Δευτέρα, 30 Ιουλίου 2012

Maria Callas, interview. 4 of 4

Maria Callas, interview. 3 of 4

Maria Callas, interview. 2 of 4

Sorry Part 2 only here : http://youtu.be/s6cpdN5pjV8

Maria Callas, interview. 1 of 4

Sorry Part 1 only here : http://youtu.be/yM78P3wtqII

Mozart - Requiem Tribute


The Requiem Mass in D minor (K. 626) by Wolfgang Amadeus Mozart was composed in Vienna in 1791 and left unfinished at the composer's death on December 5. A completion by Franz Xaver Süssmayr was delivered to Count Franz von Walsegg, who had anonymously commissioned the piece for a requiem Mass to commemorate the February 14 anniversary of his wife's death.

It is one of the most enigmatic pieces of music ever composed, mostly because of the myths and controversies surrounding it, especially around how much of the piece was completed by Mozart before his death. The autograph manuscript shows the finished and orchestrated introit in Mozart's hand, as well as detailed drafts of the Kyrie and the sequence Dies Irae as far as the first nine bars of "Lacrimosa", and the offertory. It cannot be shown to what extent Süssmayr may have depended on now lost "scraps of paper" for the remainder; he later claimed the Sanctus and Agnus Dei as his own. Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works. This plan was frustrated by a public benefit performance for Mozart's widow Constanze. A modern contribution to the mythology is Peter Shaffer's 1979 play Amadeus, in which the mysterious messenger with the commission is the masked Antonio Salieri who intends to claim authorship for himself.

The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor & bass), timpani (2 drums), violins, viola and basso continuo (cello, double bass, and organ). The vocal forces include soprano, contralto, tenor, and bass soloists and a SATB mixed choir.

http://en.wikipedia.org/wiki/Requiem_%28Mozart%29

Mozart - Requiem (Herreweghe)

Mozart - Requiem (Colin Davis)

Mozart - Requiem (Gardiner)

Mozart - Requiem (Claudio Abbado)

Mozart - Requiem (George Solti)

Mozart - Requiem (Karajan)

Mozart - Requiem (Karl Bohm)

The Philadelphia Experiment 2012 TVRip

Πέμπτη, 26 Ιουλίου 2012

A. Gadal - On The Path To The Holy Grail (Rozekruis Pers)


A. Gadal - On The Path To The Holy Grail
The ancient Cathar Mysteries

In this book, the last patriarch of the Preceding Brotherhood describes the path of initiation as it was walked by the novices of the ancient Cathar Brotherhood, after they had withdrawn into the sanctuaries of Ussat-Ornolac in the valley of the Ariège.
By ‘On the path to the Holy Grail’ and [later] ‘the way of the stars,’ the Cathar Brotherhood indicated the one path of life, the return to the original state of life, the Divine-human state of the beginning, via the evangelical rebirth of water and the spirit.
The reader of this book will not experience any problem recognising in it the gnostic message of salvation of all ages, as it is propagated again in our time by the International Spiritual School of the Golden Rosycross, Lectorium Rosicrucianum.

XII

‘I saw the Spirit descend as a dove from Heaven, and it remained on Him.    I myself did not Him, but He who sent me to baptize with water said to me: "He on whom you see the Spirit descend and remain, this is he who baptizes with the Holy Spirit.’ - John the Baptist [John 1:32,33]

Above the Églises of Ussat and the Cave of Ornolac, known as the Hermit, at a short distance from both of them, is a small, separate cave looking out over the valley and the lake of the Ariège, which is very well suited for long meditations.

This place had been chosen for the retreat and fasting to which the future Parfait was subjected before ‘his death as to matter’: the caterpillar was becoming a pupa.
It was a carefully selected place, simultaneously agreeable and austere, truly an ideal place to experience, with inner equilibrium, the crisis and the beholding of the Truth, which all prophets, all initiators and all initiates have known, before being returned to the material world to accomplish their Mission.

The Patriarch took Matthew to his new, temporary abode.
The cave had been equipped for its purpose: it was exposed to the sun during the day, a bed of leaves had been spread on the floor out of the draught, a large flat stone in the middle served as a table, and another stone served as a seat.

Acacias and terebinths covered the entrance, giving it a green appearance at all times.
‘Here is your place of retreat, my son. Make good use of the coming days; reflect on everything we have been allowed to teach you; finish the process of the maturation of the fruit that will soon appear to be very sweet, because you will then be worthy to eat of it to your heart’s content.’
The Patriarch returned to his numerous activities.
When Matthew had finished his first prayer, he looked out over the countryside from the entrance of his retreat.

From this high vantage point, he could see the whole valley and the lake, which appeared very small to him, and the mountain on the opposite shore, the rocks of which seemed to dissolve into its flanks.   
According to his commendable habit, he quickly moved his thoughts to the most distant times:
He considered how, according to the testimony of the Ancients, natural rock temples already existed in Central Asia at that time.

He thought of  the Mysteries of the Atlantean period;
of the Sun and Moon gods rising up from the mountains;
of the stones, caverns, alignments and Mystery places of the ancient Celts;
of the Cavern full of flowers and springs dedicated to the Creator;
of the general custom to use caves, crevices and craggy mountain formations for the Mysteries.
  
He fully understood that the most ancient Worship took place in natural or man-made caves, because they are utterly suitable for an encounter with the Almighty Creative Essence.   
How beautiful and how beloved the Églises, his Églises, appeared to him!

The days of the retreat, which could have seemed long, seemed short to Matthew, due to his continuous state of ecstasy.
His eyes did not see. His soul, partly free from the physical body, continued its purification and regeneration.
It became beautiful and radiant. It increasingly withdrew from the earthly atmosphere.
Gradually, the Parfait discarded his animal body and built his soul body:
the work of the caterpillar forming the pupa.
However, it appeared to him that something was missing.
But what?
He did not know.

One day, a flight of birds swept down into the valley from the high mountains.   
Contrary to his habits, Matthew attentively followed their flight and tried to recognize the species.
Suddenly, while the birds followed the meanders of the valley, one bird separated itself from the others and headed for the Cave of Retreat, the Cave of the Acacia.

This struck Matthew at once and he did not lose sight of the bird that approached him without haste, in a smooth and regular flight.
‘O, a dove!’ he said to himself.
This word confused him so much that he fell to his knees, while keeping his eyes on the symbolic animal.
‘The dove!... The dove!...’
It was as if a total change had come over him.
An inner rapture overwhelmed him.

With inner vision he saw the dove coming into the cave and descending onto his head for a moment. Then it flew away as graciously as it had come. It followed the valley and vanished on the horizon.
What a sublime spectacle!
He came to his senses again and cried in ecstasy.
‘The dove!... The Paraclete!...
O Christ, I thank you!...
My God, hallowed be Your Name!...’

From that day on, Matthew showed an even greater ability to master himself. His self-examination widened the circle within which the knowledge of his Brothers was usually contained.
A new faculty was added to his consciousness. It permitted him to proceed resolutely to a higher degree of Initiation.
In this period of solitude in which he found himself, he did not neglect to roam on spiritual heights scarcely known to him yet.
Thus he achieved clear insight concerning the profound historical roots of what he had been taught.

‘The Soul that is purified by the Light enters the domains of the Living Water.
On this Living Water, the luminous Ship of the Moon sails.
In order to enter the heavenly realms, the Soul must embark on this luminous Ship of the Moon.
And then, another Light Ship, the Sun, will continue further, ever further, into the Fire of Life.
Then the Soul has returned to its origin, to the Kingdom of Light, to Paradise.’

Then everything he had not yet understood became clear to Matthew: in a drawing that a Brother of the Temple of the Spirit had drawn on the wall of the Cave he saw:
A barque on an ocean of purified souls; and in the middle of the boat stands an iesmonresch held by a strong hand, with an Eagle on the left and a Christ monogram on the right.
It represents the Christ Column, the Light-Ship of the Sun. It is the Earth that, thanks be to God, has been saved by the Resurrection.
The Eagle of the Divine Spirit, the Tree of Life, the Barque of Isis, the Light Column, all these pictures, roughly drawn with a few lines, but with a strong hand and enlightened insight, were consciously absorbed as to the profound meaning the Ancients had expressed in them.

He realized how great the value of the total Heritage was, a Heritage of which he had become a participant, a Heritage linking him with the Atlanteans, Hindus, Persians, Babylonians, and Egyptians.   Sitting at the entrance to the cave in the evening, lifting his eyes to the starry sky, he undoubtedly found there the Christ Demiourgos, whose Heavenly Power has wrought Creation.

Above all he liked to contemplate the life of Mary Magdalene: how she had reached Provence, and had settled with the Taruscs on the Rhône, the brothers of the Taruscs of the Sabarthez, from whom Matthew was a worthy descendant.
A mystery was hidden in all of this that he would like to have solved.
More or less automatically his thoughts turned to the Golden Chalice of Jesus, and subsequently he could no longer imagine the Holy Chalice apart from Mary.
Then he could imagine the successive events:
Mary, who was present when Salome presented John the Baptist’s head to Herodias, cried loudly: O, Mystery of all Mysteries!  For the eyes that had been closed until then, opened wide and looked at her.

