Not being a serious user of smartphones, I just maneged to log in at my blog to tell you all what's going wrong. My pc is going crazy, I'm not able to access anything useful-knot even something like safe mode. I can play music and video, but say a browser goes crazy scrolling down non-stop as does every other program. First I thought it had something to do with web slice gallery which suddenly appeared, without me asking for it-no idea what it was, it seems to be a legit tool for browsers working on windows 10, some how my Mozilla browser picked it up whilst running on windows XP and totally fucked up my computer. I have no idea what to do as all roads seem to be blocked. Cannot safe/delete anything-even the start button is unavailable. Personally I don't believe this as is a virus attack, but a mysterious windows malfunction, no idea when I'm back on line-but I will be, meanwhile feel free to share your Idea as to a solution to this debacle.
Jun 21, 2021
Jun 17, 2021
RhoDeo 2124 Expanse 46
Hello, now Babylon's in Ashes but we humans don't loose our hubris that easy after all we are used to celebrate ignorance..Anyway the story continues......
Here today, naturally my mission of trying to breakthough the wall of nonsense build by the supposed smartest men on the planet is continuing as chinks start to appear, their arrogant stupidity set us back decades if not more, electro-magnetics is clean energy and would have delivered us not only flying cars, but flying saucers aswell and who knows a pathway into other dimensions..Meanwhile i got a request to continue the Expanse, and as this is one of the greatest SF series of our days and within it Abaddon's Gate one of it's highlights no reason to stop there then, so i won't...N Joy..
xxxxx xxxxx xxxxx xxxxx xxxxx
Before Einstein created his unique theorems on relativity, deflating Newton’s theories on gravity, Nikola Tesla posited the idea that electricity and energy were responsible for almost all cosmic phenomena. Tesla saw energy and electricity as an “incompressible fluid” of constant quantity that could neither be destroyed nor created.
If you want to find the secrets of the universe, think in terms of energy, frequency, and vibration.
— Nikola Tesla
xxxxx
Dark energy continues to be an astronomical mystery.
A new European Space Agency (ESA) space-based telescope named Euclid, after the ancient Greek philosopher, has received approval for development, with a tentative launch date sometime in 2019. According to ESA, Euclid is “a mission devised to provide insight into the nature of dark energy and dark matter by accurate measurement of the accelerated expansion of the Universe.”
Astronomers say the Universe is speeding up. The expansion of space is said to be accelerating so much that eventually all the stars and galaxies that exist will pass so far into the void that they will no longer be visible to each other. Each galaxy will become a point of light in an eternal darkness.
A 2008 report, analyzing data provided by the Wilkinson Microwave Anisotropy Probe (WMAP), suggested that a gravitational source over the “cosmic event horizon” is pulling matter toward it with a force that exceeds the combined mass of whole superclusters. That “dark energy” is inexorably drawing the stuff of the Universe out into a lonely isolation.
Contemporary theories suggest that galaxies are receding from Earth’s vantage point because they started out receding from us due to an inflationary event imparted by the Big Bang. Some astronomers estimate the recession velocity to be 71 kilometers per second for every 3.3 million light-years of distance. This supposed dilation of space and time is called the Hubble flow, or the Hubble constant.
In the 1960s, redshift calculations for the galaxies close to the Milky Way indicated another motion superposed on the Hubble flow. The Local Group of galaxies, the Virgo supercluster, the Hydra-Centaurus supercluster, and other galactic superclusters are said to be moving at 600 kilometers per second toward the constellation Centaurus. This “great river of galaxies” is said to be attracted to some gigantic gravitational source over 216 million light-years away. The massive gravity structure is known as the Great Attractor.
The Great Attractor is thought to be composed of dark matter because it cannot be seen with any telescope. It is interesting that astrophysical studies demonstrate unexpected movement whenever new instruments with improved vision are implemented.
