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Arne Thorbjoernsen
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BRIAN UNO

Reflection is the twenty-sixth solo studio album by English musician Brian Eno, released on 1 January 2017 on Warp Records. It is a single piece of ambient music produced by Eno that runs for 54 minutes in length. Released on CD, vinyl, and digital download, a generative version of the album is available as an app that changes the music at different times of the day.
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BARBARA STROZZI : Che si puo far ?
Aria a voce sola, op. 8 (1664) (excerpts)

By : "Cappella Mediterranea"
Dir. Leonardo Garcia Alarcon.
Soprano: Mariana Flores.

text :

Che si può fare ?
le stelle rubelle
non hanno pietà
Che si puo fare ?
che s'el cielo non da
un influso di pace
al mio penare ?
che si può fare ?
Che si può dire ?
dagl'astri disastri
mi piovano ogn'hor.
che si può dire,
che le perfido amor
un respiro diniega
al mio martire ?
che si può dire ?
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BARBARA STROZZI

AllMusic : Artist Biography by Joseph Stevenson
Barbara Strozzi was the leading vocal music female composer in the early-Baroque era. Her music is nearly all for a lyric soprano and, though she never wrote an opera, she often wrote solo vocal music that portrays dramatic action effectively.

Her mother was Isabella Garzoni, known as "La Greghetta," a servant of Giulio Strozzi, a poet in Venice, and his designated heir. Strozzi incorporated Barbara into his will under the name Barbara Valle as his sole heir in the event he outlived Garzoni. This makes nearly inevitable the inference that Garzoni was Strozzi's mistress and Barbara was their daughter. In his will Strozzi referred to Barbara as his figliuola elettiva, or adopted daughter. Strozzi brought Barbara up to participate in the intellectual discussion groups known as "academies," a leading feature of Venetian intellectual life. When her musical talent was evident he arranged for the era's leading opera composer, Francesco Cavalli, to become her teacher. She developed an outstanding singing voice. In 1635, the composer Nicolò Fontei published his first volume of Bizzarrie poetiche, dedicated to Barbara Valle, describing her as la virtuosissima cantatrice (the most virtuosic singer).

In 1637, Strozzi founded his own academy, called Accademia degli Unisoni, where Barbara's talents as a singer and an instrumentalist and her beauty were important attractions. She was known for her intellect, learning, and wit, and presided over the meetings, naming the subjects to be debated during the evening. In 1638, the academy published an account of the meetings held by the group during the previous year, under the title Le Veglie de' Signori Unisoni. In it she is named, for the first time, as "Barbara Strozzi," the name under which she issued her publications.

At about this time her portrait was painted by a painter from Genoa named Bernardo Strozzi. A semi-nude showing her in dishabille, it depicts a very attractive young woman with dark chestnut hair and a challenging, even grave, and direct gaze. The original hangs in the Gemäldegalerie in Dresden under the title Female Musician with Viola da Gamba.

Barbara often wrote her music as the result of a challenge by members of the Academy to produce a work on a text they would give her. These were often love poetry with teasing, ironic lyrics. Her use of musical form is very flexible, adapting to the demands of the text, deftly moving between recitative, arioso, and aria in the longer works, such as the cantatas. In 1644, she issued the first of her eight publications, a volume of madrigals on Giulio Strozzi texts, dedicated to the Grand Duchess of Tuscany. She issued a second publication, of cantatas, ariettas, and duets, in 1651. The pace of her publication increased after 1652, when Giulio Strozzi died. The dedications in her further books of vocal music include various royalty, including Emperor Ferdinand II of Austria.

By 1651, she had four children. She never married. It is considered likely that the father of at least three of the children was Giovanni Paolo Vidman, a friend of Giulio. Her last published volume appeared in 1664. In 1665 she is known to have produced a group of songs for Carlo II, Duke of Mantua. Little is known of her life thereafter. The seven surviving volumes of her works (her Opus 4 is lost), containing several dozen works, some with string accompaniment, show her as one of the most accomplished song composers of her time.


