What are you listening to?

Palinurus said:
I also love 'singing along' with them. Especially black birds are very responsive to any unusual call and always keen on entering into dialog or competition with me for a while.

Have you ever tried that yourself ? It's great fun I can assure you.
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Yes I've done that in the past and sometimes had a response, ravens have often called back at my efforts, although that would be a contact call rather than a song :). A cronking raven epitomises wilderness areas in many parts of the world, osit.

 
Ah yes, ravens. Perfect example, very communicative birds.

I've noticed you have to fall in line with the frequency of their contact calls to get successful in soliciting further responses and continue a dialog. Once you're in regular turns it's possible to interject a different number of calls of your own which will be promptly and accurately reciprocated exactly. So apparently they know their numbers !

In the example you posted, this bird calls in following fashion (number of times): 2 - 4 - 5 - 4 - 4 - 4 - 2 and then 3 to finish off while flying away, seemingly sounding a bit disappointed to not have got any responses from another raven nearby. OSIT.
 
a friend of mine shared this Bach - Cantate BWV 127 ( Die seele ruht ) and I liked it very much, it is very simple but the impression is very deep.
It is not so easy to describe perhaps a music piece from god.

https://www.youtube.com/watch?v=7OO-tE7iPls
 
Herr Jesu Christ, wahr' Mensch und Gott (Lord Jesus Christ, true Man and God),[1] BWV 127, is a church cantata by Johann Sebastian Bach. He composed the chorale cantata in Leipzig for the Sunday Estomihi, the Sunday before Lent, and first performed it on 11 February 1725. It is based on the hymn in eight stanzas by Paul Eber (1562).

....

History and words[edit]
Bach wrote the chorale cantata in his second year in Leipzig for Estomihi. The Sunday, also called Quinquagesima, is the last Sunday before Lent, when Leipzig observed tempus clausum and no cantatas were performed.[2][3] In 1723, Bach had probably performed two cantatas in Leipzig on that Sunday, Du wahrer Gott und Davids Sohn, BWV 23, composed earlier in Köthen, and Jesus nahm zu sich die Zwölfe, BWV 22, both audition pieces to apply for the post of Thomaskantor in Leipzig.[4]

The prescribed readings for the Sunday were taken from the First Epistle to the Corinthians, "praise of love" (1 Corinthians 13:1–13), and from the Gospel of Luke, healing the blind near Jericho (Luke 18:31–43). The Gospel also announces the Passion.[2] The text is based on the funeral song in eight stanzas by Paul Eber (1562).[5] The hymn suites the Gospel, stressing the Passion as well as the request of the blind man in the final line of the first stanza: "Du wollst mir Sünder gnädig sein" (Be merciful to me, a sinner).[1] The song further sees Jesus' path to Jerusalem as a model for the believer's path to his end in salvation. An unknown librettist kept the first and the last stanza and paraphrased the inner stanzas in a sequence of recitatives and arias. Stanzas 2 and 3 were transformed to a recitative, stanza 4 to an aria, stanza 5 to a recitative, stanzas 6 and 7 to another aria.

Bach first performed the cantata on 11 February 1725.[2] It is the second to last chorale cantata of his second annual cycle, the only later one being Wie schön leuchtet der Morgenstern, BWV 1, for the feast of Annunciation which was celebrated even if it fell in the time of Lent.[6]

Scoring and structure[edit]
The cantata in five movements is richly scored for three vocal soloists (soprano, tenor and bass), a four-part choir, trumpet, two recorders, two oboes, two violins, viola and basso continuo.[2][3]

Chorale: Herr Jesu Christ, wahr’ Mensch und Gott
Recitative (tenor): Wenn alles sich zur letzten Zeit entsetzet
Aria (soprano): Die Seele ruht in Jesu Händen
Recitative and aria (bass): Wenn einstens die Posaunen schallen – Fürwahr, fürwahr, euch sage ich
Chorale: Ach, Herr, vergib all unsre Schuld
Music[edit]
The opening chorale is structured by an extended introduction and interludes. These parts play on a concertante a motif derived from the first line of the chorale,[6][7] but also have a cantus firmus of the chorale "Christe, du Lamm Gottes", the Lutheran Agnus Dei,[8] first played by the strings, later also by the oboes and recorders. It appears in a similar way to the chorale as the cantus firmus in the opening chorus of his later St Matthew Passion, "O Lamm Gottes, unschuldig". Its request "erbarm dich unser" (have mercy upon us)[1] corresponds to the request of the blind man.[2] A third chorale is quoted repeatedly in the continuo, "O Haupt voll Blut und Wunden".[3] Christoph Wolff notes that on Good Friday of that year Bach would perform the second version of his St John Passion, replacing the opening and the closing movement of the first version by music based on chorales, "O Mensch, bewein dein Sünde groß" which would become the final movement of the first part of the St Matthew Passion, and again "Christe, du Lamm Gottes".[3]