Almost from the beginning of modern astronomy, the Andromeda galaxy was found to be hurtling toward the Milky Way at over 320,000 kilometers per hour. Commonly held beliefs state that only gravity can exert the force necessary for Andromeda’s speed, although there appears to be insufficient luminous matter between the two galaxies to account for it. More than ten Milky Way galaxies worth of mass would be required to accelerate Andromeda, but it remains invisible.
Over time, as better telescopes and computers were built, redshift measurements of the Local Group revealed that it is flying toward the center of the Virgo cluster at nearly two million kilometers per hour. The Virgo cluster is 50 million light years from Earth and contains two giant elliptical galaxies, M84 and M86, but whatever is tugging on that incredible mass again remains invisible.
A group of objects called the Great Wall (or the Centaurus Wall), in which the Great Attractor is supposed to be embedded, was theorized to be the motivating factor. However, the Great Wall does not possess enough mass density to influence structures like superclusters. These various surveys (along with other data) led to the theory of dark energy.
Certain concepts, like redshift and gravity, are fundamental to the Big Bang hypothesis. According to theory, light shifts toward the red end of the spectrum because an object is moving away. Objects interpreted to be at great distances move away faster than objects nearer to Earth, leading to the idea that the Universe is expanding.
Notwithstanding the problems associated with redshift, previous Picture of the Day articles about WMAP, galaxy clusters, and gravity-only cosmology have elucidated a force extant in the Universe exerting an attractive power 46 orders of magnitude greater than gravity: electric filaments in space. Each “puzzling” discovery by research scientists reinforces the tenets of plasma cosmology and serves to differentiate it from the imprecise predictions of consensus models.
Attractive forces exerted by electrified plasma contained in the twisting filaments of Birkeland currents dominate the Universe. They circulate in a cosmic circuit that flows into our field of view and then out into the void with long-range attraction between them. Therefore, the most probable “Great Attractors” are those filaments of electrified plasma with billions-of-trillion-times more intense fields of influence than gravity.
No doubt the Universe is larger than that which we can observe at this moment: more sensitive tools continue to reveal greater depths. Out of those depths rise inconceivable electrical energies. It is there we should look for explanations and not to centuries-old hypotheses conceived in a time when none of today’s observations were possible.
Stephen Smith
xxxx xxxxx xxxxx xxxxx xxxxx
Star clusters are large groups of stars. Globular clusters are tightly bound together and can consist of hundreds of millions of stars. Open clusters are loose groups of a few hundred stars and are mostly found within the spiral arms of the galactic plane.
Contributor and Electric Universe advocate, Gareth Samuel, host of "See the Pattern”, examines how these open star clusters may help us map out large filament structures running along the spiral arms of the Milky Way.
If you see a CC with this video, it means that subtitles are available. To find out which ones, click on the Gear Icon in the lower right area of the video box and click on “subtitles” in the drop-down box. Then click on the subtitle that you would like.
https://youtu.be/UVUiL9385-c
xxxx xxxxx xxxxx xxxxx xxxxx
The Expanse is a series of science fiction novels (and related novellas and short stories) by James S. A. Corey, the joint pen name of authors Daniel Abraham and Ty Franck. The first novel, Leviathan Wakes, was nominated for the Hugo Award for Best Novel in 2012. The series as a whole was nominated for the Best Series Hugo Award in 2017.
As of 2019, The Expanse is made up of eight novels and eight shorter works - three short stories and five novellas. At least nine novels were planned, as well as two more novellas. The series was adapted for television by the Syfy Network, also under the title of The Expanse, then they dropped the ball despite the succes of the series, i suspect the whole thing got too serious (expensive) so once again Syfy network proved they can't handle success. Anyway fans were outraged and got Amazon Prime to pick it up for a fourth and fifth series and considering the mountain of money Jeff Bezos sits on i suspect several more as long as the fans keep cheering.
The Expanse is set in a future in which humanity has colonized much of the Solar System, but does not have interstellar travel. In the asteroid belt and beyond, tensions are rising between Earth's United Nations, Mars, and the outer planets.
