Discurso de Lula da Silva (excerto)

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terça-feira, 29 de junho de 2010

Os Desastres da Guerra - Goya


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shivabel | 31 de Maio de 2010 | 10 minutos
'The Disasters of War' (Spanish: Los Desastres de la Guerra) are a series of 80 prints created between 1810 and 1820 by the Spanish painter and printmaker Francisco Goya (1746--1828). Although he did not make known his intention when creating the plates, art historians view them as a visual protest against the violence of the 1808 Dos de Mayo Uprising, the subsequent Peninsular War of 1808--14 and the setbacks to the liberal cause following the restoration of the Bourbon monarchy in 1814. During the conflicts between Napoleon's French Empire and Spain, Goya retained his position as first court painter to the Spanish crown and continued to produce portraits of the Spanish and French rulers. Although deeply affected by the war, he kept private his thoughts on the art he produced in response to the conflict and its aftermath. He was in poor health and almost deaf when, at 62, he began work on the prints. They were not published until 1863, 35 years after his death. It is likely that only then was it considered politically safe to distribute a sequence of artworks criticising both the French and restored Bourbons.
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The name by which the series is known today is not Goya's own. His handwritten title on an album of proofs given to a friend reads: Fatal consequences of Spain's bloody war with Bonaparte, and other emphatic caprices (Spanish: Fatales consequencias de la sangrienta guerra en España con Buonaparte, Y otros caprichos enfáticos). Aside from the titles or captions given to each print, these are Goya's only known words on the series. With these works, he breaks from a number of painterly traditions. He rejects the bombastic heroics of most previous Spanish war art to show the effect of conflict on individuals. In addition he abandons colour in favour of a more direct truth he found in shadow and shade.
The series was produced using a variety of intaglio printmaking techniques, mainly etching for the line work and aquatint for the tonal areas, but also engraving and drypoint. As with many other Goya prints, they are sometimes referred to as aquatints, but more often as etchings. The series is usually considered in three groups which broadly mirror the order of their creation. The first 47 focus on incidents from the war and show the consequences of the conflict on individual soldiers and civilians. The middle series (plates 48 to 64) record the effects of the famine that hit Madrid in 1811--12, before the city was liberated from the French. The final 17 reflect the bitter disappointment of liberals when the restored Bourbon monarchy, encouraged by the Catholic hierarchy, rejected the Spanish Constitution of 1812 and opposed both state and religious reform. Since their first publication, Goya's scenes of atrocities, starvation, degradation and humiliation have been described as the "prodigious flowering of rage" as well as the "work of a memory that knew no forgiveness." The serial nature in which the plates unfold has led some to see the images as similar in nature to photography.
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Music by Edgar Varèse, 'Nocturnal'.
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A partire dal 1810 Goya realizzò una serie di incisioni che quasi nessuno vide. Esse raffiguravano gli orrori avvenuti durante l'occupazione napoleonica della Spagna, di cui l'artista stesso fu testimone, in particolare durante un suo viaggio verso Saragozza nel 1808.
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Dalle incisioni emergono la crudeltà e la grettezza dell'uomo, colpevole dei crimini più atroci. Spesso non c'è neanche la distinzione tra spagnoli e francesi, per mostrare come chiunque può essere un feroce carnefice.
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Accanto alle scene di violenza ci sono immagini di stampo politico, di critica sociale e di anticlericalismo.
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Le 80 incisioni furono censurate, in quanto giudicate di carattere sovversivo e troppo crudeli. Furono date alle stampe postume, soltanto nel 1863.
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Recolhas de Pedro Mestre - Ti Mariana


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PedroMestreCampanica | 31 de Março de 2010 | 9:13
 
História de vida de Mariana Maria, cantadora de baldão.
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Mariana Campaniça


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toyvitoria | 11 de Setembro de 2008 | 3:08

MODA ALENTEJANA TOCADA PELO ACORD. CASTRENSE


Mariana Campaniça que lindos olhos que tem.... a moda do baldão da zona de Almodovar ,Castro Ourique,Odemira.

