lunes, 15 de julio de 2013

Poetry: Pablo Neruda - XVII (I do not love you...) - Morning (Love Sonnet XXVII) - Walking Around - Links to more PN





XVII (I do not love you...)

I do not love you as if you were salt-rose, or topaz,
or the arrow of carnations the fire shoots off.
I love you as certain dark things are to be loved,
in secret, between the shadow and the soul.

I love you as the plant that never blooms
but carries in itself the light of hidden flowers;
thanks to your love a certain solid fragrance,
risen from the earth, lives darkly in my body.

I love you without knowing how, or when, or from where.
I love you straightforwardly, without complexities or pride;
so I love you because I know no other way

than this: where I does not exist, nor you,
so close that your hand on my chest is my hand,
so close that your eyes close as I fall asleep.  



 Photo by Sara Facio - Neruda and Chu Tuh


 Morning (Love Sonnet XXVII)

Naked you are simple as one of your hands;
Smooth, earthy, small, transparent, round.
You've moon-lines, apple pathways
Naked you are slender as a naked grain of wheat.

Naked you are blue as a night in Cuba;
You've vines and stars in your hair.
Naked you are spacious and yellow
As summer in a golden church.

Naked you are tiny as one of your nails;
Curved, subtle, rosy, till the day is born
And you withdraw to the underground world.

As if down a long tunnel of clothing and of chores;
Your clear light dims, gets dressed, drops its leaves,
And becomes a naked hand again.





 Walking Around

It so happens I am sick of being a man.
And it happens that I walk into tailorshops and movie
houses
dried up, waterproof, like a swan made of felt
steering my way in a water of wombs and ashes.

The smell of barbershops makes me break into hoarse
sobs.
The only thing I want is to lie still like stones or wool.
The only thing I want is to see no more stores, no gardens,
no more goods, no spectacles, no elevators.

It so happens that I am sick of my feet and my nails
and my hair and my shadow.
It so happens I am sick of being a man.

Still it would be marvelous
to terrify a law clerk with a cut lily,
or kill a nun with a blow on the ear.
It would be great
to go through the streets with a green knife
letting out yells until I died of the cold.

I don't want to go on being a root in the dark,
insecure, stretched out, shivering with sleep,
going on down, into the moist guts of the earth,
taking in and thinking, eating every day.

I don't want so much misery.
I don't want to go on as a root and a tomb,
alone under the ground, a warehouse with corpses,
half frozen, dying of grief.

That's why Monday, when it sees me coming
with my convict face, blazes up like gasoline,
and it howls on its way like a wounded wheel,
and leaves tracks full of warm blood leading toward the
night.

And it pushes me into certain corners, into some moist
houses,
into hospitals where the bones fly out the window,
into shoeshops that smell like vinegar,
and certain streets hideous as cracks in the skin.

There are sulphur-colored birds, and hideous intestines
hanging over the doors of houses that I hate,
and there are false teeth forgotten in a coffeepot,
there are mirrors
that ought to have wept from shame and terror,
there are umbrellas everywhere, and venoms, and umbilical
cords.

I stroll along serenely, with my eyes, my shoes,
my rage, forgetting everything,
I walk by, going through office buildings and orthopedic
shops,
and courtyards with washing hanging from the line:
underwear, towels and shirts from which slow
dirty tears are falling.



Pablo Neruda - Matilde Urrutia


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Poetry: Pablo Neruda - XVII (I do not love you...) - Morning (Love Sonnet XXVII) - Walking Around - Links to more PN

 
Visita a la URSS en 1950



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Music: Jacqueline du Pre - Jota - Suite Populaire Espagnole - Manuel de Falla (Bio Included) - Links





video

JACQUELINE DU PRÉ
Manuel de Falla
Jota from Suite populaire espagnole.




List of compositions by Manuel de Falla

List of works for the stage by Falla.


Manuel de Falla y Matheu (23 November 1876 – 14 November 1946) was a Spanish composer. With Isaac Albéniz and Enrique Granados he is one of Spain's most important musicians of the first half of the 20th century.
Contents

    1 Biography
        1.1 Madrid
        1.2 Paris
        1.3 Return to Madrid
        1.4 Granada period
        1.5 Argentina
        1.6 Works
    2 Media
    3 References
    4 See also
    5 Recordings by de Falla
    6 External links

Biography

Falla was born as Manuel María de los Dolores Falla y Matheu in Cádiz. He was the son of José María Falla y Franco and María Jesús Matheu y Zabal. His early teachers in music were his mother and grandfather; at the age of nine he was introduced to his first piano professor, Eloísa Galluzo. Little is known of that period of his life, but his relationship with his teacher was soon ended after she decided to then enter in a convent, Sisters of Charity, to become a nun. In 1889 he continued his piano lessons with Alejandro Odero and learned the techniques of harmony and counterpoint from Enrique Broca. At age 15 he became interested in literature and journalism and founded the literary magazines El Burlón and El Cascabel. In 1893 he was inspired by a concert of Edvard Grieg's works, later saying that at the time he felt that "my definitive vocation is music".
Madrid

In 1896 he moved to Madrid where he attended the Real Conservatorio de Música y Declamación. He studied piano with José Tragó, a colleague of Isaac Albéniz and composition with Felipe Pedrell. In 1897 he composed Melodia for cello and piano and dedicated it to Salvador Viniegra who hosted evenings of chamber music that Falla attended. In 1899, by unanimous vote, he was awarded the first prize at the piano competition at his school of music. He premiered his first works: Romanza para violonchelo y piano, Nocturno para piano, Melodía para violonchelo y piano, Serenata andaluza para violín y piano, and Cuarteto en Sol y Mireya. That same year he started to use de with his first surname, making Manuel de Falla the name he became known as from that time on. When only the surname is used, however, the de is omitted.

In 1900 he composed his Canción para piano and various other vocal and piano pieces. He premiered his Serenata andaluza y Vals-Capricho para piano in the Ateneo de Madrid. Due to the precarious financial position of his family he began to teach piano classes.

It was from Pedrell, during the Madrid period, that Falla became interested in native Andalusian music, particularly Andalusian flamenco (specifically cante jondo), the influence of which can be strongly felt in many of his works. Among his early pieces are a number of zarzuelas like La Juana y la Petra and La casa de tócame Roque. On 12 April 1902 he premiered Los amores de la Inés in the Teatro Cómico de Madrid. The same year he met the composer Joaquín Turina and saw his Vals-Capricho y Serenata andaluza published by the Society of Authors.

The following year he composed and performed Allegro de concierto (this was composed by Granados, not Falla)for the Madrid Royal Conservatory competition. Pianist Enrique Granados took first prize but the Society of Authors published Falla's works Tus ojillos negros and Nocturno. Falla then began his collaboration with composer Amadeo Vives on the zarzuelas Prisionero de guerra, El cornetín de órdenes and La cruz de Malta (only fragments of these works survive).

His first important work was the one-act opera La vida breve (Life is Short, or The Brief Life, written in 1905, though revised before its premiere in 1913). With a libretto by Carlos Fernández Shaw, La vida breve won Falla first prize in the Real Academia de Bellas Artes de San Fernando musical competition. In April 1905 he won the first prize in a piano competition sponsored by the firm of Ortiz and Cussó. On May 15 his work Allegro de concierto premiered in the Ateneo de Madrid and on November 13 the Real Academia presented him with his prize for La vida breve.
Paris

In 1907 at the advice of Joaquín Turina and Víctor Mirecki Larramat, Falla moved to Paris. There he met a number of composers who had an influence on his style, including the impressionists Maurice Ravel, Claude Debussy and Paul Dukas. In 1908 King Alfonso XIII awarded him a royal grant that enabled him to remain in Paris while he finished his Cuatro piezas españolas. Meanwhile, the dramatist Paul Milliet translated the libretto of La vida breve into French for its French premiere on 1 April 1913 at the Municipal Casino in Nice. In 1910 Falla met Igor Stravinsky and traveled briefly to London. He wrote Siete canciones populares españolas which he finished in mid-1914. Shortly after World War I began and Germany declared war, Falla returned to Madrid. While at no stage was he a prolific composer, it was then that he entered into his mature creative period.
Return to Madrid

In Madrid he composed several of his best known pieces, including:

    The nocturne for piano and orchestra Nights in the Gardens of Spain (Noches en los jardines de España, 1916)
    The ballet El amor brujo (Wicked Love, 1915) which includes the much excerpted and arranged Ritual Fire Dance
    The ballet The Magistrate and the Miller's Wife (El corregidor y la molinera) which, after revision, became The Three-Cornered Hat (El sombrero de tres picos, 1917) and was produced by Serge Diaghilev with set design and costumes by Pablo Picasso.

Granada period

From 1921 to 1939 Manuel de Falla lived in Granada, where he organized the Concurso de Cante Jondo in 1922. In Granada he wrote the puppet opera El retablo de maese Pedro (Master Peter's Puppet Show, 1923) and a concerto for harpsichord and chamber ensemble (Harpsichord Concerto, 1926). The puppet opera marked the first time the harpsichord had entered the modern orchestra; and the concerto was the first for harpsichord written in the 20th Century. Both of these works were written with Wanda Landowska in mind. In these works, the Spanish folk influence is somewhat less apparent than a kind of Stravinskian neoclassicism.

Also in Granada, Falla began work on the large-scale orchestral cantata Atlántida (Atlantis), based on the Catalan text L'Atlántida by Jacint Verdaguer. Falla considered Atlántida to be the most important of all his works; posterity has not agreed with this verdict, and performances of the piece have been extremely rare. Verdaguer's text gives a mythological account of how the submersion of Atlantis created the Atlantic ocean, thus separating Spain and Latin America, and how later the Spanish discovery of America reunited what had always belonged together.

In 1936, Falla tried but failed to prevent the murder of his close friend, the poet Federico García Lorca.
Argentina

Falla continued work on Atlàntida after moving to Argentina in 1939, following Francisco Franco's victory in the Spanish Civil War. The orchestration of the piece remained incomplete at his death and was completed posthumously by Ernesto Halffter. He also premiered his Suite Homenajes in Buenos Aires in November 1939. In 1940, he was named a Knight of the Order of King Alfonso X of Castile. Franco's government offered him a large pension if he would return to Spain, but he refused.

Falla did spend some time teaching in exile. Among his notable pupils was composer Rosa García Ascot. His health began to decline and he moved to a house in the mountains where he was tended by his sister María del Carmen de Falla. He died of cardiac arrest on 14 November 1946 in Alta Gracia, in the Argentine province of Córdoba. In 1947 his remains were brought back to Spain and entombed in the cathedral at Cádiz. One of the lasting honors to his memory is the Manuel de Falla Chair of Music in the Faculty of Philosophy and Letters at Complutense University of Madrid. His image appeared on Spanish currency notes for some years. Manuel de Falla never married and had no children.





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Music: Jacqueline du Pre - Jota - Suite Populaire Espagnole - Manuel de Falla (Bio Included) - Links


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Painter: Salvador Dali - In historical order - En el orden histórico - 1960-65 - Part 1 - 14 images imagenes - Links


 Salvador Dali - A Propos of the 'Treatise on Cubic Form' by Juan de Herrera, 1960


 Salvador Dali - Birth of a Divinity, 1960


 Salvador Dali - Birth of a Goddess, 1960


 Salvador Dali - Gala Nude From Behind Looking in an Invisible Mirror, 1960


 Salvador Dali - Hyperxiological Sky, 1960


 Salvador Dali - Portrait of Juan de Pareja Repairing a String of His Mandolin, 1960


 Salvador Dali - San Salvador and Antonio Gaudi Fighting for the Crown of the Virgin, 1960


Salvador Dali - The Cosmic Athlete, 1960
 
 
 Salvador Dali - The Ecumenical Council, 1960


 Salvador Dali - The Life of Mary Magdalene, 1960


 Salvador Dali - The Servant of the Disciples at Emmaus, 1960


Salvador Dali - The Trinity (Study for 'The Ecumenical Council'), 1960 
 

Salvador Dali - Untitled, circa 1960

Painter: Salvador Dali - In historical order - En el orden histórico - 1960-65 - Part 1 - 14 images imagenes - Links


1914-20

1925-30

1930-35

1935-40

1940-45

1945-50

1950-55

1955-60





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Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano.

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NASA: India - Tilwara - Mandakini River - A Closer Look at Flood Damage in India - 15.07.13






A Closer Look at Flood Damage in India
acquired June 26, 2013 download large image (4 MB, JPEG, 3456x5184)

A Closer Look at Flood Damage in India
acquired March 2, 2009 download large image (4 MB, JPEG, 3950x2728)

Exceptional, early monsoon rains in northern India and Nepal combined with melting snow to bring horrific flooding and landslides to the region in mid-June 2013. According to national and international relief agencies, more than 1,050 people died, thousands more went missing, and hundreds of thousands had their lives disrupted (mostly through the damage or loss of their homes). Indian government officials reported that 744 villages and hamlets had lost some or all of their connectivity—roads, water, or electric power—to the rest of the country.
Three weeks after the disaster, people were trying to pick up the pieces of their lives, and scientists and government officials were trying to piece together what happened. Instruments such as cameras on the International Space Station (ISS) and an imager on the Landsat 8 satellite are being used to assess the damage to the landscape.
On June 26, 2013, the ISERV Pathfinder camera on the ISS captured the top image of India’s Mandakini River, near the village of Tilwara in Uttarakhand state. The river still appeared to be swollen, though deposits of chalky gray and tan sediments also made the banks difficult to discern from the river itself. (Note that the image is hazy due to the atmosphere and because the ISS did not pass directly over the site; the camera has a fixed, downward pointing lens, so images on the edge of the field of view are less crisp.) For comparison, the lower image from DigitalGlobe’s WorldView-2 satellite shows the same area as it appeared on March 2, 2009.
ISERV is an engineering “testbed” instrument developed to support a joint NASA/U.S. Agency for International Development effort known as SERVIR. The program provides satellite data and tools to environmental decision-makers in developing countries and operates via regional centers in Nairobi, Kenya; Kathmandu, Nepal; and Panama City, Panama.
The ISERV imagery has been made available to the International Charter, which was activated in the Indian state of Uttarakhand in response to the flooding disaster. The International Charter helps coordinate space agencies around that world to provide data, imagery, and other space technology solutions to help mitigate the effects of disasters.

  1. Reference

  2. The Indian Express (2013) Floods in Uttarakhand kill dozens, rescue efforts hit. Accessed July 5, 2013.
  3. India Today (2013, June 29) NASA satellite images show new stream in Kedarnath after disaster. Accessed July 5, 2013.
  4. The Landslide Blog (2013, July 4) Reconstructing the events at Kedarnath using data, images and eyewitness reports. Accessed July 5, 2013.
  5. NASA Earth Observatory (2013, June 22) Severe Flooding in Northern India, Nepal.
  6. ReliefWeb (2013) India/Nepal: Floods and Landslides, June 2013. Accessed July 5, 2013.

NASA images by Burgess Howell, SERVIR Global program. Caption by Mike Carlowicz, NASA Earth Observatory, and Dauna Coulter, NASA Marshall Space Flight Center.

Instrument: 
ISS - ISERV Pathfinder


NASA: India - Tilwara - Mandakini River - A Closer Look at Flood Damage in India - 15.07.13


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Poesia: Konstantinos Kavafis - Poemas Canonicos (1916-1918) Part 14 - Desde las nueve - Comprension - Emisarios de Alejandría - Links



DESDE LAS NUEVE

Doce y media. Rápido pasó la hora
desde las nueve cuando encendí la lámpara
y me senté aquí. Estaba sin leer,
y sin hablar. Con quién hablar
enteramente solo en esta casa.

La imagen de mi cuerpo joven,
desde las nueve cuando encendí la lámpara,
vino y me encontró y me recordó
cerradas piezas perfumadas,
y pasado placer -¡qué atrevido placer!
Y también me trajo ante los ojos,
calles que ahora se volvieron inconocibles,
locales llenos de movimiento que se acabaron,
y teatros y cafés que alguna vez existieron.

La imagen de mi cuerpo joven
vino y me trajo también las cosas tristes:
duelos de la familia, separaciones,
sentimientos de los míos, sentimientos
tan poco apreciados de los muertos.

Doce y media. Cómo ha pasado la hora.
Doce y media. Cómo han pasado los años.



COMPRENSION

Los anos de mi juventud, mi vida voluptuosa
-cuán claramente veo ahora su sentido.

Qué inútiles arrepentimientos, qué vanos...

Pero no veía el sentido entonces.

En la vida disipada de mi juventud
se plasmaban 1os impulsos de mi poesía,
se esbozaba el ámbito de mi arte.

Por eso tampoco los arrepentimientos nunca fueron firmes.
Y las decisiones de contenerme, de cambiar
duraban dos semanas a lo más.



EMISARIOS DE ALEJANDRIA

No se vieron, por siglos, tan hermosos obsequios en Delfos
como éstos que fueron enviados por los dos hermanos,
los reyes rivales Ptolomeos. Después de recibirlos
sin embargo, se inquietaron los sacerdotes por el oráculo. Su
experiencia
toda van a necesitar para redactarlo con sagacidad
cuál de los dos, cuál de tales dos quedará descontento.
Y deliberan por la noche secretamente
y discuten los problemas familiares de los Laghidas.

Pero he aquí que volvieron los emisarios. Se despiden.
Regresan a Alejandría, dicen. Y no piden
oráculo alguno. Y los sacerdotes los escuchan con alegría
(se entienden que conservan los magníficos obsequios),
pero están también en extremo sorprendidos,
sin entender qué significa esa repentina indiferencia.
Pues ignoran que ayer les llegaron a los emisarios graves noticias.

En Roma se entregó el oráculo: fue allí el reparto.





Poesia: Konstantinos Kavafis - Poemas Canonicos (1916-1918) Part 14 - Desde las nueve - Comprension - Emisarios de Alejandría - Links



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My blogs are an open house to all cultures, religions and countries. Be a follower if you like it, with this action you are building a new culture of tolerance, open mind and heart for peace, love and human respect.

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Mis blogs son una casa abierta a todas las culturas, religiones y países. Se un seguidor si quieres, con esta acción usted está construyendo una nueva cultura de la tolerancia, la mente y el corazón abiertos para la paz, el amor y el respeto humano.

Gracias :)