The series initially takes place in the Solar System, using many real locations such as Ceres and Eros in the asteroid belt, several moons of Jupiter, with Ganymede and Europa the most developed, and small science bases as far out as Phoebe around Saturn and Titania around Uranus, as well as well-established domed settlements on Mars and the Moon.
As the series progresses, humanity gains access to thousands of new worlds by use of the ring, an artificially sustained Einstein-Rosen bridge or wormhole, created by a long dead alien race. The ring in our solar system is two AU from the orbit of Uranus, and passing through it leads to a hub of starless space approximately one million kilometers across, with more than 1,300 other rings, each with a star system on the other side. In the center of the hub, which is also referred to as the "slow zone", an alien space station controls the gates and can also set instantaneous speed limits on objects inside of the hub as a means of defense.
The story is told through multiple main point-of-view characters. There are two POV characters in the first book and four in books 2 through 5. In the sixth and seventh books, the number of POV characters increases, with several characters having only one or two chapters. Tiamat's Wrath returns to a more limited number with five. Every book also begins and ends with a prologue and epilogue told from a unique character's perspective.
Novels
# Title Pages Audio
1 Leviathan Wakes 592 20h 56m
2 Caliban's War 595 21h
3 Abaddon's Gate 539 19h 42m
4 Cibola Burn 583 20h 7m
5 Nemesis Games 544 16h 44m
6 Babylon's Ashes 608 19h 58m
7 Persepolis Rising 560 20h 34m
8 Tiamat's Wrath 544 19h 8m
9 Unnamed final novel
xxxxx
Babylon's Ashes is a science fiction novel by James S. A. Corey, the pen name of Daniel Abraham and Ty Franck, and the sixth book in their The Expanse series. The title of the novel was announced in early July 2015[1] and the cover and brief synopsis were revealed on September 14, 2015
Synopsis
Following the events of Nemesis Games, the so-called Free Navy, made up of Belters using stolen military ships, has been growing ever bolder. After the crippling attacks on Earth and the Martian Navy, the Free Navy turns its attention to the colony ships headed for the ring gates and the worlds beyond. The relatively defenseless ships are left to fend for themselves, as neither Earth nor Mars are powerful enough to protect them. James Holden and the crew of the Rocinante are called upon once again by what remains of the UN and Martian governments to go to Medina Station, now in the hands of the Free Navy, in the ring station. On the other side of the rings an alien threat is growing; the Free Navy may be the least of humanity's problems.
<a href="https://multiup.org/103caab14260961941dfa0591e3d242e">James S.A. Corey - James S.A. Corey - The Expanse Babylon's Ashes 21-27 </a> ( 150min 69mb)
James S.A. Corey - The Expanse Babylon's Ashes 21-27 150min
xxxxx xxxxx xxxxx xxxxx xxxxx
previously
<a href="https://multiup.org/ec2507a66facbe13b61c3d6aafd8b255">James Corey - The Expanse Caliban's War 01-07 </a> ( 139min 63mb)
<a href="https://multiup.org/7c2db1bc4c8f93ff45f2df6e5a901aca">James Corey - The Expanse Caliban's War 08-15 </a> ( 173min 78mb)
<a href="https://multiup.org/d627294ce680b55a5552ee26da80628d">James Corey - The Expanse Caliban's War 16-22 </a> ( 169min 64mb)
<a href="https://multiup.org/71ffc68a701740415df5806f6db5c405">James Corey - The Expanse Caliban's War 23-29 </a> ( 165min 64mb)
<a href="https://multiup.org/2ddc5eb96cece09aafae0029a72381fd">James Corey - The Expanse Caliban's War 30-36 </a> ( 167min 67mb)
<a href="https://multiup.org/b9bbcfa99bc55b573b00e3c0287fedb7">James Corey - The Expanse Caliban's War 37-43 </a> ( 149min 67mb)