Alentejo o cante dos ceifeiros


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memoriamedia | 5 de Dezembro de 2009 | 3:18
Reedição do nosso vídeo, gravado na Taberna do Arrufa, pela nossa equipa. Parabéns ceifeiros.
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As Velhas do Alentejo - Grupo Instrumental de Montoito


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rconceicao | 11 de Novembro de 2006 | 3:55

Videoclip da música As Velhas do Alentejo, pelo Grupo Intrumental de Montoito. O povo alentejano é rijo como o carvalho!
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Le Petit Journal - 'Who Fired The First Shot?'

from ‘the War Illustrated, 25th August, 1917
Chapters from the Inner History of the War
'Who Fired The First Shot?'
by Lovat Fraser
Starting Hostilities
a border barricade

I consider that the first shot in the Great War was fired by an unknown German at 8.50 on the morning of Sunday, August 2nd, 1914, at a point about eight miles east of the fortress of Belfort, and about one and a half miles east of the church which stands in the French frontier village of Petit Croix.
This unknown German was standing about one hundred and fifty yards inside German territory, at the edge of a little wood called "Le Breuleux," near the railway line which runs from Belfort to Mulhouse. I select him because, after much research, I can find no authentic evidence of an earlier shot.

from 'le Miroir' - a view of the border posts at Petit Croix

Some people contend that the first shot was fired on that fateful Sunday morning of June 28th, when the Archduke Francis Ferdinand and his wife were murdered at Sarajevo, in Bosnia. Again, it may be argued that the hostilities between Austria- Hungary and Serbia constituted the true beginning of the Great War ; but I maintain that the Great War really began when the five Great Powers — Germany, Russia, Austria-Hungary, France, and Great Britain — took up arms. For the benefit of those who think differently, however, I will note the initial acts of war between Austria- Hungary and Serbia.
The first hostile act was committed on July 27th by Austria-Hungary, who seized the Serbian steamers Dcligrad and Morava on the Danube near Orsova. The Serbs knew what was coming, for diplomatic relations had been abruptly broken off on July 25th. At 1.30 on the morning of July 28th Serbian engineers blew up the bridge over the River Save between Belgrade and Semlin. The Austrians were ready, and opened artillery and rifle fire on the Serbs, while their Danube monitors also fired. These are the first authenticated shots in the Austro-Serbian war.

Austrian Danube monitors attacking Belgrade in July 1914

Black Saturday
All this time there had been no declaration of war, but at noon on July 28th Austria- Hungary declared war on Serbia. Nothing further is recorded until midnight on July 29th, when the Austrians bombarded Belgrade.
The first hostile act committed by Germany against France occurred on Friday, July 31st, at the German frontier station of Amanvillers, near Metz. The authorities at Amanvillers detained, in spite of protests, Locomotive No. 0113, belonging to the Eastern Railway Company of France. On the same day Germany detained at Hamburg, Cuxhaven, and elsewhere British merchant ships belonging to the Great Central Company and others, thereby committing her first hostile act against Great Britain.
On Saturday, August 1st, which was a day of terrible suspense and gloom for all Europe, obscure things happened on the borders of the wild lake and forest region in East Prussia known as Masuria. The Germans alleged that during the day Russians had crossed their frontier at Echwidlen, south-cast of Biala. A stray telegram came to England saying that a German patrol had ridden into Poland from Gross Prostken, a frontier station, and that a Russian patrol had fired some shots. The truth was never known, for at 7.10 p.m. on that black Saturday Germany declared war on Russia.
Sunday, August 2nd, 1914, was really the first day of the Great War. Early on the Sunday morning, at an hour which I have always understood was 6 o'clock, German troops in motor-cars entered the Grand Duchy of Luxemburg, a perpetually neutral State under the Treaty of London of 1867. They crossed the River Moselle at two points, over the bridges of Remich and Wasserbillig. Soon afterwards German armoured trains packed with troops entered by Wasserbillig. No shots appear to have been fired in Luxemburg.
First Authenticated Shot
Less than three hours afterwards there was fired what I conclude to have been the first authenticated shot of the war. On July 30th General Joffre had with- drawn all French troops to a distance of ten kilometres from the frontier, in order to leave to the Germans the responsibility for any hostilities. The order was not cancelled until 5.30 p.m. on that memorable Sunday. During the Sunday morning German cavalry patrols entered French territory at eleven points, possibly more, along the frontier before Beltort, and penetrated to various villages. They also entered France at Cirey-sur- Vezouze cast of Luneville, and at points north and south of Longwy, but I cannot trace the exact hour of the latter incursions.
On the other hand, the exact hour of each of these occurrences in the frontier region east of Belfort is set down in accessible records. The affair near Petit Croix, which I have selected as the first, was not, however, an invasion. It was an exchange of shots across the frontier. Three armed French Customs officers were on duty on the railway, about one hundred yards inside their own frontier. They saw on German territory an armed party of about twenty-five Germans, some of them two hundred and fifty yards away, others four hundred yards away. The Germans suddenly began shooting at them, and fired about fifteen shots in all. The three Frenchmen withdrew without replying, and turned out the other seven members of the Customs staff. All then moved forward towards the frontier, when the Germans fired another fifteen shots. The first man to fire a shot on the French side was Captain Dentz, who was in command of the Customs station of Petit Croix The French fired nineteen shots in all and the Germans then withdrew.

