Fechando a tríade do Musea Records relativo ao trabalho de Dante aqui está o que acho todos buscam, a saída do purgatório para o Paraíso.
Mas tenho uma histórinha com este post e creia quem quiser.
Qdo baixei com indicação do RicardoLDR como já disse vieram 02 álbuns e faltava um deles que encontramos e ficou tudo certo; como não sou de preparar posts mesmo vou fazendo na hora como este prq gosto de me obrigar a fazer e não ficar colecionando posts por obrigação de colocá-los na vitrine, isso aqui não é loja!!!!
Qdo fui buscar este não o encontrei simplesmente.....é isso havia sumido do pc e tb do dvd de back up que fiz, simplesmente tinha outro trabalho que não o que baixei e sei que baixei prq confiro tudo que baixo e ouço tb, por exemplo, ng que baixou o primeiro disco e foram mais de 100 sequer reclamou que a faixa 08 do disco 02 está em branco.
Foi um defeito que não achei ainda a matriz original (eu acho sempre a cópia do original pra evitar problemas, sou assim e pronto) mas vou achar e postar só esta musica que vai ficar faltando, ou seja os vários amantes da música ainda nem tiveram tempo de ouvir ou não tiveram saco de reclamar prq pra reclamar é rapidinho,rs
Já tem gente reclamando que o fileserve não libera o disco II sendo que tem mais de 80 downs só do primeiro dia, então não pensei que vou pegar mais de 500 mbs e mudar de host prq não vou,rs (mas já repostei no mandamais).
Bem é assim que fecho minha participação com a Divina Comédia de Dante, entrando no inferno, passando pelo purgatório e chegando ao Paraíso (pelo menos no post) e garanto que notei uma infinidade de posts brotando relativo a este trabalho, sem nenhuma referência, só a capa e as músicas, mas já é alguma coisa e explico: tenho um analisador de palavras que me mostra a intensidade delas na blogosfera e subiu sim muito depois de postado aqui, coisa de 10 para 100 blogs, amém pra os que amam a música de verdade.
E o mistério continua, tenho certeza que o Poucodoido vai me dizer do bichinho que tá comendo mp3 (rs, os dele tão sumindo e ele me veio com essa, ai meu pai) só que o bichinho que comeu aqui deixou outro disco,rs...é mexer com céu e inferno não é fácil só não vê quem não quer....
The Divine Comedy is composed of 14,233 lines that are divided into three canticas (Ital. pl. cantiche) — Inferno (Hell), Purgatorio (Purgatory), and Paradiso (Paradise) — each consisting of 33 cantos (Ital. pl. canti). An initial canto serves as an introduction to the poem and is generally considered to be part of the first cantica, bringing the total number of cantos to 100. The number three is prominent in the work, represented here by the length of each cantica. The verse scheme used, terza rima, is hendecasyllabic (lines of eleven syllables), with the lines composing tercets according to the rhyme scheme aba, bcb, cdc, ded, ....
The poem is written in the first person, and tells of Dante's journey through the three realms of the dead, lasting from the night before Good Friday to the Wednesday after Easter in the spring of 1300. The Roman poet Virgil guides him through Hell and Purgatory; Beatrice, Dante's ideal woman, guides him through Heaven. Beatrice was a Florentine woman whom he had met in childhood and admired from afar in the mode of the then-fashionable courtly love tradition which is highlighted in Dante's earlier work La Vita Nuova.
In central Italy's political struggle between Guelphs and Ghibellines, Dante was part of the Guelphs, who in general favored the Papacy over the Holy Roman Emperor. Florence's Guelphs split into factions around 1300, the White Guelphs, and the Black Guelphs. Dante was among the White Guelphs who were exiled in 1302 by the Lord-Mayor Cante de' Gabrielli di Gubbio, after troops under Charles of Valois entered the city, at the request of Pope Boniface VIII, who supported the Black Guelphs. This exile, which lasted the rest of Dante's life, shows its influence in many parts of the Comedy, from prophecies of Dante's exile to Dante's views of politics to the eternal damnation of some of his opponents.[citation needed]
In Hell and Purgatory, Dante shares in the sin and the penitence respectively. The last word in each of the three parts of the Divine Comedy is stelle, "stars."