<a href="https://multiup.org/37ee50c645c467428254dcfb0092550e">James Corey - The Expanse Caliban's War 44-50 </a> ( 150min 60mb)
<a href="https://multiup.org/1d286bb56f1c77caf49144115f918da1">James Corey - The Expanse Caliban's War 51-57 </a> ( 104min 48mb)
<a href="https://multiup.org/04e5eba5ae7d0b8714c747f135e97208">James Corey - The Expanse Abaddon's Gate 01-07 </a> ( 143min 66mb)
<a href="https://multiup.org/9d31e40248b2d9b26a7d0dbd9237ecb3">James Corey - The Expanse Abaddon's Gate 08-14 </a> ( 157min 72mb)
<a href="https://multiup.org/98823e0797656130ce7e51d3569dacfb">James Corey - The Expanse Abaddon's Gate 15-21 </a> ( 139min 64mb)
<a href="https://multiup.org/bc63015bb4e75014732fbd2558d1db22">James Corey - The Expanse Abaddon's Gate 22-28 </a> ( 158min 72mb)
<a href="https://multiup.org/66e48cef9a80992a672ae47c44cf7979">James Corey - The Expanse Abaddon's Gate 29-35 </a> ( 138min 63mb)
<a href="https://multiup.org/d643ce67098f78606be3c6209f56337b">James Corey - The Expanse Abaddon's Gate 36-42 </a> ( 131min 60mb)
<a href="https://multiup.org/a8ae55abe052929db05681aa453d8c65">James Corey - The Expanse Abaddon's Gate 43-49</a> ( 131min 60mb)
<a href="https://multiup.org/62fc21d2f4526401839898a34dba8c96">James Corey - The Expanse Abaddon's Gate 50-55</a> ( 99min 45mb)
<a href="https://multiup.org/f7f2f9b4f8c292baa4a10cc975434388">James Corey - The Expanse The Vital Abyss </a> ( 146min 67mb)
<a href="https://multiup.org/a342a96876aac55f56cc4d6d19a82489">James S.A. Corey - The Expanse Cibola Burn (01-07) </a> ( 132min 61mb)
<a href="https://multiup.org/231c93090b14ff8bbc0652e462a7498d">James S.A. Corey - The Expanse Cibola Burn (08-14) </a> ( 128min 59mb)
<a href="https://multiup.org/a7a9a2f96fb59f3986666a9b036c24b9">James S.A. Corey - The Expanse Cibola Burn (15-20) </a> ( 134min 59mb)
<a href="https://multiup.org/97725791bb5602961aee81fa64d12bee">James S.A. Corey - The Expanse Cibola Burn (21-27) </a> ( 135min 62mb)
<a href="https://multiup.org/856f2b0017a6269b4631a47417d8e44f">James S.A. Corey - The Expanse Cibola Burn (28-34) </a> ( 135min 62mb)
<a href="https://multiup.org/4f908544c40f49e4f188a0c811247d0d">James S.A. Corey - The Expanse Cibola Burn (35-41) </a> ( 126min 58mb)
<a href="https://multiup.org/f7d9a031a03c2f95e58047befb0c55f2">James S.A. Corey - The Expanse Cibola Burn (42-48) </a> ( 154min 70mb)
<a href="https://multiup.org/e7f40aef0212205f097fe4c62ab428b7">James S.A. Corey - The Expanse Cibola Burn (49-56) </a> ( 161min 74mb)
<a href="https://multiup.org/67ac8380f2bb0c46771fc0061357442b">James S.A. Corey - The Expanse Cibola Burn (57-64) </a> ( 154min 71mb)
<a href="https://multiup.org/d59d9633922ac0f97a8fc47b8801ae14">James S.A. Corey - The Expanse .Nemesis Games 01-07 </a> ( 138min 57mb)
<a href="https://multiup.org/040a3e90a7e112b6d090c5c47d6f5283">James S.A. Corey - The Expanse .Nemesis Games 08-14 </a> ( 135min 64mb)
<a href="https://multiup.org/5e317407ea60e9d49a011e716cb21ec3">James S.A. Corey - The Expanse .Nemesis Games 15-21 </a> ( 140min 64mb)
<a href="https://multiup.org/ce2df9efe1d9a4371fe8f9507755644e">James S.A. Corey - The Expanse .Nemesis Games 22-28 </a> ( 139min 64mb)
<a href="https://multiup.org/790127f58516fd066de7ff5212e87543">James S.A. Corey - The Expanse .Nemesis Games 29-35 </a> ( 130min 60mb)
<a href="https://multiup.org/758da9c4e04ad980dd8b6ee7d9f48d94">James S.A. Corey - The Expanse .Nemesis Games 36-42 </a> ( 136min 61mb)
<a href="https://multiup.org/a3cddf1625d64fb651d011bec20c55b9">James S.A. Corey - The Expanse .Nemesis Games 43-53 </a> ( 188min 78mb)
<a href="https://multiup.org/eb74cd576967f7dc224c554860e8f940">James S.A. Corey - James S.A. Corey - The Expanse Babylon's Ashes 01-06 </a> ( 134min 62mb)