left : from a French weekly newspaper 'le Petit Journal'
right : from a German children's book

Earliest Casualties
Not a soul seems to have been hit on either side and in this trivial and unimpressive manner the Great War began.
An hour or so later, so far as I can fix the time, there was a much more serious encounter at or near Jonchcrey, not far from Delle, and more than ten kilometres from the German frontier. A French post consisting of Corporal Peugeot and four men saw to their surprise a German cavalry patrol, consisting of Lieutenant Mayor and six men of the 5th Mounted Jaegers, riding towards them. Peugeot challenged, and Mayor responded by firing three shots at him with his revolver, mortally wounding him. The other Frenchmen fired in turn at Mayer, killing him instantly. Mayor and Peugeot appear to have been the first men killed on either side in the Great War.
At 9 o'clock on the Sunday evening the German light cruiser Augsburg fired twenty shots at the Russian port of Libau, in the Baltic, and claimed to have done some damage. These were probably the first shots fired in the naval war.
On the main eastern front the first authenticated invasions of both Germany and Russia occurred on Monday, August 3rd. At 6 p.m. the Russians attacked the town of Johannisburg, in East Prussia, a few miles across the frontier.. At some unrecorded hour the same day the Germans crossed from Silesia and Posen and look the Polish towns of Tschenstochow, Berdzin, and Kalisch,
Extraordinary confusion still exists about the exact hour and day on which the Germans began their great crime of the invasion of Belgium. Personally I have now little doubt about the hour and place. The Germans formally invaded Belgium at about 9 a.m. at Gemmenich, four miles from the great German city of Aix-la-Chapellc. A patrol of twenty-five hussars trotted up to the frontier line at 8.45. Three Belgian gendarmes were the sole witnesses of this tremendous and solemn event which shook the world. One, named Bechet, rode off on his bicycle to a telephone post as soon as he saw the cavalry approaching. The other two, whose names were Thill and Henrion, barred the road. The officer leading the hussars dismounted and read a high-flown proclamation addressed to the Belgian people. The gendarmes retired, and the invasion began.
Invasion of Belgium
But did this event occur on Monday, August 3rd, or Tuesday, August 4th ? The twelve hours' ultimatum sent by Germany to Belgium expired at 7 a.m. on Monday August 3rd. Germany formally declared war on France at 6.45 p.m. on the Monday evening. The French Yellow Book and various histories give the date of the actual invasion of Belgium as August 3rd, but I think there can be no doubt it was on August 4th.
It is now clear in short, that Germany invaded Belgium in 1914 on the same day, at the same hour, and I believe at the very self-same minute, as she entered France in 1870. Germany invaded France at Weissenburg at 9 a.m. on August 4th, 1870, the first shot on that day having been fired "soon after 8 o'clock'." No trustworthy evidence tells when and where the first shots were fired in Belgium.
The first shot fired by Great Britain in. the war presumably stands to the credit of the light cruiser Amphion or the destroyer Lance, of the 3rd Destroyer Flotilla. It was fired during the morning of August 5th at the German mine-layer Koenigin Louise, which was sunk. The first attack by German submarines was made on August 9th against the 1st Light Cruiser Squadron, and on that occasion H.M.S. Birmingham sank U15.
The first recorded, collision between British and German troops occurred on August 22nd near Villers St. Ghislain, a few miles east of Mons. Captain Hornby with a squadron of the 4th Dragoon Guards charged a column of Uhlans, routed them, and captured several prisoners. There were other patrol encounters on that day. Next morning at dawn the Germans fired the first shell of the Battle of Mons.

corporal Peugeot, the first French soldier killed in the war
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Le Petit Journal - Les Instantanés de la Guerre

'Le Petit Journal'
Colorful Front-Pages and Allegories Galore
two typical coverpages - left a patriotic allegory and right a portrait

'Le Petit Journal' was a long existing illustrated magazine supplement that appeared in a somewhat old-fashioned 19th century format. The back and front covers were printed in bold and eye-catching color, usually with prints or etchings of news-worthy events of the more sensationalist kind or patriotic allegories. The price was amazingly cheap and the print-run ran into more than a million copies for every issue. The inside pages consisted of text and at times pages of photographs or large-sized war maps. .
Some of the following scans are from various issues published in 1919 and as can be seen, throughout the year almost every cover was dedicated to matters pertaining to the Great War. During the war years themselves, a large number of coverpages were devoted to depicting various well-known and lesser-known commanding officers and heros of the Allied armies. In the later years of the war, instead of producing colored illustrations, use was made of hand-colored photographs, often decorated with flowery motifs or set out in more modernist appearing collages.
two typical pages of war photos
two examples of backpage illustrations
left : Russian women volunteers
right : a young regimental mascot with the Russian volunteers in France

segunda-feira, 28 de junho de 2010

Museu da Cortiça de Silves fechou portas empurrado pela falência da Alicoop

Museu recebeu nos últimos três anos uma média de 90.000 visitantes anuais MUSEU DA CORTIÇA
Por Idálio Revez Comissão de credores dita, na quarta-feira, o destino da Fábrica do Inglês, onde existe um dos melhores museus industriais da Europa. Câmara tenta travar a especulação imobiliária

