"Maria durch ein
Dornwald ging" is an old advent song. It was first published in Germany in
1850, but its origins go back much further, maybe even to the 16th century -
although there's no definite source. It was originally a pilgrimage song which
laterin the beginning on the 20th
century became an advent song. In Finland, it is usually sung at Christmastime.
The song has for long
been one of our favourites due to its beautiful melody, which sounds archaic
and mysterious. That mood fits the words, which describe the pregnant Virgin
Mary walking through barren thorns that, with her passing, burst into bloom.
Her husband is at sea, his father too.
She is tired but is waiting. The fire proves her intention. Love comes softly and
a moment like this can also be a joy forever.
In October 2013, in an
interview with Terry Gross on NPR’s Fresh Air, Nash elaborated:
"Well, it’s an ordinary
moment. What happened is that Joni [Mitchell] and I – I don’t know whether you
know anything about Los Angeles, but on Ventura Boulevard in the Valley,
there’s a very famous deli called Art’s Deli. And we’d been to breakfast there.
We’re going to get into Joan’s car, and we pass an antique store. And we’re
looking in the window, and she saw a very beautiful vase that she wanted to buy
… I persuaded her to buy this vase. It wasn’t very expensive, and we took it
home. It was a very grey, kind of sleety, drizzly L.A. morning. And we got to
the house in Laurel Canyon, and I said – got through the front door and I said,
you know what? I’ll light a fire. Why don’t you put some flowers in that vase
that you just bought? Well, she was in the garden getting flowers. That meant
she was not at her piano, but I was … And an hour later ‘Our House’ was born,
out of an incredibly ordinary moment that many, many people have experienced."
I'll light the fire
You place the flowers in the vase
That you bought today
Staring at the fire
For hours and hours while I listen to
you
Play your love songs all night long
For me, only for me
Come to me now
And rest your head for just five
minutes
Everything is done
Such a cozy room
The windows are illuminated by the
evening
Sunshine through them, fiery gems
For you, only for you
Our house is a very, very, very fine
house
With two cats in the yard
Life used to be so hard
Now everything is easy cause of you
And our...
[Interlude]
La-la,
la-la-la la la...
Our house is a very, very, very fine
house (fine house)
A pintura explora o contraste simbólico entre velhice e
beleza jovem por meio de uma cena intimista e emocionalmente contida. A delicadeza
das rosas opõe-se aos espinhos, sugerindo a dualidade da experiência humana:
prazer, dor, inocência e desilusão. A composição equilibrada e a iluminação
suave intensificam o clima contemplativo, convidando o observador à reflexão
moral e emocional, e sugere silêncio, empatia, tempo e fragilidade interior.
a
noite enorme esconde-se nas pupilas do contador de histórias
e o
vento é dividido
por
uma agulha bem colocada
quando
os nómadas chegam descendo o monte
com
a sua linguagem invisível.
Original:
When The Nomads Come Over the Hill
When the nomads come over the hill
on the wheatstraw camels
the angel of joy crawls down a long
hallway
and the green vegetables in the
abandoned cart
pour into blue flames
old men by the fountain rise
and bid one another adieu
the bright sun is rinsed in blackest
ink
snakes sleep on their backs
around the golden sundial
giant night hides in the
storyteller’s pupils
and the wind is divided
by a well-placed needle
when the nomads come over the hill
with
their invisible language.
The poem presents an
ordinary domestic scene disrupted by the surreal arrival of nomads, blending humour
with quiet dread. The nomads function as a metaphor for uncontrollable
forces—death, time, strangers, or change—that invade personal life without
warning. Tate’s plain, conversational tone contrasts with the absurd situation,
heightening unease. The speaker’s compliance and politeness reveal human
vulnerability and social conditioning, suggesting how people accommodate
intrusion rather than resist it, exposing the fragility beneath everyday
normalcy and modern emotional defences.
Le duo Casa Lontana vous présente sa version de Bella Ci
Dormi, chanson traditionnelle du Salento (Pouilles, Italie du Sud).
Bella
ci dormi sui cuscini
Ea
ieu qua fore, ea ieu qua fore
Bella
ci dormi sui cuscini
Ea
ieu qua fore, minu suspiri.
Minu
suspiri fino a murire
Alzate
bella e famme trasire
Minu
suspiri e fino a murire
Alzate
bella e famme trasire.
Bella
ci dormi sulla mammace
Ea
ieu qua fore, ca ieu qua fore
Bella
ci dormi sulla mammace
Ca
ieu qua fore nu me do pace
Nu
me do pace fino a murire
Alzate
bella e famme trasire
Nu
me do pace fino a murire
Alzate
bella e famme trasire
Bella
ci dormi retu a ste mura
Ea
ieu qua fore, ca ieu qua fore
Bella
ci dormi retu a ste mura
Ca
ieu qua fore mo senza paura.