<a href="https://multiup.org/e2dead0405c993b3ee0194999c15982d">James S.A. Corey - James S.A. Corey - The Expanse Babylon's Ashes 07-13 </a> ( 154min 71mb)
<a href="https://multiup.org/69b828aa78593eebccfe9a96d65537a5">James S.A. Corey - James S.A. Corey - The Expanse Babylon's Ashes 14-20 </a> ( 157min 72mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
Jun 13, 2021
RhoDeo 2124 Sundaze
Hello, That was a double shock in Denmark tonight first superstar Christian Ericson suffered a heart attack during the match with Finland everyone witnessing was in shock, but luckily he was resuscitated and able to tell his team mates from the hospitalbed he was ok and to finish the game. Unfortunatly, despite being in control and getting a free penalty Denmark lost against debutant Finland 1-0 . Another shocker !
Today's artist might be considered as the main composer of contemporary sacred music. He is strongly influenced by the minimalist movement & Gregorian chant.
In 1958, he entered at the Tallinn Conservatoire & he became famous through USSR with his composition 'Our Garden'. At the beginning of the seventies, he began to use serialism in his works but he stopped. An interest for Gregorian chant & medieval music then brought a new dimension to his music. Mystic, restful & emotional might be some adjectives to describe his compositions. He is one of the most important composers of 'mystical minimalist movement' with John Tavener & Henryk Górecki. exhibitions like documenta X and the 49th and 50th Venice Biennale, Nicolai’s works were shown worldwide in extensive solo and group exhibitions.
xxxxxx
Arvo Pärt is one of the most important living composers of concert music. His first works, dating from the 1950s, showed the influence of Prokofiev and Shostakovich, as heard in his two Sonatinas for piano (1958). But as his musical studies under Heino Eller continued, he was drawn toward serial techniques and turned out a number of works in the 1960s in this vein. His First Symphony (1961), for instance, displays this method and is dedicated to Eller. By the end of that decade, Pärt had become disenchanted by the 12-tone technique and began writing music in varying styles. In 1976, however, Pärt started composing in what he called his tintinnabulation (or tintinnabuli) method, which involves the prominent use of pure triads. This new style resulted in music so radically different from that which had preceded it, that many observed that it seemed to have come from a different hand altogether.
Unlike most composers of major rank, Pärt did not show remarkable talent in his childhood or even in his early adolescence. His first serious study came in 1954 at the Tallinn Music Middle School, but less than a year later he temporarily abandoned it to fulfill military service, playing oboe and percussion in the army band.
In 1957, Pärt enrolled at the Tallinn Conservatory where he studied under Eller. He graduated in 1963, having worked throughout his student years and afterward as a recording engineer for Estonian Radio. He wrote several film scores and other works during this period, among them his two Sonatinas for piano, from 1958, and Nekrolog, a serial work for orchestra, from 1960. He also wrote a number of choral pieces at this time, among which was the ethereal a cappella effort, Solfeggio (1964). Pärt continued to compose music mainly in the serial vein throughout the 1960s, but received little recognition, since that method of composition was generally anathema throughout the Soviet Union. In the late 1960s and early 1970s Pärt studied the music of Renaissance era composers, particularly that of Machaut, Josquin Desprez, and Obrecht. His Symphony No. 3 reflected these influences in its austere, Medieval sound world.