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O principal museu da cortiça existente em Portugal - vencedor do prémio Luigi Micheletti para o melhor museu industrial europeu em 2001 - encerrou no mês passado arrastado pela falência do grupo de distribuição alimentar Alicoop.

"Dá dó" ver o estado a que chegou a Fabrica do Inglês, um empreendimento de animação turística composto sobretudo por espaços de restauração e de espectáculos onde se integra aquela unidade museológica. O desabafo partiu do director do museu, Manuel Ramos, lembrando que os edifícios já estão a degradar-se e nem as laranjas do jardim são aproveitadas. "Custa ver o mais importante museu português na área da cortiça de portas fechadas".

Este fim-de-semana teve lugar uma "jornada de reflexão" destinada a discutir o futuro deste empreedimento, onde foram investidos cerca de 12 milhões de euros. Os oradores repetiram lamentos e foi decidido criar uma comissão para abalar consciências e tentar encontrar "uma resposta da sociedade". O administrador da Alicoop, José António Silva, afirmou: "O custo de estar encerrado é maior do que o de estar a funcionar", mas o impasse instalou-se.

No próximo dia 30 reúne-se a Comissão de Insolvência do grupo Alicoop/Alisuper, accionista maioritário da Fábrica do Inglês, que detém 28 por cento do capital da sociedade, prevendo-se a entrada no processo de falência. O director-geral da Associação Portuguesa de Cortiça, Joaquim Lima, considerou, referindo-se ao museu, que se trata de um "projecto de interesse nacional" que deve ser preservado, mas logo a seguir acrescentou: "Não trago nenhum cheque". Portugal está a investir 21 milhões de euros na promoção da cortiça nos mercados externos. "Se se souber que há em Portugal um museu da cortiça que faliu, vai ser usado desfavoravelmente para denegrir a cortiça", sublinhou. José António Silva, por seu lado, lembrou que, na prática, "os bancos [Caixa Geral de Depósitos e Millennium BCP] são os donos da Fábrica do Inglês".

A Câmara de Silves pediu entretanto "a solidariedade" do Presidente da República e de todas as forças políticas e entidades regionais para se encontrar uma solução para a Alicoop. A reunião dos credores, na próxima quarta-feira no Tribunal de Silves, é considerada decisiva. O município diz que foi informado de que se irá "tomar uma decisão final e tudo aponta para que mais um plano apresentado para viabilizar a empresa seja rejeitado, sendo o passo seguinte a abertura do processo de falência".

Em relação à Fábrica do Inglês, a câmara classificou o empreendimento de interesse municipal, e propôs ao Igespar que reconhecesse essa figura para travar uma eventual venda para fins imobiliários. "Não acredito que seja possível construir ali apartamentos", advertiu o administrador, pedindo "um compromisso da sociedade" para defender um espaço que durante um década valorizou a oferta cultural do concelho de Silves.

O museu, que encerrou oficialmente a 18 de Maio - Dia Internacional dos Museu-, registou nos últimos três anos uma média de 90 mil visitantes anuais e em 2001 atingiu 103 mil entradas. "Houve momentos em que este museu foi o mais visitado do Sul do país", recordou Manuel Ramos, salientando a mágoa que sente ao ver os turistas, desiludidos, quando se deparam com as portas do empreendimento encerradas.

A indústria corticeira, outrora próspera, está reduzida em Silves a uma unidade fabril do grupo Amorim. O Museu da Cortiça, além de um conjunto de máquinas e outros equipamentos, reúne um importante espólio documental que remonta a 1870. "Temos aqui, talvez, o mais importante museu do mundo nesta área, com mais de cem anos de história da exportação da cortiça". Deslocalizar o museu para outra parte do país, disse Joaquim Lima, "seria desviar a sua verdadeira natureza". A sua preservação projecta a imagem de um país que é "líder a nível mundial na cortiça". Porém, a perspectiva museológica, em Portugal, admitiu, só é encarada "quando a industria está moribunda, o que não é o caso". "Estamos a dar a volta à crise", disse, acrescentando que o sector registou um crescimento de cinco por cento, no primeiro trimestre de 2010.