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(Tomorrow) 'Ghadan'
Composed and Orchestrated by Suad Bushnaq
From The Storyteller 'Hakawaty' Suite for Orchestra

Conducted by Ghassan Alaboud
Performed Live at Konzerthaus Berlin by the Syrian Expat Philharmonic Orchestra (SEPO)
September 2016

Filmed by Maik Reichert and Stephan Cleef for SEPO

All visual and audio rights reserved for the Syrian Expat Philharmonic Orchestra

© Syrian Expat Philharmonic Orchestra 2016
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DEAD CAN DANCE : Anastasis [full album]

1. Children of the Sun 00:00
2. Anabasis 07:36
3. Agape 14:29
4. Amnesia 21:24
5. Kiko 28:02
6. Opium 36:04
7. Return of the She-King 41:51
8. All in Good Time 49:44

Band: Dead Can Dance
Album: Anastasis
Year: 2012
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DEAD CAN DANCE

Dead Can Dance is an Australian musical project formed in 1981 in Melbourne by Lisa Gerrard and Brendan Perry. The band relocated to London, England, in May 1982. Australian music historian Ian McFarlane described Dead Can Dance's style as "constructed soundscapes of mesmerising grandeur and solemn beauty; African polyrhythms, Gaelic folk, Gregorian chant, Middle Eastern mantras and art rock."

Having disbanded in 1998, they reunited briefly in 2005 for a world tour and reformed in 2011, releasing a new album (Anastasis) and embarking on several tours.

Formation and early years

Dead Can Dance formed in Melbourne, Australia in August 1981 with Paul Erikson on bass guitar, Lisa Gerrard (ex-Microfilm) on vocals, Simon Monroe (Marching Girls) on drums and Brendan Perry (also of Marching Girls) on vocals and guitar. Gerrard and Perry were a domestic couple who met as members of Melbourne's Little band scene. In May 1982, the band left Monroe in Australia and moved to London, England, where they signed with alternative rock label 4AD. With the duo, the initial United Kingdom line-up were Paul Erikson and Peter Ulrich.

The group's debut album, Dead Can Dance, was released in February 1984. The artwork, which depicts a ritual mask from New Guinea, "provide[s] a visual reinterpretation of the meaning of the name Dead Can Dance", set in a faux Greek typeface. The album featured "drum-driven, ambient guitar music with chanting, singing and howling", and fit in with the ethereal wave style of label mates Cocteau Twins. They followed with a four-track extended play, Garden of the Arcane Delights in August. AllMusic described their early work as "as goth as it gets" (despite the group themselves rejecting the label), while the EP saw them "plunging into a wider range of music and style".
For their second album, Spleen and Ideal, the group comprised the core duo of Gerrard and Perry with cello, trombone and tympani added in by session musicians. Released in November 1985, it was co-produced by the duo and John A. Rivers. Raggett describes it as "a consciously medieval European sound [...] like it was recorded in an immense cathedral". The group built a following in Europe, and the album reached No. 2 on the UK indie charts. By 1989, Gerrard and Perry had separated domestically – Gerrard returned to Australia and Perry moved to Ireland – but they still wrote, recorded and performed together as Dead Can Dance.

Wider availability

Dead Can Dance's al­bums were not widely avail­able in the United States until the early 1990s, when 4AD made a dis­tri­b­u­tion deal with Warner Bros. Records. Later, 4AD al­lied it­self with the Beg­gars Ban­quet Records Group, which in­cluded that epony­mous label and XL Record­ings in the US, but the band's record­ings re­mained dis­trib­uted through Warner Bros. Sub­se­quent re­leases, how­ever, were li­censed to Rhino/At­lantic Records, a sis­ter label within Warner Music. Its 1991 com­pi­la­tion A Pas­sage in Time re­mains with 4AD in­de­pen­dently of the Rhino and Warner Bros. deals; it was ini­tially only re­leased in the US.