By the mid-1970s, Pärt was working on an altogether new style of composition. In 1976 he unveiled this method, the aforementioned tintinnabulation, with the piano work, Für Alina. A trio of more popular works followed in 1977, Fratres, for string quintet and wind quintet (later given additional arrangements by the composer), Cantus In Memoriam Benjamin Britten (revised 1980) and Tabula Rasa, for two violins, prepared piano, and string orchestra. Owing to the continued political oppression he found in Estonia, Pärt and his wife and two sons emigrated to the West in 1980, settling first in Vienna, then in West Berlin.In the 1980s and 1990s, Pärt, a devout member of the Eastern Orthodox Church, wrote a number of large-scale choral religious works, including the St. John Passion (1982), Magnificat (1989), The Beatitudes (1990), and Litany (1994). He has declared a preference for vocal music in his later years, and continues, like the English composer John Tavener, also an adherent of the Eastern Orthodox religion, to write much religious music.
xxxxx xxxxx xxxxx xxxxx xxxxx
The music of Arvo Part is one of the great consolations of our age. Often described as out of step with the times, his choral compositions display continuity with the great liturgical music of the 16th Century and earlier. Richly-textured, driven by what seems to be an unshakeable faith and commitment, his church music is certainly composed from an ethical standpoint which few these days can share. Yet he is unmistakably of our time, and that is what makes him so wonderful. From the first notes of this wonderful Mass, we are aware that Part is a contemporary, a sufferer, the great soul we never expected to meet.
None of Part's religious music is more beautiful than the Missa Syllabica, and no listener need fear not finding it ravishingly enjoyable. While still a student, one of his teachers said of him that it was as if he had merely to shake his sleeve and notes fell out, and that richly inventive power remains. The increasingly chaotic music of his early career seems to have reflected his inability to deal with ever-receding boundaries, his own overflowing talents, and the sheer number of musical ideas that occurred to him. Though in the second part of his career he seems to have deliberately imposed restrictions on his musical materials, challenging himself to compose with a starkly reduced palette, and in rigorously disciplined formats, he has achieved wonderful things - and this music is among them.
<a href="https://www.imagenetz.de/WymT9"> Arvo Pärt - Beatus .</a> (219 mb)
01 Statuit Ei Dominus 5:05
Missa Syllabica
02 I Kyrie 2:40
03 II Gloria 2:21
04 III Credo 6:42
05 IV Sanctus 1:26
06 V Agnus Dei 2:22
07 VI Ite, Missa Est 0:36
08 Beatus Petronius 5:04
Magnificat-Antiphonen
09 I O Weisheit 1:48
10 II O Adonai 2:37
11 III O Sproß Aus Isais Wurzel 1:10
12 IV O Schlüssel Davids 1:54
13 V O Morgenstern 1:42
14 VI O König Aller Völker 2:07
15 VII O Immanuel 2:12
16 De Profundis 5:35
17 Memento 8:48
18 Cantate Domino 2:44
19 Solfeggio 4:07
xxxxx xxxxx xxxxx xxxxx xxxxx
There's a line in this disc's title track, from an Orthodox ode addressed to Saint Nicholas: "therewithal hast thou acquired: by humility - greatness, by poverty - riches." This might have been written about Arvo Pärt's compositional technique, here liberated from the minimalist strictures of earlier decades, treading a fine line between agony and ecstasy in a way unparalleled since Bach.
In his earlier vein, Pärt often reached spiritual feast through the technical famine of systematic patterning and repetition. In the music on this new cd, all composed between 1996 and 2002 and featuring six première recordings, Pärt instead suggests austerity through the use of a much broader and freer palette. This is particularly palpable in the Nunc Dimittis, where gorgeous textures, harmonies and sonorities conjure a feeling of purity and emptiness.