Mary, who after having returned to her room, shook her robe and ... shuddered at the sight of the drops of John’s blood falling on the fabric.
Mary, who was urged to go to Magdala by an unknown force and thence ask Herod’s permission to return home.
Mary, who was glad to be back home and see beautiful Galilee again, where she could forget her past life and licentiousness. Mary, who was accompanied by the mysterious Egyptian Ahmosi, who supported her when she fainted on hearing the first stroke of the hammer drive the first nail home.    Mary, who for a long time stood with a bowed head and pale-faced before Mary, the Mother of Christ.

Mary, who knelt down when she heard Christ’s divine words:
`Father, forgive them; for they know not what they do.'
Mary, who softly spoke to her brothers: `Come, let us go from here!... We have no longer the right to be here.'

Mary, who anointed her Lord with true, precious oil of nardus, and who wiped his feet with her hair, as was told by John the well-beloved Apostle.
John continues: `But standing by the cross of Jesus were his mother, and his mother’s sister, Mary, the wife of Cleopas, and Mary Magdalene.'
When Jesus saw his mother and the disciple whom he loved standing near, he said to his mother:    ‘Woman, behold, your son!’
Then he said to the disciple:
‘Behold, your mother!’

In this Matthew recognised a divine Command:
‘Mary is the mother of the Church of Jesus, of the Church of the Spirit.
John, the son of Mother Mary of the Church of the Spirit, became the Head of this Church;
and Mary Magdalene…?’

‘…But one of the soldiers pierced his side with a spear, and at once there came out blood and water.’    Mary was still there, with a cup in her hand; and her tears fell on the feet of Christ, and she wiped them off with her hair as if she wanted to anoint the divine Body.
‘Yes!...Yes!...The Cup!... The Blood of Christ!...Mary!...’
That was the meaning of the long look Jesus had given her, after having entrusted John with his Mission. This was the Mission that Mary had received from Jesus Christ.
John and Mary Magdalene both had understood their Mission:
The first one: to take care of the Church of the Spirit;
the second one: to keep and serve the Chalice, the Holy Grail.
Then the events followed one another quickly.

Mary Magdalene, was brought to Rome on a ship of Ahmosi along with Martha, Trophimus and Maximinus; then to Massilia on the banks of the Rhodanus (Rhône), with the Taruscs, in the region of Tiberias, along with these brothers of the Taruscs of the Sabarthez...
Mary settled in a mountain cave, just as her Master had done, and worked so hard and well on her task in Gaul that people from the Rhine to the Pyrenees came to look for the Holy Balm. This caused the Via Aurelia to be crowded with pilgrims and envoys of the tribes.
In the meantime, the last High Priest, the Great Adept of Thebes, had left Mary and her retinue in Rome. Ahmosi had returned to Egypt to die there with the last Hierophants of Hermes.
‘O Egypt! O Egypt!’
At this moment Matthew saw, just as Ahmosi had seen, the eternal Hope, the God of Love!

One evening, the Patriarch came to announce that the end of his sojourn in the Cave of the Acacia had come. His retreat would now be concluded in Keplèr!
Matthew followed the Master along the Path to Bethlehem!

About : Antonin Gadal
http://www.gadal-catharisme.org/
http://www.goldenrosycross.org.au/authors/authors_AGadal.htm

Buy : http://www.amazon.com/Path-Grail-The-Ancient-Cathar-Mysteries/dp/9067322857

Translated from Dutch Op weg naar de Heilige Graal
Original title: Sur le chemin du Saint-Graal
International School of the Golden Rosycross 
Lectorium Rosicrucianum Bakenessergracht 11-15
2011 JS Haarlem, The Netherlands


Δευτέρα, 23 Ιουλίου 2012

Mahler - Das Lied von der Erde (RCO Oct. 4, 1939)






This is a valuable multiple-CD set, the first of a projected series of six each of which will contain "selected recordings" of the Concertgebouw Orchestra from Dutch radio archives. This set covers 1935-1950; the final five sets will each cover a decade beginning with 1950. No release date has been announced for these. Repertory is selected by Daniël Esser, a member of the Orchestra, and Lodewijk Collette, Producer for Radio Netherlands Music. Their choices generally are admirable although one wonders why the decision was made to include a number of performances already available from other sources, and two that are commercial recordings (Karajan's Don Juan, Kleiber's Beethoven Fifth). 

This first album is an important document with famous guest conductors and soloists, along with performances by names long associated with the Orchestra, Willem Mengelberg and Eduard van Beinum each already represented in Radio Nederland- produced multiple-CD sets (as is Bernard Haitink who doubtless will figure prominently in later albums in this series. Most of the recordings are from live concerts although a few are "studio recordings" made in Hilversum and other locations.

CD 4
Mahler - Das Lied von der Erde

CD 4 is devoted to the memorable performance of Mahler's Das Lied von der Erde given Oct. 4, 1939. It's pointed out that the first complete Concertgebouw performance took place Oct. 2, 1913 with Mengelberg on the podium. The music had been scheduled for the previous April 24 as part of a concert celebrating the 25th Anniversary of the Orchestra, but the tenor didn't show up (!) so only three movements were performed. Mengelberg was to conduct the Oct. 4, 1939 performance but was indisposed so Carl Schuricht was chosen. As he worked in Wiesbaden, Germany, he had been obliged, before accepting the invitation to conduct a work by a Jewish composer, to ask permission from Berlin authorities. 

Reviews were mixed, but details are given of the "ominous" incident that occurred in the final movement. 
"A few bars before "Er stieg vom Pferd" a lady rose from the front rows, passed before the stage and, close to the conductor, cried: "Deutschland über alles, Herr Schuricht!"....to the dismay of many radio listeners, noted De Telegraff, as well as members of the audience. The lady in question then left the concert hall. 
The newspapers leave us in the dark as to her motive. Soon after the German invasion on May 10, 1940, Amsterdam's flourishing Mahler tradition came to a temporary halt." This dramatic performance has been issued several times before on CD.

http://www.concertgebouworkest.nl/
http://en.wikipedia.org/wiki/Royal_Concertgebouw_Orchestra

Link :

Σάββατο, 21 Ιουλίου 2012

Μια απλή προσευχή - A simple prayer


Μακάριος είναι ο Κύριος που δίνη ζωή σε όλη την πλάση.

Η Αγάπη του μέσα από το Φως του μας αγγίζει προαιώνια.

Πιο βαθιά και καθάρια, πιο ισχυρά και θεραπευτικά από ποτέ πριν.

Είναι ο καιρός της συλλογής των Ευγενών Ψυχών.

Το Φως της Αγάπης Του μας προσκαλεί σε νέα ζωή.
Εξαλείφοντας το σκοτάδι, μας αναδημιουργεί.

Μέσα από αυτόν τον αδιάκοπο πόνο
την αμέτρητη αδικία και φόβο
την καταστροφική μανία της βίας
την εκμετάλλευση, την ματαιοδοξία
ας μην σκληρύνει η καρδιά μας άλλο
ας ανοιχθεί στην δόξα της Αγάπης Του.

Ώστε ο καθένας από εμάς να μπορέσει να προφέρει εντός του
αλλά και σε όλους τους αδερφούς του τριγύρω 

' Είναι τα δάκρυα μου που σε κάλεσαν κοντά μου Κύριε
και η τρεμάμενη ψυχή μου που σε αναζητεί
άγγιξε με τώρα και χάρισε μου αυτό το Φως
που θα αναζωογονήσει την ύπαρξη μου
σε έναν αναγεννημένο άνθρωπο
που η καρδιά του δεν θα ακτινοβολεί 
παρά μονάχα την Αγάπη Σου. '

Έτσι το Φως σου θα ακτινοβολεί εντός μου ,
αλλά θα ακτινοβολεί και έξω από εμένα
διαλύοντας αυτό το πυκνό σκοτάδι που μας κρατά 
όλους φυλακισμένους.

Μέσα από αυτό το Φως και την αμέτρητη Αγάπη Σου
βαδίζω τον δρόμο της θυσίας του Σταυρού.

Χέρι με χέρι με αμέτρητους αδερφούς και αδερφές
ατενίζω τον νέο Ουρανό και την Νέα Γη

Όλα τα παλαιά παρήλθαν, Αμήν

Movies on line and TV shows

If you stay in side and want to pass time see this...

http://www.solarmovie.eu/

Free TV channels & Sports

A good site for explore TV channels etc.

http://www.vipbox.tv/sports/tv-box.html

Παρασκευή, 20 Ιουλίου 2012

From C to T Relax files (compilation)

From C to T Relax files

Classical music for relax your mind and soul carefully compiled from G.J.P.


