Alfonso X "el Sabio"

Alfonso X "el Sabio" (1221-1284) was crowned King of Castille & León in 1252, and became one of the most significant leaders in Spanish history. Known for his learning, he fostered interaction between Christian, Jewish, and Islamic intellectuals, as well as accepted Provençal refugees. His was one of the significant reigns moving toward the reunification of Spain, and was so with an emphasis on tolerance and cultural achievement. 

Whether he wrote any of the music is unknown, but many of the songs in the collection are certainly contrafacta. Some melodies have been identified as those of troubadour or trouvère songs, and even those of conducti or other scholastic compositions. It is also believed that many are folk tunes adopted for the occasion. The entire project seems to have had a moralistic intent, modifying the words of existing songs to describe instead the deeds & glory of the Virgin Mary.

The term "cantiga" simply means a Spanish medieval lyric, something which survives in quantity, in numerous genres distinguished by the type of narrative. However, most cantigas survive as text only, making the present collection nearly unique for its music. Moreover, it is one of the largest collections of monophonic vernacular music from the middle ages, and of particular value not only for its inherent quality but also for its notational indications. The cantiga was first a secular form, but in this massive collection, Alfonso put the form to sacred use. Such a union of sacred & secular was to have a long history in Spain, represented ultimately in the villancico of the Renaissance. 

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Here's a few songs from the wonderful collection entitled "Cantigas de Sevilla", by Eduardo Paniagua.

CSM 379 (not 378 as stated): Los Corsarios "A que defende do demo"

CSM-292 El anillo del rey D.Fernando

 

Here you can listen the first part of "Cantigas de Sevilla", dedicated to the kingdom of Seville during the time of the Moors.

 

Here you can listen the second part of "Cantigas de Sevilla", entitled "The Court of Alfonso X in Seville"

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Following the Cantigas de Sevilla, now here is one who is dedicated to the knights and chivalry, from the collection entitled "Caballeros".

CSM 341: Caballero celoso "Com á gran pesar a Virgen dos que gran pecado fazen"

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Santa María del Puerto I / Cantigas de Alfonso X el Sabio has  twenty-four narrative cantigas centered on El Puerto form an important chapter in Alfonso's Marian compilation. Firstly, they stand out owing to their number - more than are devoted to any other single sanctuary in the Cantigas. Secondly, they stand out in forming a lyric chronicle inspired by the signal events associated with the thirteenth-century repopulation efforts in and around Alcanate (the name the Arabs used for El Puerto de Santa María) and its re-Christianization under Alfonso X. Whereas Alfonso does not appear as the protagonist in the miracle accounts at other sanctuaries, in these two dozen cantigas Alfonso figures prominently in exactly half of them: twelve.

CSM 358. CANTOS LABRADOS. A que às cousas coitadas

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The legends told in the Cantigas are culled from repertories and songbooks that circulated throughout Europe, from oral tradition in Marian sanctuaries, or from the personal experiences of King Alfonso and his entourage. The most varied experiences to be had by men are recounted to us, but the ones that concern us in this instance are those that deal with illnesses and how to heal them. Apart from the beauty of the songs, they are interesting in that they reveal to us how medicines were made and given at that time. Faith in miracles nourishes hope, and when one believes, everything is possible, even the impossible. This explains that different peoples all over repeat, in different versions, the narratives of miracles and miraculous healings. Whatever happened before may well happen again! The Cantigas that tell of miraculous healings exude hope and give way to spiritual healing, since, as the ancients say, they encourage “erectio animi”.

CSM-41 A Virgen Madre De Nostro Sennor

Enjoy listening to this wonderful music!!

(for those wondering, "CSM" means "cantiga de santa maria").

22. The Osmonds

The Osmonds are an American family music group with a long and varied career that took them from singing barbershop music as children, to achieving success as teen-music idols, to producing a hit television show, and to continued success as solo and group performers. The Osmonds are devout Mormons, and their religious values have influenced their careers.[1]
The group originally consisted of brothers Alan Osmond, Wayne Osmond, Merrill Osmond, and Jay Osmond. They were later joined by younger siblings Donny Osmond, Marie Osmond, and Jimmy Osmond.
Older brothers George Virl Osmond, Jr. (Virl) and Tom Osmond were born deaf and did not originally perform,[2] although they later made occasional appearances, most notably on the family Christmas specials from the 70s.








