Yeah Yeah Yeahs - Spitting Off the Edge of the World ft. Perfume Genius
Cowards! Here’s the sun So bow your heads In the absence of bombs Draw your breath Dark, dark places shall be none She’s melting houses of gold And the kids cry out We’re spitting off the edge of the world Out in the night Never had no chance Nowhere to hide spitting off the edge of the world Out comes the sun Never had no chance Nowhere to run Mama what have you done I trace your steps In the darkness of one Am I what’s left Silver lines whisper to me Wounded arms must carry the load And the kids cry out We’re spitting off the edge of the world Out in the night Never had no chance Nowhere to hide spitting off the edge of the world Nowhere to run Never had no chance Out comes the sun spitting off the edge of the world Winds from the sky Never had no chance Will watch us rise
With Katia and Marielle Labèque on fortepianos, the Concerto in C major for two harpsichords, strings and basso continuo (BWV 1061) by Johann Sebastian Bach is played here on period instruments by the ensemble Il Giardino Armonico under the baton of Giovanni Antonini. What is different here is that, instead of harpsichords, the Labèque sisters play fortepianos. The concert took place in 2000 at the Musikverein in Vienna.
00:00 I. without tempo designation 07:15 II. Adagio ovvero Largo 11:56 III. Fugue
The 13 concertos that Johann Sebastian Bach (1685 - 1750) wrote for one or more harpsichords with orchestral accompaniment are significant in music history. In a sense, they mark the beginning of the story of the piano concerto, which was then developed by the Bach sons. In almost all of the harpsichord concertos, Bach drew on his own earlier works and arranged them for this keyboard instrument, which was popular at the time. The harpsichord concertos were written for the Collegium Musicum in Leipzig, a student orchestra that Bach led from 1723 and with which he held regular concerts in a coffee house.
The Concerto for two harpsichords, strings and basso continuo in C major, written between 1732 and 1735, was probably originally meant for two harpsichords only. This, at least, is suggested by the fact that the string orchestra has no independent role. In the first and third movements it only doubles the harpsichord part, in the middle movement the two keyboard instruments even play without accompaniment.
The special feature of this concerto is that Katia and Marielle Labèque play the harpsichord part on fortepianos. Thus, although the sound seems historical, it has a much sharper profile. A delight for the two virtuosic pianists!
The Norwegian pianist Leif Ove Andsnes is binging Mozart. He's just released his second double album in a row of the composer's piano music, and for this very special Tiny Desk performance, he takes us inside Mozart's own home in Vienna, just steps away from the medieval St. Stephen's Cathedral and a couple blocks from a McDonald's.
Mozart might have appreciated the convenience of the fast food chain, as the years he spent in this two-floor, four-bedroom apartment (from 1784 to 1787) were a non-stop frenzy of activities. Andsnes says the composer threw gambling parties, taught students and, above all, composed some of his most groundbreaking music in this house, including the two works heard in this recital.
Andsnes begins with four minutes of radiant joy and virtuosity. The D major Rondo showcases not only Mozart's own skills as an unrivaled keyboardist, but also his genius as a composer with a bottomless bag of tricks to play with the music's principal theme.
The following Fantasia in C minor, composed one year earlier, in 1785, couldn't be more different. At three times the Rondo's length, it begins in a foreboding tone, with heavy, darkly colored chords, sounding perhaps like Beethoven in a bad mood. But the clouds soon open to rays of sunshine in melodies only Mozart could create, including a recurring passage of intense delicacy and yearning, which Andsnes delivers with the sensitivity of a lover's whisper. In its many fascinating mood swings, the piece feels like Mozart simply sat down in these rooms and improvised his mixed emotions. And thanks to Andsnes, we can catch a vibe of what that might have sounded like.
SET LIST Mozart: Rondo in D Major, K. 485 Mozart: Fantasia in C Minor, K. 475
MUSICIANS Leif Ove Andsnes: piano
CREDITS Video and audio: Anthony Jacobson, Perdurabo Film Recorded at: Mozarthaus Vienna
Videoclip de 'Ay mamá' de Rigoberta Bandini. Producido por Mañana Postproducido por Limp Dirigido por Salvador Sunyer
Tú que has sangrado tantos meses de tu vida Perdóname antes de empezar Soy engreída y lo sabes bien A ti que tienes siempre caldo en la nevera Tú que podrías acabar con tantas guerras Escúchame
Mamá, mamá, mamá Paremos la ciudad Sacando un pecho fuera al puro estilo Delacroix Mamá, mamá, mamá
Por tantas ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma Ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma, mamá Todas las ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma Ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma, mamá
Tú que amarraste bien tu cuerpo a mi cabeza Con ganas de llorar, pero con fortaleza Escúchame
Mamá, mamá, mamá Paremos la ciudad Sacando un pecho fuera al puro estilo Delacroix Mamá, mamá, mamá
Por tantas ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma Ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma, mamá Todas las ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma Ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma (mami)
Ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma Ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma, mamá Vivan las ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma Ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma-ma
No sé por qué dan tanto miedo nuestras tetas Sin ellas no habría humanidad ni habría belleza Y lo sabes bien Lo-lo-lo-lo-lo-lo-lo-lo-lo-lo-lo-lo-lo (Lo sabes bien) lo-lo-lo-lo-lo-lo-lo-lo-lo-lo-lo-lo-lo Escúchame Mamá, mamá, mamá
La pianiste Maria-João Pires s’associe à l’Orchestre Philharmonique de Monte-Carlo pour donner au Festival de Pâques d’Aix-en-Provence un concert rythmé par la musique de Mozart, Mendelssohn et Schumann.
La pianiste d’origine portugaise Maria-João Pires est de retour à Aix-en-Provence pour y jouer le Concerto pour piano n° 9 en mi bémol majeur de Mozart. Grande connaisseuse du répertoire mozartien, la soliste livre sur la scène du Grand Théâtre de Provence une interprétation vive et épurée de cette œuvre célébrée dès sa création pour son inventivité.
Fidèle à l’esprit d’ouverture du Festival de Pâques d’Aix-en-Provence, ce concert fait également la part belle à la musique romantique. Sous la direction de Kazuki Yamada en effet, l’Orchestre Philharmonique de Monte-Carlo interprète l’ouverture du Songe d’une nuit d’été de Felix Mendelssohn et la Symphonie n° 1 en si bémol majeur de Robert Schumann.
Programme: Felix Mendelssohn - Ein Sommernachtstraum (Le Songe d’une nuit d’été), ouverture, op. 21 Wolfgang Amadeus Mozart - Concerto pour piano n° 9 en mi bémol majeur « Jeunehomme », K. 271 Robert Schumann - Symphonie n° 1 en si bémol majeur, « Le Printemps », op. 38
Concert filmé le 10 avril 2022 au Grand Théâtre de Provence, Aix-en-Provence.
C I N C O S E N T I D O S by Bandua / @bandua.music
BANDUA is a collaborative project between 'Tempura the Purple Boy' & 'Edgar Valente' where downtempo music invites the spirit of Beira Baixa (Portugal)
Production/Composition: Tempura (Bernardo D'Addario) Vocals/Keys/Percussion: Edgar Valente Mixing: Pedro Martins Master: Anders Peterson (GS Mastering & Post) released by Frente Bolivarista https://frentebolivarista.bandcamp.com
Video: directed & edited by Cláudia Batalhão dop & grading: Mário Guilherme 1st ac: Manuel Lino ronin: Márcio Enes styling: Sara Peterson producer: Joana Sousa Dias acting by Sara Mercier, Bernardo D'Addario & Edgar Valente
eu tinha cinco sentidos já t’os vou distinguir e já os levo perdidos escuta amor se queres ouvir
o Primeiro é p’ra te ver meu amor p’ra te ver venho se tu em mim fazes gosto eu maior gosto te tenho
o Segundo é p’ra te ouvir quero saber novas tuas trago-te no pensamento passeando pelas ruas
o Terceiro é p’ra cheirar no teu peito ramalhete saibas que a minha vontade não é outra se não ver-te
o Quarto é p’ra degustar que sabor me tens na boca ausente do teu amor minha língua nada toca
e o Quinto era p’ra tocar as tuas mãos com as minhas receber-te em toda a graça costurar as nossas linhas
(eu tinha Cinco Sentidos mais uns tantos em comum sem ti eu fico perdido sigo só sendo mais um.) "
[popular old poem from Beira Baixa, re-arranged by Edgar Valente]
Free in the knowledge That one day this will end Free in the knowledge That everything is change
And this Was just a bad moment We were fumbling around But we won’t get caught like that Soldiers on our backs We won’t get caught like that
A face using fear to try to keep control But when we get together, well then, who knows
If this Was just a bad moment We were fumbling around But we won’t get caught like that Soldiers on our backs We won’t get caught like that
I talk to the face in the mirror But he can't get through I said it's time that you deliver 'Cause we see through you I talk to the face in the mirror But he can't get through Turns out we’re in this together Both me and you