01. Cesar Franck - Les Plaintes d'une poupee
02. Chopin - Nocturne In G Minor, Op. 37-1
03. Clementi -  Piano Sonata in F major, Op.23 n.2 - II. Adagio
04. Domenico Cimarosa - Cembalo sonata Nr.5 g-moll Andantino
05. Handel -  Concerto in B flat maj op 7 no 1 - III. Largo e piano
06. Haydn - Sonata in C minor, Hob. XVI- 20 - II. Andante con moto
07. Hummel - Adagio and Rondo alla Polacca - I. Adagio Con Moto
08. Marin Marais - Suite en Sol Mineur I. Prelude, V.63
09. Max Reger - Piano Concerto in F minor, Op. 114  II. Largo con gran espressione
10. Mendelssohn -  Sextuor En Rι Majeur, Opus 110 -  II. Adagio
11. Purcell -  Suite No.7 in D minor, Z.668 - II. Almand, very slow. 'Bell-barr'
12. Saint Saens - Violin Concerto No. 3 - II. Andantino quasi Allegretto
13. Salieri - Piano Concerto in B flat - II. Adagio
14. Schubert - Klaviersonate Nr.20 A-dur D.959 - II. Andantino
15. Telemann - Flute Quartet in G major,TWV 43 G10 - II. Andante

Τετάρτη, 18 Ιουλίου 2012

Jacob Boehme - Of the Election of Grace


Jacob Boehme - Of the Election of Grace

A timeless text, dealing with the issue of God's Grace, exhorting the reader to re-orient him- or herself towards the spiritual Light within (a.k.a. Repentance).
How man may attain divine skill and knowledge. Will of God; new birth in Christ.

 Content :

CHAP. I

What the One only God is.

CHAP. II

Concerning the Origin of God's Eternal Speaking Word; and of the Manifestation or Revelation of the Divine Power, also concerning Nature and Property, or particular Individuality of Things.

CHAP III.

Of the introducing of the fiery Science, or Root into Forms or Qualities, and Dispositions, to the producing of Nature, and to the producing of Being, Essence, or Substance: How the Science or Root brings itself into Fire, how all this is to be understood, and how Multiplicity arises; the Gates of the Great Mystery of all hidden Secrets.

CHAP IV.

Of the Origin of the Creation.

CHAP V.

Of the Origin of Man.

CHAP VI.

Of the Fall of Man and of his Wife.

CHAP. VII.

Of the beastial Manifestation in Man: How Adam and Eve's Eyes were opened; and how this is to be understood in the Ground of it.

CHAP. VIII.

Of the Sayings of Scripture, how they oppose one another; how Men should understand them; also of the Tree of Life of the Knowledge of Good and Evil. At the 54th Verse of this Chapter begins the treating of God's Purpose or Predestination.

CHAP IX.

Of the Opposition of the Sayings of Scripture ; clearing the right Understanding of the Scripture.

CHAP X.

A summary Collection of the Objections from Scripture, which Objections hold Reason captive; and how they are to be understood.

CHAP XL

A farther Comparing and Explanation of the Sayings concerning Election.

CHAP XII.

A short Instruction concerning some Questions, which make Reason to err, supposing God hardens Man from a special determinate purposed Will; and how this is to be understood.

CHAP. XIII. A summary Conclusion upon all these Questions.



Buy : http://www.betterworldbooks.com/on-the-election-of-grace-id-1162914440.aspx

Secret report shows Nazis planned a Fourth Reich ...in the EU


The paper is aged and fragile, the typewritten letters slowly fading. But US Military Intelligence report EW-Pa 128 is as chilling now as the day it was written in November 1944.

The document, also known as the Red House Report, is a detailed account of a secret meeting at the Maison Rouge Hotel in Strasbourg on August 10, 1944. There, Nazi officials ordered an elite group of German industrialists to plan for Germany's post-war recovery, prepare for the Nazis' return to power and work for a 'strong German empire'. In other words: the Fourth Reich.

The three-page, closely typed report, marked 'Secret', copied to British officials and sent by air pouch to Cordell Hull, the US Secretary of State, detailed how the industrialists were to work with the Nazi Party to rebuild Germany's economy by sending money through Switzerland.

They would set up a network of secret front companies abroad. They would wait until conditions were right. And then they would take over Germany again.

The industrialists included representatives of Volkswagen, Krupp and Messerschmitt. Officials from the Navy and Ministry of Armaments were also at the meeting and, with incredible foresight, they decided together that the Fourth German Reich, unlike its predecessor, would be an economic rather than a military empire - but not just German.

The Red House Report, which was unearthed from US intelligence files, was the inspiration for my thriller The Budapest Protocol.

The book opens in 1944 as the Red Army advances on the besieged city, then jumps to the present day, during the election campaign for the first president of Europe. The European Union superstate is revealed as a front for a sinister conspiracy, one rooted in the last days of the Second World War.

But as I researched and wrote the novel, I realised that some of the Red House Report had become fact.

Nazi Germany did export massive amounts of capital through neutral countries. German businesses did set up a network of front companies abroad. The German economy did soon recover after 1945.

The Third Reich was defeated militarily, but powerful Nazi-era bankers, industrialists and civil servants, reborn as democrats, soon prospered in the new West Germany. There they worked for a new cause: European economic and political integration.

Is it possible that the Fourth Reich those Nazi industrialists foresaw has, in some part at least, come to pass?

The Red House Report was written by a French spy who was at the meeting in Strasbourg in 1944 - and it paints an extraordinary picture.

The industrialists gathered at the Maison Rouge Hotel waited expectantly as SS Obergruppenfuhrer Dr Scheid began the meeting. Scheid held one of the highest ranks in the SS, equivalent to Lieutenant General. He cut an imposing figure in his tailored grey-green uniform and high, peaked cap with silver braiding. Guards were posted outside and the room had been searched for microphones.

There was a sharp intake of breath as he began to speak. German industry must realise that the war cannot be won, he declared. 'It must take steps in preparation for a post-war commercial campaign.' Such defeatist talk was treasonous - enough to earn a visit to the Gestapo's cellars, followed by a one-way trip to a concentration camp.

But Scheid had been given special licence to speak the truth – the future of the Reich was at stake. He ordered the industrialists to 'make contacts and alliances with foreign firms, but this must be done individually and without attracting any suspicion'.

The industrialists were to borrow substantial sums from foreign countries after the war.

They were especially to exploit the finances of those German firms that had already been used as fronts for economic penetration abroad, said Scheid, citing the American partners of the steel giant Krupp as well as Zeiss, Leica and the Hamburg-America Line shipping company.

But as most of the industrialists left the meeting, a handful were beckoned into another smaller gathering, presided over by Dr Bosse of the Armaments Ministry. There were secrets to be shared with the elite of the elite.

Bosse explained how, even though the Nazi Party had informed the industrialists that the war was lost, resistance against the Allies would continue until a guarantee of German unity could be obtained. He then laid out the secret three-stage strategy for the Fourth Reich.

In stage one, the industrialists were to 'prepare themselves to finance the Nazi Party, which would be forced to go underground as a Maquis', using the term for the French resistance.

Stage two would see the government allocating large sums to German industrialists to establish a 'secure post-war foundation in foreign countries', while 'existing financial reserves must be placed at the disposal of the party so that a strong German empire can be created after the defeat'.

In stage three, German businesses would set up a 'sleeper' network of agents abroad through front companies, which were to be covers for military research and intelligence, until the Nazis returned to power.

'The existence of these is to be known only by very few people in each industry and by chiefs of the Nazi Party,' Bosse announced.

'Each office will have a liaison agent with the party. As soon as the party becomes strong enough to re-establish its control over Germany, the industrialists will be paid for their effort and co-operation by concessions and orders.'

The exported funds were to be channelled through two banks in Zurich, or via agencies in Switzerland which bought property in Switzerland for German concerns, for a five per cent commission.

The Nazis had been covertly sending funds through neutral countries for years.

Swiss banks, in particular the Swiss National Bank, accepted gold looted from the treasuries of Nazi-occupied countries. They accepted assets and property titles taken from Jewish businessmen in Germany and occupied countries, and supplied the foreign currency that the Nazis needed to buy vital war materials.

Swiss economic collaboration with the Nazis had been closely monitored by Allied intelligence.

The Red House Report's author notes: 'Previously, exports of capital by German industrialists to neutral countries had to be accomplished rather surreptitiously and by means of special influence.

'Now the Nazi Party stands behind the industrialists and urges them to save themselves by getting funds outside Germany and at the same time advance the party's plans for its post-war operations.'

The order to export foreign capital was technically illegal in Nazi Germany, but by the summer of 1944 the law did not matter.

More than two months after D-Day, the Nazis were being squeezed by the Allies from the west and the Soviets from the east. Hitler had been badly wounded in an assassination attempt. The Nazi leadership was nervous, fractious and quarrelling.

During the war years the SS had built up a gigantic economic empire, based on plunder and murder, and they planned to keep it.

A meeting such as that at the Maison Rouge would need the protection of the SS, according to Dr Adam Tooze of Cambridge University, author of Wages of Destruction: The Making And Breaking Of The Nazi Economy.

He says: 'By 1944 any discussion of post-war planning was banned. It was extremely dangerous to do that in public. But the SS was thinking in the long-term. If you are trying to establish a workable coalition after the war, the only safe place to do it is under the auspices of the apparatus of terror.'

Shrewd SS leaders such as Otto Ohlendorf were already thinking ahead.

As commander of Einsatzgruppe D, which operated on the Eastern Front between 1941 and 1942, Ohlendorf was responsible for the murder of 90,000 men, women and children.

A highly educated, intelligent lawyer and economist, Ohlendorf showed great concern for the psychological welfare of his extermination squad's gunmen: he ordered that several of them should fire simultaneously at their victims, so as to avoid any feelings of personal responsibility.

By the winter of 1943 he was transferred to the Ministry of Economics. Ohlendorf's ostensible job was focusing on export trade, but his real priority was preserving the SS's massive pan-European economic empire after Germany's defeat.

Ohlendorf, who was later hanged at Nuremberg, took particular interest in the work of a German economist called Ludwig Erhard. Erhard had written a lengthy manuscript on the transition to a post-war economy after Germany's defeat. This was dangerous, especially as his name had been mentioned in connection with resistance groups.

But Ohlendorf, who was also chief of the SD, the Nazi domestic security service, protected Erhard as he agreed with his views on stabilising the post-war German economy. Ohlendorf himself was protected by Heinrich Himmler, the chief of the SS.

Ohlendorf and Erhard feared a bout of hyper-inflation, such as the one that had destroyed the German economy in the Twenties. Such a catastrophe would render the SS's economic empire almost worthless.

The two men agreed that the post-war priority was rapid monetary stabilisation through a stable currency unit, but they realised this would have to be enforced by a friendly occupying power, as no post-war German state would have enough legitimacy to introduce a currency that would have any value.

That unit would become the Deutschmark, which was introduced in 1948. It was an astonishing success and it kick-started the German economy. With a stable currency, Germany was once again an attractive trading partner.

The German industrial conglomerates could rapidly rebuild their economic empires across Europe.

War had been extraordinarily profitable for the German economy. By 1948 - despite six years of conflict, Allied bombing and post-war reparations payments - the capital stock of assets such as equipment and buildings was larger than in 1936, thanks mainly to the armaments boom.

Erhard pondered how German industry could expand its reach across the shattered European continent. The answer was through supranationalism - the voluntary surrender of national sovereignty to an international body.

Germany and France were the drivers behind the European Coal and Steel Community (ECSC), the precursor to the European Union. The ECSC was the first supranational organisation, established in April 1951 by six European states. It created a common market for coal and steel which it regulated. This set a vital precedent for the steady erosion of national sovereignty, a process that continues today.

But before the common market could be set up, the Nazi industrialists had to be pardoned, and Nazi bankers and officials reintegrated. In 1957, John J. McCloy, the American High Commissioner for Germany, issued an amnesty for industrialists convicted of war crimes.

The two most powerful Nazi industrialists, Alfried Krupp of Krupp Industries and Friedrich Flick, whose Flick Group eventually owned a 40 per cent stake in Daimler-Benz, were released from prison after serving barely three years.

Krupp and Flick had been central figures in the Nazi economy. Their companies used slave labourers like cattle, to be worked to death.

The Krupp company soon became one of Europe's leading industrial combines.

The Flick Group also quickly built up a new pan-European business empire. Friedrich Flick remained unrepentant about his wartime record and refused to pay a single Deutschmark in compensation until his death in July 1972 at the age of 90, when he left a fortune of more than $1billion, the equivalent of £400million at the time.

'For many leading industrial figures close to the Nazi regime, Europe became a cover for pursuing German national interests after the defeat of Hitler,' says historian Dr Michael Pinto-Duschinsky, an adviser to Jewish former slave labourers.

'The continuity of the economy of Germany and the economies of post-war Europe is striking. Some of the leading figures in the Nazi economy became leading builders of the European Union.'

Numerous household names had exploited slave and forced labourers including BMW, Siemens and Volkswagen, which produced munitions and the V1 rocket.

Slave labour was an integral part of the Nazi war machine. Many concentration camps were attached to dedicated factories where company officials worked hand-in-hand with the SS officers overseeing the camps.

Like Krupp and Flick, Hermann Abs, post-war Germany's most powerful banker, had prospered in the Third Reich. Dapper, elegant and diplomatic, Abs joined the board of Deutsche Bank, Germany's biggest bank, in 1937. As the Nazi empire expanded, Deutsche Bank enthusiastically 'Aryanised' Austrian and Czechoslovak banks that were owned by Jews.

By 1942, Abs held 40 directorships, a quarter of which were in countries occupied by the Nazis. Many of these Aryanised companies used slave labour and by 1943 Deutsche Bank's wealth had quadrupled.

Abs also sat on the supervisory board of I.G. Farben, as Deutsche Bank's representative. I.G. Farben was one of Nazi Germany's most powerful companies, formed out of a union of BASF, Bayer, Hoechst and subsidiaries in the Twenties.

It was so deeply entwined with the SS and the Nazis that it ran its own slave labour camp at Auschwitz, known as Auschwitz III, where tens of thousands of Jews and other prisoners died producing artificial rubber.

When they could work no longer, or were verbraucht (used up) in the Nazis' chilling term, they were moved to Birkenau. There they were gassed using Zyklon B, the patent for which was owned by I.G. Farben.

But like all good businessmen, I.G. Farben's bosses hedged their bets.

During the war the company had financed Ludwig Erhard's research. After the war, 24 I.G. Farben executives were indicted for war crimes over Auschwitz III - but only twelve of the 24 were found guilty and sentenced to prison terms ranging from one-and-a-half to eight years. I.G. Farben got away with mass murder.

Abs was one of the most important figures in Germany's post-war reconstruction. It was largely thanks to him that, just as the Red House Report exhorted, a 'strong German empire' was indeed rebuilt, one which formed the basis of today's European Union.

Abs was put in charge of allocating Marshall Aid - reconstruction funds - to German industry. By 1948 he was effectively managing Germany's economic recovery.

Crucially, Abs was also a member of the European League for Economic Co-operation, an elite intellectual pressure group set up in 1946. The league was dedicated to the establishment of a common market, the precursor of the European Union.

Its members included industrialists and financiers and it developed policies that are strikingly familiar today - on monetary integration and common transport, energy and welfare systems.

When Konrad Adenauer, the first Chancellor of West Germany, took power in 1949, Abs was his most important financial adviser.

Behind the scenes Abs was working hard for Deutsche Bank to be allowed to reconstitute itself after decentralisation. In 1957 he succeeded and he returned to his former employer.

That same year the six members of the ECSC signed the Treaty of Rome, which set up the European Economic Community. The treaty further liberalised trade and established increasingly powerful supranational institutions including the European Parliament and European Commission.

Like Abs, Ludwig Erhard flourished in post-war Germany. Adenauer made Erhard Germany's first post-war economics minister. In 1963 Erhard succeeded Adenauer as Chancellor for three years.

But the German economic miracle – so vital to the idea of a new Europe - was built on mass murder. The number of slave and forced labourers who died while employed by German companies in the Nazi era was 2,700,000.

Some sporadic compensation payments were made but German industry agreed a conclusive, global settlement only in 2000, with a £3billion compensation fund. There was no admission of legal liability and the individual compensation was paltry.

A slave labourer would receive 15,000 Deutschmarks (about £5,000), a forced labourer 5,000 (about £1,600). Any claimant accepting the deal had to undertake not to launch any further legal action.

To put this sum of money into perspective, in 2001 Volkswagen alone made profits of £1.8billion.

Next month, 27 European Union member states vote in the biggest transnational election in history. Europe now enjoys peace and stability. Germany is a democracy, once again home to a substantial Jewish community. The Holocaust is seared into national memory.

But the Red House Report is a bridge from a sunny present to a dark past. Joseph Goebbels, Hitler's propaganda chief, once said: 'In 50 years' time nobody will think of nation states.'

For now, the nation state endures. But these three typewritten pages are a reminder that today's drive towards a European federal state is inexorably tangled up with the plans of the SS and German industrialists for a Fourth Reich - an economic rather than military imperium.

Read more: http://www.dailymail.co.uk/news/article-1179902/Revealed-The-secret-report-shows-Nazis-planned-Fourth-Reich--EU.html

Hidden Portals in Earth's Magnetic Field

Τρίτη, 17 Ιουλίου 2012

Επιστολή προς Ρωμαίους Κεφάλαιο 12

 
1Σας παρακαλώ λοιπόν, αδελφοί, χάρη στις εκδηλώσεις του ελέους του Θεού, να προσφέρετε τα σώματά σας θυσία ζωντανή, άγια, τέτοια που να είναι αρεστή στον Θεό, η οποία κι αποτελεί την πνευματική σας λατρεία.

2Kαι μην προσαρμόζεστε στον τρόπο ζωής του κόσμου αυτού, αλλά να μεταμορφώνεστε καλλιεργώντας έναν καινούργιο τρόπο σκέψης, έτσι ώστε να διακρίνετε, εξετάζοντας, ποιο είναι το θέλημα του Θεού, που είναι καλό και ικανοποιητικό και τέλειο.

3Mε τη χάρη, λοιπόν, που μου δόθηκε, λέω στον καθένα από σας ξεχωριστά: Mην έχετε μεγαλύτερη ιδέα απ ό,τι πρέπει για τον εαυτό σας, αλλά να έχετε ιδέα τέτοια που να σας κρατά συνετούς, σύμφωνα με το βαθμό της πίστης που μοίρασε ο Θεός στον καθένα.

4Γιατί, όπως ακριβώς υπάρχουν πολλά μέλη σ ένα σώμα και τα μέλη αυτά δεν επιτελούν το ίδιο έργο,

5έτσι κι εμείς οι πολλοί είμαστε ένα σώμα σαν πιστοί του Xριστού, κι απαρτίζουμε ο καθένας μας μαζί με τους άλλους τα διάφορα μέλη του σώματος αυτού.

6Έτσι, λοιπόν, έχουμε διάφορα χαρίσματα, σύμφωνα με τη χάρη που μας παραχωρήθηκε: Eίτε το χάρισμα της προφητείας, ανάλογα με την πίστη του καθενός,

7είτε το χάρισμα της υπηρεσίας, για τις ανάγκες της υπηρεσίας, είτε το χάρισμα να διδάσκει κανείς, για τις ανάγκες της διδασκαλίας,

8είτε το χάρισμα να μπορεί κανείς να παρηγορεί, για να δίνει παρηγοριά σε όποιον τη χρειάζεται. Eκείνος που μεταδίδει το Λόγο του Θεού, ας το κάνει με τρόπο κατανοητό. O προϊστάμενος ας επιτελεί το έργο του με αυστηρή επιμέλεια. Eκείνος που ελεεί, ας ελεεί με χαρά.

9H αγάπη σας να είναι απροσποίητη. Nα απεχθάνεστε το κακό και να μένετε σταθερά προσκολλημένοι στο καλό.

10Nα καλλιεργείτε τη φιλαδελφία μεταξύ σας, δείχνοντας στοργή ο ένας στον άλλο. Nα έχετε αλληλοεκτίμηση προσπαθώντας ο καθένας να την εκδηλώσει πρώτος στον άλλο.

11Tην επιμέλεια μην τη βαριέστε. Tο πνεύμα σας να είναι πάντα έτοιμο για δράση. Για τον Kύριο να εργάζεστε.

12Nα χαίρεστε για την ελπίδα που έχετε. Mέσα στη θλίψη να δείχνετε υπομονή. Nα προσεύχεστε με επιμονή.

13Nα βοηθάτε τους άλλους πιστούς στις ανάγκες τους. Tη φιλοξενία να την επιζητάτε.

14Nα εύχεστε για το καλό εκείνων που σας κατατρέχουν. Nα εύχεστε για το καλό τους και μην τους καταριέστε.

15Nα συμμετέχετε στη χαρά εκείνων που χαίρονται και στο πένθος εκείνων που πενθούνε.

16Mη μεροληπτείτε μεταξύ σας. Mην είστε ακατάδεχτοι αλλά να ελκύεστε από το παράδειγμα των ταπεινών. Mην περνάτε τους εαυτούς σας για σοφούς.

17Σε κανέναν να μην ανταποδίδετε το κακό που σας έκανε κάνοντάς του κακό κι εσείς. Nα είστε πάντα έτοιμοι να συμπεριφερθείτε καλά απέναντι σε όλους τους ανθρώπους.

18Όσο εξαρτάται από σας, να ζείτε ειρηνικά με όλους τους ανθρώπους.

19Mην εκδικείστε εσείς οι ίδιοι, αγαπητοί, αλλά καταπνίξτε την οργή σας, γιατί στη Γραφή διαβάζουμε: Σ εμένα ανήκει η εκδίκηση, εγώ θα κάνω την ανταπόδοση, λέει ο Kύριος.

20Aν, λοιπόν, πεινάει ο εχθρός σου, δίνε του να φάει. Aν διψάει, δίνε του να πιει. Kαι κάνοντάς το αυτό, είναι σαν να βάζεις φωτιά στη συνείδησή του.

21Mη νικιέσαι από το κακό, αλλά με όπλο το καλό να νικάς το κακό.

Give from your Heart


When you are in need, you wish that someone could help you, but did you ever wonder during the past to help someone in need ?

Generosity , goodness is food for the soul and a bliss.

Give without asking, be gentle , be different , be a spiritual person.
 
This is the only way, this is the way of the cross.

Wagner - Das Rheingold (Synopsis)


Das Rheingold, considerably shorter than its three successors, 
consists of four scenes performed 
without a break.
 
Scene 1 in the 1876 production, designed by Josef Hoffmann

Scene 1

The scale of the whole work is established in the prelude, over 136 bars, beginning with a low E flat, and building in more and more elaborate figurations of the chord of E flat major, to portray the motion of the river Rhine. It is considered the best-known drone piece in the concert repertory, lasting approximately four minutes.

The curtain rises to show, at the bottom of the Rhine, the three Rhine maidens, Woglinde, Wellgunde, and Flosshilde, playing together. The key shifts to A flat as Woglinde begins an innocent song whose melody is frequently used to characterise the Rhine maidens later in the cycle. Alberich, a Nibelung dwarf, appears from a deep chasm and tries to woo them. Struck by Alberich's ugliness, the Rhine maidens mock his advances and he grows angry. 

As the sun begins to rise, the maidens praise the golden glow atop a nearby rock; Alberich asks what it is. The Rhine maidens tell him about the Rhine gold, which their father has ordered them to guard: it can be made into a magic ring which will let its bearer rule the world, but only by someone who first renounces love. They think they have nothing to fear from the lustful dwarf, but Alberich, embittered by their mockery, curses love, seizes the gold and returns to his chasm, leaving them screaming in dismay.


The giants seize Freia

Scene 2

Wotan, ruler of the Gods, is asleep on a mountaintop with Fricka, his wife. Fricka awakes and sees a magnificent castle behind them. She wakes Wotan and points out that their new home has been completed. The giants Fasolt and Fafner built the castle; in exchange Wotan has offered them Fricka's sister Freia, the goddess of youth and beauty and feminine love. Fricka has concerns for her sister, but Wotan is confident that they will not have to give Freia away, because he has dispatched his clever servant Loge to search the world for something else to give the giants instead.

Freia rushes onstage in a panic, followed by Fasolt and Fafner. Fasolt demands payment for their finished work. He points out that Wotan's authority is sustained by the treaties carved into his spear, including his contract with the giants, which Wotan therefore cannot violate. Donner (god of thunder) and Froh (god of spring) arrive to defend their sister Freia, but Wotan stops them; as ruler of the Gods, he cannot permit the use of force to break the agreement. Hoping Loge will arrive with the alternative payment he promised, Wotan tries to stall.

Loge finally returns with a discouraging report: there is nothing that men will accept in exchange for feminine love, and, by extension, nothing the giants would accept in exchange for Freia. Loge tells them that he was able to find only one instance where someone willingly gave up love for something else: Alberich the dwarf has renounced love, stolen the Rheingold and made a powerful magic ring out of it. A general discussion of the ring ensues and everyone finds good reasons for wanting it. Fafner makes a counteroffer: the giants will accept the ring and the Nibelung's gold in payment, instead of Freia. When Wotan tries to haggle, the giants depart, taking Freia with them as hostage.

Freia's golden apples had kept the Gods eternally young; in her absence, they begin to age and weaken. In order to win Freia back, Wotan resolves to follow Loge down into the earth, in pursuit of the gold.

An orchestral interlude follows that "paints" the descent of Loge and Wotan into Nibelheim. As the orchestra fades, it gives way to a choir of 18 tuned anvils (indicated in the score with specific size, quantity and pitch) beating out the dotted rhythm of the Nibelung theme to give a stark depiction of the toiling of the enslaved dwarves.


Alberich and the subjugated Nibelung dwarfs
 
Scene 3
 
In Nibelheim, Alberich has enslaved the rest of the Nibelung dwarves with the power of the ring. He has forced his brother Mime, the most skillful smith, to create a magic helmet, the Tarnhelm. Alberich demonstrates the Tarnhelm's power by making himself invisible, the better to torment his subjects. (The Tarnhelm can also change the wearer's shape, and teleport him long distances.)

Wotan and Loge arrive and happen upon Mime, who tells them about Alberich's forging of the ring and the misery of the Nibelungs under his rule. Alberich returns, driving his slaves to pile up a huge mound of gold. When they have finished, he dismisses them and turns his attention to the two visitors. He boasts to them about his plans to conquer the world. Loge asks how he can protect himself against a thief while he sleeps. Alberich says the Tarnhelm would hide him, by allowing him to turn invisible or change his form. Loge says he doesn't believe it and requests a demonstration, that he transform into a giant snake. 
 
Alberich complies and Loge acts suitably impressed. He then asks if he can also reduce his size, which would be very useful for hiding, but which would be too difficult he thinks. Thus goaded Alberich transforms himself into a toad and the two gods quickly seize him, tie him up, and drag him up to the mountain top.

Scene 3
 
On the mountaintop, Wotan and Loge force Alberich to exchange his wealth for his freedom. They untie his right hand, and he uses the ring to summon his Nibelung slaves, who bring the hoard of gold. After the gold has been delivered, he asks for the return of the Tarnhelm, but Loge says that it is part of his ransom. Finally, Wotan demands the ring. Alberich refuses, but Wotan seizes it from his finger and puts it on his own. Alberich is crushed by his loss, and before he leaves he lays a curse on the ring: until it should return to him, whoever does not possess it will desire it, and whoever possesses it will live in anxiety and will eventually be killed and robbed of it by its next owner. Alberich's discordant "Death-Curse" leitmotif is one of the few leitmotifs which occur regularly and unchanged in all four parts of the Ring Cycle.

The gods reconvene. Fasolt and Fafner return, carrying Freia. Reluctant to release Freia, Fasolt insists that the gold be heaped high enough to hide her from view. They pile up the gold, and Wotan is forced to relinquish the Tarnhelm to help cover Freia completely. However, Fasolt spots a remaining crack in the gold, through which Freia's eye can be seen. He demands that Wotan fill the crack by yielding the ring. Loge reminds all present that the ring rightly belongs to the Rhine maidens. Wotan angrily and defensively declares that he will keep it for his own. The giants seize Freia and start to leave, this time forever.

Suddenly, Erda the earth goddess, a primeval goddess older than Wotan, appears out of the ground. She warns Wotan of impending doom and urges him to give up the cursed ring. Troubled, Wotan calls the giants back and surrenders the ring. The giants release Freia and begin dividing the treasure, but they quarrel over the ring itself. Fafner clubs Fasolt to death (the orchestra repeats the "Death-Curse" leitmotif). Wotan, horrified, realizes that Alberich's curse has terrible power. Loge remarks that Wotan is indeed a lucky fellow; his enemies are killing each other for the gold he gave up.

At last, the gods prepare to enter their new home. Donner summonRheingold Libretto, full text (English)s a thunderstorm to clear the air. After the storm has ended, Froh creates a rainbow bridge that stretches to the gate of the castle. Wotan leads them across the bridge to the castle, which he names Valhalla. Fricka asks him about the name, and he replies enigmatically that its meaning will become clear when his plans come to fruition.

Loge, who knows that the end of the gods is coming, does not follow the others into Valhalla; he tells the audience that he is tempted to destroy the gods and all they have deceitfully acquired. Far below, the Rhine maidens mourn the loss of their gold and proclaim that the glory of the gods is only an illusion. The curtain falls.
http://en.wikipedia.org/wiki/Das_Rheingold
 
 Rheingold Libretto, full text (English-German)
http://www.rwagner.net/libretti/rheingold/e-t-rhein.html
 
Or download it in English
http://www.divshare.com/download/18918237-b98


Wagner - Das Rheingold - Solti (Remastered 2008)


Wagner - Das Rheingold - Solti (1959) 

Celebrating the 300.00 views of my blog 
i would like to present to you 
this special 
musical 
gift

DAS RHEINGOLD, the prelude to Wagner's drama DER RING DES NIBELUNGEN, is the shortest work in the series, and at times it can be forgotten. Of the four pieces that make up the Ring Cycle, it probably would not be a stand alone opera, as the other three would be, and with the exception of "The Entry of the gods into Valhalla" it does not have the memorable highlights of the other three longer works of the cycle.

Yet as listeners discover this opera, the richness of this gem becomes apparent. The story is told through the music, and even without knowing the plot, one can sense from the music the blissful state of the Rhine maidens and how the peace is destroyed through greed which will culminate in the final scenes of GOTTERDAMMERUNG. The opera itself contains many of the leitmotifs that will continue throughout the remaining three pieces.

Many critics as well as other Amazon reviewers believe that this may be the best recording of DAS RHEINGOLD, or at least the greatest stereo recording of the work. Two reasons are given as a basis: the solid performance of the singers and the mastery of Sir Georg Solti.
Solti made this recording in the late 1950's which was perhaps one of the greatest moments in history to assemble a cast to record any Wagner opera, and Solti selected the best in a cast that includes George London and Kirsten Flagstad. This recording is magnificent, and the cast works together as an ensemble, which is essential in Wagner. While some opera recordings can still be adequate with uneven performers, for Wagner it can be devastating.

All one needs to do is look at many of the reviews of the Solti WALKURE, which has some captivating moments, but also weak moments that for some (though not all, I love that recording too) ruins the entire work. For some the orchestra is a bit too heavy, a criticism leveled against Solti on many occasions, but overall the orchestra and singers compliment each other well. The only flaw is a few of the non orchestral sound effects that can be a bit jarring at times (some bells and female screams) but at the time the recording was made, they were rather innovative. After listening to the recording a few times, the sound effects are barely noticeable.


Recording Location : Sofiensaal , Vienna , September / October1958

Producer : John Culshaw

Recording Engineer : Gordon Parry

Cast :

Wotan......George London

Fricka......Kirsten Flagstad

Freia......Claire Watson

Froh......Waldemar Kmentt

Donner......Eberhard Wächter

Loge......Set Svanholm

Mime......Paul Kuen

Erda......Jean Madeira

Alberich......Gustav Neidlinger

Fasolt......Walter Kreppel

Fafner......Kurt Böhme

Woglinde......Oda Balsborg

Wellgunde......Hetty Plümacher

Flosshilde......Ira Malaniuk

Wiener Philharmoniker / Sir Georg Solti

Thanks to jbglx for the post

Register to 4shared site for download the rar, its free and very quick site

Cd 1
http://www.4shared.com/rar/vtJ9j_OA/W_Rhein_CD1_jbglx.html?

Cd 2
http://www.4shared.com/rar/GdI4pkgm/W_Rhein_CD2_jbglx.html?

Κυριακή, 15 Ιουλίου 2012

Never Loose Your Hope



Even in 'the hard times' our inner qualities stay firm.

Knowledge comes under the understanding of the essence of this world.

Even if we see a balance in it , then there is no balance, all we create falls, everything can change in minutes, even dearest people.

Our understanding telling to us  'stay focus into the Spiritual being inside you'.

In this imbalance world full of problems , pain , sorrow , tiredness only one thing is True and shining, Love and Hope , embracing everything in and out of us.

In 'the hard times' of our life we getting better and stronger and our faith grows.

We like just babies , how to learn to walk if we not fall many times?

After faith virtue, comes only then we experience Gnosis  and this, can not only change our life but also us completely.

Why we must change?

This is a personal question and task.

Answer it quickly is my inner wish.

As Tao say ' One wooden stick or two you can brake them easily , 6 of them is not possible ' 

Let your Inner Light shine from your forehead , this is the mark of the Lord during the last days, the Holly Oil of the Perfect One.

Give and shall be given to you.

Σάββατο, 14 Ιουλίου 2012

The Ninth Gate (1999) Roman Polanski


Ο Ντιν Κόρσο είναι ο καλύτερος στη δουλειά του: έχει ειδικευτεί στον να εντοπίζει σπάνια βιβλία για πλούσιους μανιώδες συλλέκτες. Η θέση του απαιτεί σπάνια επιδεξιότητα, μεγάλη λογοτεχνική ειδίκευση, απέραντη υπομονή, νεύρα από ατσάλι και έλλειψη οποιουδήποτε ενδοιασμού. 
Είναι φυσικό λοιπόν ότι ο Μπόρις Μπάλκαν, ένας μανιώδης βιβλιόφιλος και οπαδός της δαιμονολογίας, προσεγγίζει τον Κόρσο για να του αναθέσει μια αποστολή: να συγκρίνει το αντίτυπο ενός βιβλίου, που μόλις απέκτησε ο Μπάλκαν με τα άλλα δύο αντίτυπα που υπάρχουν κάπου στην Ευρώπη, ώστε να βεβαιώσει τη γνησιότητα του. 
Το βιβλίο επιγράφεται 'Η Ένατη Πύλη του Βασιλείου των Σκιών', φημίζεται ότι γράφηκε από ανθρώπινο χέρι με τη βοήθεια σκοτεινών δυνάμεων και περιέχει τις μυστικές επικλήσεις προς τον Εωσφόρο. Ο Κόρσο δέχεται την αποστολή κι αρχίζει ένα μακρινό ταξίδι από τη Νέα Υόρκη ως το Τολέδο κι από την Πορτογαλία ως το Παρί... 

Dean Corso, a rare book dealer, is appointed by a renowned book collector, Balkan, to verify the authenticity of one of his books. According to sources, only three copies of that book exist, and in three different places. After losing his friend who has been killed for that book, he leaves on the mission. 
He wants to verify Balkan's book but finds something else! During his dramatic travels through Paris and Madrid, too many things beyond his expectations are revealed! 

http://www.imdb.com/title/tt0142688/ 

Greek Subtitles : 
http://www.greeksubtitles.info/get_greek_subtitles.php?id=20112

Πέμπτη, 12 Ιουλίου 2012

Fragment from 'Chymical Wedding of Christian Rosenkreutzt'



The King accordingly sent to invite his to join us; and as we all sat at table he made his strict survey.
Then certain curious chairs were placed in a circle, in which we, together with the King and Queen, both their old men, and the ladies and virgins, were to sit.
A handsome page then announced that the King, in recognition of our services, had elected each of  us Knight of the Golden Stone, and required us to make these five vows:

To ascribe our Order only to God and His handmaid, Nature.
To abominate all whoredom, and not defile our Order with such vices.
To use our talents to assist all that have need of them.
Not to strive for worldly pride and high authority.
Not to wish to live longer than God would have us.

At this last article we could not choose but laugh.
We were now, with due ceremony, installed Knights, and conducted in procession to a little chapel, where I hung up my golden fleece and my hat.

And because everyone was to write his name there, I writ thus:

"The highest wisdom is to know nothing.
Brother Christian Rosenkreutz. Knight of the Golden Stone. 1459."

A.E Waite - Turba Philosophorum (1896)


The Turba philosophorum
or assembly of the sagas; called also the book of truth in the art and the third Pythagorical synod. 
An ancient alchemical treatise translated from the Latin, 
the chief readings of the shorter codex, parallels from the Greek alchemists, 
and explanations of obscure terms (1896)

PREFACE.

Turba Phiksophorum is indisputably the most ancient extant treatise on Alchemy in the Latin tongue, but it was not, so far as can be ascertained, originally written in Latin ; the compiler or editor, for in many respects it can scarcely be regarded as an original composition,wrote either in Hebrew or Arabic ; however, the work, not only at the present day, but seemingly during the six or seven centuries when it was quoted as an authority by all the alchemical adepts, has been familiar only in its Latin garb.

It is not, of course, certain that the original is irretrievably lost, the Arabic and Syriac manuscripts treating of early chemistry are preserved in considerable numbers in the various libraries of Europe, and have only been imperiectly explored. Unfortunately, the present editor has neither the opportunity nor the qualifications for undertaking such a task.

There are two codices or recensions of The Turba Philosophorum, which differ considerably from one another. What is called in the following pages the second recension, is appreciably shorter, clearer, and, on the whole, the less corrupt of the two, but they are both in a bad state. The longer recension has been chosen for the text of the following translation, because it seemed desirable to give the work in its entirety. 

The variations of the second recension are appended usually in foot-notes, but where the reading of the text is so corrupt as to be quite untranslatable, the editor has occasionally substituted that of the alternative version, and has in most cases indicated the course pursued.

Monsieur Berthelot's invaluable text and translation of the Byzantine Alchemists has been largely made use of, to illustrate the striking analogies between the Greek Hermetic writers of the fourth century and the Turba. It is to this great scholar and scientist that we owe the discovery of these analogies, some of which are very clearly indicated in a chapter devoted to the subject, and forming part of his " Essai sur la Transmission de la Science Antique au Moyen Age."

It follows from M. Berthelot's researches, that Latin Alchemy, which has always been rightly referred to an Arabian source, connects with the Greek Alchemy which preceded Arabian Science, because the latter was itself derived from Greece. 
We are also enabled to identify, for the first time, and that with perfect certainty, those ancient sages, to whom all the Latin literature makes requent and reverent allusion ; we now know that they are Zosimus, the Panopolite, the adepts of the school of Democritus, and the other writers preserved in the Byzantine collection. M. Berthelot, however, infers that the Greek influence found in The Turbo, Philosophorum was not a direct influence, but was derived mediately through channels which are now unknown In any case the Turba summarises the author's preceding Geber, and is therefore the most valuable, as it is the most ancient, treatise on Alchemy, which exists in the Latin language.

The chief printed versions of The Turba Philosophorum, are those of the " Theatrum Chemicum," the " Bibliotheca Chemica Curiosa," and that of the smaller collection entitled " Artis Auriferae Tractatus." There are some translations of the work existing in German and some also in French. Those in the latter language are specially remarkable for the very slender way in which they represent the original. 

The versions contained in Salmon's " Bibliotheque des Philosophes Alchimiques," and in the " Tro's Anciens Traictes de la Philosophic Naturelle," are instances in point. One English version in manuscript is known to the present editor, and it will be found in the British Museum amongst the treasures of the Sloane collection.
It is rendered, however, from the French, and has been found useless for the purposes of this translation.

It may be added that the great collections of Alchemy, such as the " Theatrum Chemicum " and Mangetus, contain colloquies, commentaries, and enigmas which pretend to elucidate the mysteries of The Turba Philosophorum.

While they are of a considerably later date, they at the same time belong to the early period of Latin Alchemy. It may be added also that the editor has collected a considerable amount of material concerning this curious work, which the limits of the present volume preclude him from utilising.

ARTHUR EDWARD WAITE. 

Δευτέρα, 9 Ιουλίου 2012

Pina Bausch (2011) Wim Wenders

Orientation of the Hermetic Philosophy - Doctrines of Hermes Trismegistus



Manly Palmer Hall (March 18, 1901 – August 29, 1990) was a Canadian-born author and mystic. He is perhaps most famous for his 1928 work The Secret Teachings of All Ages.

http://en.wikipedia.org/wiki/Manly_Palmer_Hall Free

Mp3 download link : http://www22.zippyshare.com/v/95675199/file.html

NASA new Mars photo


'Greeley Panorama' from Opportunity's Fifth Martian Winter
 
This full-circle scene combines 817 images taken by the panoramic camera (Pancam) on NASA's Mars Exploration Rover Opportunity. It shows the terrain that surrounded the rover while it was stationary for four months of work during its most recent Martian winter.
Image Credit: NASA/JPL-Caltech/Cornell/Arizona State Univ.

http://marsrovers.jpl.nasa.gov/newsroom/pressreleases/20120705a.html

Download Full Seize : http://photojournal.jpl.nasa.gov/jpeg/PIA15689.jpg

Παρασκευή, 6 Ιουλίου 2012

Το σωματίδιο του Θεού ;


 Το σωματίδιο του Θεού ;

Ζούμε σε καιρούς μεγάλης παρανόησης, γι αυτό το λόγο λέγονται πολλά τα οποία όχι μόνο δεν ευσταθούν αλλά είναι και λίγο ύποπτα ως προς την κατασκευή τους.

Ο κόσμος ο οποίος ζούμε όπως και το σύμπαν το οποίο βλέπουμε δεν ήταν στο αρχικό σχέδιο της δημιουργίας αλλά δημιουργήθηκε σαν ένα σχέδιο έκτακτης ανάγκης, μετά την τρομερή παραβατικότητα του πρωταρχικού ανθρώπου και την καταστροφή την οποία προκάλεσε.

Τότε ο Δημιουργός εξαιτίας της αγάπης που είχε για όλα τα παιδιά του, δεν τα άφησε να χαθούνε αλλά δημιούργησε αυτόν τον κόσμο και τον μετά την πτώση άνθρωπο, ώστε μέσα από μια μακρά χρονική εξελικτική πορεία να μπορέσει να ολοκληρωθεί ξανά σε αυτό το επίπεδο, συνειδητοποιώντας την αρχική καταγωγή του και έτσι εξαγνίζοντας τον σωματικό του φορέα να μπορέσει να ανέλθει εξελικτικά σε ένα υψηλότερο επίπεδο, δονητικά και σωματικά.

Έτσι βλέπουμε εμπρός μας μια φαινομενική αντίφαση, ενώ ο κόσμος μας δημιουργήθηκε από τον Θεό στην ουσία του, δεν είναι Θεϊκός.
Έτσι κάθε προσπάθεια της επιστήμης να εξήγηση τις δυνάμεις και τα συστατικά μέσα από τα οποία ο κόσμος μας δημιουργήθηκε, πάντοτε θα οδηγείτε σε ένα σημείο το οποίο θα ορίζει αυτόν το κατώτερο σύμπαν μόνον, και τίποτα άλλο.

Φυσικά κανείς δεν αρνείται την χρησιμότητα της γνώσης και της επιστήμης, όμως το να διαλογίζεται με δυνάμεις που δεν κατανοεί με την έννοια της ηθικής και λόγω της εύθραυστης συνείδησης που  περιβάλει τους επιστήμονες, αυτό εγκυμονεί μεγάλους κινδύνους , όπως σας είναι γνωστό ότι η τεχνολογία σήμερα εξυπηρετεί ειδικότερα τους πλούσιους και τις βιομηχανίες όπλων μαζικής καταστροφής.

Έτσι ατυχώς βλέπω αναφορές ως προς το ότι βρήκαμε το σωματίδιο του Θεού και άλλες τέτοιες ανοησίες.
Ο άνθρωπος όπως πάντα ματαιόδοξος και με έπαρση νομίζει ότι θα γίνει πανίσχυρος και θα μπορέσει να παίξει τον ρόλο του Θεού.

Για άλλη μια φορά είναι αχάριστος μην μπορώντας να κατανόηση όλα αυτά τα δώρα της δημιουργίας που μας περιβάλει και την χάρη που του έχει απονεμηθεί.

Το ουσιώδες δεν είναι η ατελείωτη ανάλωση μέσα στην ύλη αλλά το πως και με πιο τρόπο να μπορέσουμε την ξεπεράσουμε.
Βέβαια σε αυτό μόνον μια ανώτερη δύναμη από εμάς μπορεί να μας βοηθήσει

Ας ελπίσουμε ότι ψάχνοντας το απειροελάχιστο στην ύλη να μπορέσουμε να απαντήσουμε σε κάποια γενόμενα ερωτήματα αλλά στην ουσία και αυτά να απαντηθούν δεν θα μας βοηθήσουν στο να φτάσουμε να γίνουμε πιο Πνευματικά όντα.

Μόνον μια αντιστροφή της πορείας μας μέσα στην ύλη και μια σοβαρή προσέγγιση του Πνεύματος θα μπορέσει να μας αλλάξει κυριολεκτικά σε έναν νέο άνθρωπο ο οποίος σε μια χρονική στιγμή  αυτής της πορείας δεν θα ανήκει σε αυτόν τον έκπτωτο κόσμο πια,  και έτσι μια νέα δημιουργική γνώση , λόγος και χαρίσματα θα είναι από κοινού αποκτημένα.

Ελπίζω να μην επαναληφθεί αυτό που μερικοί ευφάνταστοι μελετητές επαναλαμβάνουν σχετικά με τον μύθο της Ατλαντίδας και για το για πιο λόγο αυτή καταστράφηκε.

Ναι είμαι σίγουρος για την ύπαρξη του σωματιδίου του Θεού την βιώνω καθημερινά μέσω της Αγάπης και αυτό - αυτή βρίσκετε μέσα στην καρδιά μας, αναζητήστε το εκεί αγαπητοί φίλοι και θα νιώσετε και εσείς σύντομα μια ευλογία και ειρήνη που δεν προέρχονται από αυτόν τον κόσμο.

Ο άνθρωπος και ο κόσμος του είναι κάτι το οποίο πρέπει να ξεπεραστεί

Dimitri Mitropoulos - Hector Berlioz - Requiem (2012)


Dimitri Mitropoulos - Hector Berlioz - Requiem (2012)

Dear friends, i saw a serious interest in Mitropoulos work so here we are again :)

Mahler’s Eighth Symphony and several other choral edifices aside, few works in the concert repertoire require more bodies onstage (and often out in the hall) than the Berlioz Requiem. The French composer specifies an orchestra of some 140 players, plus four brass bands (another thirty-eight players) positioned at the four corners of the stage, plus a chorus of 210 voices, plus a tenor soloist (how modest: Berlioz originally envisioned ten tenors singing the Sanctus solo in unison).

Is it any wonder that orchestras programme the Grande Messe des mortsonly on occasion – if ever?
Which brings up another question. What was Dimitri Mitropoulos doing in the summer of 1956 conducting not one, but two performances of the Requiem in different cities with different forces? Coincidence, no doubt, but an intriguing one. The first, on 15 July, was a concert at the Salzburg Festival in memory of Wilhelm Furtwängler, who had died in November 1954, featuring the Vienna Philharmonic, Vienna State Opera Chorus, and tenor Léopold Simoneau. The performance has long been available on LP and CD.
Six weeks after the Salzburg concert, on 26 August, Mitropoulos presided over the Requiem with the Cologne Radio Symphony Orchestra, two radio choirs, and Nicolai Gedda as tenor soloist. It is this stirring Cologne performance that can be heard on the present disc.

Mitropoulos, who had just finished what would be his penultimate season as music director of the New York Philharmonic, was mightily relieved to be spending the summer of 1956 in Europe. The sweet-tempered Greek conductor had taken quite a beating in recent seasons from members of the Philharmonic, and New York critics were increasingly eager to see him replaced (by Leonard Bernstein, whom Mitropoulos had mentored, and who
eventually got the job). In Europe that summer, Mitropoulos was treated with respect and even reverence. In addition to leading the Requiem in tribute to Furtwängler, he took over the conductor’s scheduled performances of Mozart’s Don Giovannito great acclaim.

By this time, Mitropoulos was no stranger to Berlioz or the Requiem. He had led the work as far back as 1939 in Naples. With the Philharmonic, both as guest and music director, he conducted many Berlioz works and recorded the Symphonie fantastiqueand excerpts from Roméo et Juliette. But Mitropoulos never conducted the Philharmonic in the Requiem. (Nor have many others: the orchestra’s archives list only three series of performances of the complete work, under Seiji Ozawa, James Levine, and Charles Dutoit, in its 170-year history.)

Whatever his track record as a Berlioz interpreter, Mitropoulos brought to the music qualities the composer himself assigned to his art. ‘The prevailing characteristics of my music are passionate expression, intense ardour, rhythmical animation and unexpected turns,’ Berlioz wrote in his Memoirs. Many listeners and critics valued Mitropoulos for his fervour and dynamism, as well as surprising nuances he applied to core works, especially from the nineteenth and early twentieth centuries. Conducting (and rehearsing!) everything from memory (including such an intricate challenge as Berg’s Wozzeck), Mitropoulos immersed himself in a composer’s messages with almost spiritual zeal.

Mitropoulos was a welcome guest in Cologne literally until the end of his life. He conducted his final concert, a performance of Mahler’s Third Symphony with the Cologne Radio Symphony, on 31 October 1960 and died two days later while rehearsing the same work at La Scala in Milan. (The Cologne performance is available on ICA Classics as ICAC 5021 – the set was awarded the Toblacher Komponierhäuschen international record prize for 2011 in the ‘republishing’ category.) 

In the Berlioz Requiem from Cologne, Mitropoulos invests the music with utmost drama and contrast, emphasising the Day of Judgement vehemence, caressing the ethereal passages and savouring the miracles of orchestration (flutes and trombones, for example, nearly four octaves apart in the Hostiasand Agnus Dei). The antiphonal brass and percussion roar in the Dies irae, with bold input from the choruses, in a thrilling evocation of the text: ‘The trumpet, scattering its awesome sound across the graves of all lands, summons all before the throne.’ 

Vibrancy of almost operatic proportions pervades the ten movements, which are heightened by fierce attention to expressive markings (particularly accents) and laser-beam urgency. The performance, in fact, is a striking reminder of the excitement Mitropoulos generated as an opera conductor during this period. His frequent appearances at the Metropolitan Opera were praised by the same critics who took him to task for his stewardship of the Philharmonic. 

And the Cologne performance of the Berlioz introduced Mitropoulos to the rising Swedish tenor Gedda, who gives a full-throated, heroic account of the treacherous Sanctus solo. At the Met in 1958, they would collaborate in the world premiere of Samuel Barber’s Vanessaand one performance of Tchaikovsky’s Eugene Onegin. When Mitropoulos died in 1960, Met general manager Rudolf Bing prefaced a performance of Boris Godunov– a work in which the conductor had led the company – with heartfelt comments: ‘His loss is felt personally by everyone at the Metropolitan – indeed all the members of this orchestra were his friends. Naturally the Metropolitan Opera will go on and other great conductors may come and go, but there will always be a very special place in our hearts for Dimitri Mitropoulos.’
Donald Rosenberg

Tracklist:

1. Requiem et Kyrie
2. Dies irae
3. Quid sum miser
4. Rex tremendae
5. Qaerens me
6. Lacrymosa
7. Offertorium
8. Hostias
9. Sanctus
10. Agnus Dei

Nicolai Gedda, tenor
Chor des Norddeutschen Rundfunks
K?lner Rundfunkchor
K?lner Rundfunk-Sinfonie-Orchester
Conductor: Dimitri Mitropoulos

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http://rapidgator.net/file/18413101/

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