Manuel Ramos alertou para a possibilidade de se acentuar a degradação do imóvel, solicitando à câmara para intervir, zelando pela segurança dos edifícios e manutenção dos jardins. "Não é fácil", respondeu a presidente da câmara, Isabel Soares, salientando que se trata de uma propriedade privada. "Mas não podemos ir para casa descansados", enfatizou, reivindicando o empenho de todas as forças políticas para desbloquear o caso da Alicoop/Alisuper. O presidente da Comunidade Intermunicipal do Algarve - Amal, Macário Correia, e o presidente do Turismo do Algarve, Nuno Aires, foram convidados para o debate mas não compareceram.
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quinta-feira, 17 de junho de 2010

Brigada Victor Jara - Música tradicional portuguesa (1)

A VICTOR JARA / Ao romper da bela aurora


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LuisGarNunes 5 de Dezembro de 2009 — BRIGADA VICTOR JARA
Ao romper da bela aurora (Alentejo)
Eito Fora

Na foto: Jorge Seabra; Arnaldo Carvalho; Ananda Fernandes; Joaquim Caixeiro; Né Ladeiras; Amilcar Cardoso; Manuel Rocha.
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Charamba / Brigada Victor Jara .


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.LuisGarNunes 13 de Dezembro de 2009 — BRIGADA VICTOR JARA
Charamba / Açores
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TAMBORILEIRO (1979)
Foto:Jorge Seabra; Arnaldo Carvalho; Ananda Fernandes; Joaquim Caixeiro; Né Ladeiras; Amilcar Cardoso; Manuel Rocha brigada vitor jara música tradicional portuguesa folk music portugal coimbra
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Marião - Brigada Victor Jara
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ptxokr 18 de Abril de 2009 — Geração de 70

http://1001_musicas_pt.blogs.sapo.pt/

Mil & Uma Músicas de Portugal

Letras de Músicas Portuguesas! Neste Blog será feito o quadro de honra á música portuguesa! 1001 Canções emblemáticas, com artistas e compositores inesquecíveis. Há coisas que não devem morrer! E nunca morreram enquanto forem lembradas!
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BRIGADA VICTOR JARA CANTIGA BAILADA 
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LuisGarNunes 31 de Agosto de 2009 
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Cuba ... do Alentejo


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cubafilmes 30 de Novembro de 2008Conheça Cuba, no coração do Alentejo, um Concelho que deu nome a uma Ilha espera por si.
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Moura Cidade - Alentejo

 
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zekinhas100 29 de Julho de 2007Bem Vindo a Moura...Aqui é Alentejo. O Portal de Moura abre-lhe as portas para este pequeno paraiso...
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RAKAMOURA 12 de Janeiro de 2009Imagens de Moura. Musica : Ateneu Mourense
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Maria Ostiz - Un pueblo es... / Todo tiene su fin (Hispavox, 1977)


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superpop60 1 de Maio de 2009Single de 1977 A-Un pueblo es... B-Todo tiene su fin.
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Vítor Correia
18/Mai/2010 15:24
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Composições de Luís de Freitas Branc

Luís de Freitas Branco | Aquela Moça


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edwardgp 2 de Janeiro de 2009 — Filomena Amaro, soprano Gabriela Canavilhas, piano pintura de Noronha da Costa
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Duas Melodias | Luís de Freitas Branco
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ruilisboa11 — 27 de Agosto de 2009 — A Orquestra Metropolitana de Lisboa, sob a direcção musical do maestro Cesário Costa, interpretou em Maio de 2006 a primeira audição moderna de «Duas Melodias», da autoria do compositor português Luís de Freitas Branco. Datadas de 1909, são duas pequenas peças para orquestra de cordas que revelam uma grande beleza musical, designadamente mediante os permanentes diálogos melódicos que se estabelecem entre os diferentes naipes da orquestra.

Duas Melodias para Orquestra de Cordas [1909]
Luís de Freitas Branco (1890-1955)

Gravação ao vivo da 1.ª Audição Moderna
26 de Maio de 2006, Sociedade de Geografia, Lisboa

Orquestra Metropolitana de Lisboa
Cesário Costa, maestro
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Alfredo Keil - Murmures Op. 9 No. 2


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edwardgp 18 de Novembro de 2008 — piano: Gabriela Canavilhas Disco da PORTUGALSOM http://www.numerica-multime...
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Carmen diz:
18/Mai/2010 0:15
Uma boa semana, amigo Victor!

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El mejor show de ilucionismo y humor :D


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dilito2008 30 de Junho de 2008Eh Aki a dos grandes del espectaculo...es para matarte de risa y disfrutarlo cuantas vecs kieras! ...spero q les gusten
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Efecto de Jerome Murat explicado!