SOLO

Donie


Marie


Jimmy

21. back to 70's- PUSSYCAT

Pussycat was a Dutch country and pop music group, driven by the three Kowalczyk sisters: Tonny, Betty and Marianne. Other members of the band were Lou Wille, Tonny's husband, Theo Wetzels, Theo Coumans and John Theunissen.
The three girls had been telephone operators in Limburg, whilst Theunissen, Wetzles and Coumans were in a group called Scum. Wille played in a group called Ricky Rendall and His Centurions until he married Tonny, and created the group Sweet Reaction that eventually became known as Pussycat.
In 1975 they scored a big European hit with the song "Mississippi". However they had to wait a further year for the single to make the British charts when it climbed to number one in the UK Singles Chart in October 1976.[ Penned by Theunissen, the septet became the first Dutch act to top the UK chart. It is estimated that "Mississippi" sold over five million copies worldwide. It was later followed by "Smile" in 1976, and "Hey Joe" in 1978. Others hits were "If You Ever Come to Amsterdam", "Georgie", "Wet Day in September" and "My Broken Souvenirs". A stellar European career followed that ultimately, at its peak, spanned ten years and included some seventeen albums. By 1978 Hans Lutjens had replaced Coumans on drums, as the band continued to release albums and tour, travelling as far afield as South Africa.They made regular appearances on the West German TV series, Musikladen, in the late 1970s and early 1980s.
But as the 1980s rolled along, the sisters found it increasingly difficult to finance huge tours with so many musicians, and replaced their backing band with taped music, and thus Pussycat shifted their image one last time. They continued to play and record through the mid 1980s when they finally called it quits.
Tonny, whose own extracurricular activities had commenced back in 1973 with her own single release "For You" (under the alias Sally Lane), proved especially prolific, unleashing a string of albums, of which New Words to an Old Love Song saw her elected Best Female Country Singer of the Year by the Dutch magazine, Country Gazette.

20- DARK BOMBASTIC EVENING

www.kogaionon.com

Se vrea a fi un concert incredibil, cei care sunteti in Romania si sunteti pasionati de astfel de muzica, va rog, nu ratati!!! mi`ar placea sa fiu acolo cu voi...dar pana atunci haide sa ascultam cateva piese.








poze:

spiritual front
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ROME TO DIE AMONG STRANGERS A
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Rome 2009 Flowers From Exile
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19. Voca People

The Voca People group consists of five men and three women with amazing voices. They use those voices in a phenomanal a cappella method, creating not just music but vocals that imitate the sounds of drums and other musical instruments, creating an awesome blended sound in a humorous and entertaining way. In other words, they put on a great show for their very appreciative audiences.

18.Ambiental- rain orchestra

hope you enjoy it!

17- Corvus Corax

Corvus Corax is a German band known for playing medieval music using an abundance of authentic instruments.

Their name is the scientific name for the Common Raven. The band was formed in 1989 by Castus Rabensang, Wim (Venustus) and Meister Selbfried ("Master Selfpeace") in East Germany. The band often uses bagpipesas the solo instrument; their live performances attract attention with the bizarre look of the musicians being reminiscent of ancient Greek myths: half-naked, dressed in unusual clothes, wearing primitive tribal decorations, often tattooed.

Today the band consists of eight members: Ardor vom Venushügel ("Ardor from the pubic mound"), Castus Rabensang ("Castus Ravensong"), Patrick der Kalauer ("Patrick the groaner"), Harmann der Drescher ("Harmann the thresher"), Hatz ("hunt"), Jordon Finus, Teufel ("devil") and Wim (Venustus)

Because medieval music theory was dominated by ecclesiastics, it is often difficult to determine from the extant manuscripts exactly how the secular music of the day sounded. Corvus Corax draws on a number of sources to try to make their music as authentic as possible: they have used documents that "condemn profane music" as an indicator as to what the music might have sounded like, and drawn on nineteenth century scholarly treatises for information (although in many cases these treatises are unreliable, as they impart more nineteenth century interpretations of medieval music than factual information on what the music was like).

But a number of things are known for certain. For example, the profane music of the day was often accompanied by a droning bass tone similar to that generated by thebourdon stop on an organ, which is provided in Corvus Corax's case by the drones on their bagpipes. An inkling as to the harmonies used is found in a song by Walter von der Vogelweide, in which he calls for the song to be played "the old way", meaning harmonising with thirds. At the time, the third was considered an awkward, ugly interval by the sacred musician — like the tritone, or diabolus in musica — but it was a common interval in folk music.

Matters are further complicated by the fact that each minstrel would add his personal interpretation to a piece, and that recorded (i.e. written) versions may differ depending on who did the transcribing, and where. It is on this that Corvus Corax's interpretation hinges: medieval popular music was played more from the heart than the brain, and despite making use of scholarship to give them a grounding, Corvus Corax attempts to maintain the spirited, free manner in which the minstrels themselves would have played the music.

for more informations search Corvus Corax

Corvus Corax - Cantus Buranus
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Corvus Corax - Andro
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Corvus Corax - Rondeau
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Corvus Corax - Platerspiel
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Corvus Corax-sanyogita
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Corvus Corax - Numus
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