Senza
paura fino a murire
Alzate
bella e famme trasire
Senza
paura fino a murire
Alzate
bella e famme trasire.
'Bella ci dormi' was
traditionally sung by musicians under the balconies of women who were being
proposed to, but the tradition of the serenade and the custom of paying a
musician to sing as a gesture of love has all but disappeared. Even if the
concept of the serenade could do with a little C21st tweaking, I can’t help
thinking that making a mixtape or a digital playlist for someone doesn’t have
quite the same romantic quality as being sung to under a balcony in the light
of the full moon, but I may be wrong!
It presents a quiet
rural scene bathed in soft, diffused light. Two women lay calmly through an open springtime landscape. One reads, the other listens to. The colour
and restrained detail emphasize mood over precision, suggesting warmth and
everyday rural labour.
This painting describes
the rural England at gentle dusk, where farm workers gather golden sheaves
across a softly rolling field. Warm autumn light washes the scene, turning
straw, earth, and sky into mellow harmonies of gold and brown. The painter focuses
on everyday labour rather than drama: figures pause, bend, and converse
naturally, embedded in the landscape. Distant cottages and trees anchor the
composition, suggesting community and continuity.
Projet
de Fleur Perneel et Noémie Deumié. "Objet Trouvé - Cirque" est une
vidéo de performance artistique de Fleur Perneel, publiée sur YouTube il y a 5
ans, cumulant plus de 2,2 millions de vues. Cette œuvre, mettant en scène des éléments
circassiens, s'inscrit dans une série "Objet Trouvé" explorant la
manipulation d'objets, souvent en collaboration avec Mickael Kochalski.
in, YouTube
Circense é um adjetivo que significa algo relativo,
pertencente ou próprio do circo e das suas atividades. Derivado do latim circensis,
o termo também pode ser usado figurativamente para descrever algo extravagante
ou espalhafatoso. É o caso. O que pretenderão comunicar estas duas jovens?
A pintura dá-nos a conhecer uma cena amorosa junto a uma fonte,
com alguma intimidade e olhares dificeis de definir. A cara dele sorri, mas o que estará a dizer? Ela deixa-lhe por a mão na sua, mas o que significa também o seu olhar? A cena sugere um tempo suspenso e uma tradição compartilhada pelas gerações mais antigas.
perdoa-me
pelas flores que se transformam em frutos
e os
frutos em sementes e as sementes em árvores.
Perdoa-me
pelos mananciais
que
se convertem em rios e os rios
em
mares e os mares em oceanos.
Perdoa-me
pelos amores
que
se transformam em recém-nascidos
e os
recém-nascidos em solidões
e as
solidões em amores...
Nada
posso impedir.
Tudo
segue o seu destino e nunca me pergunta nada.
Nem
o último grão de areia, nem sequer o meu sangue.
Apenas
posso dizer: perdoa-me.
A
culpa é nossa quando não temos culpa nenhuma? Se o destino existe, não existe responsabilidade. Será que perante Deus, o homem
participa menos do que deve na criação? Não entendo o poema.
"Tomorrow Is Another Day" é uma canção escrita pela
cantora britânica Gillian Hills. Foi lançada em 1965 como lado B do single
"Look at Them" pela gravadora francesa Disques Vogue. A canção conta
com a participação de Bob Leaper e sua orquestra. As imagens do videoclipe
são do filme "The Knack...and How to Get It", de 1965, dirigido por
Richard Lester com os atores Rita Tushingham, Michael Crawford e Donal
Donnelly.
Tomorrow is another day so, take what comes now while you may
just take my hand and walk along the
sand take what seems the best
Tomorrow is another day don't ask me questions cause I say
I know what's true right now like my
love for you take what seems the best
While we are young and the world is
for us
why think about the good, the bad,
the past, but now
Tomorrow is another day who knows when leaves will fade away
so while they're sweet and bright and
still live inside pick what seems the best
Tomorrow is another day before the sun hides away
let's walk alongside them into our
land where things are the best
where our lives are at rest.
Great video! Fantastic
editing, and what can I say about Gillian Hills? She's amazing. Pure nostalgia
and evocation of a freer and more dreamlike world that no longer exists.
A pintura apresenta uma cena de sala de aula. O mestre-escola é a autoridade tranquila com o saber no gesto e no olhar. À sua frente, crianças gerem o conhecimento entre a luz, os livros e as maçãs. Quererão saber ou sabedoria? Muito belo.
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