Elsewhere, Pärt has a couple of surprises up his sleeve. The opening track, Dopo la vittoria, begins in sprightly madrigalian form, entirely appropriate to a commission from the City of Milan. It sets an Italian text describing the conception of the Te Deum by Saints Ambrose and Augustine, an unusually postmodern exercise for Pärt, but one which does nothing to detract from the sincerity of the setting, suggesting instead a celebration of the sanctifying power of centuries of worshipful use.
The weirdest moment on the disc comes with My heart's in the Highlands, a setting of a Burns poem which apparently has a highly personal significance for the composer. It's one of only two tracks on the disc which recall Pärt's earlier, more systematic approach, giving Burns' wistful evocation of the bucolic North to a monotone counter-tenor over a strictly controlled organ accompaniment, and making the text suddenly sound like a mystical allegory of longing for the divine.
There's little of the balletic brilliance that Pärt displayed in such works as the Stabat Mater or Tabula Rasa, and mercifully as little of the thunderous severity of his Passio mode. Instead there's a quiet and cumulative power to these works, given performances of luminous purity by Polyphony and Stephen Layton. By the time we arrive at the Salve Regina, a kind of penitential cradle song which closes the disc, we're ready to fall at the feet of the Maker and beg for forgiveness, simultaneously harrowed and consoled.
<a href="https://mir.cr/1NMIOX7R"> Arvo Pärt - Triodion </a> ( flac 158mb)
01 Dopo La Vittoria 10:00
02 Nunc Dimittis 7:33
03 .. Which Was The Son Of ...7:30
04 I Am The True Vine 10:15
05 Littlemore Tractus 6:28
06 Triodion 14:13
07 My Heart's In The Highlands 9:11
08 Salve Regina 12:13
xxxxx xxxxx xxxxx xxxxx
Hats off to producer Maido Maadik, who no doubt selected the compelling and wildly entertaining pieces on this disc. Culled largely from Arvo Pärt’s experimental period of the sixties, this collection features astounding forays into serialism and aleatory techniques. Who else would begin his Symphony No 2 (1966) with the sounds of children’s squeak toys? Then the bad boy of the Estonian avant-garde, Pärt uses other “shocking” effects like clusters increasing in dynamics and chaos then dissolve, and calm sonorous moments assaulted with abrupt dissonance. This is not the composer most of us know, now a pious and placid figure whose work is more closely connected to the 16th century than the 20th. Pro and Contra (1966) is the most exciting piece on the disc. Its furious energy reminds me of the opening of Shostakovich’s 1959 Cello Concerto No. 1 (a piece that first-rate cellist Truls Mørk also plays). The third movement will both amuse and leave you breathless. Most uncanny is the inclusion of a socialist realist choral work from Pärt’s student days: Meie aed (Our Garden, 1959). An innocent-sounding girls choir sings of the joys of cultivating its school garden, a naïve metaphor for socialist society. Like Prokofiev’s terrified On Guard for Peace (1950) or Shostakovich’s four-square Song of the Forests (1949), it is completely tonal without a trace of irony. It provides a kick-in-the-pants contrast to the naughty works included with it. Järvi, who has recorded several Pärt discs for Virgin Classics, is stupendous.
<a href="https://multiup.org/cf3de0f89a9a21df14b683cd59f27ad0"> Arvo Pärt - Pro & Contra </a> ( flac 330mb)
Pro Et Contra (9:18)
01 I Maestoso 5:29
02 II Largo 0:31
03 III Allegro 3:18
Symphony No. 1 (19:56)
04 I Kaanonid 12:17
05 II Prelüüd Ja Fuuga 7:39
Collage Über B A C H (7:30)
06 I Toccata: Preciso 2:49
07 II Sarabande: Lento 3:06
08 III Ricercare: Deciso 1:35
09 Perpetuum Mobile 6:56
Meie Aed (11:10)
10 I Allegro 2:34
11 II Andantino Cantabile 4:08
12 III Allegro 1:44
13 IV Moderato - Allegro 2:41
Symphony No. 2(15:08)
14 I ♩ = 104-120 5:32
15 II 𝅗𝅥 = 112 3:18
16 III ♩ = 48-60 6:16
.
xxxxx xxxxx xxxxx xxxxx xxxxx
Composed for piano and orchestra, Lamentate (also LamenTate) was commissioned by London’s Tate Modern and was inspired by Marsyas, the giant sculpture by Anish Kapoor (b. 1954), the British sculptor and multimedia artist of Indian origin. Hence the subtitle of the work, Homage to Anish Kapoor and his sculpture Marsyas.