Inferno
Main article: Inferno (Dante)
The poem begins on the night before Good Friday in the year 1300, "halfway along our life's path" (Nel mezzo del cammin di nostra vita). Dante is thirty-five years old, half of the biblical life expectancy of 70 (Psalms 90:10), lost in a dark wood (understood as sin, assailed by beasts (a lion, a leopard, and a she-wolf) he cannot evade, and unable to find the "straight way" (diritta via) - also translatable as "right way" - to salvation (symbolized by the sun behind the mountain). Conscious that he is ruining himself and that he is falling into a "deep place" (basso loco) where the sun is silent ('l sol tace), Dante is at last rescued by Virgil, and the two of them begin their journey to the underworld. Each sin's punishment in Inferno is a contrapasso, a symbolic instance of poetic justice; for example, fortune-tellers have to walk with their heads on backwards, unable to see what is ahead, because that was what they had tried to do in life:
"they had their faces twisted toward their haunches
and found it necessary to walk backward,
because they could not see ahead of them.
…and since he wanted so to see ahead,
he looks behind and walks a backward path.
Allegorically, the Inferno represents the Christian soul seeing sin for what it really is, and the three beasts represent three types of sin: the self-indulgent, the violent, and the malicious. These three types of sin also provide the three main divisions of Dante's Hell: Upper Hell (the first 5 Circles) for the self-indulgent sins; Circles 6 and 7 for the violent sins; and Circles 8 and 9 for the malicious sins.
Dante gazes at Mount Purgatory in an allegorical portrait by Agnolo Bronzino, painted circa 1530
Purgatorio
Main article: Purgatorio
Having survived the depths of Hell, Dante and Virgil ascend out of the undergloom, to the Mountain of Purgatory on the far side of the world. The Mountain is on an island, the only land in the Southern Hemisphere, created by the displacement of rock which resulted when Satan's fall created Hell (which Dante portrays as existing underneath Jerusalem). The mountain has seven terraces, corresponding to the seven deadly sins or "seven roots of sinfulness." The classification of sin here is more psychological than that of the Inferno, being based on motives, rather than actions. It is also drawn primarily from Christian theology, rather than from classical sources. However, Dante's illustrative examples of sin and virtue draw on classical sources as well as on the Bible and on contemporary events.
Allegorically, the Purgatorio represents the Christian life. Christian souls arrive escorted by an angel, singing in exitu Israel de Aegypto. In his Letter to Cangrande, Dante explains that this reference to Israel leaving Egypt refers both to the redemption of Christ and to "the conversion of the soul from the sorrow and misery of sin to the state of grace." Appropriately, therefore, it is Easter Sunday when Dante and Virgil arrive.
The Purgatorio is notable for demonstrating the medieval knowledge of a spherical Earth. During the poem, Dante discusses the different stars visible in the southern hemisphere, the altered position of the sun, and the various timezones of the Earth. At this stage it is, Dante says, sunset at Jerusalem, midnight on the River Ganges, and sunrise in Purgatory.
Paradiso
Main article: Paradiso (Dante)
After an initial ascension, Beatrice guides Dante through the nine celestial spheres of Heaven. These are concentric and spherical, as in Aristotelian and Ptolemaic cosmology. While the structures of the Inferno and Purgatorio were based on different classifications of sin, the structure of the Paradiso is based on the four cardinal virtues and the three theological virtues.
Dante meets and converses with several great saints of the Church, including Thomas Aquinas, St Bonaventure, St Peter, and St John. The Paradiso is consequently more theological in nature than the Inferno and the Purgatorio. However, Dante admits the vision of heaven he receives is the one that his human eyes permit him to see, and the vision of heaven found in the Cantos is Dante's own personal one.
The Divine Comedy finishes with Dante seeing the Triune God. In a flash of understanding, which he cannot express, Dante finally understands the mystery of Christ's divinity and humanity, and his soul becomes aligned with God's love:
"But already my desire and my will
were being turned like a wheel, all at one speed,
by the Love which moves the sun and the other stars."
