“LOVE ME LIKE YOU DO!” ARCANO

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Originally posted On: The BubblyTipsy Mermaid (TIB)

CHANCINGS

You appear without a moment’s notice;

Your scent brings madness upon my femininity then comes the whims of my startling wilds, that cause me to react;

you treat me as though love is a prized companion;

I respond with excitement, and my fury of craze take me within the wrappings of your arms;

again, you love me in dialogue of compromise

love should never be a chaotic blur;

You come and you go;

then you go and you come.

How can you be so consumed with the idea that love is indispendible?

Teasings are cheap, second-handed alludes that coronate your ego

I grapple with trust.

Our breakups are a constant mixup, acts of shattering aggrevations.

Broken are the cornstones of promise that fluctuate into disgruntlements; and remorse

but, there in the midst of it all, you return with your constant persuasion, over and over again, I am swayed by the strong hold of your caresses,

where hope gives me every reason to fantasize

©2019 TheBubblyTipsyMermaid – all rights reserved

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Seafaring Women (like me)

Pixaby

Why do mariners blow kisses through deadly, desirous storms?

Narratives are always dripping dreams, mantras for damsels and maidens timidly indexed and awaiting content at wharfed bays.

Imagination can ride any vessel patterned by men who love the sea. Husky moods, courageous tones and an aire of mispronunced words, salted by the taste of the ocean fauna.

Hue was his name, illustrated by treasures unearthed, a collateral of rainbows along a stretch of false impressions.

So often, romantic destinies are paraphrased thru delusional transformation and mystical recurrences.

There are no landscapes between emotions and seduction, only water. Becoming a mermaid is a cheap tradeoff from onshore to offshore into the arms of the open sea. Any hopeful maiden like “me” would honor the vow of compatibility with designer coral reefs”.

But, his sea-filled heart was boastful, a curdling deceit of crushing rip tides, unscrupulously lusting for squirmy slimey urchins, leeches and eels.

Let me exclaim, he was painfully “X’d” and scarlet tempera seeped from the outlines of my freezing rage. Sure, I was out-of-character, and even more so when revenge met the challenges of many short-lived thrills. They were edited in a quandary of trenching sequences. And, I spelled each one of them “out”, one-by-one.

Never no more a commodore, nor a lifeguard, or any surfers; no fisherman of illusory flights nor harnessings of skippered boat captains from erie canals whose grimaces freckled like stories of pirates.

As you may have concluded, I was lured by this series wannabe special characters, who were unauthored and who were writing their own adventures.

Now here I am, a breathless muse, subsiding, twirling in an ocean upstream, then downstream cringing amongst the clamors of glassy, gritty, grainy confetti, pearls and seashells. Then, a hurl of dips bottles me afloat. Why do winds of an abusive ocean keep reaching out for me, like the hands of mad men? Oh how badly I want to get to the mainstream of solid land, ship-to-shore.

A rush of drowning memories pour from the left side of my incoherent heartbreaks. My liquidated silhouette splatters allover the shorelines of an awakening sunset. I am an undefined wet scribble. That is, until the season’s gentle solstice trace the lines of my origin. Alas, I am recaptured. No plans, would I ever have to contact any of those thematic characters, even with small letters. And, at this point, I have decided that all of my scripts should be cached, and in “ALL CAPITAL$”. Yes, I had finally reached the “BANKS”. It was here that a longshoreman messaged his love directly onto my keyboard. I was his “Type”. And, it was poetry published.

Vigils of fluttering seagulls, swallows and yearlings with contrasting pelican croonings, plumaged into the skies above the pages of the open sea.

©2019 TheBubblyTipsyMermaid All rights reserved

The Difference is Indepth

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My heart, a hollow cove, an empty castle desireously wanting to be fulfilled-

No one is aware of my posture or my listening gaze, not even you-

I sit, sanded upon a mound,

Watching you,

…you, from a distance;

My eyes are gleaming particles,

tarnished with grit;

I may be a mermaid in concept,

But for you,

I am a weeping,

crushed, scaling of lament;

I wonder if you could truly care-

You are the man of my en-liveliness,

I. am falling into your heart, a sphere where only you can re-create my purpose

and, where my hopes and dreams burst into unscathed desires-

Then you, meet with a beauty; an ethnic, then a non-ethnic, redheads and brunettes;

You talk and laugh with them,

Then there are more, you meet with , one after another, thin, shapely, short and tall;

That’s when my inanimate lusters want you more-

Attired for a swim, the ocean’s breeze highlight the wavy swirls of your manliness into wraps and flowing silkiness;

If only I were made of marble or fine clay, you might comeover and rub your hand across the outlining contour of my smooth design-

Please come nearer, and breath upon me your exuberant overflow of realism;

Maybe, if I were a pond, statured beside a heron’s nest, you might dip your fingers in my bowl-

I want to talk to you, but, first you must come close and listen in complete stillness-

My voice can be heard in the soft sounds of the wind;

Oh how I pain for you to come nearer;

Sit with me from sunrise to sundown;

Don’t you know that true love can come from the realness of your imagination?