Kapoor’s installation was intended to work as an interaction between visual-spatial and acoustic qualities. In composing the piece, Pärt also considered the specific acoustics of the space where Kapoor’s sculpture was displayed – the turbine hall of an old power house. This is also where Lamentate was premiered on 7 February 2003, performed by pianist Hélène Grimaud, and the London Sinfonietta conducted by Alexander Briger. Pärt made amendments to the piece after the premiere and the revised version of Lamentate premiered on 10 November 2003 at the Sejny Festival in Poland, performed by Marrit Gerretz-Traksmann and the Bialystok Philharmonic Orchestra conducted by Tõnu Kaljuste.
In Greek mythology, the satyr Marsyas was flayed alive by Apollo, the god of light, truth and fine arts, for daring to challenge him to a contest of music. Anish Kapoor’s take on the legend of Marsyas was the 150-metre-long, 35-metre-high bright red sculpture reminiscent of a flayed human body. Marsyas consisted of three steel rings joined together by a single span of plastic cover material, forming a trumpet-like shape.
Arvo Pärt: “My first impression was that I, as a living being, was standing before my own body and was dead – as in a time-warp perspective, at once in the future and the present. /.../ Death and suffering are the themes that concern every person born into this world. The way in which the individual comes to terms with these issues (or fails to do so) determines his attitude towards life – whether consciously or unconsciously. With its great size, Anish Kapoor’s sculpture shatters not only the concepts of space, but also – in my view – concepts of time. The boundary between time and timelessness no longer seems so evident. /…/ Accordingly, I have written a lamento – not for the dead, but for the living, who have to deal with these issues for themselves. /…/ A lamento for us, struggling with the pain and hopelessness of this world.
Lamentate is music for piano solo and orchestra. With respect to its form, however, the composition cannot really be described as a typical piano concerto. I chose the piano to be the solo instrument because it fixes our attention on something that is “one”. This “one” could be a person, or perhaps a first-person narrative. Just as the sculpture, despite its overwhelming size, leaves the viewer with a light and floating impression, the piano, largest of the instruments, allowed me to create a sphere of intimacy and warmth that no longer seems anonymous or abstract. We could say that my composition is shaped by two polar forces: brutal robustness and intimate fragility. These characters are not statically opposed to each other, but go through a development throughout the composition."
There are two sacred texts hidden in the music here. The dramatic culmination of the first musical passage is unravelled by the Dies irae sequence from the Mass of the Dead: Day of wrath and doom impending … However, a troparion in the Orthodox Prayer Book, reflecting upon death, brings the dimension of eternal peace to the music. It translates into English as follows: “With eyes of compassion, O Lord, look upon my low estate. For my life is gradually passing away, and there is no salvation for me from the works I have done. Wherefore I pray: With eyes of compassion, O Lord, look upon my low estate, and save me.” The text is carefully inscribed into the music that follows the number of syllables, punctuation marks and other parameters of the text.
<a href="http://depositfiles.com/files/t3zg8vqta"> Arvo Pärt - Lamentate </a> ( flac 138mb)
01 Da Pacem Domine 5:40
Lamentate (37:04)
02 Minacciando 2:38
03 Spietato 3:33
04 Fragile 1:04
05 Pregando 5:59
06 Solitudine – Stato D'Animo 5:25
07 Consolante 1:21
08 Stridendo 1:31
09 Lamentabile 5:46
10 Risolutamente 2:45
11 Fragile E Conciliante 6:56
xxxxx xxxxx xxxxx xxxxx xxxxx