Dante's personal involvement
In his allegorical description of sin (in the Inferno) and virtue (in the Purgatorio and Paradiso), Dante draws on real characters from ancient Greek and Roman myths and history, and from his own times. However, his own actions often also illustrate the concepts he is discussing. For example, Dante shares the fleshly sins of the damned at several points in the upper circles of Hell. At the first circle where the virtuous pagans who pursued honor above all else are punished by eternally knowing they have fallen short for their lack of faith, Dante shares with them their love of honor, as evidenced by the word “honor” being used repeatedly in the Canto. Similarly, at the third circle where Ciacco and other gluttons are punished for their appetites, Dante’s appetite for political information about his fellow Florentines appears equally gluttonous:
"And I to him: I wish thee still to teach me,
And make a gift to me of further speech.
Farinata and Tegghiaio, once so worthy,
Jacopo Rusticucci, Arrigo, and Mosca,
And others who on good deeds set their thoughts,
Say where they are, and cause that I may know them;
For great desire constraineth me to learn
If Heaven doth sweeten them, or Hell envenom."
Conversely, in the Purgatorio, after leaving the terrace of the proud, Dante has learned from the example set by Omberto and suppresses his own pride, declining to speak of his achievements:
"And I: Through midst of Tuscany there wanders
A streamlet that is born in Falterona,
And not a hundred miles of course suffice it;
From thereupon do I this body bring.
To tell you who I am were speech in vain,
Because my name as yet makes no great noise
TRACKLIST:
CD1:
01 – Kbridge – Canto XVIII
02 – Simon Says – The Needle’s Eye
03 – Colossus Project – In the Eye of the Eagle
04 – Ozone Player – Canto 21
05 – Jinetes Negros – A li occhi belli
06 – Blank Manuscript – Living Star
07 – Nemo – Sans Voix
08 – Daal – Static Stars
09 – Matthijs Herder – Sacratus
CD2:
01 – Posto Blocco 19 – L’Ultima Acqua
02 – Oracle – Kings of the Future Past
03 – Faveravola – Del Francescano Sole
04 – Armalite – Il Cerchio, la Luce e la Virtu
05 – Groovector – Houkutja Kuninkaat
06 – Roz Vitalis – Canto XIV
07 – De Rossi & Bordini – Dentro la Cerchia Antica
08 – Echoes – Nel Cerchio di Luce
09 – Jaime Rosas – Cruz del Sur
CD3:
01 – Kbridge – Canto XVIII
02 – Simon Says – The Needle’s Eye
03 – Colossus Project – In the Eye of the Eagle
04 – Ozone Player – Canto 21
05 – Jinetes Negros – A li occhi belli
06 – Blank Manuscript – Living Star
07 – Nemo – Sans Voix
08 – Daal – Static Stars
09 – Matthijs Herder – Sacratus
CD4:
01 – Mist Seasons – Defending Hands
02 – Kotebel – Canto XXVIII
03 – Tabula Smaragdina – Angyal
04 – Raimundo Rodulfo – El Sol de Sus Ojos
05 – Flamborough Head – Labyrinth of Light
06 – Lady Lake – Miserere Mei
07 – Yesterdays – 33
08 – Marco Lo Muscio – Outro – Towards the Stars
09 – Atlantis001 – Conclave Deorum
Part 01
Part 02
Enjoy!!!!!!!!!! 02/06/13
Trouxe o velho mago de volta aos confins da nossa alcatéia e cada vez mais ele parece fazer tipo de enfado mas nunca para e nunca vai parar.
PETE YORK – drums
MILLER ANDERSON – guitar and vocals
MAGGIE BELL – vocals,
COLIN HODGKINSON – bass
ZOOT MONEY – keyboards
Line-up:
Management: Tarquin Gotch, Serious Comedy, 25 Rathbone Street, London W1T 1NQ, England
The recording was released in July 2011 by MFP Concerts Music Productions. The show was recorded live at Rottweil Jazzfestival on May 14, 2011 and features classic blues songs written by Willie Dixon and Robert Johnson as well as more contemporary compositions by Deep Purple, Free and Tom Waits. It's a merchandise recording, sold at Blues Project gigs. Mixed and mastered by Tom Mullerat Flatliners Studio Ingolstadt, Germany[citation needed]
Tracklist:
