Το νέο αίμα απ'το Νησί με τα Σουξέ:
Ή αν προτιμάτε το οριτζινάλε στα ισλανδικά:
Καταψύχεται
Ή αν προτιμάτε το οριτζινάλε στα ισλανδικά:
Καταψύχεται
Saturday, 30 November 2013
Tuesday, 26 November 2013
Sunday, 24 November 2013
Thursday, 21 November 2013
Saturday, 16 November 2013
Wednesday, 13 November 2013
Been there, seen these:
1. Süt (2008) [5/5]
2. Melaza (2012) [3/5]
3. Zoran, il mio nipote scemo (2013) [6/5]
4. Miracle (2013) [3/5]
5. Goldfish (2013) [2/5]
proof:
6. Hide Your Smiling Faces (2013) [3/5]
7. Η Αιώνια Επιστροφή του Αντώνη Παρασκευά (2013) [4/5]
8. Oktober November (2013) [3/5]
9. Night Moves (2013) [2/5]
10. Jîn (2013) [5/5]
11. Good Night (2013) [2/5]
12. Sen Aydinlatirsin Geceyi (2013) [2/5]
Grande Bella Musica
Πριν μια βδομάδα σιγοψιθυρίζαμε το υπέροχο αυτό κομμάτι, γυρνώντας στα σοκάκια της Ρώμης:
Αυτό και πολλά άλλα σημάδεψαν τις σκηνές της σχετικής ταινίας (ταινιάρα). Και διαβάζοντας για πρώτη φορά πριν λίγες μέρες το βιογραφικό του φιλέλληνα μακαρίτη συγκράτησα το εξής: In 1977, he joined the Russian Orthodox Church. Orthodox theology and Orthodox liturgical traditions became a major influence on his work. He was particularly drawn to its mysticism, studying and setting to music the writings of Church Fathers and completing a setting of the Divine Liturgy of St. John Chrysostom, the principal eucharistic liturgy of the Orthodox Church. It had been reported, particularly in the British press, that Tavener left Orthodox Christianity to explore a number of other different religious traditions, including Hinduism and Islam, and became a follower of the mystic philosopher Frithjof Schuon.[4][5] In an interview with the New York Times, conducted by British music journalist Michael White, Tavener said: "I reached a point where everything I wrote was terribly austere and hidebound by the tonal system of the Orthodox Church, and I felt the need, in my music at least, to become more universalist: to take in other colors, other languages." The interview also reports that he "hasn’t abandoned Orthodoxy. He remains devotedly Christian."[6]
Τσίμπα κι αυτό, από την κηδεία της Νταϊάνα, το OST της οποίας να πω την αλήθεια καθόλου δεν είχα προσέξει τότενες:
Κι έναν Σεφέρη:
Και λίγη Belleza ακόμα:
Αυτό και πολλά άλλα σημάδεψαν τις σκηνές της σχετικής ταινίας (ταινιάρα). Και διαβάζοντας για πρώτη φορά πριν λίγες μέρες το βιογραφικό του φιλέλληνα μακαρίτη συγκράτησα το εξής: In 1977, he joined the Russian Orthodox Church. Orthodox theology and Orthodox liturgical traditions became a major influence on his work. He was particularly drawn to its mysticism, studying and setting to music the writings of Church Fathers and completing a setting of the Divine Liturgy of St. John Chrysostom, the principal eucharistic liturgy of the Orthodox Church. It had been reported, particularly in the British press, that Tavener left Orthodox Christianity to explore a number of other different religious traditions, including Hinduism and Islam, and became a follower of the mystic philosopher Frithjof Schuon.[4][5] In an interview with the New York Times, conducted by British music journalist Michael White, Tavener said: "I reached a point where everything I wrote was terribly austere and hidebound by the tonal system of the Orthodox Church, and I felt the need, in my music at least, to become more universalist: to take in other colors, other languages." The interview also reports that he "hasn’t abandoned Orthodoxy. He remains devotedly Christian."[6]
Τσίμπα κι αυτό, από την κηδεία της Νταϊάνα, το OST της οποίας να πω την αλήθεια καθόλου δεν είχα προσέξει τότενες:
Κι έναν Σεφέρη:
Και λίγη Belleza ακόμα:
Monday, 11 November 2013
Sunday, 10 November 2013
Saturday, 9 November 2013
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