The duo's sixth stu­dio album, Into the Labyrinth, was is­sued in Sep­tem­ber 1993 and dis­pensed with guest mu­si­cians en­tirely; it sold 500,000 copies world­wide and ap­peared in the Bill­board 200.[10] The band be­came 4AD's high­est-sell­ing act.[1] They fol­lowed with a world tour in 1994 and recorded a live per­for­mance in Cal­i­for­nia which was re­leased as To­ward the Within, with video ver­sions on Laserdisc and VHS (later on DVD). Many un­of­fi­cial bootlegs of con­certs span­ning its ca­reer exist, con­tain­ing sev­eral rare songs that were only per­formed live. To­ward the Within is the duo's first of­fi­cial live album, which reached the Bill­board 200 and was fol­lowed by In Con­cert 19 years later. Ger­rard re­leased her debut solo record­ing, The Mir­ror Pool, and re­united with Perry on the Dead Can Dance stu­dio album Spir­itchaser in 1996. The album also charted on Bill­board 200 and reached No. 1 on the Top World Music Al­bums Chart.

Disbandment and reunions

In 1998, Dead Can Dance planned a fol­low-up to Spir­itchaser, but the band sep­a­rated be­fore it was realized. One song from the record­ing ses­sions, "The Lotus Eaters", was even­tu­ally re­leased on the box set Dead Can Dance (1981-1998) and on the two-disc com­pi­la­tion Wake (2003). Ger­rard teamed with Pieter Bourke (Snog, Soma) to issue Du­al­ity in April 1998. Perry re­leased Eye of the Hunter in Oc­to­ber 1999.

An ensemble are performing on-stage, three musicians are seated at extreme left behind musical instruments. Lisa Gerrard is behind a lectern near mid-stage with a microphone. At the right is Brendan Perry holding a microphone with his left hand. His right hand is alongside his thigh and holding an instrument. The background includes a long stage curtain with another musician seated at rear right, who is obscured behind a keyboard.

Dead Can Dance, 2005: Gerrard at centre right; Perry at extreme right
Dead Can Dance re­united in 2005 and re­leased lim­ited-edi­tion record­ings of thir­teen shows from its Eu­ro­pean tour and eight record­ings from the sub­se­quent North Amer­i­can tour, as well as a com­pi­la­tion ti­tled Se­lec­tions from Eu­rope 2005. These con­certs were recorded and re­leased on The Show record label.

On 28 March 2010, in an in­ter­view for Bul­garia's Katehizis.​com on­line music mag­a­zine, Perry re­vealed the pos­si­bil­ity of a fu­ture Dead Can Dance reunion:

"Yes, I've been talk­ing about it with Lisa [Ger­rard]. Maybe in the end of next year we'll start work again. We've been talk­ing about doing some­thing like tak­ing a small cham­ber or­ches­tra – 10 or 15 peo­ple – and tour with them. And we have to write songs. We have to write new ma­te­r­ial – to­tally new – so the whole, en­tire set will be a new album. Then we'll go into the stu­dio after the tour, record, pro­duce and re­lease a record as well."

This was con­firmed in Bren­dan Perry's of­fi­cial web forum on 12 May 2011:

"I have been talk­ing with Lisa Ger­rard this past week with re­gard to record­ing a new DCD album this com­ing win­ter. We hope to com­plete the album by the sum­mer of 2012 and then em­bark on an ex­ten­sive two month world tour in late 2012." The band made a for­mal an­nounce­ment about its world tour and new album, Anas­ta­sis, for a re­lease date of 13 August.

On 30 Sep­tem­ber 2011, Dead Can Dance an­nounced the re­lease of a four track EP en­ti­tled Live Hap­pen­ings – Part 1 avail­able for free down­load from their web­site. Since De­cem­ber, the EP Live Hap­pen­ings – Part 2 re­placed the first EP. Both EPs con­tain songs from their 2005 Tour. Since Jan­u­ary 31, 2012, the EP avail­able was Live Hap­pen­ings – Part 3, to be re­placed by Live Hap­pen­ings – Part IV on March 20, 2012.

In late 2011, the band an­nounced a re­union World Tour, in­clud­ing 12 US cities, to be ac­com­pa­nied by the re­lease of a new album on a new label. The tour was sched­uled to begin 9 Au­gust 2012 in Canada and con­tinue through 19 Sep­tem­ber 2012 in Turkey, 21 and 23 Sep­tem­ber in Greece, 13 Oc­to­ber in Rus­sia, then 28 Oc­to­ber 2012 in Ire­land, then Mex­ico and South Amer­ica and then in Lebanon and fi­nally Aus­tralia in Feb­ru­ary 2013. On No­vem­ber 15, 2012 it was an­nounced that the band would be re­turn­ing to Eu­rope to con­tinue its tour, start­ing May 28, 2013 in Por­tu­gal. The final show of the Anas­ta­sis World Tour was in San­ti­ago, Chile, on July 13, 2013.

On Sep­tem­ber 8, 2015, the band an­nounced the sale of Bren­dan Perry's Quivvy Church Studio.[17] When asked what this de­ci­sion meant for the fu­ture of Dead Can Dance, Perry re­sponded on the band's of­fi­cial Face­book page that the band has re­lo­cated to France and that they are in the process of fab­ri­cat­ing a new record­ing and re­hearsal studio.

Source - Wikipedia :
https://en.wiki2.org/wiki/Dead_Can_Dance
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BARBARA STROZZI (1619-1665) : Che si può fare.

Raquel Andueza, soprano.
Jesús Fernández Baena, tiorba.
Imágenes: Edward Hopper (1882-1967)
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BARBARA STROZZI (1619-1677) : Sino alla morte

Cantata per soprano e basso continuo.

Roberta Invernizzi, soprano
Bizzarrie Armoniche
Elena Russo, violoncello e direzione
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Catch up on the best jazz releases of the last 30 days.
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Syrian Expat Philharmonic Orchestra (SEPO)

The Syrian Expat Philharmonic Orchestra (SEPO) is the first Symphony Orchestra for the Syrian professional and academic musicians who live in European Union countries and diaspora as a ''Syrian Exile Orchestra''. Founded in September 2015 in Germany, trying the best to collect the Syrian musicians together whatever ideological differences to trying save the Syrian music faced with the big cultural and civilizational destruction in Syria now, this is what we can do at this phase, unite our efforts to make a great music and something beautiful in this life.

SEPO performs the symphonic works by the Syrian composers beside the classical music, SEPO is also interested to perform the Syrian, Arabic, oriental heritage music in symphonic forms along with the contemporary music.

SEPO includes all the orchestral instruments: string, woodwind, brass and percussion. In addition to the Syrian oriental traditional instruments sometimes. The SEPO members are about 70 musicians.

The founder of SEPO is the Syrian musician ''Raed Jazbeh'', he lives in Germany since 2013.

Concerts of SEPO were in Berlin, Bremen, Hitzacker (Germany), Bern (Switzerland), and soon in Sweden. It's worth to mention that the Damascus String Quintet of SEPO represented it in several of international forums, political, economic, cultural events and conferences in Berlin, Hannover, Essen, Wiesbaden, Mainz, Koblenz, Hamburg and Brussels (Belgium). most notably: Berlinale (Berlin International Film Festival), Sankt Goar International Music Festival, 5th European History Forum and European Commission, European Economic and Social Committee (EESC).

Emerged from SEPO two music groups: ''Chamber Ensemble'' & ''Damascus String Quintet'' which represent SEPO.
The Syrian Expat Philharmonic Orchestra (SEPO) is the first Symphony Orchestra for the Syrian professional and academic musicians who live in European Union countries and diaspora as a ''Syrian Exile Orchestra''
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DEAD CAN DANCE : Persephone

Dead Can Dance - Persephone (The Gathering of Flowers)
Album: Within the Realm of a Dying Sun (1987)
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sTOA : Stoa
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5259 Bergen, Norway
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Haukedalen, Norway - Kristiansand, Norway - Storslett, Norway - Floroe, Norway - Porsangermoen, Norway
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