Please acknowledge me!

Envision me!

Envisage me!

Fancy me! Hold me!

I hope we can get close soon, before I crumble away;

My extraction may be thru withering or waiting for you,

Which, I am not sure;

But, storms come and the winds blow and the ocean’s tide grow higher;

If I must fall apart,

I hope it is NOT upon an algaed rock but on sand, beside your path-

©2019 TheBubblyTipsyMermaid – all rights reserved

Ave Maria – Faryl Smith

There is a new angel amongst us, and her sounds are gratifying for souls whose hearts enjoy a blessed range of heavenly octaves. Angelic choirs are always recruiting human hearts to heal and enlighten.Angels have many collective resources of music and for many other affectionate reasons, these pure hearted beings repeat their messages in song (*Bach-Gounod version, the Schubert version, Caccini, Elgar, Verdi or Mascagni version) TIB

“Faryl Smith is a singer who made it to the final of Britain’s Got Talent in Series 2. In the audition and in the final, she performed ‘Ave Maria’, “says bgt fandom.

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Today’s Quote

Originally posted on Soul Gatherings: If you are always trying to be normal, you will never know how amazing you can be. ~ Maya Angelou ~ __________

Today’s Quote

Today’s Quote

Originally posted on Soul Gatherings: Remember there’s no such thing as a small act of kindness. Every act creates a ripple with no logical end. ~ …

Today’s Quote

My New Poem, “Violin Tears,” Now Live at Spillwords Press NYC

tears crystalize on my small face like water on frozen glassquivering my hand reaches out with such yearningcolors of sapphire, and rubies I throw …

My New Poem, “Violin Tears,” Now Live at Spillwords Press NYC

“Laudate Dominum from Vesperae Solennes De Confessore, K 339 – W. A. Mozart”

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Wolfgang Amadeus Mozart (1756-1791)
Vespers and Vesper Psalms

The greater part of Mozart’s church music, including his two settings of Vespers and his setting of the Vespers Dixit Dominus and Magnificat, was written for the Cathedral in Salzburg, where he, like his father, served in the musical establishment of the ruling Prince-­Archbishop, from 1772 Hieronymus von Colloredo. Mozart had been born into a musical family in Salzburg in 1756 and was soon established as a child prodigy, his precocious talents perceived and fostered by his father. The fact that Mozart died at the relatively early age of 35 makes his achievement even more amazing, only leaving regret at what might have followed.

Mozart’s early years brought a series of more or less extended concert tours, including performances at Versailles and at the English court. After 1772 leave of absence for his father, Leopold Mozart, Deputy Kapellmeister to the Archbishop of Salzburg, was only granted with considerable reluctance and the composer, now in paid employment to the court, suffered similar restrictions. In 1777 he resigned his position in search of greater opportunities that might be on offer in Mannheim or in Paris. After his mother’s death in the latter city in 1778, he returned to Salzburg once more, now to be employed from 1779 as court organist. A visit to Munich in 1781 for the performance of the opera Idomeneo, commissioned by the Elector of Bavaria, was followed by a summons to join his patron in Vienna, where disagreement led to his dismissal. He now took up residence there, marrying imprudently, winning early success but existing in increasingly precarious independence until his death in 1791.

Mozart’s first liturgical composition is a setting of the Kyrie, written in Paris in 1766. His first Masses and sacred music for Salzburg began in 1769. The office of Vespers was often allowed relatively elaborate settings for performance on the eve of a feast day and on the evening of the day itself. The liturgical form includes a series of psalms and the canticle, the Magnificat. The present release opens with settings of the opening Vespers psalm, Dixit Dominus and of the final Magnificat, completed in July 1774. These are scored for trumpets and drums, three trombones, strings and organ, with soloists and choir. Much of the first is homophonic, with occasional antiphonal writing. The final Gloria introduces a moment of solemnity, before the lively pace resumes in a contrapuntal final verse and Amen. The Magnificat is generally more contrapuntal in texture, offering graphic illustration of the words and ending in a fugal et in saecula saeculorum.

The two settings of Solemn Vespers that Mozart composed for Salzburg a year apart from each other in 1779 and 1780 reflect the reformist tendencies of Archbishop Colloredo, who had decreed that the settings of the words should be concise and not structured operatically as arias and ensembles, as was the style in Neapolitan church music of the day. In a letter to Padre Martini in 1777 Mozart had complained about the musical limitations on church music in Salzburg, coupled with the continuing demand for trumpets and drums and so on. Both these settings are relatively brief and rely little on repetition.

The earlier setting, the Vesperae solennes de Dominica, K321, (Solemn Vespers for Sunday), was written in the same year as the well-known Coronation Mass. Scored for soloists, choir, trumpets, drums, three trombones, strings and organ, it includes five psalms and a final Magnificat. Mozart is here breaking away from convention in his choice of keys, with a beginning and ending in C major, but otherwise four separate keys – E minor for the Confitebor, B flat major for the Beatus vir, F major for the Laudate pueri and A major for the Laudate Daminum. There is contrast between the settings, with the Laudate pueri, for example, a choral setting beginning in canon and proceeding with a sure command of counterpoint, to be followed by a coloratura aria with strings and organ for the Laudate Dominum. Remarkable too is the final Magnificat where Mozart combines majestic choral writing with contrasting passages for solo voices and an orchestral symphonic texture.

The Vesperae solennes de Confessore, K339, (‘Solemn Vespers for a Confessor’), was written shortly before the great opera seria for Munich, Idomeneo. It is scored as before and the Laudate Dominum is again set for soprano solo, this time one of Mozart’s most serene melodies. The six movements cover a wide range of keys with the opening and closing sections in C major, passing through the keys of E flat, G, D minor and F. The writing is mainly energetic with alternations between soloists and choir and a conventional fugue for the Laudate pueri. It is with the conciseness and imagination of these two settings that Mozart, far from being servant to church music conventions, is already forging a new language for sacred music.

Collegium Instrumentale Brugense
Since its foundation in 1970, the Collegium Instrumentale Brugense has become one of the most celebrated chamber orchestras in Europe. Under the direction of Patrick Peire the orchestra is renowned for its historically informed performances on modem instruments. The choice of modern instruments is deliberate since it widens the scope of its repertoire, which ranges from forgotten masterpieces of the baroque, such as Handel’s Brockes Passion and Telemann’s St John Passion to contemporary works, including works commissioned specially for the ensemble. In 1996 the Collegium Instrumentale Brugense received a Grammy Award nomination for its participation in the Naxos recording of Rossini’s Tancredi (8.660037-38) and was awarded the Municipal Cultural Council Prize in Bruges. article source

Ave Maria by Barbara Bonney

The original words of Ave Maria (Hail Mary) were in English, being part of a poem called The Lady of the Lake, written in 1810 by Sir Walter Scott (1771-1832).

The poem drew on the romance of the legend regarding the 5th century British leader King Arthur, but transferred it to Scott’s native Scotland.

In 1825 during a holiday in Upper Austria, the composer Franz Schubert (1797-1828) set to music a prayer from the poem using a German translation by Adam Storck. Scored for piano and voice, it was first published in 1826 as “D839 Op 52 no 6.”

Schubert called his piece “Ellens dritter Gesang” (Ellen’s third song) and it was written as a prayer to the Virgin Mary from a frightened girl, Ellen Douglas, who had been forced into hiding.

The song cycle proved to be one of Schubert’s most financially successful works, the Austrian composer being paid by his publisher 20 pounds sterling, a sizable sum for a musical work in the 1820s.

Though not written for liturgical services, the music proved to be inspirational to listeners, particularly Roman Catholics, and a Latin text was substituted to make it suitable for use in church. It is today most widely known in its Latin “Ave Maria” form.

In a letter from Schubert to his father and step-mother he writes about “Ave Maria” and the other songs in his “Lady of the Lake” cycle: “My new songs from Scott’s Lady of the Lake especially had much success. They also wondered greatly at my piety, which I expressed in a hymn to the Holy Virgin and which, it appears, grips every soul and turns it to devotion.”

This piece is not to be confused with the traditional Roman Catholic and Eastern Orthodox prayer “Hail Mary” or “Ave Maria” even though it is often sung to the melody of this piece.referenced source

Barbara Bonney (Soprano)
						Born: April 14, 1956 – Montclair, New Jersey, USA
The American soprano, Barbara Bonney, received training in Canada and with Walter Raninger at the Salzburg Mozarteum. In 1979 Barbara Bonney became a member of the Darmstadt Opera, where she made her first appearance as Anna in Die lustigen Weiber von Windsor. Among her subsequent roles were Blondchen, Adina, Cherubino, Gilda, Massenet’s Manon, and Natalie in Henze’s Der Prinz von Homburg. In 1983-1984 she appeared with the Frankfurt am Main Opera, the Hamburg State Opera, and the Bavarian State Opera in Munich. In 1984 she made her first appearance at London’s Covent Garden as Sophie. In 1985 she made her debut at Milan’s La Scala as Pamina. She made her Metropolitan Opera debut in New York in March 1988 as Najade in Ariadne auf Naxos, where she returned to sing Adele and Sophie. In 1989 she made her first appearance at the Chicago Lyric Opera as Adele. Barbara Bonney is considered as one of the world’s most accomplished lyric sopranos. She now leads the field in her chosen repertory of roles by W.A. Mozart and Richard Strauss and is increasingly recognised as one of the finest Lieder and concert performers of her generation.

Joshua Bell – Antonín Dvořák “Songs My Mother Taught Me” – Джошуа Белл – Дворжак

Image: http://www.globalescapes.com

By Aaron Green

Antonin Dvorak (1841–1904) is well-known for working with folk music in classical compositions. Composed in 1880, within a set of songs called the “Gypsy Songs,” Dvorak’s “Songs My Mother Taught Me” is one of the most famous and beloved songs of the set. Its memorable melody is both sad and optimistic.

The texts used in this collection are poems written by Adolf Heyduk in Czech, then translated into German. In the years since the lyrics have also been written in English. No matter the language, this is undoubtedly among the most popular songs for classical soloists to perform, particularly sopranos and tenors.

Czech Poem

Když mne stará matka zpívat, zpívat učívala,
podivno, že často, často slzívala.
A teď také pláčem snědé líce mučím,
když cigánské děti hrát a zpívat, hrát a zpívat učím!

German Text

Als die alte Mutter mich noch lehrte singen,
tränen in den Wimpern gar so oft ihr hingen.
Jetzt, wo ich die Kleinen selber üb im Sange,
rieselt’s in den Bart oft,
rieselt’s oft von der braunen Wange.

English Lyrics

by Natalia Macfarren

Songs my mother taught me,
In the days long vanished;
Seldom from her eyelids
Were the teardrops banished.
Now I teach my children,
Each melodious measure.
Oft the tears are flowing,
Oft they flow from my memory’s treasure.

Image: http://www.globalescapes.com

enjoy more at source

Tagged #Antonín Dvořák, #Joshua Bell, #Songs My Mother Taught Me27 Comments

COMFORTING WATER GARDENS

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41 Inspiring Garden Water Features with Images

Garden waterfalls do not only look amazing but it can also oxygenate the water.

Water features can add design and texture to your garden. Ponds and fountains can be used as a natural habitat for fish, and pond plants can be used as natural decorations. Water features can easily attract birds and wildlife. During hot summer days, water can cool down your plants. If you want to make your yard look bigger then add water features to your garden. Water can provide serenity and tranquility to your garden.

There are a lot of water features that you can choose from.

Sometimes it’s a bit confusing to choose which one will be appropriate in your yard or patio. When choosing, try to consider the price, the size of your space and the design of your garden. Here are some amazing water features to inspire you. Enjoy!

INSPIRED?

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Tagged #Water Gardens6 Comments

WHEN GOD CALLS US – JONAH IN THE BELLY OF A WHALE

Jonah was a prophet, whose known life is recorded in the Biblical books of Jonah and very briefly in Second Kings. He was the son of Amittai and is most known for being assigned by God to go to the notorious metropolis of Nineveh, the Assyrian capital, and forewarn the people of coming judgement. Jonah refused in fear and hatred of the city’s immorality so he tried to sail to a city far from Nineveh.

In response, a storm halted the sailing ship Jonah was on and he thrown overboard, thinking he would die. A large fish swallowed Jonah and expelled him out three days later. Finally, Jonah went to the city of Nineveh; yet had regrets about saving the immoral people.

Jonah also gave a prophecy concerning restoration of Israel’s bordering during the reign of Jeroboam II.