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TheBloggersAAP 3 de Novembro de 2008Explicación del efecto (asombroso efecto) que realiza Jerome Murat un excelente mimo. NO veas este video si no deseas "romper" la ilusión de la actuación. IMPORTANTE, esto es solo como yo creo, que realiza la ilusión, no significa que realmente sea así, ustedes sacarán sus conclusiones después de ver la "explicación".

Gracias por leer.

- Video editado para el post de Taringa!: http://www.taringa.net/posts/videos/1...

- |Visita el blog: ..::Lo + Chistoso::..|
http://www.lo-mas-chistoso.blogspot.com/
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Cats Musical - Memory


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UrChatNoir 22 de Julho de 2007 — Cats is an award-winning musical composed by Andrew Lloyd Webber based on Old Possum's Book of Practical Cats and other poems by T. S. Eliot. The show has been performed around the world in numerous productions and has been translated into more than 20 languages.
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14/Mai/2010 20:50
Boa noite e bons sonhos. Bjos. Judite
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CATS : Memory Lyrics

Songwriters: Nunn, Trevor; Eliot, T S; Lloyd-Webber, Andrew;
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At last, the time has come for Old Deuteronomy to make
the Jellicle Choice and decide which one cat will be reborn
into a new Jellicle life. At that moment, Grizabella reappears.
Again she recalls her "Memory" of how things used to be. She
pleads to her brothers and sisters, yearning to come back to
them. This time, through a greater appreciation of tolerance,
the cats accept her back into the tribe.

GRIZABELLA:
Daylight, see the dew on the sunflower
And a rose that is fading
Roses wither away
Like the sunflower I yearn to turn my face to the dawn
I am waiting for the day

SOLO:
Now Old Deuteronomy, just before dawn
Through a silence you feel you could cut with a knife
Announces the cat who can now be reborn
And come back to a different jellicle life

GRIZABELLA:
Memory, turn your face to the moonlight
Let your memory lead you
Open up, enter in
If you find there the meaning of what happiness is
Then a new life will begin

Memory, all alone in the moonlight
I can smile at the old days
I was beautiful then
I remember the time I knew what happiness was
Let the memory live again

Burnt out ends of smokey days
The stale cold smell of morning
The streetlamp dies, another night is over
Another day is dawning

Daylight, I must wait for the sunrise
I must think of a new life
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.http://www.lyricsdownload.com/cats-memory-lyrics.html

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Cats (musical)

Origem: Wikipédia, a enciclopédia livre.

 
Cats é um musical composto por Andrew Lloyd Webber que teve sua estréia em Londres em 1981, mas que se consagrou por mais de vinte anos em cartaz na Broadway. Para realizar esse espetáculo, Llyod Weber musicou uma série de poemas de T. S. Eliot sobre gatos e acrescentou um roteiro, onde Memory foi uma das suas músicas de maior sucesso.
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No musical, os gatos jellicle, palavra que só eles sabem o seu significado, se reúnem uma vez ao ano para que seu líder escolha um e apenas um deles para ir a um lugar melhor. Entre os personagens mais marcantes estão Munkustrap, o narrador da história, e Grizabela, the glamour cat.
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Essa obra é tida como uma das maiores produções da Broadway, e já foi vista por mais de 50 milhões de apreciadores, num total de 45 mil apresentações.
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O musical teve sua estreia no Brasil (São Paulo) no período 09-27.08.2006. e no Rio de Janeiro de 30.08 a 03.09.2006, e em Portugal em 2004, regressando em 2006.
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Em 1998, o musical foi gravado em DVD, no Adelphi Theater de Londres, contando com a participação de artistas tais como: Elaine Paige, John Mills, Ken Page, Rosemarie Ford , Michael Gruber, John Partridge, Aeva May, Geoffrey Garratt, James Barron, Jo Gibb, entre outros.
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O musical teve sua estréia no Brasil no dia 4 de março de 2010, no Teatro Abril, em São Paulo, contando no elenco com os atores e cantores Saulo Vasconcelos como Old Deuteronomy, Sara Sarres como Jellylorum, Julio Mancini como Munkustrap, Cleto Baccic como Rum Tum Tugger e Paula Lima como Grizabella. A adaptação das letras ficou por conta de Toquinho.

Índice

 

Sinopse

Numa noite especial do ano, todos os gatos Jellicle se encontram no Jellicle Ball. Lá, o líder sábio e benevolente, Old Deuteronomy, anuncia qual deles irá para um lugar chamado Heaviside Layer, onde renascerá uma nova vida Jellicle.

