
XI. Gavotte tendre pour les Graces - Sortie des bacchantes - Entrée

[Hoosiernorm]

-c2OM7HEfrs

0c3d7QgZr7g

A little depraved sinful egotistical chaos monkey killer ape-hood music seemed appropriate