Jonah was born in the border village of Gath-Hepher to his father Amittai[1]. He was born in the Northern Kingdom of Israel (also known as Samaria) sometime before the reign of Jeroboam the Second. Jonah was named a “dove”. This name may reflect his status a a prophet and giving “signs” of things to happen. If this is the reasoning behind his name, he may have been given the name once he became a prophet.

Border Restoration Prophecy

Sometime before the Kingship of Jeroboam II, Jonah predicted that borders of Israel; specifically from the city of Lebo-hamath to the Sea of Arabah would be restored. God gave Jonah this prediction, which was fulfilled in some manner of time when Jeroboam became King. The exact details of the prophecy and its time in relationship to Jeroboam II are unknown.

Avoiding Nineveh

Sometime in Jonah’s life, he was directed by God to go the Assyrian capital of Nineveh; it is not known whether or not this took place before Jonah’s border prophecy. God’s message came to Jonah, telling him to arise and travel to Nineveh and preach against it. Rather than obeying God Jonah refused. Jonah hated the large metropolis for its great immorality and knowing God would spare the city, decided to attempt to flee God’s presence. For in one way, Jonah expressed and knew to himself or to God that the city would be spared.

Jonah traveled southward to the port city of Joppa. There he found a ship that was outbound for the city of Tarshish located in the extreme far west of the known world; Jonah would plan to flee God in Tarshish.

Stormy Waters

Quota

Once Jonah paid the fare, he was on his way to Tarshish alongside several sailors, a ship captain and onboard cargo. Jonah explained to the crew that he was fleeing the presence of His God, who was not worshipped by the fellow seafarers[5].

A storm emerged on the boat, threatening to tear the crash the ship at sea, which was common for ships of Tarshish. Unbeknownst to the ship’s captain, Jonah was not aware of the storm’s presence or did not care enough to deal with the God-inflicted storm. While Jonah was sleeping in the ship’s interior, the captain of the boat urgently ordered him to go on deck and plead to his God to stop the storm.

The sailors determined to cast lots in order to discern who was guilty of bringing about divine wrath upon the ship. The lots were cast to Jonah and he was sternly confronted, being asked of his occupation, nationality and origins. Jonah responded that he was a Hebrew Yahwist. At this the sailors became extremely fearful, speculating how to deal with Jonah in a way that would remove Yahweh’s wrath.

Jonah suggested the sailors throw him overboard and have him drown. After hesitating to throw him overboard, they reluctantly agreed with Jonah and threw him into the sea.

Belly of a Fish

As Jonah plummeted to the bottom of the ocean, the storm ceased within a short time. At first, Jonah thought he was going to die when the waters began to drown him and he was caught in seaweed. As Jonah descended to the bottom of the sea, he prayed, hoping that he would once again see the Temple- the very place where he knew God would hear his prayer from.

Approaching death and the bottom of the sea, a God-appointed fish came and swallowed Jonah. Inside of the fish, Jonah prayed to God thanking Him for rescuing him from death and recounting his near-death experience drowning[10]. After remaining for three days and three nights. Jonah was vomited by the fish onto dry ground.

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Preacher in Nineveh

After his time in the fish, Jonah was once again commanded by God to go Nineveh and speak out against the city. Therefore, Jonah obeyed and went to the city of Nineveh- it is not known how far he was from the city after he was expelled by the Fish.

Jonah traveled an entire day going deep into the city and proclaimed that Nineveh shall fall in forty days.The Ninevites believed Jonah’s word, leading the City’s Ruler to proclaim a feast of sackcloth in repentance.

Hater towards Nineveh

Jonah had obeyed God and completed the task he was given, but he found the City’s repentance to be despicable. Jonah prayed and confessed that he had fled to Tarshish, because his hatred for the metropolis was immense. Jonah knew that God would mercifully spare the city and then he asked God to take his life; the prophet preferred death over Nineveh surviving.

Jonah retreated to the East of Nineveh and set up shelter there. Jonah sat in his shelter, planning to wait to witness the city’s fate. During this time a plant sprout up over Jonah’s heading providing him shade and relief from further anger.

Jonah was greatly happy about the plant, but the next day the plant died and he was subject to the sun’s harshness. Now, Ammitai’s son only wished to die, but God rebuked Jonah and told him that he pitied the plant but not metropolis of Nineveh with a population over 120,000.

After this, no other events are known about Jonah’s life. http://www.biblicalwikia.org