Números Musicais

ATO 1
  • Abertura
  • Prólogo: Jellicle Songs for Jellicle Cats
  • The Naming of Cats
  • The Old Gumbie Cat
  • The Rum Tum Tugger
  • Grizabella, the Glamour Cat
  • Bustopher Jones: The Cat About Town
  • Mungojerrie & Rumpleteazer
  • Old Deuteronomy
  • The Awful Battle of the Pekes and the Pollicles
  • The Jellicle Ball
  • Memory
ATO 2

  • The Moments of Happiness
  • Gus: The Theatre Cat
  • Skimbleshanks: The Railway Cat
  • Macavity: The Mystery Cat
  • Mr. Mistoffelees
  • Memory
  • Journey to the Heaviside Layer
  • The Ad-dressing of Cats

Curiosidades

  • Cats foi o musical que mais tempo esteve em cartaz no New London Theatre: 21 anos.
  • A música "Memory" já foi gravada por mais de 170 artistas!
  • Entre os mais de 30 prêmios que já lhe foram atribuídos, contam-se sete Tony Awards e um Grammy.
  • A música "Memory" garantiu a Susan Boyle a vitória na primeira semi-final do show britânico Britain's Got Talent.

 Referências

Ligações externas

Wiki letter w.svg Este artigo é um esboço. Você pode ajudar a Wikipédia expandindo-o.  Editor: considere marcar com um esboço mais específico.
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Yanni - Chloe : Érzések..


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maria0914 26 de Abril de 2009 — " Egyedül a zene képes enyhülést hozni a bolygó érzékeknek és a háborgó léleknek. " William Congreve
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4/Mai/2010 6:05
Bom dia! Beijos mil da Judite
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Comfortably Numb - duas interpretações

David Gilmour - Comfortably Numb


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InnerAlsatian 22 de Janeiro de 2008 — David Gilmour performing Comfortably Numb live at The Royal Albert Hall, featuring David Bowie.

If this doesn't give you goosebumps, then I pity you. This is something of the most insane things ever done with a guitar. (and please.. don't comment on the dancers)
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| Vitor diz:
14/Mai/2010 16:33 
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Comfortably Numb - Pink Floyd The Wall
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Comfortably Numb - Pink Floyd The Wall . .
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BernardoLang 2 de Novembro de 2008 — Pink Floyd´s The Wall Comfortably Numb
Lyrics:

Hello,
Is there anybody in there?
Just nod if you can hear me
Is there anyone home?

Come on
Now
I hear you're feeling down
I can ease your pain
Get you on your feet again

Relax
I'll need some information first
Just the basic facts
Can you show me where it hurts?

There is no pain you are receding
A distant ship's smoke on the horizon
You are only coming through in waves
Your lips move
But I can't hear what you're saying

When I was a child I had a fever
My hands felt just like
Two balloons
Now I've got that feeling once again
I can't explain
You would not understand
This is not how I am

I... Have become comfortably numb

O.K.
Just a little pin prick
There'll be no more aaaaaaaah!
But you may feel a little sick

Can you stand up?
I do believe it's working
Good
That'll keep you going through the show
Come on
It's time to go

There is no pain you are receding
A distant ship's smoke on the horizon
You are only coming through in waves
Your lips move
But I can't hear what you're saying

When I was a child
I caught a fleeting glimpse
Out of the corner of my eye

I turned to look but it was gone
I cannot put my finger on it now
The child is grown
The dream is gone
I... Have become comfortably numb
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quarta-feira, 16 de junho de 2010

Música instrumental

Telemann Sonata for Viola and Guitar
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brettdeubner 30 de Janeiro de 2008 — Violist Brett Deubner and Guitarist Christopher Kenniff perform Georg Telemann's a minor Sonata, first movement.
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A.Vivaldi - "Concerto" for Viola, Guitar and Clavir Part - I


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Pajarillo57 23 de Dezembro de 2007 — Andrey Shilov plays Concerto d-moll (1st Part)by Vivaldi in the live concert in trio 11.07.2000. Viola-Igor Gorsky, Piano -Galina Ushakova. Both are great misicians! Unfortunately, the camera was placed aside, so it catched the piano and viola sound as the instruments with the strong sound but guitar sound on this recording is weak, though in the hall it sounded well.
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A.Vivaldi - "Concerto" for Viola, Guitar and Clavir Part -II
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A.Vivaldi - "Concerto" for Viola, Guitar and Clavir Part-III
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O Kant_O_XimPi fez 4 anos em 14 de Junho

 

 