Bach chose a rare instrumentation for the first aria, the oboe plays a melody, supported by short chords in the recorders, in the middle section "Sterbeglocken" (funeral bells) are depicted by pizzicato string sounds. Movement 4 illustrates the Day of Judgement. On the text "Wenn einstens die Posaunen schallen" (When one day the trumpets ring out),[1] the trumpet enters. The unusual movement combines an accompagnato recitative with an aria, contrasting the destruction of heaven and earth with the security of the believers, the latter given in text and tune from the chorale. John Eliot Gardiner describes it as a "grand, tableau-like evocation of the Last Judgement, replete with triple occurrences of a wild 6/8 section when all hell is let loose in true Monteverdian concitato ("excited") manner".[8] He compares it to the "spectacular double chorus" from the St Matthew Passion "Sind Blitze, sind Donner in Wolken verschwunden".[8]

The closing chorale is a four-part setting with attention to details of the text, such as movement in the lower voices on "auch unser Glaub stets wacker sei" (also may our faith be always brave)[1] and colourful harmonies on the final line "bis wir einschlafen seliglich" (until we fall asleep contentedly).[1][2]
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_http://en.wikipedia.org/wiki/Herr_Jesu_Christ,_wahr%27_Mensch_und_Gott,_BWV_127
 
Jon & Vangelis - I'll Find My Way Home
https://www.youtube.com/watch?v=T9Y3m7fisOU

I saw it was already mentioned before a few years ago, though the link was then to a different video which replaces the visual recording with an "interpretation". Lyrics from that post:
lamalamalamalama said:
You ask me where to begin
Am I so lost in my sin
You ask me where did I fall
I'll say I can't tell you when
But if my spirit is lost
How will I find what is near
Don't question I'm not alone
Somehow I'll find my way home

My sun shall rise in the east
So shall my heart be at peace
And if you're asking me when
I'll say it starts at the end
You know your will to be free
Is matched with love secretly
And talk will alter your prayer
Somehow you'll find you are there

Your friend is close by your side
And speaks in far ancient tongue
A season's wish will come true
All seasons begin with you
One world we all come from
One world we melt into one
Just hold my hand and we're there
Somehow we're going somewhere
Somehow we're going somewhere

You ask me where to begin
Am I so lost in my sin
You ask me where did I fall
I'll say I can't tell you when
But if my spirit is strong
I know it can't be long
No questions I'm not alone
Somehow I'll find my way home
Somehow I'll find my way home
Somehow I'll find my way home
Somehow I'll find my way home
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The Game
https://www.youtube.com/watch?v=T8aFCQVKwd0​
 

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goyacobol said:
Feeling Gnostic and waiting for comets?


VANGELIS • Éthique Gnostique (Previously Unreleased Album - 1986)
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Very cool! Who knows, maybe Vangelis knows a thing or two about cosmic catastrophes? :)
 
Thaigrr said:
Thank you, Adam, thank you! This is an entire package: voice, message, passion and of course her name ;) ! Am still listening to "The Enemy" over and over, look forward

to the additional 34 min. clip. :thup:
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Haha, I know what you mean. I've probably listened to 'The Enemy' a dozen times since she posted it to Facebook yesterday, and I'm still tearing up and getting chills with each listen. The full performance is great because there are little interview segments between songs. I didn't realize she had moved from Chicago to LA around the time that she started devoting herself to her solo work and ending her collaboration with her former band Company of Thieves. I really liked COT, but her solo work is far and above her previous stuff.
 
naorma said:
An old CD with wonderful women voices . . . . :hug2:
One of my favourits: Maria Olgas Pineros - 'La Copla Del Ordeno' :flowers: :flowers: :flowers:


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I thought I heard a Mariposa in there somewhere. I don't speak Spanish but wish I could.

After listening I saw another one Tiddas - 'Spirit of The Winter Tree' :

"https://www.youtube.com/embed/gS6hdifD-ag"
 
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