“LOVE ME LIKE YOU DO!” ARCANO

The Courtesy of Pinterest – Gambar Eagle terbaik di 2019

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

The Courtesy of Pinterest – Gambar Eagle terbaik di 2019

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.

The Courtesy of Pinterest

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

featured image source

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.

Image: www.globalescapes.com

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

Image: http://www.globalescapes.com

COMFORTING WATER GARDENS

image source

41 Inspiring Garden Water Features with Images

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

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!

“Lucia Micarelli Oblivion”

Born in Queens, New York, Lucia was immersed in the arts by the age of three, diligently practicing dance, piano, and violin. It didn’t take long for Lucia to discover her passion and greatest talent was the violin, which quickly became her main focus. After moving to Hawaii at the age of five, she continued to refine her skills on the violin with teachers Kathryn Lucktenberg and Sheryl Shohet, and just a year later at the age of six, Lucia made her debut as a soloist with the Honolulu Symphony Orchestra. Soon after, she began frequently appearing on local television shows and concertizing throughout the Islands.

At age eleven, Lucia was accepted into the prestigious Juilliard School of Music’s Pre-College Division. She studied with the renowned violin pedagogue Dorothy DeLay, and also took lessons with Itzhak Perlman, Cho-Liang Lin, and Won-Bin Yim. Within a year, playing against some of the world’s most gifted prodigies, she won the Pre-College Concerto Competition and settled into a routine that would combine instruction with concert appearances at the Hollywood Bowl, Lincoln Center, and other prominent international venues. She spent her summers at the Aspen Music Festival, regularly performing with the orchestra, and won the Violin Concerto Competition in 2000, resulting in a performance of the Tchaikovsky Violin Concerto with the Festival Orchestra.

At seventeen, Lucia left Juilliard to attend the Manhattan School of Music, where she studied with celebrated international violinist Pinchas Zukerman. It was during this time that Lucia began to develop a growing interest in non-classical music. She started moonlighting with local jazz and rock bands in New York clubs, and by the following year, she had accepted an offer to tour with the Trans-Siberian Orchestra as a featured violinist and concertmaster.

Over the last ten years, Lucia’s profile has continued to soar. She’s been a featured soloist in two of Josh Groban’s world tours, toured extensively with Chris Botti and was featured in his “Live From Boston” PBS special (from which the duet they performed together, “Emmanuel” has received over 7 million YouTube views), and was featured in Barbra Streisand’s 2013 international tour. She also released two solo albums, “Music From A Farther Room” and “Interlude”. But 2009 saw Lucia broadening her career even further when she was cast in the starring role of “Annie” in HBO’s critically acclaimed series, “Treme”, created by David Simon and Eric Overmeyer, which ran for four seasons and won a Peabody Award as well a Primetime Emmy Award.

Currently, Lucia has just finished her first PBS concert special set to air throughout the US in March 2018. This PBS event is an eclectic journey through her many musical influences – from classical to jazz to traditional fiddle music and Americana – all bound together by her trademark emotional vulnerability and technical wizardry. biography source

“PLACES”

Stillness is the only place where I can love you and breath your touch;

and, where our shadows can undress into the somewhere of togetherness;

Our love is an unquestionable exile.

Originally posted on TheBubblyTipsyMermaid

©2019 TheBubblyTipsyMermaid (TIB) – All rights reserved
Harp & Violin Canon In D
Canon in D (Pachelbel) – Violin & Piano

An Ensemble For You, Oh Sailor!

Deviant Art

Originally posted on: TheBubblyTipsyMermaid (TIB)

For every good reason I salute you brave Mariner.

You,

oh Admiral –

You

Viking Pirate-

and, especially you,

the conductor that directs a delving sequence from sunrise into distorted maskings of the protagonistic moon,

up and around a boastful sea where mistful clouds fall into a burst of thrushing blue, thunderous tides.

Propelling from your cabin wheelhouse you climb through a stormy horizon, a roaring cyclonic turbulence. The struggle resolves into a bathing getaway;

compassed recourses are a blowing that choruses a laying down of notes. You are like an oceanic bird.

It is a clear prevaling when military bugles pulsate your victory call, commemorating you with duo chords of cello calms;

cheering cries from french horns amplify into a strident interplay of solemn, echoing violins;

the unwaywardness of sounds swing into a crewing medley;

Your seaward reflections are a brassing of infactuations, and a strategic invite for a sea dance;

©2019 TheBubblyTipsyMermaid (TIB) – all rights reserved

“Sailor Moon- Heart Moving (Instrumental)”

“La Valse d’Amélie (Accordion version)”

Table For Two

It is ten o’clock, you said you would be here at nine.

In plain view I am waiting for you

I have been patient–Me, the precarious model…the bearer of unannounced consequences.

Why do I dress myself with ideas that are seated upon architectural idea of romance?

..In reverse, you hide yourself and dangle me with excuses,

Then you give me a convergence of an ideal, YOU, a mindswell of your selfish identity;

And why should there be a repeated compromise in the heart your disrespect of me?

And, what am I to you, a prop?

Exhibits and spectators are perfect models for captivation, with an affinity to glimpses, flirty winks and other suitable musings.

I sit with a clever exchange, I am entertained with the charm and my recaptivation.

Waiting for you, I have met someone new.

©2019 TheBubblyTipsyMermaid (TIB) – all rights reserved

The Courtesy of Pinterest

“THE PORT OF LONELY”

featured image url

Originally Posted on TheBubblyTipsyMermaid

image source

I reached out with a tall angry cry and I heard our divide speak in a shallow place called the once us,

And

I listened to my one-sided touch that was constantly outweighed by personal chaos;

Choices drew us into constricted barriers where the spirit of obsolete and free became strong from the spoils of sour words;

And I shall never forget those unsavory gifts of rust that are now discarded as dead flowers?

Only, the bridges across the stretch of waters know the distance of our stripped togetherness,

I may be soaked from brokeness that drifted us apart, but I am grateful for the wetness and to the sea that carried me up and over the terror of my pains,

SO, here I am, Splashed inside the voids of isolation, back in my homeland, at “The Port of Lonely”**

©2019 TheBubblyTipsyMermaid (TIB) – All Rights reserved

“天空の城ラピュタ / Laputa – Castle in the Sky 石川綾子” (Ayako Ishikawa)