DOIS MOMENTOS, DOIS RETRATOS

DOIS MOMENTOS, DOIS RETRATOS

1 . - Uma "manife" em Évora, num verão quente, nos idos de 1974

Ontem, no comício do PC, ali no Rossio de S.Brás, o Álvaro Cunhal falou na independência dos povos das colónias. (...) Ainda antes do Álvaro Cunhal falar o palco foi abaixo por duas vezes. Uma multidão imensa concentrava se em redor do palco, junto ao Monte Alentejano, agitando se inúmeras bandeiras vermelhas do PC. Em uníssono, a multidão repetia as palavras de ordem, de punho erguido.
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Detecto, junto a mim, um grupo que vai comentando ao sabor das intervenções. Quando se falam nas torturas sofridas pelo Cunhal e outro comunista, uma mulher ao meu lado diz me: "Coitadinho! Bandidos!" E a multidão grita: "Morte à PIDE!". Dois delegados dos Sindicatos Agrícolas (Évora e Beja) enumeram as quebras dos contratos colectivos de trabalho e o nome dos latifundiários. A multidão grita: "Morte aos cães!" "A terra a quem a trabalha!".
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Ao meu lado, algumas mulheres dizem: "É assim mesmo!" e "Essa sou eu!", quando se fala em ranchos despedidos. O Álvaro Cunhal cita as lutas revolucionárias dos trabalhadores alentejanos e a "palha" que os latifundiários teriam mandado dar aos trabalhadores que imploravam comida. E a revolta; que enquanto houvesse ovelhas, galinhas e porcos não comiam palha os trabalhadores!
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O Partido faz a sua campanha e no palco estão pessoas que já conheço de há muito. Por detrás delas, enormes, em fundo vermelho, as efígies de Marx, Engels e Lenine. A brancura de Évora é agora quebrada por cartazes do PC. Marx, Engels e Lenine enchem as ruas, conjuntamente com cartazes com a foice e o martelo. (1974.07.28)
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2. - Passa Camarada
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Na Voz do Operário ao chegar à porta para o pátio olhei por cima do ombro e vi o Álvaro e o seu guarda-costas e disse-lhe naturalmente: «Passa, camarada» ao que ele retorquiu " Passa tu, camarada, que chegaste primeiro» E assim ficámos lado a lado no pátio, numa lenta fila para o almoço, enquanto as pessoas vinham cumprimentá-lo ou apresentá-lo aos filhos de colo ou não.
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Foi uma hora divertida e tenho pena de não ter fixado por escrito as conversas, as impressões já desvanecidas e, sobretudo, os diálogos bem humorados com Dias Lourenço sobre as peripécias em torno das fugas de Peniche.
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Porquê Kant_O_XimPi

Violeta Parra - Maldigo del alto cielo


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carrisagas 1 de Agosto de 2007Las ultimas composiciones
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Música: Violeta Parra - Maldigo del Alto Cielo

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Maldigo del alto cielo
la estrella con su reflejo,
maldigo los azulejos
destellos del arroyuelo,
maldigo del bajo suelo
la piedra con su contorno,
maldigo el fuego del horno
porque mi alma está de luto,
maldigo los estatutos del tiempo
con sus bochornos,
cuánto será mi dolor.

Maldigo la cordillera
de los Andes y La Costa,
maldigo, señor, la angosta
y larga faja de tierra,
también la paz y la guerra,
lo franco y lo veleidoso,
maldigo lo perfumoso
porque mi anhelo está muerto,
maldigo todo lo cierto
y lo falso con lo dudoso,
cuánto será mi dolor.

Maldigo la primavera
con sus jardines en flor
y del otoño el color
yo lo maldigo de veras;
a la nube pasajera
la maldigo tanto y tanto
porque me asiste un quebranto.
Maldigo el invierno entero
con el verano embustero,
maldigo profano y santo,
cuánto será mi dolor.

Maldigo a la solitaria
figura de la bandera,
maldigo cualquier emblema,
la Venus y la Araucaria,
el trino de la canaria,
el cosmos y sus planetas,
la tierra y todas sus grietas
porque me aqueja un pesar,
maldigo del ancho mar
sus puertos y sus caletas,
cuánto será mi dolor.

Maldigo luna y paisaje,
los valles y los desiertos,
maldigo muerto por muerto
y el vivo de rey a paje,
el ave con su plumaje
yo la maldigo a porfía,
las aulas, las sacristías
porque me aflige un dolor,
maldigo el vocablo amor
con toda su porquería,
cuánto será mi dolor.

Maldigo por fin lo blanco,
lo negro con lo amarillo,
obispos y monaguillos,
ministros y predicandos
yo los maldigo llorando;
lo libre y lo prisionero,
lo dulce y lo pendenciero
le pongo mi maldición
en griego y en español
por culpa de un traicionero,
cuánto será mi dolor.
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(1964-1965)


http://www.cancioneros.com/nc/1011/0/maldigo-del-alto-cielo-violeta-parra
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